Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#25049
of 909177 performers
Top 5%
Sharon Wilkins 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.
Sharon Wilkins appears in 9 films in the Nutevio catalogue, and none of them would work the same way without Sharon. I, Robot is the clearest case: a film rated 7.1 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, comedy, drama. It is a style built on what is withheld as much as what is played.
Working with Edward Zwick, Marc Lawrence, Alex Proyas and others, Sharon Wilkins 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.
I, Robot (2004) as Woman · Love & Other Drugs (2010) as La Boheme Receptionist · Bad Boys II (2003) as Heavy Black Woman
Career snapshot
Ranked #25049 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
9
2002–2010
Career length
8 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.1
I, Robot
Average Nutevio score
6.5
Across catalogue work
Highest IMDb rating
7.0
Love & Other Drugs
Most frequent director
Marc Lawrence
2 films together
Longest collaboration
2×
With Marc Lawrence
Most common genre
Comedy
6 titles
Average runtime
1h 55m
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
6.3
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
2010s
7.0 average MV
The 2010s are where the work and the material meet. Love & Other Drugs — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2010s
7.0
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2010s
7.0
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2000s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Did You Hear About the Morgans?, We Own the Night, Palindromes.
Most productive era
2000s
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 | 2000s | 2010s |
|---|---|---|
| Drama | 6.14 films | 7.01 film |
| Action | 6.93 films | — |
| Thriller | 6.71 film | — |
| Comedy | 6.25 films | 7.01 film |
| Crime | 6.82 films | — |
| Romance | 6.03 films | 7.01 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Clarice.
Highest rated performance · Career peak
2004I, Robot
7.1 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 La Boheme Receptionist.
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 Woman
Directed by Alex Proyas
as La Boheme Receptionist
Directed by Edward Zwick
as 'Mama Sunshine' Aviva
Directed by Unknown
as Heavy Black Woman
Directed by Michael Bay
as Nurse
Directed by Unknown
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
Woman
I, Robot (2004)
Performance score7.0
The performance the rest of the career is read through. Woman gives Sharon Wilkins a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
La Boheme Receptionist
Love & Other Drugs (2010)
Performance score6.9
Love & Other Drugs asks for something the previous films did not, and gets it. La Boheme Receptionist is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
'Mama Sunshine' Aviva
Palindromes (2005)
Performance score6.7
Palindromes asks for something the previous films did not, and gets it. 'Mama Sunshine' Aviva is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Heavy Black Woman
Bad Boys II (2003)
Performance score6.7
Bad Boys II asks for something the previous films did not, and gets it. Heavy Black Woman 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 Woman
Start here. I, Robot is the clearest statement of what Sharon Wilkins does — accessible, 115 minutes, and rated 7.1 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Sharon 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.
Bad Boys II (2003)
Keeps the action register of I, Robot but asks for a colder reading of it.
Palindromes (2005)
Keeps the comedy register of Bad Boys II but asks for a colder reading of it.
We Own the Night (2007)
Same director as Palindromes, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Love & Other Drugs (2010)
Keeps the drama register of We Own the Night but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Marc Lawrence
Director
2 films together
Notably Two Weeks Notice
Michael Bay
Director
1 film together
Notably Bad Boys II
Jon Turteltaub
Director
1 film together
Notably National Treasure
Alex Proyas
Director
1 film together
Notably I, Robot
Edward Zwick
Director
1 film together
Notably Love & Other Drugs
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Marc Lawrence
Director
2 films together · 5.9 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Two Weeks NoticeAlex Proyas
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
I, RobotEdward Zwick
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Love & Other DrugsMichael Bay
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Bad Boys IIJon Turteltaub
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
National TreasureSix 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
I, Robot
as Woman
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 & Other Drugs
as La Boheme Receptionist
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
I, Robot
as Woman
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Bad Boys II
as Heavy Black Woman
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
I, Robot
as Woman
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. Sharon Wilkins 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
6 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
I, Robot
as Woman
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
National Treasure
as Butcher Lady
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Love & Other Drugs
as La Boheme Receptionist
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
National Treasure
as Butcher Lady
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
I, Robot
as Woman
Images that would survive with the sound switched off.
Best action sequence
National Treasure
as Butcher Lady
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Love & Other Drugs
as La Boheme Receptionist
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Bad Boys II
as Heavy Black Woman
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Christian Bale
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David Krumholtz
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Cillian Murphy
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Have your say
Community
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Reference
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