Kathryn Newton
Kathryn Newton is an actor, born 1997.
Newton started as a working child actor on network television and spent her teens playing other people's daughters. She was Louise on Gary Unmarried at eleven, Alex in Paranormal Activity 4 at fifteen, Claire Novak on Supernatural, Joanie on Halt and Catch Fire, and Abigail on Big Little Lies, which amounts to a great many scenes of being difficult in an expensive kitchen. In Three Billboards Outside Ebbing, Missouri she gets a single flashback as the daughter whose murder the film is about, and she makes it count.
The pivot came through horror comedy, where her particular quality finally became useful. She looks like the wholesome one, which means a film can get an enormous amount out of putting something else behind her eyes. Freaky is the clearest case: the premise is a body swap, so Newton has to play a middle-aged slasher wearing a high schooler, and she does it with a slow heavy walk and no winking at the camera at all. Lisa Frankenstein leans on the same contrast, and Abigail lets her play someone with no wholesomeness left to trade on.
She has the Marvel job now, carrying Cassie Lang from Quantumania into Avengers: Doomsday, and so far it has given her considerably less to do than a ninety-minute horror film did.
Movies (20)
- The Devil's Mouth (2026)
- Ready or Not: Here I Come (2026)
- Lady Bird (2017)
- Avengers: Doomsday (2026)
- Ant-Man and the Wasp: Quantumania (2023)
- Abigail (2024)
- Pokémon Detective Pikachu (2019)
- Three Billboards Outside Ebbing, Missouri (2017)
- Bad Teacher (2011)
- Lisa Frankenstein (2024)
- Freaky (2020)
- Paranormal Activity 4 (2012)
- Blockers (2018)
- The Map of Tiny Perfect Things (2021)
- Ben Is Back (2018)
- Marvel Studios Assembled: The Making of Ant-Man and the Wasp: Quantumania (2023)
- Winner (2024)
- Unknown Dimension: The Story of Paranormal Activity (2021)
- DreamQuil (2026)
- Griffin in Summer (2025)
TV (7)
Where to start with Kathryn Newton
The film that understands what she is for is Freaky, and her performance is why it works: she takes the physical comedy seriously, plays the menace completely straight, and never nudges the audience.
Lisa Frankenstein is the follow-up for the same appetite, sillier and more stylised, with a period-perfect nastiness under the pastel. If you want the dramatic side, Big Little Lies gives her the longest run and Lady Bird gives her a couple of scenes as the popular friend, played with more sympathy than the script strictly requires. Three Billboards Outside Ebbing, Missouri is one scene and worth it. Blockers is the mainstream teen comedy she is best in, and Abigail is the recent one, a nasty little horror picture where she finally gets to be unlikeable.