In the space where someone makes art, two things combine. The product of their efforts takes shape as a tangible object, and the tools of their labor remain scattered around it. The artwork is the main attraction, but it wouldn't have been possible without a range of mundane items and materials. With Catacoustics III, Charles Robb once again connects the two into composite sculptural forms or installations. And he does so while building upon his previous efforts and considering another important artifact of the creative process: the public monument. Accordingly, as he explores the slippages that occur in an artists' studio, as well as the contemporary possibilities of his chosen medium of sculpture, he also constructs a fragmented replica of the Ian Fairweather (1891–1974) memorial rock on Bribie Island. Inside and outside forms of art merge, as do the familiar and strange, and the meticulously crafted and refined but also strangely disorienting, in an exhibition that ponders both form and purpose.
Everyone knows that music is best when it is live and loud, and Brisbane has the event to prove it. That’d be the aptly named Brisbane Live Music Week, a seven-day showcase of the city’s sonic shenanigans presented by community radio station 4ZZZ. Any and all gigs taking place in Brisbane from March 20 to 26 technically fit the bill, but there’s much more to the third celebration of the city’s thriving music scene than that. There’s also one-off shows, the Queensland Music Awards and an Autumn sound smorgasbord, championing a variety of acts, styles and venues. City and Colour, Melissa Etheridge, Bixby Canyon and Steve Earle and the Dukes all feature on a lineup that any event would dream of having, spanning local legends, home-grown up-and-comers and international stars. Keep checking the BLMW website for the latest additions, and for those who can’t make it in person, there’ll be special live-to-air performances across 4ZZZ and their online outlets.
Forget awards ceremonies — acting classes are where the real heroes of the stage and screen can be found. Sure, you mightn't have heard of any of the folks learning their craft yet, but you will. Today's aspiring thespians are tomorrow's stars. That's why productions such as The Government Inspector are must-see affairs if you're serious about theatre and the performing arts. Final-year QUT Bachelor of Fine Arts (Acting) students will tread the boards to showcase their skills, and treat audiences to a retelling of a satirical Russian play in the process. If you're not already acquainted with the underlying story, don't worry — tales of corrupt government officials never feel anything less than familiar. In David Harrower's translation of Nikolai Gogol's classic piece, the arrival of the titular character sends a self-serving mayor into a panic. Chaos results, but only when it comes to the narrative, not the up-and-coming cast of talented performers.
Think beer is the only beverage Brisbanites are interested in this month? Think again. The city might be celebrating ales and other hops- and yeast-infused concoctions; however Felix for Goodness is turning their attention to a different kind of drink. Yes, their tipple of choice will keep you in high spirits — as long as you like gin, that is. Prepare for an evening filled with clear, fruity deliciousness of the locally made variety. It's not called the Australian Gin Night for no good reason. Hosted by Nip of Courage, the event has everything a gin lover could ask for: gin cocktails, matching canapés, and a sample of ten boutique Australian drinks, including a mystery option. For those keen to learn more about their preferred alcoholic liquid, Young Henrys' head distiller Richard Adamson will be on hand to present his latest release. No, this isn't a beer shindig by stealth — don't forget that the Newtown brewery also make their own Noble Cut gin as well.
The team behind the phenomenal stage play Songs for Nobodies are returning for a spiritual sequel. Written by playwright Joanna Murray-Smith specifically for singer and actress Bernadette Robinson, Pennsylvania Avenue showcases Robinson's masterful vocal ventriloquism, as she performs songs by Marilyn Monroe, Aretha Franklin, Bob Dylan and more. The show had its world premiere at the MTC in late 2014, and now makes its way to the Queensland Performing Arts Centre for a two-and-a-half week run. Robinson stars as Harper Clements, a staffer in the White House Social Office in charge of booking musicians for Presidential functions. Its conceit is just an excuse to let Robinson dust off her vocal chords, delivering musical impressions so bang on the money you'd swear the actual stars were right there in the room. To read our review of the original run of Pennsylvania Avenue, go here.
Remember when your mother told you that the friends you make at university will become your pals for life? Well, there might just be some truth in that soothing statement. It certainly proved accurate for the three artists behind The Shape of Words: Nameer Davis, David Parker and Barbara Penrose. 25 years ago, they met as students at Queensland University of Technology's painting and sculpture studios; today, they're sharing a showcase at the Brisbane Institute of Art. Their background isn't the only thing that unites them, though. As the name of the exhibition suggests, they're all more than a little fascinated with text. At this reunion of sorts, see how the three diverse practitioners interpret and interact with their common interest. Given that they've all forged their own paths — Davis tutors in painting and drawing at BIA, Parker is a jeweller and painter, and Penrose is well known for her public art — expect not only a celebration of their similarities, but of their differences. Image: Nameer Davis.
Think you've seen everything when it comes to theatre? Think again. Actually, you might've seen This is Capital City when it wowed audiences at La Boite Indie in 2013; however this all-new version promises something both different and special. For the unacquainted, don't expect your usual stage effort. In an interactive performance that guides you around Brisbane Powerhouse, you'll don headphones and embark upon a solo experience, because you're a part of the film noir and science fiction-influenced action. Your motivation: searching for answers surrounding the death of a co-worker in the world of Capital City. There's a war going on, but things are looking up — until you feel the need to find the truth and seek justice. You'll wander through your surroundings and question everything you've been told. You'll also be immersed not only in your environment and the tale you're unraveling, but in an intimate production where you're instrumental to the show.
On the first Monday in October, Queensland stops to honour ordinary working folks. Their labours earn everyone a day off and a long weekend — aka the best kind of reward for hard work done well. On the evening before this annual day off, the Flying Cock want to turn the occasion into a celebration. And, being the cheeky place that they are, they've come up with the perfect name for it. Meet the Labour Party, and no, it's not the one that first springs to mind. Here, politics won't be anyone's topic of conversation. Instead, the policies include: free entry all night, letting everyone in and preferring that no one wears a white collar. Of course, the event really is just an excuse for everyone to converge on the Brunswick Street bar, not that anyone needs one on the eve of a public holiday. DJs spinning on-theme tunes and the kitchen pumping out late-night food provide extra incentive, but we think the promise of fun and hijinks followed by a sleep-in the next day is the best encouragement.
The reputation of Australia as a holiday destination — particularly Queensland — once went hand-in-hand with a tradition of postcards. Every post shop, tourist attraction and souvenir store was awash in a somewhat cheesy sea of koalas, Harbour Bridges and the ‘Aussie Beach Bum’ (complete with bikini-clad buttocks against a sandy backdrop). Greetings From… is a lighthearted reimagining of the postcard as a pictorial representation of Australia. While koalas and landmarks might still be used as subjects, the contributing artists also depict the people and places that form their personal Australian identities, from favourite local bands to household products. The result is a collection of inside jokes, shared experiences and Australian icons that create a sense of shared cultural identity and connectivity — aks a nostalgic revival of the postcard’s role as a form of communication. Greetings From… exhibits at Work-Shop Brisbane until 24 October, with all artworks available for purchase.
When it comes to fashioning a successful rom-com, finding the right blend of romance and raunchiness is a delicate balancing act. If too much of the former is present, the film can wallow in cliché and sappiness. If too much of the latter rears its head, the physical side of things can overtake the emotional aspects. Sleeping With Other People might boast a title seemingly aligned more with one of these camps than the other; however this amusing, endearing look at the lives and loves of reunited college classmates happily finds the middle ground. Sexually candid dialogue combines with sweetness, yet never of the syrupy variety. The movie's characters want a happy ending, but they want to earn it — and they want it in all its forms. In 2002, Lainey (Alison Brie) and Jake (Jason Sudeikis) meet during a dorm room altercation, start chatting about matters of the heart and body, and then lose their virginity to each other on the same night. Twelve years later, they cross paths at a sex addiction group, with both harbouring intimacy and commitment issues that plague their dating encounters. Sparks fly, though given their respective romantic troubles, they agree they'd be better off remaining as pals. That decision starts to haunt them as they realise that their bond has all the hallmarks of a relationship, other than the slipping between the sheets part. There's never any doubt that both Lainey and Jake are frequently thinking about being more than friends — and while the course the largely brightly-shot Sleeping With Other People bounces along isn't difficult to foresee, the film is primarily concerned with them fighting that urge. For the central duo, they're trying to flee from their past problems and approach romance with maturity for a change. For writer/director Leslye Headland (Bachelorette), she's attempting to explore the non-bump-and-grind aspects of falling in love. That means that a scenario that seems ripped from the familiar actually becomes much more thoughtful, stripping away the schmaltz and adding an ample dose of authenticity. It's also ripe for comedy, whether flinging fast-paced, filthy dialogue between the protagonists (or fellow cast members Natasha Lyonne, Jason Mantzoukas, Amanda Peet and Marc Blucas as various friends and lovers), joyously enjoying Brie getting her groove back by dancing to David Bowie's 'Modern Love', or finding humorous truths in darker, more reflective moments. Of course, banter infused with wit, wisdom and warmth is only part of the rom-com package, however relatable it proves. As the genre has demonstrated time and again, getting audiences to actually believe the connection between the characters is a large part of the hard work. Here, Sleeping With Other People benefits from excellent casting, as fans of Community and Saturday Night Live will already know. Brie and Sudeikis dial up the chemistry that the film so crucially relies upon, yet never at the expense of fleshing out their roles. That mix of the expected and textured is the movie's ultimate balancing act, and serves it as well as it does it stars. Sleeping With Other People knows you know what's going to happen, but filters it through frankness, upbeat realism and an engaging double act, resulting in a rom-com delight that feels as genuine as it does honest.
Over the past century, Japan has given audiences the samurai epics of Akira Kurosawa, the monster mayhem of Godzilla, the manic violence of Takashi Miike and the animated splendour of Studio Ghibli. That's quite the achievement, and it's only scratching the surface of their marvellous movie output. It is little wonder then that the annual cinema showcase of the nation's next batch of film treasures — aka the Japanese Film Festival — is a highlight of every cinephile's calendar. Here, you'll see what it takes to become a manga star and you'll unravel a boxing-centric love affair, and that's just in Bakuman and 100 Yen Love, the program's opening and closing night films. The rest of the lineup is similarly diverse, whether exploring a schoolyard transforming into a training camp for killers in Assassination Classroom, showing a strange fondness for sea creatures in Princess Jellyfish or saving Japan from nuclear disaster in The Big Bee. Of course, it wouldn't be a Japanese Film Festival without the latest Sion Sono movie as well. After wowing viewers with the genre mashup of Why Don't You Play in Hell? and the hiphop musical that was Tokyo Tribe, this time he offers up Tag, a gore fest playing with parallel existences. To view the full Japanese Film Festival program, visit their website.
Australia's Greek Film Festival is rolling back into town with its latest lineup of contemporary and classic cinema from the Mediterranean nation. Presented by Delphi Bank, this year's program features a wide selection of comedies, dramas, documentaries and shorts, as well as a career retrospective of one of Greece's most iconic stars. The festival gets under way with opening night film Alex and Eve, a local production filmed in Sydney's inner west about a Greek Australian man who falls in love with a Lebanese Muslim woman — much to the chagrin of his Greek Orthodox family. Other standouts include Athenian gangster flick Wednesday 04:45, romantic drama Riverbanks and father-son road trip movie Magic Men. For the full Delphi Bank Greek Film Festival program, visit the festival website.
At the heart of Queen of the Desert sits Gertrude Bell, a real life historic figure who was anything but ordinary. A writer, photographer, traveller and more, Bell bucked traditional gender roles, blazed a trail for women working in international politics, and ultimately played a key part in establishing the modern borders of Iraq and Jordan in the years following WWI. Sadly, while the film that tells her tale doesn't ignore those achievements completely, its primary concern instead seems to be her love life. That's how an account of Bell (Nicole Kidman) and her time in the Middle East becomes an episodic effort tied to the men she fell for and worked with. After begging her aristocratic father to send her anywhere outside of England, she is dispatched to Tehran to stay with her diplomat uncle (Mark Lewis Jones), and swiftly succumbs to the charms of embassy secretary Henry Cadogan (James Franco). When their courtship ends, Bell takes to the desert, forming a platonic bond with T.E. Lawrence (Robert Pattinson). And largely via letters, she also connects with Charles Doughty-Wylie (Damian Lewis), a married British consul stationed in Damascus. Writing and directing his first fiction feature since 2009's My Son, My Son, What Have Ye Done, Werner Herzog wants to have his cake and eat it too. He obviously intends to depict Bell as a fiercely independent woman, and yet he can't resist indulging in overwrought relationship melodrama. While such a contradiction might reflect life (and suit Herzog's fascination with existential contrasts, as seen in his other films such as Rescue Dawn and Grizzly Man), Queen of the Desert just can't seem to strike the right balance between empowered adventure and lovelorn longing. Instead, the film becomes a sweeping but standard epic, hoping to blend the emotion of The English Patient and the spectacle of Lawrence of Arabia, and ultimately proving as formulaic as that sounds. At least the latter inspiration provides striking, sun-drenched imagery, with the film at its best when it's charting a lush visual excursion across the plains. As for its worst — well, that's where the performances come in. In the cast's defence, there's a big difference between bad acting and portrayals that are stifled by bad material. Kidman, Franco and Pattinson are all serviceable, but simply aren't given the room they need to turn thinly drawn characters into something more. Kidman certainly tries in one of her most committed efforts in recent years, yet as she flits between yearning and determined, the true spirit of Bell never shines through. Accordingly, Queen of the Desert feels more like routine historical romantic fodder rather than a genuine biopic. Given the woman at its centre, that's hardly a satisfying outcome.
It sounds like the stuff of legend: a beer that's only released twice a year. If you've tasted Feral Brewing Company's Tusk tipple, then you'll agree that its myth-like status is accurate. This aggressively bitter double IPA is much, much drier than its blend of hopped mango, citrus and grapefruit aromatics seems to indicate — and you won't be able to get enough of it. In case you need any more convincing, this is the type of brew that our medieval ancestors would've brawled over centuries ago. These days, you just have to head to the right place at the right time, like the Bloodhound Bar on May 6. As part of the latest Tusk release — aka thirteen kegs shipped from the Perth brewery to East Coast establishments — the Brunswick Street hotspot is serving up their barrel of hops-laden goodness until the tap runs dry. And if the drink of the day doesn't take your fancy, don't worry; other Feral bevvys, including Imperial Red IPA Fantapants and the sour and fruity Watermelon Warhead, will be on offer too.
When Now Look Here launched back in early 2015, the fledgling theatre company had grand plans, namely creating accessible and vibrant productions of exceptional plays. Following up their sold-out debut production of Anton Chekhov's The Seagull with a double bill of early Harold Pinter works, they're making good on that promise. A Slight Ache & The Lover dives into a duo of darkly comic tales of marriage from one of the twentieth century’s most influential theatre minds. In A Slight Ache, a couple's dreams and desires are disrupted by a stranger. In The Lover, a husband and wife work through the various roles in a relationship. After rapturous reviews about her previous efforts, artistic director Kate Wild oversees the latest staging of these two classic pieces. However, she also does more than that, ensuring that the performances place both the playwright and the actors at the centre of the show.
History is littered with tales of bleak deeds, and with art that takes inspiration from real-life acts of horror and darkness. Add Rana Hamadeh's The Sleepwalkers to the latter list — but don’t expect her first solo exhibition in Australia to be a typical true crime effort. The Lebanese-born, Netherlands-based artist has enacted, then filmed, the infamous account of Raya and Sakina for her IMA showcase. Co-commissioned with Nottingham Contemporary and The Showroom in London, The Sleepwalkers rediscovers the Egyptian sister serial killers who were found guilty of the murders of 17 women, most of whom were sex workers. Their grim tale doesn't stop there, with the twosome becoming the first women to be executed by a legal court in the modern history of their country. If that sounds like the kind of tale that must've inspired many a dramatised book, film, television show and theatre production about their lives and crimes, that's because it is. And if it sounds like an utterly enthralling presentation under Hamadeh's guidance, that's because it delivers on that front, too.
If you like beer and you live in Brisbane, then you've been to Newstead Brewing Co. But have you heard owner and brewer Mark Howes share his story, and enjoyed a sip of the brewery's 2016 'I Can't Believe It's Not a Dessert Beer' sour imperial coffee porter at the same time? Well, of course you haven't, because the aforementioned beverage will only be unveiled for the first time ever on May 25. You can be there, however, and ask the man behind one of your favourite local beer brands a whole heap of questions. That's what I Can't Believe It's a Night With Newstead is all about: tasting a fresh tipple, and hearing the many tales behind one of the city's best brewers. All the foamy fun and discussion takes place at Hoo Ha Bar for one night only, complete with a tap takeover too.
Almost thirty years ago, the combined talents of Richard Curtis, Ben Elton, Rowan Atkinson and Hugh Laurie brought audiences one of the best seasons of television ever made. Today, they might be better known for Love Actually, We Will Rock You, Mr Bean and House; however Blackadder the Third will always remain one of their claims to fame. The third series to focus on the titular character found him acting as a butler to Prince George during the Regency era, and served up plenty of period gags, witty dialogue and general silliness in the process. It worked a treat on the small screen across six episodes, so Growl Theatre is hoping it'll do the same in their latest stage show. Watch the community-focused group revisit a show that made big trousers, over-sized wigs and abundant turnip references more than a little amusing, and bring their own spin to a TV comedy classic as well. Plus, they're not only paying tribute to a beloved program — they're also showcasing the inner-north finest aspiring theatre talent.
You won't find the phrase "featuring a strong female lead" in the Gallery of Modern Art's latest film program, but it wouldn't be out of place. Offering the kind of female-centric cinema showcase Netflix could only dream of (even with its fondness for those five words), GOMA's curators have turned their attention to iconic actresses and their enduring characters. That means Audrey Hepburn's charming turn in Breakfast at Tiffany's and Uma Thurman's sword-wielding mayhem in Kill Bill are both on the bill; however that's not all the In Character film season has to offer. Inspired by the gallery's Cindy Sherman exhibition, the lineup not only celebrates powerful, complicated representations of women. It also shines a spotlight on portrayals that challenge expectations about the behaviour, desire and physicality of ladies onscreen. Think of the program as the ultimate primer on girls on film, complete with classics, cult hits and auteur-driven efforts. With everything from Faster, Pussycat! Kill! Kill!, Celine and Julie Go Boating and Grey Gardens to Candyman, Under the Skin and Beyond the Valley of the Dolls included, there's your next three months of viewing sorted.
Asylum seekers, at-risk students and the environment are just a few of the issues under the microscope at this year's Human Rights Arts and Film Festival. With its touring arm returning to Brisbane Powerhouse, the latest edition of this socially conscious festival is sure to get audiences all fired up. Kicking off on May 24, the Brisbane leg of the fest begins with They Will Have to Kill Us First: Malian Music in Exile, a frank exploration of the power of music. After opening the main Melbourne event, Chasing Asylum is also on the bill, offering a confronting and extremely timely look at mandatory detention from Oscar-winning filmmaker Eva Orner. Other highlights include Sundance prize winner The Bad Kids, about at-risk high school kids in the Mojave desert, and Land Grabbing, a behind-the-scenes look at both sides of the contentious issue of land acquisitions. Read our interview with Chasing Asylum director Eva Orner here.
When is a music festival more than just a music festival? When it's a two-day, three-event sonic explosion. That's what happens when two record labels join forces to celebrate their favourite talent, of course. Eternal Paradise Festival is the end result, as well as the trio of gigs you should scoot along to this weekend. Sydney's Paradise Daily have brought their best southern bands up north, while Brissie's own Eternal Soundcheck are shining a light on their local gems, with 4ZZZ-supported music mayhem the guaranteed end result. To start off, head to The Haunt at 7pm on Friday night to see Aloha Units, The Rangoons, Bent, Martyr Privates and Piss Pain — and be sure to think of it as the first course. Saturday brings a 2pm shindig in the 4ZZZ carpark featuring Sex Tourists, The Rangoons, Aloha Units, Kitchen's Floor, Thigh Master and The 180Bs, but there's still more to come. Finish off the trifecta at The Bearded Lady at 8pm, with Sex Tourists, Ela Stiles, 100% and Deck In The Pit taking to the stage.
You know the feeling: you're looking at a piece of abstract art, and all you can really spot is shapes and colours. At Between Blue, a showcase of works by Rachael Wellisch, that's exactly what you'll see. That's the point, though. First, you'll spy blue circles, which seem like they look rather simple. Then, if you peer a little closer — paying particular attention to the texture of the fabric, the grain of the wood and the nuances of the indigo-dyed pieces — you'll see a wealth of detail. Yes, a range of shapes and colours can be all that and more in Wellisch's hands — and her choice of shade is designed to make a statement, too. Her preferred deep tones derive from the Indigofera Tinctoria and related plant species, and have been used to symbolise everything from royalty to mass production. Prepare to think about them as you stare into a sea of blue. Image: Rachael Wellisch, Indigo unpicked #2, 2016 (installation view).
When it comes to making movie magic for the masses, no one does it quite like Studio Ghibli. Yes, they're not the only animation house that makes affecting, amusing and all-round delightful fare for all ages — but there's something distinctive about their finely crafted pieces of cinema. That's reason enough for Redland Performing Arts Centre to put together another instalment in their yearly tribute, aka the Studio Ghibli Film Festival. On July 29 and 30, three of the studio's classic hits will brighten up RPAC's big screen. Yes, it is worth driving to Cleveland to see them. At 1pm, discover just what happens when a girl grows from a bamboo stalk in The Tale of the Princess Kaguya. Then, dive into the world of fighter plane design in The Wind Rises at 4pm, followed by the ecological adventure Tales from Earthsea at 7pm. Everything screens twice — not just because each film is excellent, but because Friday's sessions will be captioned for the hearing-impaired.
For close to four decades, Sydney artist and filmmaker George Gittoes has chronicled the darker side of human existence. Travelling everywhere from Somalia, Rwanda and Bosnia to Nicaragua, South Africa and Afghanistan, his pieces and films have documented unimaginable atrocities. And, more than merely observing such incidents, his efforts have inspired confronting bouts of contemplation — and earned him the 2015 Sydney Peace Prize in the process. Accordingly, Gittoes has amassed a large collection of work on both canvas and celluloid — and yet, surprisingly, he has never been the subject of a commercial exhibition in Brisbane. Coinciding with the release of his latest book of the same name, Night Vision presents art created over the last 30 years that typifies his commitment to social, political and humanitarian considerations. Plus, not only will the showcase grace the walls of Mitchell Fine Art from July 27 to August 20, but Gittoes himself will be in town to chat about his career. Head along to the gallery for the official opening night celebrations on July 29, drop back in at 11am on July 30 for an artist talk, and then mosey over to GOMA at 1.30pm for a screening of Gittoes' latest documentary Snow Monkey, followed by the launch of the Night Vision book and a signing session.
"If you're going to tell a story, come with some attitude, man," says Miles Davis (Don Cheadle) during a recorded interview with journalist Dave Brill (Ewan McGregor). It's a statement that provides a clear picture of the way Davis looks at the world, as well as the distinctive perspective that floats through his music. Uttered at the beginning of biopic Miles Ahead, it's also a statement of Cheadle's intentions for the film. The actor doesn't just star as the jazz legend, but also directs, co-writes, produces and provides additional compositions too. In doing so, he attempts to make a feature that captures the spirit, rather than the exact details, of Davis' remarkable story. His is a movie of mood and essence, made-up of events that spring from Davis' energy, rather than a traditional fact-driven biography. It's a character study of a real-life figure that tries to convey just what made him tick by intertwining glimpses of two career-defining periods. In fact, another line of dialogue sums up the tale the movie doesn't tell. "I was born. Moved to New York. Met some cats, made some music, did some dope, made some more music. And then you came to my door," Davis quips to Brill when they first meet at the end of the 1970s. Brill shows up claiming to be chasing a big comeback story for Rolling Stone magazine, with Davis' five-year hiatus not just disappointing his fans, but angering his record label. Stubborn and boasting plenty of swagger, Davis has his reasons: drug addiction, a desire to keep a tape of his latest playing session away from a particular producer (Michael Stuhlbarg), and the heartbreak of a failed marriage to his first wife, dancer Frances Taylor (Emayatzy Corinealdi). Cue a portrait of Davis' tumultuous escapades with Brill, in an odd-couple pairing laced with chases, arguments, parties and shootouts, plus flashbacks to both happier and darker times. In combining the two, Cheadle fashions his film in the same manner as Davis' tunes, complete with poetic interludes and tangents, instances of symmetry and mirroring, and a freewheeling pace and style. And yet, as determined as he is to ensure Miles Ahead looks and feels just right, the feature almost comes to resemble a caricature of a jazz movie. Sometimes it's effortlessly engaging as it flits from one incident to another. At other times, it's a little too erratic and indulgent. Instead, it's actually the actor-turned-director's performance that achieves his true aim. From the changes in his stance to the rasping emotion in his voice, Cheadle's interpretation of Davis is as compelling a presence as the artist's music. He's at his best when he's bouncing off of one of his co-stars, including Short Term 12's Keith Stanfield as an up-and-coming trumpeter clearly meant to represent Davis' youth. And though McGregor seems to be blending his performances in Velvet Goldmine and The Ghost Writer, the duo's shared dynamic still ranks among the film's biggest strengths.
Sequels to romantic comedies are rare. When a movie trades in the dream of finding love and living happily ever after, exploring what comes next tends to ruin the fantasy. That's the problem My Big Fat Greek Wedding 2 faces as it endeavours to revisit the characters from its popular predecessor — and like Bridget Jones: The Edge of Reason and Sex and the City 2, it struggles. Everyday relationship issues, coping with kids and the minutiae of marriage are more the domain of sitcoms than rom-coms, after all. It's little surprise, then, that this return to the big fat Greek world wouldn't feel out of place on the small screen, rather than in cinemas. In fact, 2002's My Big Fat Greek Wedding already inspired one season's worth of television, My Big Fat Greek Life, back in 2003. The latest extension of the story ignores the TV series' existence, although it firmly follows in its footsteps. In fact, from the angsty teenaged daughter who wants nothing to do with her parents, to the demanding relatives who can't keep out of each other's business, it's the kind of fare you'd expect to watch in 30-minute weekly episodes in the comfort of your own living room. After close to two decades together, Toula (Nia Vardalos) and Ian (John Corbett) have well and truly settled into wedded bliss — and made themselves a little too cosy and complacent, they begin to realise. They try to reignite the spark in their romance; however Toula's obsession with where their only child, Paris (Elena Kampouris), will go to college doesn't help matters. Nor does the sudden need of her elderly mother (Lainie Kazan) and father (Michael Constantine) to throw their own wedding ceremony, after discovering that their marriage certificate wasn't formalised 50 years earlier. Cue a second big fat Greek wedding, and an excuse to get the whole gang from the first film (including Australian actress Gia Carides) back together. The broader group is still a collection of walking clichés, with neither subtlety nor skirting stereotypes high on the film's list of priorities. Given that their antics are constantly commented on by a couple of snarky neighbours, observations about the difference between Greek and American culture provide the bulk of the movie's content. And while such obvious insights are clearly designed to be jokes by Vardalos, who writes as well as stars, they rarely inspire more than the occasional laboured chuckle. And yet, Vardalos' honey-coloured view of her ancestry, the immigrant experience and the eccentricities of living with such a big, close Greek family as she wades further into middle age remain sweet, even if they're hardly amusing the second time around. There are traces of ragged charm to this Kirk Jones-directed effort, like slipping on an old item of clothing and finding it still technically functional – even if it is rather scruffy and well-worn. If the film's core couple are too comfortable, so is the sitcom-style sequel itself. It knows that recapturing its initial magic is a difficult task, but it also knows that it may as well try anyway — and doesn't even contemplate attempting something more.
As anyone who can recite the words to a certain Olivia Newton-John and John Travolta duet — i.e. everybody, admit it — knows, summer days drift away to summer nights. And while the season hasn't quite hit Brisbane yet, the warm temperatures means it already feels like it, which is why the Brightside is throwing a Summer Fling Party. Grease isn't actually the theme, although we bet you won't be able to stop thinking about the classic flick while you're having some heated fun. Or, like Danny and Sandy, perhaps you'll be thinking about finding your own summer romance. After all, the event does merge Brighty's famous Summer Soire with a traffic light system. Attendees will get a lei at the door, with green for those who are keen, red for revelers with a significant other, and yellow for anyone who falls into the maybe category. Whatever colour you opt for, dancing the evening away to All The Shots, Stateside, Set The Record and Glory Days is a given — as is having a summer night to remember.
Get the balloons, streamers, cake and canles ready, because one of Brisbane's favourite haunts is celebrating a birthday. The Fortitude Valley venue that threw open its doors in late 2013 — and has hosted everything from bands of the local, national and international variety to theatre, comedy, poetry and wrestling since — is turning two years old. To mark the occasion, the New Globe Theatre has invited beloved Brisbanites Mosman Alder to headline their shindig. Not only will they be the star of the show, but they'll be debuting their brand new video for album track 'Golden Archers' as an extra-special gift. Little Aztec, Mudshadows, The Dominiques, Mecha Mecha, Cheezel Dust and All Strings Attached are also on the bill for an event that isn't sparing any opportunity to get into the partying mood. Yes, this is how you turn two in style — and how a Brisbane hotspot should enter into toddlerhood.
When it comes to the works of the man known as the Bard of Avon, there's really only one way to get the real Shakespeare experience. Sure, you probably studied his plays at school, and likely watched one or two that have been turned into films — but have you witnessed his lines read live in a theatre production? That's how good ol' William intended his efforts to be consumed, after all, so one event is offering that chance to the masses. In its ninth iteration, the Brisbane Shakespeare Festival is back with another bustling program filled with flowery prose read aloud. See The Comedy of Errors — the Bard's shortest and perhaps most slapstick comic offering — performed for free across the city's outdoor spaces, and arrive early to enjoy the clash and clatter that comes with a demonstration of swordplay beforehand. Sonnet reading features too, and for those who can't tear themselves away from the movie realm, watching big screen productions of classics such as Othello and A Midsummer Night's Dream is also on the line-up.
If the end of times means endless kegs of beer, then count us in. We're certainly willing to pretend the former is the case if the latter is the reward — and so are the folks at Archive Beer Boutique. That's why they call their signature annual event Armakeggon after all, though you, the tasty brews and the bar will all be around long after the 2015 shindig is over. Well, that and it's a catchy name to describe a day that features 40 extra special, often one-off beverages poured through the West End establishment's taps until their beer-loving hearts are content. For those after more than an out-of-the-ordinary drop of the yeasty good stuff, the affordable price of admission — $10 in advance, $15 at the door and $30 with a bonus t-shirt — includes brewery stalls, live music and maybe even some surprise guests. Oh, and there'll also be a barber on site, too, because the only thing better than spending the day drinking is getting a new look while you're doing it.
How do stories from the past change when you're telling those stories with new technology? The artists featured in Experimenta Recharge explore this question, as well as how knowledge might be communicated to new generations through cutting edge media. Media art is naturally multidisciplinary and experimental, and the variety of art forms featured in this exhibition — photography, sound art, animation, film, robotics and electronic sculpture, to name a few — make for an intensely stimulating sensory blend. Several works have been commissioned specifically for the exhibition, including a 3D-printed take on 19th century portraiture by Australia’s Cake Industries (Simulacrum 2014), a sound and mixed-media installation piece by German artists Korinsky (RL2000, 2014), and Australian artist Svenja Kratz’s sculptural mix of synthetic materials and cancer cell DNA (The Contamination of Alice, 2014). Experimenta Recharge’s opening night on 25 August features live performances by Michelle Xen and The Neon Wild, with the exhibition continuing until 4 September and then reopening as part of Brisbane Festival from 8 to 26 September. Image: Khaled Sabsabi. ‘70,000 Veils’ (installation view, RMIT Gallery, Melbourne) 2014. 100-channel digital video, 100 LCD monitors, 3D glasses, sound dimensions variable. Image courtesy RMIT Gallery and Experimenta Media Arts. © the artist.
The story of Cloudland, an iconic ballroom that loomed over Brisbane from its perch in Bowen Hills for more than forty years, is a perfect example of a city’s transient state. Demolished in darkness in 1982 despite public demand for preservation, the building literally disappeared from Brisbane’s landscape overnight. Robyn Stacey’s exhibition reminds us that cities are not permanent — buildings come and go. She uses the ancient photographic technique of camera obscura — blacking out rooms and allowing light to enter through a small hole, turning the entire room into a skewed photographic version of the world outside — to capture Brisbane landmarks that are as much a part of the city’s identity as Cloudland was ... and as impermanent. The results are dreamlike and disorienting, forcing the viewer to see the city as something not quite real. Robyn Stacey: Cloud Land exhibits at the Museum of Brisbane from 18 September to 3 April 2016. Robyn Stacey will also discuss her work with Shaune Lakin as part of the Brisbane’s Open House’s Speaker Series on 20 September.
The weather might be heating up in sunny Queensland, but that doesn't mean you can't all spend a day pretending you're somewhere much, much cooler. How does an imaginary visit to Denmark, Sweden, Norway, Finland, Estonia and Iceland sound? All you need to do is head along to the Scandinavian Festival Brisbane. Now in its fourth year, the annual showcase of countries with colder climates offers a smorgasbord of authentic food, entertainment and shopping that'll make you think you're on the other side of the world. Yes, the festival does include two of the things Scandinavian nations are best known for: Ikea and Lego. It also includes more than 50 stalls serving up Swedish pastries, Finnish recycled products, Nordic homewares and other goodies, plus traditional folk dancing and music. There's even a Viking painting studio, which might be designed for younger patrons, but we think the young at heart count too.
Break out your best flannelette shirt, lace up your Doc Martens and steel yourself for getting up close and personal with the writhing masses. They're the only ways to prepare for the Brightside's latest celebratory evening. Yes, the theme is music you can mosh to. That means the likes of Nirvana and At the Drive In will be sending everyone rushing for the dance floor, plus Blink 182 and Sum 41 as well. When it comes to covering such classic bands, Bayharbour, Sentiments and Headwound The Pony will be doing the honours. It all makes for a night of heavy tracks and hefty party vibes — aka the kind of night everyone wants to experience. Staying once the live music portion of the revelry is over is recommended, because that's when the Brighty DJs will spin all the other grunge, mosh and punk tunes you know, love and want to headbang along with.
Art is much more than beautiful images: it is a form of communication. Through their work, artists tell stories and express the ideas and concepts that shape their individual worlds. In many ways, having this ability is a luxury that a more disadvantaged individual may not be afforded. Art From the Margins (AFTM), a creative initiative of Wesley Mission Brisbane, provides an opportunity for those artists living with adversity to have a voice. A repeating part of the Brisbane Festival program since 2008, the 2015 AFTM exhibition attracted more than 400 entries — a record number for the event. With a theme and public forum on ‘creating wellness’, the diverse collection of artworks provides a view into the lives of those on the fringes of the community. Held in Brisbane City Hall from 25 to 27 September, the exhibition features several artist floor talks, a pop-up café and live music event, and an artist celebration and award day.
Since the 1950s, viewers have watched kaiju wage war in popular culture. Since 2013, drinkers have let an Aussie-made beer battle it out with their tastebuds. Monster Taps and Art: Kaiju Tap Takeover and Art Show blends the best of both worlds. Here, you'll find creative renditions of the giant monsters, and the tasty brew that took inspiration from them. In fact, Kaiju beer is already doing both — and we're not just talking about its status as the tipple of choice for anyone viewing Godzilla or Pacific Rim. Indeed, this Saccharomyces Beer Cafe event not only focuses on their yeasty beverage, but on the artwork of designer/illustrator Mikey Burton, who also whips up their labels. His pieces will line the walls, while Kaiju's liquid goodness will flow through the taps. Long-time fans and newcomers alike can sip on their Metamorphosis, Robohop, Aftermath and Hopped out Red brews, and taste something different, too, courtesy of their GABS beer Compendium which comes with fruity, bubblegum and banana aromas.
Are you serious about your rum? Or just know you love the stuff? Either way, there's a rummy adventure happening in Melbourne throughout August and you can get involved. Fine purveyors and makers of rum for over 265 years, Appleton Estate will bring back The Appleton Trail, a month-long celebration of Jamaica's long-loved spirit. Throughout August Brisbanites can pull up a pew at rum-lovin' pub London Fields in West End and taste the gems of the Appleton range and get into the summery Jamaican spirit. The venue will be serving up special Appleton cocktails every night in August as well as some super tasty Jamaican street food — think jerk chicken burgers, cassava chips and rum-glazed hot wings. Yep, it's time to switch to rum for winter — it's one of the best ways to keep warm, after all.
Australia's favourite fuddy duddy film critic is back in town. Coming to New Farm Cinemas for the first time, the Great Britain Retro Film Festival will feature a selection of classic British films, each of which has been specifically chosen by the great David Stratton. So yeah, don't expect to see any handheld camerawork in these. Running from May 14 to 29, this year's festival features 10 iconic films with not a single dud in sight. Highlights include Carol Reed's The Third Man and the young Maggie Smith-starring The Prime of Miss Jean Brodie, as well A Matter of Life and Death by acclaimed directing duo Michael Powell and Emeric Pressburger. Tick a few unseen titles of your watch list, or catch them for the umpteenth time. Even if you were normally on Team Margaret, you'll find plenty on the program to enjoy.
It's a great time to pay tribute to ladies in science. On cinema screens everywhere, a fab foursome of females has been veering into the spooky and sci-fi side of things in a little film called Ghostbusters; however if you're a Brisbanite and you're into art, that's not the only celebration of women in the field you should flock to. The exhibition offshoot of QUT Creative Industries' one-day CONFLUENCE symposium — where political and social themes of creative practice at the intersection of art, science and technology are the main topics of discussion — Femel_Fissions shines a spotlight on the historical influence of women on scientific discovery and research. If you're not aware of the groundbreaking work ladies in lab coats have contributed to neurology, biology, cytogenetics, psychology, primatology and anatomy over the past three centuries, you will be after viewing this collection of creative pieces. Newly commissioned works by contemporary art/science practitioners Trish Adams, Tarsh Bates, Gina Czarnecki, Svenja Kratz, Rachel Mayeri, Helen Pynor and Jillian Scott all feature, and all strive to highlight the unrestricted inquiry and experimentation that sits at the heart of both of their chosen areas. The showcase kicks off with an opening night event at 5pm on July 19, and then runs from Monday to Friday until August 19. Image: Svenja Kratz, 'Life and Death Vessels: A Collection of Curiosities' 2011.
When a laneway boasts a pub, bar, bistro, pizzeria and beer cafe — and will soon play host to Brisbane's only Gelato Messina store — it's the kind of place you want to spend plenty of time in. And whether you've been hanging around South Brisbane's Fish Lane already, or you're planning to in the future, here's another reason to stop by: they're throwing their own free festival. That'd be the aptly titled Fish Lane Festival on May 7, which promises to showcase all of the food and drink options the stretch of road between Merivale and Grey streets is known for, plus a few other nearby favourites as well. Satisfying your hunger and thirst isn't the only thing on the agenda, though. Two stages of live music will also feature among the gourmet eats, signature dishes, and craft cocktail beer and wine bar pop-ups,complete with tunes by Reece Freeman, Franky Smart, Groove or Die, Soulergy Music and Parasol. Trust the folks from The Fox Hotel to be behind the fun; they are the laneway's most prominent hangout, and one of its longest-standing hotspots, after all. They'll be joined by Billy Kart Kitchen, Birds Nest Restaurant, Fish Lane Bistro, Gauge, Habitat Restaurant & Bar, Julius Pizzeria, Madame Wu, Maker, Saccharomyces Beer Cafe and The Gunshop Cafe. And, gelato fans, Gelato Messina will be making a pop-up appearance ahead of their much-anticipated October opening. Not only does it sound like a great day out, but it's also the kind of party that wasn't possible even a decade ago. Remember when Brisbane didn't have thriving nooks and crannies like this? Yes, we're choosing not to, too; however Fish Lane Festival proves a very fitting celebration of the city's blossoming laneway culture. Fish Lane Festival takes place from 12pm on May 7. For more information, visit the festival's Facebook page. Image: Dana Newman for Gelato Messina, coming soon to Fish Lane.
There's a time and a place for everything, and that includes talking, jeering and heckling in a cinema. Well, in a bar that's screening a film, to be precise. Of course, the overall effect is the same. Yep, if you've ever wanted to share your snarky remarks while watching a trash classic, or shout at characters on screen doing stupid things, Comedy Commentary Cinema is the safe space where that really can happen. At their first-ever screening, you'll watch the 1989 kung fu comedy Samurai Cop, and you'll enjoy a participatory experience in the process. No one will shush you here. Comedians Jasmine Fairbairn and Chris Martin will be on hand to oversee the shenanigans, get the chatter started and offer their own comic thoughts. Arriving early to grab snacks and drinks from the bar is recommended. And you thought this was the kind of thing you could only do in your lounge room.
A film festival dedicated to American films? Bear with us here. Sure, Hollywood pumps out most of the movies that reach our screens, but don't expect to see superheroes battling for supremacy, transforming robotic cars saving the world or an endless parade of sequels at Essential Independents: American Cinema, Now. Instead, the brand new event is dedicated to the types of US flicks that don't usually make it to our shores. Here, smaller titles and character-driven fare share the spotlight with experimental efforts, intriguing docos and the kind of classics that you won't find on every retro lineup. Think revisionist westerns featuring gun-slinging gals and explorations of important American artists, plus the chance to see early work by the Coen brothers, Kathryn Bigelow, Richard Linklater and Sofia Coppola in a cinema. The festival will run from May 17 until June 8 at Palace Centro. You can find Brisbane session times here. Need help deciding what to see? Take a look at our top five films to see at the festival.
Anyone can drink a lager, pilsner or pale ale. Not everyone can knock back a stout or porter. And while the former are available everywhere, you won't find a celebration of the latter just anywhere. That's why Milton's favourite dive bar started the Weekend of Darkness. Since 2013, the Scratch has dedicated two days each year to showing their love for brews on the blacker end of the beer spectrum — and offering a home for those who feel the same way, of course. If it's yeasty, liquid and overflowing with smoky, coffee, chocolate, spiced and even bourbon flavours, you'll find it here. You'll also find snacks, offbeat vibes and strange happenings galore. Expect this year's dalliance with the dark side to kick off on Friday to extend the drinking fun, include a 30-beer lineup, and also offer a feast of burgers from local BBQ legends the Shank Bros. Expect everything, be it food, booze or atmosphere, to warm up your insides too. There's a reason this takes place in winter, after all.
In Frances Ha, Greta Gerwig became the on-screen embodiment of a predicament most twenty-somethings can relate to: knowing what you don't want out of life, rather than what you do. In Mistress America, she offered a different side of failing to achieve your dreams, this time from a slightly older perspective. Now, in Maggie's Plan, she grapples with the fact that you can't control everything, no matter how hard you try. Consider it the next phase in her ongoing examination of the idiosyncrasies of quarter-life malaise. Written and directed by Rebecca Miller (The Private Lives of Pippa Lee) based on an unpublished novel by Karen Rinaldi, the film explores two schemes hatched by the eponymous Maggie (Gerwig), a college careers advisor whose life is...well...a bit of a mess. When the film opens, she's telling her married best pal Tony (Bill Hader) about her intention to become a mother using sperm donated by their high school classmate turned pickle entrepreneur Guy (Travis Fimmel). Cut forward three years and she instead has a daughter with John (Ethan Hawke), an anthropology professor and aspiring novelist who's struggling to cut ties with his imposing ex-wife Georgette (Julianne Moore). Although it may certainly sound like one, to simply call Maggie's Plan a romantic comedy doesn't quite do the film justice. While the situations the characters find themselves in are by no means unique, there's a level of intricacy to all the major players that ensures Miller's screenplay feels as authentic as it does amusing. When Maggie tries to muster a polite response to Guy's offer to help her get pregnant "the old-fashioned way", for example, her awkwardness feels ripped from reality. That's the gift that both Gerwig and Miller bring — an understanding of how to convey life's ups and downs in a way that's equally playful and relatable. The two prove as an apt a pair as Gerwig and Frances Ha filmmaker Noah Baumbach, yet they're not the feature's only standouts. Adopting a severe Danish accent that she takes time to settle into, Moore proves both hilarious and surprisingly sympathetic. Of course, with its jaunty jazz score and New York setting, Maggie's Plan can't escape the shadow of other, similar films gone by. It's not only Baumbach that springs to mind, but Woody Allen — though any resemblance is likely by design. Miller has crafted a movie knowingly comprised of familiar parts, but cleverly filled with astute reflections that tell the tale from a fresh perspective.
Turning a novel into a play is no easy feat — the laws of written fiction can be very different to those of onstage drama. But Andrew Bovell's adaptation of Kate Grenville's hit novel, The Secret River, was so popular when it debuted in 2013 that it returned for a Sydney encore, and now heads to Brisbane. Not only did the production sell out, it won a slew of awards, including six Helpmanns — Best Play, Best Direction and Best New Australian Work among them. With Neil Armfield in the director's chair, the play tells the story of two families and one landscape. The first is that of William Thornhill. A convict from the dark, crowded, desperately poor slums of London, he thinks he has found a home for himself and his family on the Hawkesbury River. And he can't believe his luck. The other family is one of the Dharug people, who have lived in the area for thousands of years and whose survival — physical and spiritual — depends on their surroundings. Unable or unwilling to relinquish his hold on the land, Thornhill makes a horrific decision, which he carries with him for the rest of his life.
The best artwork makes audiences see things in a different way. Perhaps a piece plays with different formats. Or, it could simply shine a new light on existing elements. Maybe it makes a statement that fuses seemingly unconnected ideas, items and places. Meagan Streader's W-inter aims to do all three in an immersive, large-scale installation. In Metro Arts' first exhibition for 2016, she fashions a mesmerising field of illuminated linear structures. Her creations not only craft a futuristic vision of cyberspace, but also respond to the gallery's heritage-listed building in a way that has never been seen before. Basically, Streader's latest show aims to embody a term that gets bandied about all-too-often in the art world: sensory experience. Given that W-inter combines light, geometric lines and architecture, the Brisbane creative is certainly doing her best to earn that description — and, you can hear chat about all that and more at an artist talk on March 2.
With Supanova in town this weekend, pop culture enthusiasts can be forgiven for being all a-flutter. That's your daylight hours taken care of, but what's an avid fan to do after a day spent strolling around a convention? The Motor Room has the answer. Yes, the West End hangout is throwing a video game music party — aka the perfect way to keep the geek-fuelled vibes going. Of course the evening is called Press Start to Continue. And of course it features game music maestros Boss Fight, plus Sydney's jazzy gamer outfit The Consouls in their first-ever Queensland show. Both bands will pump out a soundtrack of all the tunes that have kept your favourite game titles jumping, whether you're a dedicated arcade aficionado or prefer to keep your frenetic button-pressing to the confines of your lounge room. Expect classics and anthems from across all platforms, as well as a few dips into the more obscure. And, expect the most amount of fun you can have when you're not playing your favourite console.
Ever daydreamed about breaking out of the 9-to-5 grind by taking to the streets and throwing a lunchtime party? We all have, but such flights of fancy have stayed confined to our imaginations — until now. Between 11.30am and 2.30pm on December 4, the stretch of Albert Street running from Charlotte and Mary streets will become the kind of midday fun fair usually relegated to the realm of fantasy. Instead of road, you'll find astroturf. Instead of cars, you'll find deck chairs. Instead of inner-city hustle and bustle, you'll find live music, board games and craft workshops. Yep, it's the perfect way to celebrate a whole host of things: an hour out of the office, the end of the week and the arrival of the holiday season, for starters. It's also a great excuse to head away from the mall, put Christmas shopping out of your mind and really enjoy all things festive. Image via Kgbo.
When it comes to annual traditions, the release of a new ensemble Christmas movie is among the most reliable. That doesn’t mean that it’s good — it just means that another festive feature seems to reach screens every year, overflowing with star power as well as predictability. This year's entry is Love the Coopers, and if you've seen a holiday flick before, you can probably already guess the storyline. On Christmas Eve, a dysfunctional family has to overcome their differences and learn to appreciate each other — and yes, the film really is that routine. That's not the only dash of formula director Jessie Nelson (I Am Sam) and writer Steven Rogers (P.S. I Love You) sprinkle throughout their big screen attempt to deck cinemas with some yuletide cheer. There's nothing like a last chance at happiness, aka a potentially final Christmas together as a group, to up the stakes. And, when following a big group getting into the spirit of the season, why not flit between individual stories before weaving them all together in the manner of Valentine's Day and New Year's Eve? Indeed, on the checklist of standard elements in occasion-oriented offerings, Love the Coopers ticks all the boxes. The characters continue the trend, including bickering, long-married parents Sam and Charlotte (John Goodman and Diane Keaton), and troubled adult children Hank and Eleanor (Ed Helms and Olivia Wilde). Sam and Charlotte are about to separate, but haven't told anyone yet. Hank has just divorced from Angie (Alex Borstein), struggles with sharing custody of his three kids and can't find a job, while Eleanor is sick of being judged for being single, so she convinces Joe (Jake Lacy), a soldier she meets in an airport bar, to pretend to be her boyfriend. Throw in a few other stragglers — Charlotte's jealous sister Emma (Marisa Tomei), who spends her day dispensing amateur counselling to a closeted cop (Anthony Mackie); Aunt Fishy (June Squibb), the requisite eccentric elderly person with a failing memory; and family patriarch Bucky (Alan Arkin), who's closer to the waitress (Amanda Seyfried) at his local diner than his family — and the scene is set for the usual festive hijinks. Arguing and hugging ensue, and then more of the same. Presents and food are often in the frame. It's all as predictable as eating too much at Christmas dinner, only not at all filling. Narration links what are essentially intertwined short films; however the feature falls victim not just to cheesy clichés, but to blandness. Wilde and Lacy's segment invests a little energy into proceedings, and Arkin and Seyfried share the sweetest story, but they're the highlights of an average-at-best lot. The performances meet the same fate, with the rest of the high-profile cast largely squandered. Wasted, too, is any sincerity and good cheer, as an overdose of sentiment and contrivance leaves the bulk of the movie veering in tone and feeling forced. Sweeping camerawork can't improve matters, nor can a schmaltzy soundtrack. The end result: Love the Coopers isn't a seasonal gift, but a holiday chore.
This year, the Brightside welcomed fried chicken joint Lucky Egg to the fold; however that's not the Fortitude Valley venue's only source of edible fun. For one afternoon only, they're inviting some of the city's favourite sources of meals on wheels to stop by for a laneway party. What better way to celebrate Brisbane's obsession with street food, after all? Yep, The Bun Mobile, The Bone Lorry, Micasa, Juan More Taco and Gourmet H-Dogz will be making Warner Street their temporary home for what's certain to be a scrumptious way to end a Friday. With delicious burgers and ribs, both Tex-Mex and Mexican morsels, plus hotdogs on the menu, one thing is certain: you'd best arrive hungry. If you've been to one of Brighty's regular shindigs, no doubt you're already keen — and no doubt you already know that it's not just your stomach that'll be satisfied. At the Truck-It Street Feeds Laneway Party, a local music lineup and other funky forms of entertainment are all part of the package. An after dinner game of bag toss, horseshoe or life-sized Jenga, anyone? Image via The Bone Lorry.
