It's a tradition well-known to many Australians: wake up on the weekend, make a beeline for your closest Bunnings, down a snag in bread. It's also a tradition that's been around since the 90s, and one we've been missing for four very, very long months since Bunnings postponed its sausage sizzles back in mid-March because of rising concerns around COVID-19. In good news for many (except for Victorians, sorry Victoria), the weekend ritual is about to make its long-awaited return this month. First relaunching in Tasmania and the NT this weekend, Saturday, July 11, at select stores, the charity sizzles are then set to roll out across Queensland, NSW, the ACT, SA and WA towards the end of this month. In a statement released by the Australian hardware chain, the company confirmed the sausage sizzles' return and acknowledged their importance as a fundraising tool for many Aussie charities. "We know our customers have missed being able to show their support for local community groups by stopping by the sausage sizzle and we know the important fundraising role they play for thousands of community groups across Australia," Bunnings' Chief Operating Office Deb Poole said in a statement. "So, we're really excited to be starting the process of bringing them back in places where restrictions have eased." Each year around 40,000 sausage sizzles are hosted at Bunnings stores, help raising much-needed funds for local charity groups and sporting teams. When the sausage sizzles do return, there will be social distancing and hygiene measures in place — measures we're all very used to at this point — including spaced queues, increased cleaning and separate ordering and pick-up points. Bunnings sausage sizzles are set to return in NSW, Queensland, SA, WA and the ACT later this month. We'll let you know when exact dates are announced.
Would Australians flock to Bunnings each weekend if barbecued sausages weren't there for the munching? Hopefully we'll never need to learn the answer to this very important question. Shopping for hardware, garden products and everything else the chain sells, then hitting up the onsite sausage sizzle, has long been an Aussie weekend tradition — and, from Saturday, October 16, getting the COVID-19 vaccination will also be part of the ritual at some Brisbane and Queensland stores. Queensland Premier Annastacia Palaszczuk has announced that 33 Bunnings sites will host pop-up vax clinics from this coming weekend. Getting jabbed, eating snags — if you haven't been vaccinated yet, that's now on your agenda. It's the latest move in the government's effort to get Queenslanders vaxxed, and comes just a day after Palaszczuk also announced that the state had hit the 70-percent single-dose mark. Those jabs and sausages will be on offer at the Mt Gravatt, Stafford, North Lakes, Morayfield, Brendale, Browns Plains, Underwood, Victoria Point and Bethania Bunnings stores in and around Brisbane, if you're wondering where to head from Saturday. Elsewhere across Queensland, vax clinics will set up at the brand's Oxenford, Pimpama, Nerang, Robina, Arundel and Burleigh Waters sites on the Gold Coast, and at its Maryborough, Bundaberg, Hervey Bay, Dalby, Airlie Beach, Kingaroy, Gladstone, Yeppoon, Rockhampton, Gympie and Plainland stores. And, Smithfield and Atherton in Cairns, three stores in Townsville and two locations in Mackay will also get vaccination pop-ups. You can get vaccinated at 33 @Bunnings Warehouse stores across Queensland this weekend 👇 pic.twitter.com/57qcuulCt4 — Annastacia Palaszczuk (@AnnastaciaMP) October 12, 2021 Getting vaxxed is free, but nabbing a snag afterwards will still cost you — with Bunnings using its sausage sizzles to raise much-needed funds for local charity groups and sporting teams. Pop-up vaccination clinics will set up at 33 Bunnings stores across Brisbane and Queensland from Saturday, October 16. For further information about Australia's COVID-19 vaccine rollout, head to the Australian Government Department of Health website. For more details specific to Queensland, visit the Queensland Health website.
In the film festival space, it's one of 2020 big trends: forgoing a physical event this year and hosting online screenings instead. It's also a move that comes with an added benefit, opening up local events to a broader national audience. Sydney Film Festival has already done all of the above, and the Melbourne International Film Festival will do so come August —and, in the middle, it's Revelation Perth International Film Festival's turn. Without investing in a plane ticket and taking a trip across the country, east coast dwellers don't normally get to enjoy the west coast festival's distinctive lineup and vibe; however, thanks to its new Couched Online Film Festival, that's changing this year. Running virtually until Sunday, July 19, Couched is jam-packed with the types of titles that always make Revelation, in its in-person guise, stand out — aka the types of movies that don't often pop up elsewhere. Featuring more than 25 features, documentaries and shorts collections, the online fest's program is streaming on demand, on a pay-per-view basis, so you can pick and choose what you'd like to catch. You can also nab a pass and watch your way through everything. On the bill: Willem Dafoe grappling with existence at a the snowy bar in the out-there (and divisive at Berlinale) Siberia, the VHS-shot 80s-set throwback comedy VHYes, and magical-realist adventure Precarious. If you like films about films, look out for documentaries about Russian director Andrei Tarkovsky, Czech filmmaker Milos Forman and the camp status held by 1985 horror sequel Nightmare on Elm Street 2: Freddy's Revenge. Or you can watch a housewife step into making her own erotic movies in Aussie doco Morgana, explore the wild true tale of Cold Case Hammarskjöld, revel in the sounds of The Rise of the Synths, check out a few new local features and work your way through a four-film 'Black Voices that Matter' retrospective. https://www.youtube.com/watch?v=rCYAjkwZcd0 And, if you like what Couched serves up and you're eager for a WA holiday (and the border situation around the country changes in the next few months), Revelation is actually still planning to run as normal later in the year, from December 2–13. Couched Online Film Festival runs until Sunday, July 19, with films available to view online.
When HBO managed to get the cast of Friends back on the same couch and chatting to camera about their time on the hit sitcom, the US cable network clearly found itself a new niche. That'd be big reunion specials that reteam the stars of beloved pop culture favourites to talk about their experiences — so it's going down the same route with the Harry Potter franchise. If you've been chanting "accio more Harry Potter" to yourself for the past decade since the eight-film series wrapped up, it seems that your wishes have finally come true. Like the Friends special, Harry Potter 20th Anniversary: Return to Hogwarts won't feature anyone in-character — but, if you're a fan, spending more time with the movies' stars still promises to be magical. There'd be no point going ahead if Daniel Radcliffe, Rupert Grint and Emma Watson weren't all involved, so they're definitely on the lineup. So is filmmaker Chris Columbus, who directed the franchise's first two movies. Joining them is a huge list of other actors from across the movie series' history, including Helena Bonham Carter, Robbie Coltrane, Ralph Fiennes, Jason Isaacs, Gary Oldman and Tom Felton, plus James Phelps, Oliver Phelps, Mark Williams, Bonnie Wright, Alfred Enoch, Matthew Lewis, Evanna Lynch and Ian Hart. You'll spot some missing names — Maggie Smith and Robert Pattinson, for instance, to name just two — but clearly there'll be a whole lot of HP cast members reminiscing about their time in the wizarding world. As the special's name makes plain, Harry Potter 20th Anniversary: Return to Hogwarts is popping up to celebrate 20 years since Harry Potter and the Philosopher's Stone first reached cinemas back in 2001. That said, whether you're a muggle, a wannabe wizard and witch, or someone who spent far too much of their childhood reading the books and watching the flicks, you'll actually be checking out the new special in 2022. In the US, it'll stream on January 1 on HBO Max. Viewing options Down Under haven't yet been revealed, so there's something to start trying to summon sooner rather than later. Check out the teaser trailer for the Harry Potter 20th Anniversary: Return to Hogwarts special below: HBO's Harry Potter 20th Anniversary: Return to Hogwarts special will be available to stream in the US on January 1, 2022 — we'll update you with viewing details Down Under when they're announced.
When A Quiet Place hit cinemas in 2018, did stellar things with its mostly dialogue-free premise and gave alien invasion films a creative spin, it quickly proved a big box office hit. That's hardly surprising; Emily Blunt (Wild Mountain Thyme) added another formidable role to her resume, John Krasinski (Detroit) did great work both in front of and behind the camera, both Millicent Simmonds (Wonderstruck) and Noah Jupe (The Undoing) turned in excellent performances, and the entire movie made the absolute most of its silence-heavy approach and its niche in the horror genre. So, a sequel was always likely. That follow up was delayed by more than a year due to the pandemic, but A Quiet Place Part II is now finally screening in cinemas. Don't think that the story will end there, though, because a third flick is now coming. At the moment, the next film in the series doesn't have a title — but it does have a release date. Come March 30, 2023, you'll be spending more time in the franchise's eerie dystopian world, and also learning more about the folks who've been learning to survive by keeping their lips zipped as tightly as possible. And, make no mistake, this is definitely a franchise now. The next movie is a spinoff rather than a direct sequel, although exactly what its story will tell is yet to be announced. Still, our time with the Abbott family could very well be up, and the flick could find another corner of its post-apocalyptic realm to explore. One big change is definitely locked in: instead of Krasinski sitting in the director's chair, fellow filmmaker Jeff Nichols will be doing the honours. That's a great fit, at least based on much of his work to date. With 2011's Take Shelter, he followed a father struggling with apocalyptic visions and uncertain of what to do to protect his family. In 2012's Mud, he told a coming-of-age tale about two young boys and a fugitive, while 2016's Midnight Special spent time with a dad and his son as they tried to evade a cult and the government. All three are excellent, and it's easy to see how Nichols can jump from that trio — via 2016 drama Loving — to the next A Quiet Place movie. Casting details haven't yet been revealed; however, Nichols has reportedly just handed in the script for the new film. And yes, everything seems to be a franchise these days, with The Conjuring movies up to their eighth flick, Marvel still doing its thing, and everything from Bond and Fast and Furious to Star Wars and Harry Potter still unfurling new chapters — but given how well both A Quiet Place features have done at the box office so far, more films in the series were always likely to follow. Until further details about the upcoming third A Quiet Place movie are announced, check out the trailer for A Quiet Place Part II below: The currently untitled third A Quiet Place film is set to release in movie theatres Down Under on March 30, 2023. A Quiet Place Part II is screening in cinemas now — read our full review. Via Variety.
The festive season is upon us, again, which means that Christmas shopping is about to become everyone's favourite pastime. Thankfully, trawling the mall isn't your only option when it comes to finding a gift, either for your loved ones or yourself — or grabbing ingredients for a delicious meal. Returning for another year from 4–9pm on Saturday, November 20, the Carseldine Markets is hosting a twilight event brimming with the spirit of the season. Get your list ready, because all the art, craft and fresh produce stalls you know and love will be on site, just waiting to help you out of a festive fix — there's usually more than 180 of them, in fact. Prepare to tuck into festive treats, too (because you'll need to eat while you browse), as well as ample entertainment. Yes, it's a Christmas wonderland, with the decorations and carols to prove it. Warning: if you're more of a Grinch than one of Santa's elves, you'd best prepare yourself for an overdose of holiday cheer. Entry costs $2, and there's free parking onsite.
Come Monday, February 25, Australian and New Zealand time, Hollywood will crown this year's Academy Award winners; however they're not the only gongs being handed out at this time of year. On the weekend before the Oscars, it's always time for cinema's worst and dullest to earn some recognition, all thanks to the Golden Raspberry Awards. Now in their 39th year, the Razzies have unveiled their latest slate of recipients — aka the films from 2018 that you've hopefully avoided. On the list: a comic take on a couple of literary greats, an actor who's also in contention for the best actress Oscar and the current US President. Taking out worst picture is Holmes & Watson, the Will Ferrell and John C. Reilly-starring supposed comedy based on Sir Arthur Conan Doyle's famous sleuthing pair. Reilly also nabbed the awards' worst supporting actor prize for his troubles, while the movie earned Etan Cohen the worst director trophy, too. And, it was further recognised as the worst remake, rip-off or sequel of 2018. https://www.youtube.com/watch?v=VLuFxzUC5UI In the worst actor field, Ferrell lost out to Donald Trump, who was recognised for his work, as himself, in documentaries Death of a Nation and Fahrenheit 11/9. The American leader also took out the worst screen combo category for the same two flicks, with the award noting his pairing with "his self-perpetuating pettiness". While Melissa McCarthy won worst actress for her two low points of 2018, aka The Happytime Murders and Life of the Party, she also received the Razzies' redeemer award for going "from a multi-Razzie darling to a critically acclaimed Oscar Nominee for her out-of-caricature role in Can You Ever Forgive Me?". And, bringing the franchise's Razzie total to eight trophies across three movies, Fifty Shades Freed was anointed the worst screenplay of the last 12 months. GOLDEN RASPBERRY NOMINEES AND WINNERS 2019 WORST PICTURE Holmes & Watson Gotti The Happytime Murders Robin Hood Winchester WORST ACTOR Donald J. Trump (as himself) in Death of a Nation and Fahrenheit 11/9 Johnny Depp (voice only) in Sherlock Gnomes Will Ferrell in Holmes & Watson John Travolta in Gotti Bruce Willis in Death Wish WORST ACTRESS Melissa McCarthy in The Happytime Murders and Life of the Party Jennifer Garner in Peppermint Amber Heard in London Fields Helen Mirren in Winchester Amanda Seyfried in The Clapper WORST SUPPORTING ACTOR John C. Reilly in Holmes & Watson Jamie Foxx in Robin Hood Ludacris (voice only) in Show Dogs Joel McHale in The Happytime Murders Justice Smith in Jurassic World: Fallen Kingdom WORST SUPPORTING ACTRESS Kellyanne Conway (as herself) in Fahrenheit 11/9 Marcia Gay Harden in Fifty Shades Freed Kelly Preston in Gotti Jaz Sinclair in Slender Man Melania Trump (as herself) in Fahrenheit 11/9 WORST SCREEN COMBO Donald J. Trump and his self-perpetuating pettiness in Death of a Nation and Fahrenheit 11/9 Any two actors or puppets (especially in those creepy sex scenes) in The Happytime Murders Johnny Depp and his fast-fading film career (he's doing voices for cartoons, fer kripesakes!) in Sherlock Gnomes Will Ferrell and John C. Reilly (trashing two of literature's most beloved characters) in Holmes & Watson Kelly Preston and John Travolta (getting Battlefield Earth-type reviews) in Gotti WORST DIRECTOR Etan Cohen for Holmes & Watson Kevin Connolly for Gotti James Foley for Fifty Shades Freed Brian Henson for The Happytime Murders The Spierig Brothers (Michael and Peter) for Winchester WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL Holmes & Watson Death of a Nation (remake of Hillary's America...) Death Wish The Meg (rip-off of Jaws) Robin Hood WORST SCREENPLAY Fifty Shades Freed, screenplay by Niall Leonard, from the novel by E.L. James Death of a Nation, written by Dinesh D'Souza and Bruce Schooley Gotti, screenplay by Leo Rossi and Lem Dobbs The Happytime Murders, screenplay by Todd Berger, story by Berger and Dee Austin Robinson Winchester, written by Tom Vaughan and The Spierig Brothers RAZZIE REDEEMER AWARD Actress: Melissa McCarthy, who went from a multi-Razzie darling to a critically acclaimed Oscar Nominee for her out-of-caricature role in Can You Ever Forgive Me?. Actor: Tyler Perry, from a multi-Razzie nominee and winner for his self-imposed Madea trap to his role as Colin Powell in the Oscar and Golden Globe favourite Vice. Director: Peter Farrelly from Razzie Winner for Movie 43 and more shallow choices like Dumb and Dumber 2 etc… to director/co-writer of the deeply heartfelt Green Book. Franchise: From the Razzie-targeted heap of metal Transformers to the more innocent and endearing three-dimensional approach taken with Bumblebee. Sony Animation Studio from crass multi-Razzie winner Emoji Movie to the highly acclaimed Spider Man Into The Spider-Verse, which was loved by critics and audiences alike.
A great bar isn't just about the tap count, but that figure can be a sign of a more-the-merrier situation for beer lovers. When the number is hefty, usually so are your drinks choices, including trying tipples that you mightn't have had a chance to otherwise. So when a 120-tap bar awaits, it really is a case of imagining the possibilities. The Great Australasian Beer Spectapular, aka GABS, loves getting creative with beers — and loves letting attendees at its annual festivals sip and sample over 100 different varieties each year. In 2025, when the fest returns to Brisbane in May, it'll set up that 120-tap bar, all in a straight line. Exactly 100 of those taps will pour beers, and the weirder and wilder the flavours, the better. The other 20 will feature spirits, cocktails and other beverages. For many of the brews on offer at GABS, this is either the first time or the only place that you can taste them. Think: sushi beer, cookie stouts and lollipop sours, which have featured in the past. Think of a foodstuff — peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum, doughnuts, red frogs and sour gummy bears, for instance — and there's likely been a brew made to taste exactly the same at GABS. This year, GABS is hosting two-day fests, including at Brisbane Convention and Exhibition Centre from Friday, May 23–Saturday, May 24. If you're a newcomer to GABS, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then it began spreading along Australia's east coast capitals, as well as to New Zealand. The event surveys both Australian and New Zealand breweries, plus sometimes some guests from further afield — Schlenkerla and Weihenstephan, both from Germany, are the first names on the list in 2025 — with more than 60 normally showcasing their wares annually. Also on the bill: other tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which usually spans a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders, plus local food trucks and vendors to line your stomach. And you might just find a ferris wheel or a mullet bar — yes, dispensing the haircuts — as well, as they've popped up in the past.
When Midnight Special starts, TV news reports splash Roy Tomlin's (Michael Shannon) face across the screen. He's wanted for kidnapping eight-year-old Alton Meyer (Jaeden Lieberher), with the film swiftly showing him and his accomplice Lucas (Joel Edgerton) holed up in a motel with the kid. They're about to leave, but when Roy picks up the goggle-wearing Alton to carry him outside, the boy clings to him lovingly. That's not typical abductor-captive behaviour — and this isn't your typical film. A host of questions spring up, as audiences find themselves asking who, why and what's really going on. A cult leader (Sam Shepard) gives two men four days to find Alton shortly before FBI agents interrupt his evening sermon. By the time beams of light shine from Alton's eyes, and a storm of fiery space debris showers down upon him, it's clear we're in entirely uncharted territory. That's by design. Midnight Special asks its characters and viewers alike to wonder, but refuses to flesh out too many details or offer up easy solutions. Indeed, as filmmaker Jeff Nichols tells Roy and Alton's tale — tracking their drive through America's south, picking up Alton's mother (Kirsten Dunst) along the way, and attracting the attention of NSA officer Paul Sevier (Adam Driver) — he seems to have stolen Fox Mulder's catchphrase. He wants to believe, or, more accurately, he wants to tell tales about people who place their faith in something, in the hope that audiences will too. His three previous features may appear a diverse bunch; however 2007's Shotgun Stories, 2011's Take Shelter and 2012's Mud all focused on figures who chose to trust in a force other than themselves, be it vengeance, apocalyptic dreams or the power of love. Now, with Midnight Special, he veers into science-fiction to explore the conviction that comes from a parent's bond with their child. It's an ambitious task, but if anyone is up to it, it's Nichols. With a command of visual and emotional storytelling, he crafts a film that's a road movie, chase thriller, intimate drama and otherworldly adventure all in one, yet remains united in tone and mood. Everything from the cinematography to the evocative score feels heartfelt and mysterious. And then there's the pitch-perfect performances, particularly from the filmmaker's continued main man Shannon, who provides yet another quietly haunting portrayal. Of course, Nichols' latest offering doesn't just follow in his own footsteps, even though he's clearly carving out his own niche. Courtesy of its supernatural narrative, it also conjures up thoughts of '70s and '80s sci-fi fare. Think John Carpenter's Starman and Steven Spielberg's Close Encounters of the Third Kind and E.T. A lingering sense of awe emanates from not only the writer-director's material, but from the genre greats that inspire him. It's no surprise that the movie that results proves as enigmatic as it is enchanting, delivering Nichols' fourth knockout in a row.
If seeing one waterfall in a day isn't enough, head to the highlands to experience the beauty of the Atherton Tablelands waterfall circuit. With a bunch of tumbling waterfalls and vast crater lakes to explore, the trip up the mountain range to these rainforest delights is essential Tropical North Queensland travel. Take the Gillies Highway from Cairns to Crater Lakes National Park to dive into Lake Barrine and Lake Eacham. Unlike their explosive origins, these water-filled volcanic craters are ideal for a serene morning float. Next, drive to the nearby town of Millaa Millaa to find out why its eponymously named falls are one of the most photographed cascades in the country. Have a soak in the swimming hole at the base of Millaa Millaa Falls or get underneath its 18-metre drop to have your very own rainforest shower. And, if more waterfall action is what your heart desires, visit nearby Zillie Falls and Ellinjaa Falls to round out the circuit.
If you've ever wanted to enjoy a beverage in a speakeasy, pretend you're drinking bootlegged liquor, or get glammed up 1920s style, you're about to get your chance. Welcome to Prohibition Brisbane, the venue that brings the fun of almost a century ago to Fortitude Valley's nightlife district. It's a theme the underground haunt takes seriously, as its grand arrival space, complete with moving ceiling, makes clear. Inside the 1100 square metre warehouse, three separate basement spaces — the main hall, a speakeasy-style bar and an exclusive VIP lounge — evoke times gone by via earthy tones and aged finishes. Need proof beyond the fancy decor? It's all in the drinks list. The hard stuff reigns supreme, of course, as Prohibition's packed bar shelves prove. For those fond of shaken or stirred concoctions, the extensive cocktail range mixes time-honoured tipples that date back to the '20s with brand new house originals. Twists on classics are a highlight, including 'The Peach and Passionfruit Rickey' and the 'Du Pont Daiquiri'. Once the place starts pumping over the next few months, expect it to feature a lineup of international DJs and play host to a variety of other events and concert afterparties. For now, you can share in Prohibition's grand opening on July 3 and 4, or grab a sneak peek in advance by keeping an eye on their Facebook page. Find Prohibition at 206 Wickham Street, Fortitude Valley from July 3, or visit their website. View all Brisbane Bars.
Some movies sport monikers so out of sync with their contents that someone really should've had a rethink before they reached screens. Uncharted is one of them, but it was never going to switch its name. The action-adventure flick comes to cinemas following a decade and a half of trying, after the first Uncharted video game reached consoles in 2007 and the journey to turning it into a movie began the year after. Accordingly, this Tom Holland (Spider-Man: No Way Home)- and Mark Wahlberg (Joe Bell)-starring film was fated to keep its franchise's title, which references its globe-trotting, treasure hunting, dark passageway-crawling, dusty map-coveting storyline. But unexplored, unfamiliar and undiscovered, this terrain definitely isn't — as four Indiana Jones films to-date, two National Treasure flicks, three Tomb Raider movies, 80s duo Romancing the Stone and The Jewel of the Nile, and theme park ride-to-screen adaptation Jungle Cruise have already demonstrated. Uncharted mightn't live up to its label, but it is something perhaps unanticipated given its lengthy production history — a past that's seen six other filmmakers set to direct it before the Zombieland movies' Ruben Fleischer actually did the honours, plenty of screenwriters come and go, and Wahlberg once floated to play the saga's hero Nathan Drake rather than the mentor role of Victor Sullivan he has now. That surprise? Uncharted is fine enough, which might be the best likely possible outcome that anyone involved could've hoped for. It's almost ridiculously generic, and it sails in the Pirates of the Caribbean flicks' slipstream as well, while also cribbing from The Mummy, Jumanji and even the Ocean's films. Indeed, it borrows from other movies as liberally as most of its characters pilfer in their daily lives, even nodding towards all things Fast and Furious. It's no worse than the most generic of its predecessors, though — which isn't the same as striking big-screen gold, but is still passable. The reasons that Uncharted just hits the barest of marks it needs to are simple and straightforward: it benefits from Holland's charms, its climax is a glorious action-film spectacle, and it doesn't ever attempt to be anything it's not (although reading a statement of intent into the latter would be being too generous). It also zips through its 116-minute running time, knowing that lingering too long in any one spot wouldn't serve it well — and it's as good as it was going to be given the evident lack of effort to be something more. While you can't make a great movie out of these very minor wins, they're all still noticeable pointers in an okay-enough direction. Getting audiences puzzling along with it, delivering narrative surprises even to viewers wholly unfamiliar with the games, asking Wahlberg to do anything more than his familiar tough-guy schtick, making the most of the bulk of its setpieces, providing the product of more than just-competent direction: alas, none of these turn out. In a film that acts as a prequel to its button-mashing counterparts, Holland plays Drake as a 20-something with brother issues, a vast knowledge of cocktail histories that's handy for his bartending gig, an obsession with 16th-century Portuguese explorer Ferdinand Magellan and the gold he might've hidden, and very light fingers. Nate's elder sibling dipped out of his life after the pair were caught trying to steal a Magellan map as orphanage-dwelling kids, in fact, which Sully uses to his advantage when he first crosses his path in a New York bar — and, after some convincing, Nate has soon signed up to finish the quest he's been dreaming about since childhood. Naturally, this newly formed duo aren't the only ones on the Magellan treasure's trail. The wealthy Santiago Moncada (Antonio Banderas, The Hitman's Wife's Bodyguard) is descended from the explorer's original financiers and boasts a hefty sense of entitlement, while knife-wielding mercenary Jo Braddock (Tati Gabrielle, You) and enterprising fortune-hunter Chloe Frazer (Sophia Ali, India Sweets and Spices) are each chasing a windfall. It's telling — and farcically blatant — that Uncharted begins with Nate hanging upside down. He's suspended from a train of freight trailing out of a plane, but the visual message is instant and obvious: yes, Holland also plays Spider-Man. Actually, the film doesn't ever ask him to stretch his talents beyond everything he's already immensely famous for, going for a 'Peter Parker, but make him a thief with a heart of gold' setup. Still, he's as entertaining and charismatic as the part demands, and lifts the routine script by The Wheel of Time's Rafe Lee Judkins and Men in Black: International duo Art Marcum and Matt Holloway purely by his presence. Holland hasn't had a great time of late beyond the Marvel web, with the also long-troubled Chaos Walking proving flat-out awful, and Cherry failing to set streaming alight; however, if Uncharted leaves a lasting imprint, it's wondering how much better its star could fare with if he had more than a by-the-numbers screenplay to work with. A worthy lead, underperforming material, a general unwillingness to take any risks: that's a problem that's plagued too many movies about too many connect-the-dots treasure hunts well before now. Thankfully, Uncharted's eagerness to just get on with its story helps significantly — breezing by rather than loitering on its chest of illogical twists and turns, and, Wahlberg aside, never giving its one-note supporting characters too much of the spotlight. Also, when that aforementioned eye-catching finale arrives and puts the whole archaeology-meets-swashbuckling idea to nice use, the picture almost justifies its existence. X doesn't ever quite mark the spot with Uncharted, and the history of bringing video games to the movies still sinks more often than it swims, but there's just enough that gleams here to be watchable. It's a film with a few shiny coins in its bag, rather than a whole bar, cavern or ship of riches.
It only takes one run for an event to establish itself as a much-loved addition to its city. The River Pride Parade achieved that feat in 2024. Last year, for the first time ever, boats went floating through Brisbane to give the Queensland capital a LGBTQIA+ celebration cruising down the city's main waterway. Held as part of Melt Festival, the flotilla's debut was such a success that the event is also locked in for a 2025 return. Sydney has the Sydney Gay and Lesbian Mardi Gras Parade, which takes over Oxford Street for a night of celebration. Melbourne has the Midsumma Pride March, its equivalent in Fitzroy Street, St Kilda. Brisbane's show of pride is the only one that requires a watercraft, but that fits the River City. In 2025, River Pride Parade will help close out Melt on Saturday, November 8. This time, colourful, sparkles-adorned and flag-waving vessels will venture from West End to Brisbane Powerhouse, again embracing everything that a pride parade should be — just on the water. More than 50 boats and other watercraft are expected to take part, accompanied by daytime fireworks and a mood-setting playlist. You can register now to hit the river, or you can mark your calendar and make plans to score a prime viewing spot at South Bank, Howard Smith Wharves, Brisbane Powerhouse and New Farm Park. 2025's Melt Festival runs from Wednesday, October 22–Sunday, November 9. So far, River Pride Parade isn't the only event on the lineup, after Brisbane Powerhouse announced that Broadway icon Bernadette Peters is coming to the fest for an Australian-exclusive show. Images: Markus Ravik.
Humanity has come far since literally hunting for food our main way of sourcing nourishment; however that doesn't mean that searching for something tasty to eat has become a thing of the past. Thankfully, that's where Modern Hunter comes in. If you're looking for a healthy, high quality or different bite, you'll find it on their menu. Tucked into Gresham Lane in the Brisbane CBD, the pocket-sized cafe serves up a mean salad, which is a great first reason to add it to your weekday rotation. Think pear, lentils, gorgonzola, walnuts, pickled beets, quinoa, spinach, cheddar, sweet potato, brown rice, edamame, orange, parmesan roasted cauliflower... the list goes on. The second great reason springs from the kind of selection that's certain to satisfy whatever craving you're having at any given moment. Keen on protein? Try the roasted pork belly on a roll, in a salad or as a slab — or some gin-cured salmon. Hankering for something familiar, but fancier? Then give a hot duck pie a whirl. Those after a pick-me-up can opt for house-made vegan-friendly muesli bars, while anyone buzzing for something sweet can choose from cinnamon doughnuts, house-baked banana bread, dark chocolate brownies, custard-filled profiteroles and more. Drinks-wise, sip on one of Modern Hunter's homemade iced teas in lemon black or green tea and apple flavours, or grab a cup of hot or chilled Veneziano coffee.
Spare a thought for the screenwriters of origin stories. Sure, at first glance, it might seem like they have it made: an enormous built-in audience, a clearly defined universe steeped in history, and pre-existing characters so beloved across multiple generations that all their quirks, mannerisms and catch-phrases are already fully fleshed-out. All the writers have to do is join up a few narrative dots and cue that memorable theme song. But what about tension? How do you place your heroes in deadly peril when the audience already knows they survive? How do you make a character's emotional growth even remotely interesting when the audience already knows who they become? And what possible story can you tell when the audience already knows how it ends? The solution is recalibration, shifting the audience experience from one of wonder and surprise to anticipation. Much like a movie based on real events, origin films focus not on what, but on how, why and when. Back in 1995 director Ron Howard masterfully applied that technique to create the tense final moments of Apollo 13. Now, with Solo: A Star Wars Story, he again shows how waiting for something to happen can be just as exhilarating as wondering if it will happen at all. This is a movie of firsts: the first time Han acquires his surname, the first time he sets foot on the Millennium Falcon, and the first time he encounters his lifelong friend and ally Chewbacca. It's entirely accessible for newcomers, and an even bigger treat for fans. Solo: A Star Wars Story is the second of the Star Wars Spin-offs, and like Rogue One takes place somewhere in between the timelines of the larger, better known chapters (in this case, after Revenge of the Sith but before A New Hope). It is an age of lawlessness, the opening tells us, and nowhere is that more prevalent than the distant planet of Corellia, where the long arm of the Empire is less feared than the gangs that lurk in its shadows. It's here that we meet the young Han (Alden Ehrenreich), a wannabe pilot forced to boost speeders and run errands for a slug-like criminal matriarch and her cronies. Han and his girlfriend Qi'ra (Emilia Clarke) have dreams of escaping to explore the universe. But when their plans fall apart, Han reluctantly joins the Empire to secure his way off planet, vowing to return as soon as humanly possible to liberate his great love. Fast forward a few years, though, and Han finds himself stumbling from one calamity to the next, convinced like all good scoundrels and conmen that his next score will be the big one – the one to set everything right. The beloved nature of the Han Solo character is largely down to actor Harrison Ford and screenwriter Lawrence Kasdan – the latter of whom wrote both The Empire Strikes Back and Return of the Jedi. The master scribe returns for Solo, delivering a story that's less galactic opera and more small-scale heist movie in the vein of an old school Western. Solo's swagger, the gun on his hip, and even the iconic outfit all fit perfectly with that space cowboy aesthetic, while Ehrenreich makes the wise call to embody the character rather than impersonate. He doesn't begin as Solo, but instead neatly and incrementally becomes him over the course of two action-packed hours. On the other end of the scale, Donald Glover's portrayal of the iconic charmer Lando Calrissian scarcely evolves from his first line to his last, yet is so note perfect that it scarcely matters. Clarke's contribution is equally nuanced, especially in the film's latter stages. The roster is rounded out by fun turns courtesy of Thandie Newton, Woody Harrelson and Paul Bettany as the assorted rogues Han encounters on his travels. Focussed, fun and faithful to the lore, Solo: A Star Wars Story comfortably shrugs off the production woes that seemed destined to leave it in ruins and instead delivers us a fine and worthy expansion of the wider Star Wars universe. Oh, and if you had any lingering doubts, let it be finally laid to rest: Han shot first. https://www.youtube.com/watch?v=jPEYpryMp2s
Maybe you love croissants. Perhaps you can't go past a pain au chocolat. If it's a pastry and it has a French history, it could just get your tastebuds melting. If any of these apply and you've been in the vicinity of Sanctuary Cove since 2022, then you might've enjoyed Rise Bakery's wares. Now, Brisbanites can tuck in without the trip to the Gold Coast. Next stop: Portside Wharf. When this riverside stretch announced that big changes were in the works back in late 2022, complete with exciting new eateries on the way, the precinct wasn't kidding around. Also last year, the restaurateur behind Opa Bar + Mezze, Massimo Restaurant, Yamas Greek + Drink and George's Paragon revealed plans to open a seafood venue, Fosh, at the Hamilton spot. That'll come in August, and the Gold Coast's Rosé Gelateria has also set up shop — and now so has Rise. After their pastries quickly proved a hit on the coast, French-born chef pâtissier Adrien Marcinowski and fellow chef Maxime Bournazel have now done what plenty of popular eateries on the Glitter Strip did in the past: capitalised upon that success by expanding up to Brisbane. This is the first Brissie outpost for the company, with customers able to pick up artisanal bread as well. At the moment, however, Rise's Portside venue is doing takeaways and serving just a limited in-store menu as it gears up for a full official opening in August. Both now and in the future, the chain is serving up its bites in a space spanning across 75 square meters indoors, plus an extra 80 square metres over an al fresco terrace — to make the most of the waterfront location. Even better: Rise Bakery's Portside venue features a champagne bar for sips over croissants and cakes. "Our Portside Wharf store menu will give people a taste of everyday French life with items made fresh daily, using recipes our team have learned while training back home in Europe," said Bournazel. "Some customer favourites from our menu include buttery croissants, pain au chocolat, delicate pastries and artisan bread. We also have a selection of drinks to suit every occasion, including premium organic Tavalon tea to enjoy with pastries, a speciality coffee mix from local-based Bear Bones Coffee and, true to French tradition, an extensive wine list with boutique champagnes." Marcinowski and Bournazel were drawn to Portside because it reminded them of the French Riviera, with the design and decor of Rise's new white- and pink-hued location nodding in the same direction. "Growing up in France, many cherished memories made during child and adulthood are created when visiting pâtisseries and boulangeries with loved ones," added Marcinowski. "Through Rise Bakery, we wanted to recreate this experience, encompassing not just the flavours but also the entire sensory experience — from the beautifully designed space to the irresistible aroma of freshly baked goods. We look forward to introducing Brisbane customers to Rise Bakery and providing them with an authentic boulangerie and salon de thé experience at Portside Wharf." [caption id="attachment_778600" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Find Rise Bakery at Portside Wharf, 39 Hercules Street, Hamilton — open 7am–4pm daily.
It's an occasion everyone should be excited about, as well as one you mightn't realise is coming. Queensland's public holidays have jumped around over the past few years, switching between May, June and October — but the most important thing is that Monday, October 3 is (for most of us) not an ordinary work day. Instead, it's the date the state is celebrating the Queen's birthday — and it's mighty regal reason to plan a royally massive long weekend. As with every three-day break from the daily grind, there's plenty to do around town. Here's our top ten choices.
Fresh from hosting the first AFL grand final ever held outside of Melbourne, the Brisbane Cricket Ground — aka the Gabba — has been earmarked as the city's Olympics hub if the Queensland capital wins the right to host the games in 2032. Brisbane has already been named as the preferred host for the 2032 Olympics, with a final decision expected over the next year. If the city proves successful, the Queensland Government has announced hefty plans to give the Gabba a big revamp, and will make the site the main stadium for both the Olympic and Paralympic Games. Announcing the news today, Tuesday, April 20, Queensland Premier Annastacia Palaszczuk said that the Gabba was "the logical place" to host the opening and closing ceremonies for the games. "What we're talking about today is transformational. It links in with the transport infrastructure that we're building at the moment," she continued. "What this proposal does is it actually links the Gabba with the Cross River Rail." Premier Palaszczuk also advised that the government would "actually build a brand new Gabba" as part of the revamp. "It would be raised up — there would be a pedestrian plaza that would link to our Cross River Rail," she said. As well as connecting the Gabba to the under-construction new rail line from Dutton Park to Bowen Hills, it is envisioned that the pedestrian plaza could become a venue itself, hosting concerts and perhaps medal presentations. "I can see the river lined with people watching big screens all taking part in the fun and excitement of the games," said the Premier. The Gabba's capacity would also increase, lifting from seating 42,000 patrons at present up to 50,000 people. That'll benefit not only the Olympics, but sports like AFL and cricket that are played at the stadium — which is in use for an average of 40 weeks a year. The Gabba's close proximity to both the CBD and South Bank was cited as a reason for the plan — and, once the Cross River Rail is up and running, it's expected that Brisbanites would be able to get from Albert Street in the city to the Woolloongabba spot in around three minutes. Timelines, costs and the impact on the aforementioned sports during the redevelopment — such as where cricket matches and Brisbane Lions games would be played if the Gabba is out of action for some time — haven't yet been revealed. The Gabba has been a permanent cricket ground since 1895, and has undergone several revamps over that time, including the refurbishment of its entrances and amenities just last year. For more information about the proposed plans for the Gabba, head to the Queensland Government website.
Even if you don't regularly buy your groceries at Aldi, you'll have heard about the supermarket chain's sales. As well as selling bread, milk and all the usual pantry staples, it drops twice-weekly specials that cover the types of items you'd usually find at a department store — at a discount price. Its annual snow gear sale attracts huge crowds, and you honestly can never quite guess what other kinds of things might turn up each week. You probably know someone who bought their outdoor furniture at Aldi, or nabbed a cheap TV. You might've even found a hammock or a rotisserie while you were browsing the company's aisles yourself. The one big caveat that has always applied to these sales, which Aldi calls 'special buys'? They're only available in-store, because that's how the retailer operates. Until now, that is — because it has just announced plans to start trialling online shopping with its thocoveted specials. To start with, the test run will be limited to the greater metropolitan regions of New South Wales, Victoria and Queensland — which is great news for Sydneysiders, Melburnians and Brisbanites. Aldi isn't dropping its entire specials range online each Wednesday and Saturday morning, though, but will start out by making select items available. First up, from 8.30am on Wednesday, May 26, is a queen-size latex mattress in a box for $499. After that, at the same time on Saturday, May 29, you'll be able to score a 545-litre French door refrigerator for $879. And yes, Aldi is sticking with the days and timing that it uses IRL, so you won't get a jump on the specials by staying home. The aforementioned two items will be available in the brand's supermarkets at the same time, as will whichever future specials it pops online. The company is planning to test a range of products over the next few months, including other bulky items and everyday offerings. "We are constantly looking for ways to improve the experience for our customers and are very excited to be taking our first steps into eCommerce. Our limited initial online offer allows us to set the foundations for our future program," said Simon Padovani, ALDI Australia's Group Director Customer Interactions. The company doesn't intend to offer grocery shopping online, but it is looking to expand the digital specials trial to other parts of the country in the future. To check out Aldi's online store — with its first sales happening at 8.30am on Wednesday, May 26 and Saturday, May 29 — head to its website.
In 1961, Hannah Arendt (Barbara Sukowa) was one of the world's leading academic writers and thinkers, a rock star figure at the university she taught and a fiery leading light amongst the Manhattan intelligentsia. Having escaped from her native Germany as the persecution of Jewish people began, the spectre of the Holocaust was never far from her thoughts. An opportunity to return to her homeland arises when the New Yorker commissions her to travel to Germany and cover the trial of Adolf Eichmann. Known as the 'architect of the Holocaust', Eichmann was a high-ranking Nazi lieutenant responsible for transporting Jewish people to concentration camps. After the fall of Berlin, he had escaped to South America before being rounded up by Mossad agents and returned to Europe for the 'trial of the century'. Instead of being struck by his coldness or inhumanity at the trial, however, Arendt instead finds Eichmann an "unimpressive" and "unremarkable" figure, who presents himself as a bureaucrat who merely followed orders. Her reaction was not the one she expected, nor one many people wanted to hear, but her bafflement at Eichmann's approach to the trial went on to inform a work which helped readers understand how an almost unfathomably dark chapter in human history had unfolded. The process of writing has long been a difficult one to capture on screen and Hannah Arendt is not immune to this problem, settling for ho-hum shots of Sukowa sitting at a typewriter, endlessly smoking cigarettes, or looking deep in thought as her magazine editors pound the phones, eager for the elusive first draft. The film's main focus, however, is not the process of thinking through the trial and writing the controversial article (it was later expanded into a book) but the fallout after it was published. Many thought it a betrayal of her own Jewish heritage or a slanderous, self-serving provocation. The university where she once received gooey-eyed affection from her adoring students asks her to justify her continued employment there and social schisms spring up as former friends and allies turn against her. Directed in solid, determinedly no-frills style by Margarethe Von Trotta, Hannah Arendt is a reminder that a work which is now almost universally accepted as a key insight into the horrors of the Holocaust and the operation of a genocidal machine was considered incendiary and worse at the time of publication. Still, it's not until a late scene where Arendt faces a hostile crowd at a public speaking engagement that this seems to really get to the heart of what made her such a vital figure. For a film centred on a fearless, headstrong character who many saw as arrogant, there's something just too polite about Von Trotta's biopic, a film likely to inspire but not really satisfy, further curiosity in Arendt's work. https://youtube.com/watch?v=WTQNWgZVctM
Some colours only exist in nature, as much as paints, dyes and pixels attempt to pretend otherwise. The raging reds, blazing oranges and burning yellows seen in A Fire Inside's bushfire footage are some such hues — and, away from the safety of a cinema screen, no one should ever want to spy these specific searing tones. They're haunting enough as it is to look at in a movie. Taking up entire frames of on-the-ground footage shot during the summer of 2019–20, they're scorching in their brightness and intensity. This documentary about the national natural disaster just two years ago, when swathes of Australia burned for months, deploys those apocalyptic colours and the imagery containing them sparingly, notably; however, even when they only flicker briefly, those shades aren't easily forgotten. After everything the pandemic has delivered since the beginning of 2020, just as the 'Black Summer' bushfires were cooling, that chapter of history might seem far longer ago than just a couple of years. A Fire Inside is also an act of remembrance, though. Directors Justin Krook (Machine, I'll Sleep When I'm Dead) and Luke Mazzaferro (a producer on Girls Can't Surf and The Meddler) firmly look backwards, pushing these events back to the top of viewers' memories. That said, they also survey the situation since, as the rebuilding effort has been complicated and elongated by COVID-19. This approach also enables them to survey the lingering aftermath, including the homes that still haven't been rebuilt, the people still residing in makeshift setups, and the emotional and mental toll that's set to dwell for much longer still. Accordingly, what could've merely been a record of a catastrophe becomes a portrait of both survival and resilience. Unsurprisingly, interviews drive this Australian doco, focusing on people in two camps: the afflicted and the volunteers. Folks in each group chat about their experiences, and the lines between them frequently blur. Firefighter Nathan Barnden provides the first and clearest instance; the film's key early subject, he saved seven strangers and retained his own life in an inferno on the very first night that the fires reached New South Wales' far south coast, but also lost his cousin and uncle to the blazes the same evening. Barnden claims Krook and Mazzaferro's attention for multiple reasons, including his initial youthful eagerness to pick up a hose — following his father, who had done the same — as well as his candour about his distress in the months and now years afterwards. Often overlooked in tales of such events, that kind of emotion sears itself onto the screen with unshakeable power, too. A Fire Inside spends time with others affected, residents and volunteers alike. RFS captain Brendan O'Connor saved his community, alongside his crew, but suffered in his personal life — and his is just one of the film's stories. Krook and Mazzaferro don't loiter on the same kinds of details over and over again, but whether talking to food bank staff, backpackers helping with re-fencing damaged farms or locals who saw everything they belonged succumb to the flames, the duelling sensations of both endurance and loss remain throughout their doco. The mood: careful, caring, sensitive and poignant. This is a movie that conjures up every sentiment expected, but also one that earns every reaction. Heartbreak and hope seesaw, and recognising that back-and-forth ride is one of the film's canny touches. Just as astute, and as important, is the question simmering at A Fire Inside's core: why? That query isn't directed at the fires, with their cause naturally receiving oxygen during the movie's discussions, but is instead aimed at everyone who chose to help then and since — no matter on what scale. The answers are complex, which the documentary acknowledges in its format, structure and editing. It lets its lineup of chats all sit side by side, weaving them together and jumping between them, and the effect resembles a filmic mosaic. In interview after interview, the movie doesn't seek to come up with a definitive reason, but to present the range of responses, covering the impulses, thoughts and feelings, as well as the realities behind them. Tributes to bushfire volunteers and victims have taken many forms since 2019, such as concerts raising money and faces plastered across the Sydney Opera House sails. But A Fire Inside takes those gestures of appreciation to another level — and, as it dives so heartily into the ramifications of assisting during the fires and since, it ensures that all of that gratitude goes hand in hand with recognition. Saluting such selfless acts inherently involves noting them, of course. Still, realising that the toll keeps persisting, that the shock and trauma doesn't instantly subside when the flames are extinguished, and that volunteering is also an act of emotional labour isn't always as innate. A Fire Inside sees that as clearly as it perceives those red, orange and yellow hues, and as acutely as it finds as both grief and inspiration in the ashes.
Incorporating green habits into our day-to-day lives is more important now than ever. Avoiding fast fashion, recycling our kitchen waste and reducing our car mileage all work towards a happier and healthier planet. But, what happens when we go on holiday? It's easy to get overwhelmed when organising a travel itinerary and forget to prioritise eco-friendly choices. Luckily, sustainable living doesn't have to stop when your holiday starts. Tropical North Queensland is brimming with low-impact ways to explore the natural environment and tour operators that are passionate about marine and rainforest conservation. Five-star hotels are proud to detail their eco-friendly touches, with 'responsible luxury' being much more than just a buzz term. Plus, hyper-local ingredients are sourced from a network of dedicated farmers to supply a thriving food scene with the freshest produce. [caption id="attachment_845844" align="alignnone" width="1920"] Cape York, Tourism Tropical North Queensland[/caption] IT'S A NATURE LOVER'S THEME PARK If you love the outdoors, then Tropical North Queensland will have you spoiled for choice. This spectacular region is the only place in the world with two natural UNESCO World Heritage Areas side by side — namely, the Great Barrier Reef and the Wet Tropics Rainforest. You'll also find the sweeping Gulf Savannah and the unspoiled wilderness of Cape York. In Tropical North Queensland — which boasts the highest concentration of Ecotourism Australia-accredited experiences in the country — you'll have a near-endless list of ecotourism activities to choose from, including snorkelling, scuba diving and hiking tours. Impressively, more than 15 operators in Tropical North Queensland have been inducted into Ecotourism Australia's Hall of Fame. This honour is awarded to tour operators who have maintained their eco-certification for over 20 consecutive years. [caption id="attachment_829660" align="alignnone" width="1920"] Ochre, Tourism and Events Queensland[/caption] YOU CAN ENJOY A TROPICAL SPIN ON PADDOCK TO PLATE Choosing ingredients that are local and in season goes a long way in reducing our food mileage. The popularity of 'paddock to plate' eating is more than just a passing trend, and sourcing from local producers supports the wider agricultural industry. Best of all, the food requires little handling and is naturally bursting with flavour. Our favourite sustainable dining spots include Ochre Restaurant and Catering in Cairns, and Nautilus Restaurant in Port Douglas. Or, take it one step further, and try catching your own. Indigenous-owned tour companies such as Strait Experience and Kuku Yalanji Cultural Habitat Tours offer guests the opportunity to learn traditional methods for catching fish, prawns and crabs. [caption id="attachment_827693" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] THE HOTELS TAKE SUSTAINABILITY AS SERIOUSLY AS YOU DO Accomodation costs often take up the majority of your holiday budget, so it's important to direct those dollars towards a company that prioritises the environment. The Crystalbrook Collection opened its first hotel in 2018 in the region and has since saved millions of plastic bottles from ending up in landfill across its three Cairns-based properties. Its bathroom amenities are proudly 100-percent waste-free, including toothbrushes made from sugarcane and shampoo bottles that are fully biodegradable. This sustainable mindset extends throughout the rest of the resort, with recycled key cards and coat hangers, plus paperless technology practices. [caption id="attachment_844234" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] YOUR JOURNEY THERE COULD EARN YOU (LITERAL) GREEN POINTS Qantas flies direct to Cairns from most Australian capital cities, with Cairns Airport also servicing international routes. Qantas recently added a new Green tier to its Frequent Flyer program. Sitting alongside the existing levels, this Green tier membership rewards Qantas frequent flyers who make sustainable decisions both at home and on holidays. By making sustainable choices such as installing solar panels, offsetting flight emissions, or walking to work, members will be rewarded by the Green tier program. You can also score points towards Green tier status by completing sustainable activities while on holiday, including staying at eco-accredited hotels. For more information on the Green tier program, head over here. Ready to check it out for yourself? For more information and to start planning your trip, visit the website. Top image: Tourism Tropical North Queensland
Great news, budding entrepreneurs. We've found a very simple equation for immediate business success. Okay, not really. The truth is there is no such thing. In most cases, it takes a pinch of courage, a splash of creativity and a dash of good timing to make it happen. But, there's always something to be gained from hearing the stories of those who've taken the plunge and pulled it off. As far as restaurant groups go, Three Blue Ducks is becoming an Australian powerhouse. But, its success hasn't cost the guys behind it their down-to-earth attitude. Since launching the first Bronte cafe eight years ago, the team has grown to six co-owners (or 'ducks' as they're affectionately named), employing over 240 people across four venues in NSW and QLD (with a fifth slated to open in Melbourne later this year). We sat down with one of the original ducks, Mark Labrooy, to talk about (realistic) business growth, the importance of avoiding trends and why data is helping to improve resourcing and reduce waste. We've teamed up with Westpac to bring you some of Labrooy's top tips to celebrate its Presto Smart payment terminal, which seamlessly connects to a range of point-of-sales systems. Presto gives small businesses a leg up and makes payments and reconciliations a breeze so they can achieve scale — just Three Blue Ducks has done. ESTABLISH YOUR OWN VOICE What do your mum's famous lasagne recipe and your favourite pair of jeans have in common? They're classics that have stood the test of time. Every bite reminds you of childhood meals spent around the dinner table, and every wear confirms that you'll never find denim that feels as comfy as this. The same principle goes for any successful business. To stand out from the pack, it's important to create a product that's unashamedly one-of-a-kind. For the folks behind Three Blue Ducks, their shared passion for ethical and authentic food has been the foundation of the business from day one. "We thought we should do the food we like to eat at home in the venues, and that started to become the ethos around what we do," explains Labrooy. "I think that's what makes you authentic. If you just run with the pack and do what everyone else is doing, I think you lose your voice." USE POP-UP VENUES TO TEST THE WATERS Stepping outside our comfort zone is daunting, whether in work or life. Once you've hit your stride, it's tempting to sit back and let things happily tick away. But to stay relevant, businesses should be prepared to pivot and evolve so, once the Three Blue Ducks team had consolidated their Bronte outpost, they saw a chance to try something new. "The first new venue we did was a pop-up in the snow at Falls Creek, and it was sort of a nudge along," explains Labrooy. Opening a new location is always a risk. What if the market doesn't embrace your venue? Is this the right time to make a move? Are there strong competitors you'll need to contend with? But with risk comes reward. Plus, creating a temporary pop-up means you can experiment with new concepts and ideas without the commitment of a permanent store. "We opened this new venue and we did really well, and it gave us a boost of confidence," tells Labrooy. [caption id="attachment_663257" align="alignnone" width="1920"] Destination NSW[/caption] EMBRACE OPPORTUNITIES THAT ALIGN WITH YOUR ETHOS As cheesy as it sounds, sometimes things do happen for a reason. It could be spotting a 'For Lease' sign in your dream neighbourhood or meeting another like-minded entrepreneur looking to embark on their next project. When unmissable opportunities arise, jumping in can keep you ahead of the game. "We had an opportunity that presented itself with The Farm in Byron Bay, and that was a really big play for us," tells Labrooy. He reveals this venture was the business's most challenging to date. However, creating a farm-based restaurant with unlimited access to fresh local produce was always something the team wanted to pursue. "We had the opportunity to design a restaurant and kitchen completely to our specs," Labrooy explains. "We had access to all the farmers that were growing produce on the property. We used to think about ordering eggs, but now we have 500 chickens giving us fresh eggs daily." [caption id="attachment_693841" align="alignnone" width="1920"] Nikki To[/caption] BUILD RELATIONSHIPS WITH YOUR LOCAL COMMUNITY Whether you're creating a coffee bar or launching a boutique, connecting with your customers is key to success. As a bricks-and-mortar store, you become part of your local area — and you should use those community relationships to your advantage. This insight continues to inform every Three Blue Ducks venue as the team prioritise giving back to the local areas they call home. The Byron Bay location is a testament to this, as Labrooy tells, "there's no business in the Northern Rivers that even remotely comes close to what we're doing. There's around $4 million dollars of wages that go back into the local economy, plus $4.5 million of produce purchased from local suppliers… we don't use big companies, we use local people with small businesses instead." LEVERAGE DATA TO TEST, LEARN AND GROW Launching a new business is full of unknowns. When are the busiest parts of the day? How many staff should you hire? What quantities of stock do you need on hand to meet demand? In most cases, the first couple of years are about trial and error. For Three Blue Ducks, understanding customer behaviour has always been a valuable resource. By analysing data trends, the team is able to make informed business decisions to maximise profitability and reduce waste. "In Bronte, for example, in November, we know that there is the Sculptures by the Sea and we have thousands of visitors... So we know that's going to be a really busy time of year for us. We order more produce and roster on more staff so we can accommodate," tells Labrooy. "It's all about understanding when are our peaks and troughs and how we manage our restaurants in terms of staffing, food costs and ordering, so we can really reduce our waste." Now that you have some top tips, it's time to take the first steps towards scaling up your business. And when it comes time to set up your payment technology, look to Westpac's Presto Smart terminal. It's made for speedy payments, busting queues, reducing keying errors and seamlessly connecting to a range of Point of Sales systems to help you keep track of cashflow. Please note that the above information is intended to be general in nature and should not be relied upon for personal financial use. Request more info and speak to Westpac here. Top image: Nikki To.
You're successful in your career, but your personal life suddenly takes an unwanted turn. Then, your childhood best friend-slash-crush and Keanu Reeves both turn up. That's the premise of Netflix new rom-com Always Be My Maybe, which follows celebrity chef Sasha (Ali Wong), who reluctantly reconnects with her dependable old buddy Marcus (Randall Park) after falling out with him 15 years earlier — only for a slick newcomer (Reeves) to threaten their reunion. If that sounds like your idea of a good night in, that's what the streaming platform is counting on. As well as serving up highly binge-able TV shows and plenty of viewing options with a strong female lead, Netflix loves flicks of the romantic and comedic persuasion, especially among its original content. Clearly audiences love a rom-com too, which is why the service keeps making them. Always Be My Maybe arrives with an impressive pedigree, with director Nahnatchka Khan known for Fresh Off the Boat and Don't Trust the B____ in Apt. 23, and stars Wong and Park co-writing (with Grimm's Michael Golamco) and co-producing as well. Cast-wise, the stacked lineup also includes Lost's Daniel Dae Kim, Broad City's Michelle Buteau, Miracle Workers' Karan Soni and Paper Heart's Charlyne Yi, plus Lyrics Born and Keanu, of course. Check out the trailer below and then watch the film on Netflix immediately. https://www.youtube.com/watch?v=iHBcWHY9lN4&feature=youtu.be You can now stream Always Be My Maybe on Netflix. Updated: June 28, 2019. Image: Ed Araquel / Netflix.
They first toured Australia in 1982. They've returned plenty of times since, including on the Big Day Out and Vivid lineups. When they were last here in 2020, the pandemic got in the way, causing them to cut short their plans — and now New Order are making their latest visit Down Under five years later. 'Blue Monday', 'Temptation', 'Bizarre Love Triangle' — more than four decades after forming, the group are playing them all on a four-city Australian tour, including at the Riverstage in Brisbane on Tuesday, March 11, 2025. Peter Hook, Stephen Morris and Bernard Sumner started New Order out of Joy Division, following the tragic death of the latter's lead singer Ian Curtis, and helped pioneer the synth-pop sound that not only helped define the 80s but has been influential ever since. If you've seen the films Control and 24 Hour Party People, you've seen part of New Order's story on-screen. And if you've caught them live before, you'll know that they're always a must-see. Top images: Erin Mc via Flickr, RL GNZLZ via Flickr.
After an eternity of sweltering days, it seems like winter is finally coming to Brisbane. And while light, healthy meals will suffice almost all year round, when the temperature starts to drop there's just nothing better than a hearty Indian curry. 'Mehfil' literally translates to a gathering of people, and Indian Mehfil is built on a philosophy of socialising and sharing. Located on Felix Street in Brisbane's CBD (a short walk from Eagle Street Pier), it's an ideal place for a client dinner or casual Saturday night with friends; however, the best time to go is undoubtedly weekday lunchtime. Then, you can choose from a range of takeaway lunchtime curries for under $10, including the deliciously rich and creamy butter chicken. If dining in is more your style, the $15 all-you-can-eat lunch buffet will be right up your alley. The buffet options vary from day to day but usually include a dahl, a vegetarian curry, a chicken curry and a red meat curry as well as rice and raita. You can also order from the extensive a la carte menu. The menu of share plates includes tandoori chicken ($20.99), namkeen squid ($16.99) and fish tikka ($19.50). Mains include classic dishes such as lamb rogan josh and chicken tikka masala (both $21.99), as well as more exotic options such as lobster Bombay (a whole lobster served with mushroom, capsicum and masala sauce, $49.99). There are plenty of vegetarian options on offer as well, including dahl makhani Punjabi (slow-cooked lentil curry, $20.99), saag paneer Punjabi ($21.99), and brinjal mirchi ka salan (baby eggplant and green banana chillies with a paste of peanut butter, sesame and coconut, $23.99). The usual selection of naan breads and accompaniments are also available, plus a fantastic range of craft beers, both bottled and on tap. The venue has seen a few different restaurants come and go over the years, and as a result the space has a more open and airy feel than many Indian restaurants. With capacity to host up to 150 people, it is also well suited for functions.
The annual Orange Wine Festival is back for its 11th run, with ten days of events highlighting the region's sophisticated winemaking from October 13 through October 22. Patrons can expect wine shows, tastings, dinners and educational workshops, all of which showcase the rich diversity of Orange's rich culinary culture. This year's packed-out program includes over 90 events, which are open to all wine lovers, from the connoisseurs to those still getting to know their palate. The region is known for its cool climate which creates wines with bright fruit and deep, balanced flavours, making them some of the best drops in the country. While there are events on every day of the two weeks, signature events include the Festival Night Market, the Orange Wine Show Tasting ($50-$70) and Wine in the Vines ($145).
How do you make a concert film when no concerts can be held to film? Australian director Andrew Dominik (Chopper, Killing Them Softly) and his now two-time subjects Nick Cave and Warren Ellis have the answer. How do you create a personal documentary that cuts to the heart of these Aussie music icons when, whether stated or implied in their vibe, both are hardly enamoured with having their lives recorded? Again, see: Dominik's new Cave and Ellis-focused This Much I Know to Be True. Performances in cavernous empty British spaces fill the movie's frames but, via stunning lighting, staging and lensing, they're as dazzling as any IRL gig. The interludes between tunes are brief, and also intimate and revealing. The result: a phenomenal doco that's a portrait of expression, a musing on an exceptional collaboration and a rumination upon existence, as well as a piece of haunting cinematic heaven whether you're an existing Cave and Ellis devotee, a newcomer or something in-between. Dominik, Cave and Ellis initially teamed up when the latter duo scored the former's The Assassination of Jesse James by the Coward Robert Ford. Later this year, when upcoming Marilyn Monroe biopic Blonde hits screens, the same arrangement will provide its soundtrack. But in the middle sits 2016 doco One More Time with Feeling and now This Much I Know to Be True, as entrancing a pair as the music documentary genre has gifted viewers. The first factual flick found Cave and Ellis recording the Nick Cave and the Bad Seeds album Skeleton Tree, as Cave also grappled with the death of one of his sons. Here, its follow-up is shaped by the first performances of Cave and Ellis' latest albums — the Bad Seeds 2019 release Ghosteen, and Cave and Ellis' 2021 record Carnage — plus the pandemic and the lingering effects of grief. Chatter precedes tunes to begin This Much I Know to Be True — talk, a revelation and a mini art exhibition, in fact. To the camera, Cave quips that he's "retrained as a ceramicist, because it's no longer viable to be a musician, a touring artist". He's joking about giving up music, of course, but serious about his foray into porcelain. Donning a white lab coat, he walks the audience through his workshop, sharing a series he's dubbed The Story of the Devil in 18 Figurines. That'd make a phenomenal title for one of his tracks, but it isn't. One piece's individual moniker, The Devil's Last Dance, also sounds like a song title. Unsurprisingly, Cave unfurls the same kinds of tales while explaining his ceramics — about a figure he's clearly long been fascinated with, and about choices, family, loss, redemption and mourning — as he always has behind the microphone. This attention-grabbing introduction serves several purposes, from pointing out the English government's patently ridiculous advice to artists during COVID-19 to setting the film's tone. There's always been a bewitching blend of the ethereal, mysterious and dark to Cave's music, and a sense of poetic preaching to his lyrics; his early musings here about the devil at various moments in his life earn the same description, and establish the movie as a type of spiritual experience. Fans of any star are guilty of seeing their hero's work in that light. It's especially true of musicians, who innately turn concert venues into altars for their disciples to worship their output. Still, when This Much I Know to Be True hones in on Cave at his piano, or behind the mic, spotlights casting him in a hypnotic glow while bathing his surroundings in blackness, that feeling couldn't be more blatant — and earned. This Much I Know to Be True takes its name from lyrics from Cave and Ellis' 'Balcony Man', the final track on Carnage — their first-ever solo record together beyond their many film-score collaborations — and ponders belief, gratitude and acceptance. Those same themes flicker through the movie, but largely while immersing viewers in Cave and Ellis' songs rather than addressing that trio of notions directly. And what performances they are, stripped back and gloriously theatrical at once, with Dominik, extraordinary cinematographer Robbie Ryan (C'mon C'mon, Marriage Story, The Favourite) and lighting designer Chris Scott crafting a mesmerising visual experience. Watching the camera circle, bulbs pop and dim, and shadows and shine make Cave's distinctive face look like a spectacular work of art, it's impossible not to surrender to the film's thrall. Layer in Cave and Ellis' grand sounds, as backed by singers, a string quartet and a brief appearance by Marianne Faithfull, and it's simply transcendent. Faithfull also gets the film's funniest line: "did he just call you Waz?". Usually seen prowling around Cave as he croons — conducting, playing instruments and sometimes singing himself — Ellis explains Australia's fondness for shortening words in such a fashion, and also happily becomes the film's scamp, a part he's obviously enjoyed for decades with his long-standing creative partner. While This Much I Know to Be True isn't short on standout moments, including whenever Cave and Ellis perform, the separate but intercut discussions between Dominik and the pair about their working relationship is a delightful highlight. Ellis is mischievously candid about his disdain for order. Cave is frank about the chaos that happens between them in the studio. He's also a game interviewee about Ellis' growing influence; "he took a subordinate role and slowly, one by one, took out each member of the Bad Seeds," Caves notes. "I'm the next to go. He's singing a lot more, I've noticed." There's tenderness and openness in these conversations; introspection, existential musings, bold self-insights and joy, too, and tussling with simply getting on with each day as it comes. Moviegoers and music aficionados alike haven't lacked chances to see Cave in cinemas recently — including in 2014 docudrama 20,000 Days on Earth and 2020 concert film Idiot Prayer: Nick Cave Alone at Alexandra Palace — but there's a particular perceptiveness and poignancy pulsating through This Much I Know to Be True. Cave captures it when he talks through his responses to his The Red Hand Files website and emails, where anyone can ask him anything. The questions he receives cut deep and, advising that he has to force himself to consider them carefully and with empathy, his answers do as well. He approaches them not as a star, musician or writer, but as a person, husband, father and friend who makes stuff, which is also how he now prefers to describe himself, he says. As much as anything else — and this sublime, vivid and potent doco is many things — This Much I Know to Be True is a heartfelt ode to that truth. Top image: Nick Cave Productions.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DOWNTON ABBEY: A NEW ERA The movies have come to Downton Abbey and Violet Crawley, the acid-tongued Dowager Countess of Grantham so delightfully played by Maggie Smith (The Lady in the Van) since 2010, is none too fussed about it. "Hard same," all but the most devoted fans of the upstairs-downstairs TV drama may find themselves thinking as she expresses that sentiment — at least where Downton Abbey: A New Era, an exercise in extending the series/raking in more box-office cash, is concerned. Violet, as only she can, declares she'd "rather eat pebbles" than watch a film crew at work within the extravagant walls of her family's home. The rest of us mightn't be quite so venomous, but that's not the same as being entertained. The storyline involving said film crew is actually one of the most engaging parts of A New Era; however, the fact that much of it is clearly ripped off from cinematic classic Singin' in the Rain speaks volumes, and gratingly. When the first Downton Abbey flick brought its Yorkshire mansion-set shenanigans to cinemas back in 2019, it felt unnecessary, too, but also offered what appeared to be a last hurrah and a final chance to spend time with beloved characters. Now, the repeat effort feels like keeping calm and soldiering on because there's more pounds to be made. Don't believe the title: while A New Era proclaims that change is afoot, and some of its narrative dramas nod to the evolving world when the 1920s were coming to a close, the movie itself is happy doing what Downton Abbey always has — and in a weaker version. There's zero reason other than financial gain for this film to unspool its tale in theatres rather than as three TV episodes, which is what it may as well have tacked together. Well, perhaps there's one: having Lady Mary Talbot (Michelle Dockery, Anatomy of a Scandal) proclaim that "we have to be able to enter the 1930s with our heads held high" and set the expectation that more features will probably follow. A New Era begins with a wedding, picking up where its predecessor left off as former chauffeur Tom Branson (Allen Leech, Bohemian Rhapsody) marries Lucy Smith (Tuppence Middleton, Mank) with everyone expected — the well-to-do Crawleys and their relatives, plus their maids, butlers, cooks, footmen and other servants — in attendance. But the film really starts with two revelations that disrupt the Downton status quo. Firstly, Violet receives word that she's inherited a villa in the south of France from an ex-paramour, who has recently passed away. His surviving wife (Nathalie Baye, Call My Agent!) is displeased with the arrangement, threatening lawsuits, but his son (Jonathan Zaccaï, The White Crow) invites the Crawleys to visit to hash out the details. Secondly, a movie production wants to use Downton for a shoot, which the pragmatic Mary talks the family into because — paralleling the powers-that-be behind A New Era itself — the aristocratic brood would like the money. With Violet's health waning, she stays home while son Robert (Hugh Bonneville, Paddington 2) and his wife Cora (Elizabeth McGovern, The Commuter) journey to the Riviera — as part of a cohort that also includes retired butler Mr Carson (Jim Carter, Swimming with Men), who's determined to teach his French counterparts British standards. And, as the Dowager Countess remains in Yorkshire exclaiming she'd "rather earn a living down a mine" than make movies, potential family secrets are bubbling up abroad. That subplot takes a cue or two from Mamma Mia!; Downton Abbey creator and writer Julian Fellowes must've watched several musicals while scripting. Violet also notes that she "thought the best thing about films is that I couldn't hear them", because the production helmed by Jack Barber (Hugh Dancy, Late Night), and led by stars Guy Dexter (Dominic West, The Pursuit of Love) and Myrna Dalgleish (Laura Haddock, Transformers: The Last Knight), has hit a period-appropriate snag: talkies are the new hot thing, but their flick is silent. Read our full review. AFTER YANG What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049 — and in After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. Yang is unresponsive and unable to play his usual part as the household's robotic fourth member. If Jake can't get him up and running quickly, he'll also experience the "cultural techno" version of dying, his humanoid skin even decomposing. That puts a deadline on a solution, which isn't straightforward, particularly given that Yang was bought from a now-shuttered reseller secondhand, rather than from the manufacturer anew, is one roadblock. Tinkering with the android's black box is also illegal, although Jake is convinced to anyway by a repairman (Ritchie Coster, The Flight Attendant). He acquiesces not only because it's what Mika desperately wants, but because he's told that Yang might possess spyware — aka recordings of the family — that'd otherwise become corporate property. Before all that, there's a stunning dance — a synchronised contest where families around the globe bust out smooth moves in front of their televisions, competing to emerge victorious. The dazzling scene comes during After Yang's opening credits and is a marvel to watch, with writer/director/editor Kogonada (TV series Pachinko) conveying a wealth of meaning visually, thematically, philosophically and emotionally in minutes. To look at, the sequence brings to mind Ex Machina's, aka the Oscar Isaac-led scene that launched a thousand gifs. In what it says about After Yang's vision of an unspecified but not-too-distant future, it's reminiscent of Black Mirror, with engrained surveillance technology eerily tracking participants' every move. It's here, too, amid the joy of the family progressing further than they ever have before, that the fact that Yang is malfunctioning becomes apparent, turning a techno dream in more ways than one into a potential source of heartbreak. When a feature so easily recalls other films and television shows, and so emphatically, it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The Edge of Seventeen), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. Read our full review. WHEEL OF FORTUNE AND FANTASY To watch films written and directed by Ryûsuke Hamaguchi is to watch people playing a part — in multiple ways. That's one of the key truths to features not only by the Japanese filmmaker, but by anyone helming a movie that relies upon actors. It's so obvious that it doesn't usually need mentioning, in fact. Nonetheless, the notion is as essential to Hamaguchi's pictures as cameras to capture the drama. He bakes the idea into his films via as many methods as he can, pondering what it means to step into all the posts that life demands: friend, lover, spouse, ex, sibling, child, employee, student, classmate and the like. Hamaguchi loves contemplating the overt act of performance, too — his Best International Feature Oscar-winning Drive My Car, which also nabbed its helmer a Best Director nomination at this year's Academy Awards, hones in on a play and the rehearsals for it in dilligent detail — but the auteur who's also behind Happy Hour and Asako I and II has long been aware that the art of portrayal isn't just limited to thespians. Shakespeare said it centuries back, of course. To be precise, he had As You Like It's Jaques utter it: "all the world's a stage, and all the men and women merely players". Hamaguchi's Wheel of Fortune and Fantasy, his second film to reach cinemas in mere months, definitely isn't a French-set comedy; however, it lives and breathes the Bard's famous words anyway. Here, three tales about romance, desire and fate get a spin. This trio of stories all muse on chance, choice, identity, regret and inescapable echoes as well, and focus on complex women reacting to the vagaries of life and everyday relationships. They're about sliding into roles in daily existence, and making choices regarding how to behave, which way to present yourself and who you decide to be depending upon the company you're in. While Wheel of Fortune and Fantasy mightn't ultimately mimic Drive My Car's Oscars success, it's equally masterful. In the first part, model Meiko (Kotone Furukawa, 21st Century Girl) discovers that her best friend Tsugumi (Hyunri, Wife of a Spy) has just started seeing her ex-boyfriend Kazuaki (Ayumu Nakajima, Saturday Fiction), and grapples with her complicated feelings while pondering what could eventuate. Next, college student Nao (Katsuki Mori, Sea Opening) is enlisted to seduce Professor Sagawa (Kiyohiko Shibukawa, Tezuka's Barbara) as part of a revenge plan by her lover Sasaki (Shouma Kai, Signal 100). Finally, in a world where the internet has been eradicated due to a virus, Natsuko (Fusako Urabe, Voices in the Wind) and Nana (Aoba Kawai, Marriage with a Large Age Gap) cross paths — thinking that they went to school together decades ago. Hamaguchi's resume is littered with other obsessions beyond the fictions people spin to get through their days — to themselves and to each other, and willingly and unthinkingly alike — many of which also pop up in Wheel of Fortune and Fantasy. Coincidence has a role in each of the movie's trio of intelligently and painstakingly plotted narratives, and destiny and fortune as well (as the name makes plain). The tangled web that romance weaves, and the sticky strands that represent alluring exes, also leave a firm imprint. So does seduction, and not always in its usual and most apparent form. All three of the picture's sections could stand alone, but each could've been fleshed out to feature length as well; as they exist, they leave viewers wanting more time with their lead characters. Commonalities ebb and flow between them, though, because this is a smart, astute and savvily layered triptych that's brought to the screen with everything that makes Hamaguchi's work so empathetic, warmly intimate and also entrancing. Read our full review. HELMUT NEWTON: THE BAD AND THE BEAUTIFUL One of the great treats in Helmut Newton: The Bad and the Beautiful stems from perhaps the film's simplest move: letting viewers peer at the often-provocative photographer's works in such a large format. Being able to do just that is the reason why the Exhibition On Screen series of movies exists, surveying showcases dedicated to artists such as Vincent van Gogh, David Hockney and Frida Kahlo over the years — and this documentary isn't part of that, but it understands the same idea. There's nothing like staring at an artist's work to understand what makes them tick. Writer/director Gero von Boehm (Henry Miller: Prophet of Desire) fills The Bad and the Beautiful with plenty more, from archival footage to recent interviews, but it'd all ring empty without seeing the imagery captured by Newton's lens firsthand. Every word that's said about the German photographer, or by him, is deepened by roving your eyes across the frequently contentious snaps that he sent Vogue, Harper's Bazaar, Playboy and other magazines' ways. Those photos aren't run-of-the-mill fashion pics. Largely, the highly stylised images are of naked women — naked famous women, if not then then now, such as Isabella Rossellini, Charlotte Rampling, Grace Jones and Claudia Schiffer — and they're as fetishistic as the artform gets. They're the kinds of snaps that saw Susan Sontag call Newton out for being a misogynist to his face, as seen in a French TV clip featured in the film. The Bad and the Beautiful is an affectionate doco, but it also dives headfirst into the trains of thought that his work has sparked for decades. Anna Wintour explains that when someone books Newton, "you're not going to get a pretty girl on a beach". Women who posed for him, including the aforementioned stars, plus Marianne Faithfull, Arja Toyryla, Nadja Auermann and Hanna Schygulla, all talk through their differing experiences as well — and the portrait painted is varied. As a result, The Bad and the Beautiful is both a biography and a conversation. It covers the birth-to-death details, such as Newton's upbringing in Berlin, fleeing the Nazis in the late 1930s, and his time in Australia, where he met his wife June. It chronicles his stint in Singapore before heading Down Under, and his jaunts in London and Paris afterwards — and the fact that Monte Carlo and Los Angeles were both considered his homes when he passed away in 2004. The film is an easy primer on his life, complete with the requisite Wikipedia-style information, but it's an engrossing watch because of how eagerly it engages with the plethora of views that his images have and continue to inspire. (Admittedly, even a documentary that's clearly an authorised exploration of its subject couldn't justify really existing if it had left all traces of anything controversial out.) Don't go expecting answers, though. That isn't The Bad and the Beautiful's remit, unsurprisingly. That isn't necessarily a criticism; von Boehm's still-fascinating film presents the debate that's raged around Newton's works — are they sexist, art, both or neither? — and unpacks perspectives on either side, although the fact that this is a fond examination of his life, career, impact and legacy is never in doubt. A doco can be candid, probing, hagiographic and happy to let its viewers make their own calls, however, as this one clearly is. It can offer insider tidbits, conflicting views, comparisons and simply the change to look on in-depth as well, as is similarly the case here. And, it can let its images keep fuelling and furthering questions, which everything that Newton shot likely always will. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; and April 7, April 14 and April 21. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman and Ithaka.
In Netflix's ongoing quest to keep our eyeballs glued to the small screen, the platform pumps out new original shows with frequency. There are now so many to choose from, you could easily watch nothing else. But, still, there are some that stand out from the crowd. Combine filmmaker David Fincher (Seven, Gone Girl), true-crime book Mindhunter: Inside the FBI's Elite Serial Crime Unit and a whole heap of real-life serial killer cases, and you get the best show the streamer has ever made. For two seasons between 2017–2019, Mindhunter has drawn on its factual source material to dramatise the origins and operations of the FBI's Behavioural Science Unit — aka the folks who interview mass murderers to understand how they think, then use the learnings to help stop other killings. The show's main characters are fictional, such as agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) and psychologist Wendy Carr (Anna Torv), but the details they're delving into aren't. Also real: notorious figures such as Ed Kemper (played by Cameron Britton), David Berkowitz (Oliver Cooper) and Charles Manson (Damon Herriman), to name a few. It's the kind of concept that easily could span on forever — with plenty of killers and cases to cover — and still prove fascinating and gripping in this meticulously made show. Sadly, hopes for a third season now look as paltry as Holden Ford's social etiquette, with Netflix releasing the cast from its contracts, Deadline reports. The fact that Mindhunter wasn't swiftly renewed after its second season dropped last August has always been a worrying sign, which is compounded by the current news. The series hasn't been cancelled. Still, its cast is free to move onto other projects — so if Mindhunter does come back somewhere down the line, its stars mightn't be available to return because they're now working on something else. The show does boast a premise that could lend itself to an anthology format, though, so returning with a new bunch of characters taking on new cases wouldn't be the end of the world. Netflix let the cast's options expire due to Fincher's current workload, because he's quite busy making other things for them at present. As well as producing a second season of Love, Death and Robots, he's directing a Netflix film called Mank. Due to hit the platform sometime later this year, the biopic will focus on the feud between screenwriter Herman J Mankiewicz and innovative director Orson Welles over screenplay credit for a little movie called Citizen Kane, with Gary Oldman and The Souvenir's Tom Burke playing the two men. Already missing Mindhunter? Check out the trailer for its excellent second season below: https://www.youtube.com/watch?v=PHlJQCyqiaI Via Deadline.
There are few crimes more abhorrent or unsettling than the abduction of a child. Even a child's murder carries with it the singular, hollow silver lining of closure for the family, whereas abduction offers only unanswered questions. Grief requires certainty before it can begin, and anything short of that feeds desperation and a cruel modicum of hope. Cruel, because whilst it provides much-needed energy and motivation, hope also clouds reason and fuels obsession, and it's there in that dark space of violent fixation that French-Canadian director Denis Villeneuve sets his new film, Prisoners. Played out in the suburbs of a dreary, unnamed American town, Prisoners centres around the kidnapping of two young girls and the lengths to which their families will go to bring them home. In particular, it follows Keller Dover (Hugh Jackman), a carpenter and survivalist who becomes fixated upon the primary suspect, Alex Jones (Paul Dano). When the police let Alex go, believing him to be innocent, Dover kidnaps him in a moment of desperation and, alongside the other father (Terrence Howard), begins to torture him. It is brutal, deeply disturbing and given none of the glamour or moral justification seen in films like Taken or the 24 series. The allusions to America's war on terror and plain enough, though never so heavy-handed as to be intrusive. Much like Villeneuve's last film, Incendies (which earned him an Oscar nomination in 2010), Prisoners is uncompromising in its depiction of violence and makes no attempt to shape any character as a hero. With themes spanning the banality of evil, blood lust, compulsion, godlike vengeance, power and domination, Aaron Guzikowski's script avoids whenever possible the use of absolutes, focusing instead on the pacts even the best may make with evil and exposing the falsehood of civility in the face of aggressive self-interest. Even Jake Gyllenhaal's character, Loki, the police officer assigned to the investigation, is presented as a tortured soul and loner whose every conversation ends in abuse or argument. There is no joy in this film, nor perhaps should there be given its subject matter, but at 153 minutes it makes for a long and exhausting viewing experience. What grounds it are the performances, with Maria Bello and Viola Davis both excellent as the despairing mothers, and Melissa Leo turning in another fine and layered performance not unlike her role in 2011's Red State. Jackman is the standout, however, delivering a powerful portrayal of a man driven to the edge of sanity by anger and despair. https://youtube.com/watch?v=doPNgss-ntc
If feasting on seafood is your idea of a culinary dream, then prepare for the best day out imaginable. Think mussels. Then, think more mussels. In fact, keep thinking of them — however many you can handle, that's what you'll find. No need to ask "does this look like someone who has had all they can eat?", Homer Simpson-style, here. Little Brothers Mussel Festival is putting the obvious type of bivalve mollusc in the spotlight, and in your mouth, with devouring as many as you can stomach all part of the ticket price. There'll also be fresh oysters on entry at the afternoon-long event from the Mussel Brothers and Kinkawooka Mussels, plus a cooking demonstration, live music and cheese tastings from White Gold Creamery (and cheese plates for purchase too). In case you need to break up all of that seafood, there'll be other edible items that didn't come from the ocean on offer as well. The mussel-tastic celebration takes over Wandering Cooks between 3pm and 10pm on June 10, and if you want to go along, you'd best get in quick. Tickets are getting snapped up fast, and unless more are released, only VIP packages currently remain — but, they do include a cooler of mussels to take home with you.
There are plenty of ways to mark a movie milestone. Whenever one of your favourite flicks notches up five, ten, 20, 30 or more years since first hitting screens, watching it is the easiest way to celebrate, of course. That's definitely in order when the original animated version of The Lion King — not the recent live-action take — hits three decades in 2024. How to truly do justice to the Disney smash that spawned a musical, ample sequels and oh-so-much enduring affection? Seeing it show at an in-concert session with a live orchestra playing its songs and score. Yes, The Lion King in Concert is coming to Australia, with the Melbourne Symphony Orchestra doing the honours. The blockbuster movie-and-music performance was announced as part of MSO's just-unveiled 2024 season, and will take over The Plenary at Melbourne Convention and Exhibition Centre on Saturday, February 3. This is an Aussie premiere, too, featuring Hans Zimmer's score and Elton John and Tim Rice's songs performed live as the movie once again graces a silver screen. As Nicholas Buc conducts, audiences will be feeling the love that night — and day, thanks to both 1pm and 7.30pm sessions — and celebrating the circle of life as well. Just can't wait to commemorate 30 years since the film debuted, instantly becoming an all-ages favourite? Add this chance to revisit Simba's journey to your calendar. Both John and Rice's tunes, and Zimmer's music, won Oscars. The former were nominated three times in the same field, in fact, with 'Can You Feel the Love Tonight?' winning out over 'Circle of Life' and 'Hakuna Matata'. So, yes, seeing any film as its score is played live is a rousing experience, but this one will feel particularly powerful. There's no word yet whether The Lion King in Concert will be a Melbourne exclusive in addition to being an Aussie premiere, or if it'll make the rounds of other city-based symphony orchestras. Some such shows hop around the country, as Star Wars, Harry Potter and Zimmer-focused gigs have. Others have stuck to one place, as seen with past The Princess Bride, Home Alone and Toy Story performances, and the upcoming Black Panther. Sydneysiders, Brisbanites and folks elsewhere, perhaps cross your fingers while you channel a "hakuna matata" mindset. You can always stream the sing-along version while you wait for local dates. Check out the trailer for The Lion King below: The Lion King in Concert will play The Plenary, Melbourne Convention and Exhibition Centre, on Saturday, February 3, 2024. Head to the Melbourne Symphony Orchestra website for further details, and tickets from Tuesday, October 3, 2023.
In Disney's non-stop quest to not only remake its animated hits, but to make them look as lifelike as possible, the Mouse House has already brought Dumbo, Aladdin and The Lion King back to our screens so far this year alone. But it's not done yet, with the company's new streaming platform set to welcome another high-profile do-over before the end 2019: a live-action version of Lady and the Tramp. To answer the question you've all been wondering, yes, it'll feature real spaghetti and meatballs. In all seriousness, the film does actually star real dogs — not photo-realistic canines cooked up by a special-effects team. The adorable pooches have still be given human voices, as the first trailer showed a few months back, with Tessa Thompson lending her tones to everyone's favourite pampered pupper and Justin Theroux doing the honours for her street-smart love interest. Playing an American cocker spaniel and a schnauzer, Thompson and Theroux aren't the only big-name talents going to the dogs. A Star Is Born's Sam Elliott gets gravelly as a bloodhound, Catastrophe's Ashley Jensen is a Scottish terrier, Avengers: Endgame's Benedict Wong voices a bulldog and Janelle Monae pops up as a pekingese. They're joined by a few cast members who are sticking with their two-legged forms, including Hearts Beat Loud's Kiersey Clemons, Me and Earl and the Dying Girl's Thomas Mann, and Community co-stars Yvette Nicole Brown and Ken Jeong. Story-wise, the film wags the same tale, as the upper middle-class Lady crosses paths with, eats pasta with and learns to appreciate the whole wide world with a downtown stray called Tramp. In the just-dropped second trailer, viewers can get a glimpse of more of their antics — and more of the other cute canines they interact with on their action-packed journey. Directed by The Lego Ninjago Movie's Charlie Bean and co-written by US indie filmmaker Andrew Bujalski (Computer Chess, Results, Support the Girls), Lady and the Tramp will sport a few changes when it drops on Disney+ upon the service's November launch, however. Monae is reworking 'The Siamese Cat Song' to remove the original's offensive connotations, and will also perform two new tunes for the soundtrack. Check out the latest trailer below: https://www.youtube.com/watch?v=P4NtWb4WX20 The live-action Lady and the Tramp remake will be available on Disney+ when it launches Down Under on November 19.
Hit the Paddo Tavern for a side-splitting sit-down standup event. The Sit Down Comedy Club is a world-class venue for laughs, attracting the very best and brightest — and we're not just talking about the audience. This is a space for industry pros and newcomers alike to try out new jokes and showcase their sharpest material. It's had top-notch comics and big names from Australia and abroad take to the stage, including Judith Lucy, Trevor Noah and Stephen K. Amos. Friday and Saturday nights are usually a double feature, and you can even expect the occasional improv or musical comedy act. You can purchase a dinner-and-show package, with a bar menu from 7-9pm featuring share-friendly eats such as cheesy garlic bread, 'secret spiced' chicken wings, nachos and pizza, and solo pub feed classics like a steak, parmy and burgers, too. If you're taking a group of ten or more, you can opt for the function menu, either the multi-course dinner or the Chef's Platter, featuring gourmet versions of party pies and sausage rolls. Head along with your mates and see if you can refrain laughing with your mouth full.
At Boho Luxe Market (the event's term, not ours), Byron Bay comes to Brisbane. Well, the beachy New South Wales spot's general vibe does at least. Forgoing the trappings of the city for bohemian fashion, jewellery, homewares and the like is on the market's agenda, and has been since it made the jump from Melbourne to Brisbane in 2019. Clearly we responded well to three days of dreamcatchers and flower crowns, because it's coming back yet again — and for the second time in 2021. If that sounds like your kind of thing, then block out Friday, November 12–Sunday, November 14 in your diary for the market's spring dates. The Boho Luxe Market will head to The Old Museum for a weekend of browsing and buying, food trucks, live music and more. Usually there's also be a dedicated vegan section, plus a kombi display and glamping providers tempting you into booking your next holiday — so fingers crossed they'll return. Entry costs $5 per day or $10 for all three. Drop by and pretend you're somewhere quiet and coastal on Friday from 5pm–9pm, Saturday from 9am–5pm, and Sunday from 9am–3pm.
How many times can you listen to Toto's 'Africa' in one sitting? Not sure? Well, you're about to find out — again. For the second year in a row, drums will echo and quiet conversation will be whispered at Black Bear Lodge's entire evening dedicated to appreciating the 35-year-old song. And yes, the rains will be blessed. It's gonna take a lot to take anyone away from a whole night focused on Toto's finest moment, even though the American band actually had some other catchy tracks. You'd expect that you won't be hearing 'Rosanna', which is commonly assumed to refer to actress Rosanna Arquette. Or 'Hold the Line', the tune that first put them on the map. Instead, it's 'Africa' all the way from 7pm on January 10, and there's nothing that a hundred men or more could ever do to stop it. If you think you might find some long forgotten words or ancient melodies, think again. But, as sure as Kilimanjaro rises like Olympus above the Serengeti, we're betting that somewhere there'll be a screen playing the music video on repeat as well.
In 2015, Brisbane celebrated the arrival of a new film festival. In 2016, the boutique, curated fest doubled in size. Marking its third year in 2017, Queensland Film Festival is back and once again bigger than ever, serving up an 11-day cinema showcase complete with 62 features and shorts, including 46 Australian premieres. Taking place from July 13 to 23, QFF 2017 boasts straight-from-Cannes hits, local flicks, tributes to Australian hits and a festival-first collaboration with Brisbane's Gallery of Modern Art, in what's shaping up to be a feast of filmic fun. Indeed, the event kicks off with Hong Sang-soo's Claire's Camera, which doesn't only hit Brisbane fresh from the biggest film fest in the world, but is set there as well, starring this year's Oscar nominee Isabelle Huppert. Bookending the fest is Gillian Armstrong's 1982 comedy-musical Starstruck, with the iconic Aussie director in attendance. In between, the lineup of films — which will largely screen at QFF's long-term home of New Farm Cinemas — will deliver the kind of eclectic array of international cinema that you won't see elsewhere in Brisbane. That includes the Kristen Stewart-starring Certain Women, which hasn't hit the city's screens despite a release down south, as well as Robert Pattinson at his very best in crime thriller Good Time. https://www.youtube.com/watch?v=AVyGCxHZ_Ko Hong Sang-soo pops up again with Berlinale best actress winner On the Beach Alone at Night, Amat Escalante's The Untamed will gift attendees a slice of erotic alien social realism (yes, that's a thing), and, after showing his murder mystery mini-series P'tit Quinquin in 2015, Bruno Dumont's musical Jeannette: The Childhood of Joan of Arc comes to QFF from Cannes Director's Fortnight. If you've spotted a musical trend, you're right — and a retrospective screening of Chantal Akerman's Golden Eighties, plus '80s-infused mermaid camp cabaret The Lure, are also among this year's QFF highlights. Other standouts include enlivening fireworks documentary Brimstone & Glory, Raoul Peck's must-see race relations doco I Am Not Your Negro, and queer romance The Ornithologist, as well as Japanese auteur Sion Sono up to his over-the-top tricks with Antiporno, cult-focused sci-fi/horror The Endless, provocative terrorist thriller Nocturama, and Grace, Who Waits Alone, the debut feature from Brisbane's own Georgia Temple. In addition to a shorts session at the Institute of Modern Art, and an editing panel and screening at QUT, the festival will also serve up a four-film focus on Czech filmmaker Juraj Herz at GOMA. Cinephiles, prepare for a busy July. Queensland Film Festival runs from July 13 to 23 at New Farm Cinemas, the Gallery of Modern Art, the Institute of Modern Art and Queensland University of Technology's Creative Industries precinct, with a pre-festival screening taking place at the Karawatha Forest Discovery Centre on June 24. To view the full program or buy tickets, head to the festival website.
Falls Festival might be gearing up to celebrate a quarter-century, but, with the lineup it's just dropped, it feels a bit like we're the ones getting the birthday presents instead. Helping to ring in the art and music festival's 25th year is a pretty buzzworthy gang of musical mates, headlined by Australia's own wunderkind Flume, as he returns to the Falls stage for the first time since wooing the Lorne crowds in 2012. He's joined on the bill by international names like Seattle-based Grammy nominees Fleet Foxes (who were here earlier in the year for Sydney Festival), Oxford four-piece Glass Animals (who were also just here for Laneway), Californian indie-pop darlings Foster The People and The Kooks, who'll be celebrating a milestone of their own, having clocked up ten years since their debut album. If you've had your ear to the ground, you'll already know the part about Oasis frontman Liam Gallagher dropping in for his first-ever Aussie headline shows. True to form, the Falls 2017 local lineup is equally exciting, and every bit as broad. Homegrown acts hitting the stage include the party-ready Peking Duk, Brisbane rockers Dune Rats, Melbourne natives The Smith Street Band and Total Giovanni, and indie duo Angus & Julia Stone, off the back of their soon-to-launch album Snow. And it looks like you can start limbering up those vocal chords for a gutsy rendition of 'The Horses', with the legendary Daryl Braithwaite also slated for an appearance. As always, the tunes are backed by a colourful curation of art events, performances, pop-ups, markets, wellness sessions and gourmet eats. You can, however, say goodbye to the usual drink ticket situation, which has been ditched in favour of paywave and cash-enabled bars. It's all happening over New Years at the usual spots in Tassie's Marion Bay, Lorne in Victoria, and the North Byron Parklands, with WA's 2017 Falls Festival landing itself a new home within the Fremantle Oval precinct. But here's what you're here for — the full lineup. FALLS FESTIVAL 2017 LINEUP Flume (no sideshows) Fleet Foxes Run The Jewels The Kooks Glass Animals (no sideshows) Peking Duk Angus & Julia Stone Foster The People Liam Gallagher Vince Staples Jungle Dune Rats The Smith Street Band D.R.A.M Daryl Braithwaite Everything Everything Allday The Jungle Giants Thundamentals Methyl Ethel Slumberjack D.d Dumbo Anna Lunoe Dz Deathrays Confidence Man Julia Jacklin Bad//dreems Cosmo's Midnight Winston Surfshirt Luca Brasi Alex Lahey Camp Cope Flint Eastwood Ecca Vandal Dave Total Giovanni + More to be announced FALLS FESTIVAL 2017 DATES Lorne, VIC — December 28–31 Marion Bay, TAS — December 29–31 Byron Bay, NSW — December 31 - January 2 Fremantle, WA — January 6–7 Falls Festival 2017 will take place over New Years. Friends of Falls members pre-sale tickets are available from this Thursday, August 24, with General Sales kicking off next Tuesday, August 29. FOr mro einfo and to buy tickets, visit fallsfestival.com.
Queenslanders and visitors to the Sunshine State, if you still have Christmas shopping to do — and buses, trains or ferries to catch to get there — you'll need to pop on a mask while you browse, buy and transit. Today, Friday, December 17, Queensland Premier Annastacia Palaszczuk has announced that masks will become mandatory again in a number of settings effective from 1am AEST on Saturday, December 18. The new requirements will apply to everyone in Queensland, residents and travellers alike, and cover both vaccinated and unvaxxed folks. So, you'll need to cover your face in all shopping centres and retail stores, on public transport and while using ride shares. Masks will also become compulsory at airports and on planes, and in hospitals and aged care settings. BREAKING: As of 1am on Saturday, 18 December, masks are mandatory across Queensland in the following locations: • In shops and retail centres • Hospitals and aged care • On public transport • Ride share • Airports and planes#covid19 pic.twitter.com/plsrJpie2s — Annastacia Palaszczuk (@AnnastaciaMP) December 16, 2021 At present, the mask rule won't extend to workplaces. And, it doesn't apply to pubs, clubs, bars, and other hospitality and entertainment venues that, effective today, Friday, December 17, are only allowed to welcome in double-vaxxed patrons. That said, the Premier also strongly recommends masking up if you're indoors and can't social distance. "If you are outdoors in the fresh air, of course you don't need to wear a mask — and if you are going to the beach. But if you are going into indoor settings where you can't socially distance, it is going to be strongly advised to wear a mask." The mask mandate will be reviewed when Queensland reaches the 90-percent double-vaccinated mark. At the time of writing, the state has reached 83.1 percent. Queensland currently has 84 active COVID-19 cases, as last updated on Friday, December 17, including nine new locally acquired cases and 11 new cases from overseas or interstate in the last 24 hours. As always, the usual requests regarding social distancing, hygiene and getting tested if you're feeling even the slightest possible COVID-19 symptoms also still apply — as they have since March last year. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website.
Going to a bar where everybody knows your name might be something that only happens in sitcoms, however West End's new pub, The Montague Hotel, will make you feel like that could occur. When it opened in April, it didn't hide the fact that it wants to be the area's new local haunt — and once you've been there, you'll probably be inspired to drop by the Monty quite often. Forget the drinks — a mark of a great pub is a varied menu of comforting eats. If you can see yourself eating there every day of the week, that's an ace sign. Good ol' Monty serves up three kinds of fries (potato, sweet potato and the cheese wonder that is haloumi), seven types of burgers, steaks, schnitzels, pizzas, salads and rotisserie chicken, lamb and pork, all of which is sure to get your tastebuds pumping. Oh, and who doesn't want an espresso martini ice cream sundae for dessert?
The Butler tells the story of Cecil Gaines (Forest Whitaker), an African American man who grew up on the cotton fields of the South only to then serve for decades as a butler in the White House. His tenure lasted from the administrations of Eisenhower all the way through to Reagan, and through his eyes director Lee Daniels shows us the intimate, unseen moments behind some of America's most turbulent periods. From Jackie Kennedy sitting alone, blood-soaked and weeping, to Richard Nixon foraging for snacks in the kitchen, Gaines dutifully tended to their needs — at once indispensable and yet imperceptible so as to not even seem present in the room. While presidents came and went, however, the issue of race relations remained ever-present and increasingly divisive in the United States, and it is that which forms the focus of Daniels' film. This subject is explored not just through Gaines' story as butler to those most possessed of the power to effect change but through his son, Louis (David Oyelowo), who became a passionate black rights activist, travelling on the Freedom Bus, working alongside Martin Luther King and even becoming a Black Panther. This use of concurrent plot lines occasionally hits home, most notably when a lavish state dinner at the White House is intercut with the infamous Woolworth's diner sit in, during which black customers were bashed and abused for ignoring segregated seating. More often, though, the White House scenes feel like they're from an entirely different movie; a cavalcade of celebrity impersonations ranging from the impressive (Alan Rickman as Reagan) to the outright bizarre (John Cusack as Nixon). Given the poignancy (if also Forrest Gump-esque convenience) of the son's civil rights vignette, it's tough not to feel The Butler would've been better served by excluding the presidents entirely, perhaps save for the occasional use of archival footage. Gaines is based on the former White House butler Eugene Allen, and in bringing him to life, Whitaker turns in arguably the performance of his career. He masterfully demonstrates the 'two faces' worn by African Americans during the decades of racial tension: one that's real, vulnerable and angry, the other that's designed to calm white people and keep them from feeling threatened. Oprah Winfrey also puts in a powerful performance as Gaines' wife — her first film role in 15 years since Beloved. Theirs is a marriage no less turbulent than the world around it, but its foundation is sound and their tenderness is genuinely moving through both the highs and the lows. Around them, the supporting cast is enormous, including Robin Williams, James Marsden, Cuba Gooding Jr, Lenny Kravitz, Liev Schreiber, Jane Fonda, Vanessa Redgrave and Terrence Howard. The Butler may at times stray into sanctimonious territory, even veering towards parody, but its honest depiction of some of America's darkest days and the performances by its leads make it more than worthwhile, delivering an ambitious, powerful and emotional two hours of cinema. https://youtube.com/watch?v=DUA7rr0bOcc
UPDATE: May 31, 2020: A Hidden Life is available to stream via Google Play, YouTube and iTunes. As a renowned lover of rolling hills, scenic greenery, constantly roving camerawork and breathy voiceover that borders on whispering, Terrence Malick recreates the Second World War with splendour. Such an approach proved moving and powerful in 1998's The Thin Red Line, where the writer/director intertwined war's pain, suffering and senselessness with many a glimpse of nature's wonders — and while the filmmaker sticks with his usual tactics in A Hidden Life, this couldn't be a more different movie. That comment fits Malick's tenth feature in many ways, actually. All his familiar aesthetic trademarks remain in place, because there's no teaching this veteran new tricks. And yet, his highly polarising style has never felt more purposeful. Nearly half a century into his career, Malick asks the same question about life that he has since 1973's Badlands, pondering how anyone finds beauty, love and grace amid continual chaos — and yet it has never been as urgent, poignant and touching as it is here. Telling of an Austrian farmer conscripted to fight for the Third Reich, A Hidden Life's true tale is a perfect match for Malick — and for the query that's driven everything from his Palme d'Or-winner The Tree of Life to the SXSW-set Song to Song. Living quietly in the mountain village of St. Radegund in 1939, Franz Jägerstätter (August Diehl) and his wife Fani (Valerie Pachner) are happy toiling in the fields, doting on their three daughters and being part of a close-knit community. But, although their bliss remains unchanged when the war first breaks out, history dictates that it can't stay that way. While he stomachs being forced to attend military training, albeit barely, Franz won't pledge allegiance to Hitler. All Austrian soldiers are required to make that oath, so his rejection earns the attention of Nazi higher-ups. His neighbours pressure him to conform, treating him and his family as outcasts for daring to defy the status quo. Still, even when called to active service, then arrested and sent to a Berlin prison, Franz won't waver. Malick doesn't skirt around Franz's motivations, not that an excuse for resisting any brutal fascist regime should ever be required. As contemplated in long letters to Fani that are based on real texts — as well as in chats with his local mayor (Jürgen Prochnow), plus with priests and bishops (including Tobias Moretti and Michael Nyqvist) — the conscientious objector can't reconcile Hitler's ideology with his own Catholic faith. To everyone except his family, that makes him a traitor. While it shouldn't come as a surprise, it's still perturbing to see so many push for his blind adherence to such an abhorrent cause. Equally unnerving: the fury with which his village turns on Fani and their children. And, though falling into a completely different category, Franz's actions are also unsettling in their own way, because the ultimate cost of his refusal isn't just incarceration but execution. That grave truth lingers over A Hidden Life, even in the film's most idyllic moments. Spending ample time at the Jägerstätters' picturesque property, revelling in its calm surroundings, and communing with its human and animal inhabitants, Malick's feature frequently proves peaceful, harmonious and sumptuous — which only makes Franz's plight all the more devastating. Viewers should expect as much from the director, given his reliance upon his trusty stylistic flourishes. While this is a rare war movie that eschews the brutality of the battlefield, just as its protagonist does, Malick laps up every aspect of Franz's rural existence, and of his loving relationship with Fani, all to emphasise exactly what the farmer is putting at stake. It would be so easy for the beleaguered Austrian to say what he's asked, serve as he's required and return home to those he adores. Doing so would save his life, and he has such obvious reasons to acquiesce. But Franz isn't willing to put himself before his beliefs, and Fani would never make him do so. Accordingly, although its conflict remains spiritual, philosophical and existential rather than physical, A Hidden Life is as weighty as any blood-soaked account of combat — and as affecting. Thanks to its endlessly roaming, circling frames, as lensed by The Tree of Life alum Jörg Widmer, Malick's film immerses viewers in both the best and worst of Franz's experiences. Always restless in a visual sense, it's just as jittery and absorbing emotionally, which any movie about a man sticking to his principles while facing death should be. Indeed, it's difficult to see how any other approach could do such a tale justice. Amongst a cast that also includes Matthias Schoenaerts (Kursk), Franz Rogowski (Transit) and the late, great Bruno Ganz, Diehl and Pachner clearly relish Malick's freewheeling ways, with their soulful performances helping boil this story down to its lyrical, poetic core. Told with ruminative eyes and a probing heart, this isn't just an account of courage and conviction, but of truly knowing the price of everything that's worthwhile in this life. https://www.youtube.com/watch?v=qJXmdY4lVR0
If you weren't in Melbourne's Federation Square for Australia's 1–0 World Cup defeat of Denmark, then you've seen the footage, with the Victorian capital's massive public space teeming with soccer fans. For the Socceroos' next game, with the squad advancing to the Round of 16, Brisbane wants to give its interstate counterpart a run for its money — with the Brisbane City Council announcing that the match will screen for free in two spots in the CBD. Make a date with either the Queen Street Mall and King George Square, with the game set to grace screens in both spaces. The match kicks off at 5am AEST on Sunday, December 4, which clearly makes it perfect for catching at home from the comfort of your own couch; however, if you're keen to watch the must-win showdown alongside your fellow Brisbanites, you have somewhere to go. ATTENTION @SOCCEROOS FANS pic.twitter.com/71n08CEE9K — Adrian Schrinner (@bne_lordmayor) December 1, 2022 Brisbane Lord Mayor Adrian Schrinner confirmed the screening sites on Friday, December 2, after tweeting on Thursday, December 1 that the city was "talking to the broadcaster about showing our historic match" in the two CBD spots. Both venues will be up and running from 4.30am on Sunday morning — and if you've been in the inner city since Friday, December 2, you might've also noticed that City Hall is being lit up in green and gold all weekend to mark the game. [caption id="attachment_881007" align="alignnone" width="1920"] John via Flickr[/caption] Whether or not you usually have even a passing interest in soccer, you'll appreciate the sense of occasion. By emerging victorious over Denmark, the 2022 Socceroos are the most successful FIFA World Cup team to ever come out of this country, with two wins in the group stage. The team's move to the Round of 16 is just the second time ever Australia has managed that feat, after doing the same in 2006. And, if it beats heavyweights Argentina, it'll be the first time ever that the Socceroos have made the quarter finals. View this post on Instagram A post shared by Socceroos (@socceroos) Australia take on Argentina at 5am AEST on Sunday, December 4, with the match playing on the big screens in the Queen Street Mall and at King George Square. For more information about the 2022 FIFA World Cup, head the tournament's website. Top image: Doozeydouche via Wikimedia Commons.
If you're fond of exclaiming "whoa!" to mark huge news — and you've been conditioned to do just that by a certain Keanu Reeves-starring sci-fi franchise — then the past year or so has given you more than a few opportunities to break out that word in the best possible ways. First came the confirmation that a fourth live-action film in The Matrix series was 100-percent happening. Then came trailers for that very flick, giving us all a few sneak peeks before we could watch the full thing. And, when Boxing Day rolled around in 2021, the movie itself — aka The Matrix Resurrections — finally arrived on the big screen. Here's another reason for you to channel your inner Keanu Reeves right now: just a month after reaching cinemas, and while still actually showing in cinemas, you can stream The Matrix Resurrections via video on demand at home. Fast-tracking films to digital is a trend that's been gathering steam during the pandemic — and if you've been a bit cautious about going out during Australia's current Omicron wave, you can still fall down the dystopian franchise's rabbit hole sooner rather than later. A hit for more than two decades now, this is the science-fiction epic that smartly recognises that it's Keanu's world and we're all just living in it, after all — and now, we can plug into all four live-action movies from our couches. Get ready for Neo (Reeves, Bill and Ted Face the Music) to once again grapple with the Matrix and everything it means for humanity — and also for Carrie-Anne Moss (Jessica Jones) and Jada Pinkett Smith (Girls Trip) to return, too. They're joined by Matrix newcomers Neil Patrick Harris (It's a Sin), Jessica Henwick (On the Rocks), Priyanka Chopra Jonas (The White Tiger), Christina Ricci (Yellowjackets) and Yahya Abdul-Mateen II (Candyman). And yes, Reeves and Moss once again take centre stage this time around, because casting them in the first place — and showing unwavering belief in the duo — is the greatest move that filmmakers Lana and Lilly Wachowski ever made. It was a bold decision two-and-a-bit decades ago, with Reeves a few years past sublime early-90s action hits Point Break and Speed, and Moss then known for TV bit parts (including, in a coincidence that feels like the product of computer simulation, a 1993 series called Matrix). But, as well as giving cinema their much-emulated gunfire-avoidance technique and all those other aforementioned highlights, the Wachowskis bet big on viewers caring about their central pair — and hooking into their chemistry — as leather-clad heroes saving humanity. Indeed, amid the life-is-a-lie horrors, the subjugation of flesh to mechanical overlords and the battle for autonomy, the first three Matrix films always weaved Neo and Trinity's love story through their sci-fi action. In fact, the duo's connection remained the saga's beating heart. Like any robust computer program executed over and over, The Matrix Resurrections repeats the feat — with plenty of love for what's come before, but even more for its enduring love story. Lana goes solo on The Matrix Resurrections — helming her first-ever project without her sister in their entire career — but she still goes all in on Reeves and Moss. The fifth Matrix movie overall counting The Animatrix, this new instalment doesn't initially give its key figures their familiar character names, however. Rather, it casts them as famous video game designer Thomas Anderson and motorcycle-loving mother-of-two Tiffany. One of those monikers is familiar, thanks to a surname drawled by Agent Smith back in 1999, and again in 2003 sequels The Matrix Reloaded and The Matrix Revolutions. But this version of Thomas Anderson only knows the agent from his own hit gaming trilogy (called The Matrix, naturally). And he doesn't really know Tiffany at all, instead admiring her from afar at Simulatte, their local coffee shop. Check out the trailer for The Matrix Resurrections below: The Matrix Resurrections is currently screening in Australian cinemas, and is also available to stream online via video on demand — including via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review.
What do Beyoncé, Nirvana and Taylor Swift have in common? They've all chowed down on pizza from Kookaburra Café. The Paddington establishment is best known for their truly massive 50-slice party pizzas, but you can treat yourself to regular-sized slices too. Flavours range from the classic — margarita, pepperoni and ham and pineapple — through to the plain weird (bacon, banana and chilli). When it relocated just up the road from its former site, Kookaburra Café hopped into bed with board game wizards Club Sosay — a damn fine match of novelty pizza and Uno, Scrabble or Monopoly if you ask us. Hop down to Paddington with some mates, then grab a table, a board game and a few pizzas and settle in for a night of carbo-loaded boardgame bliss.
Get ready rock fans, for the Arctic Monkeys are returning to Australia and New Zealand. The British band will embark on their biggest down under tour to date this autumn for their latest album, AM. The album, which was released this past September, is the band's fifth consecutive number 1 in the UK and also debuted at the top spot in the ARIA Albums Chart. So, Aussie and Kiwi fans, get stoked because you'll soon have the chance to hear their awesome collection of new jams, including chart toppers such as 'R U Mine?' and 'Why'd You Only Call Me When You're High?' Original fans needn't worry, because the Monkeys never forget to pay tribute to their old school favourites. You'll probably still get your chance to belt out 'Fluorescent Adolescent's, "Oh the boy's a slag / The best you ever had / The best you ever had." https://youtube.com/watch?v=6366dxFf-Os
Resurrecting horror franchises that first gleamed bright in the 70s is a trend that Hollywood isn't done idolising. Halloween did it. The Exorcist returned as well. Via remakes, Carrie, Suspiria and Black Christmas have all made comebacks since the 2010s. The Omen was always going to get its turn, then. Taking the prequel route — because the OG 1976 film hadn't spawned one yet with 1978's Damien — Omen II, 1981's Omen III: The Final Conflict and 1991's Omen IV: The Awakening, plus a 2006 remake and 2016's one-season TV series — gives rise to The First Omen, as set in Rome in 1971. Fans will know that June 6 that year was when Damien was born. Spinning backstories into new movies can create flicks that smack of inevitability above all else, but not here: this is a genuinely eerie and dread-laced Omen entry with an expert command of unnerving imagery by first-time feature director Arkasha Stevenson (Brand New Cherry Flavour), plus a well-chosen anchor in lead actor Nell Tiger Free (Game of Thrones). Horror, unusual babies, childminding at its most disquieting, a claustrophobic location, a lack of agency, distressing displays of faith: Free has been here before. Indeed, if Stevenson and her co-writers Tim Smith (a screenwriting debutant) and Keith Thomas (the director of 2022's awful Firestarter remake) used Servant as their inspiration in more ways than one, they've made a savvy choice. Featuring their star for four seasons between 2019–2023, that M Night Shyamalan (Knock at the Cabin)-produced series was one of the great horror streaming efforts of the past five years. The First Omen goes heavier on jolting visuals to go with its nerve-jangling atmosphere, but it too stands out. Its worst choice is being needlessly and gratingly blatant in connecting dots in its very last moments, even if nearly half a century has passed since this spawn-of-Satan saga began. For those who don't know the Damien-centric details going in, The First Omen redresses that gap in your pop-culture knowledge — except that anyone unaware of the franchise's ins and outs will have still picked up the antichrist basics; they're that well-established. Also, as per above, every decade since the 70s has given something Omen-related a whirl. In the actual first Omen film, an American ambassador in Rome adopted a boy in secret, as sourced by a chaplain, when his own didn't survive childbirth. Five years later, when the bulk of the flick takes place, a 666 birthmark proved exactly what the title described. Stevenson's movie steps in before all of that, spending its time with a novitiate from the US who is invited to take her vows in Italy and, in the lead up, to stay and work at a convent that cares for orphaned girls and unwed pregnant mothers. Free's Margaret is that aspiring bride of Christ, in Rome at the behest of Cardinal Lawrence (Bill Nighy, The Beautiful Game), who she knows from a childhood spent entirely within the church. Despite her devotion to god, and to prim-and-proper rules, her reception is mixed; she finds abbess Sister Silvia (Sônia Braga, Shotgun Wedding) spooky, colleague Sister Anjelica (Ishtar Currie-Wilson, Lockwood & Co) unsettling and the stiff treatment of Carlita Scianna (Summer Limited Edition), one of the older girls under the nunnery's guardianship, questionable to say the least. Luz (Maria Caballero, The Girl in the Mirror), Margaret's roommate who'll also soon take the veil, encourages her to let loose before giving her body to the lord. A night at a bar, and also witnessing a mother ushering her child into the world at the orphanage, quickly sparks nightmares. Then there's Father Brennan (Ralph Ineson, The Creator), who has gone rogue to warn her about the plans for Carlita. Horror, unusual babies, pregnancy at its most disquieting, a claustrophobic location, a lack of agency, distressing displays of faith, the Catholic church trying to keep a stronghold on power by nefarious means, an American nun-to-be in Italy and in trouble, sisters and priests that can't be trusted: cinema in 2024 has been here before as well. The First Omen arrives mere weeks after Immaculate, where filmmaker Michael Mohan (The Voyeurs) helmed a Sydney Sweeney (Madame Web)-led dance with Christianity at its most devilish — but with a different progeny hoped for. Call it a case of twin films, right down to the cues taken from giallo. Releasing either side of Easter, a go-to time for Catholic horror flicks — 2023 had The Pope's Exorcist and 2021 The Unholy, for instance — call this pair a great double feature, too. One of the greatest tricks that The First Omen pulls: making its audience not give a damn whether it's an Omen movie or not by being utterly engrossing in its visuals and lead performance regardless of the nods sent in obvious directions. That's another reason why the last scene lands with the clunkiest of thuds. Former photojournalist Stevenson, plus No One Will Save You's Aaron Morton as her cinematographer, are both bold and elegant with the sights that grace the screen — images that haunt with mood and texture as they evoke a visceral response. 1981's Possession, which shares Sam Neill (Apples Never Fall) as a star with the same year's Omen III, gets a striking visual nudge. Elsewhere, black habits virtually come alive, closed curtains hold fearsome foes, walls and floors are filled with sinister scribblings, and a line of nuns hugs the floor. A face screaming in agony while trapped in a black veil, claws replacing a crowning baby's head: they provide unforgettably chilling moments, and also reinforce that The First Omen, like Immaculate, is born into an IRL world and from a country where control over women's bodies is no mere relic. Examining how religion reacts to dwindling influence lingers in The First Omen in several ways, including seeing and speaking about protesting students, who Lawrence laments have no trust or faith in Catholicism. New blood such as Margaret and Luz is just one tactic floated for connecting with non-believers, of course. There's little subtlety to The First Omen's themes or plot but, again, its deeply perturbing vibe and look, and a committed lead performance from Free (plus the always-great Braga, The Witch's Ineson putting his gravelly voice to great use, and Nighy and Charles Dance, the flick's third GoT alum, adding a creepy air), all demand adoration. With the latter, who swings between innocent and unhinged, emotional, psychological and physical devotion are part of her portrayal. In fact, when "it's all for you" is wailed in Free's vicinity — a line no Omen movie can pass up — it could be coming from Stevenson, who has made a spine-chiller that hardly needs to exist on paper, but is wholly worthy of her star's remarkable efforts.
It has always been impossible to watch TV shows by Nathan Fielder, including Nathan for You and The Rehearsal, without feeling awkwardness gushing from the screen. The films of Josh and Benny Safdie, such as Good Time and Uncut Gems, are such masterclasses in anxiety and chaos — and so astute at conveying life's anything-that-can-go-wrong-will certainty — that viewers can be forgiven for thinking that their chairs are jittering along with them. From Easy A, La La Land and Maniac to The Favourite and Poor Things, Emma Stone keeps proving an inimitable acting force. Combine Fielder, the Safdies and Stone on one series, then, and whatever sprang was always going to be a must-see. Streaming in Australia via Paramount+ from Saturday, November 11, exquisite new dark satire The Curse is also as extraordinary in its brilliance as it is excruciating in its discomfort. As well as co-creating the ten-part series, Fielder and Benny Safdie co-star, co-write and co-direct. Stone joins them on-screen and as an executive producer, with Benny's brother Josh doing the latter as well. The Safdies' regular collaborator Oneohtrix Point Never, aka Daniel Lopatin, gets the show buzzing with atmospheric agitation in one of his best scores yet — even after winning the Cannes Soundtrack Award for his unforgettable work on Good Time. And yes, The Curse is everything that the sum of these parts promises. It's more, in fact, then even more again. It flows with disquiet like a burst hydrant. It fills each almost hour-long episode with a lifetime's worth of cringe. It's relentless in its unease second by second, moment by moment and scene by scene. It's also a marvellous, intense and hilarious black comedy that apes the metal Doug Aitken-esque houses that Stone and Fielder's Whitney and Asher Siegel like to build, reflecting oh-so-much about the world around it. The Curse takes the show-within-a-show route, with the Siegels eager to grace the world's screens as reality TV hosts. Their angle: environmentally sustainable passive homes that only use energy that they create, which Whitney and Asher consider their contribution to their adopted New Mexico hometown of Española. The newly married pair have American pay TV network Home & Garden Television interested in Fliplanthropy, as well as their efforts to green up the community, create jobs for locals, and revitalise a place otherwise equated with struggling and crime stats. Lurking between the couple and HGTV is producer Dougie Schecter (Safdie, Oppenheimer), Asher's slimy and manipulative childhood friend with a nose for sensationalism — particularly when he gets the scent of disharmony among his stars as they try to start a family, get their show on the air, build their gleaming houses, find ideal buyers, honour the area's Indigenous history and overcome The Curse's title. As the series dives into, parodies and interrogates unscripted television, gentrification, whitewashing, white saviour complexes, racism, appropriation, marriage, privilege, authenticity, spiritualism, inherited burdens and more, its moniker can refer to many things. A white couple sweeping into the region, trotting out altruism for fame — and, in Whitney's case, to scrub away her association with her parents (White House Plumbers's Corbin Bernsen Search Party's and Constance Shulman), who have been dubbed slumlords for treating their tenants poorly — is hardly the gift that the Siegels think. Accordingly, while their actions around Española don't just span futuristic abodes that couldn't stand out more, but also enticing new businesses to the area with free rent, supporting campaigns for land rights and celebrating local artists, it's forever plain that every move that the pair make is about getting something out of it. Fielder has long unpacked what it truly means to show reality on-screen, plus the machinations behind it — and with unsettling precision, The Curse is no different. Stress would ripple through this series as inescapably as Whitney's desperation to become TV's next big thing anyway, and Asher's onslaught of neuroses and humiliations (you'll never think about cherry tomatoes the same way again); however, The Curse's name is also literal. Being filmed for B-roll footage for the pilot at Dougie's suggestion, Asher gives primary schooler Nala (debutant Hikmah Warsame) a $100 note while she's selling soft drink in a carpark with her father Abshir (Captain Phillips Oscar-nominee Barkhad Abdi). Then, when the shot is over and his performative compassion is no longer needed, he snatches the money back. The girl's response, as accompanied by a steely gaze and the unfettered anger of a child wronged by an adult: "I curse you". As bad luck springs for the Siegels afterwards, arriving in both big and small ways, those words keep lingering. Again, Fielder ponders what is real and isn't, finding another way into his favourite topic. Whitney already oozes must-do-now urgency — served with a wide Stone smile — about anything that could stymie her quest for television domination, and Asher is a walking portrait of please-accept-me torment from the get-go; then comes the hex and the fudging of lines between what's a mess of their own making, what springs from paranoia and what may be supernatural. Aptly, when The Curse's title appears on-screen at the start of each episode, it shimmers with wavy lines looking glass-style to kick off this streaming mirror mirror, distorting and disorienting in the process. Birds sometimes fly directly into the Siegels' shiny houses, meeting their ends after not spotting what's looming right there in front of them, which also makes a fitting metaphor. Squirming and watching Fielder might go hand in hand, but the experience has rarely been better than in The Curse. Neither has Fielder. His familiar directorial instinct to let moments persist to the point of aching mortification continues here, sparking his most purposefully perturbing performance yet — because watching someone this bumbling yet authoritative, and this muddled and self-conscious in everything they do yet bolstered by their status, race and bank balance, is meant to be this incisively agonising. With the show often shot like it's spying, including through windows and doorways, Stone and Safdie are equally exceptional and difficult to look away from. The yearning to be worshipped and praised non-stop, and the fear of her carefully constructed do-gooder facade being cracked, is weaponised in Stone's portrayal. Meanwhile, Safdie plays the kind of shifty that can't be shaken devastatingly well. In a plethora of ways, The Curse ticks all the boxes that it was always going to, especially via Fielder, the Safdies and Stone's exacting involvement. Throw in the fact that A24 is behind the series, placing it on a slate alongside Beau Is Afraid, You Hurt My Feelings, smash-hit Australian horror movie Talk to Me and fellow TV series Beef from 2023 alone — each of which could pair with The Curse for different reasons — and that truth only grows. And yet, no one can pick exactly where this show is heading while watching, even when you're sure that you have and those predictions come to fruition in an exchange, plot point, theme or revelation. Consider it a funhouse hall of mirrors, then: you know that something warped will confront you wherever you look, but you can never be confident of what it'll be. Consider The Curse one of the best new TV shows of 2023, too, and the type of unique viewing that's a glittering treasure even it inspires non-stop dread and horror that threatens to swallow you whole. Check out the trailer for The Curse below: The Curse streams from Saturday, November 11 via Paramount+. Images: Beth Garrabrant and John Paul Lopez/A24/Paramount+ with SHOWTIME.
