Age: 37
male
Matthew David Lewis (born 27 June 1989) is an English actor. He is best known for his role as Neville Longbottom in the Harry Potter film series. Born in Leeds, Lewis made his acting debut in Some Kind of Life (1995), guest-starring on dramas for ITV and BBC One before appearing in Harry Potter and the Philosopher's Stone (2001). Lewis played the role for ten years, concluding with the final film, Harry Potter and the Deathly Hallows – Part 2 (2011), for which he received critical praise. Following the series, Lewis reoccured in The Syndicate and performed his first theatre role in Our Boys at the Duchess Theatre in 2012. Lewis starred in The Rise (2012) which premiered at the Toronto International Film Festival to positive reviews and made appearances on BBC dramas Bluestone 42 and Death in Paradise in 2013 and 2015, respectively. Lewis had a supporting role in Me Before You (2016), which became a box office success. He was cast in the crime dramas Ripper Street and Happy Valley before starring on the ITV drama Girlfriends in 2018. Lewis appeared in Terminal (2018), which premiered at the Edinburgh International Film Festival as well as Baby Done (2020). Since 2020, Lewis has starred in Channel 5 television series All Creatures Great and Small to critical praise.
"Make God Laugh" is an unflinching American biographical drama that plunges into the beautiful, frenetic, and ultimately tragic psyche of the fastest mind in comedy. The film rejects a standard chronological birth-to-death structure, instead unfolding across three intersecting timelines: a black-and-white 1978 Los Angeles as a coked-up, scared young comedian meets his idol John Belushi on the night of Belushi’s death; the Technicolor chaos of the 1990s "Mork and Mindy" and "Aladdin" heights, where Robin battles his inner demons while trying to be a present father; and the somber, digitally sharp 2010s, where a quieter, deeply paranoid Robin struggles with a mysterious neurological decay misdiagnosed as Parkinson’s. Will Ferrell delivers a transformative, Oscar-worthy performance, capturing not just the manic, improvisational tornado the public adored, but the profound stillness and bone-deep exhaustion of a man who believed his only value came from making others laugh, terrified of the silence within himself. Jason Reitman directs with a delicate balance of kinetic energy and crushing intimacy, channeling the collaborative tension of "Saturday Night" into the lonely corridors of fame. The film doesn’t shy away from the addiction, the infidelities, or the devastating reality of Lewy body dementia, but it frames them not as tabloid fodder but as the desperate symptoms of a man whose immense, empathetic heart was wired to feel everything too deeply. The title, taken from an old adage about the hubris of making plans, serves as the central theme: the painful divide between the joy Robin Williams projected and the internal narrative of a man who spent his final days in a fog of cognitive decline, believing he had lost the only currency that mattered—his ability to connect. The final act is a tear-streaked tribute to the silence behind the laughter, ending not on his death, but on a flashback to the first time he ever made his stoic father genuinely laugh.
