Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#4056
of 909177 performers
Top 1%
Noah Centineo 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.
Noah Centineo appears in 15 films in the Nutevio catalogue, and none of them would work the same way without Noah. To All the Boys I've Loved Before is the clearest case: a film rated 7.6 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 action, drama, thriller. It is a style built on what is withheld as much as what is played.
Working with Kitao Sakurai, Ray Mendoza, Kristoffer Borgli and others, Noah Centineo 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.
To All the Boys I've Loved Before (2018) as Peter Kavinsky · To All the Boys: Always and Forever (2021) as Peter Kavinsky · Our Hero, Balthazar (2026) as Antony
Career snapshot
Ranked #4056 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
15
2017–2027
Career length
10 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.6
To All the Boys I've Loved Before
Average Nutevio score
5.4
Across catalogue work
Highest IMDb rating
7.6
To All the Boys I've Loved Before
Most frequent director
Michael Fimognari
2 films together
Longest collaboration
2×
With Michael Fimognari
Most common genre
Comedy
8 titles
Average runtime
1h 31m
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
6.1
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
6.2 average MV
The 2010s are where the work and the material meet. The Perfect Date, Charlie's Angels, To All the Boys I've Loved Before — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2010s
6.2
Across 5 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2010s
6.2
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. The Perfect Date, Charlie's Angels, To All the Boys I've Loved Before.
Most productive era
2020s
10 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 | 5.32 films | 3.74 films |
| Action | 6.41 film | 3.54 films |
| Thriller | — | 0.01 film |
| Comedy | 6.74 films | 7.14 films |
| Romance | 6.24 films | 7.22 films |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
2017SPF-18
Where our catalogue meets this career, as Johnny Sanders Jr..
Highest rated performance · Career peak
2018To All the Boys I've Loved Before
7.6 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
2027John Rambo
The current state of the argument, as John Rambo.
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.
15 of 15 films
as Peter Kavinsky
Directed by Michael Fimognari
as Atom Smasher / Al Rothstein
Directed by Jaume Collet-Serra
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
Peter Kavinsky
To All the Boys I've Loved Before (2018)
Performance score7.9
The performance the rest of the career is read through. Peter Kavinsky gives Noah Centineo a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Peter Kavinsky
To All the Boys: Always and Forever (2021)
Performance score7.8
To All the Boys: Always and Forever asks for something the previous films did not, and gets it. Peter Kavinsky is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Self
Black Adam: Saviour or Destroyer? (2022)
Performance score7.6
Black Adam: Saviour or Destroyer? asks for something the previous films did not, and gets it. Self is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Antony
Our Hero, Balthazar (2026)
Performance score7.2
Our Hero, Balthazar asks for something the previous films did not, and gets it. Antony 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 Peter Kavinsky
Start here. To All the Boys I've Loved Before is the clearest statement of what Noah Centineo does — accessible, 100 minutes, and rated 7.6 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Noah 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.
To All the Boys: Always and Forever (2021)
Keeps the romance register of To All the Boys I've Loved Before but asks for a colder reading of it.
Black Adam: Saviour or Destroyer? (2022)
A deliberate change of key after To All the Boys: Always and Forever — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Black Adam (2022)
A deliberate change of key after Black Adam: Saviour or Destroyer? — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Our Hero, Balthazar (2026)
A deliberate change of key after Black Adam — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Michael Fimognari
Director
2 films together
Notably To All the Boys: Always and Forever
Elizabeth Banks
Director
1 film together
Notably Charlie's Angels
Jaume Collet-Serra
Director
1 film together
Notably Black Adam
Kristoffer Borgli
Director
1 film together
Notably Dream Scenario
Ray Mendoza
Director
1 film together
Notably Warfare
Kitao Sakurai
Director
1 film together
Notably Street Fighter
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Michael Fimognari
Director
2 films together · 7.2 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
To All the Boys: Always and ForeverRay Mendoza
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
WarfareJaume Collet-Serra
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Black AdamKristoffer Borgli
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Dream ScenarioElizabeth Banks
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Charlie's AngelsKitao Sakurai
Director
1 film together · 0.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Street FighterSix 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
To All the Boys: Always and Forever
as Peter Kavinsky
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
To All the Boys: Always and Forever
as Peter Kavinsky
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
To All the Boys I've Loved Before
as Peter Kavinsky
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Our Hero, Balthazar
as Antony
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
To All the Boys I've Loved Before
as Peter Kavinsky
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. Noah Centineo 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.
Comedy Legend
Awarded
8 catalogue titles in comedy, 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
To All the Boys I've Loved Before
as Peter Kavinsky
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Warfare
as Brian
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
To All the Boys: Always and Forever
as Peter Kavinsky
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Dream Scenario
as Dylan
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Black Adam
as Atom Smasher / Al Rothstein
Images that would survive with the sound switched off.
Best action sequence
Black Adam
as Atom Smasher / Al Rothstein
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Sierra Burgess Is a Loser
as Jamey
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Dream Scenario
as Dylan
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
Community
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Reference
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