The Hunt

And this week's Friday night movie has been... The Hunt!

Original image located here. Accessed 12th June 2026

This came recommended to me. So may as well take a look.
So what we have here is a Danish film wherein a school teacher is accused by one of his students for something heinous. The accusation is false but this movie is more concerned as to what happens next.

Clearly this movie is one intent on raising questions: We see the teacher's life collapse, the community turn against him and the words of the accuser flip-flop between truth and dishonesty. The answers aren't always clear, favouring instead to let the audience make up their own mind.

Personally I find this movie was at it's most compelling in showing how a community turns on someone. And it is done with a cold ruthlessness: No indication that this was a bunch of people circling like sharks waiting for blood in the water; no stopping to consider any discrepancies in the child's account; no pausing to stop paternal instincts to ponder on the consequences of one's actions.
Indeed it took me a while to realise there is little to no soundtrack in this movie, favouring instead to let the silence weigh in. 
And it's that coldness that makes this movie so striking. 

Also, if Die Hard is a Christmas movie does that mean this is a Christmas movie as well?

Malcolm X

 And this week's Friday night movie has been... Malcolm X!

Original image located here. Accessed 5th June 2026

Surprisingly I haven't seen any of the filmography of one Spike Lee. The immediate impression is that he is a black movie director making movies for a black audience - which subsequently places me in a considerable disadvantage. 
Still I've been meaning to watch this as a) I seen Denzel Washington in numerous movies and he never disappoints, b) I am curious to find out more about a historical figure that I have heard a lot about but only in name and c) I am willing to consider a perspective different from my own.

But what does it matter? Turns out this movie was something unexpected: A biopic that transcends it's intent and becomes something more epic. I mean it worked for Lawrence of Arabia...
Seriously though, this is very effective as a character study, taking us through Malcolm's life, highlighting key points and showing his passion for civil rights. His speeches, teachings and white-hot rage (pun unintended) are all incorporated and even moments when his views are challenged (i.e. his pilgrimage to Mecca and what happens afterward) are included. Indeed, even if the widely-known image of Malcolm X is one of anger, this movie does indeed go to great lengths to show there was a humanity tied to him. 
When one watches a biopic, one gets the feeling that they are watching a propaganda piece but I never got that that with this movie - which means it did it's job better then anyone could've hoped for. 

Funny thing: I did find the first hour a bit of a mess but it really got more focused once Malcolm went to prison, had a religious revelation and began heading on his path of being a civil rights activist. But having typed that sentence out, it would appear that that was the point....

The Beekeeper

 And this week's Friday night movie has been... The Beekeeper!

Original image located here. Accessed 29th May 2026

Some of my workmates suggested I should watch this. So here we go. 

So what we have here is a burly action hero taking action against some computer nerds that are out to scam the livelihood out of some unsuspecting saps. Certainly it makes for an experience that many can relate to - especially considering that the perpetuators of such schemes get away with a lot and the victims are left with next to nothing- except a desire of justice that will never be realised. 
Indeed, I can imagine the elevator pitch for this: 'Jason Statham punches out Mark Zuckerberg'

Jokes aside, this was a solid action flick with some great actions scenes and some delicious catharsis of seeing some internet scam artists getting their come-uppance. 

Oh a sequel is being made? Well I'm for it. 

Interstellar

And this week's Friday night movie has been... Interstellar!

Original image located here. Accessed 22nd May 2026

This has been a long time coming. But now: No more excuses. I am going to sit though this and I will gleam something from it.
Hopefully.

When I was a kid, I often dreamed of leaving the earth and travelling the stars in a spaceship (as kids are often wont to do). Having seen this movie however such dreams now seem like several lifetimes away.

Okay serious now: I was impressed with this movie. Certainly this is a Christopher Nolan movie so one will expect a lot of dialogue and the cerebral elements pushed to eleven - to the point where they threaten to crush the rest of the movie. 
But what makes this movie work is the vision, the visual spectacle and how it takes the science seriously. Say what you like about Nolan's tendency to get behind material that is denser than lead, he sure knows how to craft an incredible movie.

Perhaps it is fitting that Nolan will go on to tackle The Odyssey as that too features a protagonist who takes a very long time to get home..... 

Kundun

And this week's Friday night movie has been... Kundun!

Original image located here. Accessed 15th May 2026

Over the years I have been slowly getting more acquainted with the oeuvre of Martin Scorsese. So let's take a look perhaps his most unique movie: A biopic on the life of the 14th Dalai Lama. 

Watching this movie I can't help but think of The Last Emperor. Sure such a declaration will be unfair to this movie but it isn't hard to imagine this movie looking over The Last Emperor's shoulder and taking notes. Both follow the pattern of a boy thrust into a position of power, not knowing quite how to handle it, and how it effects him into adulthood. 

Still this is still pretty good and quite an effective turn from someone who built their career from making New York crime dramas. But this isn't just Scorsese's show: he is backed with the staggering visuals of cinematographer Roger Deakins, the evocative score of Philip Glass and the editing of Thelma Schoonmaker. All four are bringing their A-game and the result is a truly a stunning movie. 
It's just a shame that the weak point of this movie is the narrative: It seems disjointed & plodding at times and proves to be quite the Achilles heel.

Nevertheless, this is an impressive movie and certainly a stand-out in Scorsese's filmography. 

Strangers on a Train

  And this week's Friday night movie has been... Strangers on a Train!

Original image located here. Accessed 8th May 2026

Once again, we take a look at the oeuvre of one Alfred Hitchcock. 
It can't be denied that Hitchcock produced a body of work that is both large and impressive. Problem is, some of his lesser-known movies end up lost in the shadow of the more well-known ones. Which brings me to Strangers on a Train. It may not have the name recognition as Psycho or The Birds but it is one that I've been wanting to see for years. Why? Apparently there's a climax which is a chase scene on a Merry-Go-Round - one that The Master himself said was the most dangerous sequence he ever had to shoot. 

Like Hitchcock's other movies, this has the usual building of suspense - which is not surprising given this is from the Master of Suspense - so has this one has something of it's own to say? Yes indeed: There are some impressive sequences involving shadows and night time that look unique. There are some truly stunning examples of dread which stand out decades later. 
Also of note is just how this movie had the balls to have a clearly gay relationship with it's hero and villain - and in the early 1950s no less. Sure The Master did the same thing with the earlier Rope but this is more obvious. Which makes me wonder how they got away with it at the time. 
And as for the promised climax? I was not disappointed. Certainly gripping and staggering considering that this was done in the early 1950s. 

All in all, this may not be well-known when compared to Hitchcock's more well-known movies but this is still capable of standing on it's own two feet. 

The Armstrong Lie

  And this week's Friday night movie has been... The Armstrong Lie!

Original image located here. Accessed 1st May 2026

Continuing on with my fascination with documentaries that started in one place only to end up somewhere different, we come to this: A documentary on notorious cyclist/drug cheat Lance Armstrong.
In 2009, documentarian Alex Gibney was working on a documentary on Armstrong but the project was brought to a halt due to his exposure as a dope cheat. However such footage did end up being used years later in this documentary - alongside new material Gibney shot with Armstrong in the wake of the collapse of both his career and reputation.

There are two narratives working here but both ultimately build a portrait of Armstrong. And it isn't a pretty one: A lack of a father in his life. A determination to win. A belief that losing is a fate worse than death. A resilience that walks hand in hand with malignity. A grip on the myth he created that is held like his life depended on it. 
Certainly the story - going from beating cancer to winning the most demanding sporting challenge in the world multiple times - is a strong one but this is still a glimpse into the mind of a villain: It's someone who wants to triumph and refuses to care about the damage wrought to get there. And perhaps that's where the strength of the documentary lies: That such villains exist in the world and that one is someone who got to the top through an astonishingly crafted deception. 

It may not make for a pretty viewing experience but it is a fascinating one. 

The Wild Robot

    And this week's Friday night movie has been... The Wild Robot!

Original image located here. Accessed 24th April 2026

I was burned by Kung Fu Panda 4. Can I trust DreamWorks again?

Apparently so.

It can't be denied that DreamWorks has proven itself to be a major rival to the Disney monolith. But personally I always felt that the identity that DreamWorks forged for itself was one that was defiantly anti-Disney. And it's an approach that proved successful (Shrek anyone?).
That being said, you wouldn't think that that DreamWorks would try and tackle something both sincere and heartfelt. 

But that's exactly what's happened here: Get past the jokes and anti-establishment ethos in the first portion, and you'll find something of wonder. It's not just the stunning visuals, the creativity on display and the imagination peppered throughout. Oh no, there are some substantial musings on parenthood, the notion of abandoning primal instincts for civilisation, and, particularly in my eyes, the implication of an autistic person coming in and ultimately uniting a disparate community. 

Personally? DreamWorks have produced some stellar works and this stands proudly among them. 

One Battle After Another

And this week's Friday night movie has been... One Battle After Another!

Original image located here. Accessed 17th April 2026

Best Picture Oscar winner no.: 98 (2025) 

It's the latest addition to the line of Academy Awards for Best Picture so how does this one stack up against it's brethren? 

In recent years I have heard some movies made before 1990s being reassessed through having some dated portions & mindsets and subsequently being explained away as being 'products of their time'. This in turn makes me wonder if a similar fate awaits the movies being made in the past decade. I say this as this movie is very much a product of this current time with it's themes: people rising up in violent protest, old white dudes being villainised, people of colour taking aggressive stances and ordinary folk being pushed around by military forces.

But that's only in the first portion of the movie. Because partway through the movie it changes gears and the rest of the runtime is dedicated into being an abduction thriller. And that's where One Battle After Another really shines, being tense and exciting. 
So would that make the first portion something of a Trojan horse? Perhaps but I am impressed that the Academy had the balls to give this the top award. I suppose that is an indication of where the Academy may be heading with the voting process: Changing the rules, challenging formula and adapting to fit the times. And if that means seeing a whole lot of unconventional Best Picture winners then hey, I'm all for it.

The Rise of the Red Hot Chili Peppers: Our Brother Hillel

And this week's Friday night movie has been... The Rise of the Red Hot Chili Peppers: Our Brother Hillel!

Original image located here. Accessed 10th April 2026

This documentary has been doing the rounds lately so I grew curious. Not much is said about the early days of the Red Hot Chili Peppers (ie. pre-Under the Bridge/Blood Sugar Sex Magic) so perhaps this will fill a void....

So what this is a biography on both the Red Hot Chili Peppers and their original guitarist Hillel Slovak. In regards to the latter, a lot is revealed about him: His early life, his childhood bonding with Anthony Kiedis and Flea, his passion for art, his mastery of the guitar and, his influence on the Chili Peppers themselves. Both Kiedis and Flea contribute their own recollections as well as former band mates and friends. And AI is used to replicate Slovak's voice to read his diary entries, thereby giving Slovak a say in the narrative. 

While this documentary works as a vital document of the afore-mentioned early days of the Chili Peppers, it's ultimate goal is to paint a portrait of Hillel Slovak: showing everyone who he was as a person. And it's this that the documentary succeeds with flying colours.
It is striking to see Kiedis and Flea speak openly about their former bandmate - particularly with the latter breaking down. Clearly the loss of their bandmate is still being felt decades later and they are still keen on making sure Slovak isn't forgotten. There certainly is some guilt expressed over how Slovak's ultimate fate and both maintain that the Chili Peppers wouldn't turned out the way they did without his involvement. 
Also of note is John Frusciante, Hillel's successor, providing his own words of admiration for Slovak. 

Like any good documentary it's a compelling mixture of triumph and tragedy. And it does the job of filling in a vital, and indeed overlooked, spot in the Chili Peppers' history.
It's very human and very honest.

My Kid Could Paint That

 And this week's Friday night movie has been... My Kid Could Paint That!

Original image located here. Accessed 3rd April 2026

Last year I was watching a number of documentaries that started going in one direction but ended up somewhere else entirely. But for some reason, I abandoned this approach. So why not resurrect it? After all, this breed of documentary is fascinating to me. 

And this one is a doozy: This is a documentary from 2007 that chronicles a little girl named Marla Olmstead. At four years of age, she shows an ability with painting and is able to produce works that resemble that of abstract expressionism. Before too long, Marla has her own exhibitions, earning praise for her childlike approach and is making serious money.
But then, halfway through the documentary, something happens: 60 Minutes do a feature on Marla, asserting that she is not the genuine article: She is not a child prodigy, she is producing art comparable to that of a normal preschool child and she may have had assistance from her father. 
What follows is the assertions that the works are genuine - even to the point of filming Marla making a piece for five hours - even when the works produced after the expose look different when compared to those that came before.

What is fascinating about this documentary is that the conclusions it draws are non-existent. HOWEVER! The questions it raises are something else: Was it a hoax? Were 60 Minutes being needlessly aggressive? Is abstract expressionism a legit form of art? What makes a child prodigy? Is Marla allowed to be a child? Are we the audience meant to draw our own conclusions?
Given that documentaries often serve as propaganda it is remarkable just how open-ended this one ends up - why, even the director admins to camera that he himself is unable to reach a definitive conclusion. 
And that's what makes this documentary so compelling. 

A Star is Born (2018)

 And this week's Friday night movie has been... A Star is Born (2018)!

Original image located here. Accessed 27th March 2026

AKA: The one with Lady Gaga in it.

Once again, the question I posed previously persists: Given that there are four versions of this movie, what is it about it that keeps bringing people back to it?
I have mentioned the potency of the source material, the potential for real-life parallels and how easily this movie can adapt to the times. But another reason comes to mind: The role of the female lead is one that any actress can really sink their teeth into - Indeed, it is telling that each remake is defined by who plays the female lead. I guess it's fair to say Judy Garland ended up setting a benchmark that many an actress has sought to match.

Of the four this is the most recent and, without a doubt, the one most people will be familiar with - after all, that's what star power does for you. So, lets bring this little experiment to a close.

Of the three predecessors, this one owes the most to the 1976 version. And it's not just the rock music framework: A lot of the plot points were reiterated quite closely. And that is odd given that each of the previous iteration has something of their own to say. It is telling that Jon Peters, producer of the 1976 version is also credited as producer here too (still no sign of a giant mechanical spider though).
Still, this does have what worked previously: The instance of a first timer with something to prove (director Bradley Cooper and star Lady Gaga) The real-life parallels with Cooper and Gaga showing chemistry both on and off screen and the implication of a rock star being surpassed by a modern form of pop music. 

But does this movie has something of it's own to say? Well yes: Lady Gaga delivers a stellar performance and her afore-mentioned chemistry Cooper does indeed sparkle. But hey, this is tried and tested material so you know it's going to work.  

A Star is Born (1976)

And this week's Friday night movie has been... A Star is Born (1976)!

Original image located here. Accessed 20th March 2026

AKA: The one with Barbra Streisand in it.

Let us, for a moment, go back to that question I posed last week: Given that Hollywood has produced four versions of this movie, what is it about A Star is Born that keeps bringing people back to it?
One likely reason is that it can easily be adapted to fit the times it was made: If the 1937 original was a snapshot of the Golden Era of Hollywood, and 1954 version came out at a time when musicals were popular, then this one brings something it's own to the table: It ditches the movie approach for one about music. In particular rock music and the industry attached. 

It may be a new approach but let's be honest here: This is all Streisand's show. She stars, is the executive producer, used her own clothes for her wardrobe (as the credits seem eager to point out) and has her then-hairdresser-turned-boyfriend Jon Peters as producer (well before his obsession with mechanical spiders). It would be easy to say this is her bid for some credibility/An Oscar, taking some tried-and-tested material and bringing her own stamp on it - but the question is, does it work? 

When I was a young lad in the nineties, I had a view of the seventies as being one borne of derision: There were hippies everywhere, the hair was bad, the fashion was worse and a lot of the music was over-produced and over-bearing. Granted such a perception was a product of a narrow one but I bring this up because this movie does nothing to challenge said perception. 
Sure the source material does translate well into a music environment, sure Kris Kristofferson plays the role of 'washed up and self destructive' rock star well, sure Streisand does indeed get chances to flex her vocal prowess (the final eight minutes being of particular note). But does this work as a whole? 
Honestly I'm torn here: For every strength this movie has, a weakness emerges: The Oreos. Streisand not quite cutting it is a rocker type. It's meandering nature. The aforementioned aesthetic. 

Still, there's always next week.....