Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#7966
of 909177 performers
Top 1%
Matt Ross works on versatility rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Matt Ross appears in 9 films in the Nutevio catalogue, and none of them would work the same way without Matt. Twelve Monkeys is the clearest case: a film rated 7.7 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, transformation, quiet performance. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for drama, history, romance. It is a style built on what is withheld as much as what is played.
Working with George Clooney, Martin Scorsese, Peyton Reed and others, Matt Ross helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Twelve Monkeys (1995) as Bee · American Psycho (2000) as Luis Carruthers · The Aviator (2004) as Glenn Odekirk
Career snapshot
Ranked #7966 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
9
1995–2005
Career length
10 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.7
Twelve Monkeys
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.6
Twelve Monkeys
Most frequent director
George Clooney
1 film together
Longest collaboration
1×
With George Clooney
Most common genre
Drama
5 titles
Average runtime
1h 58m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.9
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.3
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1990s
6.8 average MV
The 1990s are where the work and the material meet. Pushing Tin, The Last Days of Disco, Face/Off — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1990s
6.8
Across 4 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1990s
6.7
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1990s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Pushing Tin, The Last Days of Disco, Face/Off.
Most productive era
2000s
5 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1990s | 2000s |
|---|---|---|
| Drama | 6.12 films | 7.33 films |
| Action | 7.21 film | — |
| Thriller | 7.71 film | 7.61 film |
| Comedy | 6.12 films | 5.42 films |
| Crime | 7.21 film | 7.61 film |
| Romance | 6.31 film | 6.11 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio · Highest rated performance · Career peak
1995Twelve Monkeys
Where our catalogue meets this career, as Bee. 7.7 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Most recent film
2005Good Night, and Good Luck.
The current state of the argument, as Eddie Scott.
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
9 of 9 films
as Bee
Directed by Terry Gilliam
as Luis Carruthers
Directed by Mary Harron
as Glenn Odekirk
Directed by Martin Scorsese
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
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The defining work
#1
Bee
Twelve Monkeys (1995)
Performance score7.5
The performance the rest of the career is read through. Bee gives Matt Ross a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Luis Carruthers
American Psycho (2000)
Performance score7.4
American Psycho asks for something the previous films did not, and gets it. Luis Carruthers is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Glenn Odekirk
The Aviator (2004)
Performance score7.1
The Aviator asks for something the previous films did not, and gets it. Glenn Odekirk is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Loomis
Face/Off (1997)
Performance score7.1
Face/Off asks for something the previous films did not, and gets it. Loomis is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Bee
Start here. Twelve Monkeys is the clearest statement of what Matt Ross does — accessible, 129 minutes, and rated 7.7 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Matt at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Face/Off (1997)
Keeps the science fiction register of Twelve Monkeys but asks for a colder reading of it.
American Psycho (2000)
Keeps the crime register of Face/Off but asks for a colder reading of it.
The Aviator (2004)
Keeps the drama register of American Psycho but asks for a colder reading of it.
Good Night, and Good Luck. (2005)
Keeps the drama register of The Aviator but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Terry Gilliam
Director
1 film together
Notably Twelve Monkeys
John Woo
Director
1 film together
Notably Face/Off
Whit Stillman
Director
1 film together
Notably The Last Days of Disco
Mike Newell
Director
1 film together
Notably Pushing Tin
Mary Harron
Director
1 film together
Notably American Psycho
Jean-Marie Poiré
Director
1 film together
Notably Just Visiting
Peyton Reed
Director
1 film together
Notably Down with Love
Martin Scorsese
Director
1 film together
Notably The Aviator
George Clooney
Director
1 film together
Notably Good Night, and Good Luck.
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Terry Gilliam
Director
1 film together · 7.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Twelve MonkeysMary Harron
Director
1 film together · 7.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
American PsychoMartin Scorsese
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The AviatorJohn Woo
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Face/OffGeorge Clooney
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Good Night, and Good Luck.Whit Stillman
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Last Days of DiscoPeyton Reed
Director
1 film together · 6.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Down with LoveMike Newell
Director
1 film together · 5.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Pushing TinJean-Marie Poiré
Director
1 film together · 4.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Just VisitingSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Twelve Monkeys
as Bee
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Good Night, and Good Luck.
as Eddie Scott
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Twelve Monkeys
as Bee
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Face/Off
as Loomis
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Twelve Monkeys
as Bee
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Matt Ross has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Modern Classic Performer
Awarded
Defining performances delivered inside the last twenty-five years, in films already being taught rather than merely remembered.
Drama Legend
Awarded
5 catalogue titles in drama, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Twelve Monkeys
as Bee
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Twelve Monkeys
as Bee
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Good Night, and Good Luck.
as Eddie Scott
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Twelve Monkeys
as Bee
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Face/Off
as Loomis
Images that would survive with the sound switched off.
Best action sequence
Face/Off
as Loomis
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
The Last Days of Disco
as Dan
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
American Psycho
as Luis Carruthers
The public vote sits below ours on this one, and the direction is the reason for the gap.
If you like this performer
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Built a career in the same territory: drama and thriller
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Built a career in the same territory: drama and history
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Have your say
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Reference
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