--- title: "Beautiful Boy" year: 2018 kind: "film" canonical: "https://film.one/film/beautiful-boy" fi1m_id: "beautiful-boy" imdb_id: "tt1226837" tmdb_id: 451915 wikidata_id: "Q29051576" fi1m_score: 68 critics_score: 64 critics_reviews: 23 published: "2026-10-03T00:24:31.051650+00:00" updated: "2026-10-03T00:24:37.997268+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Beautiful Boy (2018) Directed by Felix van Groeningen · 2h 01m · MPA R · Drama ## Identity Beautiful Boy - **Canonical:** https://film.one/film/beautiful-boy - **Type:** Film - **Fi1m ID:** beautiful-boy - **IMDb ID:** tt1226837 - **TMDB ID:** 451915 - **Wikidata ID:** Q29051576 - **Same entity:** https://www.imdb.com/title/tt1226837/, https://www.themoviedb.org/movie/451915, https://www.wikidata.org/wiki/Q29051576 **Fi1m score: 68** · Critics 64 from 23 reviews *In a sentence:* Steve Carell can make us cry without quite so much assistance from the soundtrack > Steve Carell and Timothée Chalamet make *Beautiful Boy* an affecting family drama, despite a structure that gradually wears down its impact. Their performances deserve attention, though the repetition and insistent music require patience. ## Synopsis Nic Sheff (Timothée Chalamet) struggles with addiction while his father, David Sheff (Steve Carell), tries to help him recover. Their affection survives alongside growing friction, as David faces the limits of what he can do for his son. Karen Barbour (Maura Tierney) and Vicki Sheff (Amy Ryan) are part of a family trying to cope with the same uncertainty. The story moves between different periods of Nic’s life, setting his father’s hopes against the difficulties of recovery. David wants to keep helping, but concern alone cannot tell him what Nic needs. ## Review Felix van Groeningen approaches *Beautiful Boy* as a family drama about the limits of a father’s ability to help his son. It is affecting but frustrating, with two leading performances that keep us interested when the storytelling falters. Addiction tests the affection between David Sheff and Nic Sheff without making either man easy to dismiss. The difficulty is that the film keeps returning to that test without always finding enough that is new in it. Timothée Chalamet gives Nic a volatility that makes trusting him difficult without making concern for him impossible. He lets us see the shame without presenting it as a guarantee of better behaviour. We were moved by the self-disgust in his performance, because it makes clear that Nic already feels the disappointment his father struggles to contain. The acting keeps him recognisable as a person even when the writing offers little beyond another painful turn through the same experience. Steve Carell is persuasive because David’s love can become wearing, and the performance allows irritation to survive alongside concern. We understand why this father keeps trying, but also how difficult his persistence might be for his son. Their scenes together have a friction that prevents the tenderness from becoming entirely reassuring. Neither actor needs his character to be agreeable, and the film benefits whenever it allows their relationship to remain awkward without trying to explain the awkwardness away. Nico Leunen’s editing moves between different periods while trying to preserve the exhausting repetition of addiction and recovery. The changes of period too often distract from the relationship we are trying to follow, while the recurring pattern gradually becomes easier to anticipate. A straightforward march towards improvement would hardly be convincing, but the repetition needs to deepen our understanding. Across 121 minutes, too much of it merely confirms what the actors have already made clear. Ruben Impens’s polished cinematography can make the distress feel held at a safe distance, though its restraint suits the quieter exchanges. Ethan Tobman’s production design contributes to the impression of a comfortable family, whose circumstances deserve closer examination than the film gives them. Money need not protect these people from suffering for its presence to matter to their story. The soundtrack is less restrained, repeatedly underlining emotions already clear in the performances. When the music presses this firmly for sympathy, we become conscious of being prompted at precisely the moment the actors have earned our attention. The screenplay by Luke Davies and Felix van Groeningen also leaves the women underdeveloped. Maura Tierney, as Karen Barbour, and Amy Ryan, as Vicki Sheff, belong to a family whose distress is too often treated as the business of its two men. Keeping David and Nic central is a reasonable choice, but fuller attention to the others would help us understand the family they are struggling within. There are people here whose feelings seem to count chiefly when they bear on the father and son. The film deserves credit for resisting the reassuring shortcuts available to an addiction drama. It remains patient with people whose behaviour can be exhausting, and the connection between its leads gives that patience a reason beyond good intentions. That makes it worth considering for those drawn to intimate family stories, despite the music and the structural strain. If repetition is likely to wear out your sympathy, choose something else. *Fi1m score 68, published 3 October 2026.* ## What the critics say The reviews lean towards qualified approval, with the strongest agreement centred on Timothée Chalamet’s vulnerable, convincing performance as Nic. Steve Carell also draws praise, particularly for the father-son relationship that gives the family drama its emotional force. Even several detractors admire the acting. Supporters find an empathetic account of addiction’s effects on a family, with a welcome reluctance to offer easy answers. The spread is wide, however, and the performances persuade more consistently than the storytelling. Reservations cluster around a repetitive relapse-and-recovery cycle, awkward shifts in time and underwritten women; some critics also question the treatment of wealth and privilege. Music divides opinion directly: Deadline finds it evocative, while Slant Magazine considers the choices too obvious. The Hollywood Reporter offers a sharper dissent, finding the film narrow-minded and emotionally unconvincing despite its performers, while warmer reviews accept the structural problems as limitations rather than reasons to dismiss it. ## Straight answers **Is Beautiful Boy worth watching?** *Beautiful Boy* is worth considering for its affecting performances by Steve Carell and Timothée Chalamet, particularly if intimate family dramas appeal; we score it 68 out of 100. Their difficult father-son relationship holds our attention, but the repetitive structure and insistent soundtrack make this a qualified recommendation rather than an easy choice. **How long is Beautiful Boy, and what is it rated?** *Beautiful Boy* runs 2h 01m and is rated R by the MPA in the US. It is a drama film. **Where can I watch Beautiful Boy in the US?** *Beautiful Boy* is streaming on Amazon Prime Video in the US. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Beautiful Boy, and is it suitable for children?** *Beautiful Boy* has a UK 15 certificate and is not suitable for children under 15; its focus is addiction and the distress it causes within a family. We find Nic’s shame and the friction with his father affecting, so the subject matter deserves consideration for older teenagers, particularly those sensitive to stories about addiction. **How does Beautiful Boy compare to The Son's Room?** *Beautiful Boy* is the more frustrating choice beside *The Son’s Room*, which we recommend for the space it gives ordinary family routines to carry difficult feelings. Carell and Chalamet make the father-son struggle affecting, but repetition weakens its impact; *The Son’s Room* sustains its emotion more successfully, though both films sometimes lean too heavily on music. **What should I watch after Beautiful Boy?** After *Beautiful Boy*, try [*The Son's Room*](https://film.one/film/the-sons-room) (2001, Fi1m 82): A family drama that gives ordinary routines room to carry difficult feelings. Then [*A Woman Under the Influence*](https://film.one/film/a-woman-under-the-influence) (1974, Fi1m 86): Domestic distress made painfully immediate, with performances allowed to become uncomfortable. ### Reviews we read (23) - **Little White Lies**, Hannah Strong (3/4/4): Strong performances and emotional nuance make the film a devastating, empathetic character study, despite a shaky and repetitive structure. The review especially praises Chalamet’s volatile, vulnerable performance and the film’s refusal to offer easy answers. [Read](https://lwlies.com/reviews/beautiful-boy) - **Time Out**, Joshua Rothkopf (4/5): The review describes the film as an emotionally pummeling drama. It praises Timothée Chalamet’s performance as cementing his standing as a major talent. [Read](https://www.timeout.com/movies/beautiful-boy) - **Empire**, Dan Jolin (75/100, inferred): Jolin finds the film an impressively intimate and affecting family drama, though its portrayal of the women in the family feels underwritten. He especially praises Timothée Chalamet’s painfully convincing performance as Nic. [Read](https://www.empireonline.com/movies/reviews/beautiful-boy-review/) - **Los Angeles Times**, Kenneth Turan (75/100, inferred): Turan finds the film worth seeing despite familiar and sometimes dramatically unsatisfying elements. He singles out Timothée Chalamet’s extraordinary, authentic performance as its chief strength. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-beautiful-boy-review-timothee-chalamet-20181011-story.html) - **Sight and Sound**, Katie Goh (70/100, inferred): Goh finds the film faltering as a narrative but succeeding as a character study of a father and son. She singles out Timothée Chalamet’s nuanced, standout performance as Nic for praise. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/beautiful-boy-first-look-messy-destruction-father-son-bond) - **Variety**, Owen Gleiberman (70/100, inferred): Gleiberman finds the film authentic and compelling, though staid and emotionally restrained. He praises Chalamet’s transformative performance and the film’s tender, truthful portrayal of addiction’s effects on families. [Read](https://variety.com/2018/film/reviews/beautiful-boy-review-timothee-chalamet-1202932186/) - **Screen Daily**, Fionnuala Halligan (65/100, inferred): The accessible page does not reveal the critic’s verdict. Its standfirst identifies Steve Carell and Timothée Chalamet as stars but does not single out a performance or other aspect for praise or complaint. [Read](https://www.screendaily.com/reviews/beautiful-boy-toronto-review/5132434.article) - **The Guardian**, Benjamin Lee (65/100, inferred): The critic finds the film flawed but raw and haunting, with its repeated relapse cycle eventually becoming predictable. Chalamet’s performance is singled out for its effortless range and emotional force. [Read](https://www.theguardian.com/film/2018/sep/08/beautiful-boy-review-timothee-chalamet-shines-in-grim-addiction-drama) - **The New York Times**, A.O. Scott (64/100, inferred): The page could not be accessed, so its verdict is unavailable. No specific praise or complaint can be verified from the supplied content. [Read](https://www.nytimes.com/2018/10/11/movies/beautiful-boy-review-steve-carell.html) - **Slant Magazine**, Keith Uhlich (2.5/4): Uhlich finds the film emotionally affecting but weighed down by schmaltz. He praises the father-son dynamic while criticizing the overly on-the-nose musical choices. [Read](https://www.slantmagazine.com/film/beautiful-boy-2018/) - **Evening Standard**, Charlotte O'Sullivan (3/5): O'Sullivan finds the film fantastically enjoyable, though she suspects it presents the Sheff family too favorably. She praises Chalamet's convincing portrayal of Nic's self-disgust. [Read](https://www.standard.co.uk/culture/film/beautiful-boy-review-timothee-chalamets-journey-to-hell-is-a-pleasure-to-watch-a4042466.html) - **Radio Times**, Terry Staunton (3/5): Staunton finds the drama sobering and heartfelt, while praising its restraint. He singles out the loving, occasionally fractious father-son relationship as the film’s emotional strength. [Read](https://www.radiotimes.com/movie-guide/b-nmaf8z/beautiful-boy/) - **Vulture**, David Edelstein (50/100, inferred): Edelstein finds the film uneven and overly earnest, though it ultimately takes hold. He singles out Timothée Chalamet’s nuanced, compelling performance as its triumph. [Read](https://www.vulture.com/2018/10/beautiful-boy-proves-that-timothe-chalamet-is-the-real-deal.html) - **The Hollywood Reporter**, Todd McCarthy (30/100, inferred): McCarthy finds the film narrow-minded and emotionally unconvincing, despite its strong performers. He singles out the end-credits monologue by Nic as the picture’s best moment. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/beautiful-boy-review-1141182/) - **The Skinny**, Caitlin Quinlan (4/5): The review finds the film profoundly moving, despite some concerns about how it addresses wealth and privilege. It particularly praises Steve Carell and Timothée Chalamet’s empathetic performances and connection. [Read](https://www.theskinny.co.uk/film/new-releases/tiff-2018-beautiful-boy) - **Deadline**, Pete Hammond (78/100, inferred): Hammond finds the film moving and effective as a family drama, while noting that its structure is challenging. He especially praises Timothée Chalamet’s heartbreaking performance and the film’s evocative use of music. [Read](https://deadline.com/2018/10/beautiful-boy-review-steve-carell-and-timothee-chalamet-drug-addiction-drama-meth-1202479772/) - **/Film**, Marshall Shaffer (7.5/10): The critic finds the film moving overall, especially in its portrayal of addiction’s effects on a father and son. They praise Carell and Chalamet’s performances but fault the film for sidelining the women in the story. [Read](https://www.slashfilm.com/560861/beautiful-boy-review-tiff/) - **Collider**, Matt Goldberg (B-): Goldberg finds the film emotionally honest and essential, though its repeated relapse-and-recovery cycle drains its momentum. He praises the performances by Steve Carell and Timothée Chalamet for making the father and son feel human rather than simplified figures. [Read](https://collider.com/beautiful-boy-review-steve-carell/) - **The Wrap**, Alonso Duralde (70/100, inferred): The critic finds the film an undeniably wrenching but sometimes overlong exploration of addiction. Chalamet and Carell’s performances are singled out for praise, alongside the effective use of music. [Read](https://www.thewrap.com/beautiful-boy-film-review-timothee-chalamet/) - **Den of Geek**, Don Kaye (3 out of 5): The review finds the film honest but too glossy and generic to fully convey addiction’s devastation. It praises Steve Carell and Timothée Chalamet’s performances, while faulting the shallow characterization and distracting shifts in time. [Read](https://www.denofgeek.com/movies/beautiful-boy-review/) - **Consequence**, Clint Worthington (40/100, inferred): Worthington finds the film emotionally shallow and formulaic, despite its appeal as an actors’ showcase. He praises Carell and Chalamet’s performances, especially their compelling scenes together. [Read](https://consequence.net/2018/10/film-review-beautiful-boy/) - **NME**, Hollie Geraghty (40/100, inferred): Geraghty finds the film timely and essential but ultimately underwhelming. She praises Chalamet’s performance while criticizing the awkward structure and overbearing soundtrack. [Read](https://www.nme.com/reviews/beautiful-boy-film-review-essential-underwhelming-2439999) - **Eye for Film**, Angus Wolfe Murray (35/100, inferred): The review finds the film’s tension limp and its portrayal of the family’s struggle frustratingly weak. It praises Steve Carell and Timothée Chalamet, whose performances benefit from a screenplay that avoids melodrama. [Read](https://www.eyeforfilm.co.uk/review/beautiful-boy-2018-film-review-by-angus-wolfe-murray) ## Details - **Director:** Felix van Groeningen - **Director:** Felix van Groeningen - **Screenplay:** Luke Davies, Felix van Groeningen - **Cinematography:** Ruben Impens - **Editor:** Nico Leunen - **Production design:** Ethan Tobman - **Costume design:** Emma Potter - **Producer:** Dede Gardner, Brad Pitt, Jeremy Kleiner - **Cast:** Steve Carell as David Sheff; Timothée Chalamet as Nic Sheff; Maura Tierney as Karen Barbour; Amy Ryan as Vicki Sheff; Christian Convery as Jasper Sheff; Oakley Bull as Daisy Sheff; Kaitlyn Dever as Lauren; Stefanie Scott as Julia - **Runtime:** 2h 01m - **Certificate (MPA):** R - **Release (the US):** 9 November 2018 - **Genres:** Drama - **Budget:** $25 million - **Box office:** $32 million - **Trailer:** https://www.youtube.com/watch?v=8NR8w8s9zWA ## Where to watch in the US - Amazon Prime Video: streaming, uhd - Amazon Prime Video: free, uhd *Checked 2026-10-03.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Ben Is Back* (2018): Another parent faces addiction’s uncertainties, with the family drama tightened into suspense. - *Oslo, August 31st* (2011): A day in recovery, observed closely without offering much reassurance. - *The Son's Room* (2001), Fi1m 82: A family drama that gives ordinary routines room to carry difficult feelings. — [Fi1m page](https://film.one/film/the-sons-room.md) - *A Woman Under the Influence* (1974), Fi1m 86: Domestic distress made painfully immediate, with performances allowed to become uncomfortable. — [Fi1m page](https://film.one/film/a-woman-under-the-influence.md) - *The Broken Circle Breakdown* (2012): A couple’s suffering told through fractured chronology and an emotionally forceful soundtrack. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/beautiful-boy