Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#15,844
of 15,890 eligible performers
Sarah Trigger 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.
Sarah Trigger appears in 3 films in the Nutevio catalogue, and none of them would work the same way without Sarah. Things to Do in Denver When You're Dead is the clearest case: a film rated 6.5 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, transformation, screen presence. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for crime, drama, horror. It is a style built on what is withheld as much as what is played.
Working with Gary Fleder, Mary Lambert, Peter Hewitt, Sarah Trigger 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.
Things to Do in Denver When You're Dead (1995) as Meg · Bill & Ted's Bogus Journey (1991) as Joanna · Pet Sematary II (1992) as Marjorie Hargrove
Career snapshot
Ranked #15,844 of 15,890 eligible performers in the Nutevio catalogue.
Films in Nutevio
3
1991–1995
Career length
4 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
6.5
Things to Do in Denver When You're Dead
Average Nutevio score
6.3
Across catalogue work
Highest IMDb rating
6.5
Things to Do in Denver When You're Dead
Most frequent director
Gary Fleder
1 film together
Longest collaboration
1×
With Gary Fleder
Most common genre
Crime
1 title
Average runtime
1h 43m
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
1990s
6.3 average MV
The 1990s are where the work and the material meet. Things to Do in Denver When You're Dead, Pet Sematary II, Bill & Ted's Bogus Journey — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1990s
6.3
Across 3 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1990s
6.1
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. Things to Do in Denver When You're Dead, Pet Sematary II, Bill & Ted's Bogus Journey.
Most productive era
1990s
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 | 1990s |
|---|---|
| Drama | 6.51 film |
| Comedy | 6.41 film |
| Crime | 6.51 film |
| Horror | 5.91 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio · Career peak
1991Bill & Ted's Bogus Journey
Where our catalogue meets this career, as Joanna. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Highest rated performance · Most recent film
1995Things to Do in Denver When You're Dead
6.5 on the Nutevio scale, the top of the catalogue for this performer. The current state of the argument, as Meg.
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.
3 of 3 films
as Marjorie Hargrove
Directed by Mary Lambert
as Joanna
Directed by Peter Hewitt
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
Meg
Things to Do in Denver When You're Dead (1995)
Performance score6.5
The performance the rest of the career is read through. Meg gives Sarah Trigger a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Marjorie Hargrove
Pet Sematary II (1992)
Performance score6.5
Pet Sematary II asks for something the previous films did not, and gets it. Marjorie Hargrove is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Joanna
Bill & Ted's Bogus Journey (1991)
Performance score6.5
Bill & Ted's Bogus Journey asks for something the previous films did not, and gets it. Joanna 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 Meg
Start here. Things to Do in Denver When You're Dead is the clearest statement of what Sarah Trigger does — accessible, 116 minutes, and rated 6.5 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Sarah 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.
Bill & Ted's Bogus Journey (1991)
A deliberate change of key after Things to Do in Denver When You're Dead — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Pet Sematary II (1992)
A deliberate change of key after Bill & Ted's Bogus Journey — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Gary Fleder
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Things to Do in Denver When You're DeadPeter Hewitt
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Bill & Ted's Bogus JourneyMary Lambert
Director
1 film together · 5.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Pet Sematary IISix 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
Things to Do in Denver When You're Dead
as Meg
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Things to Do in Denver When You're Dead
as Meg
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Things to Do in Denver When You're Dead
as Meg
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Things to Do in Denver When You're Dead
as Meg
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Things to Do in Denver When You're Dead
as Meg
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. Sarah Trigger has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Things to Do in Denver When You're Dead
as Meg
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Things to Do in Denver When You're Dead
as Meg
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Things to Do in Denver When You're Dead
as Meg
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Things to Do in Denver When You're Dead
as Meg
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Things to Do in Denver When You're Dead
as Meg
Images that would survive with the sound switched off.
Best action sequence
Bill & Ted's Bogus Journey
as Joanna
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Things to Do in Denver When You're Dead
as Meg
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Pet Sematary II
as Marjorie Hargrove
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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