Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#5046
of 909177 performers
Top 1%
Reiko Aylesworth 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.
Reiko Aylesworth appears in 4 films in the Nutevio catalogue, and none of them would work the same way without Reiko. Man on the Moon 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 quiet performance, transformation, emotional range. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for crime, thriller, comedy. It is a style built on what is withheld as much as what is played.
Working with Bruce A. Evans, Miloš Forman, Sydney Pollack and others, Reiko Aylesworth 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.
Man on the Moon (1999) as Mimi · Mr. Brooks (2007) as Sheila · You've Got Mail (1998) as Thanksgiving Guest
Career snapshot
Ranked #5046 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
4
1998–2007
Career length
9 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.1
Man on the Moon
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.2
Man on the Moon
Most frequent director
Bruce A. Evans
1 film together
Longest collaboration
1×
With Bruce A. Evans
Most common genre
Thriller
2 titles
Average runtime
2h 3m
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
2000s
6.9 average MV
The 2000s are where the work and the material meet. Mr. Brooks — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2000s
6.9
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2000s
6.9
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. Man on the Moon, Random Hearts, You've Got Mail.
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 | 2000s |
|---|---|---|
| Drama | 6.52 films | — |
| Thriller | 5.91 film | 6.91 film |
| Comedy | 6.92 films | — |
| Crime | — | 6.91 film |
| Romance | 6.32 films | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
1998You've Got Mail
Where our catalogue meets this career, as Thanksgiving Guest.
Highest rated performance · Career peak
1999Man on the Moon
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
2007Mr. Brooks
The current state of the argument, as Sheila.
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.
4 of 4 films
as Mimi
Directed by Miloš Forman
as Sheila
Directed by Bruce A. Evans
as Thanksgiving Guest
Directed by Nora Ephron
as Mary Claire Clark
Directed by Sydney Pollack
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
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The defining work
#1
Mimi
Man on the Moon (1999)
Performance score7.0
The performance the rest of the career is read through. Mimi gives Reiko Aylesworth a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Sheila
Mr. Brooks (2007)
Performance score6.8
Mr. Brooks asks for something the previous films did not, and gets it. Sheila is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Thanksgiving Guest
You've Got Mail (1998)
Performance score6.7
You've Got Mail asks for something the previous films did not, and gets it. Thanksgiving Guest is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Mary Claire Clark
Random Hearts (1999)
Performance score6.5
Random Hearts asks for something the previous films did not, and gets it. Mary Claire Clark 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 Mimi
Start here. Man on the Moon is the clearest statement of what Reiko Aylesworth does — accessible, 118 minutes, and rated 7.1 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Reiko 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.
You've Got Mail (1998)
Keeps the comedy register of Man on the Moon but asks for a colder reading of it.
Random Hearts (1999)
Keeps the romance register of You've Got Mail but asks for a colder reading of it.
Mr. Brooks (2007)
Keeps the thriller register of Random Hearts but asks for a colder reading of it.
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.
Miloš Forman
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Man on the MoonBruce A. Evans
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Mr. BrooksNora Ephron
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
You've Got MailSydney Pollack
Director
1 film together · 5.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Random HeartsSix 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
Man on the Moon
as Mimi
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Random Hearts
as Mary Claire Clark
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Man on the Moon
as Mimi
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Man on the Moon
as Mimi
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Man on the Moon
as Mimi
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. Reiko Aylesworth 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.
Thriller Legend
Awarded
2 catalogue titles in thriller, 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
Man on the Moon
as Mimi
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Mr. Brooks
as Sheila
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Random Hearts
as Mary Claire Clark
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Mr. Brooks
as Sheila
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Man on the Moon
as Mimi
Images that would survive with the sound switched off.
Best action sequence
Man on the Moon
as Mimi
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Man on the Moon
as Mimi
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Random Hearts
as Mary Claire Clark
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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