The 10 Most Underrated Jeremy Allen White Movies, Ranked (from Least to Most Underrated)

Jeremy Allen White has stacked an eclectic film résumé alongside his well-known TV work, darting between indie dramas, offbeat anthologies, and larger studio releases. Across these projects, he’s shared the screen with performers like Jessie Buckley, Riz Ahmed, Maika Monroe, Zac Efron, Alison Brie, and William Hurt, and has worked with directors ranging from Antonio Campos and Joel Schumacher to Dave Franco and Sean Durkin. The result is a filmography that stretches from microbudget character studies to sports biopics and ensemble thrillers.

Below is a focused look at ten films that feature White, arranged from least to most underrated. Each entry notes concrete details—who made it, who starred in it, what it’s about, and key release or production facts—so you can zero in on what to watch next.

‘Movie 43’ (2013)

This sketch-comedy anthology was assembled by a roster of directors and producers and features interlocking segments with an oversized ensemble cast. Jeremy Allen White appears in the segment ‘Homeschooled’, credited as Kevin Miller, alongside actors including Naomi Watts and Liev Schreiber in other sketches. The film was released theatrically in the United States by Relativity Media and runs approximately 94 minutes.

Structurally, it strings together standalone shorts linked by a hapless producer pitching increasingly unhinged ideas. The project was filmed over several years to accommodate the cast’s schedules, resulting in a patchwork production that pulled in dozens of recognizable names across comedy and drama.

‘Bad Turn Worse’ (2013)

Released at festivals under the title ‘We Gotta Get Out of This Place’, this Texas-set neo-noir was directed by brothers Zeke and Simon Hawkins. Jeremy Allen White plays Bobby, one of three friends—along with characters played by Mackenzie Davis and Logan Huffman—whose impulsive theft entangles them with a local criminal played by Mark Pellegrino. The film runs about 91 minutes and was distributed in North America by Starz Digital.

The story follows the trio as they attempt to make amends after stealing from their boss, triggering escalating reprisals. Shot largely on location in rural Texas, the film emphasizes small-town settings, warehouses, and scrubland backroads to ground its crime plot in a recognizable Gulf Coast atmosphere.

‘Twelve’ (2010)

Joel Schumacher directed this adaptation of Nick McDonell’s novel, centered on a young dealer nicknamed White Mike, played by Chace Crawford, with narration by Kiefer Sutherland. Jeremy Allen White appears as Charlie amid an ensemble that includes Rory Culkin, Emma Roberts, Curtis “50 Cent” Jackson, and Zoë Kravitz. The film premiered at the Sundance Film Festival and later saw a limited U.S. theatrical release.

The narrative traces intersecting Manhattan prep-school lives as a designer drug called “twelve” enters the scene, culminating in a party that turns deadly. Production took place in New York City, and the project’s soundtrack features a contemporary mix consistent with its Upper East Side setting and teen-crime framework.

‘Beautiful Ohio’ (2006)

Directed by Chad Lowe and based on Ethan Canin’s short story “Batorsag and Szerelem,” this period family drama stars William Hurt, Rita Wilson, and David Call, with Jeremy Allen White credited as Young Clive. The film is set in suburban Cleveland and focuses on two brothers whose paths diverge under the weight of parental expectations and intellectual prodigy.

The production leans on 1970s costuming and décor to anchor the time period, while its chamber-piece scale highlights family dynamics and sibling rivalry. The film screened on the festival circuit before a modest release, and its performances were noted for aligning with the story’s introspective, literary origins.

‘The Rental’ (2020)

Dave Franco directed this coastal thriller starring Dan Stevens, Alison Brie, Sheila Vand, and Jeremy Allen White as Josh. The plot follows two couples who book a seaside home for a celebration and gradually suspect they are being watched; the narrative pivots from relationship tensions to a stalking mystery. The film was released by IFC Films with a runtime of roughly 88 minutes.

Shot on the Oregon coast, the film uses practical locations and a mix of natural light and shadow to intensify its sense of isolation. It opened simultaneously in limited theaters and on digital platforms during mid-2020 and was one of the early North American releases to lean into drive-in venues at a time when many indoor cinemas were shuttered.

‘Fingernails’ (2023)

Written and directed by Christos Nikou, this science-fiction–tinged romance stars Jessie Buckley, Riz Ahmed, and Jeremy Allen White as Ryan. The premise centers on a controversial test that purports to scientifically prove whether two people are in love, with the story unfolding inside and around a clinic that administers the procedure. The film was released on Apple TV+ after a limited theatrical rollout.

Producers include Cate Blanchett’s Dirty Films, and the production design emphasizes analog devices and institutional interiors to create a slightly off-kilter, near-future feel. Filming took place primarily in and around Toronto and Hamilton, with locations dressed to evoke an indeterminate, subtly retro present.

‘Rob the Mob’ (2014)

Raymond De Felitta directed this crime drama inspired by the real-life robberies committed by Tommy and Rosie Uva. Jeremy Allen White appears as Robert (Bobby) Uva, with Michael Pitt and Nina Arianda leading, plus supporting turns from Andy García and Ray Romano. The film runs about 104 minutes and opened in U.S. theaters in the spring.

Set in early-1990s Queens, the plot follows a string of stickups at mafia social clubs that draws attention from both organized crime and federal investigators. Production shot in New York City borough locations to match the period, incorporating news clippings, courtroom corridors, and neighborhood storefronts to track the couple’s trajectory.

‘After Everything’ (2018)

Co-written and co-directed by Hannah Marks and Joey Power, this New York–set romance stars Jeremy Allen White as Elliot opposite Maika Monroe. The story begins with an impulsive courtship that’s upended when Elliot receives a sudden medical diagnosis, forcing the couple to recalibrate daily routines and priorities. The film premiered at South by Southwest and later reached U.S. audiences via limited theatrical and digital release.

The production was captured on practical Manhattan and Brooklyn locations, with an emphasis on apartments, walk-ups, and small venues to reflect the couple’s early-twenties life. The soundtrack and needle drops track with the city setting, and the supporting cast includes notable indie-cinema regulars who orbit the central relationship.

‘Fremont’ (2023)

Directed by Babak Jalali, this black-and-white dramedy follows Donya, an Afghan refugee working at a San Francisco Bay Area fortune-cookie factory, portrayed by Anaita Wali Zada, with Jeremy Allen White appearing as Daniel. The film premiered at Sundance before additional festival play and a limited release. Its runtime is approximately 91 minutes.

Shot largely in the East Bay and San Francisco, the film uses a 1.33:1 aspect ratio and restrained camera setups to emphasize stillness and character observation. The script integrates Pashto and English dialogue, and the production highlights immigrant community spaces—apartment blocks, diners, and small workplaces—while tracing Donya’s attempts to rebuild a personal life after resettlement.

‘The Iron Claw’ (2023)

Sean Durkin wrote and directed this A24 biographical drama about the Von Erich wrestling family, with Zac Efron, Jeremy Allen White, and Harris Dickinson portraying brothers Kevin, Kerry, and David. The film covers the family’s ascent in professional wrestling, including World Class Championship Wrestling storylines and high-profile bouts, alongside off-ring events that shaped their public image. It was released wide in the United States in late December with a runtime of about 132 minutes.

Production filmed in and around Louisiana and utilized period-accurate arenas, weight rooms, and television-studio sets to reconstruct 1980s wrestling environments. The release schedule included a theatrical window followed by streaming availability, and the film’s crafts—makeup, hair, and wardrobe—recreated regional promotions and title belts associated with the era.

Share your own picks for overlooked Jeremy Allen White films in the comments!