Review: ‘Inside” (2025), starring Guy Pearce, Cosmo Jarvis, Vincent Miller and Toby Wallace

June 20, 2025

by Carla Hay

Guy Pearce and Vincent Miller in “Inside” (Photo courtesy of Quiver Distribution)

“Inside” (2025)

Directed by Charles Williams

Culture Representation: Taking place in Australia, the dramatic film “Inside” features an all-white cast of characters representing the working-class and middle-class and are connected in some way to the Australian prison system.

Culture Clash: Three men living in an Australian prison have a collision course of personal entanglements inside and outside of the prison.

Culture Audience: “Inside” will appeal primarily to fans of the movie’s headliners and emotionally raw movies about people living in prison.

Cosmo Jarvis in “Inside” (Photo courtesy of Quiver Distribution)

“Inside” is similar to other gritty prison dramas, such as 2009’s “Bronson” and and 2014’s “Starred Up,” where the performances are better than the absorbing but flawed screenplays. Redemption and punishment are open to intepretation. In other words, this is not the type of movie that gives easy answers or has a tidy ending.

Written and directed by Charles Williams, “Inside” is his feature-film directorial debut. The movie had its world premiere at the 2024 Melbourne International Film Festival and its North American premiere at the 2025 Tribeca Festival. “Inside” takes place in Australia, where the movie was filmed.

Inside focus on three main characters, who are all living at the Gadara Prison for men:

  • Mel Blight (played by Vincent Miller) is a brooding 17-year-old who has recently been transferred from a juvenile detention center. Mel has one year before he is eligible for a parole release. He is incarcerated for brutally assaulting a schoolmate when they were both about 12 years old, during a playground fight. The other boy died from his injuries. Mel has been incarcerated since he was 12.
  • Mark Shepard (played by Cosmo Jarvis), who is in his 30s, committed first-degree murder when he was 13 years old. He is perhaps the prison’s most notorious inmate. A TV news report describes Mark as committing “one of the worst crimes this country has ever seen.” What did Mark do? He raped and murdered an 11-year-old boy.
  • Warren Murfett (played by Guy Pearce), who is in his late 50s, has a long history of committing crimes. His most recent prison sentence has been for assault and drug possession. Warren, who is in recovery for addictions to meth and alcohol, has an upcoming parole hearing in the beginning of the movie. Warren is considered to be a “model prisoner” who’s capable of saying and doing the right things stay out of trouble in prison.

When Mel first arrives at the prison, he’s assigned to be Mark’s cellmate. It’s one of the flaws of the screenplay, because in real life, it’s highly unlikely that a murderer of Mark’s notoriety would be matched with a teenage newcomer for a cell mate. In the movie, Mark mixes freely with the prison’s general population. In real life, a murderer such as Mark would be kept in a more restrictive part of the prison, partly for punishment and partly for the prisoner’s own safety.

What “Inside” portrays accurately about the prison system is that inmates who are convicted of first-degree sexual murderers of children are considered the lowest of the low in prison hierarchy. These types of murderers often have targets on their backs to be singled out for assaults or worse by other inmates and/or prison employees. One of the subjective questions presented throughout “Inside” is whether not Mark is worthy of forgiveness. Without revealing too much of the movie’s plot, there’s a reason why the lives of Mel, Mark and Warren intertwine, other than the fact that they are all living in the same prison.

Mark has become a born-again Christian, who preaches at the prison chapel, but there are numerous people inside and outside the prison who despise him and want Mark to die. Australia does not have the death penalty. And some people who believe that Mark has changed for the better believe that he should be paroled because he committed the murder when he was a child. Mark also wants to be paroled, but he knows the odds are stacked against him.

Mel does not know what crimes Mark committed when Mel becomes Mark’s cellmate. However, Mel instinctively feels uneasy around Mark and asks to be transferred to another cell. In the meantime, Mel is careful not to do anything that might anger or offend Mark. For example, he agrees to play keyboards during Mark’s chapel services.

Mark shows Mel some illustrations that Mark made. These illustrations look like they were made by a child, which is an indication that Mark has some developmental issues. The point the movie is trying to make is that Mark might be a man physically, but emotionally, he has some child-like qualities. There are indications that Mark could be on the autism spectrum, but there is no discussions in the movie about Mark possibly having this medical condition.

Mark talks like he’s got a mouthful of marbles, but when he’s up on the chapel pulpit preaching, he has a commanding presence and gets people’s attention, even if some of that attention is jeering and heckling from some people in the audience. Mark also speaks in tongues and rants in Latin when “the Holy Spirit” overtakes him. Is Mark a fraud? Or has he genunly become a pious and remorseful person?

Meanwhile, prison officials decide that Warren would make a good mentor to troubled Mel, who is usually quiet but who occasionally lashes out with a violent temper. For example, there’s a scene where Mel has some type of angry meltdown and starts bashing a chair at a prison window that doesn’t break. Flashbacks and voiceover narration from Mel throughout the movie reveal that he has unresolved issues about his own father’s imprisonment. (Raif Weaver has the role of pre-teen Mel in these flashbacks. Angus Cerini has the role of Mel’s father.)

Warren and Mel develop a tentative friendship that is almost like a father/son relationship. Warren has his own parental issues, including an estrangement from his young adult son Adrian Murfett (played by Toby Wallace), who has a short but impactful scene in the movie. One of the things that Mel and Warren like to do on a regular basis is a game where Mel asks Warren trivia questions about pop culture, and Warren does his best to answer the questions correctly. These moments are some of the few comforting interactions in what is otherwise a depiction of an often-bleak and tension-filled existence.

Mel battles with feelings of self-hatred and doesn’t have much hope that he could be paroled early. He says in a voiceover: “People like us shouldn’t be released. We’re broken … You can see it in us, even as kids.” The movie subtly floats the ongoing “nature versus nurture” debate of whether or not hardcore criminals are born or made, without leaning more toward one side over the other.

Miller (who makes his feature-film debut in “Inside”) and Peace give authentically raw performances as the emotionally damaged Mel and Warren, who both have personal demons that they don’t like to discuss out loud. Mel has barely repressed rage issues that Mel doesn’t know how to handle. Warren has a world-weary attitude of regrets that he admits to but wants to forget. The performance of Jarvis as Mark is much more complex because it keeps people guessing about how sincere Mark is about being redeemed.

Many movies about prison depict a constant sense of danger and inmates with big personalities. “Inside” has those elements but also skillfully portrays the monotony of living on a regimented prison schedule and the ways that certain inmates build trust with each other in an environment that often teaches that no one can be trusted. As hopeless and grim as life can be in prison, “Inside” also shows in unflinching ways that prison reform can be difficult for some incarcerated people if life on the outside of prison is tougher to navigate than being inside prison.

Quiver Distribution released “Inside” in select U.S. cinemas on June 20, 2025. The movie was released in Australia on February 27, 2025.

Review: ‘Warfare’ (2025), starring D’Pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Kit Connor, Michael Gandolfini, Noah Centineo, Joseph Quinn and Charles Melton

April 10, 2025

by Carla Hay

D’Pharaoh Woon-A-Tai, Joseph Quinn and Will Poulter in “Warfare” (Photo by Murray Close/A24)

“Warfare” (2025)

Directed by Alex Garland and Ray Mendoza

Culture Representation: Taking place in Ramadi, Iraq, on November 25, 2006, the action film “Warfare” features a predominantly white and Middle Eastern group of people (with some Latin people, African Americans, Asians and one Native American) representing both sides of the United States-Iraq War.

Culture Clash: Several U.S. Navy SEAL members are trapped inside a house by enemies and must fight their way out to safety.

Culture Audience: “Warfare” will appeal primarily to people who are fans of the movie’s headliners and realistic war movies.

A scene from “Warfare” (Photo by Murray Close/A24)

“Warfare” gives a brutal and intense dramatic recreation of a real-life Navy SEAL combat and rescue mission that took place in Iraq in 2006. The real-time narrative and exceptional sound design increase the tension for this unique war movie. “Warfare” is not a film that is easily forgotten. Sensitive viewers be warned: The movie is very graphic in the violence, injuries and psychological trauma that can occur during combat.

“Warfare” was written and directed by Alex Garland and Ray Mendoza, a real-life Iraq War veteran. Mendoza’s memories and the memories of many of his former Navy SEAL comrades are the basis of what is shown in the movie. This is not a film that takes its time for viewers to get to know the participants. “Warfare” (which clocks in at 95 minutes) is very much a “snapshot” film offers a glimpse into a short but very intense period of time in the lives of the protagonists in the movie.

“Warfare”takes place on November 25, 2006, during two Navy SEAL operations in Ramadi, Iraq. The movie begins with a joyful scene of camaraderie among the approximately 20 young Navy SEALs who are gathered ina room during some down time. They are watching the music video for Eric Prydz’s 2004 hit song “Call on Me,” which features a 1980s-styled aerobics workout of women in skin-tight exercise outfits gyrating with one man in the room.

The Navy SEALs whoop, holler, and start bopping along to the music. It’s the closest thing that this group has to a fraternity party. In interviews, Mendoza says that this type of activity was a ritual for him and his squad members to help them relax and enjoy time together before going into combat. Unfortunately, for the squad in “Warfare,” this happiness is short-lived.

The squad members are shown doing a quiet invasion of a house where a civilian Iraqi family lives. The family is held captive (but are not harmed) in a bedroom while the Navy SEAL squad members use the home as a stakeout building. The squad members are accompanied by two Iraqi scouts—Sidar (played by Heider Ali) and Farid (played by Nathan Altai)—who are language translators. Their hiding place won’t be a secret for long. A bomb goes off, and the squad members quickly figure out that they are surrounded by enemy soldiers.

Once the combat begins in “Warfare,” it doesn’t really let up. Viewers won’t really find out much about the personal backgrounds of each of the characters, but glimpses of their personalities are show during these harrowing war scenes. Some viewers might think this lack of information makes the characters too generic or vague.

Erik (played by Will Poulter) is the officer in charge of the first Ramadi operation. Erik prides himself on staying calm in situations where other people are panicking. His stoicism is tested when he starts to mentally unravel as the group is under siege and backup help is delayed.

Sam (played by Joseph Quinn) is seriously injured during the battle. After the bomb blast, Sam wakes up to see that his right leg is inflames. Getting him to emergency medical care is one of the motivations for the squad to get out and get help as soon as possible.

Ray Mendoza (played by D’Pharaoh Woon-A-Tai) is a reliable communications officer who often has to fight the panic that sometimes overtakes him. He’s very loyal to his squad members and can ultmately be counted on to help as much as he can. Elliott (played by Cosmo Jarvis) is a wisecracking sniper/medica who becomes severely wounded.

Tommy (played by Kit Connor) is a rookie who sometimes gets teased by other squad members, including Lt. Macdonald (played by Michael Gandolfini), who also gets wounded in combat. Jake Wayne (played by Charles Melton), who can think logically under high pressure, is the officer in charge of the second Ramadi operation depicted in the movie. Jake steps up into a leadership role when Erik starts to mentally fall apart. Some other members of the squad include gunner Brian (played by Noah Centineo), communications officer John (played by Finn Bennett), sniper Brock (played by Evan Holtzman), point man Aaron (played by Henrique Zaga), sniper Frank (played by Taylor John Smith) and Sgt. Laerrus (played by Adain Bradley).

“Warfare” shows in unflinching ways how split-second decisions can mean the difference between life and death. And these decisions are often be based on hunches or guesses because those are the only options. Perhaps the only minor criticism about “Warfare” is that almost all of these Navy SEALs in the movie are unrealistically physically attractive. There isn’t an “ugly” one in the bunch. Even though a lot of the movie’s Navy SEALs look like Hollywood actors, the cast members’ performances are admirable and do justice to the real people involved.

A24 will release “Warfare” in U.S cinemas on April 11, 2025. A sneak preview of the movie was shown in U.S. cinemas on April 7 and April 9, 2025.

Review: ‘The Alto Knights,’ starring Robert De Niro, Debra Messing, Cosmo Jarvis, Kathrine Narducci and Michael Rispoli

March 21, 2025

by Carla Hay

Robert De Niro and Robert De Niro in “The Alto Knights” (Photo courtesy of Warner Bros. Pictures)

“The Alto Knights”

Directed by Barry Levinson

Culture Representation: Taking place in New York state, from 1957 to the early 1970s, the dramatic film “The Alto Knights” (based on real events) features an all-white group of people representing the working-class, middle-class and criminal underground.

Culture Clash: Frank Costello and Vito Genovese are former best friends who become rivals for power in New York’s Mafia community.

Culture Audience: “The Alto Knights” will appeal primarily to people who are fans of the movie’s headliners and Mafia movies and don’t mind watching a derivative Mafia movie that overloads on tedious clichés.

Debra Messing in “The Alto Knights” (Photo courtesy of Warner Bros. Pictures)

Robert De Niro portraying Mafia bosses Frank Costello and Vito Genovese is a gimmick in “The Alto Knights” that quickly gets old. The mindless screenplay and bad editing make this botched drama seem like a dull parody. “The Alto Knights” is the Mafia movie equivalent of a past-his-prime Elvis Presley impersonator struggling to look entertaining in a tacky lounge where hardly anyone cares to show up.

Directed by Barry Levinson and written by Nicholas Pileggi, “The Alto Knights” had the potential to be a much better movie than the boring slog it turned out to be. In addition to having a talented cast, “The Alto Knights” has the filmmakers who’ve made some mobster movie classics. Levinson directed 1991’s “Bugsy” about Bugsy Siegel. Pileggi wrote 1990’s “Goodfellas” and 1995’s “Casino,” which both starred De Niro. Those past glories don’t always guarantee that every movie they make will be just as good or better.

In “The Alto Knights” (which takes place mostly in New York state, from 1957 to the early 1970s), the story is told from the perspective of elderly Frank Costello, who narrates the movie as he looks back on his life. Costello died in 1973, at the age of 82. (For the purposes of this review, the real people are referred to by their last names, while the characters in the movie are referred to by their first names.)

When Frank looks back on his life in “Alto Knights,” he literally looks back on his life. He looks at old photos in a slide show. It’s supposed to make him look adorably quaint. But the story’s jumbled narrative just makes Frank look like a rambling codger.

“The Alto Knights” begins in 1957, when Frank gets shot in an elevator of his Central Park West apartment in Manhattan. The shooter is a nervous Mafia lunkhead named Vincent Gigante (played by Cosmo Jarvis), a 35-year-old “enforcer,” who spends most his screen time getting berated for bungling the jobs that he’s assigned. “The Alto Knights” goes on a repeat loop of the same types of arguments and conflicts happening, like terrible movies do when they want to fill up time and don’t have anything interesting or clever to show or say.

In an example of the movie’s corny dialogue, Vincent utters this line as he shoots Frank in the head: “This one’s for you, Frank.” Vincent and Frank are the only two people in the elevator during the shooting, so it’s more than ridiculous for Vincent to state the obvious about where he wants his bullet to go. And keep in mind: This is supposed to be a brutal Mafia assassination. The assassin shouldn’t be saying something that sounds like a song dedication in some sort of Rat Pack sing-along with Frank Sinatra.

Frank is shot in the head and is quickly taken to a hospital, where his loyal wife Bobbie Costello (played by Debra Messing) rushes to be by Frank’s side. Bobbie is a stereotypical “don’t ask, don’t tell” shallow Mafia wife who mostly cares about having enough money to spend on the affluent lifestyle that she wants, rather than caring about all the crimes her husband commits to get this money. Bobbie has some of the worst scenes in the movie.

Luckily for Frank, Vincent’s bullet only grazed Frank’s scalp and curved around the back of Frank’s head. It doesn’t take long before Frank finds out that his former best friend/current worst enemy Vito Genovese ordered this murder hit on Frank. In the movie, Frank gives a disjointed explanation for how and why it all went wrong between him and Vito. In flashback scenes and photos of their youth, Luke Stanton Eddy plays Frank in his 20s, and Antonio Cipriano plays Vito in his 20s.

Frank and Vito were working-class best friends who came up in the Mafia crime scene together on the tough streets of New York City. Frank is calm and logical. Vito is bad-tempered and unstable. Frank cares about being accepted into the elite upper crust of society. Vito doesn’t have those ambitions. It’s very much an “opposites attract” friendship.

As for De Niro playing these two characters, “The Alto Knights” (especially in scenes where Frank and Vito are talking to each other) can only highlight that De Niro just does only slightly different versions of Mafia characters he’s played in many other films. De Niro gives bespectacled Vito more manic energy and a slightly higher voice than Frank, but De Niro slips back into familiar mannerisms that he’s done many times before in movies like “Goodfellas,” “Casino” or 2019’s “The Irishman.” The makeup in “The Alto Knights” is adequate and won’t be nominated for major awards.

Vito and Frank worked with the Luciano crime family (founded by Lucky Luciano) and made a fortune in bootlegging alcohol during the Prohibition era. They liked to hang out at a social club called The Alto Knights, which is not prominently featured in the movie, even though the movie is named after this place. Vito eventually became the boss of the Luciano family.

But when Vito left the United States to hide out in Italy, World War II happened, and Vito was stuck in Italy for several years. During his absence, Frank was named the head of the Luciano family. Frank brags in hindsight, “Suddenly, I was the boss of bosses.” In 1945, the year that World War II ended, Vito returned to the United States and wanted his former job back as boss of the Luciano family.

However, Frank doesn’t want to give up this power. In the narration, Frank says that Vito is too volatile to be an effective crime boss. But, as Frank says in the movie, another big reason why Frank doesn’t want to hand over control to Vito is because Frank has gotten accustomed to the money, power and attention that he gets for being the boss of the Luciano family. You can easily guess how else this movie is going to go with this back-and-forth power struggle.

“The Alto Knights” becomes bloated with pointless scenes and cringeworthy Mafia stereotypes. In other Mafia movies, the bosses are usually portrayed as cunning and ruthless enough to evade capture for years. In “The Alto Knights,” the bosses evade capture simply through bribery or dumb luck.

Scenes that take place at a congressional hearing or at a courtroom trial should’ve crackled with edgy intensity and tension. Instead, these scenes lumber along and have all the suspense of someone reading a phone book. These scenes are just excuses for De Niro to mug for the camera while delivering mundane lines.

One of the movie’s many cringeworthy scenes is when several Mafia members gather for a barbecue somewhere in the rural Appalachian region of New York state, and they find out that they’re being spied on by New York State Police. Frank says in an observational voiceover that Mafia people run as soon as they hear the word “cop.” And right on cue, the Mafia guys are seen running like scattered cockroaches to their cars to leave, even though there’s nowhere they can really escape to in this remote area that has a road with one lane in each direction.

And sure enough, the Mafia guys are stopped on the road, rounded up by police, and questioned by police on the road. A key Mafia member (who won’t be named in this review) narrowly misses this roundup because he was late to the barbecue. When he and his driver drive past the ruckus on the road, they see many of their colleagues being questioned by police. Even though it’s obvious that a major raid is taking place, the dimwit driver repeatedly wonders out loud what’s going on, as his boss is slow to figure it out too.

In other words, the stupidity in “The Alto Knights” knows no bounds. In 1957, when Mafia heavyweight Albert Anastasia (played by Michael Rispoli) is gunned down and murdered in a barber shop, Bobbie absurdly expresses shock that Mafia people can get killed during the day in public. At the funeral, Bobbie comments to Albert’s widow Elsa Anastasia (played by Jean Zarzour) about Albert’s murder: “Who would’ve thought in broad daylight? In a barber shop! You’ve got to be brave. Be brave!”

Vito’s wife Anna Genovese (played by Kathrine Narducci) doesn’t have enough of a personality to make a difference to this awful movie. Other characters come and go. A better-written film would’ve told the movie from the perspectives of the feuding Vito and Frank. Instead, “The Alto Knights” is just a one-sided, droning narrative from Frank, whose reminiscing about his ferocious Mafia heyday is less likely to terrify and more likely to put people to sleep.

Warner Bros. Pictures released “The Alto Knights” in U.S. cinemas on March 21, 2025.

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