With news of the American actor's passing after an illness at the age of 65, here are ten of his best films to stream now. Presented alphabetically.
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Oscar winners 2025: Full list as Anora wins Best Picture and sweeps Oscars
The comedy drama swept many of the top prizes, while big winners also included Adrien Brody for Best Actor and Zoe Saldaña for Best Supporting Actress
Anora was crowned the latest winner of the Best Picture Oscar at last night's 97th Academy Awards in Hollywood – with the film seeing off competition from the likes of Conclave and The Brutalist to follow Oppenheimer in winning the coveted prize. It was a night of sweeping of success for the comedy drama about a New York sex worker that marries the son of a Russian oligarch, with Sean Baker's film winning a total of five statuettes. Alongside Best Picture, Editing and Original Screenplay, those included a Best Director win for Baker – plus a win in the hotly contested Best Actress category for star Mikey Madison, who pipped The Substance star Demi Moore. Elsewhere, Timothée Chalamet's win at the Screen Actors Guild Awards had appeared to throw the Best Actor race wide open again, but in the end The Brutalist star Adrien Brody prevailed and won the second Oscar of his career, after winning in 2003 for The Pianist. Other acting wins included Kieran Culkin and Zoe Saldaña in Best Supporting Actor and Supporting Actress respectively, as they both completed their hugely successful awards campaigns. Finally, there were also wins for Latvian film Flow in Best Animated Feature – beating Wallace and Gromit – and Brazil's I’m Still Here in Best International Film, while Brit Peter Straughan won Adapted Screenplay for Conclave. Read below for the full list of nominees and winners. Best Picture Anora — WINNER The Brutalist A Complete Unknown Conclave Dune: Part Two Emilia Pérez I’m Still Here Nickel Boys The Substance Wicked Best Actor Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Actress Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora — WINNER Demi Moore, The Substance Fernanda Torres, I’m Still Here Best Supporting Actress Monica Barbaro, A Complete Unknown Ariana Grande, Wicked Felicity Jones, The Brutalist Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Best Supporting Actor Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Best Director Jacques Audiard, Emilia Pérez Sean Baker, Anora — WINNER Brady Corbet, The Brutalist Coralie Fargeat, The Substance James Mangold, A Complete Unknown Best Adapted Screenplay A Complete Unknown Conclave — WINNER Emilia Pérez Nickel Boys Sing Sing Best Original Screenplay Anora — WINNER The Brutalist A Real Pain September 5 The Substance Best Original Score The Brutalist — WINNER Conclave Emilia Pérez Wicked The Wild Robot Best International Feature I’m Still Here – Brazil — WINNER The Girl with the Needle – Denmark Emilia Pérez – France The Seed of the Sacred Fig – Germany Flow – Latvia Best Animated Feature Flow — WINNER Inside Out 2 Memoir of a Snail Wallace and Gromit: Vengeance Most Fowl The Wild Robot Best Documentary Feature Black Box Diaries No Other Land — WINNER Porcelain War Soundtrack to a Coup d'Etat Sugarcane Best Original Song Never Too Late – Elton John: Never Too Late El Mal – Emilia Pérez — WINNER Mi Camino – Emilia Pérez Like a Bird – Sing Sing The Journey – The Six Triple Eight Best Costume Design A Complete Unknown Conclave Gladiator II Nosferatu Wicked — WINNER Best Make-up and Hairstyling A Different Man Emilia Pérez Nosferatu The Substance — WINNER Wicked Best Production Design The Brutalist Conclave Dune: Part Two Nosferatu Wicked — WINNER Best Sound A Complete Unknown Dune: Part Two — WINNER Emilia Pérez Wicked The Wild Robot Best Film Editing Anora — WINNER The Brutalist Conclave Emilia Pérez Wicked Best Cinematography The Brutalist — WINNER Dune: Part Two Emilia Pérez Maria Nosferatu Best Visual Effects Alien: Romulus Better Man Dune: Part Two — WINNER Kingdom of the Planet of the Apes Wicked
With news of the incomparable actor's passing at the age of 95, here are ten of the double Oscar-winner's best films to watch now. Presented alphabetically.
Oscars 2025: The case for The Brutalist to win Best Picture
Starring Adrien Brody, the American epic from director Brady Corbet towers over the competition in more ways than one...
Like Lady Liberty on the Hudson River in its opening scene, The Brutalist looms large. The third film from American writer/director Brady Corbet is, in our RadioTimes.com review’s words, an “epic in length, weight and ambition” — and at three hours and 35 minutes, it stands aloft on this year’s ballots, as striking and bold as any of the buildings designed by its architect protagonist. A win in the Best Picture category on Oscars Sunday would make the film the longest winner since Ben-Hur in 1960 and the fourth longest in history, after William Wyler’s religious epic, Lawrence of Arabia and Gone with the Wind. But bigger isn’t always better – and, in fact, a 215-minute runtime makes the film a harder sell. In a time when our attention spans are purported to have been cut by small screens, The Brutalist being this year’s Oscar frontrunner is a testament to the film’s sweep and gripping narrative momentum. To paraphrase how Guy Pearce’s vain industrialist describes his conversations with Adrien Brody’s László Tóth, it’s simply: “persuasive and intellectually stimulating”. Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. The story follows a Jewish architect from Budapest (Brody) working for a wealthy client (Pearce) after arriving in Pennsylvania having survived the Holocaust and being separated from his wife (Felicity Jones). If that sounds like it’s all about blueprints, concrete and cranes, fear not. This is a film with broad scope and rich thematic heft, with plenty to say about the tension between art and commerce, plus the myth of the American Dream. As a result, the film positions itself in the cinematic traditions of Orson Welles, The Godfather trilogy, Fitzcarraldo and There Will Be Blood – but The Brutalist was made for a fraction of the cost. Reports of a mere $10 million budget heralded Corbet’s work as a staggering feat in terms both artistic and economic. A world premiere at the Venice Film Festival was met with critical acclaim and a Best Director award for Corbet, and Oscar prospects have only grown since. While Emilia Pérez came to the fore and stuttered in scandal, and Anora’s ability to seduce voters with comedy and sex work was questioned, The Brutalist stood tall and became difficult to deny. In Corbet, you have a young director painting on a vast canvas with thrilling confidence, while Brody is on the imperious form that saw him steam to an Oscar win for The Pianist. Of course, it hasn’t all been plain-sailing. In an interview with film industry publication Red Shark News last month, editor Dávid Jancsó revealed that Brody and Jones’s Hungarian accents had been occasionally augmented by AI software in sound editing, which led to some people questioning the film’s artistic integrity. However, when informed industry folk soon pointed out the prevalence of such tech tweakage in modern film-making, the story seemed like a storm in a teacup. Quite how much that controversy will hinder The Brutalist at the Oscars remains to be seen, but its chances should be unexpectedly strengthened by Hollywood’s tendency to dole out prizes to life stories of real figures. Just like the Cate Blanchett-led Tár of 2022, The Brutalist’s textured portraiture builds a lead character so convincingly that many are surprised to learn it’s all fictitious – to the point where our RadioTimes.com team felt the need to write a piece clarifying that the film is indeed not based on a true story. View Green Video on the source website That is not to say that Brady Corbet’s film is a cynically designed piece of Oscar-bait in the shape of a Marcel Breuer pseudo-biopic, though. Rather, it’s a leisurely paced independent film made with a novelistic sensibility and scenes of sexual abuse and heroin addiction. A lazy comparison could be drawn to last year’s Best Picture winner, Oppenheimer, purely as a long, mid-century drama about one man’s project against the odds – but make no mistake, Christopher Nolan’s $100-million film was never an underdog. The Brutalist’s form, weight and origins would see it rank as one of the most subversive Best Picture winners of the century so far. Released the very same week as the 2025 Presidential Inauguration, The Brutalist only grows more pertinent in how it depicts the US to be a long way from the land of opportunity it professes to be. In other words: there’s a reason Lady Liberty is upside down in that opening sequence. And in the fraught rapport between Tóth and van Buren, Corbet and Mona Fastvold’s script delivers hard truths about how a relationship between artist and patron can be both mutually beneficial and exploitative. To say this in Hollywood, of all places, is brave – and leaves one wondering: if the Oscars are not there to celebrate such films to reckon with, what are they for? Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar predictions 2025: Who will win and should win Best Director?
With just a few days until the ceremony, there are two clear frontrunners for the award.
As with this year’s Best Picture Oscar, it looks to be a case of sex work versus architecture for 2025’s Best Director award. Sean Baker’s madcap screwball comedy drama Anora, about a stripper who marries the son of a Russian oligarch, has won enough film-festival and critics’-choice awards to fill any mantlepiece – and yet the writer/director has only been a bookie’s frontrunner fleetingly. That’s because Brady Corbet and The Brutalist have been at least as big a presence on the Hollywood awards’ circuit, thanks to the colossal epic starring Adrien Brody as a mid-century Hungarian architect. At first glance, the rest of the field appears strong, thanks to all the other nominees being behind the camera for Best Picture contenders. However, there is little serious threat to the Baker and Corbet, who appear to be in a tight two-horse race, according to Hollywood pundits who read the runes like ex-footballers watch replays on Match of the Day. After Walk the Line and Le Mans ’66, James Mangold is seen as an exceedingly secure pair of hands for a true-life drama, but his Bob Dylan biopic A Complete Unknown is perhaps too unspectacular and familiar to gain traction for a direction prize. Jacques Audiard of Emilia Pérez, meanwhile, is a seasoned figure in European festivals, where he has often been feted, yet his Netflix cartel-crime-drama-cum-musical lost momentum after star Karla Sofía Gascón was discovered to have posted a number of problematic tweets – and although Audiard has distanced himself from his leading lady, he now seems an outside bet. That leaves The Substance director Coralie Fargeat, who is just the ninth female directing nominee in history – and looks like a long shot to win due to her body-horror film being arguably the most confrontational on the ballot. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Naturally, there are controversial snubs too, with Dune's Denis Villeneuve and Conclave's Edward Berger among the most conspicuous absentees, but it's doubtful either would be in serious contention had they been nominated. Fundamentally, The Brutalist’s Corbet and Anora’s Baker have triumphed at the so-called “precursor” awards. The former has a Venice Film Festival directing gong, plus a Golden Globe and BAFTA to his name, while the latter has a Cannes Film Festival Palme d’Or and hit a winning streak recently at awards for the directors, writers and producers guilds. In particular, the directors guild is significant, as nine of the last ten winners there have gone on to win the Oscar for directing. Quite how much that will tip the scales in favour of Baker will depend on individual voter taste. Will Anora prove too bawdy and hectic or The Brutalist simply too long and bleak? Ultimately, though, the best director Oscar tends to go to two types of film-maker: the one whose film also wins Best Picture (like Christopher Nolan for Oppenheimer, Bong Joon-Ho for Parasite, Chloé Zhao for Nomadland), or the one whose film is critically acclaimed and admired for its craft – but not popular enough to win Best Picture (think Jane Campion for The Power of the Dog or Alfonso Cuarón for Roma). With less than two weeks to go, Corbet and Baker can easily fit those bills. But whatever happens, it’s a more compelling contest than when Christopher Nolan essentially had his name engraved on the statuette since before Christmas last year. View Green Video on the source website The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
With less than two weeks until the ceremony, there are two clear frontrunners for the award
As with this year’s Best Picture Oscar, it looks to be a case of sex work versus architecture for 2025’s Best Director award. Sean Baker’s madcap screwball comedy drama Anora, about a stripper who marries the son of a Russian oligarch, has won enough film-festival and critics’-choice awards to fill any mantlepiece – and yet the writer/director has only been a bookie’s frontrunner fleetingly. That’s because Brady Corbet and The Brutalist have been at least as big a presence on the Hollywood awards’ circuit thanks to the colossal epic starring Adrien Brody as a mid-century Hungarian architect. At first glance, the rest of the field appears strong, thanks to all the other nominees being behind the camera for Best Picture contenders. However, there is little serious threat to the Baker and Corbet, who appear to be in a tight two-horse race, according to Hollywood pundits who read the runes like ex-footballers watch replays on Match of the Day. After Walk the Line and Le Mans ’66, James Mangold is seen as an exceedingly secure pair of hands for a true-life drama, but his Bob Dylan biopic A Complete Unknown is perhaps too unspectacular and familiar to gain traction for a direction prize. Jacques Audiard of Emilia Pérez, meanwhile, is a seasoned figure in European festivals, where he has often been feted, yet his Netflix cartel-crime-drama-cum-musical lost momentum after star Karla Sofía Gascón was discovered to have sent a number of bigoted tweets – and although Audiard has distanced himself from his leading lady, he now seems an outside bet. That leaves The Substance director Coralie Fargeat, who is just the ninth female directing nominee in history – and looks like a long shot to win due to her body-horror film being arguably the most confrontational on the ballot. Naturally, there are controversial snubs too, with Dune's Denis Villeneuve and Conclave's Edward Berger among the most conspicuous absentees, but it's doubtful either would be in serious contention had they been nominated. Fundamentally, The Brutalist’s Corbet and Anora’s Baker have triumphed at the so-called “precursor” awards. The former has a Venice Film Festival directing gong, plus a Golden Globe and BAFTA to his name, while the latter has a Cannes Film Festival Palme d’Or and hit a winning streak recently at awards for the directors, writers and producers guilds. In particular, the directors guild is significant, as nine of the last ten winners there have gone on to win the Oscar for directing. Quite how much that will tip the scales in favour of Baker will depend on individual voter taste. Will Anora prove too bawdy and hectic or The Brutalist simply too long and bleak? Ultimately, though, the best director Oscar tends to go to two types of film-maker: the one whose film also wins Best Picture (like Christopher Nolan for Oppenheimer, Bong Joon-Ho for Parasite, Chloé Zhao for Nomadland), and the one whose film is critically acclaimed and admired for its craft – but not popular enough to win Best Picture (think Jane Campion for The Power of the Dog or Alfonso Cuarón for Roma). With less than two weeks to go, Corbet and Baker can easily fit those bills. But whatever happens, it’s a more compelling contest than when Christopher Nolan essentially had his name engraved on the statuette since before Christmas last year.
Starring Adrien Brody, the American epic from director Brady Corbet towers over the competition in more ways than one…
Add The Brutalist to your watchlist Like Lady Liberty on the Hudson River in its opening scene, The Brutalist looms large. The third film from American writer/director Brady Corbet is, in our RT review’s words, an “epic in length, weight and ambition” — and at three hours and 35 minutes, it stands aloft on this year’s ballots, as striking and bold as any of the buildings designed by its architect protagonist. A win in the Best Picture category on Oscars Sunday would make the film the longest winner since Ben-Hur in 1960 and the fourth longest in history, after William Wyler’s religious epic, Lawrence of Arabia and Gone with the Wind. But bigger isn’t always better – and, in fact, a 215-minute runtime makes the film a harder sell. In a time when our attention spans are purported to have been cut by small screens, The Brutalist being this year’s Oscar frontrunner is a testament to the film’s sweep and gripping narrative momentum. To paraphrase how Guy Pearce’s vain industrialist describes his conversations with Adrien Brody’s László Tóth, it’s simply: “persuasive and intellectually stimulating”. View oEmbed on the source website The story follows a Jewish architect from Budapest (Brody) working for a wealthy client (Pearce) after arriving in Pennsylvania having survived the Holocaust and being separated from his wife (Felicity Jones). If that sounds like it’s all about blueprints, concrete and cranes, fear not. This is a film with broad scope and rich thematic heft, with plenty to say about the tension between art and commerce, plus the myth of the American Dream. As a result, the film positions itself in the cinematic traditions of Orson Welles, The Godfather trilogy, Fitzcarraldo and There Will Be Blood – but The Brutalist was made for a fraction of the cost. Reports of a mere $10 million budget heralded Corbet’s work as a staggering feat in terms both artistic and economic. A world premiere at the Venice Film Festival was met with critical acclaim and a Best Director award for Corbet, and Oscar prospects have only grown since. While Emilia Pérez came to the fore and stuttered in scandal, and Anora’s ability to seduce voters with comedy and sex work was questioned, The Brutalist stood tall and became difficult to deny. In Corbet, you have a young director painting on a vast canvas with thrilling confidence, while Brody is on the imperious form that saw him steam to an Oscar win for The Pianist. Of course, it hasn’t all been plain-sailing. In an interview with film industry publication Red Shark News last month, editor Dávid Jancsó revealed that Brody and Jones’s Hungarian accents had been occasionally augmented by AI software in sound editing, which led to some people questioning the film’s artistic integrity. However, when informed industry folk soon pointed out the prevalence of such tech tweakage in modern film-making, the story seemed like a storm in a teacup. Quite how much that controversy will hinder The Brutalist at the Oscars remains to be seen, but its chances should be unexpectedly strengthened by Hollywood’s tendency to dole out prizes to life stories of real figures. Just like the Cate Blanchett-led Tár of 2022, The Brutalist’s textured portraiture builds a lead character so convincingly that many are surprised to learn it’s all fictitious – to the point where our RT team felt the need to write a piece clarifying that the film is indeed not based on a true story. That is not to say that Brady Corbet’s film is a cynically designed piece of Oscar-bait in the shape of a Marcel Breuer pseudo-biopic, though. Rather, it’s a leisurely paced independent film made with a novelistic sensibility and scenes of sexual abuse and heroin addiction. A lazy comparison could be drawn to last year’s Best Picture winner, Oppenheimer, purely as a long, mid-century drama about one man’s project against the odds – but make no mistake, Christopher Nolan’s $100-million film was never an underdog. The Brutalist’s form, weight and origins would see it rank as one of the most subversive Best Picture winners of the century so far. Released the very same week as the 2025 Presidential Inauguration, The Brutalist only grows more pertinent in how it depicts the US to be a long way from the land of opportunity it professes to be. In other words: there’s a reason Lady Liberty is upside down in that opening sequence. And in the fraught rapport between Tóth and van Buren, Corbet and Mona Fastvold’s script delivers hard truths about how a relationship between artist and patron can be both mutually beneficial and exploitative. To say this in Hollywood, of all places, is brave – and leaves one wondering: if the Oscars are not there to celebrate such films to reckon with, what are they for?
Emilia Pérez star praises work developing trans character's journey
View Green Video on the source website Emilia Pérez is on Netflix now. Add it to your watchlist.
Emilia Pérez star on developing trans character's journey
Emilia Pérez star praises extensive work developing trans character's journey
Emilia Pérez is on Netflix now. Add it to your watchlist.
Anita Dobson as a zombie? You read that right — EastEnders’ Angie heads an eclectic cast that includes Robert Lindsay, Sue Johnston and Johnny Vegas. In writer/director Ben Wheatley’s outrageous horror satire, the old feast on the flesh of teenagers. A trailer is yet to be released, but we do have some gruesome images…
This Norwegian series about the enigmatic singer Leonard Cohen bizarrely comes from the creatives behind Whitstable Pearl. Alex Wolff (A Quiet Place: Day One) stars as Cohen alongside Thea Sofie Loch Næss (The Last Kingdom) as his lover and muse Marianne Ihlen in this 1960s Bohemian real-life romance. View oEmbed on the source website
It’s a thorny dilemma: when two couples realise their toddlers were switched at birth, should they keep the boys they’ve been raising or swap them? Moral quandaries will abound in this four-part thriller featuring James Norton, Niamh Algar, James McArdle and Jessica Brown Findlay. A trailer is still to come, but we do have first-look images of Algar and Norton.
Sharon D Clarke (also in Mr Loverman) takes the title role this time in a police drama centred on a detective chief inspector who steps in to help local forces solve unfinished cases. Andrew Gower (Outlander) plays her right-hand man DS Harper for this first batch of three feature-length stories. View oEmbed on the source website
Guadeloupe, Devon and now Australia: the Death in Paradise multiverse is rapidly expanding — and it has scored its first female lead. DI Mackenzie Clarke (Anna Samson) is an ex-pat uprooted from the London Met to deal with crimes in her Down Under childhood home, Dolphin Cove. View oEmbed on the source website
From the makers of Normal People, this drama boasts an unusual premise: the life of an English teacher, played by Rebecca Hall, is thrown into disarray when she inexplicably hears a low humming sound that no one else can. Then she learns of a “chosen few” who share the same ability… View oEmbed on the source website
Add it to your watchlist. Can lightning strike again? Just how Seong Gi-hun (Lee Jung-jae) gets back in the game in this Korean smash is strictly under wraps — but expect the stakes to be even higher. View oEmbed on the source website
Add it to your watchlist. Break-ups, pre-nups, wedding crashers, reunions and potential new romances — the Defoe family are set for a tumultuous time at a Catalonian wedding in this two-part special. At present details are few and far between, except for the below images released by the BBC…
Add it to your watchlist. The sixth case for Cormoran Strike (Tom Burke) and Robin Ellacott (Holliday Grainger), The Ink Black Heart finds our heroes on the trail of an online troll who was hounding a cartoonist found dead in Highgate Cemetery. In the absence of a trailer just yet, here's a look at the last case… View oEmbed on the source website
Add it to your watchlist. Following Magpie Murders, Lesley Manville’s literary editor and Tim McMullan’s fictional detective resume sleuthing duties. Mark Gatiss joins the fun. View oEmbed on the source website
Add it to your watchlist. The close-knit Garvey sisters face another reckoning in series two of Sharon Horgan’s twisted drama. Fiona Shaw pops up this time around, too. With no trailer just yet, see the below to refresh your memory of the first series. View oEmbed on the source website
Add it to your watchlist. Mark Rylance’s Thomas Cromwell and Damian Lewis’s Henry VIII face off in the conclusion of Hilary Mantel’s story, with Timothy Spall and Harriet Walter among the new cast. Here's an excerpt from the last time it was on screens. View oEmbed on the source website
Add it to your watchlist. Detectives McIntosh and Calder (Alison O’Donnell and Ashley Jensen) are thrown in at the deep end after a friend of Tosh’s goes missing. Ian Hart and Vincent Regan join the cast. Here's a look at Ashley Jensen's arrival in the previous series. View oEmbed on the source website
Add it to your watchlist. The death of a famous food critic is one of the latest seaside cases for Kerry Godliman’s private detective to crack, as the cosy crime series rolls on to series three. Frances Barber returns as Pearl’s mum Dolly. See below for a snippet of what happened in the second series. View oEmbed on the source website
Add it to your watchlist. Billed as “simultaneously sequel and prequel” to series one, Peter Capaldi and Jessica Raine are back to give us all nightmares in the mid-point of the dark drama’s planned trilogy. View oEmbed on the source website
Add it to your watchlist. Parminder Nagra returns as tensions flare on the streets of Birmingham. Patrick Baladi joins the cast as DI Patrick Holden and there’s a guest turn from Showtrial’s Michael Socha. View oEmbed on the source website