Sure, it's the middle of winter and most of those planned tropical getaways have been put firmly on hold (and relegated to the realm of dreams), but that hasn't stopped the folks behind renowned Sydney distillery Poor Toms from releasing their most holiday-worthy concoction yet: a bright and vivacious piña colada gin. The new drop is a labour of love that's been in the works for a while, taking the team two years to perfect thanks to hero ingredients like pineapple and coconut being notoriously tough to distill. There's freshly juiced pineapples in there, along with some dehydrated fruit, toasted coconut — that's been both distilled and fat-washed in coconut oil — and lots of aromatic extras like pandan, lime and allspice. https://www.instagram.com/p/CDN6gDvDHoy/ As such, there are only a total of 5000 bottles up for grabs, available now at select bottle shops, or from the online store. So, you'll want to be quick if you want to inject some boozy sunshine into your 2020. Fun and fruity, the newly dropped gin is like some international beach vacation, distilled into a bottle. "Our philosophy is about bringing surprise and pleasure to people's lives, however we can," Poor Toms Co-Founder Jesse Kennedy said in a statement. "You may not be able to travel overseas, but you can still have a holiday in your lounge room." The distillery's tasting notes describe a "toe-dip of milky coconut rough" and a "welcome tidal wave of brine-soaked juniper and lime peel". And, obviously, it pairs perfectly with Rupert Holmes' 'Escape (The Piña Colada Song)'. If that's not exactly the kind of vibe we need right now, what is? Poor Toms' Pina Colada Gin is available now at select Victorian and NSW bottle shops, or for Australia-wide shipping via the online store. The 700-millilitre bottle comes in at $77.
Here's what stuck with our critics. Top Five Movies - Rima Sabina Aouf, Editor-in-Chief Silver Linings Playbook Forget American Hustle; this January release was David O'Russell's big 2013 success. Not only is it funny and moving, it's a sensitive, generous portrayal of mental illness that means a lot to many people. The Act of Killing Your jaw just drops further and further with every minute of this documentary about the 1965-66 Indonesian genocide and the ongoing exaltation of its perpetrators. Upstream Color There is no filmmaker quite like Shane Carruth, and there is no forgetting the experience of watching Upstream Color, wondering what the fuck is happening and then letting go and running with it. The Hunger Games: Catching Fire It kicks so much arse. Short Term 12 The best Boxing Day release you've probably never heard of, Short Term 12 will make you feel all the feelings. Top Five Movies - Tom Glasson, Writer We Steal Secrets: The Story of Wikileaks A surprisingly sensitive inquiry into Wikileaks and the two men responsible for its overnight infamy. Complex and impressively even-handed, it's also far more compelling than last month's The Fifth Estate. Zero Dark Thirty People often forget (or simply don't realise) that Kathryn Bigelow directed Point Break. Fact is, she's arguably the best director of action right now, and Zero Dark Thirty was a sublime example, combining heart-pumping combat with deeply personal drama. Red Obsession Rightly described as a 'wine thriller', this documentary offered an enthralling, passionate and consistently amusing perspective on the extraordinary price boom of 2011, followed by its equally dramatic crash and China's growing obsession for the iconic Bordeaux reds. Moonrise Kingdom Perhaps the darkest of the Wes Anderson oeuvre, Moonrise Kingdom is also somehow his most romantic. Quirky, whimsical and wickedly funny, it's a delightful tale of young, forbidden love. The Gatekeepers Like the Shin Bet agents it scrutinised, this gripping documentary grabbed you by the throat from the opening scene and never let go. A remarkable and candid examination of one of the world's most secretive organisations. Top Five Movies - Lauren Carroll Harris, Writer Mystery Road Both bleakly beautiful and staunchly optimistic, and with an Indigenous cultural perspective that's rarely represented in the mainstream, I'm convinced that we'll look back on it as something important in Australian cinema. The Great Gatsby Luhrmann’s 21st-century bastard iteration of the sham-American-dream classic made me cry like a small child. I don't care how uncool it is to admit — this was the first version that made me feel the true tragedy of Gatsby (a perfect, shiny-eyed Leo DiCaprio) and Daisy's predicament. Behind the Candelabra Steven Soderbergh went beyond the cliches of both a 'gay film' and a biopic to deliver touching, if typically unsentimental, twin portraits: one, a dysfunctional, tragic relationship, and the other, a destructive American addiction to consumerism and celebrity. The Act of Killing A film that changed the documentary genre and terrified and transfixed audiences more than any fiction could. If it helps the victims of Indonesian war crimes achieve justice, it may even be one of the most effective documentaries. Top of the Lake Challenging, gorgeously shot, with difficult characters and deft observations of crimes against women and the relationship between childhood and adulthood — it had everything I expect from great film. It counts. *Tom and Rima would like to go on record with the actual no.1 film they've seen this year, Spike Jonze's Her. Unfortunately, it's not out till January 16. Look for it then, and on our 2014 lists.
An all-female instalment in the Ocean's series, set at the Met Gala and starring a killer cast of famous faces? On paper, it sounds like a dream come true. Eleven years after George Clooney, Brad Pitt, Matt Damon and more last fleeced a casino in Ocean's 13, and nearly six decades since Frank Sinatra, Dean Martin and the '60s-era Rat Pack did the same in the first-ever Ocean's 11, Ocean's 8 thrusts women into the blockbuster heist franchise. The elaborate setups, easy banter and split-screen imagery all make the jump to this gender-swapped chapter, as does the buddy-movie vibe, which makes it feel like you're hanging out with a group of glam pals as they happen to stage an intricate robbery. But there are a few things missing in this stylish but slight attempt to extend the Ocean's brand – things like actual drama, a decent villain, and a plot that's anything other than a routine walk through familiar territory. The parallels start from the film's opening frames, with the incarcerated Debbie Ocean (Sandra Bullock) trying to talk her way into early parole, just as her brother did back in 2001. And, like her sibling, she's not being completely honest when she promises she'll be a model citizen upon release. Spending five years, eight months and 12 days in the slammer has given her more than enough time to plan a new job, and it takes barely a few hours to convince her righthand woman Lou (Cate Blanchett) to join in. Amassing a crew that includes fence Tammy (Sarah Paulson), fashion designer Rose (Helena Bonham Carter), jeweller Amita (Mindy Kaling), fleet-fingered thief Constance (Awkwafina) and IT whiz Nine Ball (Rihanna), they're soon ready to cause a splash on the first Monday in May. Their plan: steal a $150 million diamond necklace from the neck of starlet Daphne Kluger (Anne Hathaway) during the star-studded party. Actually, the gang is ready to steal big but stay out of sight. As Debbie tells the crew during the obligatory motivational pre-heist speech, "a him gets noticed, a her gets ignored — and for once, we want to be ignored". It's a delightfully loaded piece of dialogue that speaks to our post-#MeToo world, but it's the movie's only step towards making any kind of statement. Instead, Ocean's 8 represents Hollywood's current gender-switching trend at its most basic, doing little more than bringing in female stars to follow the same old path. If the powers that be were worried about a Ghostbusters-style backlash, they've countered it in the most mundane fashion. If they just wanted to capitalise upon the trend as simply and literally as possible, well, that's exactly what they've achieved. Indeed, writer-director Gary Ross (The Hunger Games) and his co-scribe Olivia Milch are happy to follow the beats established by their predecessors, and to mimic the look and feel that served Ocean's 11, 12 and 13 filmmaker Steven Soderbergh so well. Still, you can only pass off a cubic zirconia as a diamond for so long — and in the words of the under-utilised Rihanna, this movie doesn't shine bright like the latter. Bullock, Blanchett and company try their best to liven up the by-the-numbers caper, and do plenty with their evident chemistry. In fact, you'll wish the film spent more time watching the group chat. But that's a feat of casting, rather than any stroke of writing or directing genius. Throw these charismatic ladies into any scenario, and they'd always demand attention. To be fair, there's ample fun to be found in Bullock's rapport with both Blanchett and Paulson, and in Bonham Carter's scene-stealing awkwardness. Having Hathaway skewer her public reputation is among the movie's best touches too, although it's nowhere near as savvy as her role in last year's Colossal. And yet, the sparkling cast can't lift a film that merely watches their characters put a plan into action with minimal roadblocks or tension. A subplot involving Debbie's duplicitous ex (Richard Armitage) is instantly forgettable, as is James Cordon's involvement as an insurance detective — and it never feels like these gals are facing any real threats, stakes or problems. Working through the nuts and bolts of any heist might be one of the thrills of the genre, but without a sense of drama as well, Ocean's 8 is a barely passable knockoff. https://www.youtube.com/watch?v=KuCqLop7N6w
Australia loves music festivals all year round, but this sunny country flatout adores them in summer. So, plenty of them pop up. And, a whole heap of them arrive at the same time, as one year ends and the next begins. Also, they all usually have a swag of acts in common. Accordingly, if you're in Brisbane, Perth and Adelaide and you've been noticing the lineups for Beyond The Valley and Field Day, and then you saw that Wildlands is returning, you might've put two and two together. That maths would've been correct in a number of cases, too — including RÜFÜS DU SOL, Central Cee and Peggy Gou. [caption id="attachment_913128" align="alignnone" width="1920"] Fifth Legend via Wikimedia Commons.[/caption] All three artists are headed to all three Wildlands cities, alongside A$AP Ferg, The Jungle Giants and G Flip. Also on Wildlands' just-dropped bill, although some acts aren't playing South Australia: Sub Focus doing his live show CIRCULAR SOUND, and everyone from Destroy Lonely, LUUDE, Jayda G, Romy and COBRAH to Ewan Mcvicar, Taylah Elaine, Conducta b2b Notion, dameeeela and STÜM. [caption id="attachment_873175" align="alignnone" width="1920"] Milo Lee[/caption] It's been four years since Brisbane first welcomed Wildlands to the city, with the teams behind Victoria's Beyond The Valley and Perth's Origin Fields fests giving the Sunshine State a big new summer party. Fast-forward to 2023, and the event returns again, including to Perth and Adelaide after expanding to both over the summer of 2022–23 as well. This year's party will get started on the biggest night there is for celebrations: New Year's Eve. That's when Wildlands will kick off its latest run at Brisbane Showgrounds, before embracing 2024 on Saturday, January 6 at Claremont Showgrounds and Sunday, January 7 at Ellis Park. Wildlands' last tour featured Diplo, Denzel Curry and Dom Dolla, plus Yeat, Aitch, Kaytranada, Tkay Maidza, Honey Dijon and BENE — and Yung Lean, Shygirl, Remi Wolf, Kanine and SG Lewis, too — because this fest loves going big. Its first-ever event back in 2019 featured Tyler, The Creator, after all, as well as this year's returnees RÜFÜS DU SOL. In 2021, The Veronicas, Spacey Jane, Cosmo's Midnight and more did the honours. WILDLANDS 2023–24 LINEUP: All cities: RÜFÜS DU SOL Central Cee Peggy Gou A$AP FERG The Jungle Giants G Flip Becca Hatch Forest Claudette Brisbane and Perth only: Sub Focus presents CIRCULAR SOUND Destroy Lonely LUUDE Jayda G Romy Ewan McVicar Conducta b2b Notion Taylah Elaine STÜM COBRAH Boo Seeka Blanke dameeeela Miss Kaninna Anna Lunoe WILDLANDS 2023–24 DATES AND VENUES: Sunday, December 31, 2023 — Brisbane Showgrounds, Brisbane Saturday, January 6, 2024 — Claremont Showgrounds, Perth Sunday, January 7, 2024 — Ellis Park, Adelaide Wildlands will hit Brisbane, Perth and Adelaide across December 2023–January 2024. Head to the festival website for further details and tickets — including registering for pre sales until 3pm AEST on Monday, August 28, nabbing pre-sale tickets from 6pm local time the same day and general sales from 6pm local time on Tuesday, August 29. Wildlands images: Jordan Munn / Mitch Lowe.
If you stream it, they will come: so discovered the Melbourne International Film Festival in 2020, when its biggest commitment to putting its lineup online resulted in the event's larget audience ever at the time. Now that the early days of the pandemic are over, the fest has been back in cinemas for a few years, and gloriously so. But for those located elsewhere around Australia, or folks who can't fit in as many IRL trips to the flicks as they'd like, or Melburnians who want to deploy every way there is to see as many movies possible during the festival, MIFF is still embracing its digital component. MIFF Online kicks off after the IRL event and runs past its in-person counterpart's end, too. To stare at the big screen, you'll be heading along between Thursday, August 7–Sunday, August 24. To play along from your small screen of choice, the dates are Friday, August 15–Sunday, August 31. While the range of films available to view on your couch via ACMI's Cinema 3 is smaller, there's still plenty to see — including both features and shorts. A post-apocalyptic musical starring Tilda Swinton (The Room Next Door), Michael Shannon (The Bikeriders), George MacKay (The Beast) and Moses Ingram (Lady in the Lake), The End hails from The Act of Killing and The Look of Silence's Joshua Oppenheimer — and it's one of the highlights on 2025's MIFF Online program. Fittingly, so is Videoheaven, with Alex Ross Perry (Her Smell) paying tribute to the video-store era via a Maya Hawke (Inside Out 2)-narrated film essay solely comprised from movie and TV clips. Or, you can visit Inner Mongolia's plains courtesy of To Kill a Mongolian Horse, catch coming-of-age tale Little Trouble Girls, explore a sunny sailing voyage with Kyuka Before Summer's End and join John Magaro (Materialists) for a road trip from Utah to Nebraska in Omaha. Tomorrow We Move from MIFF's 2025 Chantal Akerman retrospective is also available for viewing online, as is the new stop-motion animation Sanatorium Under the Sign of the Hourglass from the Brothers Quay (The Piano Tuner of Earthquakes) — plus SXSW-winning documentary Ghost Boy from Rodney Ascher (Room 237, The Nightmare, A Glitch in the Matrix), about a man with locked-in syndrome. 2025's MIFF spans Footy Shorts, a partnership with the AFL that's resulted in five short flicks focusing on the sport — and they're on the MIFF Online lineup as well. For more filmmaking in brief, the Australian shorts package is also making the leap to digital.
This time next year, you could well be spending your summer immersed in legendary Japanese artworks. The Art Gallery of New South Wales has announced a blockbuster exhibition, dubbed Japan Supernatural, set to open in November 2019 as part of the tenth Sydney International Art Series. Made up of more than 200 works from all over the planet, it's an exploration of the spirit world in Japanese art. Expect a immersive experience involving paintings, sculpture, prints, film, animation, comics and games. Leading the show is a monumental piece by Tokyo-born Takashi Murakami. He's a bit of an international rockstar, renowned for bringing together high and low art — much like Jeff Koons, Damien Hirst and Andy Warhol. Chances are, you first heard of him in the 1990s, when he launched the inaugural Superflat exhibition. Since then, he's been a prolific creator of paintings, drawings, sculptures and animations, and collaborated extensively with Louis Vuitton. Representing a much earlier era will be Katsushika Hokusai, born in Edo in 1760. His best-known piece is Thirty-Six Views of Mount Fuji, a series of wood block prints that includes the now iconic Great Wave off Kanagawa. While can't reveal, yet, which of his pieces will be travelling to Sydney, we're hoping we get some of the works that were at the NGV last year. Look out, too, for works by historical artists Utagawa Kuniyoshi, Tsukioka Yoshitoshi and Kawanabe Kyosai, as well as contemporary pop artist Chiho Aoshima and photographer Miwa Yanagi. The artworks are expected to be announced in early 2019, but, in the meantime, you can check out the ninth Sydney International Art Series, which includes paintings by Monet, Matisse and Picasso and a retrospective of South African photographer David Goldblatt's work. Japan Supernatural is slated to open at the Art Gallery of NSW in November 2019, as part the Sydney International Art Series. Image: Takashi Murakami by Claire Dorn.
With over 45 million visitors globally, Body Worlds is one of the world's most visited health and wellness exhibitions. It's also frequently described as a "life changing experience" — visitors can expect to leave with an understanding of the marvel that is the human body. Now, the original exhibition of real human bodies is coming to Australia for the first time this August. The Body Worlds Vital exhibition, on display at the Melbourne Showgrounds from August 13–November 18, takes attendees on an intricate journey of the workings of the human body, through an authentic, visual display of over 150 donated specimens. The human bodies and body parts, donated for the benefit of public education, have gone through a meticulous process of plastination, and demonstrate the complexity, resilience and vulnerability of the human body in distress, disease and optimal health. The exhibitions were founded by anatomist and scientist Dr Gunther von Hagens and physician and conceptual designer Dr Angelina Whalley. And all the specimens displayed at the exhibitions are from an established body donation program with consenting donors — so far 17,000 bodies from around the world have been donated to Dr von Hagens' Institute for Plastination. The Australian tour specifically focuses on contemporary diseases and ailments and how everyday lifestyle choices can improve health and wellness, to live with vitality. The 150 specimens on display stem are preserved through a scientific process that replaces body fluids with polymers. Interactive elements include the Anatomical Mirror, where visitors will see how organs are positioned in their own body, a photo display that showcases longevity and healthy ageing, and healthy organs shown in direct comparison with diseased organs. Body Worlds Vital will be on display from August 13–November 18 at the Melbourne Showgrounds, Agricultural Hall 10, Epsom Road, Ascot Vale. Tickets are on sale now, via bodyworldsvital.com.
Calling all wizards, witches and muggles: a nail-biting Harry Potter trivia night is coming to West End. Taking place at The Boundary Hotel, the night will feature two hours of Harry Potter fun. This is a must-attend event for all Potterheads who have read all eight books from cover to cover and know their alohomoras from their sectumsempras. Dressing up is highly encouraged, and while butterbeer isn't on the menu, you will be able to purchase the regular variety. There'll also be Harry Potter-themed mini-games and activities around the quiz, which means that you could very well end up playing a game of quidditch, trying your luck with the sorting hat or going on a treasure hunt. Entry cost is via gold coin donation on the night, although you do need to register your place in advance. Choose your team wisely.
UPDATE, December 21, 2021: Black Christmas is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. A fun, feisty remake with a female perspective and a refreshing sense of sisterhood, Black Christmas is a college-set slasher flick for the #MeToo era. The latter gets thrown around a helluva lot of late — with Unsane, Ocean's 8, Booksmart and last year's latest Halloween instalment among those recently earning the label — but with this updated version of a 1974 cult movie, writer/director Sophia Takal (Always Shine) firmly leans into the term. Indeed, Black Christmas circa 2019 lives and breathes its #MeToo mindset, particularly in its story and characters. Here, a masked predator stalks women as the festive season swings into gear, specifically targeting sorority sisters at a stately university. There's a mounting body count, but these gals aren't merely a parade of powerless, disposable victims. It all starts with a setup that's familiar by design: a silent night, an empty street and a woman walking home alone. Hawthorne College student Linday's (Lucy Currey) pace quickens when her phone starts jingling with creepy messages from someone using the 200-year-old school's founder as an avatar — and, when a man pops up right behind her shortly afterwards, she even threads her keys through her fingers. This all happens in Black Christmas' opening reel, so it's no spoiler to say that she's soon making snow angels in a rather gruesome way. But the winter break carnage is just beginning, ramping up after MKE sorority members Kris (Aleyse Shannon), Marty (Lily Donoghue), Jesse (Brittany O'Grady) and the very reluctant Riley (Imogen Poots) attend a Christmas party held by fraternity DKO — and sing a traditional ditty that's been rephrased to call out campus sexual assault. In too many by-the-numbers horror films gone by, the way in which women are killed and the perpetrators behind their deaths are given more attention than most of the ladies themselves, but not in this new take on Black Christmas. From the moment that Takal introduces MKE's sisters, they're lively, interesting and sport distinctive, sometimes clashing personalities — especially when debating the best way to address the college's historic male leanings, such as petitioning for the inclusion of women authors on literature Professor Gelsen's (Cary Elwes) reading list. Kris is fearless about fighting for equality and empowerment, and about making as much noise as possible while doing so; however Riley has seen firsthand what speaking up can bring. Earlier in her studies, she was attacked by a DKO frat boy, but her assertion that she was raped fell on deaf ears. Accordingly, before these MKE ladies even twig to the psychopathic ho-ho-horror in their midst, Takal and co-writer April Wolfe fill Black Christmas with different renderings and facets of modern womanhood that are all highly relevant to the broader conversation today. The constant battle against societally entrenched misogyny, the quest to be seen as more than an object for male gratification, the fact that victims are routinely disbelieved — these notions all find a place among the film's multi-faceted key characters. Also pondered strongly and thoughtfully is the pain and terror of falling prey to shattering violence, then attempting to pick up the pieces afterwards, a struggle that Poots conveys with weight and substance in a textured and engaging performance. This is a movie that's keenly empathetic towards those usually treated like fodder by the savage and entitled, and Poots' Riley is far more than just a final girl. In a film that throws a hatchet through the idea that women constantly compete and squabble amongst themselves, too, she has plenty of company. Still, this is unashamedly a slasher movie. And while it's based on an ahead-of-its-time example of the genre — just forget the dire first 2006 remake with Mary Elizabeth Winstead, Katie Cassidy and Lacey Chabert — Black Christmas has tropes to play with and conventions to toy with. The mood is knowing and winking, with the film not quite venturing into Scream territory, yet clearly deploying well-worn elements on purpose and with a smile. So, when cliched lines of dialogue are shouted by various women in states of duress (including old favourites like "there's someone inside the house!"), this slick flick knows what it's doing. It knows that audiences might roll their eyes briefly as well, but reshaping the slasher formula to make a statement requires a hearty bout of nodding to all the genre's usual components. Admittedly, taking a few cues from forgettable 2000 horror film The Skulls doesn't prove the best move, but it's one of the picture's few mis-steps. Well-executed bumps and jumps, including inventive slasher scenes and creative use of Christmas decorations; a smart reworking of a classic with an incredibly timely message; fleshed-out female characters with flaws, complexities and agency played by a great cast — thanks to all of these, Black Christmas overflows with entertaining festive horrors. https://www.youtube.com/watch?v=gF4yRYbo1WE
"If nothing came, we just hadn't looked properly." Partway through The Velvet Queen, writer Sylvain Tesson utters these lyrical words about a specific and patient quest; however, they echo far further than the task at hand. This absorbing documentary tracks his efforts with wildlife photographer Vincent Munier to see a snow leopard — one of the most rare and elusive big cats there is — but much in the entrancing film relates to life in general. Indeed, while the animals that roam the Tibetan plateau earns this flick's focus, as does the sweeping landscape itself, Munier and his fellow co-director and feature first-timer Marie Amiguet have made a movie about existence first and foremost. When you peer at nature, you should see the world, as well as humanity's place in it. You should feel the planet's history, and the impact that's being made on its future, too. Sensing exactly that with this engrossing picture comes easily — and so does playing a ravishing big-screen game of Where's Wally?. No one wears red-and-white striped jumpers within The Velvet Queen's frames, of course. The Consolations of the Forest author Tesson and world-renowned shutterbug Munier dress to blend in, trying to camouflage into their sometimes-dusty, sometimes-snowy, always-rocky surroundings, but they aren't the ones that the film endeavours to spy. The creatures that inhabit Tibet's craggy peaks have evolved to blend in, so attempting to see many of them is an act of persistence and deep observation — and locking eyes on the snow leopard takes that experience to another level. Sometimes, pure movement gives away a critter's presence. On one occasion, looking back through images of a perched falcon offers unexpected rewards. As lensed by Amiguet (La vallée des loups), Munier and assistant director Léo-Pol Jacquot, The Velvet Queen draws upon hidden cameras, too, but so much of Tesson and Munier's mission is about sitting, watching and accepting that everything happens in its own time. Letting what comes come — and acknowledging that some things simply won't ever occur at all — isn't an easy truth to grapple with. Nonetheless, it's also one of this contemplative feature's achievements, even though it's a type of detective story through and through. Tesson and Munier follow clues to search for the snow leopard, moving positions and setting up blinds wherever they think will score them their sought-after footage. In the process, they learn a lesson as all sleuths do. As they face the possibility that they might not be successful, which Tesson's perceptively navel-gazing narration explains, The Velvet Queen becomes a mindfulness course in filmic form. It has something astonishing that all the Calm, Headspace and similar apps in the world don't, though: the film's on-the-ground recordings (well, 5000-metres-up recordings), which show why finding peace with life's ebbs and flows is all that we can really hope for. Accompanied by a stirring score from Australian icons and lifelong bandmates Warren Ellis and Nick Cave — their latest contribution to cinema on a resume that includes The Proposition, The Road, Hell or High Water and Wind River before it — it's no wonder that The Velvet Queen's philosophising voiceover also notes that "waiting was a prayer". It's similarly unsurprising that Tesson penned a book, The Art of Patience: Seeking the Snow Leopard in Tibet, based on the trip captured in the documentary. In fact, if you're the kind of person who keeps their peepers peeled for feline life in any new neighbourhood you visit, or even if you're just strolling around your own, this feature firmly understands. More than that, it one-ups you, while also connecting with the act of scouring and seeking as much as the potential joys of getting what you wish for. To stress the point, poetic missives about being content with what you have are peppered through as well. Think: Werner Herzog (The Fire Within: Requiem for Katia and Maurice Krafft) meets Terrence Malick (A Hidden Life), complete with the penchant for whispering that's such an established part of the latter's work. Keeping a hushed vocal tone is wholly justified when you're trying not to disturb nature, however, which is also key among The Velvet Queen's goals. It may not boast the descriptive and scientific run-through of a David Attenborough (Prehistoric Planet)-hosted nature doco, but this film is committed to taking in its worshipped namesake and the plateau's other residents in all their innate and inherent glory. Most of the narration is precisely deployed as a result, letting the movie's visuals do the bulk of the work — but helping, emphasising and augmenting what's already a ruminative mood. What majestic and magnificent imagery it is, too, especially when Amiguet, Munier and Jacquot are standing back, taking in the land as far and wide as the lens can see, and letting the audience do the spotting along with them. A sense of distance radiates throughout the movie, visibly showing the remove that Munier and Tesson remain at for their safety, and to increase their chances of seeing a snow leopard — and also underscoring that chasm between humanity and nature that Tesson talks about. When The Velvet Queen does zoom closer during its 92-minute duration, the end product is similarly breathtaking. Scenes of a Pallas' cat in pounce mode give off a mischievous vibe — again, the connections with everyday life are plain to see; anyone with a cat in their lives will recognise the links — and a sequence of portrait-like telephoto-lens closeups belongs on gallery walls. Add The Velvet Queen to the ranks of meditative and transportive cinema, alongside films such as Jennifer Peedom's River and Mountain, for instance — features that know the power of communing with our environment and its vast array of other inhabitants. Add it to the list of such movies that look on in spellbinding awe but never with simplicity, including when surveying the complexities of making this very documentary. Add it, as well, to the always-needed reminders about interacting with the tangible over the digital, knowing how existence's cycles affect us all, finding serenity where and how you can, and accepting life's unshakeable certainties. The Velvet Queen doesn't always need lines as flowery as "prehistory wept, and each tear was a yak" or "for me, a dream; for him, a rendezvous" to go with it, but it's always a film of beauty, feeling, insight and inspiration.
Combining booze and personal grooming is nothing new to Mike Enright. The man behind The Barber Shop, York Street's inspired gin bar and barber (and its spinoff at Barangaroo), he's a master of both the close shave and many a high-end spirit. Now he's taking the marriage to the next logical step. No, we're not talking about alcoholic shampoo — although you're kind of on the right track. Enright's Original Gin is a series of gin-scented grooming products – think shaving oil, hand soap, and after shave with 16 botanicals, including touches of juniper, cardamom, liquorice root and lemon. "I wanted to create a gin experience in The Barber Shop as well as the bar," said Enright. After years of research, the products — which are all made in Australia using natural ingredients — launched earlier this month. They're available at The Barber Shop's two Sydney locations as well as online. For more info or to get your mitts on Enright's Original Gin products, visit enrightsgincompany.com.
Every December, fans of sparkling sights are gifted a luminous feast for their eyes. No, we're not talking about Christmas lights. Regardless of whether you're bathing in a festive glow or hardly fond of all the merriment, 'tis the season for the Geminids meteor shower to soar through the sky — starting back on Sunday, December 4 and finishing for 2022 on Tuesday, December 20. Yes, that means that this shower is visible right now. Even better: Down Under, it's at its peak on the evening of Wednesday, December 14 and the morning of Thursday, December 15. If you have a telescope at hand, it's clearly a great time to put it to use. Eager to catch a glimpse, even from just your backyard or balcony? Here's everything you need to know. [caption id="attachment_882304" align="alignnone" width="1920"] ESO/G. Lombardi via Wikimedia Commons[/caption] WHAT IS IT Lighting up the end-of-year skies, the Geminids meteor shower is considered the most spectacular meteor shower of the year. Again, Christmas lights aren't the only spectacle worth peering at this month. The Geminids is caused by a stream of debris, left by an asteroid dubbed the 3200 Phaethon, burning up in Earth's atmosphere — and it was first observed in 1862. Some years, you can catch as many as 150 meteors every 60 minutes, so this definitely isn't just any old meteor shower. [caption id="attachment_699423" align="alignnone" width="1920"] NASA, Marshall Space Flight Center, Jeff Dai.[/caption] WHEN TO SEE IT The 2022 shower kicked off on Sunday, December 4, but it really is just getting started. While the Geminids runs through until Tuesday, December 20 this year, it's expected to be at its peak in Australia overnight between Wednesday, December 14–Thursday, December 15. If you fancy a stint of stargazing, the best time to look up is on Wednesday, December 14 from around 9pm in Brisbane, 10pm in Perth, 11pm in Sydney, 11.30pm in Adelaide and 12am in Melbourne. The best time to catch an eyeful will be after midnight, when the moon has set and its light will not interfere, but before sunrise. [caption id="attachment_882301" align="alignnone" width="1920"] Mike Durkin via Flickr[/caption] HOW TO SEE IT For your best chances, it's worth getting as far away from bright lights as possible. This could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. To see the meteors, you'll need to give your eyes around 15–30 minutes to adapt to the dark (so try to avoid checking your phone) and look to the northeast. The shower's name comes from the constellation from which they appear to come, Gemini. So that's what you'll be looking for in the sky. To locate Gemini, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). If you're more into specifics, Time and Date also has a table that shows the direction and altitude of the Geminids. The Geminids meteor shower runs from Sunday, December 4–Tuesday, December 20, and will be at its peak during the night on Wednesday, December 14–Thursday, December 15. For further details, head to Time and Date. Top image: A composite of 163 photos taken over 90 minutes during the Geminids by Jeff Smallwood for Flickr.
Louise Hearman's distinctly cinematic paintings and drawings take on a dreamlike quality as they combine everyday imagery with dark and surrealistic impressions, creating an otherworldly atmosphere. Throughout her 25-year career, Hearman's works have remained nameless, choosing to let her audience attempt to decipher or give their own meanings to the scenes she puts forth. They've repeatedly returned to familiar settings such as the suburbs of Melbourne and the regional countryside, alongside more hallucinatory images of isolated stretches of road, the back of an anonymous heads and the illuminated face of a child floating in the sea. Mostly creating her works with oils on Masonite, Hearman produces her supernatural images on a relatively small-scale. On display at the QUT Art Museum, the first major review of Hearman's vast collection of works comes to Queensland, running until August 6. Image: Louise Hearman, Untitled #1118 (2005), oil on composition board.
If crafting a successful sequel wasn't already a difficult assignment, doing so for a movie remembered for its quirkiness and surprise factor must border on the impossible. Still, when Kingsman: The Secret Service took in over $400 million worldwide, a follow-up was inevitable. And so two years later director Matthew Vaughn has returned to the world of suave secret agents with Kingsman: The Golden Circle. Let's be clear: this is a ridiculous movie in almost every respect, from the mad-cap story through to the action scenes, cameos and costuming. Everything in Kingsman: The Golden Circle is hyped-up, spun-around, slowed-down, blown-up or cut in half. Gravity is largely ignored, except when it's used as a weapon, and henchmen die with the same violent regularity as extras in Commando. There are robotic killer dogs, cannibalistic villains and Elton John ninja-kicking a bad guy in the face. As we said, it's ridiculous – but also surprisingly entertaining. Our villain this time round is none other than Academy Award winner Julianne Moore as Poppy, the world's leading and most ruthless drug tzar. Her Cambodian lair has been fashioned as an homage to 1950s Americana, complete with bowling alley, golden age cinema and a shake and burger diner in which she both conducts her business and minces her victims. She's an apron wearing Stepford Escobar who owns every second of screen time given to her. Tasked with stopping Poppy are the bespoke-suited Kingsmen in chav-turned-gent Eggsy (Taron Egerton) and his tech man Merlin (Mark Strong). Back too is Colin Firth's Galahad, suffering from a nasty bout of retrograde amnesia. They're also joined by their American counterparts The Statesmen, whose ranks include Halle Berry, Pedro Pascal, Jeff Bridges and a criminally-underused Channing Tatum. Silly and fun as it might be, there are some glaring problems with this film, most notably that it's unfathomably sexist. With the one exception of Julianne Moore's Poppy, every single woman in Kingsman: The Golden Circle exists only as a victim, a love interest or an assistant to her male counterparts. Given the movie was co-written by Jane Goldman, it's beyond comprehension why such rampant and unnecessary gender bias could exist in a movie where masculinity plays no meaningful purpose. Yes, it's about spies in sumptuous suits, but as one of the early scenes demonstrates, Eggsy's best friend and colleague Roxy looks as good if not better in the ole pin stripes and paisley, to say nothing of her abilities. Still, the film is entertaining in spite of its flaws and it thankfully retains enough shock factor to honour the original. The final scene also makes clear that the producers are prepping for part three. Love it or leave it, there's more Kingsman to come. https://www.youtube.com/watch?v=6Nxc-3WpMbg
After a sold-out season in Sydney and a current run in Melbourne, Muriel's Wedding the Musical is coming to Brisbane in 2019. A co-production between Sydney Theatre Company and Global Creatures, the musical adaptation of Muriel's Wedding is like a perfect high school reunion — maximum 80s nostalgia without having to tell any of your old friends you're in HR now. When Muriel Heslop realises that the small town of Porpoise Spit has nothing in store but grim futures, she decides to take off, with only her parents' chequebook, a couple of ABBA albums memorised note for note and a vague sense that the wider world has something that she is hungry for. PJ Hogan, who wrote and directed Muriel's cinematic adventure, has adapted and updated the script for the stage, while Kate Miller-Heidke and Keir Nuttall have built the music around ABBA's towering back catalogue. There's a real buzz around Muriel. Sure, it's a chance to re-immerse yourself in the unadulterated joy of Muriel's hijinks, but it's also because Muriel hasn't stopped holding the mirror up to our desperate, fame-hungry society since she first hit the screen. As director Simon Phillips points out: "Muriel's governing delusion is becoming a celebrity and becoming famously married. The world has caught up with Muriel." Running at QPAC's Lyric Theatre from September 19 to October 26, the Brisbane season comes after the show won a slew of awards at last year's Helpmann Awards, Australia's annual awards for live entertainment and performing arts. Muriel's Wedding the Musical picked up five gongs across the two nights of awards, including Best Original Score, Best Music Direction, Best Costume Design, Best Sound Design and Best Choreography in a Musical. Image: Christine Messinesi.
Before 27 Florence Street became the creative haven that is Love Love, the hundred-year-old Teneriffe house had a death metal room, a resident squatter, junk and crayon everywhere. In 2008 Andy Harwood and Matt Johnson cleared it out and transformed it into the artist run initiative it is today: two large gallery spaces, a dance room, a bar area, several studios for artists to do as they so desire, a skateboard shop and a ramp is currently in construction in the back yard. A far cry from its somewhat morose beginnings, Love Love has dance and pilates classes several times a week, stocks anything skateboarders need in it’s Small Room skateboard shop, and hosts exhibitions every month. This month’s featured Love Love artists are Timothy Lovett, Tommy Cole and Juliet in Six Of One Half A Dozen Of The Other. In Six Of One Half A Dozen Of The Other the three emerging artists approach the topic of déjà vu through a variety of mediums: video, wall drawing, painting and audio. Following Six Of One’s opening night, Love Love is open from Thursday to Friday, 6pm-9pm, Saturday to Sunday 10am-4pm or by appointment. Image credit: Courtesy of Love Love Studios
Sometimes in life, the good comes with the bad. Maybe you've found yourself in a small American town after escaping from a lab, and you're desperate to discover everything about your past — all of which obviously is far from great — but also you make some fantastic new friends and discover frozen waffles in the process, for instance. Or, for all of us who've been watching Eleven (Millie Bobby Brown, Godzilla vs Kong) navigate that path in Stranger Things, perhaps you find out when one of your favourite shows is finally returning after a lengthy three-year gap, but you also learn that it now has an end date. Sorry Stranger Things fans, but the latter situation is now your reality — because the show has revealed when it'll drop its fourth season and also announced that there'll only be one more season to follow after that. The series' creators Matt and Ross Duffer revealed the news in a letter posted on social media, and also confirmed a few extra details about those season-four episodes that you'll be able to watch soon. So, sticking with the happy part of the announcement at first, Stranger Things season four will arrive in two parts — with the first dropping on May 27 and the second on July 1. And, while you'll have a gap between your binging this time around, the show's fourth season has "a runtime of nearly twice the length of any previous seasons," the Duffer brothers advised. Indeed, that's why it's being released in two volumes. uoos noʎ ǝǝs pic.twitter.com/pJ71dRgmo1 — Stranger Things (@Stranger_Things) February 17, 2022 Now, the not-as-cheery news: the Duffers are planning to wrap up Stranger Things after its fifth season. Yes, that means you have all of season four and then a whole other season after that to look forward to — but it also means that your time with the 80s-set Netflix sci-fi series is officially limited. The Duffers also mention that they have more stories to tell in the Stranger Things world, though, so you know what that usually means: spinoffs. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise is about as surprising as Jim Hopper's (David Harbour, Black Widow) gruff mood. If you need a refresher on where things are at before May hits, quite a few season four trailers have released over the past two years, starting back in February 2020. Since then, a couple more teasers dropped in May 2021, then another one in August, followed by yet another in September and one more in November. Across the clips, viewers have been taken to California, which is where Eleven, Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Waiting for Anya) and Jonathan (Charlie Heaton, The New Mutants) have washed up following season three. Eleven is settling in as well as she can settle in anywhere, as she explains in a letter to Mike (Finn Wolfhard, The Goldfinch) — but she also can't wait until she can see him in person again. And, we've also caught a glimpse of what happens to beloved police chief Hopper after the last season's big cliffhanger and Russian-set post-script, and spent time with Steve (Joe Keery, Spree), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy) and Max's (Sadie Sink, The Last Castle) in a haunted house in Hawkins. Plus, we've headed back to Hawkins Laboratory and its whole eerie setup, too. It's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". That clearly applies in a number of different ways. And if you're wondering about timing within the show itself, season four will pick up six months since the Battle of Starcourt. Also, there'll be a new supernatural threat — of course there will — but if the series' latest mystery is solved, Eleven and the gang might be free of the Upside Down forever. Check out the most recent Stranger Things season-four sneak peek below: Stranger Things season four will be able to stream via Netflix in two parts, with Volume One dropping on May 27 and Volume Two hitting on July 1. Images: courtesy of Netflix.
In its opening moments, Bupkis unloads — twice, in completely different ways, while ensuring there's zero doubt that this is a series about Pete Davidson starring Pete Davidson as Pete Davidson. First, the former Saturday Night Live comedian gets Googling while alone in the basement of the Staten Island home he shares with his mother Amy (Edie Falco, Avatar: The Way of Water). The results about Ariana Grande, Kate Beckinsale and Kim Kardashian's ex aren't positive; one headline simply exclaims 'Yuck!'. So, to shake off the unpleasantness of reading '12 Things Horribly Wrong with Pete Davidson', which is one of the nicer statements, he switches from "scumbro" with "butthole eyes" comments to porn. He's wearing a VR headset, and he's soon deep in self-love. Then his mum walks in. Streaming from Thursday, May 4 on Binge in Australia and TVNZ+ in New Zealand, Bupkis clearly isn't wary about getting crude. It isn't concerned about satirising its central figure, either. Instead, this semi-autobiographical dramedy relishes the parody. At the age of 29, Davidson has reached the "you may as well laugh" point in his career, which is hardly surprising given he's spent the past decade swinging his big chaotic energy around. Or, more accurately, how pop culture has hung on every twist in his love life and off-screen mess far more than his eight SNL seasons and big-screen roles in Big Time Adolescence, The Suicide Squad, Bodies Bodies Bodies and more. Missed those flicks? Bupkis riffs on them, too, while also following in The King of Staten Island's footsteps. Partway through the eight-episode series, while keen to claim some perks for being Davidson's mother — other than doting on her son, that is — Amy shouts at wait staff that "Marisa Tomei played me!". Add that to Bupkis' gleeful, playful nods to reality. An opening statement before each instalment stresses the difference between fact and fiction, and why the show has the name it has, but art keeps imitating life everywhere. There's no switching names, however. Davidson is indeed Davidson, his IRL mum is called Amy and his sister is Casey (Oona Roche, The Morning Show). As in The King of Staten Island, they've been a trio since 9/11, and dealing with losing his New York City firefighter dad still isn't easy. Off-screen, Davidson must be a fan of My Cousin Vinny, plus the gangster genre. Hailing from the former as Tomei does, and famed for his performances in the latter like The Sopranos star Falco, Goodfellas, Casino and The Irishman alum Joe Pesci is a pivotal part of Bupkis as Davidson's grandfather Joe — a hilarious and delightful part, unsurprisingly. When Joe drops grim health news, the series gets one of its through lines, with Davidson determined to spend as much time with his grandpa as possible. He's clueless about what to do, though, whether he's hiring him a sex worker or seeking advice about why no one ever takes him seriously. Joe is blunt: "they see you as a joke because you are a joke — and you act like a fucking joke." There's roguish self-awareness to the way Bupkis leans into Joe's assessment — with Davidson lampooning himself, could there be anything else? — alongside an earnest-but-comic effort to unpack why that's such a widely held view. Joe also advises that he needs to stop trying to make himself happy and focus on other people for a change, another thread tying the show's episodic antics together. Sometimes, Davidson endeavours to prove he can look after a kid (there's that Big Time Adolescence nudge). Elsewhere, he attempts to push his career into blockbusters (which is where The Suicide Squad comes to mind, but here he's making a war epic with Brad Pitt). Often, he's unable to work out how to have a normal relationship with his girlfriend Nikki (Bodies Bodies Bodies' Chase Sui Wonders, who played his character's girlfriend in that savvy slasher and is reportedly Davidson's real-life paramour at the time of writing). Creating Bupkis with The King of Staten Island co-writer Dave Sirus and Crashing's Judah Miller (so, a veteran of another comedy where a comedian plays himself), Davidson also battles a troll who keeps posting a photo of him that he hates, looks back on the aftermath of his father's death with 'Cotton Eye Joe' as a soundtrack, and goes to rehab with Machine Gun Kelly and Black Bird's Paul Walter Hauser. He has Everybody Loves Raymond's Brad Garrett and Nine Perfect Strangers' Bobby Cannavale as surrogate father figures, and Ray Romano as a nemesis. Everyone from It's Always Sunny in Philadelphia's Charlie Day and Miracle Workers' Steve Buscemi to SNL's Kenan Thompson and John Mulaney pop up, plus Jon Stewart, Al Gore and Method Man. He hangs out with an entourage — Evan (Philip Ettinger, Angelyne), Derek (Derek Gaines, The Last OG), Crillz (first-timer James A DeSimone), Dave (Sirus) and Gilly (Shane Gillis, Gilly and Keeves) — like the show is a Staten Island-set version of Entourage, and enlists Red Rocket's Simon Rex for a killer Florida-set Fast and Furious spoof. What is it like to be Pete Davidson? Returning to that key question again and again on-screen, the honest answer in Bupkis is anarchic and absurd, usually of his own making. If the series wasn't as sincere as it is, it could be accused of throwing anything and everything it can at the sitcom's walls and letting it all stick — but there's always insight shining behind even its silliest and most surreal stretches. When he's ruining funerals, missing his sister's graduation, proving the truth behind 'Is Pete Davidson on Drugs?' articles, not taking big gigs seriously and opting for mystery substances over a quiet night alone abroad over the holidays, Bupkis doesn't avoid the glaringly obvious, either: it's the sitcom's version of Davidson who is making his own choices. The King of Staten Island was also candid, raw and lived-in, as well as thoughtful and laugh-out-loud funny. Davidson delivered a compelling wayward-yet-vulnerable performance, too, while surrounded by excellent supporting players. No wild escapade is ever exactly the same twice, of course, as Davidson's on-screen characters keep experiencing — and repeating himself turns out entertainingly and astutely when he's this intent to keep interrogating his own existence. Pesci and Falco couldn't be more perfectly cast, both seeing through the tabloid facade (one with no-nonsense gruffness, the other with an abundance of warmth), but Davidson knows how to leave an imprint as himself. Here, he's again unloading his real struggles, and he's also unwilling to bask in sitcom happiness. The details might be embellished and fictionalised Curb Your Enthusiasm and Ramy-style, but that definitely isn't bupkis. Check out the trailer for Bupkis below: Bupkis streams via Binge in Australia and TVNZ+ in New Zealand from Thursday, May 4. Images: Heidi Gutman / Peacock.
"From little things, big things grow". If ever there were a film saga to take up Paul Kelly's mantra, the Fast and Furious juggernaut would surely be it. Beginning all the way back in 2001 with a Point Break knockoff about street racers moonlighting as crims, the franchise now boasts eight movies and a combined box office of close to $4 billion. The latest installment, The Fate of the Furious, could not be further from the film that began it all. The cast is bigger, the locations more exotic, the cars more expensive, and the explosions much, much more frequent. Far from a story about living life a quarter mile of a time, the plot is now about saving the entire planet from nuclear devastation. The rules of franchise cinema are well established. Each subsequent film must honour those that preceded it by including any signature shots, iconic lines or beloved characters that haven't yet been killed off. To that end, The Fate of the Furious knows its history well. The opening shot, in fact, tracks a barely-clothed female derriere as it snakes its way through a collection of vintage Cuban cars. Moments later, series stalwarts Dom Toretto (Vin Diesel) and wife Letty (Michelle Rodriguez) come to the aid of family and challenge a local to an illegal street race for pink slips, all to the tunes of a thumping trap, electro and hip hop soundtrack. This, more than anything else, is the lifeblood of these films. But long gone are the days where such scenes receive anything more than lip service, replaced by action set-pieces so ridiculous that you can't help but go along for the ride. The Fate of the Furious kicks into gear via the sudden emergence of a computer hacker named Cipher (played by series newcomer Charlize Theron). From there, all it takes is a little bit of blackmail to convince Dom to turn on his extended family, betraying everyone in his life as he helps Cipher carry out a series of increasingly brazen attacks around the world. The rest of the movie tracks the efforts of Dom's crew to hunt him down and stop him. Naturally, a few hundred cars get obliterated along the way. The returning cast members – including Dwayne Johnson, Jason Statham, Tyrese Gibson, Chris 'Ludacris' Bridges, Nathalie Emmanuel and Kurt Russell – give the intensely silly material everything they've got, though this time there's only a brief reference to the late Paul Walker. Director F. Gary Gray also lands the mother of all cameos, which we won't reveal here, other than to say damn. The vehicular cast is similarly impressive, and includes a 1971 Plymouth GTX, a 2017 Subaru BRZ, a Lamborghini Murcielago LP 640, and a Russian Akula Class Attack Submarine. Ultimately, and despite the major departure from its origins, The Fate of the Furious still delivers in spades when it comes to entertainment. If anything, the film actually rises above other brainless blockbusters by being, almost paradoxically, extremely clever in its stupidity. For example: any movie can crash dozens of cars into one another, but it takes a special kind of inventiveness to have a hacker assume control of their onboard computers, essentially turning them into zombies on wheels. The action sequence that follows proves utterly exhilarating, and makes clear that the folks behind this franchise still have a few tricks up their sleeve. https://www.youtube.com/watch?v=JwMKRevYa_M
Live every week like it's scam week: on streaming platforms throughout 2022 so far, that's basically been the motto. Indeed, a line from one of the year's big swindle hits so far, Netflix's Inventing Anna, sums up this current spate of con artist-obsessed viewing perfectly: scam culture is here to stay. Dramatising the Theranos scandal, eight-part miniseries The Dropout is the third high-profile release in a month to relive a wild true-crime tale — following not only the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, but also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. Made by Hulu in the US and streaming on Disney+ via its Star expansion Down Under, as fellow reality-to-screen 2022 release Pam & Tommy did as well, it also dives into the horror-inducing Dr Death-esque realm. When a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. That's the quick version of Theranos' gambit for the uninitiated, but The Dropout takes its time unfurling the full roster of ups and downs (including the fact that it was valued at $10 billion in 2013 and 2014). Created by showrunner and co-writer Elizabeth Merriwether — who was also behind TV sitcom New Girl — it draws its details from the American ABC News podcast of the same name, and doesn't skimp on the infuriating and complicated minutiae. In the beginning, Holmes is the kind of teen who listens to pop tunes to pump herself up and convince herself that she can do anything. She's studious and serious, and also desperate to be known for something. Then, as the series jumps between key years in Theranos' lifespan, she adopts an all-black, turtleneck-heavy wardrobe and deepens her vocal tones to get backers to invest their cash in an idea that doesn't work. A veil of secrecy surrounds the company, including for employees — and to say that questions aren't aren't welcomed is an understatement. Female fraudsters are doing it for themselves, screwing over everyone else and speaking in distinctive voices: that's another theme pumping through both Inventing Anna and The Dropout. But where the former is gleefully glossy and never overly interested in the why of it all, the latter knows that, for the people who relied upon Theranos for crucial health results, it's in potential life-or-death territory. It plays this tale straight and grim, and is also well-aware that it needn't be subtle about getting its point across. Of course, there's an inherent statement lurking in the reality of Holmes' life and lies, and the fact that they so easily tick all of the expected boxes. Hailing from a wealthy family, getting into Stanford, convincing her parents to invest her tuition money into Theranos when she dropped out (hence the title), boasting the connections to stump up other funders: it all follows a familiar path, which is a glaring indictment upon a society that gives rise to these types of scams over and over. When Seyfried's version of Holmes is seen talking to the camera, another recent account of a woman and a swindle springs to mind: The Eyes of Tammy Faye, for which Jessica Chastain is nominated for Best Actress at this year's Academy Awards. That film and the first four episodes of The Dropout share a director in Michael Showalter, who has a thematic niche at present, and also keeps working with talented actors putting in phenomenal lead performances. The skill on Seyfried's part to convey all of Holmes' personality quirks without coming across as cartoonish or a caricature can't be underestimated; it's impossible to stop watching her Holmes, even as every move she makes is exasperating. She's surrounded by an impressive lineup of fellow cast members — Lost's Naveen Andrews as Holmes' boyfriend and Theranos' Chief Operating Officer Sunny Balwani chief among them, plus everyone from Stephen Fry and Succession's Alan Ruck to Law & Order mainstay Sam Waterston and Inventing Anna's Kate Burton — but Seyfried is mesmerisingly exceptional, without ever really earning sympathy for Holmes in the process. We may just be living in peak scandal-to-screen times, with new examples dropping faster than almost anyone can reasonably watch them. Joe vs Carole, featuring original The Dropout star Kate McKinnon, is just new to streaming queues, too; WeCrashed, the Jared Leto and Anne Hathaway-starring WeWork drama, also arrives in March; and Super Pumped: The Battle For Uber, with Joseph Gordon-Levitt as the company's former CEO Travis Kalanick, has premiered in the US ahead of arriving Down Under. Still, while The Dropout has plenty of company, it's easily one of the genre's standouts. The complex tale it relays, the performance it brings with it, the message it screams and the fact that, at every turn, it fleshes out the who, what and why: they're all pivotal and potent. Scam culture might be here to stay, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. Check out the trailer for The Dropout below: The first four episodes episodes of The Dropout are available to stream via Disney+, with new episodes dropping weekly. Images: Beth Dubber/Hulu.
You've tried every burger place in town, heaped mac 'n' cheese on everything and worked your way through Brisbane's newest restaurants. Feeling like you've eaten every single Brissie meal there is? That's understandable, but the city's eateries still have more than a few inventive dishes on their menus. With MasterChef Australia turning every food fiend into a gourmand over the show's decade-long run, Brisbane's restaurants have stepped up, serving up different takes on old favourites, creative options you'd never expect and everything in between. Rest assured, you can eat your way around town and never feel like you're eating the same old thing. We can't promise that Matt Preston, Gary Mehigan and George Calombaris have tried our top ten unexpected finds, but we're pretty certain they'd like the sound of bug dumplings, black garlic bread and mulled wine ice cream — and more. GERMAN PORK KNUCKLE, THE GERMAN CLUB Brisbane might be experiencing a German pub bonanza, with two opening around the city in just the last two months, but the city's original slice of Deutschland still reigns supreme. If you want a piece of pork that'll make you feel like you've stepped on a plane to Europe — or sent your tastebuds across the world, at the very least — then you'll find it here. There's a reason that the pork knuckle is one of the restaurant's signature dishes, all one whopping kilogram of it. Keeping every mouthful of the meal authentic, it comes with juicy fried potatoes, a hefty helping of sauerkraut and a big splash of smoked beer gravy. WATERMELON SOFT SERVE, DOUBLE GOOD Hankering for a sweet treat, but feel like you should be opting for fruit rather than ice cream? Why not combine both? Eat Street's Double Good doesn't just serve up fruit-flavoured ice cream or even ice cream with fruit chunks mixed in — rather, it swirls its soft serve directly into a slice of watermelon. Extremely delicious and incredibly photogenic, it's the ultimate dessert for Brisbane's year-round warm climate. You can also opt for soft serve dished up in a coconut or a pineapple (or, let's face it, you can head back three times and try them all). CHEESEBURGER SPRING ROLLS, HEYA BAR Usually, when you order a serving of spring rolls, the resulting crisp cylinders come filled with vegetables and meat. There's nothing usual about Heya Bar's spring rolls, however — unless cheeseburger spring rolls sounds ordinary to you. It's the food mash-up that you didn't know you needed. Best of all, it goes well with everything else on the Brunswick Street bar's menu. You can pair them with a plate of fries — and complete the North American fast-food meal — or travel down the Asian street food path with bao, karaage and edamame. BREAKFAST CARBONARA, MORNING AFTER Pizza for breakfast is a hungover person's dream. Carbonara for breakfast — that's something that can be enjoyed by everyone. Forget whatever you thought you should be eating to break the fast, and make Morning After's famous dish your go-to brekkie. Whether you're recovering from a big night or just feel like some creamy carbs, this blend of pappardelle, field mushrooms, smoked pancetta and manchego hits the spot. It's also topped with a 63-degree eggs and is available until 4pm seven days a week. KENTUCKY FRIED DUCK, DETOUR The brainchild of chef Damon Amos, Kentucky Fried Duck (or, KFD) has been a Brisbane favourite for quite a few years now, and you probably even tried it over at Public — where Amos used to work as head chef. But when he moved to Detour in Woolloongabba, he took his famous dish with him. There, in the shadow of the Gabba, it's served with jalapeño cornbread and sour cream, which make for a rather stellar combo. And, if you're feeling like a feast, it's just one of the inventive dishes on the menu — alongside emu tartare, master stock salmon with black ants and fossilised carrots. MORETON BAY BUG DUMPLINGS, MADAME WU Located in Eagle Street's Riparian Plaza, Madame Wu has no less than four creative dumplings on its menu, including pan-fried scallops with verjus butter, pork with corn puree and lamb with eggplant. There's one type that's worth booking a table for alone, however: the Moreton Bay bug dumplings. If you're a seafood-lover, then you're probably accustomed to automatically selecting the bug option on every menu, and your instincts won't steer you wrong here. Served in plates of four, the tasty parcels arrive with XO sauce and lime. PEKING DUCK TACOS, RED HOOK Peking duck tastes great however it's served — whether it's stuffed in savoury pancakes, turned into san choy bow or eaten one succulent sliver at a time. Or, at Red Hook, you can devour it in tacos for the ultimate mix of Asian and Mexican staples. The tacos also arrive stuffed with slaw, fried shallots and hoisin sauce, which really bring out the flavour of the duck. If you're eager for another mash-up while you're there, wash it down with a pickled cheeseburger martini — while it doesn't feature any minced beef, it does mix together vodka, pickle brine, mustard and a strip of bacon. BLACK GARLIC BREAD, GAUGE If you're cooking garlic bread at home and it adopts a darkened shade, that's not a good sign. But this is not the case at Gauge. Here, black garlic bread doesn't mean that the chef got distracted — it's exactly how it is supposed to look and taste. The restaurant's best-known dish since it opened in 2015, the black piece of fermented bread is made from ash, vanilla pods and treacle, and served with burnt butter and burnt vanilla. Even better — it can accompany both savoury and sweet meals, and it's available all day. DRY-AGED BEEF TARTARE, WALTER'S STEAKHOUSE One of Brisbane's newest steak joints, Walter's isn't your standard steak, potatoes and salad kind of eatery — not that there's anything wrong with that, of course. Here, opposite the Brisbane City Botanic Gardens on Alice Street in the CBD, you'll sit on red leather seats, get comfy amidst other retro-style furnishings and tuck into dry-aged slaps of meat. Or, you can feast on our pick, a dry-aged beef tartare. Made from raw, ground steak, it comes with cornichons, eschallots, mustard and cured egg yolk, and pairs particularly well with a heavy glass of red. MULLED WINE ICE CREAM, DEER DUCK BISTRO Everything can be turned into ice cream, as many a gelateria and ice creamery have demonstrated in recent years. To the delight of booze-loving dessert fiends, that also includes alcohol. But you won't find this standout boozy dessert at any old gelateria. This mulled wine ice cream is one of the sweet highlights at Auchenflower degustation favourite Deer Duck Bistro, and it's accompanied by chocolate rose ice cream and seasonal berries. Love wine? Love mulled wine? Love ice cream? Of course you do, and this blend of all of the above won't disappoint. Catch the latest season of MasterChef Australia from Sunday to Thursday at 7.30pm on Channel Ten.
In what was probably the biggest celestial (and perhaps social media) event of 2016, last night the supermoon rose majestically in the sky, like a beacon reminding that, yes, the world will keep turning even if certain world events have us feeling like it will stop dead in its tracks. Token stargazers turned out to coastal and elevated vantage points around the country to catch a glimpse of the bigger-than-normal moon, which would come over the horizon Melancholia-style to take or save us all. Well, perhaps it wasn't quite as dramatic. The moon — while 13 percent bigger and 30 percent brighter than usual — looked sort of normal. And that was just to those who could see it. Many parts of Australia had their view of the big piece of cheese obstructed by some very unconsiderate clouds. So if you didn't see it, here's the best photos from Australia and around the world. They should be enough to tide you over until 2034. SYDNEY A photo posted by T Vaclavek (@wayfarerphoto) on Nov 14, 2016 at 1:29am PST A photo posted by Jon Bader (@jon_bader) on Nov 14, 2016 at 12:52pm PST MELBOURNE A photo posted by D. (@ogonbatosan) on Nov 14, 2016 at 12:41pm PST BRISBANE A photo posted by Thiago Pacheco (@thiagopacheco) on Nov 14, 2016 at 3:51am PST A photo posted by Christopher Dakers (@chrisdakers) on Nov 14, 2016 at 12:22pm PST A photo posted by Daily Mail (@dailymail) on Nov 14, 2016 at 10:26am PST UTAH A photo posted by Jonathan Irish (@jonathan_irish) on Nov 14, 2016 at 10:24am PST epa editor's choice 14 November 2016 - https://t.co/XCGNo4r46z pic.twitter.com/MGvfpoS5Sx — epaphotos (@epaphotos) November 14, 2016 LONDON Outstanding photo of the #supermoon & a plane over London (📷 by @photogator96) pic.twitter.com/JgNbcZHKdV — Darren Rovell (@darrenrovell) November 14, 2016 SOMERSET, UK A photo posted by Pearl Lowe (@pearllowe) on Nov 13, 2016 at 9:42am PST A photo posted by GreekGateway.com ® (@greekgateway) on Nov 14, 2016 at 9:26am PST Top image: thiagopachec via Instagram.
Pubs, restaurants and cafes around the country have been forced to close, meaning the loss of many hospitality jobs — and it's all happened very, very quickly. According to website I Lost My Hospo Shift, at last count, 2585 Aussie hospo workers had lost their jobs and 13,195 shifts had been cut, which equates to over $2 million in lost wages this week alone. To help those impacted by the sudden changes — and those without access to Job Keeper, such as those on temporary worker visas — a bunch of top Aussie chefs, including Matt Moran (Aria, Chiswick, Barangaroo House), Luke Mangan (Luke's Kitchen, Glass Brasserie) and Neil Perry (Rockpool Bar & Grill, Rosetta, Spice Temple), are getting behind a new financial relief initiative: Help Out Hospo. Started by Sydney group Momento Hospitality, the 'by hospo, for hospo' program works on a donation basis, providing you with access to a bunch of how-to videos featuring culinary legends, so, you can take your cooking and cocktail game to the next level while you're stuck at home. In turn, your donation will go directly towards supporting bartenders, chefs and waitstaff in need. It's a win-win. Donations start from $10 per video course — a pretty small price to pay when you're learning how to master a roast porchetta, barbecue pulled pork, stir a mean negroni or dry martini, and whip up a big, comforting bowl of pasta that even nonna would approve. Taught by some A-class chef and bartenders, no less. So far, the initiative has raised over $35,000. While it was started by Momento, any venue can sign up, post a video and receive financial support, too. So if you're in the industry and would like to get involved, you can make an enquiry via support@helpouthospo.com.au. To check out the courses on Help Out Hospo and donate, head helpouthospo.com.au.
If you’ve been feeling like a helpless bystander in the global food crisis, you can now take action — simply by, well, doing a wee. Problem is, it’ll only count if you do it in Amsterdam — and in public. A Netherlands’ utilities company by the name of Waternet has set up a bunch of pee-collecting urinals in the Dutch capital. Their plan is to send the fluid to a recovery plant, where the all-important phosphorus will be filtered out and transformed into struvite fertiliser. From there, it’ll be transported to farms and flower gardens. Fertiliser without phosphorous is kind of like coffee without caffeine — lacking the crucial kick. Even though phosphorus is, in and of itself, a renewable resource, modern agricultural access to it depends largely on phosphate rock reserves. Given that they’ve taken millions of years to form, they’re very much finite. But the good news is that, according to several studies, one individual’s urine delivers sufficient nutrients to grow food for themselves, as well as meet 50-100 percent of the dietary needs of another person. In that sense, Waternet is merely tapping into the biological processes that have kept us alive for thousands of years. And we thought our pop-up pissoirs were the hottest tourist attraction since the Opera House. Via Springwise.
During the pandemic, we all sorely missed the experience of catching live tunes in heaving venues. To get musicians back onstage, the New South Wales government and ARIA launched Great Southern Nights. Following two blockbuster years that saw thousands of gigs pop up across the state, the series is returning in 2024 with a massive 300-plus shows over 17 nights. Live music will ring out throughout NSW between Friday, March 8–Sunday, March 24, with some of the country's biggest musicians and the hottest emerging talent performing in Sydney live music institutions as well as regional hubs including Newcastle, Wagga Wagga, Wollongong, Tamworth and the Northern Rivers. With such a huge lineup, it's hard to know where to start — but let's break it down. ROCK LUMINARIES If you love the classics and have a penchant for the singular sound that is Australian rock, you'll be able to catch sets from Peter Garrett & The Alter Egos, The Church, You Am I, Yothu Yindi, The Whitlams, Black Stump Band, Hoodoo Gurus and Kate Ceberano. BEATS AND BOPS Local hip hop heads can hit up gigs from Barkaa, 360, JK-47, Bliss n Eso, L-Fresh the Lion, Illy, Drapht, YNG Martyr and Jesswar. And if your prerogative is to dance, The Presets, Havana Brown, Tigerlily, Sneaky Sound System, Hermitude and Anna Lunoe are all performing. INDIE FAVES If you're an indie-rock aficionado, Ball Park Music, Sarah Blasko, King Stingray, The Buoys, Ruby Fields, Budjerah, Alex Lahey, Gordi, Gretta Ray, The Vanns, and Teen Jesus and the Jean Teasers will be coming to a stage near you. AND A WHOLE LOT MORE Plus, there will be shows from Becca Hatch, Cub Sport, Dune Rats, Vika and Linda, A.Girl, Xavier Rudd, David Campbell, Fanny Lumsden, Kasey Chambers, Kate Miller-Heidke, Redhook and Northlane — and also a special tribute to Rowland S Howard. Check where your faves are playing and what shows are happening near you via the full gig guide, then start planning an epic 17 nights of music stat. Great Southern Nights 2024 will run from Friday, March 8, to Sunday, March 24, throughout New South Wales. Tickets are on sale now via the festival's website. Images: Enmore Theatre, Destination NSW
In its former life as a bus depot and toilet block, the building next to the New Farm ferry terminal was smelly, perpetually damp, and sometimes downright scary. Thankfully, after a lengthy renovation, its new incarnation as End of the Road coffee shop is a much more pleasant beast. It's only post-renovation that it has become clear just how fantastic the location of End of the Road really is. Sitting on the intersection of New Farm Park, Brunswick Street and the Brisbane River, it's an idyllic place to while away a sunny afternoon. On the weekends it is perfectly placed to keep park-goers caffeinated, and on weekdays ferry commuters have the chance to grab a coffee and breakfast before their journey to work. Inside, End of the Road is cute as a button. Blue walls, tiles and accents tie in with the riverfront location, comfortable indoor seating is great for small groups, and artwork from local artisans adorns the walls. The small deck, furnished with shaded tables and chairs, overlooks both the river and the park. Your coffee comes from Central and South America via West End's The Coffee Roaster. A medium roast with notes of chocolate, raspberry and citrus, the award-winning blend will please connoisseurs. The beverage menu features all the usual suspects, with the juices, milkshakes and iced coffee providing respite through Brisbane's summer months. This iced coffee is the real deal, folks - ice and coffee - so you won't be sacrificing strength or flavour for your cold fix. An ever-evolving all-day menu of snacks and treats is available, including light meals such as wraps, sandwiches, quiches, pies, bagels, pastries, cakes and muffins. The well-stocked ice cream fridge is also difficult to walk past. The best news is that most of the food will get you change from a ten dollar note. Free WiFi is the cherry on top at End of the Road, so whether you're waiting for a ferry or researching your next novel, you can do so without endangering your data. There are also plenty of power points available.
Ah, the Brisbane Mercedes-Benz Fashion Festival. It's a chance for every fashionista to come out from their secret hiding spots and mingle; a chance for them to show off their latest clothing to an adoring crowd; a chance for them to know what will be in next season before every other plebeian. Once a year, the fashionable forces that rule over Brisbane gather together to host a memorable few days of shows, parties and events. From August 20 to 26, South Bank will be transformed into our very own Bryant Park, and though Wintour's not making an appearance, there'll be other characters worthy of people watching over the week. Showcasing 60 designers of a very high calibre with Akira, Easton Pearson, Leona Edmiston, Paul Hunt and more, you really don’t want to miss this event. With the week specifically created to cater for everyone, there’s no excuse for not enjoying yourself. Who doesn’t love a mix of models and high teas?
Get your fill of the best vegan food in town at the Vegan Day Out. Come September 8 and 9, The Cruelty Free Shop is putting together a walking tour of vegan cafes, restaurants and retailers, many of which will be offering discounts, deals and free samples to anyone who stops by. For Saturday and Sunday, socially conscious eaters can stop by The Cruelty Free Shop on Melbourne Street, and grab a map outlining their route. From there, it's all about making your way to to plant-based delights aplenty — and making a day (or two) of it. Whether you're a dyed-in-the-wool vegan or just curious to give it a go, you'll find a whole world of retailers catering to animal-free eating, offering meal deals, two-for-ones, coffee, wine tastings and savings on vegan groceries. The Cruelty Free Shop will also be running its own tastings throughout the day, as well as offering discounts on some of its 3000+ products.
Do you love to eat, drink and/or do fun things in Brisbane? Do you care about how this city evolves? Do you like to put those thoughts and experiences into words (and sometimes pictures)? Then you've got a lot in common with Concrete Playground. We're looking for new writers in the areas of food & drink, arts & culture and shopping & lifestyle. Contributors have the opportunity to write reviews, news, features and/or event previews, and will be paid per contribution. You will need to bring in those talented hands of yours the following: Excellent writing skills A love of and engagement with Brisbane's cultural life Preferably some photography skills (iPhoneography counts) To apply, just get in touch with a short bio and 2-3 relevant writing samples. If you're mainly interested in writing about bars and restaurants, contact Brisbane Food + Drink Editor Daniela Sunde-Brown at daniela@concreteplayground.com.au If you're mainly interested in other things (arts, culture, shops or lifestyle), contact Editor-in-Chief Rima Sabina Aouf at rima@concreteplayground.com.au
No matter what your poison, our drinking culture is heavily influenced by big brands, their labels and their signature bottles. Take Absolut Vodka for example, which for many years has run an internationally recognised campaign based on the image of the clean and simple lines of their vodka bottle, in the process making it a modern icon of design. German designer Jorn Berger is getting us to rethink how packaging affects our drinking preferences in a series called Ecohol. He has repackaged some of the world's best known alcoholic drinks, putting them into Tetra Pak cartons. Not only do Berger's designs challenge us to rethink what really influences our consumer choices, they also offer us a sustainable packaging alternative to glass or plastic bottles. Cheers to that. [Via PSFK]
You've heard the term 'small batch' many, many times. But have you ever paused to ponder what it means? At Brisbane's Finesse Spirits, its vodka and gin are made in batches of just 99 bottles at a time. Obviously, it then moves on to whipping up the next batch — but no two batches are ever 100-percent the same. If you're a fan of vodka, expect to taste vanilla and honey in each mouthful. For lovers of gin, you'll be noting juniper berries, coriander seeds and citrus. And, as for the company itself, it's overseen by James Mylne, who has more than a decade of experience in the distilling game. While Finesse Spirits is a Brissie outfit, its tipples can be purchased online via its web store.
UPDATE, SEPTEMBER 6, 2020: Event Cinemas is now taking bookings for private screening packages for September at the same rate of $500 for up to 20 people. Bookings must be made before September 25, and a number of movies are on offer — including Bill & Ted Face the Music, The New Mutants, Tenet, Peninsula, The Broken Hearts Gallery and La Belle Epoque. If you're a film fan, there's nothing worse than being stuck in a cinema with anyone who doesn't observe social etiquette, including greedy armrest hogs and patrons who decide to bring along an entire three-course meal. Until the end of August, however, you won't need to worry about dealing with these frustrating behaviours and the pesky strangers behind them — because Event Cinemas is now offering private screening packages in its theatres. The promotion is available at Event Cinemas locations nationally, which means that you can book out your very own big screen until Monday, August 31, with reservations required by Friday, August 14 — and you'll pay just $500. You can bring along 19 of your mates, too, so that works out to just $25 per person. That's more than a regular movie ticket, of course. But, again, you won't have any annoying company. Each private booking package includes exclusive cinema use in the Event multiplex of your choice, in one of the chain's original cinemas (sorry, you won't be lapping it up in VMax, Gold Class, 4DX or Event's Boutique cinemas). You'll also be able to watch the movie of your choice, at the time and date of your choice (subject to availability). Plus, each booking includes unlimited medium-sized salted popcorn and medium-sized soft drinks. Films on offer include new releases such as Judd Apatow's latest comedy The King of Staten Island, the Dev Patel-starring The Personal History of David Copperfield, and top-notch dramas Waves and Babyteeth — as well as soon-to-open titles like zombie thriller Peninsula and superhero horror flick The New Mutants. Or, you can go retro with classics like like 10 Things I Hate About You, Fight Club, Grease and the original Mad Max, plus Moulin Rouge, Joker, Bohemian Rhapsody and The Matrix. https://www.youtube.com/watch?v=yVucSRLLeIM Event Cinemas' private booking packages are available until Monday, August 31, with reservations required by Friday, August 14. To make a booking, visit the Event Cinemas website.
'I Miss You' isn't just the name of a beloved blink-182 song. It isn't just a track they'll likely bust out on their 2024 tour Down Under, either. It's also the vibe being felt around Australia right now, clearly, because the band's tour keeps proving a huge hit — and adding new dates. Last week, blink-182 revealed that they were reforming their classic lineup of Tom DeLonge, Mark Hoppus and Travis Barker, then hitting the road — and that Aussie fans would get their chance to see the end result live in February 2024. Then, they added more dates before tickets to the first gigs even went on sale, because the demand was already that huge. Now, another batch of shows is being added again. The first run of dates is already sold out, with tickets to those shows going on sale on Thursday, October 20. Now, one extra show per city has been added in Perth, Melbourne, Sydney and Adelaide — and tickets for those are up for grabs at 12pm local time today, Friday, October 21. Perth residents can now try to score tickets for Thursday, February 8 at RAC Arena, Melburnians can do the same for Monday, February 26 at Rod Laver Arena, and Sydneysiders can have an extra shot in Friday, February 23 at Qudos Bank Arena. As for Brisbanites, they have a new date on Wednesday, February 21 at Brisbane Entertainment Centre to pick from. DeLonge, Hoppus and Barker will play with Rise Against in support, starting their Australian run in Perth, then head to Adelaide, Melbourne, Sydney and Brisbane — then back to Sydney and Melbourne. For three decades, blink-182 have been the voice inside punk and rock fans' heads, especially in the late 90s and early 00s thanks to albums Enema of the State and Take Off Your Pants and Jacket. Now that they're back together after DeLonge left the band in 2015, blink-182 are also recording new music together, with single 'Edging' out now. Expect to hear everything from 'Dammit' and 'Josie' to 'What's My Age Again?' and 'All the Small Things' live, though. BLINK-182 2024 AUSTRALIAN TOUR: Thursday, February 8–Friday, February 9 — RAC Arena, Perth Sunday, February 11 — Adelaide Entertainment Centre, Adelaide Tuesday, February 13–Wednesday, February 14 + Monday, February 26 — Rod Laver Arena, Melbourne Friday, February 16–Saturday, February 17 + Friday, February 23 — Qudos Bank Arena, Sydney Monday, February 19, Tuesday, February 20 + Wednesday, February 21 — Brisbane Entertainment Centre, Brisbane Blink-182 will tour Australia and New Zealand in February 2024. Tickets to new shows in Perth, Brisbane, Sydney and Melbourne go on sale at 12pm on Friday, October 21 local time. For more information, head to the Live Nation website. Top image: Jack Bridgland.
Our global plastic binge is creating some terrifying statistics. We're still going through 500 billion single-use plastic bags per year and using 17 million barrels of oil to manufacture enough plastic water bottles to meet annual demand. A team of Melbourne-based entrepreneurs have decided to combat our not-so-fantastic plastic obsession. They've come up with Australia's first ever 'Positive and Pure' paper water bottle, Do Water. It's made from paper that comes from Forestry Stewardship Council certified forests, which are managed sustainably and responsibly. The Do Water team discovered that, unfortunately, bottling water in 500ml paper packs is impossible in Australia. So they travelled far and wide, looking for an ideal location, which turned out to be an artesian well known as Acqua Smeraldina, located high in the mountainous region of Sardinia, Italy. There, purified by granite, the water has been gathering minerals and nutrients for hundreds of years. To maintain their stringent standards, the Do Water team lab-tests the site every two hours. The water, rather than being transferred to a factory for treatment, is bottled at the source, reaching the consumer's mouth just as it leaves its home. Of course, delivering the bottles from Italy to Australia poses a potentially not-so-green dilemma. So the Do Water crew transports them via container ships, the carbon impact of which is much lower than that caused by air miles. The hope is that, one day soon, they'll be able to conduct the whole enterprise on Australian shores. "We want to help reduce the overall lifecycle and footprint of plastic bottles in Australia by providing an alternative made from a natural and renewable resource," the Do Water site explains. "We couldn't find anyone offering such an alternative, so we decided to do something about it."
Bavarian Bier Cafe is lightening up. The legendary beer house has long been associated with the biggest and tastiest of traditional dishes — from Klaus’s Gulaschsuppe (spicy beef goulash soup) to the mighty German sausage tasting platter, crowded with bratwurst, kransky and frankfurter. But now, those who don’t have the heart for the hearty are being catered to, too. The Cafe has added a page to its menu, introducing a range of what’s been dubbed ‘new modern favourites’. So rather than having to commit to a serious, meaty feast, you can eat as light and as fresh as you like. All nine of Bavarian Bier’s Australian venues are making the addition, with exact options varying from place to place. What all dishes have in common, though, is that they’re inspired by Bavarian flavours and dashed with creative, modern twists. Depending on which BBC is your local, keep a look out for light and fluffy steamed prawn dumplings ($16) and popcorn shrimp ‘dampfnudel’ steamed buns ($19) on the sharing menu. Meanwhile, for salads, expect the likes of spicy sesame chicken ($16), crispy calamari ($18) and grilled pork and Asian vegetables ($15). As far as mains go, dishes include pan-roasted salmon with lentils, root vegetables, beet pickled red onions and dill ($23); crisp roasted wild New Zealand hapuka with sweet and sour red capsicums, lemon puree and roasted garlic ($25); and lemon and herb marinated chicken breast with pesto scented orzo and shaved vegetable salad ($25). Whatever you choose, there’s no doubt that one of the Bavarian Bier Cafe’s pure biers, made with just four natural ingredients (malt, hops, yeast and water), will chase it down without any argument.
The best Australian horror film of 2023 is getting some more skin: Talk to Me, the smash-hit feature debut by Adelaide-born twins Danny and Michael Philippou — aka YouTubers RackaRacka — is scoring a sequel. A24, which released the flick after picking it up in a Sundance Film Festival bidding war, has announced that audiences will be spending more time in this possession thriller's world. Does that news call for shaking hands with an embalmed palm? Feeling the rush while being haunted? Having your mates watch and film it? Dealing with the spooky consequences? If you're game after seeing the initial movie, yes. Variety reports that the Philippou brothers will be back behind the lens, and that Danny is writing the screenplay with Bill Hinzman after the pair penned the first flick together. And the follow-up's name? Talk 2 Me. So far, a release date for the now-franchise's second effort hasn't been announced, nor stars; however, the Philippous have long had more than just one Talk to Me film in their sights. "It's so funny — we've written such an in-depth mythology bible about the backstory of the hand, the spirits that are possessing the kids, and there's just so many seeds that we planted," Danny told Concrete Playground in a chat before the first movie's release. "Even when we're writing the first film, I was writing scenes for a second film — and me and the other writer were always discussing it and talking about it. The idea of franchising or doing a sequel is so exciting to us." Danny and Michael made their leap to the big screen after racking up a huge following with RackaRacka's viral videos, and via behind-the-scenes work on Australian films such as The Babadook. Their debut feature has proven a big box-office success, taking in US$10 million on its opening weekend in America alone, which placed it second among A24's films after Hereditary. In Australia, it has notched up over AU$1.2 million at the time of writing since its July 27 release. Starring Sophie Wilde (The Portable Door), Miranda Otto (The Clearing), Zoe Terakes (Nine Perfect Strangers), Otis Dhanji (June Again), Chris Alosio (Millie Lies Low) and Alexandra Jensen (Joe vs Carole), Talk to Me sits alongside a mighty impressive lineup of other eerie flicks in A24's catalogue — The Witch, Midsommar, In Fabric, Bodies Bodies Bodies, Beau Is Afraid, X and Pearl, to name a few. Soon, Talk 2 Me will join that list as well. Check out the trailer for Talk to Me below: Talk to Me is now screening in Australian and New Zealand cinemas. Read our review, and our interview with Danny Philippou. Via Variety.
If you're a music aficionado, you know there's no substitute for vinyl — and the real experts know that Dutch Vinyl record pressings are some of the best. This Brisbane offshoot of the beloved Melbourne institution is bringing new, second-hand and collectable quality vinyl to local music lovers. Dutch Vinyl's ever-changing library covers all genres, from pop, hip hop and Latin to film soundtracks and vintage soul and funk, and is assessed and graded from 'good' to 'mint' condition. Flip through the trove of Australian, US, UK and European pressed vinyl, some never seen before in this country. It also sells turntables, replacement parts and maintenance accessories, as well as protective record sleeves to keep your collection in tip top condition. Watch the news on its website for updates on new arrivals at both stores, and keep an eye on socials for highlights. Looking to sell? It buys records, too, and it's always on the hunt for something special to add to its collection. Images: Kiel Wode
Ever since news broke that The Cure, The Strokes and The Avalanches were coming to Australia for Splendour this year, every punter and his dog have been trying to predict when and if The Cure would be announcing solo sideshows to coincide with the festival (unlike the other two bands, they didn't have a big fat 'only Aus show' next to their name). And today they've gone and done it, with Live Nation announcing this morning that the iconic British band will be touring to Sydney, Melbourne, Adelaide and Perth later this year. Just like in 80s rock heaven, The Cure will be playing full-set arena spectaculars. Their retrospective shows have been known to go for two hours plus, so if you can't make it to Splendour, this really is the next best thing. It's the first time the band have toured Aus since 2007. The dates for Sydney and Melbourne have been locked in: Monday, July 25 at Qudos Bank/Allphones Arena and Thursday, July 28 at Rod Laver Arena, respectively. However, the Adelaide and Perth shows are still being finalised and will be announced at a later date. You're going to have to get your best ticket-nabbing game on though, because these babies are going to wildly sought after. The Melbourne and Sydney shows will go on sale next week. There will be a Telstra customer pre-sale at 10am on Tuesday, May 3, followed by a Live Nation pre-sale at 10am on Thursday, May 5, and general tickets will finally go on sale at 10am on Friday, May 6. Phew. THE CURE 2016 TOUR DATES Monday, July 25 — Qudos Bank Arena (formerly Allphones Arena), Sydney. Thursday, July 28 — Rod Laver Arena, Melbourne. Adelaide and Perth dates to follow. To keep up to date and to buy tickets, head to livenation.com.au.
Keeping your coffee at a drinkable temperature — in between keeping your boss off your back, doing chores and checking Facebook — can be a challenge. One minute, the stuff's suitably hot, straight out of the office coffee machine or your barista's hands; the next, it's a lukewarm milky soup. You're not the the only person in the world who experiences this problem. That's why Ember, which describes itself as a "design-led temperature control brand", has come up with a mug that keeps your beverage at the optimum temperature (70 degrees celsius) from first sip to last. Simply called the Ember Ceramic Mug, the vessel achieves this morning miracle via a convection current. Within the mug are elements with the power to both heat and cool. When hot liquid rises to the top, it is cooled until it starts to fall, causing warmer liquid to then rise and be cooled in turn. Once the tech was worked out, Ember joined forces with Ammunition, a design company based in San Francisco, to make sure the result looked good. Together, they came up with a classic-looking white mug — the only visibly techy thing about it is a small LED light. A charging coaster and an app are included. The latter allows you set the temperature remotely, preset temperatures for various drinks and swap between celsius and fahrenheit. At the moment Ember isn't shipping to Australia, although we have seen a few floating around on eBay.
First, the sad news: after almost two decades pumping out tunes, Brisbane's own Violent Soho have announced that they're taking some time out, and also don't have any return dates set. Now, the better news: the Mansfield favourites are saying farewell for now with a huge hometown show, which'll hit up Fortitude Music Hall this September. "After nearly 20 years in Violent Soho, we've experienced so much as a band — it's been incredible and life-defining. We feel so grateful to have experienced the journey and to all the people that believed in our music and showed us so much support," said Luke Boerdam, James Tidswell, Luke Henery and Michael Richards in a statement. "However, as individuals we've found ourselves in different places over the last few years and so we've decided it's time to take a break and lay low for a bit. This isn't the end of the band, but we are looking forward to giving ourselves some space, focusing on our families, and giving back to the community which fostered and carried us." View this post on Instagram A post shared by Violent Soho (@violentsoho4122) For Brisbanites keen to see the 4122 group one more time for now, the band's big 'Until Next Time' concert will say "hell fuck yeah" on Saturday, September 10, with DZ Deathrays and Loser in support. Violent Soho will also play Splendour in the Grass on Saturday, July 23, with what's bound to be quite the set given the news. Naturally, the Brisbane group is also going on its indefinite hiatus in the only way it knows how: with a new single. Called 'Kamikaze', the tune just dropped today, Wednesday, July 13. Give it a listen below: Violent Soho's Until Next Time gig hits Fortitude Music Hall on Saturday, September 10, with tickets on-sale from 10am on Friday, July 15. Top image: Kane Hibberd.
Ever wanted to tap into Melbourne's rich indigenous history as you walk around the city? Well, now there's an app for that. The brainchild of AIATSIS — the Australian Institute of Aboriginal and Torres Strait Islander Studies — the Melbourne Dreaming app launched late last year as a new platform for sharing stories and information about the area's vibrant cultural heritage. With it, users can customise self-guided tours exploring significant sites around the city, from the former hunting grounds of Chapel Street, to the Burnley Ngargee (or 'corroboree') tree in Richmond. The app is loaded with travel information to help streamline your historical explorations, and even comes with handy audio commentary. "Aboriginal culture is a living breathing part of Australian life that is easily accessible if you know where to look," explained AIATSIS CEO Craig Ritchie. He said the app is designed to help users "see past the concrete jungle and be exposed to real and local Aboriginal culture right in the middle of one of the world's top cities." Download the Melbourne Dreaming app now from iTunes and Google Play.
Choosing a venue to celebrate your birthday can present a conundrum. For social butterflies with extensive friendship circles, the thought of cramming everyone into a 'cosy' restaurant is nothing short of terrifying. On the other hand, if an intimate birthday celebration is more your vibe, then a packed pub with a heaving beer garden is probably out of the question. And then there's the cost factor — no one wants to ask their pals to spend all their cash on one night out. That's where we come in. In partnership with American Express, we've carefully vetted some of the best venues that Brisbane has to offer for a b-day, where you can also tap that Amex card. The result? We've come up with affordable and appropriate spots for groups of all sizes and budgets. Nobody wants to spend their big day in the wrong place, or panic about the bill afterwards, so these bars, restaurants and hangouts are the cream of the wallet-friendly birthday crop. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
When it comes to food, using fire is a gamechanger — it transforms humble ingredients into incredible flavours. And few are as skilled at harnessing flame for this purpose as Duncan Welgemoed. Welgemoed is the head chef of Africola, a North African-inspired grill and smokehouse that's so renowned, it alone is almost worth booking a trip to Adelaide to visit. A little extreme? Well, luckily, you'll soon have a chance to taste Welgemoed's lauded food right here in Sydney. He has teamed up with Red Rock Deli to host one of its upcoming Secret Suppers on Thursday, June 20. [caption id="attachment_724626" align="alignnone" width="1920"] Josh Geelen[/caption] So, what can diners expect from the chef behind menu items such as grilled smoked tongue, a 'tea sandwich' of crispy chicken skin and hot chicken dripping and wood oven cauliflower with tahini cream? Well, we don't quite know — yet. The menu will stay true to the event's name and remain under-wraps until the night. But we do know that it'll be inspired by Red Rock Deli's limited-edition flavour, flame grilled steak and chimichurri, and that fire will play a big role. "At Africola, we channel the smoke element of fire to be essentially used as a seasoning. And that's what I've done with my dishes for the event," Welgemoed said. That's some truly next-level, elemental seasoning. The raw force of nature flavouring your food? It's practically magic. As a man with a burning passion for cooking by fire (thanks to his South African roots), Welgemoed has a keen admiration for other like-minded chefs. So, in an effort to get more information on his upcoming menu, we asked him about some of his favourites. [caption id="attachment_522922" align="alignnone" width="1280"] Firedoor[/caption] Sydney's vibrant restaurant scene is home to some notable inclusions in this 'hall of flame'. One venue that stands out is the aptly named Firedoor, where smoke and flames are the conceptual theme throughout the menu. Welgemoed sings high praise of the 203-day dry-aged rib of beef. "Lennox Hastie at Firedoor is one of the best fire cooks in the world. His technique is second to none," Welgemoed said. And, while it's hard to pin down a favourite dish at the Argentinian barbeque and grill restaurant Porteño, he assures us you can't go wrong with anything cooked on the asado (fire pit). Of course, sometimes you want the comfort of a classic dish done just right, and that's when you should head for The Unicorn. Welgemoed loves the half Bannockburn barbeque chook with brown mushrooms and tarragon sauce — just the right balance of fancy and familiar. Then again, if you need your dining experience to be both firey and very fine, the wood-fired potato bread from Ester comes highly recommended. Welgemoed prefers it with dashi jelly, but Ester's latest menu refresh sees it intriguingly paired with kefir cream and trout roe for a zingy, salty lift. [caption id="attachment_658136" align="alignnone" width="1920"] Fred's[/caption] Fred's in Paddington strikes the balance between home comfort (you feel like you're in someone's luxurious open plan kitchen) and upscale city dining. Welgemoed's chosen dish reflects this perfect marriage of impressive elegance and honest, wholesome flavour — grilled rack of lamb with wine grapes, cime di rapa, fennel seed and rosemary. Like the other venues, Fred's exemplifies an approach to cooking similar to Welgemoed's own by letting the ingredients speak for themselves. So, what might we deduce about Welgemoed's secret supper menu from his Sydney sparks of inspiration? Expect delightful, yet unpretentious, play with fire and flavour, the comfort of familiar touches with innovative twists and a decidedly global approach to three flaming good courses. We'll leave that idea smouldering with you for now. Duncan Welgemoed's Secret Supper will take place across two sessions on Thursday, June 20. Top Image: Josh Geelen.
A jewel in Brisbane's treasure trove of musicians, Emma Louise, has hit the ground running following her sold out tri-state Album Preview Tour. To celebrate her anticipated debut album, Vs Head Vs Heart, the delightful songbird will be partaking in her biggest tour yet. Joining the chanteuse on her grande tour will be Thelma Plum who has caused a stir amongst the Brisbane music scene for her impressive song-writing skills and unique style. Sydney lad Patrick James will also be coming along for the ride as he will share his beautifully crafted indie tunes and warm the stage for Emma. Emma Louise has gone from strength to strength since releasing her popular tune, Jungle in 2011 and followed up this infectious track with singles, Boy and Freedom. The gorgeous singer songwriter shows no signs of slowing down, so catch her while you can this Friday at The Hi-Fi.
As the weather gets colder it makes more sense to stay indoors and watch movies than to brave the icy winds. So, for your viewing pleasure, we've put together out top five trailers for this week to help you into hibernation mode. From directors such as Paul Thomas Anderson and Sam Mendes, we are sure you will find a film of your choice in our five favourite trailers this week. Hyde Park on Hudson Hyde Park on Hudson stars the great Bill Murray as Franklin Delano Roosevelt, also known as FDR. The film is based on FDR's love affair with his distant cousin Margaret Stuckley and a weekend when the King and Queen of England visited his upstate New York property in 1939. Tapping into an era which is all the rage at the moment, this film is definitely worth a look. Dark Blood An unfinished film featuring the late River Phoenix which was thought to never be shown, Dark Blood is a film by George Sulzier which was only days from being completed when Phoenix died of a drug overdose. Sulzier has now decided to share Phoenix's final performance, alongside co-stars Jonathan Pryce and Judy Davis who have aged almost twenty years since the film was first made. Anchorman: The Legend Continues This trailer is more of a teaser for the film as it doesn't give much away, except for the fact that you can't help but laugh. Anchorman fans have been waiting a long time for this sequel and it's almost here. It will be interesting to see what the Channel 4 News team have to say this time around. Skyfall Directed by Sam Mendes, this is Daniel Craig's third performance as James Bond. Co-starring Ralph Fiennes and Javier Bardem, the film is action packed and tests James Bond's loyalty to M, keeping 007 fans on the edge of their seat. The Master The Master boasts an incredible cast - Joaquin Phoenix, Phillip Seymour Hoffman, Amy Adams and Laura Dern. A drama directed by Paul Thomas Anderson, the film discusses the idea of a a young drifter who becomes the right hand man for a post World War II religious organisation known as 'The Cause'.
Early in 2015, Brisbane music lovers and other creative types were pretty pumped about The Foundry. The new venue promised to become the city's new hub and hotspot, until post-opening issues put the place on hold temporarily. Thankfully, you can't keep a good venture down, as their relaunch has proven. Now, they're adding to the fold by throwing open the doors of their next phase: a record store. Yes, next time you're on Wickham Street looking for a music fix, The Foundry well and truly has you covered. By night, you can enjoy whoever is wowing the crowds in the 300-person bandroom, or chill out to some tunes at the adjacent rock ’n’ roll bar and beer garden. By day, you can browse for albums and tracks to take home with you. While rifling through the selection of vinyl, CDs and DVDS, you'll find a theme on the shelves to match the one on the venue's stage — i.e. a focus on local music. Brisbane bands litter the record racks, as overflowing with old, new, familiar and obscure options, and sorted by genre. Those fond of something other than the usual — such as zines and other merchandise — will be in their element, too. Foundry Records calls itself "a record store, bar, cafe, performance space and community hang", which means you can also enjoy in-store gigs, signings and listening parties, plus something to eat and drink. Blackstar Coffee and West End Tea Co provide the non-alcoholic beverages, so you know they're delicious, and Le Sebastian Bakery provides the pastry snacks. Find Foundry Records at 228 Wickham Street, Fortitude Valley, or check out their website and Facebook Page for more information.
The Eatons Hill and Sandstone Point hotels are getting a sibling — and southeast Queensland residents are getting a new place to see live tunes. Come 2024, The Comiskey Group is set to expand its portfolio of music venues and hotels with a location on the Sunshine Coast, as part of the Stockland Aura development ten minutes out of Caloundra. If you've been to either of the company's other two big aforementioned sites, you'll know that they play host to everything from well-known acts to festivals, and also operate as a watering hole and place to grab a bite — and include accommodation as well. The Comiskey Group haven't unveiled all of the details for its new venture just yet, or even a name, but it'll host gigs, feature both internal and al fresco dining areas, and boast six bars, plus function spaces. The company is calling the $35-million development "the Sunshine Coast's largest music venue and hotel", too — so yes, it's going big. For concerts, it'll host 2500 patrons. And, as part of Aura, it'll back onto an 11-hectare South Bank-style parkland. The new venue and hotel marks The Comiskey Group's second huge announcement in the past few months, and the second for the Sunshine Coast. Back in May, it revealed that it had added a 150-hectare site, called Coochin Fields, to its portfolio. Sat 35 minutes south of Maroochydore and 80 minutes north of Brisbane, the hefty patch of grass will host major music and camping fests, and is just ten minutes from where the Aura venue will reside. Announcing the new Aura performance space and hotel, Comiskey Group Director Rob Comiskey said that "southeast Queensland is where we were born and raised, [and] we are passionate about bringing premium experiences to locations rich with opportunity in this thriving state". "We have the largest entertainment offering in the Moreton Bay region and felt it only natural to expand into the neighbouring Sunshine Coast," Comiskey continued. "Aura sits just ten minutes from our Coochin Fields site, so we're excited to create a thriving epicentre of entertainment for the Sunshine Coast and bring something really special to this already innovative and unique community." The Comiskey Group's new music venue and hotel will form part of Stockland Aura on the Sunshine Coast, ten minutes out of Caloundra. For more information, head to The Comiskey Group's website.
When you're in a crappy situation, you call a plumber. After the news broke that alleged sexual harasser Kevin Spacey would no longer star in All the Money in the World, with his scenes to be reshot with Christopher Plummer, it was one of the internet's better observations. Controversy aside, the end result is astonishing. You'd never guess that 88-year-old Plummer only stepped into his role as real-life oil tycoon J. Paul Getty in November. Nor will you be able to imagine anyone else playing the part, including the excised, prosthetic-clad Spacey with his penchant for over-acting. Trust Ridley Scott, the now-80-year-old director of Alien and Blade Runner, to mastermind such an impressive technical feat. All the Money in the World is his second movie in less than a year, after 2017's Alien: Covenant — and while it mightn't seem like it at first, there's more than a little in common between the two titles, and with Scott's filmography in general. After spending decades contemplating humanity's complicated relationship with mortality — seen not just in his iconic science-fiction work, but also in the likes of Thelma & Louise, Gladiator and The Martian — Scott has jumped from a film that ponders the notion of creation as the only lasting legacy, to one about the downfall of a man who puts his faith in wealth instead. Plummer's Getty is more comfortable collecting objects than nurturing relationships, including with his own son (Andrew Buchan) — "there's a purity in beautiful things that I've never been able to find in people," the world's richest billionaire dismissively croaks. Getty Jr only contacts his father when he's broke and struggling to provide for his wife Gail (Michelle Williams) and four children, though it's his eldest boy, Paul (played by Charlie Shotwell as a 7-year-old), that the old man takes a shine to. Fast-forward nine years to 1973, and the now-16-year-old (Charlie Plummer) is abducted by kidnappers looking to get their hands on a slice of the Getty fortune, but the cantankerous patriarch insists that he doesn't have a cent to spare. That leaves the distraught Gail to work with Getty's security advisor, former CIA operative Fletcher Chase (Mark Wahlberg), to secure her son's release. A word of warning: you'll hear the phrase "all the money in the world" more than once throughout the film. It's as if Scott and his screenwriters, adapting the 1995 book Painfully Rich, just couldn't help themselves. It's an unneeded wink in a movie that slides with thrilling ease into the icy waters of wealth, laying bare the darkness and ruthlessness born of excessive greed in the process. Balancing multiple negotiations, including Gail wrestling with both Getty and Chase, the family liaising with the captors, and young Paul trying to stay alive with the help of one of his abductors (Romain Duris), the movie also serves up the type of brawny, absorbing thriller we don't often see on screens these days. Working with his regular cinematographer Dariusz Wolski, Scott uses grey tones to contrast the haves and the have nots, immersing audiences in the detail and emotion of the scenario at every turn. Moreover, even when the film stretches its story a little too far amidst multiple twists and changes of allegiance, audiences will find themselves gripped by the work of Plummer and Williams. The pair play polar opposites in an equally effective manner — one a heartless man motivated by self-interest, the real villain of the piece; the other a desperate mother who'd give up anything, including money, for the people she loves. If only Scott had found someone other than Wahlberg to play the third person in their tussle. The actor might as well be fighting giant robots, given how by-the-numbers his performance is. All the money in the world clearly couldn't help with that. https://www.youtube.com/watch?v=viQBNu9z6RQ
