Beth Timbrell

Beth Timbrell’s filmography, honestly, reads like a wild ride through totally different worlds. She pops up in The Father (2020), a movie that’ll mess with your head—in a good way. It’s this intense drama where reality and memory blur together, and you’re never quite sure what’s real. It’s one of those films that sticks with you for days, you know? Not exactly popcorn fare, but man, it gets under your skin. Then there’s Harry Brown (2009). Now, that one’s a gritty crime drama, all dark London streets and old-school vengeance. Michael Caine leads the charge, but Beth’s involvement is a cool addition—she’s part of this world that’s crumbling, violent, a little hopeless. The movie doesn’t sugarcoat anything. It’s raw, kind of brutal, and it makes its point loud and clear. You walk away feeling like you need a hot shower and maybe a rethink about society. And then—total curveball—Barbie (2023). Yeah, that Barbie. If you’re expecting plastic smiles and pink convertibles, think again. This film is meta as hell, poking fun at itself and everything Barbie stands for, but also somehow making you feel stuff? Like, existential stuff. There’s humor and heart and a surprising amount of edge. The cast is stacked, the visuals are bonkers, and Beth’s work helps bring this weird, layered world to life. Wild to see her bounce from bleak dramas to something this playful and sharp. She’s got range, no doubt.