No one in the Hollywood biosphere is quite like Melissa McCarthy. In an industry that’s still dominated by male-driven movies, she’s nearly alone among female stars when it comes to her ability to open big, mainstream comedies that aren’t solely rom-coms. And not only is McCarthy a star, she’s a writer and producer of a lot of her own vehicles, collaborating with husband Ben Falcone on a series of unapologetically broad comedies that, for the most part, have clicked with audiences.
An alumnus of the Groundlings, the actress cut her teeth doing sketch work and developing funny characters before being cast as Sookie on Gilmore Girls. After years of bit parts in movies, she landed her own series, Mike & Molly, which won her an Emmy. But it wasn’t until 2011’s Bridesmaids that she broke through on the big screen: As Megan Price, the crass weirdo who ends up being the voice of reason, McCarthy earned an Oscar nomination and stole the movie from her more famous co-stars.
Ranking her performances proves to be a bit bittersweet. Quite simply, there are more valleys than peaks — too often, we root for her more than the movie she’s in. (That’s certainly the case with her latest, The Happytime Murders.) We decided to forgo most of her blink-and-you’ll-miss-her walk-ons to focus on the more major work. May there be more major work to come in the near future.
14. The Hangover Part III (2013)
Yeah, you forgot she was in this, didn’t you? Or, more likely, you didn’t see it: After the obviously half-assed The Hangover Part II, many didn’t even bother with this one. (Part III made less than half of what Part II did.) McCarthy was a last-minute addition to the cast after Bridesmaids blew up, playing a pawnshop owner meant as a romantic interest for Zach Galifianakis’s Alan. She looks more excited to be there than Galifianakis, but just barely. It’s okay if you forget you ever read this paragraph.
13. The Boss (2016)
One of the three McCarthy films directed by her husband Ben Falcone, this is the worst of a sorry lot; it’s strange, actually, how the movies she makes with Falcone, which you’d think would be familial labors of love, are actually among the most cynical, infantile of all her films. This one is the most desperate of all of them, with McCarthy as a billionaire entrepreneur who loses everything and must rebuild her empire with the help of Kristen Bell and some Girl Scouts. Any positive lesson here is lost in all the hackneyed jokes, and by the end the movie falls apart entirely. None of the Falcone movies are very good, but this is the most senseless.
12. Identity Thief (2013)
McCarthy’s first starring vehicle after Bridesmaids rode the wave of that breakthrough smash, except with none of the charm. She plays Diane, a woman who lives off other people’s identities — and their credit cards. One day, a milquetoast accountant (Jason Bateman) discovers that Diane has hacked his information, which leads to a crazy cross-country trip in which the two characters are reluctantly stuck together. McCarthy is more annoying than delightful as this intentionally unlovable character, and she pushes too hard for her laughs, taking risks that the underwritten role can’t support.
11. Pretty Ugly People (2010)
The debut film of director Tate Taylor is a grim little doodle about an overweight woman (Missi Pyle) who calls up a bunch of old friends who haven’t seen her in years (including McCarthy and Octavia Spencer) and invites them to a wilderness retreat to reveal … she’s skinny now! She’s still a jerk, though, and so is everyone else in the film, something Taylor wants us to find funny but is wholly insufferable. McCarthy is actually one of the two subdued, subtle performances in the film — Spencer gives the other — but everyone else is too loathsome to spend any time with. It’s hard to believe Taylor would make The Help three years later.
10. Tammy (2014)
The first of the Falcone films, Tammy is among the least funny — Falcone seems to strand his wife with nothing to do but ad-lib as fast as she can, trying to find something, anything that will work. After a thudding first half involving McCarthy’s criminal Tammy and her grandmother (Susan Sarandon), it at least ends up hanging out with Kathy Bates and Sandra Oh as a warm married couple. McCarthy doesn’t really have a character to play, but nobody does here.
9. Life of the Party (2018)
The best of the Falcone movies, though that’s not saying much. A strained premise — a dowdy mom (McCarthy) is dumped by her husband, so she goes back to college with her daughter — is at least made with good cheer, and it is helped tremendously by Maya Rudolph in a supporting role as McCarthy’s best friend. It’s still pedestrian and uninspired, and the timing is oddly tin-eared. Still, McCarthy seems to be enjoying herself.
8. The Happytime Murders (2018)
Because of her boisterous spirit, big heart, and animated expressions, McCarthy has always felt a little like a human Muppet. So casting her in The Happytime Murders is brilliant: This R-rated, super-inappropriate mystery-thriller-comedy sees her playing Connie Edwards, a tough-as-nails Los Angeles detective who reunites with her old partner, a former cop turned private-eye puppet (voiced by Bill Barretta), to hunt down a serial killer who’s knocking off actors from an old children’s show. Addicted to drugs and swearing like a sailor, McCarthy’s character really gets into the film’s deadpan send-up of cop dramas, nicely embodying Happytime Murders’ air of snotty irreverence. But the film’s “Hey, look! These puppets curse and have lots of sex!” shtick gets old fast. One suspects that if this had been a sketch on Saturday Night Live, where McCarthy shines, it could have been a lot funnier — and certainly a lot shorter.
7. St. Vincent (2014)
A change-of-pace role for McCarthy after her brash blockbusters, St. Vincent sees her playing Maggie, a divorced, harried single mom whose impressionable son (Jaeden Lieberher) meets Vincent, a crotchety old so-and-so played by Bill Murray. This feel-good drama, directed by Hidden Figures filmmaker Theodore Melfi, never really surprises you — Vincent seems like a jerk but, turns out, he’s got a heart of gold — and McCarthy seems happy to just be in the background, allowing Murray and Lieberher to carry the film. After a series of high-wattage star vehicles, St. Vincent was an opportunity to downshift to portray a more muted character. It’s too bad the character is so clichéd, although McCarthy’s loveliness goes a long way.
6. This Is 40 (2012)
If you don’t particularly like the central couple of Judd Apatow’s maybe-too-personal pseudo-comedy — and we’ll confess, they’re not our cup of tea — you’ll enjoy watching McCarthy’s walk-on role here. As a mother of a high-school student who has had a disagreement with that couple, she shows up, rips them to shreds, and then leaves the movie. Bonus points for a rare funny credit bloopers scene too:
We could have watched her go all day there.
5. The Heat (2013)
Reteaming with Bridesmaids director Paul Feig, McCarthy plays an exaggerated version of her Oscar-nominated character in this takedown of cop dramas. Shannon is a good detective, but she’s also an insult-a-minute jerk who loves antagonizing her stuck-up partner Sarah (Sandra Bullock). The Heat squeezes as many jokes out of that setup as it can, and it turns out to be not enough. And part of the problem is McCarthy, whose vulgar, uncouth character doesn’t have that many dimensions. But because The Heat was a hit, it only encouraged her to keep pulling this shtick.
4. Ghostbusters (2016)
Amid the online freak-outs and man-child tantrums about ruined childhoods that accompanied the release of this beleaguered film, you’d be forgiven for forgetting that the 2016 Ghostbusters remake was, in fact, an actual movie and not just a social-media controversy. Imperfect and hampered by its need to be everything to everyone — loyal to franchise fans, slavishly faithful to blockbuster conventions — the film features McCarthy in a performance that actually lets her be the straight woman to her more outrageous supporting players. (In some ways, Kate McKinnon really gets the more traditional McCarthy role.) Much like in Spy, McCarthy plays the ordinary, awkward gal, and her character’s attempt to repair her relationship with her former best friend (Kristen Wiig) is Ghostbusters’ emotional through line. McCarthy gives the film heart amidst the laughs: Neither a disaster nor a triumph, this Ghostbusters ultimately feels like a fun idea that didn’t get the right execution.
3. The Nines (2007)
Talk to longtime McCarthy fans, and they’ll inevitably hit you with the same question: “Seriously, have you seen The Nines?” The feature directorial debut of prolific screenwriter John August has an experimental edge — three separate stories, each starring Ryan Reynolds, about men awash in existential crises. And in each, McCarthy pops up. In one, she’s the hotshot PR agent to Reynolds’s actor character. In another, she’s his wife. The Nine wrestles with art, commerce, life, the existence of God, and other big questions, and if it doesn’t always work, it nonetheless proved to be fantastic platform for both Reynolds and McCarthy, allowing them space to give multiple nuanced performances. McCarthy in particular gets to run the full gamut of emotions: On the big screen, this is easily her most moving and complicated turn. Her career would send her off in other, far more commercial directions. But The Nines is a reminder of what she could also do.
2. Bridesmaids (2011)
The movie that made McCarthy a star — and, don’t forget, got her an Oscar nomination — remains one of the biggest comedy hits of all time, and McCarthy might just have been the primary reason why. She is a force of nature here, a juggernaut who bowls over everything in her path: terrifying, hilarious, and absolutely irresistible. She is also the film’s moral center, the guiding force, the one letting all the other women know that they don’t have to back down or apologize for anything. She has shown more range in other roles, but she’s never been as relentless and overwhelmingly uproarious as she was here.
1. Spy (2015)
Spy is the perfect Melissa McCarthy film, in part because it doesn’t really feel like a Melissa McCarthy film. Writer-director Paul Feig wrote the role of Susan, a deskbound CIA agent who goes into the field for the first time, without McCarthy in mind, figuring she was too busy with other projects. Maybe that’s why Spy doesn’t rely so much on the broad slapstick and crass characterizations that were becoming McCarthy’s M.O. Instead, Susan is a very relatable, sympathetic figure: someone who’s long been underestimated and finally gets a chance to blossom. None of this makes her any less funny, of course. Throughout Spy, Feig and McCarthy find plenty of opportunities to make jokes out of Susan’s difficulty dealing with the continental, high-stakes world of spycraft, and the actress’s sweetness has rarely been better utilized. Susan cracks jokes and kicks some ass while finding herself in the process. Spy isn’t just a victory for Susan, but for McCarthy as well.