Oliver Jackson
Oliver Jackson plays Tim, the one of the original three heisters whose internal logic the film deliberately leaves opaque. Where Vinnie Jones's Golden Pole is presence-as-threat, Scot Williams's Michael is the moral compass, and Gil Darnell's John is the talker, Tim is the one the audience can't quite read. Jackson plays him slightly off-tempo with the rest of the group — and that off-tempo is the engine of the third act.
Career context
Jackson came up through British theatre and screen work and has accumulated a steady run of supporting roles, often in productions where his job is to be the character the script is least transparent about. Redirected uses him for exactly that. He gets fewer lines than the other three British leads. He gets significantly more reaction shots.
The Tim performance
Tim is not unsympathetic but not transparent. Through the first two acts he reads as the most volatile member of the group, but the volatility is reactive — he flares up at others' decisions rather than initiating his own. The film holds back on showing his interior. The third act then reveals it.
Tim is one of the two crew members (alongside Ben) who Staska tortures during the middle act — a sequence Jackson plays with a different rhythm than his co-stars. Where Strachan's Ben absorbs the torture as a kind of professional cost, Jackson's Tim treats it as evidence about something he had not allowed himself to think clearly about until that point. The performance shift becomes part of how the script tracks him toward the closing sequence.
Without going into spoilers, the third act gives Tim a specific arc that pays off the small choices Jackson has been making across the first two. The film holds back the payoff long enough that some viewers may not register the setup; once it lands, the structural reading of his performance shifts retrospectively. See our ending explained page for spoiler-heavy treatment.
What this tells us about the script
Most heist comedies assign one character to each genre register: comedy, intimidation, planning, chaos. Redirected uses three for that — Ben, Michael, John — and reserves the fourth slot for something more unusual. Tim exists, structurally, to give the script somewhere to put its actual seriousness. The film is willing to be funny for ninety minutes, but it wants room for a moment that isn't, and Jackson is the place that moment lives.