Toni Collette, the Australian Oscar-nominated and Emmy-winning talent has been showcasing her range in film and television for over 25 years.
In honor of her milestone birthday, Variety is ranking her 12 best film performances in movies so far.
Over the years, Collette has played many fascinating interpretations of mothers, taking on each new role with a visceral commitment. She seems to have the power to dial into a character’s psyche like no other, whether she’s playing a grieving mother in the horror flick “Hereditary” (2018) or a money-hungry widow in the whodunit “Knives Out” (2018).
Collette turned a few heads at the start of her career by portraying a socially awkward woman dreaming of getting married in the indie dramedy “Muriel’s Wedding” (1995) from writer and director P.J. Hogan. She was nominated for a Golden Globe for lead actress in a comedy or musical for her work. Her rise continued with smaller but memorable parts in films such as “Emma” (1996) and “Velvet Goldmine” (1998). Her biggest platform on the awards circuit would come as Lynn, a mother of a boy who sees dead people in M. Night Shyamalan’s classic thriller “The Sixth Sense” (1999). After missing out on all of the critical precursors, Collette’s name would be called by then AMPAS president Bob Rehme and Dustin Hoffman over presumed “lock” Cameron Diaz (“Being John Malkovich”). Her nom remains one of the most pleasant and welcomed surprises at an Academy Awards nomination announcement in recent memory.
Collette’s career has included other accolades. She’s picked up two BAFTA nominations for supporting actress for Chris Weitz and Paul Weitz’s light-hearted “About a Boy” (2002) and Jonathan Dayton and Valerie Faris’ road-trip comedy “Little Miss Sunshine” (2006). The latter film also won her an ensemble award, along with the rest cast at the Screen Actors Guild Awards in the same year.
In the past few years, she’s made her mark in small but impactful roles such as Charlie Kaufman’s mind-bender “I’m Thinking of Ending Things” (2020) and Guillermo del Toro’s take on the dark world of carnival flick “Nightmare Alley” (2021), which was nominated for best picture.
On television, she won an Emmy in 2009 for her portrayal of Tara Gregson, a mother struggling with dissociative identity disorder in Showtime’s “United States of Tara.” Along with one other nom for that character, she’s also received two other nods for the TV movie “Tsunami: The Aftermath” and the limited series “Unbelievable,” both in the supporting actress limited series category.
On Broadway, she took on the role of “Queenie” in Michael John LaChiusa’s “The Wild Party,” for which she earned a Tony nomination for leading actress in a musical.
Next on the docket for Collette is the comedy “The Estate” from writer and director Dean Craig which features a robust ensemble that includes Anna Faris, David Duchovny, Rosemarie DeWitt, Ron Livingston and Kathleen Turner. She also has a role in “Thirteen” (2003) director Catherine Hardwicke’s next film “Mafia Mamma” opposite Monica Bellucci and is currently filming “Parasite” (2019) director Bong Joon-ho’s mystery film “Mickey7” with Robert Pattinson, Mark Ruffalo and Steven Yeun.
Honorable mentions include: “Miss You Already” (2015), “Connie and Carla” (2004), “Hearts Beat Loud” (2018).
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"The Way Way Back" (2013)
Image Credit: Courtesy of Searchlight/Everett Collection Role: Pam
Distributed by: Fox Searchlight Pictures (now Searchlight Pictures)
Directed by: Nat Faxon, Jim Rash
Written by: Nat Faxon, Jim RashThe scene that proves it: “It’s Candyland Trent.”
It’s brief, but it stands out, which is typical of a Collette role. She teams back up with her “Little Miss Sunshine” co-star Steve Carell, who plays the slimy and rich boyfriend to her Pam, a mother to the introverted Duncan (played fearlessly by Liam James) who is aching for stability no matter the cost. The charming yet surprisingly heavy-handed comedy presents an engaging coming-of-age story that Collette gets to play with her eyes closed. Still, the moment of going to the backseat with her son stands out in a jam-packed 2013 film year.
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"Madame" (2017)
Image Credit: Courtesy of Blue Fox Media/Everett Collection Role: Anne Fredericks
Distributed by: Blue Fox Entertainment
Directed by: Amanda Sthers
Written by: Amanda SthersThe scene that proves it: “This is not funny, Bob, shut up.”
Chances are, many haven’t heard nor seen Collette’s bulimic and rudely-entitled socialite from “Madame.” But Collette’s work opposite the always incredible Rossy de Palma and Harvey Keitel is deliciously inventive, even if the film is sometimes not. With some of the script’s jokes not always landing, she manages to elevate the material, making it a watchable flick worthy of an entry on the list.
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I'm Thinking of Ending Things (2020)
Image Credit: ©Netflix/Courtesy Everett Collection Role: Mother
Distributed by: Netflix
Directed by: Charlie Kaufman
Written by: Charlie Kaufman (based on “I’m Thinking of Ending Things” by Ian Reid)The scene that proves it: Sitting at the dinner table.
In a film where the focus is on the world of confusion, told through the eyes of its lead performers Jesse Plemons and Jessie Buckley, Collette’s role as the “mother” is an integral part of the twisted tale. A dinner table has not been this uncomfortable since Leonardo DiCaprio cut his hand during “Django Unchained.” I’ll take the David Thewlis and Collette prequel movie whenever you’re ready Kaufman.
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"Knives Out" (2019)
Image Credit: Courtesy of Lionsgate/Everett Collection Role: Joni Thrombey
Distributed by: Lionsgate
Directed by: Rian Johnson
Written by: Rian JohnsonThe scene that proves it: “Oh! They’re my family.”
In yet another example of Collette standing out in a large cast ensemble, her backseat elevates those around her, including Lakeith Stanfield’s inquiring cop in her interrogation scene or trying to get Jamie Lee Curtis to dance with her, which stands as the most memorable bad-dance moment since Elizabeth Berkeley took up a quarter of the club dance floor in “Showgirls.”
Watching some of her scenes back, her vocal inflections — like when she talks about her husband dying about 15 years ago — leads us to a question: Did she ax him before establishing her skincare company “Flam?” Hopefully, one of the upcoming sequels gives her a top storyline to explore.
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"About a Boy" (2002)
Image Credit: Courtesy of Universal/Everett Collection Role: Fiona Brewer
Distributed by: Universal Pictures
Directed by: Chris Weitz, Paul Weitz
Written by: Peter Hedges, Chris Weitz, Paul WeitzThe scene that proves it: “I don’t have plans to commit suicide.”
Hugh Grant anchors so much of the Weitz Brothers’ funny and witty film, which earned them an Oscar nomination for adapted screenplay along with co-scribe Peter Hedges. But Collette’s concerned and disconnected mother manages to steal focus from the star, sporting a convincing British accent. Her 2002 film year was stacked with this film, the little-known “Dirty Deeds” and her one-scene wonder in Stephen Daldry’s “The Hours.” She may have come close to recognition in the packed supporting actress lineup, but considering AMPAS voters’ affliction for comedies (and possible vote-splitting), she remained on the outside looking in.
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Nightmare Alley (2021)
Image Credit: Courtesy of SEARCHLIGHT PICTURES Role: Zeena the Seer
Distributed by: Fox Searchlight Pictures (now Searchlight Pictures)
Directed by: Guillermo del Toro
Written by: Guillermo del Toro, Kim Morgan (based on “Nightmare Alley” by William Lindsay Gresham)The scene that proves it: “You’re trouble, ain’t ya?”
Small but impactful part of Guillermo del Toro’s dark take on the carnival world, Collette shines, conveying the allure and magnetism the world has for Stan (played by actor and producer Bradley Cooper). In anyone else’s hands, it’s a throwaway role but she makes it much more than that.
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"The Hours" (2002)
Image Credit: Courtesy of Paramount/Everett Collection Role: Kitty
Distributed by: Paramount Pictures
Directed by: Stephen Daldry
Written by: David HareThe scene that proves it: “Didn’t mind what?”
A film filled to the brim with some of the finest actors of our generation – Nicole Kidman, Julianne Moore, Meryl Streep, Ed Harris, Stephen Dillane, Miranda Richardson, John C. Reilly, Allison Janney, Claire Danes, Jeff Goldblum, Eileen Atkins – and yet, Collette manages to cut out a critical, indelible moment as Kitty, a woman who breaks down momentarily due to the expectations of 1951 womanhood in Stephen Daldry’s psychological drama.
She runs the gamut of emotions like an Olympic gymnast, performing the acting equivalent of a gravity-defying three twist backflip before walking off like a consummate pro. And yet, she wasn’t able to cut through the large cast ensemble.
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"Little Miss Sunshine" (2006)
Image Credit: Courtesy of Searchlight/Everett Collection Role: Sheryl Hoover
Distributed by: Fox Searchlight Pictures (now Searchlight Pictures)
Directed by: Jonathan Dayton, Valerie Faris
Written by: Michael ArndtThe scene that proves it: “We can’t just take it away from her.”
A Volkswagen Microbus holds the Hoover family, full of hilarious and poignant characters, including Sheryl, the underappreciated mom and pillar that gives the necessary agency and narrative thread for all of the others to shine. In her dismissed conversations with her husband Richard (significantly played by Greg Kinnear), she offers the most access for traditional viewers. Still, like always, Collette goes above and beyond what her characters call for in a scene.
She offers articulate facial mannerisms when her father-in-law (played by Alan Arkin in his Oscar-winning performance) talks about drugs and gives advice about women. Next, she adds emotion to some bad news in the hospital before her son Dwayne (played by Paul Dano, who is only 11 years younger than her) writes, “Go hug mom.” She also establishes the audience’s love and worry for her brother Frank (played by the Oscar-snubbed Steve Carell), and demands that the world lets Olive be who she is (played by the Oscar-nominated Abigail Breslin).
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"Muriel's Wedding" (1994)
Image Credit: Courtesy of Miramax/Everett Collection Role: Muriel Heslop
Distributed by: Roadshow Entertainment
Directed by: P.J. Hogan
Written by: P.J. HoganThe scene that proves it: “I don’t love you.”
More of a discovery nowadays, “Muriel’s Wedding” didn’t light up the box office, but Collette’s engaging and high-energy comedy sure made an impression on those who saw it. The humor may be cemented in its time and geographical location, but her kooky and whimsical beats, against a killer soundtrack backdrop, stand as a sound footing for what would become a dynamic career.
The film earned her a nomination at the Golden Globes, along with the film being recognized by the BAFTA and Writers Guild of America for original screenplay. The film won big for Collette at the Australian Academy, and also supporting actress (Rachel Griffiths), along with sound and best film.
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"In Her Shoes" (2005)
Image Credit: Courtesy of 20th Century Fox/Everett Collection Role: Rose Feller
Distributed by: 20th Century Fox (now 20th Century Studios)
Directed by: Curtis Hanson
Written by: Susannah GrantThe scene that proves it: “You were in your room with the record playing.”
Curtis Hanson’s rumination on sisterhood is beautifully timely and pure. With a screenplay by Susannah Grant, who adapts the novel of the same name by Jennifer Weiner, the film explores the feuding relationship between Rose and her dyslexic party-girl sister Maggie as they walk through the pitfalls of adulthood, experiencing insecurity, grief and redemption. With added color and spunk from Oscar winner Shirley MacLaine, Collette’s work as Rose builds throughout, culminating in a wedding scene that activates the tear ducts.
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"The Sixth Sense" (1999)
Image Credit: Courtesy of Buena Vista Pictures/Everett Collection Role: Lynn Sear
Distributed by: Buena Vista Pictures Distribution
Directed by: M. Night Shyamalan
Written by: M. Night ShyamalanThe scene that proves it: “Do I make her proud.”
“I see dead people” may be the line that has lived within the means of cinema, but when I look back at M. Night Shyamalan’s horror classic, Collette’s scenes are some of the first to come to mind. Besides being one of the rare best picture nominees that Oscar recognized, whether it’s Collette telling her son Cole (played by Oscar-nominee Haley Joel Osment) to look at her face or her holding him with such desperation begging him to tell her what’s wrong, she stands as one of the pure supporting performances that I wish the Academy recognized more often.
And to think she made it with no other precursor nominations, and at the expense of Cameron Diaz, whom she would star alongside a few years later in Curtis Hanson’s “In Her Shoes,” with both delivering great turns. So no hard feelings.
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"Hereditary" (2018)
Image Credit: Courtesy of A24/Everett Collection Role: Annie Graham
Distributed by: A24
Directed by: Ari Aster
Written by: Ari AsterThe scene that proves it: “Don’t you swear at me, you little shit….”
The disastrous fact that Collette’s gift to cinema failed to not only land in the best actress category but was not in contention to win at all is a smear that Academy voters will not be able to erase. You can choose any scene to see the proof of it, whether at a dinner table demanding some “god damn respect” or in a not-so-casual reveal that she tried to abort her now-teenage son (played by an immaculate Alex Wolff, who was also awards-worthy). The audience is mesmerized by every singular choice she makes.
History reveres Michelangelo painting the Sistine Chapel or the mysterious eyes captured by Leonardo da Vinci in Mona Lisa. But sadly, when some of us talk about Collette’s brilliance, often all we get back — to quote Annie — “is that fucking face on your face.”