Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#104153
of 909177 performers
Top 25%
Oscar Best works on quiet performance 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.
Oscar Best appears in 5 films in the Nutevio catalogue, and none of them would work the same way without Oscar. When We Kill the Creators is the clearest case: a film rated 10.0 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, drama, transformation. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for adventure, drama, music. It is a style built on what is withheld as much as what is played.
Working with Simon Cellan Jones, Cynthia Mort, David Robert Mitchell and others, Oscar Best 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.
When We Kill the Creators (2022) as Oscar · Arthur the King (2024) as Hugo · Under the Silver Lake (2018) as Tow Man
Career snapshot
Ranked #104153 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
5
2017–2024
Career length
7 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
10.0
When We Kill the Creators
Average Nutevio score
6.9
Across catalogue work
Highest IMDb rating
10.0
When We Kill the Creators
Most frequent director
Simon Cellan Jones
1 film together
Longest collaboration
1×
With Simon Cellan Jones
Most common genre
Drama
5 titles
Average runtime
1h 51m
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
6.5
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
2020s
8.8 average MV
The 2020s are where the work and the material meet. Arthur the King, When We Kill the Creators — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2020s
8.8
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2020s
8.8
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. Selling Isobel, Under the Silver Lake, The Last Face.
Most productive era
2010s
3 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 | 5.63 films | 8.82 films |
| Thriller | 5.01 film | — |
| Crime | 6.31 film | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
2017The Last Face
Where our catalogue meets this career, as Dr. Brown.
First Nutevio masterpiece · Highest rated performance · Career peak
The first film here to clear 9.0 on our scale — a threshold fewer than one film in ten reaches. 10.0 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
2024Arthur the King
The current state of the argument, as Hugo.
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.
5 of 5 films
as Oscar
Directed by Cynthia Mort
as Hugo
Directed by Simon Cellan Jones
as Scary Nigerian Client
Directed by Unknown
as Tow Man
Directed by David Robert Mitchell
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
Oscar
When We Kill the Creators (2022)
Performance score9.5
The performance the rest of the career is read through. Oscar gives Oscar Best a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Hugo
Arthur the King (2024)
Performance score7.3
Arthur the King asks for something the previous films did not, and gets it. Hugo is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Scary Nigerian Client
Selling Isobel (2019)
Performance score6.5
Selling Isobel asks for something the previous films did not, and gets it. Scary Nigerian Client is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Tow Man
Under the Silver Lake (2018)
Performance score6.5
Under the Silver Lake asks for something the previous films did not, and gets it. Tow Man 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 Oscar
Start here. When We Kill the Creators is the clearest statement of what Oscar Best does — accessible, 80 minutes, and rated 10.0 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Oscar 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 Last Face (2017)
Keeps the drama register of When We Kill the Creators but asks for a colder reading of it.
Under the Silver Lake (2018)
Keeps the drama register of The Last Face but asks for a colder reading of it.
Selling Isobel (2019)
Keeps the drama register of Under the Silver Lake but asks for a colder reading of it.
Arthur the King (2024)
Keeps the drama register of Selling Isobel but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Sean Penn
Director
1 film together
Notably The Last Face
David Robert Mitchell
Director
1 film together
Notably Under the Silver Lake
Cynthia Mort
Director
1 film together
Notably When We Kill the Creators
Simon Cellan Jones
Director
1 film together
Notably Arthur the King
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Cynthia Mort
Director
1 film together · 10.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
When We Kill the CreatorsSimon Cellan Jones
Director
1 film together · 7.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Arthur the KingDavid Robert Mitchell
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Under the Silver LakeSean Penn
Director
1 film together · 5.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Last FaceSix 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
When We Kill the Creators
as Oscar
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
When We Kill the Creators
as Oscar
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
When We Kill the Creators
as Oscar
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Under the Silver Lake
as Tow Man
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
When We Kill the Creators
as Oscar
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. Oscar Best 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
When We Kill the Creators
as Oscar
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
When We Kill the Creators
as Oscar
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
When We Kill the Creators
as Oscar
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Under the Silver Lake
as Tow Man
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
When We Kill the Creators
as Oscar
Images that would survive with the sound switched off.
Best action sequence
Arthur the King
as Hugo
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
When We Kill the Creators
as Oscar
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
When We Kill the Creators
as Oscar
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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Zach Grenier
Built a career in the same territory: crime and mystery
Richmond Arquette
Built a career in the same territory: crime and mystery
Bob Stephenson
Built a career in the same territory: crime and mystery
Have your say
Community
Which Oscar Best performance holds up best?
Our readers argue about this one. Make your case, or read the ranked debate already in progress.
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Reference
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