Tim Bartholomew

Tim Bartholomew’s got this knack for slipping into these oddball, offbeat roles that stick with you way after the credits roll. If you’re poking around his filmography, you’ll stumble on a wild mix: Chaos and Cadavers (2003) is this darkly hilarious romp—think British black comedy, but dialed up. The plot? Oh, it’s a twisted little ride set in a medical school, with two unlucky students who accidentally get wrapped up in a murder case, and suddenly, the bodies are stacking up. It’s goofy and gory in equal measure, with Tim just leaning into the madness. Fast-forward to Christmas at Plumhill Manor (2024), and you’re in for a totally different vibe. This one’s got all the trappings of a cozy British holiday flick—snow-dusted estates, awkward family reunions, and that slightly chaotic energy that comes from too many relatives under one roof. Bartholomew slides between dry humor and genuine heart, making the whole thing feel less like a cliché and more like a real family gathering, with all the messiness that comes with it. Then there’s 100 Balfour Road (2017), which is less big laughs and more simmering drama. Set in a sleepy London neighborhood, the story digs into secrets, regrets, and the weird connections people share when they’ve lived side by side for decades. Tim’s character is kind of the glue—quiet, unassuming, but you get the sense he’s seen everything and maybe has a few skeletons of his own tucked away. Each role is a curveball, but that’s what makes watching him such a trip.