Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#3044
of 909177 performers
Top 1%
Nick Robinson 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.
Nick Robinson appears in 14 films in the Nutevio catalogue, and none of them would work the same way without Nick. Voicemails for Isabelle is the clearest case: a film rated 7.9 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 romance, drama, comedy. It is a style built on what is withheld as much as what is played.
Working with Leah McKendrick, Juan Carlos Fresnadillo, Tiller Russell and others, Nick Robinson 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.
Voicemails for Isabelle (2026) as Wes · Love, Simon (2018) as Simon · Snack Shack (2024) as Shane
Career snapshot
Ranked #3044 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
14
2012–2026
Career length
14 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.9
Voicemails for Isabelle
Average Nutevio score
6.1
Across catalogue work
Highest IMDb rating
8.4
Voicemails for Isabelle
Most frequent director
Jordan Vogt-Roberts
2 films together
Longest collaboration
2×
With Jordan Vogt-Roberts
Most common genre
Drama
7 titles
Average runtime
1h 46m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
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
6.2
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
2010s
6.4 average MV
The 2010s are where the work and the material meet. Strange but True, Native Son, Love, Simon — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2010s
6.4
Across 8 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2010s
6.4
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2010s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Strange but True, Native Son, Love, Simon.
Most productive era
2010s
8 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 | 2010s | 2020s |
|---|---|---|
| Drama | 6.54 films | 5.03 films |
| Action | 6.32 films | 6.42 films |
| Thriller | 6.32 films | 6.21 film |
| Comedy | 6.93 films | 7.62 films |
| Crime | — | 6.21 film |
| Romance | 7.91 film | 4.02 films |
| Horror | — | 5.81 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
2012Frenemies
Where our catalogue meets this career, as Jake Logan.
Highest rated performance · Career peak
2018Love, Simon
7.9 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
The current state of the argument, as Wes.
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.
14 of 14 films
as Simon
Directed by Greg Berlanti
as Wes
Directed by Leah McKendrick
as Prince Henry
Directed by Juan Carlos Fresnadillo
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Simon
Love, Simon (2018)
Performance score8.4
The performance the rest of the career is read through. Simon gives Nick Robinson a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Wes
Voicemails for Isabelle (2026)
Performance score8.2
Voicemails for Isabelle asks for something the previous films did not, and gets it. Wes is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Joe Toy
The Kings of Summer (2013)
Performance score7.6
The Kings of Summer asks for something the previous films did not, and gets it. Joe Toy is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Prince Henry
Damsel (2024)
Performance score7.4
Damsel asks for something the previous films did not, and gets it. Prince Henry 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 Simon
Start here. Love, Simon is the clearest statement of what Nick Robinson does — accessible, 110 minutes, and rated 7.9 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Nick 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.
The Kings of Summer (2013)
Keeps the comedy register of Love, Simon but asks for a colder reading of it.
Damsel (2024)
A deliberate change of key after The Kings of Summer — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Snack Shack (2024)
A deliberate change of key after Damsel — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Voicemails for Isabelle (2026)
Keeps the comedy register of Snack Shack but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Jordan Vogt-Roberts
Director
2 films together
Notably The Kings of Summer
Daisy von Scherler Mayer
Director
1 film together
Notably Frenemies
Colin Trevorrow
Director
1 film together
Notably Jurassic World
J Blakeson
Director
1 film together
Notably The 5th Wave
Greg Berlanti
Director
1 film together
Notably Love, Simon
Rowan Athale
Director
1 film together
Notably Strange but True
Roseanne Liang
Director
1 film together
Notably Shadow in the Cloud
Tiller Russell
Director
1 film together
Notably Silk Road
Juan Carlos Fresnadillo
Director
1 film together
Notably Damsel
Leah McKendrick
Director
1 film together
Notably Voicemails for Isabelle
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Jordan Vogt-Roberts
Director
2 films together · 6.8 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
The Kings of SummerLeah McKendrick
Director
1 film together · 7.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Voicemails for IsabelleGreg Berlanti
Director
1 film together · 7.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Love, SimonJuan Carlos Fresnadillo
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
DamselColin Trevorrow
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Jurassic WorldTiller Russell
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Silk RoadRowan Athale
Director
1 film together · 6.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Strange but TrueJ Blakeson
Director
1 film together · 5.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The 5th WaveRoseanne Liang
Director
1 film together · 5.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Shadow in the CloudDaisy von Scherler Mayer
Director
1 film together · 5.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
FrenemiesSix 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
Voicemails for Isabelle
as Wes
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Love, Simon
as Simon
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Love, Simon
as Simon
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Kong: Skull Island
as Bar Guest (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Love, Simon
as Simon
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. Nick Robinson 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
7 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
Love, Simon
as Simon
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Love, Simon
as Simon
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Love, Simon
as Simon
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Silk Road
as Ross Ulbricht
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Damsel
as Prince Henry
Images that would survive with the sound switched off.
Best action sequence
Damsel
as Prince Henry
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Love, Simon
as Simon
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Native Son
as Jan Erlone
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
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Reference
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