Latest news with #TheBrutalist
New York Post
a day ago
- Entertainment
- New York Post
Pop star baby names from this decade are making a comeback
The '90s babies are having babies — and it shows. BabyCenter's new data revealed baby name trends for 2025 so far, and parents are looking to the 1990s for baby name inspiration, tapping into the nostalgia factor of their favorite pop stars and even their childhood peers. Britney and Shania are topping charts again — the baby name charts. Britney is up more than 1,200 spots, coming in at No. 3,958, and Shania rose more than 800 spots, now at No. 1,915. Sabrina, as in the teenage witch, rose 19 spots to No. 323, while names that were running around the playground with you, like Kelsey and Briana, are making a comeback, at No. 804 and No. 1,122, respectively. The people's princess can't be forgotten either: Diana has risen 39 spots to No. 293. 4 Parents are looking to the 1990s for baby name inspiration. nataliaderiabina – The '90s aren't the only trend parents are looking to for baby name inspiration. Loud luxury is in, and with shows like 'White Lotus' on-air, parents are inspired to name their kids something luxurious. For girls, Tiffany and Bentley have risen to No. 822 and No. 2,035, respectively, and Emerald has risen 86 spots to No. 544. For boys, Manolo, like Blanik, and Laurent, like Yves Saint Laurent, are up to No. 1,903 and No. 6,518. Cash is also up 11 spots to No. 314. Lux — literally like luxury — is up for both boys and girls, up 110 spots to No. 1,202 for boys and 401 spots No. 2,370 for girls. Celebrities are looking to golden names, too, literally. Patrick and Brittany Mahomes named their daughter Golden earlier this year, and people took notice. The name is up 647 spots for boys to No. 1,876, and it's up 65 spots for girls to No. 2,330. 4 BabyCenter's new data revealed baby name trends for 2025 so far. – And new parents would like to thank the Academy, with Oscar-winning names rising in 2025. Anora didn't just sweep the Oscars this year, the name has jumped up 1,105 spots for girls so far, ranking at No. 2,291. After Adrien Brody won best actor for his role in 'The Brutalist' and Kieran Culkin won best supporting actor for his role in 'A Real Pain,' their names also started rising. Adrien is up 206 spots to No. 1,132, and Kieran has risen 48 spots to No. 488. And the success of 'Wicked' didn't go unnoticed by parents. Cynthia, like Erivo, got its chance to fly, rising 204 spots to No. 1,089. 4 New parents would like to thank the Academy, with Oscar-winning names rising in 2025. Prostock-studio – Bird names are flying, too, which perhaps is due to Cameron Diaz naming her baby Cardinal last year. Robin is soaring as a gender-neutral name, moving up 274 spots to No. 987 for girls and 97 spots to No. 960 for boys. Meanwhile, Raven has risen 39 spots to No. 241, and Mavis is up 17 spots to No. 496. Dove is having a moment as well, with former Disney Channel star Dove Cameron releasing an album this year. Her name has risen 717 spots to No. 1,678. Callum, which comes from the Latin word for dove, has risen 21 spots to No. 186. 4 The top girl and boy names for 2025 so far. BabyCenter Top 10 boy names of 2025 so far: Noah Liam Oliver Elijah Mateo Lucas Levi Ezra Asher James Top 10 girl names of 2025 so far: Olivia Amelia Sophia Emma Charlotte Isabella Ellie Ava Mia Aurora
Time of India
2 days ago
- Entertainment
- Time of India
The Brutalist OTT Release Date: When and where to watch Adrien Brody's Oscar-winning epic period film in India
The Brutalist OTT Release Date: When you dive into The Brutalist, you're stepping into a sweeping post-war saga that feels personal and epic at once. It follows László Tóth (Adrien Brody), a Jewish-Hungarian architect and Holocaust survivor, who arrives in the U.S. in the late 1940s with his wife Erzsébet (Felicity Jones) and niece Zsófia (the haunting Raffey Cassidy). They're broken, carrying both trauma and hope. In Pennsylvania, László catches the eye of industrialist Harrison Lee Van Buren (Guy Pearce), who sees more than concrete and steel; he sees potential, but also potential compromise. László finds success designing grand structures, but each success carries a new burden: balancing personal integrity with commercial demand, remembering the past while trying to build a future. Good news: from June 28, 2025, The Brutalist is streaming on JioHotstar in India. It had been on rental-only platforms like Prime Video, AppleTV and Zee5, but now anyone can stream it freely if they've got JioHotstar. Cast, crew and the creative force behind it all Adrien Brody delivers an Oscar-winning turn as László. Felicity Jones brings softness and strength as Erzsébet, while Guy Pearce gives off that elegant, slightly cold edge you expect from a tycoon. Joe Alwyn, Stacy Martin, Emma Laird, Alessandro Nivola, and Isaach de Bankolé round out a powerhouse supporting cast. The Brutalist is directed and co‑written by Brady Corbet, with writing help from Mona Fastvold, and carried by Lol Crawley's cinematic eye and Daniel Blumberg's unforgettable score. More about The Brutalist Premiered at Venice in September 2024, winning the Silver Lion, then played Toronto and New York festivals. It hit U.S. theatres late last year, came to India in Feb 2025, and by March had scooped Oscars for Best Actor (Brody), Best Cinematography, and Best Original Score at the 97th Academy Awards. Golden Globes, Baftas, critics' awards and AFI top‑10 lists followed.
Telegraph
3 days ago
- Entertainment
- Telegraph
Why do celebrities think they can paint? Here's our pick of the worst
The double Oscar -winning actor Adrien Brody is rightly celebrated for his on-screen talents, even if there is some truth to the grumblings that he only really excels when he plays Holocaust victims. Yet before, during and after winning his second Oscar, for the magnificent drama The Brutalist, he seems to have been on a personal mission to behave in as obnoxious a fashion as possible. At the Oscars, for example, he caused much revulsion by throwing a piece of used chewing gum at his partner Georgina Chapman so she could hold it while he made his rambling, arrogant acceptance speech But Brody isn't just an actor; he is also an artist, or at least would like to be regarded as such. He is currently displaying a solo show, entitled Made in America, at New York's prestigious Eden Gallery that has been afforded all the accoutrements that a major art-world figure would merit. A lengthy profile piece in the New York Times, fawning news items about his selling one of his artworks, of Marilyn Monroe, for $425,000 at the amfAR gala in Cannes and an elevated degree of respect because of his existing fame. Part of this art, we learn, once again involves chewing gum. Visitors to Made in America are invited to take a piece of gum from a pre-packaged pile, chew it, and then stick it onto a canvas that is festooned with the word 'Violence.' A sign on the wall declares 'Leave your mark—messy, visceral, and anonymous'. This is one way of looking at it. Another way is to suggest that, in a contemporary art world that seems to have gone stark raving mad – Maurizio Cattelan's Comedian, in which a banana duct-taped to a wall sold for $6.2 million last year at Sotheby's, was quite literally bananas – the cachet brought in by an A-list celebrity makes apparently dreadful artworks seem both respectable and newsworthy. Brody's exhibition poses as a deconstruction of much-loved pop icons such as the Simpsons and Mickey Mouse, appearing to homage such New York legends as Jean-Michel Basquiat and Andy Warhol. Unfortunately, Made in America has been panned in the American and international art press on the grounds that Brody isn't a talented artist, despite his beliefs otherwise. 'Why do great actors have so much trouble when they venture into visual art?' asked Artnet critic Annie Armstrong, who attended the opening. 'Can you name one who has been able to bridge the gap?' She concluded: 'It feels uncanny to see an artist who is so successful in one medium be so flat-footed in another.' Still, it did not help that Brody approached this with maximum pomposity. At Cannes, while presenting his Monroe canvas, he indignantly shushed the audience during a lengthy introductory speech. 'I've painted and drawn most of my whole life,' he declared. 'Painting precedes acting for me.' In another interview in 2016 with the Huffington Post, he remarked: 'Maybe I am vain, to a certain extent, but the purpose of doing this is far from vanity.' Most would disagree with his summation. Still, in the actor's defence, he is far from the only celebrity who has dabbled in the world of art to disastrous or embarrassing effect. Everyone from the late Val Kilmer to Jim Carrey has, at one time or another, decided that they were capable of producing artworks of lasting impact and effect, enabled by a crowd of sycophants and excitable fans. Almost inevitably, the result has been the same; well-known figures have produced mediocre art – at best – that looks like something that a middling GCSE student might come up with as coursework. Whether it's Carrey's truly shameful pictures of 'Jesus Electric' and Melania Trump, Kilmer's self-aggrandising portrait of Jim Morrison (a homage to the man he played, to far greater effect, in Oliver Stone's biopic The Doors) or Sylvester Stallone's Rocky-inspired The Arena, the consistent impression that virtually anyone would have when seeing these 'artworks' is a profound wish that their creators don't give up the day job. Actors who paint tend to take what they do so very seriously, and most actors who do see themselves as artists tend to be exactly the kind of characters you would expect – Johnny Depp, Viggo Mortensen, Marlon Brando, etc. Sir Anthony Hopkins, however, is a refreshing exception to this rule. He may be one of the finest thespians that Britain has ever produced, but his bizarre, vaguely psychedelic paintings – George, for instance, depicts a vast purple elephant – seem like an elaborate joke. Which it probably is. 'Painting is something I really enjoy, like playing the piano,' Hopkins has said. 'I have a lot of fun with it. I just paint for the sheer enjoyment of it.' This sense of fun is sorely lacking from the more po-faced practitioners. Sharon Stone's abstract, sub-Rothko works, entitled things like It's My Garden, Asshole, appear to exist less to sell for the $40,000 that she charges for some of her canvases, and more for feminist empowerment. As she put it, 'It's my job to open a window for other women and hold it open further.' Likewise, if you look at the monochrome splodges that the actress Lucy Liu appears to specialise in, you will have been missing the point of how from the 'painterly, fleshy nudes to delicate depictions of the human spine in resin or embroidery, Lucy Liu's art lays bare themes of intimacy, belonging and memory.' It makes the relatively accessible and pleasant-looking work of Tony Curtis – which was ridiculed during the actor's lifetime – all the more bearable, although even here, Curtis was not immune to delusions of pseudery. 'When I paint, I don't paint shapes, I paint colours,' he once said. Yet is the desire to create art limited to actors. Musicians have also dabbled in the field, to mixed effect. Rolling Stone Ronnie Wood's paintings of him and his Rolling Stones bandmates have an appealing energy to them (let's ignore his 'nude studies', which have a different kind of energy) and there are many people who rate Bob Dylan's paintings and sculpture, which he was demonstrating as far back as the cover of 1970's Self Portrait album. Others have fared less well. David Bowie and Paul McCartney may be the two greatest post-war British musicians, but neither of them managed to persuade the art world that their own work was of any special significance, whether it was Bowie's alternately haunting and embarrassing Francis Bacon-esque studies or Macca's dreadful daubs. The late Brian Sewell had it about right when he said of the latter that they were 'a self-indulgent impertinence so far from art that the art critic has no suitable words for them – they are, indeed, beneath criticism.' Still, works on canvas are one kind of dreadfulness, but when celebrities veer into performance art, matters worsen inexorably. There are those who believe that Shia LaBeouf is an overlooked genius, others – especially post-Megalopolis – that he is simply a mediocre actor who is addicted to attention-seeking. Such actions as turning up at the premiere of Nymphomaniac in 2014 with a paper bag on his head saying 'I am not famous any more' and watching all his films in reverse order for the #ALLMYMOVIES project may have been original, but they also felt like the showily demonstrative actions of a bored has-been star. And let's not even get onto James Franco, whose smug, self-congratulatory blurring of boundaries between reality and fiction came crashing down in 2021 when he admitted allegations of sexual coercion with students at his acting school. Few miss Franco's once-ubiquitous, forever-irritating presence in public life, during which art was just one of the means he used to torment us. He once commented that he had been painting longer than he had been acting, which sounded like a threat of some kind. At least Robbie Williams, whose current solo show Radical Honesty ('expanding his visual language of sarcasm, self-deprecation, and playful irreverence), refuses to take this stuff seriously. Which is just as well, given that one critic described it as 'an Instagram self-help quote attacking your brain and eyes….incredibly bad art: so earnest, so superficial, it's barely even funny.' There have been a few more successful celebrities involved in the world of art, including Edward G Robinson, a Hollywood tough guy star from the Thirties and Forties and the legendary horror star Vincent Price, although both of these men were more notable as enthusiastic and prodigious collectors than for their own painting. This willingness to step back and let other, more talented artists take the limelight reflected well on them. Today, the Brodys and Carreys and McCartneys produce their terrible, vainglorious work and expect someone impressed by their fame to pay vast sums of money for them. The real tragedy is that, so far, they haven't been disappointed. Brody's exhibition may have been called Made in America, but this worship of celebrity excess is, alas, a global phenomenon, and it shows no signs of dissipating any time soon. Perhaps the solution is to send in the hardy protesters of Just Stop Oil, armed with paint and knives, and see what happens then. If it resulted in a few irreparably damaged works of celebrity hubris, I doubt that too many people would be truly devastated. The five worst celebrity artworks 1. Jim Carrey, Jesus Electric, 2017 The actor Jim Carrey recently claimed to have found God and Christianity, and stated that 'The energy that surrounds Jesus is electric. I don't know if Jesus is real, I don't know if he lived, I don't know what he means. But the paintings of Jesus are really my desire to convey Christ-consciousness.' This would be fine, if the Bruce Almighty star's representation of his idol's electric energy wasn't so embarrassingly redolent of the kind of paintings that you see for sale on a dodgy-looking stall in Camden Market. Such is Carrey's clout that he even made a short documentary about the painting's creation, called I Needed Colour; perhaps it should have been called I Needed A Better Agent, given how mired he is in Super Mario Bros films these days. 2. Adrien Brody, Hooked, 2016 Brody's most recent pictures and installations have been soundly and deservedly ridiculed, but some of his earlier work might be even worse – which, I suppose, is a back-handed way of saying he might be getting better. One Warhol-inspired display of fish in four different colours was embarrassing itself on his own terms, but worsened by Brody claiming, straight-faced, that 'If we look closely, we are the fish. We are the ones 'hooked' as we consume with abandon…the fragility and beauty and uniqueness of fish is much like our own spirit and spiritual state.' It makes Eric Cantona's discussion of fish and trawlers look like the last word in profundity. 3. Shia LaBeouf, #IAMSORRY, 2014 Describing Shia LaBeouf's performance artworks as 'good' or 'bad' is not really fair; 'embarrassing' and 'shameful' would be closer to the mark. Yet when he embarked on a five-day stint in a Los Angeles gallery of wearing his 'I am not famous any more' bag on his head, inviting members of the public to interact with him, one participant went rather too far. As LaBeouf later recalled, 'One woman who came with her boyfriend, who was outside the door when this happened, whipped my legs for 10 minutes and then stripped my clothing and proceeded to rape me.' After LaBeouf's girlfriend learnt of this, 'she came in [and] asked for an explanation, and I couldn't speak, so we both sat with this unexplained trauma silently. It was painful.' LaBeouf never pressed any criminal charges, suggesting that this piece of suffering for his art was simply part of the job. 4. Paul McCartney, Unfinished Symphony, 1993 Paul McCartney has always chafed against the idea that he was the 'safe' or somehow predictable Beatle in comparison to John Lennon, frequently bigging up his avant-garde and experimental credentials. Musically, this might well be true, but when it comes to his art, it can be found wanting. This painting, which might kindly be described as his attempt to capture on canvas what A Day in the Life's crescendo did musically, will seem to most as an ugly, Pollock-lite splurge of horrible colours all jumbled together. McCartney remarked of it that 'It is very spontaneous, I don't think there was a lot of thinking about that. But, you know, my composition generally is spontaneous. Some people I talk to will ask, 'Do you do sketches beforehand?' And I will say, 'No, it is alla prima.' You know, I just love to play around with the paint and let the paint show me the way, and I sense they are not as impressed if they think I did it spontaneously.' Perhaps a little less spontaneity may have been welcome here. 5. James Franco, Army Pants, 2011 It now seems incredible to think that James Franco – last seen popping up in French-language blockbusters as the villain – was once one of the hottest actors in Hollywood, an Oscar-nominated star who could (apparently) do no wrong. How else to explain the indulgence that he was offered when it came to producing such ugly, cluttered artworks as the frankly horrible Army Pants. It sold for just over $8000 when it was last offered for auction in 2023; a mere fraction of the work of other celebrity artists, and an indication of how steeply his reputation has fallen.
Yahoo
7 days ago
- Entertainment
- Yahoo
Alan Cumming and ‘The Traitors' team on murder mystery madness
Who's a Traitor? Who's a Faithful? The Traitors staged a murder mystery event on May 15 to find out. On Thursday, Emmy-winning host Alan Cumming joined executive producers Rosie Franks and Sam Rees-Jones and costume designer Sam Spector for a Traitors-themed event at the Chateau Marmont in Hollywood. Attendees grabbed random envelopes upon entry, which informed them whether they would be a Traitor (someone who had to perform a certain task) or a Faithful (someone who had to sniff out the villains) for the luncheon. More from GoldDerby 'Murderbot,' 'The Brutalist,' 'A Minecraft Movie,' 'Duster,' and the best to stream this weekend Making the 'Mission: Impossible' franchise, ScarJo vs. AI, catching up with the Gosselins, and what to read this weekend: May 16, 2025 'Running Point': Kate Hudson and Jeanie Buss swap stories on being 'a woman in a man's world' A special drink menu included concoctions like Murder at Midnight (classic Bloody Mary), The Wake-Up Call (morning mimosa), and Spill the Beans (espresso martini). The first course for lunch was deviled eggs, beet salad, and crudités, while the main course was roasted salmon and grilled chicken paillard. Guests enjoyed berries & cream for dessert. Cumming told the audience he loves doing "these sorts of events," because "the people who make this show all come together." He then deadpanned, "But also, they're all equally as well-dressed as me." Gold Derby As the audience chuckled, Cumming added, "It's a really lovely thing to come together and talk about the show. We all really care so much about this show and the production standards. We care about the experience people have on it. We're very passionate about it in a way that, I don't think in my experience, has always been the case when you promote a show." Speaking about the audience at large, Cummings surmised, "It's become this water-cooler thing and this sense of community. We all watch this show together. Each week, the whole country seems to be waiting to see what's gonna happen. At this time in our history in America, we really need to feel community, and need to feel that other people think the same way as us, and we feel safe." Spector said Cumming's wedding dress is "the standout moment of the season." The iconic white garment appeared during the "Til Death Us Do Part" episode, in which the players had to hold hands while being covered in creepy crawlies. "For breakfast, Alan is in a men's tailored suit, and then for the mission, he's in a suit dress," explained the costume designer. "It was so exciting for me to make. It transforms something masculine into something that's half-masculine, half-feminine. I love that Alan is super open to playing with gender, and to be able to do that on network TV, and have the fans react the way that they have, has been so cool. An intense amount of detail goes into each look. The wedding dress was a lot of logistical figuring out." Here is how Spector teases Season 4, which is due out in 2026: "It is next level. Each season, we have taken it to the next level. This one is by far the most dramatic in terms of costume. We're bringing a whole new level of style. This season, we're bringing a lot more full custom costume design." Rosie Franks said the producers are "really grateful" for the super fans, realizing it does "connect on a psychological level." She loved how the costumes "evolved throughout the episodes," and noted, "Everyone to a certain extent is putting on an act — it's that universal thing." Franks noted that Cumming is "such a big part of the show, with his fashion and his delivery." Season 4 begins production in June, so "Anything can happen once we get out there," she teased. "It's gonna be good. It will always be different, that's the important thing." SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby How Natasha Rothwell helped Belinda get her groove back in 'The White Lotus' Season 3 Making of 'The Lord of the Rings: The Rings of Power' panel: Bringing the Balrog to life was 'like doing a slight of hand card trick' TV Animation roundtable panel: '#1 Happy Family USA,' 'Secret Level,' and 'Arcane' Click here to read the full article.
Yahoo
12-06-2025
- Entertainment
- Yahoo
‘Inside' Review: Guy Pearce Is a Lit Fuse of Internal Contradictions in Haunting Australian Prison Drama
The suffocating environment of a prison system depicted with maximum authenticity makes a combustible setting for Inside, a drama exploring inherited damage via three different convicted felons, each of them trying in his own way to circumvent a fate seemingly written in their DNAs. Offering further evidence that Guy Pearce, following The Brutalist and The Shrouds, has become one of our most gifted and versatile actors, Charles Williams' feature debut shapes a volatile triangle of broken men, fleshed out by an astonishing Cosmo Jarvis and impressive newcomer Vincent Miller. While not directly inspired by his own experiences, Williams drew on his working-class upbringing with family members in and out of prison and a father who disappeared from his life at age 12 to shape a view that's honest and unflinching but also tempered by compassion. More from The Hollywood Reporter 'The Best You Can' Review: Kevin Bacon and Kyra Sedgwick Star in a Congenial but Unremarkable Dramedy About an Unlikely Friendship 'Our Hero, Balthazar' Review: Asa Butterfield and Jaeden Martell in an Unnerving Dark Comedy About American Gun Culture 'State of Firsts' Review: Trans Congresswoman Sarah McBride Steps Into the Spotlight for a Doc That's More Than Your Average Political Puff Piece Inside is not the usual story of damnation or redemption, of the unbreakable cycles of crime or even the virtues of rehabilitation, like Sing Sing. Nor is it another attempt to grapple with the legacy of Australia's penal colony history. Instead, it's a bleak, often intensely heavy psychological character study, though not without fully earned glimpses of hope. The narrator whose voiceover passages bind the drama is 18-year-old Mel Blight (Miller), who has aged out of the juvenile detention center where he killed another kid in a violent outburst. A wobbly home video shows the wedding of Mel's mother (Georgia Chiara) and father (Angus Cerini) in the prison where the latter was serving time. He recalls his father telling him that being conceived behind bars was a sure sign that Mel would turn out bad. 'And he was right.' While prison staff admit that the situation is far from ideal, Mel is required to share a cell in his new home with Mark Shepard (Jarvis), a lifer whose conviction for the rape and murder of an 11-year-old girl when he was 13 made him one of the country's most hated criminals. Shepard, too, is a recent transfer to the lower-security facility after decades in maximum security, much of that time spent in solitary confinement. With his hunched shoulders, shuffling gait and mumbled speech, Shepard is clearly a troubled man, his mental stability an open question. But he believes he has found a spiritual path to salvation as a born-again Pentecostal. He enlists Mel to play electronic keyboard at the religious services where he preaches to a mostly jeering assembly of prisoners. They look on slack-jawed during the moments of rapture in which he speaks in tongues. Jarvis' performance is transformative, making Mark both pathetic and feverishly alive, his corrosive remorse seemingly genuine. (The English Shogun star's Oz accent is impeccable.) One scene is especially riveting, in which he indirectly explains a shocking act of self-mutilation by sharing the discovery that it's the spirit, not the flesh, that must change. There's remarkable empathy in Williams' writing and direction as Mark insists that Mel needs to be baptized to free himself from pain and guilt. The triangle's third point is Warren Murfett (Pearce), who is days away from parole eligibility after 15 years of incarceration and every self-help program on offer. Sporting a bushy salt-and-pepper beard and a world-weary look in his eyes, Pearce finds dimensions both tragic and devious in what could have been merely the stock character of the wily long-term inmate whose isolation has cost him his humanity. When he assaults his cellmate, a convicted pedophile Warren catches with a photo of his son as a boy, the tough warden (Tammy MacIntosh) suspects he is deliberately sabotaging his parole chances, as is often the case with prisoners who come to fear being shoved back out into the world after long sentences. As a disciplinary measure, she swaps out Mel as his cellmate, instructing Warren to keep the unpredictable livewire kid out of trouble. Warren's mentorship takes a tough-love approach, perhaps a reflection of his desire for reconciliation with his now-adult son, who has agreed to see him during a monitored day-release. But he also has his own selfish needs. Deep in gambling debt and unable to pay back prison thugs unlikely to let him be released alive, Warren manipulates Mel into killing Sheperd for the bounty on his head, instructing him on how to carry out the murder while making it look like self-defense. He even fashions a shiv for Mel in the prison workshop. Like Warren, Mel has his own motives for agreeing to the proposal, not for his share of the cash but perhaps in a cleansing attempt to rid the world of an evil human being and dissuade himself from the idea that people like him are infected with poison and should not be allowed back out into society. In his first screen role, Miller holds his own alongside his seasoned co-stars. He smartly underplays the twitchy nervousness that causes Mel to blink constantly, instead conveying his unease in more subtle ways, swinging between rage episodes and moments of quiet in which he looks like a lost child. His suppressed hunger for connection adds to the unpredictability of Mel's scenes with both Warren and Mark. There's a direct line from Miller's performance to that of Raif Weaver as the young Mel in the most unbearably tense of his triggering flashbacks. His mother informs Mel and his sister that their father will be out on day release but urges them not to share their address with him. From the moment his dad picks Mel up from school it's clear the boy won't be able to keep the secret. The car journey to the house, with a sheet of plastic taped over a broken window flapping noisily, is nerve-rattling, even more so because what follows is played out offscreen. Another standout scene — arguably Pearce's finest work here — is Warren's visit to the home of his son Adrian (Toby Wallace, terrific), during which his effortful geniality crumbles in the face of cold distance that builds into cruel betrayal. It's one of many instances in the film that force us to consider hardened criminals from different angles — as victims as well as perpetrators — and it adds shading both to the violent climactic developments and the surprising optimism of a poignant coda. Inside is not an easy movie. Its feeling of claustrophobia is amplified by the discomfit of being confined with messed-up men liable to do anything, and its brooding mood is deepened by the chilly, institutional blues and grays of Andrew Commis' cinematography and the enveloping somberness of Chiara Costanza's synth score. But the superbly acted drama yields rewards, making astute observations about mental health, inherited trauma, self-determination and absent or unfixable fathers. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
