What's that you can hear? It's the sound of Aussie music fans cheering at their computer screens, because Red Bull Sound Select has finally made it to Australia. Having already taken the US by storm, the artist development program designed to unearth and support new local talent launches in Sydney today, Tuesday, April 12. And it's perhaps the best response to the lockouts yet. Since its start in the States in 2012, Red Bull Sound Select has spread to Canada, New Zealand and now (finally) Australia. Along with their streaming site — where you can discover new songs and artists — the team throws gigs each month, working with the likes of Santa Monica's KCRW, San Francisco's Amoeba Music and NYC's BrooklynVegan to curate kickass, ahead-of-the-curve shows. It's all designed to make discovering new local music easy and affordable. Sydney has been chosen for the Australian launch of Sound Select, which will see a program of monthly gigs curated by massive local legends Johann Ponniah from I OH YOU and Laneway Festival's Travis Banko. Each show will take place on the last Friday of the month and feature a lineup of three acts, starting with two Red Bull Sound Select emerging artists — handpicked by Ponniah or Banko — and finishing up with one Aussie headliner. The first show will kick off this month on Friday, April 29 at the Chippendale Hotel. Presented by I OH YOU, Perth's Methyl Ethel will headline, with Melbourne up-and-comers Rolling Blackouts Coastal Fever and Sydney's own Flowertruck opening, as well as surprise acts too. "As fans of what the program has been achieving internationally, we're incredibly excited to be a part of bringing [Red Bull Sound Select] to Australian shores," said I OH YOU's Johann Ponniah. "Just hoping we can keep pushing the envelope like other curators have been internationally and program some of the best up and coming talent that Australia has to offer." To attend the inaugural Sound Select Sydney show, just RSVP on their website. It costs $3 online or $10 on the door — but if you're buying one on the day, be sure to arrive early as the event will be capped. We couldn't be more psyched to see Australian artists get the recognition (and the opportunities) they deserve from such first rate international players.
When Miley Cyrus came in like a wrecking ball, she didn’t just try to erase all memories of childhood sweetheart and her previous claim to fame Hannah Montana from public consciousness. Her identity revamp earned excessive media attention, yes, but it also inspired Adam Brunes and Naomi Price of the award-winning the little red company to turn her transformation into a banging cabaret show. The title may be obvious; however, the treatment of the tale certainly isn’t — nor is the talent on display. Playing Miley at her most gleefully misunderstood, the excellent Price lends her voice to and twerks her mojo in a twist on what became obvious tabloid fodder. Her former teen idol has come to party. Expect all the hits and all the heart in both a celebration of the show’s inspiration, and of being yourself and following your dreams. Expect hilarity, as well, as Wrecking Ball blasts judgments and breaks walls.
Last year, we got all revved up about Speed the Movie the Play, but when it comes to comical stage interpretations of famous '90s films, it seems that was just the beginning. And while there'll sadly be no blank-faced Keanu driving a bus, this year's Brisbane Comedy Festival will take on the tragic romance of Kate and Leo (as well as the just-as-tragic collision of a boat and some frozen water). Yes, your heart will go on as two lovestruck ship-dwellers attempt to overcome their different backgrounds, ignore any rules about getting hot and steamy in someone else's car, and try to avoid a pesky iceberg. And chances are you'll still laugh along — even though you know how it all turns out. Actually, maybe you don't; if anyone was going to work in Winslet's recent revelation that there was actually room for DiCaprio on the door that proved so pivotal to the movie's final scenes, it's this spirited bunch. Titanic the Movie the Play is one of our top ten picks to see at the Brisbane Comedy Festival.
It's a risky and even cheeky move, packaging a film with a song that could be used to describe it. Thankfully, in the case of 2014's The Lego Movie and its instant earworm track, everything was indeed awesome. The animated flick's long-awaited sequel offers another self-assessment in closing credits tune 'Super Cool', however the description doesn't fit this time around. Nor do the words unbelievable, outrageous, amazing, phenomenal, fantastic and incredible, further praise sung by Beck, the Lonely Island and Robyn in the catchy and amusing song. Instead, The Lego Movie 2: The Second Part is fine, standard, okay and average. Of course, those words don't have the same ring to them, even if they were set to a thumping beat. The Lego Movie left its successors with big shoes to fill — or big bricks to emulate, to be more accurate — and this direct follow-up does so in an entertaining enough but never especially inventive or enthralling fashion. Call it a case of trying to build the same thing with different pieces. Call it constructing a masterpiece and then falling short with the next attempt. Call it a case of sticking too closely to the instructions again and again. Whichever one you choose, they all fit like rectangular plastic pieces stacked neatly on top of each other. You could also call it a case of following Emmet Brickowski's (Chris Pratt) lead, with the mini-figure's fondness for routine already well established in the first movie. He's so comfortable doing the same thing day in, day out that he's even happy to keep doing so in the new dystopian version of his hometown, Bricksburg. He knows that much has changed since alien invaders made from bigger blocks descended from the heavens. His brooding best friend Lucy (Elizabeth Banks) also reminds him all the time. But it isn't until General Sweet Mayhem (Stephanie Beatriz) arrives, bearing an invite from the Systar system's Queen Watevra Wa'Nabi (Tiffany Haddish) and sweeping Lucy, Batman (Will Arnett), Benny (Charlie Day), MetalBeard (Nick Offerman) and Unikitty (Alison Brie) away, that Emmet abandons his blissful monotony and springs into action. Viewers of the initial flick, The Lego Batman Movie and The Lego Ninjago Movie will remember two important aspects of the Lego Movie Universe. Firstly, mile-a-minute jokes and pop culture references are as much a part of the franchise as multicoloured bricks. Secondly, more often than not, the series' animated tales tie into a real-world scenario. While original directors Chris Lord and Phil Miller have handed over the reigns to Trolls filmmaker Mike Mitchell, their humour still bounces through in the movie's fast-paced script. And while The Lego Movie's big twist — that the whole story stemmed from kids simply playing with the titular toys — is old news now, The Lego Movie 2: The Second Part builds upon this idea. Once again, the film spends time with now-teenager Finn (Jadon Sand), who's still far from pleased that his younger sister Bianca (Brooklynn Prince) likes Lego as well. Cue The Lego Movie 2: The Second Part's troubles. Lightning rarely strikes twice, after all. The film serves up enough funny gags to keep audiences chuckling, throws in more than a few ace cameos and has the same infectious, anarchic vibe, but it was never going to feel as fresh. It also benefits from a fantastic overall message, but doesn't give it enough emphasis until late in the show. After pondering the divide between rules and creativity in the first picture, the franchise now contemplates collaboration, sharing and the gendering applied to playthings, roles and fandom. That's both smart and relevant, yet here feels underdone. Basically, anything new comes second to everything that's been done before, resulting in the most superfluous kind of sequel. This follow-up is happier rehashing its predecessor's glory days than channelling the ingenuity that made the original so charming. Of course, if The Lego Movie hadn't been such a vibrant, witty delight, then The Lego Movie 2: The Second Part wouldn't feel so familiar. An adequate addition to the series, it still contains plenty to distinguish it from other all-ages animated fare — including an eye-catching and distinctive animation style, enjoyable skewering of Pratt's many non-Lego characters, and Noel Fielding as a sparkly Twilight-esque vampire. But, five years on, viewers are now in the same situation as Lucy: ready to embrace a challenge, rather than falling back on comfortable old habits. https://www.youtube.com/watch?v=XvHSlHhh1gk
The Scandinavian crime fixation currently sweeping non-Nordic nations shows no signs of abating. Jussi Adler-Olsen's Department Q series provides the latest instance, a four-instalment-to-date police procedural setting a duo of detectives in search of answers to dead cases. The Keeper of Lost Causes is the first feature to result. All the elements exist in director Mikkel Nørgaard and writer Nikolaj Arcel's version of the novel. (They're both veterans of the burgeoning genre with resumes that encompass television's Borgen and the Swedish-language The Girl with the Dragon Tattoo as evidence.) An odd couple, an against-the-odds task, brooding backstories, a pretty prey and a cat-and-mouse game with the perpetrator furnish a feature that stays within the confines of the expected — except for one significant deviation. As well as tracking the law enforcement quest to uncover the truth, the film gifts viewers with the victim's perspective: her tale told as a parallel to the investigation. The Keeper of Lost Causes is in cinemas on July 31, and thanks to Madman Entertainment, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Read our full review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=68sO1s9Hy70
Back in 2018, Australia scored the kind of festival we were always bound to, and to love: The Drop, a music fest that sets up its song-filled stages beside the country's iconic surfing spots. And if that still sounds like your idea of quite the big — and sandy — day out, you'd best get ready to surf the festival wave again, with the event returning in 2022 and 2023. In 2022, The Drop will stage a two-date run in New South Wales, hitting up Bondi Beach and Coffs Harbour in October. This marks the first time that the fest has made its way to Bondi, so expect it to be huge. On the bill at both 2022 shows: Tones and I, Matt Corby and Dune Rats, as well as Cub Sport, Gretta Ray, Shag Rock, TOWNS and Hallie. They'll head to Sydney's most famous beach on Saturday, October 15, then back it up the following week, on Saturday, October 22, at Park Beach Reserve in Coffs Harbour. [caption id="attachment_753215" align="alignnone" width="1920"] Walk Wild Studio[/caption] Fans in Queensland, Victoria and Western Australia, where The Drop has played before, will need to wait until next year to get their sun, surf, sand and song fix. The 2023 lineup hasn't been revealed, but dates have announced. Whether the event will do what it usually does and follow the Aussie leg of the World Surf League (WSL) Championship Tour hasn't been confirmed yet either, but fingers crossed. Stops are locked in for Coolangatta, Torquay and Busselton, though, plus a return to NSW thanks to the Newcastle show. And pairing music not only with sandy settings, but with surfing contests, has always been a big part of The Drop. If you have tickets to previous The Drop fest that didn't go ahead due to the pandemic, you now have a few options — to either roll them over to the new festivals in each location (where they're returning), switch to Bondi or Coffs Harbour instead, or obtain a refund. [caption id="attachment_753214" align="aligncenter" width="1920"] Ian Laidlaw[/caption] THE DROP FESTIVAL 2022 DATES Saturday, October 15 — Bondi Beach, Bondi, New South Wales Saturday, October 22 — Park Beach Reserve, Coffs Harbour, New South Wales THE DROP FESTIVAL 2022 LINEUP Tones And I Matt Corby Dune Rats Cub Sport Gretta Ray Shag Rock TOWNS Hallie THE DROP FESTIVAL 2023 DATES Saturday, January 21_Sunday, January 22 — Queen Elizabeth Park, Coolangatta, Queensland Tuesday, March 28 — Empire Park, Newcastle, New South Wales Saturday, April 8 — Torquay Common, Torquay, Victoria Saturday, April 15 — TBC, Busselton, Western Australia Saturday, May 13 — Queen Elizabeth Park, Coolangatta, Queensland The Drop will return for two 2022 festivals in New South Wales in October. Ticket pre-sales start at 9am on Tuesday, August 9, with general sales from 9am on Wednesday, August 10. For more information, visit the festival's website. The Drop's 2023 lineup will be announced closer to its 2023 dates — we'll update you when details come to hand. Images: Ian Laidlaw / Miranda Stokkel.
It was a groaning, grimacing Timothy Spall who won the Best Actor Award at the 2014 Cannes Film Festival, for a role in which his face is frequently scrunched, his posture is constantly hunched, and his voice is guttural when heard. His applauded performance leaves a lasting imprint, yet as primal as it proves, it only scratches the surface of a character and a film both called Mr Turner. Beneath the physicality sits a portrayal and a biopic that finds underlying beauty in brutality, while never equating both traits as opposite extremes. Such an approach matches the 19th-century subject, the titular J.M.W. Turner, who made his name painting vistas of land and sea. Some of his oil and watercolour pieces showed pastoral elegance, but for all his praised use of light, increasingly his pictures were tinted with the destruction and violence of nature. His command of technique remained untouched; however, the tone of his canvases evolved over the course of his career. This professional progression, venerated now, wasn’t well received during his lifetime. In Mr Turner, Spall inhabits the hulking figure of a reclusive and eccentric man in what amounts to slices of his existence over his final quarter-century. In his personal affairs, his ailing father (Paul Jesson), his dutiful housekeeper (Dorothy Atkinson), and his secret landlady turned companion and confidant (Marion Bailey) all influence this last difficult chapter, one also marked by the former mistress (Ruth Sheen) and daughters (Sandy Foster and Amy Dawson) he refuses to publicly acknowledge. Writer/director Mike Leigh is known for his fondness for and feeding off of the improvisation of his cast. His films — recently, Happy-Go-Lucky and Another Year – are a cooperative act between the auteur and his actors. Accordingly, his overarching narratives can be driven by the whims of individual scenes, as is strongly the case here. In Mr Turner, Leigh has crafted a pieced-together story that showcases the very best of everyone involved. Spall’s every action may monopolise the frame, but in this feature as in all of the filmmaker’s offerings, there isn’t a bad performance to be found amongst the sprawling yet subtly brushed tale. Indeed, it is with a painter’s touch that Leigh guides his cast, and that his actors enliven their characters, constructing the film layer by layer. The exquisite visuals by Cannes award-winning cinematographer Dick Pope perform the same creative task, further perfecting the feature’s evocation of its central vocation. From sequences following Turner traversing the countryside, to quiet conversations stolen indoors, every image tumbles from artistry – whether glimpsed alone or considered as a whole. As Mr Turner finds the humanity within the harshness of a life of winding down and of an extraordinary talent housed within a complex man, Leigh and his collaborators on-screen and off turn the corresponding account into its own masterly work.
After eight seasons, a huge body count and an enormous wait for winter, Game of Thrones is coming to an end in 2019. But that doesn't mean saying goodbye to the world first created by author George R.R. Martin — not only thanks to the author's books, whenever The Winds of Winter eventually hits shelves, or even simply due to the planned prequel series. In addition, fans will soon be able to visit a heap of new GoT tourist attractions. After filming much of the show in Northern Ireland for the past decade, HBO has announced that it's teaming up with Tourism NI to open a number of sets and sites to the public for the first time. If you've ever dreamed about walking around Westeros, this will be your chance. Winterfell, Castle Black and King's Landing are among the iconic spots that'll feature in what's being called Game of Thrones Legacy. Visitors won't just see the ancestral home of House Stark, the headquarters of the Night's Watch or the capital of the seven kingdoms, but also view exhibitions complete with costumes, props, weapons and set decorations, plus art files, models and other production materials. There'll also be accompanying digital content and interactive materials, highlighting GoT's digital effects. Given that the show includes both dragons and wights, aka Martin's version of zombies, there's plenty to showcase. The project is still in an exploratory process, with full details still to be revealed, but a 2019 opening date has been slated. Seeing as though the show's final season will air next year, that timing is hardly surprising — you'll probably be able to find out whether Jon Snow really knows nothing, and then head to Northern Ireland to visit many of his haunts.
If you need a reason to see Blanc de Blanc, it's this: it comes complete with a human champagne fountain. Of course, given that the acrobatic cabaret is the latest production from Brisbane Festival favourites Strut & Fret (aka the folks behind LIMBO, Fear & Delight and Cantina) that shouldn't be the only enticing factor. It's a show that's heavy on vintage glamour and agile acts, as well as foam and giant bubbles. Heading to Brissie straight from London's West End, it's also the most indulgent, seductive and cheeky night out you're likely to have in some time — but hey, isn't that what festivals are all about? Image: Ken Leanfore.
In seventeenth century Italy, beneath the mountains surrounding Lake Como, a young couple on the eve of their wedding discover, to their horror, that the local tyrant has his sights, and loins, set on the bride. With an already exploited, oppressed people suffering from famine and plague their story takes on Shakespearean overtones. Soon Lucia and Renzo see their lives crash around them as the groom faces the axe and the bride abduction. Whatever their fate, their story inspired a nation. A blend of words, dance and music this production of I Promessi Sposi teases out the golden thread of Manzoni’s novel, and reveals the story of all us.
Life is full of the kind of realisations that can only inspire laughter. You know the type: something has gone wrong (yet again), or just hasn't turned out as planned — and the best way of coping is to giggle and guffaw until you feel better. Christopher Welldon has turned that sort of scenario into something he's chuckling at — and he hopes you will do the same. Having moved house 60 times in 34 years, he's sharing his stories of hopping from one home to another, with the end result a combination of catharsis and comedy as part of this year's MELT Festival.
Time for a once-in-a-lifetime adventure? Don't settle for an experience that might better be described as "once-in-a-while." Fortunately, there's no such problem when it comes to Legendary Journeys – Ultimate Private Experience by Preferred Hotels & Resorts, the world's largest independent hotel brand. Delivered in partnership with Bucketlist Xperiences, this ultra-luxe 17-night itinerary spans Singapore, India, Rwanda, Kenya, Greece, Morocco and London, departing Tuesday, October 6, 2026, and shaped for those seeking a truly unparalleled escape. Flying on a private VIP airliner customised for luxury travel, up to 58 passengers will relish an epicurean experience, with an in-flight chef serving gourmet cuisine alongside curated wines and spirits. Meanwhile, the trip is taken to the next level with seamless transfers, private airport access, luggage concierge and personalised gifts. Throughout the itinerary, a 17-member service team will oversee every detail, no matter how small. Oh, and a professional photographer and videographer will be on hand to document every leg of the journey. With non-stop highlights over three weeks, this exclusive experience begins in Singapore with a two-night stay overlooking Marina Bay. Expect sunset cocktails on the roof and a welcome celebration perched above the waterfront. Then, this trip is bound for Jaipur, India, where guests will stay amid palatial splendour in Rajasthan before taking VIP excursions to iconic landmarks like the Taj Mahal, the Amber Fort and the City Palace. Africa awaits next, with guests headed to Kigali, Rwanda, for a two-night visit. Staying at the newly opened Mövenpick Kigali, guests are welcomed with a private reception hosted by President Kagame (yes, really). The following day, climb into a helicopter to soar above the Virunga Mountains, then trek through Volcanoes National Park to catch a glimpse of local gorilla populations. The wildlife experience continues in Kenya, where guests sleep in luxury safari tents as they embark on thrilling Big Five game drives between sunrise hot-air balloon flights and champagne breakfasts served deep in remote plains. Trading in dry and dusty conditions for Aegean coastal bliss, the journey soon touches down in Santorini, Greece, with guests relishing the Oia cliffside. Soak up a sunset sailing adventure, then sip on rare Assyrtiko vintages native to the region. Onwards to Marrakech, Morocco, guests will head into the medina for some local shopping, with time to spare unwinding in a traditional hammam. Rounding out this extravagant adventure is a final stop in London, with guests delighting in the world's first super boutique hotel — The Londoner. So, what does it cost to experience this genuinely once-in-a-lifetime holiday? Just a cool $133,500 USD per person. Sure, that's not the kind of money most of us can find down the back of the couch. But if you're a high-flying traveller with the means to make it happen, look no further for the vacation of your dreams. "Our mission has always been to connect travellers with the world's most remarkable independent hotels and destinations in ways that are both unforgettable and transformative," says Lindsey Ueberroth, CEO of Preferred Hotels & Resorts. Legendary Journeys – Ultimate Private Experience by Preferred Hotels & Resorts takes place from Tuesday, October 6—Friday, October 23, 2026. Head to the website for more information.
UPDATE, June 2, 2023: Roadrunner: A Film About Anthony Bourdain is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. When Anthony Bourdain strode around the world, and across our screens, in food-meets-travel series A Cook's Tour, No Reservations, The Layover and Parts Unknown, he was as animated as he was acerbic and enigmatic. Beneath his shock of greying hair, the lanky New Yorker was relatable, engaging to a seemingly effortless degree and radiated a larger-than-life air, too. The latter didn't just apply because he was a face on TV, where plenty gets that bigger-than-reality sheen, but because he appeared to truly embrace all that life entailed in that hectic whirlwind of travelling, eating and waxing lyrical about both. Arriving three years after his suicide in 2018, documentary Roadrunner: A Film About Anthony Bourdain captures that. It's so filled with Bourdain thanks to all that time he'd spent in front of the camera, it'd be near-impossible for it not to. But it also lurks under a shadow due to its now-infamous choice to use artificial intelligence to add dialogue that its subject didn't speak. Watching the film, there's no way of knowing which words Bourdain merely penned but didn't utter; the technology truly is that seamless. It still resounds as an unnecessary move, though, especially when such lines might've been incorporated in ways that wouldn't sit at stark odds with his visible liveliness. Roadrunner delves behind the facade that Bourdain presented to the world, of course. It notes his death immediately and goes in search of the sorrow and pain that might've led to it, as mulled over by friends such fellow chefs David Chang and Éric Ripert, and artist David Choe; crew members on his shows; and his second wife Ottavia Busia. Still, once you know about the AI, there's a sense of disconnection that echoes through the doco — because it surveys all that Bourdain was, compiles all of this stellar material and still resorted to digital resurrection. Thankfully, the passion and curiosity that always made Bourdain appear so spirited — yes, so alive, as compared to being vocally recreated by AI after his death — still makes Roadrunner worth watching. That's true for Bourdain fans and newcomers alike, although director Morgan Neville (Oscar-winner 20 Feet From Stardom) doesn't use his two-hour-long film as a birth-to-life primer for the uninitiated. Crucially, as also proved the case with his 2018 Mr Rogers documentary Won't You Be My Neighbor?, Neville jumps through the details of Bourdain's life in a way that also muses on what his success and popularity said about the world. Why he struck such a chord is as essential an ingredient in Roadrunner as how he went from cook to celebrity chef, TV host, best-selling author and travel documentarian. The footage of Bourdain — from his shows, obviously, as well as from a plethora of TV interviews, behind-the-scenes clips and home videos — is edited together with the same restlessness that the man himself always exuded. You don't spend most of your year travelling if you can be easily pinned down, after all. It's a wise choice on Neville and editors Eileen Meyer (Crip Camp: A Disability Revolution) and Aaron Wickenden's (Feels Good Man) parts, but Neville has long had a knack for making his films feel like his subjects. Talking-head chats are spliced throughout, offering further details and grappling with how Bourdain's story ends; however, Roadrunner is repeatedly at its finest when it's peering at him and showing how his work encouraged us all not just to watch, but to eat, travel, think, talk and live. That said, those interviews aren't merely filler. With Chang and Choe in particular, they show Bourdain's friends confronting the type of grief that doesn't ever fade. Biographical documentaries about famous figures who are no longer with us inherently offer the same kind experience to the masses — giving viewers the opportunity to reflect upon their central figures, all while gifting us with more time in their presence — and seeing Chang and Choe struggle so openly cements that parallel. If only Roadrunner was as sensitive when covering Bourdain's relationship with actor Asia Argento, his girlfriend before his death. Argento isn't interviewed but, in the film's second poor choice, its search for a reason behind Bourdain's suicide makes an uncomfortable and overt swerve in her direction. Whether made now or after more time had elapsed since his passing, a film about Bourdain was always going to be complicated. The big, obvious, easy draw — spending longer with him on-screen — is there for all to see, and delightfully so. It's bittersweet, naturally, because there's no divorcing all those images and soundbites from the reason that this movie even exists. It's heartwrenching as well, a sensation heightened every time his upset, angry, frustrated pals make appearances. It's thoughtful in pondering what Bourdain gave the world, and what it took from him in return. It's also messy because there are no answers to much that it contemplates, and also because it sits under a cloud sparked by that superfluous AI. As its title plainly states, Roadrunner is indeed a film about Anthony Bourdain, though — and, even with its missteps, it recognises the complexity of that task. It really didn't need to put his words back into his mouth to make you wish his tale, and his life, was still simmering; that's what it was always going to plate up regardless.
Masters of late night snack fuel Ben & Jerry's have been dishing out pop culture-riffing flavours like Liz Lemon Greek Frozen Yoghurt, Stephen Colbert's AmeriCone Dream and, of course, Schweddy Balls for years. Then the masters of frozen confection go and create something called 'Free Cone Day', an annual event which defies haters. You can score an ice cream on the house, as part of the company's yearly, worldwide tradition thanking its fanbase for all the gluttonous support. On Tuesday, April 10, Ben & Jerry's Scoop Shops around Australia are hosting the seventh annual Free Cone Day — scooping out free ice cream from 12pm until 8pm. Suss out your nearest Scoop Shop purveyor of frozen dairy heaven here, and rock up on April 10 to claim your cone. Check out Ben & Jerry's Facebook page for updates.
This Christmas, it's time to deck your halls with boughs of whichever greenery you'd like — and to give plenty of plants as gifts, too. That's on the agenda at VEND Marketplace, which is hosting a huge Christmas Twilight Market. There'll be more than just succulents, cacti and indoor-friendly plants on offer; however, given that the northside spot is home to its own indoor greenhouse — aptly called the Greenhouse, naturally — that's definitely a big drawcard. Between 5–9pm on Saturday, November 27, you'll also be able to get festive at VEND's 100-plus shops, and at the array of pop-up stalls that it's setting up outside. Food trucks will keep your stomach satisfied while you're picking gifts — including for yourself — and the VEND cafe will also be serving boozy beverages and Christmas dinner specials. Also, VEND is also doggo-friendly — should you want to bring your four-legged pal with you for a stint of seasonal fun. Images: VEND Marketplace.
A black comedy about neighbours fighting over a tree. A harrowing recreation of the worst incident on Norwegian soil since World War II. A gothic interpretation of a well-known folk tale. A film about an infatuated college student who discovers she has unusual abilities. These are just some of the Nordic films headed to Australia as part of the 2018 Scandinavian Film Festival — and yes, it's shaping up to be a great year for movies hailing from the colder parts of Europe. All of the above titles — the opening night's Under the Tree, Berlinale hit U – July 22, the gorgeously shot Valley of Shadows and the empathetic thriller Thelma — head to the festival after amassing quite the buzz at overseas events, and they have plenty of company. Across the Scandinavian Film Festival's almost month-long tour of the country, between July 10 and August 5, 21 features will grace Australian screens, showcasing everything from the latest award-winners to the career output of one of the region's late master filmmakers. In the first camp falls Border, which is based on a short story by author John Ajvide Lindqvist and just won the top prize in the Un Certain Regard section at Cannes; high-school comedy Amateurs, the recipient of the best Nordic film award at this year's Goteburg Film Festival; and Winter Brothers, a flick about siblings living in a remote region that nabbed nine Danish Academy Awards. In the latter category, viewers can celebrate the life and career of renowned Swedish director Ingmar Bergman in the 100th anniversary of his birth, with six Swedish figures — including Tinker, Tailor, Soldier, Spy's Tomas Alfredson — making shorts inspired by the influential filmmaker for compilation effort Bergman Revisited. Other highlights include a semi-scripted cross-cultural comedy about two Danish men trying to set up a dog breeding business in China, aka The Saint Bernard Syndicate, SXSW-standout Heavy Trip, a film about a heavy metal muso spearheading a music festival in a small Finnish town, and The Real Estate, which attacks the chasm between the rich and the not-so in an unflinching fashion. In short: if it hails from Denmark, Norway, Sweden, Iceland and Finland and it popped up over the past year, it's probably on the lineup. The Scandinavian Film Festival tours the country between July 10 and August 5, screening at Sydney's Palace Norton Street, Palace Verona and Palace Central from July 10–29; Melbourne's Palace Cinema Como, Palace Brighton Bay and Palace Westgarth from July 12–29; and Brisbane's Palace Barracks from July 19 to August 5. For the full program, visit the festival website.
Prepare yourself, folks — this year, Australia's launching into summer with the help of a huge new music festival. The brainchild of industry big guns Onelove (Stereosonic), Live Nation (Splendour in the Grass, Falls Festival) and Hardware (Piknic Electronik, Babylon), Festival X will shoot onto the scene from Friday, November 29, touring Brisbane, Sydney and Melbourne. The large-scale music party is pulling no punches when it comes to its debut lineup, headlined by international heavyweights including Scottish DJ Calvin Harris, the Grammy-nominated Armin van Buuren, Steve Aoki and our own Alison Wonderland. Spanning multiple stages, it's set to deliver a world-class serve of hip hop, pop and electronica. US rapper Lil Pump will make his own Aussie debut, joined on the all-star bill by the likes of British DJ duo CamelPhat, Ohio-based rapper Trippie Redd, Denmark's Kölsch and German techno king Paul Kalkbrenner. Meanwhile, there'll be plenty flying the flag for the local scene, with sets from favourites including bass and dubstep star Godlands, Australian-raised trance DJ MaRLo, Sydney act Sunset Bros and singer-songwriter Thandi Phoenix. The inaugural Festival X tour is set to hit Brisbane Showgrounds on Friday, November 29, Sydney Showgrounds on Saturday, November 30, and Melbourne Showgrounds on Sunday, December 1. Presale tickets are up for grabs from 1pm on Wednesday, July 31, with general tickets on sale from noon on Thursday, August 1. Top image: Stereosonic
When the working week is done, folks just wanna have fun. We're paraphrasing Cyndi Lauper because she knows what she's singing about. If your idea of taking her advice involves listening to ace musos belt out a few tunes, then QPAC's Green Jam is the Friday afternoon session you're looking for. Held on the last Friday of every month between 5.30pm and 7.30pm, the outdoor songfest takes over the Melbourne Street Green (aka that vibrant patch of turf just past the Cultural Centre walkway) for free live music fun. Then, hop over to Gauge on Grey Street for dinner. Just remember to book — they're always busy. A six-course set menu, small plates and regular ol' dinner are available. Go on, try their signature blood taco with bone marrow, mushrooms and native thyme.
As spring emerges once more, fragrant and warm, it's time to shake off the chill, venture out and explore the river city. Full of pent-up post-winter energy and curiosity, we're ready for new hobbies, exciting art, eating, drinking and being merry. The undisputed king of spring is gin. A staple of the garden party, its evocative botanicals sing in harmony with nature. To make sure you don't miss a sight, sound or sip in Brisbane these next few months, we've partnered with Tanqueray to show you the classiest way to get out and about in the city this season and enjoy some gin all at the same time. [caption id="attachment_690791" align="alignnone" width="1920"] Dance rehearsals at QPAC.[/caption] CATCH A SHOW AT QPAC Enjoy a night of theatre or dance, then some post-show tapas and Tanqueray. QPAC's spring season is springing to life with notable productions like Priscilla Queen of the Desert (from September 26) and Mozart's Don Giovanni (from October 19 to November 3), alongside orchestral and solo performances. Exclusive to Brisbane, La Scala Ballet company will present the classic Spanish tale Don Quixote from November 7–17. Savour the spirit of Spain even further at Ole tapas bar post-show. Be transported to a theatre of flavour with a fresh seafood paella or the moreish tarta de Santiago, a traditional almond cake. Pair the fresh citrus notes of a Tanqueray No. Ten in G&T or martini form with famed Spanish specialties like jamon iberico or salty boquerones, pickled white anchovies. With so much to sample, it's worth bringing a companion (or several) to make it an evening. TAKE A COOKING CLASS Acquire some new skills then celebrate with cocktails at Cru Bar and Cellar. If you're keen to cater your own show-stopping garden gatherings, take the leap and immerse yourself in Brisbane's fancy food hub at the James St Cooking School. The three-hour group sessions are led by a professional chef and include demonstrations, hands-on experience, tastings and recipes. Whatever the lesson, the finest ingredients are found at James St Market, a cornucopia of gourmet goods, so you can make your newly learned recipes at home. Following your Fast and Furious Seafood training, you'll want to visit the Fresh Fish Co (the reason why is in the name), while the Standard Market Company Meats is your go-to for quality protein after a Rump Demonstration class. After class, unwind in the elegant and award-winning Cru Bar and Cellar. Reward yourself for your perseverance and new-found culinary skills with a unique Cru cocktail, like the Old Maid — Tanqueray London Dry Gin, lime juice, cucumber and mint — or the Sweet Fire of London — Tanqueray London Dry Gin, peach liqueur, Aperol, lemon, passionfruit and flamed orange peel. PERUSE THE WORKS AT GOMA Match the masterpieces of GOMA with a drink at a bar that treats cocktails like high art. This spring, envelop yourself in the exquisite art within GOMA's Japanese collection. The free exhibition, A Fleeting Bloom, showcases elegant craftsmanship and aesthetic delicacy in a variety of mediums: screens, ceramics, paintings and photography. Paying homage to cultural tradition and a stylistic heritage spanning hundreds of years. After savouring the consummate skill on show, the only drink to match is one executed with the highest level of finesse. Like an established gallery, Maker still provides classics — hello, martini — but it's the experimental cocktails that truly set this bar apart. Enjoy creative riffs on flavour through the 'bespoke' option — tell them to start with Tanqueray, then name a flavour, a mood, a dream and the bar team will do the rest. UNLEASH YOUR INNER ARTIST Let those creative juices flow while you sip a Tanqueray G&T. Awake your slumbering creative spirit at Cork and Chroma and capture the spring beauty in brushstrokes. Suitable for professional artists and total beginners alike, these classes take you through the technical artmaking process without stifling your unique style. Cork and Chroma holds regular sessions with a guiding theme, as well as tribute nights to style icons. If you'd prefer to push your artistic boundaries, it also has 'Art Jams' with nothing but live music, blank canvases, paint and freedom. In the bohemian spirit, expect to get your hands a bit dirty once inspiration begins to flow. These Southbank art lessons are BYO. Or, BYO T&T — that's Tanqueray and tonic — for the more sophisticated artists. Sip a chilled bar-quality cocktail, individually bottled and easy to hold, as you show the art world how it's really done. ENJOY A LUXURIOUS HIGH TEA A modern twist on the British classic with elevated cucumber sandwiches and, of course, T&Ts. To paraphrase Jane Austen, it is a truth universally acknowledged that any gin in possession of a sparkling tonic must be in want of a fine cucumber sandwich. If high tea feels a little passe, you'll adore Darling & Co's bold G&T alternative. This sleek and airy open-plan Paddington venue offers a modern twist on a British classic that's a world away from dusty lace and old-fashioned doilies. Round up your group, and book into a Tanqueray G&T High Tea ($90 per person) for cocktails and gourmet titbits. Luxury bites include caramelised onion and persian feta quiche, sugar-dusted passionfruit marshmallow and light, chewy assorted macarons. Darling & Co has even elevated the cucumber sandwich with tangy pickled radish and creme fraiche. It also couldn't be high tea without melt-in-your-mouth scones, conserves and silky chantilly cream. Naturally, this refined tasting experience will be paired with only the finest London gin of Charles Tanqueray. Celebrate the return of warmer, sunnier days with a Tanqueray tipple in hand at home or around your city.
It’s interesting what happens when you throw a whole bunch of disconnected ideas into a skip and see what comes out. Let’s say you had an idea for a story about an isolated girl learning to connect with a family she’s never met before. Or you have an idea about what it’s like for a group of kids to survive in the country when nuclear war hits the capital. Or you have a forbidden love idea about cousins falling for one another. Or you want to write about a sullen teen with psychic abilities. Rather than writing four different books, why not just put them all in the same book and hope for the best? On the outside, How I Live Now looks like a mess. Part Tomorrow When the War Began, part The Shining, part 28 Days Later, it’s a hodgepodge of concepts that don't completely gel. So it’s weird that the film is actually quite good. Part of the reason it works is that it’s compellingly all over the shop. You genuinely don’t know where it’s going to go next, and that sort of haphazardness keeps your attention. Even when some of the storylines — hell, most of the storylines — remain unsatisfactorily unresolved, it still makes for a tale that’s far more than the sum of its parts. It’s directed by Kevin Macdonald, best known for 2007’s The Last King of Scotland, and he establishes an unsettling and powerful mood throughout. Saoirse Ronan (The Lovely Bones, Hanna, The Host) is good as ever, creating a thoroughly unsympathetic moody teen and then making us sympathise with her. Young actors Tom Holland, George MacKay and Danny McEvoy acquit themselves very well, especially the exceedingly young Harley Bird (known to a very specific portion of the world as the BAFTA award-winning voice of Peppa Pig), who has to play an enormous range of emotions in increasingly difficult circumstances. The consequences of war — the violence, the sex, what happens when the rule of law collapses — are presented in an extraordinarily unvarnished manner. It’s almost difficult to believe this is based on a Young Adult book; it’s so intense at times that, were the protagonists all adults, this would surely be considered unsuitable for anyone under the age of 18. But make your characters teens, and it’s suddenly relatable. That’s the theory, at least. In practice, audiences will likely be divided. It will be an unsatisfying experience for those who require an explanation for some of the more outlandish setups this film gives us, but for others, the story’s uniqueness will overcome these issues. Its untainted look at the realities of war, and the suspense this creates, will make this a firm and enduring favourite.
Idris Elba fights a lion. That's it, that's Beast, as far as film pitches go at least. This South Africa-set thriller's one-sentence summary is up there with 'Jason Statham battles a giant shark' and 'Liam Neeson stares down wolves' — straightforward and irresistible, obviously, in enticing audiences into cinemas. That said, the latest addition to the animals-attack genre isn't as ridiculous as The Meg, and isn't a resonant existential musing like The Grey. What this creature feature wants to be, and is, is a lean, edge-of-your-seat, humanity-versus-nature nerve-shredder. Director Baltasar Kormákur (Adrift) knows that a famous face, a relentless critter as a foe, and life-or-death terror aplenty can be the stuff that cinema dreams and hits are made of. His movie isn't completely the former, but it does do exactly what it promises. If it proves a box office success, it'll be because it dangles an easy drawcard and delivers it. There is slightly more to Beast than Idris Elba brawling with the king of the jungle, of course — or running from it, trying to hide from it in a jeep, attempting to outsmart it and praying it'll tire of seeing him as prey. But this tussle with an apex predator is firmly at its best when it really is that simple, that primal and, with no qualms about gore and jump scares, that visceral. Elba (The Harder They Fall) plays recently widowed American doctor Nate Samuels, who is meant to be relaxing, reconnecting with his teenage daughters Mare (Iyana Halley, Licorice Pizza) and Norah (Leah Jeffries, Rel), and finding solace in a pilgrimage to his wife's homeland. But Beast wouldn't be called Beast if the Samuels crew's time with old family friend Martin (Sharlto Copley, Russian Doll), a wildlife biologist who oversees the nature reserve, was all placid safaris and sunsets. Kormákur doesn't even pretend that bliss is an option, or that the stalking, scares and big man/big cat showdown aren't coming. Ramping up the tension from the outset, his feature begins with the reason that its main maned (and unnamed) creature wants to slash his way through Nate and company: poachers hunting, with the culprits sneaking in at night to elude human eyes and snuff the light out of every feline in a targeted pride, which leaves one particularly large animal, the patriarch, angry and vengeful. Arriving unknowingly in the aftermath, the Samuels family have just chosen the wrong time to visit. Their first encounter with another pride, which Martin helped raise, leaves them awestruck instead of frightened; then they spy Beast's killer beast's handiwork at a nearby village, and surviving becomes their only aim. Swap out Elba from the 'Idris Elba fights a lion' equation and Kormákur would've had a far lesser film on his hands. His premise, wonderfully concise as it is, wouldn't work with any old actor. His entire movie wouldn't, and Beast works on the level it's prowling on — mostly. Screenwriter Ryan Engle (Rampage), using a story by Jaime Primak Sullivan (Breaking In), gives Nate grief and guilt over his past mistakes to grapple with as well as that persistent lion. Yes, the script is that cliched, because action heroes almost always seem to be wooing, worrying about or mourning a woman while they're endeavouring to save something, be it the world, their families or themselves. Elba dances the bereaved absent father dance well, though, with the Beast's depths springing from him rather than the material and its deceased spouse/regretful dad/seize-the-day tropes. Whether coming to widespread fame in one of the best TV dramas ever made, cancelling the apocalypse in a different on-screen altercation with critters, or playing a complicated detective, the man with The Wire, Pacific Rim and Luther on his resume (but not yet Bond) excels at playing people juggling problems and worries beyond their immediate threats. As sure as any feline, big, small, wild or domesticated, will swipe when it's being aggressive, that's what makes Elba brawling with Beast's revenge-seeking big cat such an appealing idea. The other troubles his character weathers here are both formulaic and thinly written, as they were always likely to be in a 93-minute lion attack flick — but, reliably as ever, Elba imparts Nate with the unflinching sense that this bout of king-of-the-jungle chaos is just one of many burdens he's had to face. Elba would've brought that complexity to his part even if Beast didn't saddle Nate with an obligatory dead wife, and often that trauma feels like every other animal in the feature — merely there because the film needs to be about more than Elba feuding with a lion. Nate's thorny relationship with his daughters could've still prickled, then softened and resolidified in the throes of panic, anyway; indeed, both Halley and Jeffries are at their finest when Mare and Norah have to be resourceful, brave and in the moment amid such ever-lurking danger. Kormákur makes that peril palpable, too. With cinematographer Philippe Rousselot (an Oscar-winner three decades ago for A River Runs Through It), he keeps the camera moving and roving amid eye-catching surroundings, letting the beauty of the place linger but rarely allowing a minute's peace in lengthy, unbroken shots. The Samuels' new nemesis is fast, savage and erratic, after all — even if lions are majestic creatures — and also willing to lay in wait, and the director of disaster movies Adrift and Everest wants his viewers to feel all of the above. Perhaps it's apt that when Beast struggles, it's because it's doing more than it needs to, but also with not enough effort — over-plotting Nate, Mare, Norah and Martin's backstories, and yet keeping them so well-worn. The pixels behind the film's animal antagonist also suffer a touch of the same fate; in trying to truly terrify, this CGI cat looks photorealistic as the live-action The Lion King's creatures did, but also preternatural. Nonetheless, the narrative's inherent silliness and illogical leaps aside, too — yes, including Elba punching the movie's bloodthirsty namesake — Beast remains as ruthlessly proficient as a lion at drawing, demanding and grabbing attention. Add it to the menagerie alongside alligator flick Crawl, another wholly predictable, sparse, taut, menacing and effective effort that's never Jaws but never Sharknado. It also isn't 1981's Roar, the wildest lion picture that'll ever exist and one plagued by animal attacks off-screen as well, but nothing else is.
When you first visit a major city, it's natural to come armed with a list of must-see venues and landmarks. You've done your research, taken recommendations from family and friends, now you're ready to make your way through all the famous sites along with hundreds of other tourists. But what happens when you've ticked everything off your list? Sure, you could revisit the same spots — an arvo spent at Bondi Beach or the MCA will never get old — but why not discover another side of the city? To give you some inspiration and put a few more must-sees on your list, we've partnered with City of Sydney and crafted an itinerary that'll get you far away from the tourist traps and into the real Sydney. Yep, you'll be living like a legit Sydneysider in no time. [caption id="attachment_694707" align="alignnone" width="1920"] Don't Tell Aunty.[/caption] EAT AND DRINK Sydney is a big ol' melting pot of different cultures and one of the best ways to experience the city's inherent diversity is via food and booze. Make tracks to the colourful inner-city burrow of Surry Hills to sample some top-notch multicultural nosh from all corners of the globe. There's trail-blazing Indian that breaks all the rules at Don't Tell Aunty, molto buono Italian at Caffe Bartolo, authentic family-style fare at Korean joint Sang by Mabasa and traditional Lebanese eats at Nour restaurant — and, really, that's barely scratching the surface. At the other end of the spectrum, there's a throng of venues focused on making native Australian ingredients sing. For a chance to savour indigenous flavours, head along to Paperbark in Waterloo's Casa Building. The experimental plant-based menu changes weekly depending on what's in season, but you can expect the likes of finger limes, saltbush, wattleseed and pepper berry. Similarly, Barangaroo's expansive 230-seat restaurant 12-Micron is "a culinary salute to Australia's surrounds". Here, the menu is simply a list of the main ingredients in each dish, like rock oysters, blue swimmer crab and spring lamb, so you're given a chance to really appreciate each element. [caption id="attachment_654873" align="alignnone" width="1920"] PS40 by Alana Dimou.[/caption] Next, to get a dose of bush tucker in an upscale cocktail, head to celebrated 'soda door' PS40. At this cuisine-bending bar, you can expect tipples that borrow from a variety of different cultures. The cocktails are kind of pastiche, blending together native and unusual ingredients — so, yes, you'll get wattleseed but you'll also get smoked miso caramel, Ayurvedic spiced yoghurt, beer pretzel reductions and pandan barley soda. It's weird but wonderful stuff. The best part? The non-alcoholic sodas and mocktails are equally as tasty. For a slightly different take on native Australian ingredients — we're talking true-blue, dinky-di kinda stuff — head to The Unicorn in Paddington. Here, you'll find Jatz and dip, potato scallops, fruit-plenty pavs and basically a whole bunch of Aussie classics that'll bring a patriotic tear to your eye. Speaking of patriotic, the bar has a 100-percent homegrown beer and wine list because, well, Aussie alcohol rules. Duh. [caption id="attachment_653207" align="alignnone" width="1920"] Young Henrys by Destination NSW.[/caption] And, if you need further proof of this, check out a few of the breweries and bars slinging beers made right here in Sydney. There's a ton within the city limits, like Yulli's Brewing (Alexandria), Frenchies (Rosebery), Staves (Glebe), Sydney Brewery (Surry Hills), Bitter Phew (Darlinghurst) and Young Henrys (Newtown). Be sure to pick up a couple of growlers of your favourite beer, they make great gifts for family and friends back at home — if they make it home, that is. [caption id="attachment_622378" align="alignnone" width="1920"] Cafe Lounge.[/caption] PLAY AND SEE Given you're on Eora land, kick off your Sydney adventures by checking out some local Aboriginal art. In the heart of The Rocks, you'll find Spirit Gallery — one of Sydney's pre-eminent galleries for Aboriginal arts and craft. Since 2002, the gallery has been showcasing the work of many traditional and contemporary Aboriginal artists. In addition to canvas paintings, the gallery also exhibits carvings, boomerangs, ceramics, glassware, baskets and bark paintings. Oh, and a large portion is available for purchase at quite affordable prices. If that wasn't enough of an arty fix, take a short stroll to Gannon House Gallery. Operating for nearly 30 years, the gallery exhibits a hefty selection of Aboriginal art from the Central and Western Desert, as well as Arnhem Land. Be sure to check out the striking work by Minnie Pwerle; her bright colour palette and rhythmic linear patterns are utterly striking. Next, nab a seat in the stalls with some local Sydneysiders for a spot of theatre. Looking past the Opera House and Sydney Theatre Company, you'll get a glimpse at some emerging local actors, dancers, singers and comedians. So opt for a Sydney-based theatre house (or pub with a makeshift stage). This no-frills style of theatre allows you to really focus on the actors without any fancy bells and whistles (read: big-budget sets and costumes) to distract you. There are a handful of places in suburbs Kings Cross, Surry Hills and Redfern, including the Griffin, Old Fitz, Belvoir, Cafe Lounge, Giant Dwarf and The Tudor. [caption id="attachment_705398" align="alignnone" width="1920"] The Social Outfit by Luisa Brimble.[/caption] Then, when you're ready for some retail therapy, spend some time traversing the boutique shops and local stores across the city. Newtown, somewhat of a design mecca, has a host of spots to pick from. We suggest Milk & Thistle, run by designer Danielle Atkinson and renowned for its stylish, easy-fit garments that are designed, printed and made entirely in Australia. And The Social Outfit, an ethical trading social enterprise where you can get some cracking threads while helping out the refugee and migrant communities. Since 2014, The Social Outfit has been recycling clothing and providing employment and training in the fashion industry to refugees and new migrants. If you're closer to the city, pop by The Standard Store (Surry Hills) for Australian and international fashions and Squidinki (The Rocks) for Sydney-infused souvenirs you'll actually want. [caption id="attachment_706202" align="alignnone" width="1920"] The Old Clare.[/caption] STAY When you're ready to rest your head (and your belly), you'll want to sleep somewhere equally boutique and Sydney-centric. Thankfully, over the past few years, a number of luxe-yet-local joints have popped up over the city, meaning you don't need to stay at the usual big names. Situated in the quiet, cute neighbourhood of Chippendale, you'll find The Old Clare, an immaculately finished hotel which exudes luxury. Hell, it even has a 14-metre rooftop pool complete with sweeping panoramic views of Sydney's skyline. [caption id="attachment_660514" align="alignnone" width="1920"] Paramount House Hotel by Tom Ross.[/caption] A short stroll away, in neighbouring suburb Surry Hills, lies Paramount House Hotel. Opened is 2018, the upscale accommodation blends old with new in a similar fashion to The Old Clare. The red-brick heritage building — the former headquarters of Paramount Pictures Studios — features swanky amenities, like a rooftop gym, outdoor cafe, private terraces and even a mini-bar stocked with snacks from local favourite LP's Quality Meats and Tom Shobbrook wines. It's this juxtaposition between the refined and the raw, the polished and the crude, that makes this style of accommodation so endearing. But, if you want less exposed brick and more of a modern stay, book a night at The Urban in Newtown. The chic industrial-style boutique accommodation is a stone's throw from buzzing King Street where you'll find a host of pumping bars and eateries. Plus, you get a free mini-bar. Really, what else do you need? Other standout stays include Hotel Palisade (The Rocks), complete with a rooftop bar boasting one of Sydney's best views, and dog-friendly Medusa (Darlinghurst), Sydney's alleged first 'true' boutique hotel. Forgo the tourist traps and instead traverse the great City of Sydney like a local. Discover more around the city here. Top image: PS40 by Alana Dimou.
At the end of June, Queensland closed its borders to Greater Sydney. Towards the end of July, the Sunshine State did the same with all of New South Wales. But, given that folks who live in NSW towns along the very edge of Queensland often enter the state, the rules have been different in the border zone; however, they've just been tightened again. The reason: at 5pm on Saturday, August 14, the NSW Government put the entire state into lockdown until at least 12.01am on Sunday, August 22. The Greater Sydney area has already been under stay-at-home orders since late June, and new lockdowns have been popping up in regional areas of late, but this is the first time during this current Delta outbreak that the whole of NSW has been told to remain at home. "Given the escalation of local restrictions, we have no choice but to put in place a tighter border situation to protect Queenslanders. This means anyone who has been to any of the northern NSW local government areas in our established border zone can only come into Queensland for really essential reasons," said Queensland's Chief Health Officer Dr Jeannette Young in statement. Following the announcement of a state-wide lockdown in New South Wales, from 8pm tonight 14 August NSW border zone residents can only enter Queensland for obtaining essential goods and services that can't reasonably be obtained in NSW. For more details: https://t.co/rMMZ9y9m1M — Queensland Health (@qldhealthnews) August 14, 2021 People who live on the NSW side of the border zone can now only enter Queensland for essential work. "If it's not absolutely essential, do not cross the border," advised Dr Young. "I know this is tough — those living in northern NSW are our close neighbours and they access Queensland for a range of reasons, but right now, that can't continue until their outbreak gets under control." Accordingly, the list of reasons to enter Queensland is now small — and only includes attending permitted work or doing emergency volunteering; providing assistance, care or support to a vulnerable person or family member, or visiting a terminally ill relative; fulfilling shared parenting arrangements, or letting kids see their siblings; getting a COVID-19 test or vaccination; safety or emergency reasons; kids going to school if they're children of essential workers; and if given an exemption by the Chief Health Officer. The list of essential work has also been whittled down, and now only covers for work for safety reasons and emergency repairs, and that's necessary to maintain essential services and supplies to the community, or part of the community. Exercise, recreation, holidays, sporting events, weddings, funerals, and going to cinemas, theme parks or other tourist attractions are not permitted reasons to head to Queensland. Also, if folks in the border zone go outside that area in NSW, they won't be permitted to enter Queensland by road — and they'll need to go into hotel quarantine for a fortnight when returning by air. That's the same rule that's in place for Queenslanders, too. As always, everyone going to Queensland will need to complete one of the state's online travel declarations first, after that system was brought back into effect in June. Initially, the stricter rules will be in place for at least a week, although whether it'll be lifted then will depend on NSW case numbers and whether its statewide lockdown continues. For more information about Queensland's COVID-19 border restrictions, or about the status of COVID-19 in the state, visit the Qld COVID-19 hub and the Queensland Health website. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
No one likes receiving the same Christmas gift twice, but when it comes to festive-themed films and their sequels, that's typically what you get. Unfortunately, Bad Santa 2 doesn't escape that trap. Back in 2003, the original film prove a rude, crude blast of fresh air that flouted and took the piss out of yuletide clichés. By comparison, the long-awaited follow-up plays like a half-arsed version of the exact same thing. For Willie Soke (Billy Bob Thornton), that means drinking, brawling, swearing, screwing, stealing, scamming, cracking safes and soaking in his own urine, usually while dressed up as Father Christmas. He's reluctant to return to the red coat and wig, but he's also eager to pilfer whatever cash he can when Christmas rolls around — 'tis the season to be burgling, and all that. That's why he agrees to re-team with his duplicitous, diminutive former partner-in-crime Marcus (Tony Cox), trading an unsuccessful suicide attempt for a scheme to fleece a Chicago charity. That the third person in their thieving plans is his estranged ex-con mother (Kathy Bates) complicates matters considerably. Add a lustful love interest (Christina Hendricks), plus a well-meaning but dim-witted hanger-on (Brett Kelly), and the Bad Santa formula everybody knows and once loved is back in action. Alas, with original director Terry Zwigoff (Ghost World) and writers Glenn Ficarra and John Requa (Crazy, Stupid, Love) nowhere in sight — replaced by Mean Girls' helmer Mark Waters, first-time feature screenwriter Johnny Rosenthal and What to Expect When You're Expecting scribe Shauna Cross — Bad Santa 2 rides its sleigh straight into tired territory. If there's a cinematic equivalent of asking for a pony and getting a photo of one instead, Bad Santa 2 is it. Everything looks the part, but this follow-up is no substitute for the real thing. Instead of humour steeped in the dark side of the season — be it the rampant consumerism, the gnawing loneliness or the manufactured cheer — this sloppy second effort just dials up the obscenity and anti-social behaviour, then tops the tree with familial drama. Indeed, in trying to coast by with little more than a predictable premise, easy gags, outrageous situations, unlikeable characters and a late splash of sentimentality, Bad Santa 2 could be mistaken for one of the poor imitators that the first movie inspired. At least Thornton is on hand to do what he does best. If nothing else, the been there, done that air and apparent lack of effort suits his bad protagonist to the wearied, wise-cracking bone. Accordingly, when a handful of the script's grossly inappropriate jokes land, Thornton is usually the reason.
Before there was E.T. the Extra-Terrestrial, Jurassic Park, A.I. Artificial Intelligence and Minority Report, there was Close Encounters of the Third Kind. With the writer/director riding high off of Jaws, Steven Spielberg's 1977 science-fiction flick again showed his skills with genre filmmaking — and, the movie swiftly became one of the all-time sci-fi greats in the process. If you've seen a movie about aliens and unidentified flying objects in the past four decades, odds are it owes Spielberg's classic a debt of gratitude. The eight-time Oscar nominee tells the tale of an ordinary lineman (Richard Dreyfuss) who becomes obsessed with UFOs after his own close encounter. He's drawn to others with similar tales, and to a place called Devil's Tower in Wyoming to find answers. It's smart, sharp, intriguing and immersive sci-fi and its best, and it is coming to Brisbane on March 24 as it never has before. In a world-premiere performance, the film will play with a 85-piece orchestra and 60-voice choir recreating John Williams' Academy Award-winning score. Expect true movie and music magic from Queensland Festival Philharmonic, the Resonance of Birralee choir and conductor Nicholas Buc, with Close Encounters of the Third Kind in Concert part of the 2018 World Science Festival Brisbane.
Fantastic wine bars and where to find them: that's another way of describing Australia's annual Wineslinger Awards. Each year, industry experts vote on the top spots to enjoy a drop, with 2023's list now here for your drinking pleasure. It's called a top 50, but there's 55 places on the latest rundown because the votes couldn't be split. Created in 2018 by Rory Kent, who also founded the Young Gun of Wine Awards, the Wineslinger gongs draw upon the picks of more than 100 folks — think: sommeliers, winemakers, hospitality tastemakers and journalists — to point you in the right vino-sipping direction. Where Kent's other prize aims to recognise stellar up-and-comers, this one is about the best places to enjoy a glass or several of stellar tipples. [caption id="attachment_623524" align="alignnone" width="1920"] Nikki To.[/caption] "In the sixth year of these annual awards, it's such a thrill to once again discover so many great new wine haunts around the country," said Kent. 2023's 55 chosen venues are spread across the nation, with New South Wales accounting for the most with 15 spots. From there, 12 of Wineslinger's favourites hailed from Victoria, then nine from South Australia and seven from Queensland. Western Australia boasts six places in the ranking and Tasmania has three, while there's two from the Australian Capital Territory and one from the Northern Territory. Don't go expecting just the usual names, either. Familiar go-tos such as Dear Sainte Eloise in Potts Point, Carlton Wine Room in Carlton (where else?) and Snack Man in Fortitude Valley have gotten the nod, as have Canberra's Bar Rochford, Launceston's Havilah, Hellbound in Adelaide, Lalla Rookh in Perth and Stone House in Darwin; however, 19 venues have also been named for the first time. They include Bar Heather in Byron Bay, Commis in Collingwood and The End in West End — and also Alt. Wine Bar in Unley, Molto Bar and Cellar in Hobart and The Corner Dairy in Perth. [caption id="attachment_789259" align="alignnone" width="1920"] Snack Man[/caption] For folks looking for your next watering hole, you have plenty of places to add to your must-visit list. Some are located in popular hotspots, others have been plying their trades for decades and others still have only just opened. From the top 55, Wineslinger singles out a number of venues for trophies, which'll be awarded on Monday, December 5. The top gong is simply called Wineslinger, naturally, while other prizes span the self-explanatory Best New Haunt, as well as the Maverick award for a venue that pushes the limits. And, for vino aficionados at home, there's also the People's Choice prize — which is open for online votes right now, closing at midday on the day of the ceremony. [caption id="attachment_789257" align="alignnone" width="1920"] Carlton Wine Room[/caption] WINESLINGER AWARDS 2023 TOP 50: ACT Bar Rochford, Canberra Rizla, Braddon NSW 10 William Street, Paddington Bar Copains, Surry Hills Bar Heather, Byron Bay Bar Superette, Merimbula Beau, Surry Hills Bentley Restaurant & Bar, Sydney Caravin, Potts Point Dear Sainte Eloise, Potts Point Fix Wine, Sydney Le Foote, The Rocks Lil Sis, Chippendale P&V Merchants, Paddington The Sir George Hotel, Jugiong The Wine Library, Woollahra Where's Nick, Marrickville [caption id="attachment_637744" align="alignnone" width="1920"] Bentley Restaurant & Wine Bar[/caption] NT Stone House, Darwin QLD Agnes, Fortitude Valley Alba Bar + Deli, Brisbane Cru Bar + Cellar, Fortitude Valley Paloma Wine Bar, Burleigh Heads Snack Man, Fortitude Valley The End, West End Zero Fox, Teneriffe SA Alt. Wine Bar, Unley Good Gilbert, Goodwood Hellbound, Adelaide Jennie Wine Bar, Adelaide Loc Bottle Shop, Adelaide Silver Sands Beach Club, Aldinga Stanley Bridge Tavern, Verdun Stem Bar & Restaurant, Adelaide The Salopian Inn, McLaren Vale [caption id="attachment_778181" align="alignnone" width="1920"] Hellbound[/caption] TAS Havilah, Launceston Lucinda, Hobart Molto Bar and Cellar, Hobart VIC Bar Marenda, Daylesford Carlton Wine Room, Carlton City Wine Shop, Melbourne Commis, Collingwood Geralds Bar, Carlton North Gimlet, Melbourne Marion, Fitzroy Osteria Illaria, Melbourne Public Wine Shop, Fitzroy North Torquay Wine Store, Torquay Union Street Wine, Geelong Winespeake, Daylesford WA Besk, West Leederville Lalla Rookh, Perth Mayfair Lane, West Perth Mummucc', Wembley The Corner Dairy, Perth Wines of While, Perth To vote in Wineslinger's People's Choice Award before 12pm on Monday, December 5, visit the awards' website. Top images: Agnes; Beau; City Wine Shop, Tess Kelly.
Circa, Australia’s finest contemporary circus company, returns to its spiritual home with the Helpmann Award winning production that dazzled and delighted audiences throughout the world. Described as beautiful, sexy and moving by worldwide press, Circa is a circus like no other. It features an outstanding array of astonishing feats of physical mastery that leave audiences aghast with astonishment. Circa sets itself apartt by bringing artistic inventiveness to all aspects of their art. Gone are cheap thrills and tacky makeup, instead, director Yaron Lifschitz’s masterpiece melds modern circus, acrobatic dance and multimedia into a very human experience of sophisticated sensibility.
On any given Saturday morning across Brisbane, plenty of pooches can be found descending upon the city's markets. Come 6am–12pm on Saturday, October 12, 2024 in Carseldine, dog lovers and their furry four-legged BFFs will be doing what they usually do — with the added bonus of attending the northside spot's returning Barktoberfest. What do cute canines have to do with celebrating this time of year? Nothing, but don't let that get in the way of a dapper doggo-friendly morning out. As well as the usual food and fresh produce, an array of pet-related stalls will ramp up the fun to barking great levels. There'll also be a pupper fashion parade and a pawparazzi photo contest — to determine just which canine cutie friend is the most adorable. Dog-focused demonstrations, pupper prizes, a hydration station that'll come in handy given Brisbane's sultry spring weather — they're all on offer, too. Entry is free, and live entertainment is part of the 150-plus-stall market as well.
This review was written about the Sydney season of this production in December 2013. People have been known to cry in the opening ten minutes of The Lion King, as the rapturous 'Circle of Life' brings throngs of hand-crafted, often life-size animal figures to the stage. The toughest nuts will at least get a few shivers, and somewhere near me, one susceptible person screamed. It's a powerful reminder that spectacle isn't all superficial. See an awesome spectacle and your spirit swells; you feel alive and open to the world. That's got to be one of the big purposes of art, and it's there by the gallon in The Lion King. Premiering in 1997, the musical has become Broadway's highest grossing and won a stack of Tony Awards. It's back in Sydney with an Australian cast, and the thing is unbelievable to witness — full of innovative spirit and super super high production values. It's probably the pinnacle of musical theatre, and you should count yourself powerless to resist. The songs you remember by Elton John and Tim Rice from the 1994 cartoon are all there — 'Can You Feel the Love Tonight', 'Hakuna Matata', 'Be Prepared' — plus some lesser new additions. The highlights among these are beautiful, tribal instrumental numbers that accompany dance. The lowlight? The hyenas' 'Chow Down', which sounds like awkward Bon Jovi. The story is realised through majestic and brilliantly creative puppetry, costume and stagecraft, most of it conceived by director, co-designer and sometime lyricist Julie Taymor. As well as the aforementioned opening, the scene in which young Simba gets trapped in a stampede of wildebeest pouring into a gorge is pure magic. Are some of the performances dwarfed by all this pageantry? Indubitably. But more often than not they rise to meet it. Honourable mentions go to Cameron Goodall's committed clowning in the role of Zazu and to Kiwi newcomer Nick Afoa, playing adolescent Simba, whose big movement, voice and energy should be put to use on plenty more musical theatre stages. Buyi Zama, the only long-time Lion King-er, is next-level brilliant as the inimitable baboon Rafiki, while Josh Quong Tart does a delicious Scar — a perfect musical theatre villain if ever one was written. I wished I knew some small child I could take along to this and introduce to the magic of live theatre. But in the absence of one, I'm sure I made a suitably wide-eyed observer (and actually, considering the near-total recall of the cartoon I can't help having after a '90s childhood, I'm probably the second-best target market). Don't be a cynic; go fight for your seat at Pride Rock. https://youtube.com/watch?v=-pgZtzDj_7o
They're taking the hobbits to Amazon — and, later this year, fans of Lord of the Rings will be able to see the end result. You should already have Friday, September 2, 2022 marked in your diary, as the premiere date for Amazon Prime Video's new LOTR show was announced last year. But if you've been wondering exactly what you'll be watching, the streaming platform has just provided a few new details. While the series has just been referred to as The Lord of the Rings since it was first announced it back in 2017 — including when it was given the official go-ahead in mid-2018 and confirmed that it wouldn't just remake Peter Jackson's movies, and also when a few other concrete details regarding what it's about were revealed, its full title is officially The Lord of the Rings: The Rings of Power. And if you're wondering why, Amazon has dropped a title release video (yes, we now live in a world where there are trailers for announcing what a show will be called) which includes some of JRR Tolkien's most famous lines. If you're a big LOTR fan — on the page and thanks to the films — you should be familiar with Tolkien's Ring Verse, which outlines who was intended to receive the rings of power. Elven-kings, dwarf-lords, mortal men and the Dark Lord all get a mention, and you can hear the key lines in the video below: "This is a title that we imagine could live on the spine of a book next to JRR Tolkien's other classics. The Rings of Power unites all the major stories of Middle-earth's Second Age: the forging of the rings, the rise of the Dark Lord Sauron, the epic tale of Númenor, and the Last Alliance of Elves and Men," said showrunners JD Payne and Patrick McKay, announcing the news. "Until now, audiences have only seen on-screen the story of the One Ring – but before there was one, there were many… and we're excited to share the epic story of them all." In a series that'll make ample use of New Zealand's scenic landscape in its first season — and so greenery abounds, naturally, as the first image from the show illustrates — The Rings of Power will spend time in Middle-earth's Second Age as Payne and McKay explained, bringing that era from the LOTR realm to the screen for the very first time. According to show's official synopsis, it'll follow "the heroic legends of the fabled Second Age of Middle-earth's history," with the action set thousands of years before the novels and movies we've all read and watched. The series will also "take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. Naturally, you can expect Sauron to feature in the new show, and to give its main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. In terms of stars, The Rings of Power will feature an unsurprisingly large cast — and some impressive talent behind the scenes. Among the actors traversing Middle-earth are Tom Budge (Judy & Punch), Morfydd Clark (Saint Maud), Ismael Cruz Córdova (The Undoing), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (The Underground Railroad) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. The Lord of the Rings: The Rings of Power will be available to stream via Amazon Prime Video from Friday, September 2, 2022.
For those not good with acronyms, L.G.F.U equates to the expression - let’s get fucked up. This name also denotes the new electronic track by the Aussie fresh maker, Tom Piper and New Zealand club king, Daniel Farley. Hailed as the latest party anthem, the track’s distinct hypnotic, synth driven sound is getting booties shaking and fists pumping across the globe. The track's success might also be attributed to the easy to follow lyrics… three simple words, in addition to one crude one. On the back of this hit release, the creative duo of Piper and Farley are touring the Tasman to get amongst audiences from both of their homelands. Next Saturday sees them hyping up the Brisbane crowd at the Met for a manic, messy night not to be missed. Neither Piper or Farley are single genre guys, so this will not be a night of singular sounds. Instead the duo will combine their extensive talents and distinct styles to mix it up for a night of fresh club sounds that will get the electronic movers and shakers excited. The L.G.F.U Tour is setting its standards clearly, so if you're thinking of attending, don't expect anything less than a night of plentiful intoxication and loud sounds.
Celebrating both the latest and greatest must-see movies is what film festivals are all about — and Brisbane's returning New Farm Queer Film Festival couldn't be more committed to that remit. The River City's annual showcase of new and classic LGBTQIA+ flicks, the event began back in 2022, proved a hit, and keeps returning year after year with an impressive lineup. On 2024's program from Thursday, October 3–Sunday, October 13: movies starring Elliot Page, Tilda Swinton, Murray Bartlett, Dylan O'Brien and Evan Rachel Wood, plus Gregg Araki's Teen Apocalypse trilogy. 2024 marks seven years since Page (The Umbrella Academy) last featured on the big screen Down Under. Close to You brings that absence from local cinemas to an end, with the film boasting the actor's first male movie role, as a trans man heading home to his family for the first time since transitioning. Swinton (The Killer) features in Problemista, as directed by and also starring Fantasmas and Los Espookys' Julio Torres; The White Lotus' Bartlett and Fantasmas guest star O'Brien are part of the cast for closing night's Ponyboi, which follows an intersex sex worker on the run from the mob; and Wood (Weird: The Al Yankovic Story) plays a cheerleading coach in Backspot, with Devery Jacobs (Echo) as the squad's newcomer. This year's NFQFF kicks off with Georgian film Crossing, about a teacher looking for her long-lost niece — and, as another of its big titles, boasts Caught by the Tides from Jia Zhangke (Ash Is the Purest White), which premiered at Cannes back in May. If you haven't caught The Devil's Bath on the small screen yet (or even if you have), a big-screen session of the Austrian standout by Goodnight Mommy and The Lodge's Veronika Franz and Severin Fiala is guaranteed stellar viewing. Plus, including supervillain parody The People's Joker, which gives the caped-crusader realm a queer coming-of-age spin, is perfect timing. Another highlight, Scala!!! tells of the London cinema in the same name. The rest of the documentary's moniker is Or, The Incredibly Strange Rise and Fall of the World's Wildest Cinema and How It Influenced a Mixed-up Generation of Weirdos and Misfits, which gives viewers an idea of the kind of tale it's telling — with iconic filmmaker John Waters among its interviewees. NFQFF's 2024 lineup also features not just one retrospective trio, but two. Araki's Totally F***ed Up, The Doom Generation and Nowhere sit on the bill alongside François Ozon's Criminal Lovers, Water Drops on Burning Rocks and Sitcom.
Over the past seven years, Hamilton has become a cultural phenomenon — and, thanks to its fame and acclaim, so has the hip hop musical's creator Lin-Manuel Miranda. But that's not the only stellar stage show to the multi-talented composer, actor, singer and playwright's name. Before he took on US history (and before he helped bring Bring It On to the theatre, too), Miranda turned life in Manhattan's Washington Heights into four-time Tony-winner In the Heights. While every Hamilton fan dreams of the day that it gets adapted for the big screen, his debut musical is actually making the leap to cinemas first — this year, finally, after its original 2020 release date was postponed due to the pandemic. Yes, the recorded version of Hamilton hit streaming last year, and was as phenomenal as everyone hoped, but In the Heights hasn't just filmed a stage performance. When it releases Down Under on June 24, In the Heights will do so with a stacked cast, with Crazy Rich Asians director Jon M Chu behind the lens, and via a movie primarily shot on location in its titular spot. Quiara Alegría Hudes, who wrote the text for the stage version, has also written the feature's screenplay. And Lin-Manuel Miranda is involved, naturally, producing the movie, overseeing the music and popping up on-screen as well. On Broadway from 2008–11, Miranda played the lead role of bodega owner Usnavi de la Vega. In the film, that honour goes to Anthony Ramos — an alumnus of the original production of Hamilton who has also featured in Patti Cake$, A Star Is Born and Godzilla: King of the Monsters. Usnavi works hard, saves everything he earns and strives for a better life. He also sits at the centre of a vibrant community just beyond the 181st Street subway stop, with In the Heights charting the lives, loves and dreams of the Latinx neighbourhood through colourful, energetic and — as seen in both 2019's first trailer for the movie and the latest, just-dropped sneak peek — exquisitely choreographed song and dance numbers. Joining Ramos and Miranda (who plays Piragua Guy, the owner of a shaved ice dessert stand) are Corey Hawkins (Straight Outta Compton), singer Leslie Grace, Melissa Barrera (Vida), Dascha Polanco (Orange is the New Black), Marc Anthony and Jimmy Smits — plus original In the Heights stage star Olga Merediz, Rent's Daphne Rubin-Vega and Matilda the Musical's Gregory Diaz IV. Brooklyn Nine-Nine's Stephanie Beatriz also features, after Miranda made an appearance on the hit sitcom in 2019. Check out the latest trailer below: https://www.youtube.com/watch?v=V4CRPvel2Vc In the Heights will release in cinemas Down Under on June 24.
We download movies onto tiny laptop screens and watch them hunched over in our beds, spilling Red Bull on the keyboard when Ryan Gosling says sexy things like 'Hey' and switching over to check Gmail when he's not onscreen. It's sad, it's solitary, and the suspension of disbelief is, at most, fleeting. What happened to the glory days of yore, when moviegoing was an event? When you were truly transported? Sensing the aching pit in your soul, on December 11-14, World Movies is bringing its Secret Cinema event to a mystery location in Brisbane, in association with the inaugural Brisbane Asia Pacific Film Festival. You don't know what film you'll be seeing, and the location is revealed by text the day of the screening. Secret Cinema pushes a traditional medium into a new level of experiential entertainment. Live performance as well as themed food and drinks tie in with the world of the film. Examples of performative screenings from overseas have included London's 2010 version which re-created LA's Chinatown in 2019 for Bladerunner (two actors dangled from the ceiling during the climactic 'tears in rain' scene) and a 1950s Algerian casbah for The Battle of Algiers. In Sydney, Secret Cinema moviegoers were conveyed by ferry to Goat Island and subjected to a series of 'survival games' before seeing Japan's cult classic Battle Royale, forerunner of The Hunger Games. That event sold out in 15 minutes and drew a crowd of hundreds. Even bigger things were planned for Sydney's most recent event, though it ultimately had to be cancelled after issues with the venue, meaning this Brisbane incarnation marks a bit of a comeback for the WMSC team. What type of venue theming will be going on in Brisbane? This one's a classic: Roaring Twenties. Go back to the decadent and dramatic days of the pre-stock market crash 1920s. Tickets are $55 (plus booking fee) and go on sale at 9am on Thursday, November 6, via qtix. More info is available on World Movies' Facebook page.
This is the End might just be the biggest in-joke in Hollywood. Its writer, director and star, Seth Rogen, plays 'Seth Rogen', whilst Jonah Hill plays 'Jonah Hill', James Franco plays 'James Franco' and Emma Watson plays, well…you get the picture. Thankfully, though, you'll also get the jokes, and no matter how 'in' or self-referential they might be, the movie invites the audience to share in the laughter. Set in the Hollywood hills, Rogen and his friend Jay Baruchel (played by Jay Baruchel) head along to a party at James Franco's mansion, where — just a short while later — the biblical Rapture commences and, quite literally, all Hell breaks loose. As their friends and fans perish around them (the cameos are too numerous to count, though highlights include Michael Cera, Channing Tatum and Rihanna), the young celebrities hole themselves up inside and try to outlast the End of Days, rationing everything from a Milky Way bar to various types of weed. To their credit, no egos are too precious and everyone plays up to their reputations: Rogen's an amiable stoner, Hill is impossibly nice and Franco holds nothing back in portraying himself as a pretentious, egocentric wanker. They're joined in the house by Baruchel, Craig Robinson and Danny McBride, with the latter contributing to about half of the movie's funniest moments. Inevitably, as a Rogen film, This is the End features a significant amount of stoner humour, dick jokes and one inconceivably long scene involving Franco and McBride hurling imaginary semen at each other and everything else around them. It's the kind of comedy you feel guilty laughing at while it's happening, and then later can't remember why it made you laugh so much. But laugh you do all the same.
It has been three years since Scottish craft beer giant BrewDog launched its first Australian brewery and taproom in Brisbane, and two since the brewery promised that more bars in more Aussie cities were on the way. Now, thanks to a new partnership with Australian Venue Co (AVC) — the group behind spots such as Cargo, Kingsleys and The Winery in Sydney; Fargo and Co, State of Grace and The Smith in Melbourne; and Riverland, The Regatta and The Crown Hotel in Brisbane — that plan is finally starting to come to life. BrewDog and AVC have announced that they're teaming up to open beer bars across Sydney, Brisbane, Melbourne and beyond in the coming years, starting with a first new site in Victoria. Come spring this year, Melbourne's historic Pentridge Prison precinct will welcome a hefty new venue: a two-level pub complete with an indoor dining room and lounge bar, plus a sprawling beer garden sporting its own BrewDog container bar, big screens and dedicated games area. The partnership sees the world's largest craft beer bar operator join forces with one of Australia's big pub operators, and will span multiple sites — but exactly where and when any venues beyond Pentridge will open hasn't yet been revealed. Still, if you're a fan of the Scottish brewery in Sydney, you'll finally score your own local. And, in Brisbane, you'll have somewhere else to head beyond its 28-tap original Australian outpost in Murarrie. That OG Brisbane craft beer destination pours both house creations and guest brews, and also serves up a menu that's known for its burgers, pizza and wings — if you're wondering what might be in store at the new BrewDog and AVC bars. BrewDog currently operates 102 beer bars worldwide, having recently launched outposts in Mumbai and New Albany (USA), and with huge flagship bars coming soon to Las Vegas and Waterloo (London). BrewDog Pentridge will open in E Division building at Pentridge Prison, 1 Champ Street, Coburg, from spring 2022. For more information about BrewDog's Australian expansion plans, keep an eye on its website — and we'll update you with further details when they're announced. Top image: BrewDog DogTap Brisbane.
Australia's theatre scene didn't have much to smile about in 2020; however, now that 2021 has rolled around, some venues around the country are kicking back into gear with a little help from their friends. Well, with Friends! The Musical Parody to be specific — with the comedic, song-filled satire of everyone's favourite 90s sitcom touring the country. Initially, the show was due to hit local theatres in August and September last year. Then, when the pandemic struck, the musical rescheduled to November and December instead. But it seems that 2020 wasn't anyone's year — and it didn't include anyone's favourite day, week or month, for that matter — so the production has now shifted its entire run to 2021. Scheduled to kick off on the Gold Coast from Thursday, February 11–Sunday, February 14 before being there for audiences in Melbourne, Brisbane, Perth, Adelaide and Sydney, Friends! The Musical Parody will spend time with Ross, Rachel, Chandler, Monica, Joey and Phoebe, of course. Here, they're hanging out at their beloved Central Perk — and sitting on an orange couch, no doubt — when a runaway bride shakes up their day. Call it 'The One with the Loving, Laugh-Filled Lampoon', or 'The One That Both Makes Good-Natured Fun of and Celebrates an Iconic Sitcom'. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. That said, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 16 years after it finished airing, including via an upcoming reunion special that'll gather the TV series' main cast back together. If you can't make it to the Gold Coast season, the show will hit Brisbane, too, from Thursday, August 19–Saturday, August 21 at the Tivoli Theatre.
It's a workday. You're rushing from one meeting to another, the Blackberry won't stop bleeping at you, the morning's caffeine fix is wearing off, and then you feel it: that familiar rumble in the stomach. Lunchtime has arrived. If your ability to plan ahead has failed you and you haven't brought your lunch with you, it's time to decide what's your going to put in your belly. To achieve the holy trinity of lunch, you need to find something that is healthy, delicious and affordable. And if you're in the Brisbane CBD, you're in luck. There has been a lot of noise in recent years about the health and environmental benefits of plant-based diets. Vege Rama (which earned a place in our Five Best Vegetarian Cafes in Brisbane) is committed to the health of people and the planet, serving up a smorgasbord of plant-based dishes, ranging from nutrient-packed salads to nourishing curries. The 100% vegan café is located at Post Office Square (there is also a 100% vegetarian café located in the Myer Centre food court) – and it is 100% delicious. There are a few mainstays on the hot food menu – think enchiladas ($9), lasagna ($9) and dahl with rice ($5) – but the rest of the hot dishes vary from day to day. Inspired by cuisines such as Indian, Thai, Italian and Greek, options on offer may include veggie korma, split pea soup, spinach and mushroom pasta bake, satay vegetables or Thai pumpkin curry. Keep an eye on the Vege Rama Facebook page to find out what's cooking each day. Salad lovers will also be in heaven, with a range including mustard & dill, pad Thai noodles, chickpea pesto, falafel, and Moroccan quinoa. And for healthy food masquerading as dessert, who can go past a slice of vegan cheesecake? Best of all, most meals will cost you $10 or under. So there you have it: healthy, delicious and affordable. This could very well be Brisbane's best workday lunch.
From 'King of the Mountain' to federal minister for the arts, Peter Garret knows the Australian music industry better than most. The now former minister, activist and legendary Midnight Oil frontman is locked in to deliver a keynote address at this year's BIGSOUND music conference in Brisbane, running September 9-11. It'll be the first major music industry appearance for Garrett since leaving federal parliament, so we're sure he's going to have few things to get off his chest; about public policy and activism in the music industry and of course, his own marvellous career in Midnight Oil. Joining Garrett on the keynote lineup of dreams, rapper and activist Brother Ali is heading to BIGSOUND for his very first Australian speech. The albino child of white Muslim parents, Brother Ali is one of the most unique voices in contemporary hip hop. You might have seen him throw down some serious truths in his recent keynotes at the Nobel Peace Prize Forum and Princeton University. Australia's answer to CMJ in New York or South by Southwest in Austin, BIGSOUND sees all corners of the Australian music industry converge on Fortitude Valley for days of panels, workshops, aforementioned keynotes, and (most importantly) live gigs, showcases and parties. With plenty of A&R talent also booked in to lay some knowledge on BIGSOUND conference-goers, this year's lineup is already one the event's most internationally-focused yet (bringing it ever closer to CMJ-ness). Of course, it's not all keynotes and panels; BIGSOUND's live music element is one of the prime poaching grounds for the best new talent in Australia, with Courtney Barnett, Flume, Megan Washington, Boy & Bear and more blitzing previous BIGSOUND instalments. If you're wanting to throw your hat in the ring, applications to play at this year’s event will close on May 15 with the first artist lineup announced in early June. So bands, producers, singer/songwriters? Here's who you need to impress. BIGSOUND 2015 INDUSTRY SPEAKERS: Peter Garrett – Keynote (AUS) Brother Ali – Keynote (USA) Ashanti Abdullah – Rhymesayers Entertainment (USA) Alex Maxwell – Troubadour (USA) Amy Morgan – Beggars Publishing / Glass Animals (UK) Avery McTaggart – The Windish Agency (USA) Ben Munro – Hostess (JPN) Ben O’Connor – Chapter Music (AUS) Eric Barleen – Another Planet Entertainment (USA) Guy Blackman – Chapter Music (AUS) Jacob Daneman – Pitch Perfect PR (USA) Jacqueline Saturn – Harvest Records (USA) Josh Moore – Bowery Presents (USA) Julia Wilson – Rice is Nice (AUS) Justin Sweeting – WME / Clockenflap (HK) Laura Snapes – Freelance Writer (UK) Lesley Olenik Golindo – Goldenvoice (USA) Lio Kanine – Kanine Records (USA) Lorrae McKenna – Remote Control Records (AUS) Marshall Betts – The Windish Agency (USA) Meg Helsel – Grandstand Media (USA) Melissa Yong – Other Sounds / Village Sounds (SGP) Meredith Fraser – Panache Booking (USA) Paul Buck – Coda Agency (UK) Phil Waldorf – Secretly Group (USA) Rachel Cragg – Nettwerk Music Group (USA) Robin McNicol – Superfly (USA) Sat Bisla – A&R Worldwide (USA) Talya Elitzer – Capitol Music Group (USA) Tunji Balogun – RCA Records (USA) BIGSOUND will take over Fortitude Valley from September 9-11, with early bird tickets capped at 100 this year from $350 for three days of panels, discussions and industry seminars and two nights of 140 bands across 14 venues. The limited allocation of early-bird tickets sold out quickly when they went on sale earlier this year, but another 50 have been released today with prices rising when they are sold out or on May 15, whichever comes first. Head here for details.
This time of year sometimes feels like a mad sprint towards the festive season. Between your office Christmas party and obligatory catch-ups with every relative this side of the equator, December can disappear in a blur. Catching up with friends on the weekend can seem near-impossible, so to ensure you still get some face time with your crew, opt for a weekday meetup. Northshore Riverside Park is a bit of a local secret- just up the river from Eat Street Markets, this is the perfect spot to roll out your picnic rug. With plenty of barbecue facilities and a rolling lawn for a quick kick of the footy, this is the ideal spot for a post-weekend debrief.
Forget everything you've ever heard about Easter being for kids. Eating, relaxing and being merry/pumped up on chocolate is a thoroughly all-ages pastime. This year, Brisbane is delivering all of the above thanks to an array of parties, seafood brunches, gigs, markets, egg hunts, beer unveilings, arcade lock-ins and more. You've got four days off — here's how you can spend them wisely.
The last time that Black Mirror released new episodes, no one had ever heard the terms COVID-19 and ChatGPT, the world hadn't been through a huge lockdown due to a pandemic, Succession was only one season in and Twitter had a far less chaotic owner. They're just a few ways to answer the show's new question, with Charlie Brooker's dystopian sci-fi hit getting tweeting for the first time since 2019 to start teasing its upcoming sixth season. That social-media query: the very apt "what have we missed?". Obviously there are plenty of ways to respond, which Black Mirror creator quickly Charlie Brooker did. 🤔 — Charlie Brooker (@charltonbrooker) April 25, 2023 Those four words from the official Black Mirror Twitter and that one emoji from Brooker is all that's been pumped out into the ether about the show's return, but it's enough to get excited about given that it breaks the series' four-year silence. Wondering when you might be staring at your own black mirror again to watch Black Mirror? That still hasn't been announced. News about Black Mirror's next go-around isn't new, of course, and has been doing the rounds since 2022. Last year, Variety also named a heap of cast members, including Zazie Beetz (Atlanta), Paapa Essiedu (Men), Josh Hartnett (Operation Fortune: Ruse de Guerre), Aaron Paul (Westworld), Kate Mara (Call Jane), Danny Ramirez (Stars at Noon), Clara Rugaard (I Am Mother), Auden Thornton (This Is Us) and Anjana Vasan (Killing Eve). Back when the sixth season was confirmed, how many more grim dystopian tales were on their way hadn't been revealed, however, and that's still the case now. That said, it's expected that the new season will run for more than season five's mere three episodes — and apparently each new instalment is being treated as an individual film. Black Mirror fans will know that the series has also released a direct-to-streaming movie, aka the choose-your-own-adventure-style Black Mirror: Bandersnatch, back in 2018 between seasons four and five. How exactly will the series manage to be even more dispiriting than reality over the past few years? That's increasingly been one of its dilemmas — and noting that something IRL feels just like Black Mirror has become one of the cliches of our times — but this'll be the mind-bending effort's first round of episodes following the pandemic. No one has ever watched the Brooker-created series for a pick-me-up, though. Since first hitting the small screen in 2011, Black Mirror has spun warped visions of where technology may lead us — and, no matter what tale the show has told so far across its 22 instalments (including that interactive movie), the picture has usually been unnerving. So, imagine what the program will cook up after what we've all been living through since it last aired. Brooker has already riffed on COVID-19 in two Netflix specials, actually: Death to 2020 and Death to 2021, which offer satirical and star-studded wraps of both years with mixed success. For something completely different, he also jumped back into choose-your-own-adventure content with animated short Cat Burglar, which hit Netflix back in 2022, has viewers play through it as a thieving feline called Rowdy and gets you to answer trivia questions to advance the story. While you're waiting for Black Mirror's sixth season to arrive — and a release date for it — check out a trailer for season three episode San Junipero below: Exactly when Black Mirror season six might hit Netflix is yet to be revealed. We'll update you when further details are announced.
Do you like Italian food? Then let us introduce you to the happiest place on earth. Your stomach has probably been craving pasta, pizza and gelato since news of Eataly World first started circulating — and those rumbles are only going to get louder now that the world's first Italian food theme park has announced its opening date. Due to open in Bologna, Italy on November 15, and calling itself an agro-food park, the site will take patrons on a trip from the field to the fork. That'll involve with six interactive experiences, more than 40 places to eat, over 100 stalls and shops, and a dedicated parmesan cheese bar. In fact, over nearly 20 acres, Eataly World will feature restaurants, kitchens, grocery stores, classrooms, farms, laboratories and more, showcasing everything from livestock, dairy products and the cereals that become pasta, to preserves, Italian desserts and the best in both boozy and non-alcoholic beverages. As well as boasting free entry — aka making a good thing even better — Eataly World will make daily classes part of its schedule, ensuring visitors don't just wander through this Italian food-focused realm, but can pick up a few new skills as well. To get around the massive area, bikes will also be available. Eating, drinking and cycling in Italy: it sounds like a culinary holiday dream. The park is the latest venture from Oscar Farinetti, the founder of Italian food and grocery chain Eataly, which has locations in New York, Boston and Dubai. And while it has taken some time to come to fruition — it was first announced a few years back, and then set for a 2015 opening that didn't happen — it looks like it has been worth the wait. Speaking to Eater last year, Eataly vice-president and Eataly World CEO Tiziana Primori said the park would mix entertainment with education. "We call it from the farm to the fork because you can see all the steps of the chain, from the animals to the raw materials and workshops and restaurants." The hope is that the park will attract as many as 10 million visitors each year, providing a boost to Bologna tourism in the process. The city already boasts a number of gastronomic attractions, including a medieval marketplace and the world's only gelato university. https://www.youtube.com/watch?v=ou5uPuVBub4 Via Eater. Header image via Dollar Photo Club By Tom Clift and Sarah Ward.
There's always a host of parties happening around Brisbane this Easter. Sometimes, though, don't you just want to head out and relax? If you're keen on sitting by Brisbane's main waterway with a beverage in hand, and doing little more than kicking back, sipping creative novelty beverages and relaxing, then you should pop into Riverbar & Kitchen's Easter Party. The bar team will be whipping up a few special treats, including a 'Gin 'n Jam' cocktail made from West Winds sabre gin, Aperol, rose jam, cranberry bitters, vanilla and egg whites — so you can totally claim it as an Easter-themed beverage.
One of Fortitude Valley's bars is going green to celebrate a big pop culture milestone. Plenty of excellent movies, TV shows, albums and songs will mark an anniversary this year, but when April 2021 hits, animated favourite Shrek will turn 20. So, The Brightside is doing its usual thing and throwing a party — a month early. Rediscover why it really isn't easy being an ogre while listening to a live band play the entire Shrek soundtrack, and competing in the costume competition. Clearly, you'll also get a whole lot of Smash Mouth — aka 'All Star' and their version of 'I'm a Believer' — stuck in your head. Indeed, when the band isn't playing at Shrek Fest, The Brightside's DJs will be spinning 'All Star' on repeat. Here, all that glitters is gold — and green — with the party happening from 6pm on Friday, March 19. Tickets cost $30 per person. https://www.youtube.com/watch?v=W37DlG1i61s
Forget the trashy mags conveniently placed just near supermarket checkouts, and forget whatever the real-life royals are up to, too. These days, if you're keen on regal intrigue, then you're hooked on Netflix drama The Crown. And, after two eventful seasons, you're definitely eagerly awaiting the show's third batch of episodes — following the same characters but with an all-new cast. Since 2016, The Crown has peered inside both Buckingham Palace and 10 Downing Street, unpacking the goings-on behind Britain's houses of power. Set during the reign of Queen Elizabeth II, the series has charted her wedding to Prince Philip, her coronation and the birth of her children (aka Prince Charles, Princess Anne, Prince Andrew and Prince Edward). As well as delving into the monarch's marital ups and downs, The Crown has also explored the romantic life of her sister, Princess Margaret, plus the major political events throughout the late 40s, entire 50s and early 60s. During all this, viewers have become accustomed to seeing Claire Foy as Elizabeth, Matt Smith as Philip and Vanessa Kirby as Margaret. In the third season, however, they've all been replaced to better reflect the passing of time. Fresh from winning an Oscar for The Favourite earlier this year, Olivia Colman steps into ol' Lizzie's shoes, while Tobias Menzies and Helena Bonham Carter do the same with Philip and Margaret. Also joining the show is Josh O'Connor as Prince Charles, Erin Doherty as Princess Anne and Marion Bailey as the Queen Mother. Given the change of cast, and the fact that The Crown's last episodes hit Netflix at the end of 2017, the show's third season has been eagerly anticipated. While the just-dropped teaser doesn't include much at all in the way of detail, it does offer a 20-second glimpse at Colman as the Queen — and reveal that the series will return this November. A full trailer is bound to follow, giving fans a better look at the show's new stars. And, hopefully, touching upon the third season's storyline, which'll chart the years between 1964–1977, including Harold Wilson's (played by The Man Who Killed Don Quixote and The Children Act's Jason Watkins) two stints as prime minister. If you're waiting for the Margaret Thatcher era, and the arrival of Princess Diana, they're expected to be covered in The Crown's fourth season. For now, check out the third season's first teaser below: https://www.youtube.com/watch?v=ZXrEnmracYw The Crown's third season will hit Netflix on November 17.
Be nice to each other. It's a simple, sensible message that we're all guilty of forgetting sometimes, but every now and then a film pops up to remind us. Wonder is the latest, based on the book of the same name. The movie spends its running time with 10-year-old Auggie (Jacob Tremblay), his family and his friends. Born with a facial deformity and still sporting considerable scars after corrective surgery, the home-schooled Star Wars and Minecraft fan just wants to be an average boy. Understandably, he isn't too keen on finally attending classes with other kids — and facing their stares, questions and inevitable teasing. As The Elephant Man and Mask did before it, Wonder steps through the encounters that follow as Auggie interacts with the world. From bullying to peer pressure to hearing his only friend talk about him behind his back, it's the usual list of struggles. Auggie's mother Isabel (Julia Roberts) and father Nate (Owen Wilson) worry but offer encouragement, while his teenage sister Via (Izabela Vidovic) tries to lend a helping hand. Among Auggie's classmates, some taunt, such as popular kid Julian (Bryce Gheisar). Others are cautiously friendly, like scholarship student Jack (Noah Jupe). It's Wonder's willingness to look beyond Auggie that endeavours to set it apart — and helps it avoid becoming a run-of-the-mill disease-focused weepie (though that fate never feels particularly far away). In chapters narrated by other characters, we learn that everyone has insecurities, fears and woes, as the film drives home the idea that we all deserve love and affection. Wading through troubles at home, navigating first relationships, being forced to give up on your dreams, and coping with death are just some of the situations covered. As such, faulting the movie's intentions is impossible. As it tells Auggie's tale and others, the film shines a spotlight on society's troubling willingness to judge rather than help — a topic particularly relevant in today's political climate. A word of warning, however: if you're not too fond of having your emotions plucked like a harp, then you might say this family-friendly effort has too much obvious sentiment. The movie's thesis of kindness over cruelty is not only thoughtful and important, but as warm as its imagery. Still, at times it can feel as though the script is working through a checklist of every sappy cliche imaginable. In the film that results, there's rarely a moment that doesn't tell viewers how to feel. That's hardly surprising given that director Stephen Chbosky previously helmed The Perks of Being a Wallflower — a movie that telegraphed its emotional intent in much the same way as Wonder, albeit with teenage outcasts instead of a lonely boy. Here, with Room's Tremblay doing such an impressive job of balancing Auggie's bravery and vulnerability, the overt button-pushing is even more unnecessary. Wonder might tell its audience to trust, care and be kind to each other, but it'd help if it trusted them to embrace it's own core messages without quite so much poking and prodding. https://www.youtube.com/watch?v=8GHGHhucqJQ
A resident who lives near Melbourne's iconic Cherry Bar has recently been labelled "fuckwit of the year" for complaining about the venue's noise levels. Opening themselves up to unrelenting criticism from music lovers citywide, this neighbour wrote a small letter to the live music venue which has now been mocked and shared everywhere over the weekend. In the age of social media, it's almost always a bad idea, but in principle — do neighbours likes this really have a right to complain? In Melbourne in particular, this has been a huge problem. Earlier this year, many of the city's major venues were in dire financial straits as a result of noise complaints made by surrounding residents. Just one complaint could have seen the council stepping in and enforcing major renovations to soundproof the venue. For many smaller sites, this would put them at risk of bankruptcy. There were even concerns about this affecting the music scene at large — if this kept happening, surely the best venues would just move away? As a loud and proud bastion of hard rock in Melbourne's CBD, Cherry Bar is very familiar with this kind of trouble. As plans were going ahead to erect a 12-storey apartment building next door, the small venue was under pressure from the council to comply with noise regulations. Turning to crowdfunding from their loyal clientele, they raised over $50,000 in under 24 hours to go towards soundproofing the venue. This has now changed. And, as most venues aren't as blessed as Cherry, it's a very good thing. After years of arduous legal battles, Victorian parliament passed new Agent of Change laws last month which put the onus of soundproofing on the developers of residential complexes rather than inner-city venues. It was a momentous win for live music that guaranteed the future of many bandrooms on the brink. The City of Yarra then jumped on the back of this and offered $25,000 worth of funding to these venues in the name of good will. Go Melbourne! With all this in mind, it's a wonder this person bothered to get in touch. Shit's already getting done, right? "The noise made by your bar is affecting my sleep and work, especially since it lasts beyond midnight," the complaint read. "May i suggest u guys to reduce the noise made by at least a half ? [sic] There are many working adults and students living in this apartment, so the noise produced by your bar made it very difficult for us to rest at home after a long day of work." Then they get serious. "I have read about the noise restrictions in the CBD, and will consider reporting to the City of Melbourne or the Victoria Police if this matter is not solved within the next week." And that's where it all began: Fuckwit moves next door to Cherry Bar and complains about noise: http://t.co/2bYQZ3TBCq — Wil Anderson (@Wil_Anderson) October 18, 2014 Cherry Bar owners have since got back to the neighbour expressing their side of the story. "Cherry has been successfully operating for 14 years as a late night live music venue. We have never had a noise complaint," their letter read. "The good news for you is that we are proactively investing in $100,000 worth of soundproofing presently. We are approximately 3 weeks into the 4 week process." The moral of this story: you probably shouldn't move onto a street named after AC/DC if you don't like loud music. But in general, even if you live and breathe live music, it's easy to see the points these kind of neighbours are making. How many drunk trespassers and sleepless nights would it make to turn you into a fuckwit too? Via Tone Deaf and Music Feeds. Photo credit: Scootie via photopin cc.
When Memoria begins, it echoes with a thud that's not only booming and instantly arresting — a clamour that'd make anyone stop and listen — but is also deeply haunting. It arrives with a noise that, if the movie's opening scene was a viral clip rather than part of Thai filmmaker Apichatpong Weerasethakul's spectacular Cannes Jury Prize-winning feature, it'd be tweeted around with a familiar message: sound on. The racket wakes up Jessica Holland (Tilda Swinton, The Souvenir: Part II) in the night, and it's soon all that she can think about; like character, like film. It's a din that she later describes as "a big ball of concrete that falls into a metal well which is surrounded by seawater"; however, that doesn't help her work out what it is, where it's coming from or why it's reverberating. The other question that starts to brood: is she the only one who can hear it? So springs a feature that's all about listening, and truly understands that while movies are innately visual — they're moving pictures, hence the term — no one should forget the audio that's gone with it for nearly a century now. Watching Weerasethakul's work has always engaged the ears intently, with the writer/director behind the Palme d'Or-winning Uncle Boonmee Who Can Recall His Past Lives and just-as-lyrical Cemetery of Splendour crafting cinema that genuinely values all that the filmic format can offer. Enjoying Memoria intuitively serves up a reminder of how crucial sound can be to the big-screen experience, emphasising the cavernous chasm between pictures that live and breathe that truth and those that could simply be pictures. Of course, feasting on Weerasethakul's films has also always been about appreciating not only cinema in all its wonders, but as an inimitable art form. Like the noise that lingers in his protagonist's brain here, his movies aren't easily forgotten. With Weerasethakul behind the lens and Swinton on-screen, Memoria is a match made in cinephile heaven — even before it starts obsessing over sound and having its audience do the same. He helms movies like no one else, she's an acting force of nature, and their pairing is film catnip. He also makes his English-language debut, as well as his first feature outside of Thailand, while she brings the serenity and magnetism that only she can, turning in a far more understated turn than seen in the recent likes of The French Dispatch and The Personal History of David Copperfield. Yes, Weerasethakul and Swinton prove a beautiful duo. Weerasethakul makes contemplative, meditative, visually poetic movies, after all, and Swinton's face screams with all those traits. They're both devastatingly precise in what they do, too, and also delightfully expressive. And, they each force you to pay the utmost attention to their every single choice as well. As Jessica, Swinton plays a British expat in Colombia — an orchidologist born in Scotland, residing in Medellín and staying in Bogota when she hears that very specific din. After explaining it in exquisite detail to sound engineer Hernán (Juan Pablo Urrego, My Father), he tries to recreate the noise for her, but only she seems to know exactly what it sounds like. At the same time, Jessica's sister Karen (debutant Agnes Brekke) is in hospital with a strange ailment. Also, there's word of a curse that's linked to a tunnel being built over a burial ground, and Jessica consults with an archaeologist (Jeanne Balibar, Les Misérables) before heading from the city to the country. Grief echoes as strongly through Jessica's life as the bang she can't shake, and she wanders like someone in a dreamy daze, whether she's roaming around an art gallery or crossing paths with a rural fisherman also called Hernán (Elkin Díaz, Besieged). No plot description can ever do Weerasethakul's films justice, and Memoria doesn't even consider tying its various threads in an obvious way. Rather, it invites viewers to unlock its puzzles by soaking in every patient 35-millimetre shot and exacting sound, and it's a mesmerising cinematic experience. Part of the film's hypnotic thrall stems from the connections gleaned, too, especially for the filmmaker's fans. Sleep, one of his favourite topics, is inescapable. Spying the hospital-set scenes and not thinking of Cemetery of Splendour is impossible. In the movie's latter sections, when it revels in the Colombian countryside, it's just as difficult not to recall Uncle Boonmee Who Can Recall His Past Lives. And there is indeed another past that's being conjured up here, separate from Weerasethakul's cinematic background (plus the fact that Memoria's lead is named after 1943 voodoo horror I Walked with a Zombie): that of its setting, its history of violence and the shadow that remains today. How the past, present and future bleed into each other — or drip like water falling into a well, then pool together — sits at the heart of Memoria. That too isn't new for Weerasethakul, but he can't be accused of repeating himself. He also ponders what sticks and fades, and how and why. Witnessing its two Hernán sequences, both of which are sublime in their own fashions, cements this train of thought. In the first, the young audio engineer searches his database of movie sound effects, trying to locate something universal to match a noise that's clearly so personal to Jessica — and observing their to and fro, absurdity included, ranks among the best scenes Weerasethakul has given cinema. In the second, which is loaded with queries about whether the two men with the shared name are one and the same or alternate versions, how life can resemble a mere reverie gets thrust to the fore amid spellbindingly vivid greenery. They aren't straightforward, but there are answers in Memoria. Better than that, there's a powerful and provocative commitment to surprising and challenging that resounds right down to the movie's final glorious reveal. We catalogue and contemplate the past in a plethora of ways, and shifting, shattering and distorting is a natural consequence, as Weerasethakul tells us with his intoxicating frames and soundscape. He gets stunning help from cinematographer Sayombhu Mukdeeprom (Suspiria, Call Me By Your Name and also plenty of Weerasethakul's work) and sound designer Akritchalerm Kalayanamitr (another of the filmmaker's veterans), because his features are always technical powerhouses — but being on Swinton's ethereal wavelength is essential. She's the audience's guide through a beguiling mystery, her director's surrogate in this quest through Colombia, and an anchor in an achievement that feels like just what the best cinema is meant to: a dream with our eyes and ears wide open. Top image: Sandro Kopp © Kick the Machine Films, Burning, Anna Sanders Films, Match Factory Productions, ZDF-Arte and Piano, 2021
In Steven Soderberg's hands, smooth criminals have fleeced casinos, a stripper with a heart of gold has strived for a better life, and unlikely underdogs have fought for the American dream. Now, the man behind Ocean's Eleven (and Twelve and Thirteen), Magic Mike and Erin Brockovich jumps into the hillbilly heist game. It's a welcome return to the familiar for someone who just pulled off a bait-and-switch of his own — supposedly retiring from cinema after Side Effects in 2013, only to make TV film Behind the Candelabra and stellar medical television series The Knick. Without giving too much away, his recent trajectory has more in common with his latest movie than it might initially seem. The fact is, changing one's fortune is a recurrent theme in Soderberg's stories, as are hard-working folks bucking against the system. Logan Lucky doesn't just happily join the fold, but does so with a knowing smile — at one point, a news report even refers to the caper as "Ocean's 7-11". Set in West Virginia, the charming film follows three siblings who decide that sticking up a big NASCAR race is the answer to their problems. Construction worker Jimmy (Channing Tatum) has the insider know-how from working on a site nearby, and the motivation after discovering his ex-wife (Katie Holmes) is moving across the state line with his daughter (Farrah McKenzie). Car-loving hairdresser Mellie (Riley Keough) has transport sorted, which just leaves one-armed Iraq war vet turned bartender Clyde (Adam Driver) to worry about the supposed Logan family curse. But the trio can't blow their way to riches without demolitions expert Joe Bang (Daniel Craig), who happens to be incarcerated. So it is that Logan Lucky becomes a heist flick and a jailbreak film — as well as an exploration of blue-collar workers struggling to get by, a cops versus crims game of cat and mouse, and a touching story about the importance of family. Throw in plenty of affectionate Southern gags and perhaps the best Game of Thrones joke you're ever likely to hear, and the movie proves a jam-packed package of humour, thrills and feeling. Two things are particularly crucial in Soderberg's working-class pseudo-remake of his glitzy prior hits. Firstly, whether surveying shambling abodes, spying rust spots on well-worn trucks, or poking fun at someone's lack of computer skills, Logan Lucky approaches its characters and their socio-economic situation with warmth. Secondly, though it steps through the usual caper conventions — getting the gang together, resorting to backup plans and avoiding the law — it does so with such zest and vibrancy that you'll forget that you've seen this kind of movie countless times before. Ultimately, it all comes back to Soderbergh. There's a reason his return to the big screen is worth celebrating, and it's not just his penchant for characters making their own luck or his ability to pull together a killer cast. Tatum is never better than when he's being guided by the director, but Logan Lucky is a testament to Soderberg's own skills. Not just directing, but lensing and editing (under well-used pseudonyms) as well, he's a craftsman through and through. Come for the zippy comedy about ordinary people mastering their own destinies. Stay for the entertaining filmmaking masterclass. https://www.youtube.com/watch?v=_eqC27nxHJ4
