Who made the rule that Valentine's Day was just for pairs, couples and duos? You can turf that old-school thinking out the window, because we're here in 2023, happy in the knowledge that love comes in all shapes and sizes. And this year, the QT hotel chain is embracing that notion with an inclusive Valentine's Day celebration that's best enjoyed in a crew of three. On Tuesday, February 14, the brand's sites around the country — in Melbourne, plus also Sydney, Bondi, the Gold Coast, Canberra, Newcastle and Perth — are paying special homage to the throuples and trios out there in lovers' land with a one-night-only You, Plus Two package. While venues across the nation will likely be brimming with tables for two, these hotels will be celebrating three as the magic number. The details vary slightly in different cities, but the first step is the same: book a table for three at a resident QT restaurant (or, for QT Bondi, at North Bondi Fish). Do so at Gowings at QT Sydney, Pascale at QT Melbourne, Capitol Grill at QT Canberra, Jana Restaurant at QT Newcastle and Santini Grill at QT Perth that evening and you'll enjoy a little extra love in the form of the venue's Aphrodisiac Hour offering. That's half a dozen oysters and three mini vodka martinis on the house, all to kick off your date night right. At Yamagen at QT Gold Coast, you'll receive the half-dozen oysters for Aphrodisiac Hour. And at North Bondi Fish, you won't score any free bites, but you will go in the running for a giveaway that's running everywhere. That competition? All tables of three at each venue on the night will be in with a shot at being crowned the Throuple in Residence for that QT hotel. If you win at whichever QT spot you're at (or North Bondi Fish for QT Bondi), you'll be invited to keep the loved-up festivities going with a private hotel room, complete with robes, pillows and all the cushy amenities you could hope for. QT's You, Plus Two package is available for all tables of three booked for Tuesday, February 14, with slightly different deals at different hotels. Secure your spot online.
The countdown to summer is well and truly on. After the year that's been, we're not going to be taking for granted the fine weather and fun events that make it our favourite season of all. To help you make the most of those special summer occasions, we've teamed up with Glenmorangie to serve up six simple drink recipes. These refreshing serves are a breeze to make and all utilise the brand-new X by Glenmorangie. This single malt scotch was specially designed for mixing and is perfect for all your summery tipples, offering tasting notes of pear, vanilla, honeysuckle, orange sherbet and chocolate fudge. FOR AN EASY BREEZY BRUNCH When you're still waking up, the last thing you want to be doing is stirring and shaking up super-complicated cocktails. Keep things simple and on theme with this citrusy tipple. Ingredients 50ml X by Glenmorangie 25ml grapefruit juice 25ml orange juice 10ml agave syrup Method Fill a highball glass with crushed glass. Add X by Glenmorangie, grapefruit juice, orange juice and agave syrup. Stir and garnish with half a grapefruit wheel. FOR YOUR BACKYARD BARBECUE Backyard barbecues are for lively conversation, grilled meats and veggies and perhaps a few games (cricket, anyone?). But they're certainly not for fancy, multi-step cocktail mixing. Keep things flowing with this three-ingredient mix. Ingredients 50ml X by Glenmorangie 50ml ginger beer limes Method Fill a highball glass with crushed glass. Add X by Glenmorangie and ginger beer. Stir, squeeze three lime wedges over the drink, then use them to garnish. FOR A SPOT OF AFTERNOON TEA Marmalade? In a mixed drink? Just trust us on this. The old-school preserve provides the perfect balance of citrus and sweet. Serve it alongside an array of sweet and savoury snacks — think finger sandwiches and cupcakes — for a pleasant afternoon tea in the sunshine. Ingredients 50ml X by Glenmorangie 20ml lime juice 3 tsp marmalade Method Pour X by Glenmorangie, lime juice and marmalade into a highball glass. Add ice, stir again and garnish with an orange twist. FOR YOUR NEXT DATE NIGHT If you're trying to impress that special someone, make a big batch of this floral, fragrant mix for your next big night together — be it a cosy evening in front of the TV or a romantic sunset picnic. Ingredients 50ml X by Glenmorangie 20ml lemon juice 20ml elderflower cordial Sparkling water Method Fill a highball glass with crushed glass. Add X by Glenmorangie, lemon juice and elderflower cordial. Stir and top with sparkling water to taste. Garnish with a lemon twist. FOR A KARAOKE PARTY There's nothing like some bubbles to get the party going. Sip this crisp, refreshing serve before belting out your best impression of Whitney or Mariah. Ingredients 50ml X by Glenmorangie 20ml lime juice 50ml sparkling apple juice Method Fill a highball glass with crushed glass. Add X by Glenmorangie, lime juice and sparkling apple juice. Stir and garnish with an apple slice. FOR A POST-DINNER PARTY TIPPLE If you want to make sure your next dinner party ends on a high note, this sweet, vibrant tipple will do the trick. Ingredients 50ml X by Glenmorangie 25ml lemon juice 12.5ml blackcurrant cordial 10ml agave syrup Method Fill a highball glass with crushed glass. Add X by Glenmorangie, lemon juice and agave syrup. Stir then top with blackcurrant cordial. Garnish with lemon wheel and a blackberry. Be prepared for all your upcoming summer events by purchasing a bottle of X by Glenmorangie at Boozebud.
Sometimes, they do still make 'em like they used to: action-adventure rom-coms in this case. Drive a DeLorean back to 1984, to the year before Robert Zemeckis made DeLoreans one of the most famous types of movie cars ever, and the director's Romancing the Stone did huge box-office business — and it's that hit that The Lost City keenly tries to emulate. This new Sandra Bullock- and Channing Tatum-starring romp doesn't hide that aim for a second, and even uses the same broad overall setup. Once again, a lonely romance novelist is swept up in a chaotic adventure involving treasure, a jungle-hopping jaunt and a stint of kidnapping, aka exactly what she writes about in her best-selling books. The one big change: the writer is held hostage, rather than her sister. But if you've seen Romancing the Stone, you know what you're in for. Movies that blandly and generically recreate/riff on/rip off others will never be gleaming cinematic jewels; the good news is that The Lost City is neither dull nor dispiritingly derivative. Cinema has literally been there and done this before, but directors Aaron and Adam Nee (Band of Robbers) are gleefully aware of that fact and don't even pretend to pretend otherwise. Rather, they wink, nod, serve up a knowing tribute to the 80s fare they're following, and repeatedly make it as blatant as can be that everything they're doing is by design. Their tone is light, bouncy and breezy. Their cast, which also spans Daniel Radcliffe and a delightfully scene-stealing Brad Pitt, is always on that wavelength. Indeed, swap out the vibe or The Lost City's four biggest on-screen names and the film would fall apart, especially without Bullock and Tatum's charisma and chemistry. With them all, it remains by the numbers but also terrifically likeable. As penned by the Nees, Oren Uziel (Mortal Kombat) and Dana Fox (Cruella) — based on a story by Baywatch director Seth Gordon — The Lost City's plot is ridiculously easy to spot. Also, it's often flat-out ridiculous. Anyone who has ever seen any kind of flick along the same lines, such as Jungle Cruise most recently, will quickly see that Loretta Sage (Bullock, The Unforgivable), this movie's protagonist, could've penned it herself. Once she finds herself living this type of narrative, that truth isn't lost on her, either. First, though, she's five years into a grief-stricken reclusive spell, and is only out in the world promoting her new release because her publisher Beth (Da'Vine Joy Randolph, The United States vs Billie Holiday) forces her to. She's also far from happy at being stuck once again with the man who has been sharing her limelight over the years, Fabio-style model Alan (Tatum, Dog), who has graced her book's covers and had women falling over themselves to lust-read their pages. Loretta is hardly thrilled about the whole spectacle that becomes her latest Q&A as a result, and that makes her a distracted easy mark for billionaire Abigail Fairfax (Daniel Radcliffe, Guns Akimbo) afterwards. He's noticed her new work, spotted similarities to the ancient riches he's chasing IRL, and gets his underlings to swoop in and snatch her up. His plan: leaning on Loretta's past as a serious historian to help him find his holy grail on a remote Atlantic island. She's given zero choice, but once the puppy dog-like Alan notices she's missing, he calls in expert assistance from devilishly suave and competent mercenary Jack Trainer (Pitt, Ad Astra). Of course, it doesn't take long for Loretta and Alan to be fleeing as an odd-couple duo, attempting to find the treasure, and endeavouring to avoid Abigail and his minions — and stay alive, obviously. 'Obviously' is a word that could be thrown at almost everything that occurs in The Lost City, but there's a gaping difference between being drably dutiful to a well-worn setup and having as much fun as possible with recognisable parts. Case in point: how Radcliffe enthusiastically hams it up in a part that's a simple next step from his TV work on Miracle Workers, but is always a joy to watch. See also: how the movie uses the long-locked Pitt, who clearly enjoys toying and parodying his own image, and is even introduced on the phone, unseen but audibly eating — which immediately deserves its place in the supercuts dedicated to his fondness for acting and noshing. And, another example: the liveliness that accompanies Pitt's big rescue scene, which is equally exciting and amusing. All of this epitomises The Lost City at its best. Well, that and the rapport between Bullock and Tatum. They're game for their tasks, which largely rely upon their familiar on-screen personas — she's sharp, he's a himbo, that contrast sparks screwball banter aplenty — and yet they shine as brightly as any long-lost gems. Also welcome: the fact that the age gap between The Lost City's key couple skews Bullock's way — she's 16 years Tatum's senior — and isn't turned into a big deal. Neither is the idea that a middle-aged writer could be attractive, or that wearing glasses, not always caring about your appearance and being smart don't instantly stop the same outcome. Having a 50-something female lead, treating her like an actual human, letting her intelligence and warmth be her defining traits: these shouldn't all feel as revolutionary as they do, but they're as dazzling as the pink sequinned jumpsuit that Bullock spends much of the movie traipsing around the jungle wearing. The Lost City knows that whole setup is ludicrous, too, in a film that unpacks the cliches that've always come with its chosen genre, updates its tropes for 2022 and still embraces goofy escapism. Bullock is comfortable in her role because she's played brainy rom-com women before; The Proposal and Miss Congeniality quickly come to mind. As for The Lost City itself, it's comfortable all-round because Bullock is its anchor — even with the joyously self-aware Tatum and Pitt, and the eagerly entertaining Radcliffe, always proving just as engaging to watch. Viewers can forgive the Nee brothers, then, for stretching the film out longer than the material genuinely supports. You can excuse the flabby spots because they're rarely flat as well, and because something new and silly tends to pop up seconds later. The movie a little too bluntly advocates for its own modest pleasures, courtesy of a speech by Alan about learning not to be embarrassed about modelling for Loretta's books, but it really didn't need to: Hollywood should still make thoroughly predictable yet still well-executed and gleaming-enough fare like this, and more often.
Spend your New Year's Eve gazing out over the CBD from one of Brisbane's original rooftop bars — and eating, drinking and enjoying a night by the pool as well. In a way, it's just business as usual at Next Hotel's Pool Terrace & Bar. The level four spot will be throwing a party, but it won't be charging entry fees or selling tickets. In other words, it's a great option for anyone who hasn't nabbed a spot at an expensive soiree, hasn't cemented their plans as yet or doesn't wish to end the year by forking out for a huge cover charge. Just spend your pennies on whatever you choose to eat and drink from the bar menu, because nothing else will cost you a cent. If you're choosing to make a night of it, a DJ will be spinning tunes so you can dance poolside while the last moments of 2019 tick down. For those bringing a crowd — 20 people or more — you are able to book by contacting the venue.
When Jemaine Clement and Taika Waititi invited the world to experience the vampire sharehouse mockumentary genre, one of the best comedies of the decade wasn't the only result. Every film seems to spawn sequels, remakes, spinoffs and the like these days, but no one's complaining about spending more time in the What We Do in the Shadows universe. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. And television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, debuted its first season last year and has a second season in the works. Add a US TV remake of the original flick to the pile as well, but withhold any "do we really need a remake?" judgement. First revealed by Waititi in 2017, given a pilot order earlier in 2018 and now set to air a ten-episode first season in the US this March, the American version has been written by Clement and directed by Waititi, The Hollywood Reporter notes — and sees a documentary crew follow three vampire flatmates living in New York City, according to Variety. The series stars Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou and The Magicians' Harvey Guillen. It's unknown whether Clement and Waititi will reprise their on-screen roles in a guest capacity, but Australian viewers will get to see the series — according to ads aired frequently during Foxtel's Golden Globes broadcast this week, the show is headed to the pay TV network's Fox Showcase channel at a yet-to-be-revealed date. Two very brief teasers were released late in 2018, and another has just dropped — and while it's still very short, it does give viewers a look at the whole main gang: https://twitter.com/theshadowsfx/status/1083072161051541504 With What We Do in the Shadows actually starting its life as a short back in 2005, the concept of flatting members of the undead arguing about bloody dishes has taken quite the journey since those early beginnings. If any idea was going to come back in multiple guises, it's this one. Of course, so have Clement and Waititi. Clement's latest Flight of the Conchords TV special aired late last year, while Waititi two post-Thor: Ragnarok flicks in the works — a stop-motion animated effort called Bubbles, about Michael Jackson's chimp, and another by the name of Jojo Rabbit, set during World War II and starring Scarlett Johansson and Sam Rockwell. Via The Hollywood Reporter / Variety. Image: Kane Skennar.
Giving a bunch of flowers is such a simple act, but it's a small gesture that can make someone's day. Gift whoever you like a native bouquet until the end of September and you can also brighten a stranger's life, too. How? It's all thanks to a new initiative called Empower with Flowers that's taking its cues from Prime Video series The Lost Flowers of Alice Hart. In the page-to-screen Australian drama, every piece of Aussie flora means something. Each different type has its own significance, makes a statement and is part of a conversation, in fact. The show's characters use wattle, Sturt's desert pea and other local blooms to communicate, with their stems and petals saying what they can't or won't voice aloud. The series is also largely set at a farm that's a refuge for women escaping violent domestic situations — and they're dubbed flowers as well. All of the above feeds into Empower with Flowers, a collaboration between Australian plant delivery service Floraly — which delivers those adorable tiny living Christmas trees each festive season — and both Prime Video and Barnardos Australia. For every bouquet of native blooms purchased during the initiative, the latter receives $40 in donations to assist women escaping domestic and family violence. That cash comes from two sources, with Floraly donating $20 from every purchase and Prime Video matching every dollar. With the funds, Barnardos Australia will put it towards legal aid, counselling, safe houses and its other efforts to provide women in need. You've got the entire first month of spring, until Saturday, September 30, to make a purchase as part of Empower with Flowers. As well as the bouquet, whoever receives the blooms will also get an illustrated card that tells them all about the initiative. Depending on the size of the bunch that you order, free cookies and a copy of Holly Ringland's The Lost Flowers of Alice Hart book are also on offer — while stocks last, with some freebies already sold out in some states. Prices start at $65 for a posy — or you can pay $84 for a bouquet or $109 for a grand bouquet. "Powerful storytelling has the ability to bring to life the extraordinary impact that domestic and family violence has on childhoods. Barnardos are thrilled to be partnering with Prime Video and Floraly to honour Australian series The Lost Flowers of Alice Hart by supporting families to be safe and free of violence. A gift of Floraly natives can help us tell a new story about families that can recover and thrive," said Barnardos CEO Deirdre Cheers. Check out the trailer for The Lost Flowers of Alice Hart below: The Empower with Flowers initiative runs until Sunday, September 30. For more information or to buy a bouquet, head to the Floraly website. Read our review of The Lost Flowers of Alice Hart.
Canberra's legendary music, art and food festival Spilt Milk is set to return for its fourth edition this summer, though this year, the ACT's not the only place that'll be getting a taste of the action. Regional Victoria is also coming to the party, as the festival expands and adds a second Ballarat outing to its bill. Yep, the one-dayer is doubling in size, hitting Canberra's Commonwealth Park on Saturday, November 23, before making its southern debut at Ballarat's Victoria Park on November 30. That should mean twice as many festivalgoers get to join in the fun, which is a win given Spilt Milk tickets have sold out in under 30 minutes every year. If you're interstate and have missed out previously, this could be your chance to score a look-in. And, in even more exciting news, the festival's jam-packed lineup has just dropped. Heading the bill is American R&B star Khalid, who'll be heading Down Under fresh off the back of releasing his chart-topping debut album, Free Spirit. Khalid has also previously collaborated with the likes of Kendrick Lamar and Billie Eilish — and he's only 21. He'll be joined by fellow international artists, Scottish synth-pop trio Chvrches and Chicago rapper Juice Wrld. There's also plenty of homegrown goodness on the menu, with the likes of indie rock band Middle Kids, Triple J Hottest 100 winners Ocean Alley, electro trio Mansionair and Adelaide rapper Allday all set to take the Spilt Milk stage. But the musical lineup's not to be outdone by the rest of the program, with a ripper serve of visual art, tasty eats and pop-up bars on the cards. As well as mojitos on tap, there'll be eats from the likes of Belle's Hot Chicken, Bluebonnet BBQ, Mr Burger and Sparrow's Philly Cheesesteak. [caption id="attachment_724817" align="alignnone" width="1920"] Khalid[/caption] In the meantime, here's what you came for — the full lineup for Spilt Milk 2019. SPILT MILK 2019 LINEUP Allday Arno Faraji Bene Choomba Chvrches Confidence Man Dom Dolla Dune Rats G Flip Godlands Golden Features Groove City Illy Juice Wrld Khalid Kota Banks Lastlings Lime Cordiale Mansionair Middle Kids Ocean Alley Psychedelic Porn Crumpets Rat!Hammock (Ballarat only) Running Touch Sippy Teen Jesus & the Jean Teasers (Canberra only) Tones and I Winston Surfshirt SPILT MILK 2019 DATES Canberra — Commonwealth Park, Saturday, November 23 Ballarat — Victoria Park, Saturday, November 30 Spilt Milk 2019 pre-sale tickets are released at 8am on Wednesday, June 12 (you can sign-up for those on the website) with general tickets going on sale at 8am on Thursday, June 13. Top images: Jordan Munns and Billy Zammit.
If you're lucky enough to now be working from home, it probably means you have a little more time to make yourself breakfast in the morning. Instead of throwing a banana in your bag (never a good idea, really) or chugging a glass of Nippy's breakfast juice before running out the door, you can cook yourself some blueberry pancakes or scramble some eggs. Or, you can really take your brekkie to the next level with this new breakfast box. A collaboration between Australia's famous cultured butter maker Pepe Saya and arguably the country's best crumpets (don't @ us) Crumpets by Merna, the boxes are available for delivery to next-day delivery zones across NSW, Victoria and Queensland. Setting you back $35 a pop (plus a $20 flat rate for shipping), they come filled with a six-pack of golden crumpets, six 15-gram packets of Pepe Saya's lush butter, a pot of crème fraîche and a limited-edited, extremely lush topping. At the moment, you'll find boxes with lemon curd, strawberry jam, stewed rhubarb or Four Pillars marmalade, as well as chocolate crumpets, which the team describes describe as a cross between a crumpet and a chocolate brownie. But expect other flavours to drop regularly, too. If you're wondering just what exactly you'll be making with those ingredients, take a look at this: Yes, the mother of all breakfast crumpets. Hopefully this provides you with the motivation you need to roll out of bed and flip open your laptop on the couch. The new brekkie boxes are available to order on both the Pepe Saya and Crumpets by Merna websites, so, while you're there you can also tack on a six-pack of blueberry or vegan coconut crumpets ($15), perhaps, or a fancy butter knife. Plus, if you spend over $50 on either site, you'll get free shipping. Pepe Saya and Crumpets by Merna Breakfast Box is available for delivery in NSW, Victoria and Queensland. Order online via Pepe Saya or Crumpets by Merna.
This year hasn't been easy for anyone, but it has been extra tough for folks in Melbourne. The city's residents went into lockdown earlier in 2020, when the rest of the country shut down — and, when cases in the state started to increase again mid-year, they endured new Melbourne-specific stay-at-home restrictions that have only been easing since mid-September. From tonight — at 11.59pm on Tuesday, October 27, to be specific — Melburnians will be allowed to drink brews at bars, pubs and restaurants again. Understandably, the city's residents and venues are rather excited about that development. But if you're located in the rest of Australia and you'd like to help make this development as cheery as possible, you can help out by shouting a Victorian a drink. If you're located in Victorian or even Melbourne and you want to spread the love to everyone else who just navigated the past few months, that's on the cards too. If you'd like to send this link to your interstate friends to nudge them in the right direction, that's obviously an option as well. When it comes to donating, anyone can take part in the #ShoutAVicADrink campaign started by The Otter's Promise in Armadale. It's really as simple as it sounds. Via the craft beer bar and bottle shop's website, you can pledge $10, which'll be used to to buy a random Victorian a drink at the bar. You can choose to donate more than $10, of course, which'll be used for multiple drinks. And it will be random, based on whoever is in the bar — and no, you can't specify who your shout goes to. If you're a Melburnian who lives within 25 kilometres of The Otter's Promise, obviously that's as good a reason as any to stop by when it reopens from midday on Thursday, October 29. The venue is hoping that other Melbourne joints will join the campaign, too, turning #ShoutAVicADrink into a city-wide campaign. To shout a Victorian a drink, head to The Otter's Promise's website. To visit The Otter's Promise, head to 1219 High Street, Armadale from midday on Thursday, October 29.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Sony has announced that Ghostbusters: Afterlife will no longer release on its initially scheduled date of Thursday, July 2, 2020, with the film now hitting cinemas on March 25, 2021. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. There's something strange in the town of Summerville and a group of kids are calling upon themselves to bust it. That's the premise of Ghostbusters: Afterlife, which swaps New York for Oklahoma and grown men (and women) for children — and jumps firmly on the Stranger Things-led 80s nostalgia bandwagon. Whether siblings Phoebe (Annabelle Comes Home's McKenna Grace) and Trevor (Stranger Things' Finn Wolfhard) are seeing things runnin' through their heads or they'll catch an invisible man sleepin' in their beds is yet to be seen, but the film's first trailer does lay out the basics of this threequel's plot. The central duo has moved to the isolated locale with their mother (Widows' Carrie Coon), and into a rundown old house they've inherited from their grandfather. It's filled with ghost traps, containers of spores, mould and fungus, beige jumpsuits emblazoned with the name 'Spengler' and a very familiar car — which might come in handy when the ground starts shaking for no reason and a mysterious green light starts glowing. Paul Rudd also stars as teacher Mr Grooberson, who schools the kids in Ghostbusters lore — because this is a direct sequel to the original 1984 Ghostbusters and its 1989 follow-up Ghostbusters II. In the just-dropped sneak peek, the original characters appear in news footage, and Bill Murray's voice is heard; however, Murray, Dan Aykroyd, Ernie Hudson, Sigourney Weaver and Annie Potts are all set to reprise their roles in the film. (Harold Ramis, aka Spengler, passed away in 2014). Because bustin' makes everyone feel good, the Afterlife trailer is filled with other nods to the first two films, with writer/director Jason Reitman (Tully, The Front Runner) making both obvious and subtle references to the movies originally directed by his dad Ivan Reitman. Still, let's not forget that a great recent Ghostbusters film already exists, thanks to Paul Feig's wrongly maligned all-female version from 2016 — although Afterlife seems to be glossing over that. Check out the trailer below: https://www.youtube.com/watch?v=ahZFCF--uRY After being delayed from its original release date of July 2, 2020, Ghostbusters: Afterlife will now open in Australian cinemas on March 25, 2021.
He's been a presence on comedy stages and screens large and small for decades. He has three Grammys to his name, four Emmys as well, and once made a loveable TV sitcom about his childhood. He's popped up in everything from Beverly Hills Cop II, the Madagascar flicks and Spiral: From the Book of Saw to Saturday Night Live and Fargo. And, he'll be now forever synonymous with the 2022 Oscars — as the entire world won't stop talking about. The performer in question? Chris Rock, of course. And if you're keen to see him bust out his comedic best without Will Smith in the room, he's coming to Australia and New Zealand in August. This'll mark his first tour in five years, with his latest show playing seven big arena gigs Down Under. Rock heads our way in-between a long run of US dates — and while his Australian and NZ tour was announced before the Academy Awards it is unsurprisingly getting more attention now. Wondering if he'll mention the obvious? Taking to the stage in America just days after the Oscars to kick off the tour, he didn't work it into his set. "I don't have a bunch of shit about what happened," he said, according to reviews. "So if you came to hear that... I've got a whole show I wrote before this weekend. And I'm still kind of processing what happened." AUSTRALIA & NEW ZEALAND! After 5 years, I'm returning with my Ego Death World Tour 2022 this August. I can't wait. Tickets on sale Fri 18 March: https://t.co/H0deIjBRKR pic.twitter.com/BDYlxnqqhf — Chris Rock (@chrisrock) March 9, 2022 CHRIS ROCK 'EGO DEATH' TOUR DATES: August 7 — Spark Arena, Auckland August 8 — Christchurch Arena, Christchurch August 10 — Margaret Court Arena, Melbourne August 15 — Qudos Bank Arena, Sydney August 17 — Adelaide Entertainment Centre, Adelaide August 20 — Brisbane Entertainment Centre, Brisbane August 23 — Gold Coast Convention and Exhibition Centre, Gold Coast Chris Rock's 'Ego Death' tour will hit Australia and New Zealand in August 2022. For further details, and to buy tickets, head to the tour's website. Top image: Andy Witchger via Wikimedia Commons.
Mid-morning croissant cravings will no longer require a trip across the river — if you're in the Brisbane CBD and hankering for Lune Croissanterie's finest, that is. After launching its first Brissie store in South Brisbane back in August 2021, which also marked its first-ever outpost beyond its Melbourne base, the pastry favourites are now adding a second location in Burnett Lane. Come July, Lune's new Brisbane spot will be serving up all those baked goods that fans know and love — traditional French croissants which take three days to prepare, of course, as well as everything from lemon curd cruffins and morning buns to its rotating range of monthly specials. The laneway shop will be a satellite store, mirroring the brand's two-location setup down south. Indeed, if you've been to Lune's Melbourne CBD venue, you'll know what Brisbane is in for. Pastry production won't be a part of the Burnett Lane outpost, with Lune's wares made raw back over on Manning Street, then brought over to the city via refrigerated van. Then, they'll be proven overnight onsite in the CBD, and baked fresh throughout the day. Exactly when in July you'll be able to pick up Lune's croissants — which have been described as "the finest you will find anywhere in the world" by The New York Times — hasn't been confirmed; however, whenever those doors do open, expect Burnett Lane to be busy. Lining up for baked goods is a regular part of the Lune experience. Brisbane is scoring a second Lune location before Sydney even gets one, with the chain finally due to open in the NSW capital sometime in 2023. Wondering why Lune's tasty pastries are so coveted? Founder Kate Reid is an ex-Formula 1 aerodynamicist, and brings scientific precision to her craft. That includes the climate-controlled glass cube that Lune croissants are made and baked in, and the time-consuming process used to perfect each flaky pastry. It has been a big decade for the brand, which Reid co-owns Lune with her brother Cameron and restaurateur Nathan Toleman (Dessous, Hazel, Common Ground Project). The company's journey started back in 2012 with a tiny store in the Melbourne suburb of Elwood. Since then, Lune has grown into a converted warehouse space in Fitzroy (with those perpetual lines out the front), opened a second store in the Melbourne CBD, earned praise aplenty — including that aforementioned rave from The New York Times — and now branched out to Brissie. Find Lune Croissanterie's second Brisbane store in Burnett Lane, Brisbane, opening sometime in July — we'll update you with an exact opening date when one is announced. Images: Marcie Raw.
This weekend, say danke schön to Eat Street Northshore's Oktoberfest celebrations — two action-packed weekends of indulging in classic Bavarian eats like pork knuckle and German-style potatoes, as well as live music, games and of course, beer. From Friday, September 26 to Sunday, October 5, Eat Street comes alive with four stages of live music and entertainment. Performances include Aussie country music duo Route 33, DJ Jonny Drama on the decks and rockabilly outfit Whistle Dixie Band on the main deck. For a more traditionally German experience, the Alpine bell-playing group, Alpenrosen Bell Players, will provide a ringer of a performance (get it?) while The Oompaholics provide the perfect introduction to a traditional German oompah band, but with a pop/rock twist. There's also an abundance of German biers and brews that you can sip away at by the stein, as well as eats like sausage pizza and pork sausage lollipops. However, the arguably biggest drawcard of these action-packed weekends is the best-dressed dachshund competition, where adorable sausage dogs compete for who has the cutest outfit. For just $6, the entry fee is a no-brainer for those who want to experience that electric Oktoberfest atmosphere. Plus, kids under 13 can enter for free. For more information about Eat Street Northshore's Oktoberfest, visit the website.
2020 didn't bring much that sparked joy, but it did let Sydneysiders wander through a large-scale, multi-sensory Vincent van Gogh exhibition that projected Dutch master's works onto walls, columns and floors. In 2021, art lovers will be able to repeat the feat, this time with a heap of French Impressionist masterpieces — because Monet & Friends — Life, Light & Colour is heading to town from March. The idea behind Monet & Friends is the same as its predecessor. It stems from the same team as well. As you wander around the Royal Hall of Industries in Moore Park from Friday, March 12, you'll feast more than just your eyes on huge projections of Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne and Edgar Degas' work. Light, colour, sound and fragrance are also all part of the exhibition, which is designed to make you feel as if you're walking right into the hefty array of paintings. The list of 19th- and early 20th-century artists showcased goes on, too, including Édouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, Alfred Sisley and Mary Cassatt. Also featured are Gustave Caillebotte, Armand Guillaumin and Henri-Edmond Cross, plus Paul Signac and Georges Seurat. Once more, the project is the brainchild of Melbourne-based Grande Exhibitions, which, for the past 16 years, has hosted immersive exhibitions and gallery experiences in over 145 cities around the world. The company also owns and operates Rome's Museo Leonardo da Vinci. For Monet & Friends, it's once again using state-of-the-art technology that combines 40 high-definition projectors to create multi-channel visuals, all while a classical musical score accompanies the vibrant colours in cinema-quality surround sound. When you're peering at pieces by the 15 featured artists, you'll be doing so in a socially distanced setting — with visitor numbers restricted to maintain enough space (which will exceed the one person per four-square-metres required by New South Wales' COVID-19 rules). So, that means that you'll have less company than you'd usually expect at a big exhibition of French Impressionist art. It also means that sessions are probably likely to get booked out quicker than normal, though.
In the era of stacked work calendars and social plans that feel like a game of Tetris, there's nothing better than a free weekend, an open road, and somewhere great booked on the other end. It's easy to wish away the kilometres and think the fun only starts once you get there, but we're firm believers that with a little bit of planning (and the right wheels), your next road trip can feel just as special as the getaway itself. So, to mark the release of BYD's SEALION 7, a premium electric SUV with luxury features baked in, we've pulled together a few simple hacks to help you make the most of the journey. Whether you're heading along the coast outside Sydney, inland into regional NSW, or somewhere in between, here's how to do it right. Plan Pit Stops Around Scenic EV Charging Spots If you're driving an EV, planning your route around convenient charging stops is a no-brainer. But it doesn't have to mean stopping somewhere dull. The trick is picking places you'd actually want to spend an hour or two. If you're going north from Sydney, Hunter Valley Gardens in Pokolbin makes an ideal stop. Stretch your legs in the gorgeous gardens or sample local wines while your car charges at the EV stations nearby. Heading south? Pull into Bowral to grab a coffee, stretch your legs, and maybe even pick up a treat for the weekend. Your car can recharge while you do the same. Bring The Comforts of Home with V2L Tech Why settle for convenience store snacks and lukewarm drinks when you can bring all your favourite treats with you? The SEALION 7's Vehicle-to-Load (V2L) technology lets you power anything from your mini fridge (hello, ice-cold bevs) to a sandwich press for on-road toasties or even a set of fairy lights to set the mood. Turns out a picnic doesn't need a table when you've got your whole car and all the comforts of home to play with. Tee Off at a Golf Club with Charging Stations If golf is your thing, it'd be rude not to make it part of the road trip plan. Luckily, some of the best golf courses around NSW are also great stopovers for EV drivers. Try Riverside Oaks in Cattai, a proper championship course with a bushland backdrop, Pacific Dunes in Port Stephens, or Cypress Lakes Resort Golf & Country Club in the Hunter Valley, where you can squeeze in nine holes while your car gets a top-up at the EV charging stations. Bonus: all courses are close enough to the city for a doable day trip. Treat Yourself at EV-Friendly Restaurants We're all for a cheeky roadtrip Macca's stop, but if you've got time and are near a charger, why not go for a proper meal? Thirroul's BÓVEDA does excellent Mexican and sits just a short stroll from local charging stations. Or if you're heading further north, Rick Stein at Bannisters in Port Stephens is a seafood classic worth timing your charge stop around. Settle in for a Luxe Movie Night at a Charging Stop If you've been staring at freeway lines for hours, sometimes you just need to stop and chill. The SEALION 7's 15.6-inch rotating infotainment screen, heated seats and ambient lighting are basically begging to be turned into a portable cosy cinema. Park up in Berry, Kiama or any of NSW's many scenic charging spots, throw on a movie and settle in. Who said charging breaks had to be boring? It turns out the road trip itself can be the best part of the holiday, especially when you've got the right setup. From golf clubs and dining spots and roadside cinemas, a bit of planning and modern convenience at its finest can help you make the most of the ride. With a driving range of up to 482 kilometres (which, for context, is over two weeks' worth of driving for the average Aussie) and going from 0 to 100 kilometres per hour in just four and a half seconds, the SEALION 7 is built for weekend adventures. All that's left to do is choose a route. The all-electric BYD SEALION 7 provides power, performance and planet-friendly driving. With cutting-edge EV tech, a spacious interior and the ultra-safe Blade Battery, it's ready for school runs, road trips and everything in between. Want to see how it feels behind the wheel? Book a test drive to take the SEALION 7 for a spin on the BYD website. By Jacque Kennedy
No need for the neuralisers, folks. This is one you'll forget about all on your own. In what's proving a particularly rough patch for blockbuster franchises (thanks chiefly to the hugely disappointing Godzilla II and X-Men: Dark Phoenix), Men In Black: International represents the latest casualty, offering a dull, generic and largely pointless extension of the popular sci-fi series. With the departure of original stars Tommy Lee Jones and Will Smith, it falls to franchise newcomers Chris Hemsworth and Tessa Thompson to keep the ball rolling. Sadly, whatever chemistry they had in Thor: Ragnarok is noticeably absent. The dialogue is stilted and the tension forced, while the acerbic sparring that defined the Jones/Smith relationship plays here like a clumsy copy-and-paste job. Hemsworth's comedic touch is well established, but it's best served in small doses, either via bit-parts as per Ghostbusters, or as flourishes in otherwise serious roles, as seen in all but the last Avengers. When comedy becomes his character's main task, the result is less satisfying. His portly, traumatised Thor in Avengers: Endgame robbed both him and audiences of everything that made his character so appealing, and here again in Men in Black the role plays to few of his strengths. Hemsworth constantly flicks back and forth between hammy clowning on the one hand, and pouting like he's in a Hugo Boss commercial on the other. Only the latter works for him. Thompson fares a little better. Her character's motivation is neatly established via a cute intro sequence that defines her as a driven, intelligent and highly capable individual. In a refreshing twist, she essentially recruits herself into MiB, having pursued the mysterious agency ever since a chance encounter with its agents and a furry little alien back when she was just a child. Once inside the agency, though, her reactions feel far too indifferent for someone only hours into life behind the proverbial curtain. Just because you believe in aliens doesn't mean you wouldn't balk, stop and stare at each and every new encounter of the weird and wonderful, but Thompson's Agent M takes it all in her stride. It's as if she's sharing in the audience's experience of yeah yeah yeah, we've seen all this before. Where Men In Black: International works best is in its secondary characters. The villains this time round are a pair of intergalactic assassins played by French brothers Laurent and Larry Nicolas Bourgeois, otherwise known as Les Twins. The shape-shifting, time-jumping killers are delightfully menacing and beautifully imagined on the special effects front. Reminscent of the Twins from the second Matrix movie, this duo pulls focus in every scene, especially when they're dancing so extraordinarily you're convinced it has to be computer-generated (it's not). Equally appealing is the arms dealer Riza, played by Rebecca Ferguson. Ferguson's recent turns in the last two Mission: Impossible films were amongst their best features, and here again she delivers a sumptuous blend of sensual and sinister. Then there's comedian Kumail Nanjiani, whose tiny chessboard alien Pawny serves up almost every good laugh in the film. If the producers are scratching their heads as to what to do with this franchise in the wake of such a poor initial reception, they could do worse than giving Pawny his own spin-off. If nothing else, at least Men In Black: International has a fitting title. It's a film that feels purposefully generic and inoffensive so as to appeal to the broadest possible market. As a result, it ends up being nothing much to anyone. https://www.youtube.com/watch?v=BV-WEb2oxLk
All hail the Keanaissance — for bringing him back to our screens, and often; and for giving everyone an excuse to shower his past hits with love as well. Before he was Neo and John Wick, he wasn't just one half of Bill and Ted, or Point Break's surfing FBI agent Johnny Utah, but also a guy trying to stop the bus that couldn't slow down. We know you're a fan, because who isn't? Alongside the aforementioned Point Break, Speed is one of action gems of the 90s — and Keanu is at the heart of both of them. And, we know you've always wanted to relive the latter film's high-stakes action movie magic, so here's your chance. Brisbanites, get ready to step onboard a vintage bus and prepare for the ride of your life. After thrilling fans and making plenty of new ones during several previous Brisbane Comedy Festival runs, Speed: The Movie, The Play is bringing its high-octane thrills back to the fest in 2022. It's taking on passengers between Thursday, May 5–Sunday, May 29, with shows held Thursday–Sunday — and this is one stint of public transport chaos (and 90s nostalgia) that you should willingly sign up for. Need to whet your appetite? Check out the trailer for the original film: https://www.youtube.com/watch?v=8piqd2BWeGI
Think Brisbane's eastside boasts the only beachside walking spot? Think again. Anything Wynnum and Manly can do, Shorncliffe and Sandgate can do too, including offering up a scenic saunter along the foreshore with a peaceful vibe and one heck of a view. Not only will you meander along an 8.5 kilometre return trip — or part of it if you're not feeling like a lengthy workout — but you'll immerse yourself in the area's history. Indeed, if you haven't strolled the 350 metres along the Shorncliffe Pier, then you haven't really been to the north side of the city. Image: Bertknot via Flickr.
Pushing ladies to the front has always been All About Women's focus, ever since the Sydney Opera House's key feminist festival first took to the stage back in 2013. In 2023, however, it's doing just that with an in-conversation event that couldn't be more perfect: Bikini Kill Speaks, featuring the seminal riot grrrl pioneers — aka Kathleen Hanna, Tobi Vail and Kathi Wilcox — chatting through their music, activism and why their message remains as relevant as ever after three decades. Hanna, Vail and Wilcox's session comes while Bikini Kill are in the country for their first Australian shows in more than 25 years, including stops at Mona Foma and Golden Plains, plus other solo dates around the country — Sydney Opera House among them. In fact, in addition to the in-conversation session, that gig will close out All About Women's 2023 event. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] When All About Women takes place in March, it'll run over three days — from Saturday, March 11—Monday, March 13 — growing again after it only just expanded to two days in 2022. In another big change, it'll be guided by four festival co-curators for the first time ever. Doing the honours: author, podcast presenter and gender equality advocate Jamila Rizvi; Gamilaroi academic and Tell Me Again author Dr Amy Thunig; feminist social commentator, novelist and writer Jane Caro AM; and Sydney Opera House's Head of Talks and Ideas Chip Rolley. The rest of All About Women's 2023 lineup hasn't yet been unveiled, but audiences can expect a range of international and Australian artists, thinkers and storytellers on the bill — exploring a broad variety of topics relevant to gender, justice and equality via panels, conversations, workshops and performances — when the full details drop on Tuesday, January 17, 2023. [caption id="attachment_837695" align="alignnone" width="1920"] Prudence Upton[/caption] "All About Women is unparalleled in its ability to attract audiences from across the country, with a passion for debates and discussions about gender. The festival always delivers a healthy dose of levity alongside its signature significant local and international conversations," said All About Women festival co-curator Jamila Rizvi. "Striking that balance between impact and frivolity is what my programming style is all about. To say that it is a privilege to co-curate the festival in 2023 is an understatement!" [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] In 2022, while the festival went ahead in-person for Sydneysiders, it also live-streamed to viewers both around Australia and worldwide. Whether that'll be the case again in 2023 hasn't yet been revealed, but if you live outside of the Harbour City, cross your fingers. All About Women 2023 will take place from Saturday, March 11—Monday, March 13 at the Sydney Opera House. The full program will release on Tuesday, January 17, 2023 — check back here then for further details. Tickets for Bikini Kill Speaks go on sale at 9am AEDT on Friday, December 2, with Sydney Opera House Insiders presales from 9am AEDT on Tuesday, November 29 and What's on presales from 9am AEDT on Wednesday, November 30. Top image: Debi Del Grande.
Six years after opening its doors back in 2012, and just a few months after giving its distinctive patch of Wynnum Road a huge facelift, Morningside's Southside Tea Room has announced that it's closing down. The bar and eatery will shutter after it finishes trading on Sunday, November 4, which means no more barbecued meats, weekend brunch, burnt-wood panelling and hanging out on picnic benches after that date. And, no more band pop-ups, plaster fun house sessions and retro New Year's Eve parties, either. In an update shared to both Facebook and Instagram, Southside owners and The Grates band members John Patterson and Patience Hodgson explained that "it has taken a huge amount of bravery to make this decision". They continue: "what we have be able to achieve, and the memories we have made together, are nothing less then epic". Patterson and Hodgson's post also notes that Southside will be slinging specials and selling off its wares across its last week of operation. "Come say goodbye and grab some kind of bargain in our final week of trade — or buy a table, or the shop", it advises. If you're keen to swing by for old times' sake, you'll still find a pinball and arcade area, outdoor seating, and slow-cooked brisket and pulled pork on metal trays. Since its revamp mid-year, the current iteration of Southside has been all about hefty chunks of meat that come with a slice of bread, pickles, onion and the choice of two sides, such as mac 'n' cheese and charred broccoli with pecorino. Drinks wise, say one last hurrah with local beers on tap, a small range of wines, and house cocktails such as the Morningside margarita and the calippo daiquiri. As for what comes next for Patterson and Hodgson, expect to keep hearing from them — literally. "We never managed to strike a balance between industries and can not be more thrilled about returning to music." Find Southside at 639 Wynnum Road, Morningside until Sunday, November 4 — or visit the venue's website or Facebook page for further details.
Among the many things that 2020 has taught us, adapting to sudden changes ranks near the top of the list. And, in Brisbane's music scene, a big shift is currently underway — with The Foundry announcing that it's wrapping up its stint at its current digs immediately, then relocating to new premises by the end of the year. It has been five years since The Foundry opened its doors inside The Elephant Hotel on Wickham Street in Fortitude Valley, with the space playing host to plenty of live tunes and music-themed parties in that period. But earlier this year, The Elephant was sold. Now the new owners have revealed their plans, sparking The Foundry's move. Just where The Foundry will next call home is yet to be announced, but it'll be staying in the Valley — and moving to a "bigger and better space" according to its Facebook announcement. At present, it expects to reopen this November. And in terms of upcoming gigs, it'll be moving them all over to the new location. https://www.facebook.com/TheFoundryBrisbane/posts/3821516067878138?__xts__[0]=68.ARBkpDzDLyHPCvg1ZrenNGN5suGGZBFl9KaIn-ZQVvbB7BDnJjba4W7cEITns0IjFw33WhjW0d5V3sIEyZF2B2KGrSBeziAZBWjJ_RQxxJdW5c2C0OjX5486iVRgyLkMKxps-ta5pf3hQ2EpiT-VY_K_7Y9KLAo-7Tguyr2k8VKRbm_uwmKxTI3EZb66c3roaAOfePQPcU-hwS_xCrWcUxDJyahTwr1KG4lsJO0q_Y-MS9PZCmH91WVEcKOD_jTXAQzJy1fDjzTH_UwKOzn4GRT92IYcQx0QeXTaBUkZaSk2-l5nVkQxUYTrEf6oUr_FGKxogV2wV8KUUaHNlxkh71kjbA&__tn__=-R Brisbanites will actually be saying goodbye not only to The Foundry at The Elephant, but to The Elephant in general, too. The site will continue to operate — after a refurbishment, with its main bar and beer garden now closed but Greaser remaining open — however it's changing its name. In fact, it's reverting back to its original moniker, The Prince Consort, which is what the the 132-year-old heritage-listed pub was initially called way back when. In its own Facebook post, the team behind The Elephant noted that, when it is back in full swing as The Prince Consort, live music will still be part of its offering — plus DJs and pub trivia. As for when that'll happen, that hasn't been advised either. But, as anyone who can remember when The Elephant was called The Elephant and Wheelbarrow will know, change isn't unusual in this part of town. The Foundry has shut its doors at 228 Wickham Street, and will move to a yet-to-be-revealed new Fortitude Valley site by the end of the year. For further details, keep an eye on its Facebook page. The Elephant Hotel has closed its main bar and beer garden for a revamp, and will relaunch as The Prince Consort at a yet-to-be-advised date. For further details, keep an eye on The Prince Consort's Facebook page as well. Top image: Kgbo via Wikimedia Commons.
When Corbett & Claude opened their first eatery in Indooroopilly in August, a piece of the puzzle was missing. The restaurant is named for architect Claude Chambers, who designed the Corbett Chambers building on Elizabeth Street, so setting up shop in the western suburbs rather than the CBD didn't quite seem fitting. That was just step one in unleashing a new source of historically minded tastiness to Brisbane, with the newly launched city outlet step two. That means there's now double the places to grab a drink, listen to live music and enjoy the share plates, pizzas and antipasti that comprises their menu. Wine as well as beer on tap is a great way to start any Corbett & Claude meal, as is one of their three signature cocktails. From there, picking one of the ten types of pizza is a harder choice, though the C&C special with meatballs, caramelised onion, crispy prosciutto and barbecue sauce is a certain favourite. Those after a deli-style snack can mix and match from a selection of cheeses and meats to suit their preferences. And when it comes to something sweet, a dessert pizza with nutella, hazelnuts and strawberries sounds too good to pass up — but if you must, then the waffles with honey ice cream are just as great. Find Corbett & Claude at 283 Elizabeth Street, Brisbane. For more information, visit their website and Facebook page.
Backyard parties rule. Everyone is aware of this right? Sitting around for an indefinite amount of time boozing with your friends and listening to music is nothing short of awesome. Ric’s is well aware of this too and is recalibrating the idea of the classic backyard party by hosting their first inaugural Ric’s Big Backyard Festival this month. Instead of Sammy’s banged up iPod dock pumping the jams, there’s going to be 3 stages (one upstairs, one downstairs and one outside) with 21 bands playing throughout the day. The Backyard’s amazing lineup includes Dunedin-based noise punk trio Die! Die! Die!, Pangaea (playing their first gig in twelve years), and Sydney legends You Am I to finish off what is going to be an epic time. And just like the best backyard parties, tickets for the Big Backyard Festival are limited to keep up an intimate festival atmosphere and allow space for punters to move and breathe, so you gots to gets your tickets quick! Final lineup: YOU AM I PANGAEA DIE DIE DIE SIX FT HICK GUINEAFOWL BIG SCARY KING CANNONS THE CAIROS WE ALL WANT TO MOSMAN ALDER THE MERCY BEAT VIOLENT SOHO RAT V POSSUM RICHARD IN OUR MIND THE HONEY MONTH BEN SALTER INLAND SEA NUMBERS RADIO BABAGANOUJ VELOCIRAPTOR JUD CAMPBELL RESPECT DJ’S.
So you think your Prius is green? How about a car made from bamboo and rattan for a set of sustainable wheels? The Phoenix, unveiled at the "Imagination and Innovation" exhibition in Milan is an experimental vehicle from furniture designer Kenneth Cabonpue. The car borrows heavily from his furniture designs, which highlight natural materials, flowing lines and quality craftsmanship. The end product is a thing of bird-like beauty, with little resemblance to a vehicle churned out of a factory. An experimental design, the Phoenix is unlikely to make it on to the streets. Although it does use steel and carbon fibre in the frame, the display model has no engine although there is space for one. Perhaps putting a combustion engine in a largely wooden vehicle could end up with the Phoenix living up to its name. [via habitusliving]
For father-son duo Steve and Ben Crick, it was a trip to Germany that inspired them to create the affectionately dubbed 'Bratmobile' food truck. After 33 years as a butcher, Steve was able to develop a foot-long bratwurst, then go on to create perhaps Brisbane's spiciest sausage, The Firewurst. These authentic German sausages have been a mainstay at food markets, festivals and breweries for over a decade — keep an eye on The Bratmobile's Facebook page for its next stop. Can't wait that long? Order a preprepared feast via DoorDash instead. Dressed with sauerkraut, onion, mustard and curry tomato sauce, the bratwursts and kranskies are definite steps up from your average hot dog. Plus, you can add a soft salted German pretzel to really stir up those Oktoberfest memories (lederhosen optional). Images: Hennessy Trill
A lot can happen in 13 years — and for the cast of 2010's page-to-screen favourite Scott Pilgrim vs the World, much has. Michael Cera kept returning to Arrested Development's George Michael, and made a stunning appearance in the Twin Peaks revival. Mary Elizabeth Winstead added everything from Fargo and 10 Cloverfield Lane to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) to her resume. Chris Evans became Captain America, Kieran Culkin has been killing it with insults in Succession and Anna Kendrick had the whole Pitch Perfect franchise. Brie Larson slipping into Captain Marvel's shoes, Aubrey Plaza's The White Lotus stint, Jason Schwartzman still showing up in Wes Anderson films aplenty — that's all occurred as well. One new thing about to come all of the above actors' way, too: more Scott Pilgrim. The movie that started off as a series of graphic novels, and also hit video games, is next making its way to the small screen as Scott Pilgrim: The Anime. Of course, when a film becomes a streaming series, that doesn't always mean that the OG cast return with it — but, thankfully, it does in this case. Netflix is behind the show, and announced that the anime adaptation of Bryan Lee O'Malley's graphic novels will feature the voices of Cera as Scott, Winstead as Ramona Flowers, Culkin as Wallace Wells, Kendrick as Stacey Pilgrim, Larson as Envy Adams and Plaza as Julie Powers. And, yes, Evans, Schwartzman, Satya Bhabha (Sense8), Brandon Routh (The Flash) and Mae Whitman (Good Girls) are all back as Ramona's evil exes. The list doesn't stop there. Amid shouting "we are Sex Bob-Omb!", Alison Pill (Hello Tomorrow!) as Kim Pine, Johnny Simmons (Girlboss) as young Neil, Mark Webber (SMILF) as Stephen Stills, Ellen Wong (Best Sellers) as Knives Chau are all back, too. The story will still follow the titular bass player, in what's set to be more than just a do-over. "I knew that a live action sequel was unlikely, but I would usually defer by suggesting that perhaps an anime adaptation was an interesting way to go," the original film's director Edgar Wright told Netflix. "And then, lo and behold, one day Netflix got in touch to ask about this exact idea. But even better, our brilliant creator Bryan Lee O'Malley had an idea that was way more adventurous than just a straight adaptation of the original books," Wright continued — and he's back as an executive producer. Scott Pilgrim: The Anime doesn't yet have a release date, or a trailer; however, you can check out Netflix's cast announcement clip below: Scott Pilgrim: The Anime is headed to Neflix, but doesn't yet have a release date — we'll update you when one is announced.
If you grew up in the 90s, odds are that you tried to memorise every single word to Billy Joel's 'We Didn't Start the Fire'. Every 90s kid did. That's a skill that probably hasn't been called upon much since — other than while watching one specific episode of Parks and Recreation, and all of The Boys — but it's about to get its time to shine. Yes, the Piano Man himself is coming Down Under to sing us a song or several. Making his first trip to Melbourne in the longest time — well, in 14 years — Joel will only play one Aussie gig. He's hitting up the Melbourne Cricket Ground on Saturday, December 10, in an Australian exclusive thanks to the Victorian Government's Always Live program. That's the blockbuster live music program that's designed to attract international acts to the state, and kicked off earlier in 2022 with the Foo Fighters playing in Geelong. When Joel takes over the MCG, the sounds of AFL club tunes will be replaced with everything from 'Uptown Girl' and 'It's Still Rock and Roll to Me' to 'You May Be Right' and 'Only the Good Die Young' — plus 'Tell Her About It', 'Big Shot', 'River of Dreams' and, yes, 'The Longest Time' and 'We Didn't Start the Fire'. Joel hasn't been our way for a while, but the six-time Grammy-winner has been playing one show a month at New York City's Madison Square Garden since January 2014 — and became the venue's first-ever music franchise in the process. Before he makes the trip to Melbourne, he'll notch up his 84th monthly and 130th show at The Garden. Obviously, that's just one of his achievements. Joel has sold over 150 million records, making him the sixth best-selling recording artist of all time and the third best-selling solo artist. If you're now keen to see the Piano Man in what's promising to be one huge gig, tickets go on sale at 10am AEST on Monday, July 4, with pre-sales from 11am AEST on Thursday, June 30. Billy Joel will play the MCG on Saturday, December 10. Tickets go on sale at 10am AEST on Monday, July 4, with pre-sales from 11am AEST on Thursday, June 30. Images: Myrna Suárez.
At the Ohana Cider House and Tropical Winery you'll discover some delightful drinks that wouldn't be out of place at any big-city bar. Having taken a holiday to Hawaii in 2014 and fallen in love with the tropical climate, founders Zoe Young and Josh Phillips left behind their desk jobs in Perth to buy a piece of Queensland land, where they established their much-loved tropical winery. They then relocated their to Bundaberg in 2018 and expanded into cider, too. Since then, they've gone on to release ciders ranging from dry apple to pineapple and strawberry, as well as produce some of the region's top vino using fresh fruit grown on the orchard or by local farmers. Snag a tasting paddle to try six of the best for $18. On Fridays, Saturdays and Sundays at 1.30pm, you can join a one-hour to see how the cider is made — it costs a tenner and includes tastings of the flagship ciders. Image: Paul Beutel
UPDATE, May 5, 2021: Willy's Wonderland is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. If you've ever wondered how Nicolas Cage might've fared during cinema's silent era, Willy's Wonderland has the answer. A horror film about killer animatronic restaurant mascots, it's firmly a 2021 feature. It wasn't made a century ago, before synchronised sound forever changed the movie business, so it's definitely a talkie as well. Cage doesn't do any chattering, however. He groans and growls, and often, but doesn't utter a single word. The actor's many devotees already know that he's a talent with presence; whether he's cavorting in the streets under the delusion that he's a bloodsucker in Vampire's Kiss, grinning with his locks flowing in the wind in Con Air, dousing himself with vodka and grunting in Mandy or staring at a vibrant light in Color Out of Space, he repeatedly makes an imprint without dialogue. So, the inimitable star needn't speak to command attention — which is exactly the notion that Willy's Wonderland filmmaker Kevin Lewis (The Third Nail) put to the test. First, the great and obvious news: Cage doesn't seem to put in much effort, but he's a joy to watch. Playing a man simply known as The Janitor, he glowers like he couldn't care less that furry robots are trying to kill him. He swaggers around while cleaning the titular long-abandoned Chuck E Cheese-esque establishment, dances while hitting the pinball machine on his breaks, swigs soft drink as if it's the only beverage in the world and proves mighty handy with a mop handle when it comes to dispensing with his supernaturally demonic foes. Somehow, though, he's never as OTT as he could be. Cage plays a character who doesn't deem it necessary to convey his emotions, and that results in more restraint on his part than the film demonstrates with its undeniably silly premise. Accordingly, cue the bad news: as entertaining as Cage's wordless performance is — even without completely going for broke as only he can — Willy's Wonderland is often a ridiculous yet routine slog. The Janitor finds himself locked in Willy's Wonderland in the sleepy Nevada town of Hayesville courtesy of an inconveniently placed spike strip. Driving over the device trashes his tyres, which local mechanic Jed Love (Chris Warner, Machete) can replace, but The Janitor doesn't have cash, credit isn't accepted and there's no working ATM within a handy distance. So, he's offered a deal. If he spends the night cleaning the shuttered children's eatery for owner Tex Macadoo (Ric Reitz, Finding Steve McQueen), Jed will fix his car. The Janitor agrees and gets a-scrubbing, but animatronics Willy Weasel, Arty Alligator, Cammy Chameleon, Tito Turtle, Knighty Knight, Gus Gorilla, Siren Sara and Ozzie Ostrich (no, not Ossie Ostrich from Hey Hey It's Saturday) have him in their sights. Willy's Wonderland could've opted for a stripped-back, action-heavy approach, solely focusing on Cage's clash with the critters after the movie's obligatory setup scenes. The film clearly only exists because he's in it, after all. And, the idea of seeing Cage in a John Wick-style flick that's built upon relentless fights for survival is a concept made in cinematic heaven — if Charlize Theron (in Atomic Blonde) and Bob Odenkirk (in Nobody) can do it, he can as well. But first-time screenwriter GO Parsons opts for a different template. The horror genre's fondness for offing meddling teens comes into play, and Willy's Wonderland is a worse movie for it. Hayesville high schoolers Liv (Emily Tosta, Party of Five), Chris (Kai Kadlec, Dropouts), Kathy (Caylee Cowan, Incision), Aaron (Christian Delgrosso, School Spirits), Bob (Terayle Hill, Judas and the Black Messiah) and Dan (Jonathan Mercedes, Cobra Kai) know that something isn't right at Willy's. They're aware that folks have gone missing there before, too. And, after the rest of the group helps Liv escape the handcuffs her guardian and local sheriff Eloise Lund (Beth Grant, Words on Bathroom Walls) uses to try to keep her safe, they all head to the condemned building to stop The Janitor from becoming its next victim. When it wallows in by-the-numbers slasher territory, just with homicidal puppets and not maniacal humans picking off pesky teens, Willy's Wonderland delivers the least-engaging version of its premise. That's when it resembles the video game Five Nights at Freddy's mixed with terrible sequels to 80s fare like Friday the 13th, and blandly so. Lewis and Parsons might intend to wink and nod at the decades-old pictures that started their chosen subgenre, rather than lazily ape them — as the retro animatronic designs appear to indicate — but when their film happily embraces every cliche it can, it's neither fun or funny. The flick's disposable adolescents make the usual range of stupid choices, including having sex in the doomed space, and whenever they open their mouths, they rarely do the movie any favours. Indeed, the dialogue is so thin, clunky and unconvincing that you can be forgiven for desperately wishing that, like Cage's unnamed drifter, no one in the feature spoke. It isn't hard to squander Cage's talents in a lacklustre-at-best movie, though. Lewis can take solace in the fact that plenty of directors have, and their star has let them. Of late, the actor's resume overflows with films that've only garnered attention because he's in them — see also: the tedious Jiu Jitsu and Primal in just the past two years — and Willy's Wonderland easily joins them. He's nowhere near his best here, but he's still the best thing about the picture. Jittery editing, oversaturated visuals and oh-so-much formula can't dampen his noiseless performance, although, conversely, he can't help Willy's Wonderland overcome its many struggles. 2021 has already let Cage completists see him drip profanity and wax lyrical about the origins of curse words in History of Swear Words, so perhaps this dialogue-free affair is just his way of retaining a sense of cosmic Cage balance. It's never anywhere near as goofy, wacky or out-there as it seems to think, however, and it's positively dull whenever its leading man is out of sight. https://www.youtube.com/watch?v=DE5-hkHIZF4
Really, first-date-movie-dates are a waste of time. You can’t talk to the person and you spend the entire time contemplating whether or not you should ‘make a move’ (hint: no, you shouldn’t). You gain no rapport and you might ruin everything by picking the wrong film. However, outdoor cinemas are actually a great way to impress your new Tinder match, with an incredible vibe, great movies, easy location and open setting (in case they want to run away, har har). All this week (and for a few more weeks beyond that), the Moonlight Cinema will be showing some amazing films, cult favourites, new blockbusters and some heartfelt gems so you can’t go wrong with the movie choice. So, if you do want to impress a lady or a fella, you’d do pretty well to pick this as your date night locale. New Farm Park at Brisbane Powerhouse will be the venue for this year’s cinema. Don't forget to indulge in some delicious snacks and perhaps a few beverages to complete your cinematic experience. It's the perfect way to unwind after a hard day and usher in those balmy summer nights. There's also the option of 'Gold Grass' tickets, which gets you a bean-bed in the front rows and designated waitstaff. New releases include the much-anticipated return of Ron Burgundy in Anchorman 2: The Legend Continues as well as sneak previews of big Boxing Day releases The Railway Man and The Secret Life of Walter Mitty. Sometimes it’s the classics that can be most fun, however. Embrace your inner dag and negotiate how much a set of jousting sticks should cost with the much-loved and highly quote-able Aussie comedy The Castle. Or roll out the picnic rug and share a meal fit for Jehovah over Monty Python's 1979 gut-buster, The Life of Brian. If there's one thing Moonlight Cinema has proven itself more than capable of, it's cherry-picking the most enjoyable moments in cinema and creating a relaxed and sociable atmosphere to boot. Check the program for films and dates.
It's called Ghostbusters, not franchisebusters — so, four decades after the initial supernatural comedy flick in the series proved a huge hit, of course the saga is still tackling ghouls on the big screen. There was a 27-year pause between 1989's Ghostbusters II and 2016's women-led, excellent and wrongly maligned Paul Feig-helmed Ghostbusters, but then came 2021's Ghostbusters: Afterlife. Next up: its sequel Ghostbusters: Frozen Empire. As both the initial teaser back in 2023 and the just-dropped full trailer show, familiar faces are everywhere in the fifth Ghostbusters movie — and from past features both recent and classic. Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Bill Murray, Dan Aykroyd, Ernie Hudson: they're all back, teaming up to take on an ancient force that's trying to unleash a second Ice Age. Rudd (Only Murders in the Building) returns as Gary Grooberson, while Coon (The Gilded Age), McKenna Grace (Crater) and Finn Wolfhard (Stranger Things) are back as Callie, Phoebe and Trevor Spengler. Yes, they're the daughter and grandchildren of the late Harold Ramis' Egon Spengler, who became initiated in the family business when they inherited his old farmhouse in Afterlife. Ghostbusters: Frozen Empire reverses the last flick's swap, which centred around that eerie abode. So, rather than unfurling in Oklahoma, it returns the series to New York. There, summer is proceeding as normal until an unseasonable chill kicks in. The reason for the plummeting temperatures isn't any old blast of cooler weather, either, which is where the Ghostbusters come in. Also in Ghostbusters: Frozen Empire's cast: Kumail Nanjiani (Welcome to Chippendales), Patton Oswalt (What We Do in the Shadows), Celeste O'Connor (A Good Person) and Logan Kim (The Walking Dead: Dead City), alongside OGs Murray (Ant-Man and the Wasp: Quantumania), Aykroyd (Zombie Town) and Hudson (Quantum Leap), plus Annie Potts (Young Sheldon). A certain firehouse pops up as well, as does Slimer, an army of ghosts, possessed possessions, rising supernatural attacks and a new paranormal research centre. The latest film sees Gil Kenan (A Boy Called Christmas) directing. After helming Ghostbusters: Afterlife, Jason Reitman (Tully, The Front Runner) — who is the son of Ivan Reitman, who directed the first two movies — co-writes the script this time around. Check out the full trailer for Ghostbusters: Frozen Empire below: Ghostbusters: Frozen Empire opens in cinemas Down Under on Thursday, March 21, 2024.
We say it every year. We'll say it again this year. On Halloween, there's nothing like watching the exceptional slasher flick that is the OG Halloween, aka one of iconic filmmaker John Carpenter's masterpieces, as well as the movie that helped make Jamie Lee Curtis a star. But when October 31 rolls around — and spooky season in general — there are more flicks to binge at home, including new releases from 2023. So, for your next scary movie-fuelled stint of sofa time, we've picked ten horror movies that'd make a killer streaming marathon — and are all available to watch on subscription-based platforms right now. In this bag of tricks: standout Mexican and Chilean fare, an entry in an ace new slasher franchise, inventive examples of the genre that play with the form and, of course, an evil doll. They're all treats, too. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. EL CONDE What if Augusto Pinochet didn't die in 2006? What if the Chilean general and dictator wasn't aged 91 at the time, either? What if his story started long before his official 1915 birthdate, in France prior to the French Revolution? What if he's been living for 250 years because he's a literal monster of the undead, draining and terrifying kind? Trust Chilean filmmaking great Pablo Larraín (Ema, Neruda, The Club, No, Post Mortem and Tony Manero) to ask these questions in El Conde, which translates as The Count and marks the latest exceptional effort in a career that just keeps serving up excellent movies. His satirical, sharp and gleefully unsubtle version of his homeland's most infamous leader was born Claude Pinoche (Clemente Rodríguez, Manchild), saw Marie Antoinette get beheaded and kept popping up to quell insurgencies before becoming Augusto Pinochet. Now holed up in a farm after faking his own death to avoid legal scrutiny — aka the consequences of being a brutal tyrant — the extremely elderly figure (Jaime Vadell, a Neruda, The Club, No and Post Mortem veteran) is also tired of eternal life. The idea at the heart of El Conde is a gem, with Larraín and his regular co-writer Guillermo Calderón plunging a stake into a despot while showing that the impact of authoritarianism rule stretches on forever (and winning the Venice International Film Festival's Best Screenplay Award this year for their efforts). The execution: just as sublime in a film that's both wryly and dynamically funny, and also a monochrome-shot visual marvel. A moment showing Pinoche licking the blood off the guillotine that's just decapitated Antoinette is instantly unforgettable. As Pinochet flies above Santiago in his cape and military attire in the thick of night, every Edward Lachman (The Velvet Underground)-lensed shot of The Count — as he likes to be called by his wife Lucia (Gloria Münchmeyer, 42 Days of Darkness), butler Fyodor (Alfredo Castro, The Settlers) and adult children — has just as much bite. El Conde's narrative sets its protagonist against an accountant and nun (Paula Luchsinger, Los Espookys) who digs through his crime and sins, and it's a delight that punctures. As seen in the also magnificent Jackie and Spencer, too, Larraín surveys the past like no one else. El Conde streams via Netflix. PEARL 70s-era porn, but make it a slasher flick: when Ti West's X marked the big-screen spot in 2022, that's one of the tricks it pulled. The playful, smart and gory horror standout also arrived with an extra spurt of good news, with West debuting it as part of a trilogy. 30s- and 40s-period technicolour, plus 50s musicals and melodramas, but splatter them with kills, genre thrills and ample blood spills: that's what the filmmaker behind cult favourites The House of the Devil and The Innkeepers now serves up with X prequel Pearl. Shot back to back with its predecessor, sharing mesmerising star Mia Goth (Emma), and co-written by her and West — penned during their two-week COVID-19 quarantine period getting into New Zealand to make the initial movie, in fact — it's a gleaming companion piece. It's also a savvy deepening and recontextualising of a must-see scary-movie franchise that's as much about desire, dreams and determination as notching up deaths. In one of her X roles, Goth was magnetic as aspiring adult-film actor Maxine Minx, a part she'll reprise in the trilogy's upcoming third instalment MaXXXine. As she proved first up and does again in Pearl, she plays nascent, yearning, shrewd and resolute with not just potency, but with a pivotal clash between fortitude and vulnerability; when one of Goth's youthful X Universe characters says that they're special or have the X factor, they do so with an astute blend of certainty, good ol' fashioned wishing and hoping, and naked self-convincing. This second effort's namesake, who Goth also brought to the screen in her elder years in X, wants to make it in the pictures, too. Looking to dance on her feet instead of horizontally, stardom is an escape (again), but Pearl's cruel mother Ruth (Tandi Wright, Creamerie), a religiously devout immigrant from Germany turned bitter from looking after her ailing husband (Mathew Sunderland, The Stranger), laughs at the idea. Pearl is available to stream via Netflix and Binge. Read our full review. SKINAMARINK Age may instil nocturnal bravery in most of us, stopping the flinching and wincing at things that routinely go bump, thump and jump in the night in our ordinary homes, but the childhood feeling of lying awake in the dark with shadows, shapes and strange sounds haunting an eerie void never seeps from memory. Close your eyes, cast your mind back, and the unsettling and uncertain sensation can easily spring again — that's how engrained it is. Or, with your peepers wide open, you could just watch new micro-budget Canadian horror movie Skinamarink. First-time feature filmmaker Kyle Edward Ball has even made this breakout hit, which cost just $15,000 to produce, in the house he grew up in. His characters: two kids, four-year-old Kevin (debutant Lucas Paul) and six-year-old Kaylee (fellow newcomer Dali Rose Tetreault), who wake up deep into the evening. The emotion he's trading in: pure primal dread, because to view this digitally shot but immensely grainy-looking flick is to be plunged back to a time when nightmares lingered the instant that the light switched off. Skinamarink does indeed jump backwards, meeting Kevin and Kaylee in 1995 when they can't find their dad (Ross Paul, Moby Dick) or mum (Jaime Hill, Give and Take) after waking. But, befitting a movie that's an immersive collage of distressing and disquieting images and noises from the get-go, it also pulsates with an air of being trapped in time. It takes its name from a nonsense nursery-rhyme song from 1910, then includes cartoons from the 1930s on Kevin and Kaylee's television to brighten up the night's relentless darkness. In its exacting, hissing sound design especially, it brings David Lynch's 1977 debut Eraserhead to mind. And the influence of 1999's The Blair Witch Project and the 2007-born Paranormal Activity franchise is just as evident, although Skinamarink is far more ambient, experimental and experiential. Ball has evolved from crafting YouTube shorts inspired by online commenters' worst dreams to this: his own creepypasta. Skinamarink is available to stream via Shudder and AMC+. Read our full review. NO ONE WILL SAVE YOU Thanks to Justified, Short Term 12, Booksmart, Unbelievable and Dopesick, Kaitlyn Dever has already notched up plenty of acting highlights; however, No One Will Save You proves one of her best projects yet while only getting the actor to speak just a single line. Instead of using dialogue, this alien invasion flick tells its story without words — and also finds its emotion in Dever's expressive face and physicality. Her character: Mill River resident Brynn Adams, who has no one to talk to long before extra-terrestrials arrive. The local outcast due to a tragic incident from her past, and now living alone in her childhood home following her mother's death, Brynn fills her time by sewing clothes, making models of her unwelcoming small town like she's in Moon and penning letters to her best friend Maude. Then she's woken in the night by an intruder who isn't human, flits between fighting back and fleeing, and is forced into a battle for survival — striving to save her alienated existence in her cosy but lonely abode from grey-hued, long-limbed, telekinetic otherworldly interlopers with a penchant for mind control. With Spontaneous writer/director Brian Duffield's script matched by exacting A Quite Place-level sound design and The Witcher composer Joseph Trapanese's score, this close encounter of the unspoken kind is a visual feat, bouncing, bounding and dancing around Brynn's house and the Mill River community as aliens linger. Every single frame conveys a wealth of detail, as it needs to without chatter to fill in the gaps. Every look on Dever's face does the same, and every glance as well; this is a performance so fine-tuned that this would be a completely different film without her. Bringing the iconic 'Hush' episode of Buffy the Vampire Slayer to mind, No One Will Save you is smartly plotted, including in explaining why it sashays in silence. Just as crucially — and this time recalling everyone's favourite home-invasion film, aka Home Alone — it's fluidly and evocatively choreographed. There's also a touch of Nope in its depiction of eerie threats from space, plus a veer into Invasion of the Body Snatchers, all without ever feeling like No One Will Save is bluntly cribbing from elsewhere. The result: a new sci-fi/horror standout. No One Will Save You streams via Disney+. TOTALLY KILLER Kiernan Shipka has long said goodbye to Mad Men's Sally Draper, including by starring in Chilling Adventures of Sabrina. After her dalliance with witchcraft, she's still sticking with horror in Totally Killer, but in a mix of slasher tropes and a Back to the Future-borrowing premise. There's a body count and a time machine — and 80s fashions aplenty, because where else does a 2023 movie head to when it's venturing into the past? Also present and accounted for: a tale about a high schooler living in a small town cursed by a past serial killer, which brings some Halloween and Scream nods, plus Mean Girls and Heathers-esque teen savagery. And, yes, John Hughes flicks also get some love, complete with shoutouts to Sixteen Candles, The Breakfast Club and Pretty in Pink star Molly Ringwald. Totally Killer doesn't skimp on knowingly and winkingly mashing up its many influences, clearly, or on enjoying itself while doing so. The end result is a heap of fun, as hailing from Always Be My Maybe's Nahnatchka Khan behind the lens, along with screenwriters David Matalon (The Clearing), Sasha Perl-Raver (Let's Get Married) and Jen D'Angelo (Hocus Pocus 2). Shipka plays Vernon resident Jamie Hughes, who has spent her whole life being told to be careful about everything by her overprotective parents Pam (Julie Bowen, Modern Family) and Blake (Lochlyn Munro, Creepshow) after an October turned deadly back when they were her age. Unsurprisingly, she isn't happy about it. The reason for their caution: in 1987, three 16-year-old girls were murdered in the lead up to Halloween, with the culprit badged the Sweet 16 Killer — and infamy ensuing for Jamie's otherwise ordinary hometown. Pam is still obsessed with finding the murderer decades later, but her daughter only gets involved after a new tragedy. This Jason Blum (The Exorcist: Believer)-produced flick then needs to conjure up a blast in the past to try to fix what happened then to stop the new deaths from occurring. Always knowing that it's a comedy as much as a slasher film (as seen in its bright hues, heard in its snappy dialogue and conveyed in its committed performances), Totally Killer leans into everything about its Frankenstein's monster-style assemblage of pieces, bringing its setup to entertaining life. Totally Killer streams via Prime Video. THEY CLONED TYRONE Jordan Peele's Get Out and Us would already make a killer triple feature with Boots Riley's Sorry to Bother You. For a smart and savvy marathon of science fiction-leaning films about race in America by Black filmmakers, now add Juel Taylor's They Cloned Tyrone. The Creed II screenwriter turns first-time feature director with this dystopian movie that slides in alongside Groundhog Day, Moon, The Cabin in the Woods, A Clockwork Orange, Invasion of the Body Snatchers and They Live, too — but is never derivative, not for a second, including in its 70s-style Blaxploitation-esque aesthetic that nods to Shaft and Superfly as well. Exactly what drug dealer Fontaine (John Boyega, The Woman King), pimp Slick Charles (Jamie Foxx, Spider-Man: No Way Home) and sex worker Yo-Yo (Teyonah Parris, Candyman) find in their neighbourhood is right there in the film's name. The how, the why, the specifics around both, the sense of humour that goes with all of the above, the savage satire: Taylor and co-writer Tony Rettenmaier perfect the details. Ignore the fact that they both collaborated on the script for the awful Space Jam: A New Legacy, other than considering the excellent They Cloned Tyrone as a far smarter, darker and deeper exploration of exploitation when the powers that be see other people as merely a means to an end. On an ordinary day — and amid vintage-looking threads and hairstyles, and also thoroughly modern shoutouts to SpongeBob SquarePants, Kevin Bacon, Barack Obama, Nancy Drew and bitcoin — Fontaine wakes up, has little cash and doesn't win on an instant scratch-it. He chats to his mother through her bedroom door, tries to collect a debt from Slick Charles and, as Yo-Yo witnesses, is shot. Then he's back in his bed, none the wiser about what just happened, zero wounds to be seen, and going through the same cycle again. When the trio realise that coming back from the dead isn't just a case of déjà vu, they team up to investigate, discovering one helluva conspiracy that helps Taylor's film make a powerful statement. They Cloned Tyrone's lead trio amply assists, too, especially the ever-ace Boyega. Like Sorry to Bother You especially, this is a comedy set within a nightmarish scenario, and the Attack the Block, Star Wars and Small Axe alum perfects both the humour and the horror. One plucky and persistent, the other oozing charm and rocking fur-heavy coats, Parris and Foxx lean into the hijinks as the central threesome go all Scooby-Doo. There isn't just a man in a mask here, however, in this astute and inventive standout. They Cloned Tyrone streams via Netflix. M3GAN Book in a date with 2 M3GAN 2 Furious now: even if it doesn't take that name, which it won't, a sequel to 2023's first guaranteed horror hit will come. Said follow-up also won't be called M3GAN 2: Electric Boogaloo, but that title would fit based on the first flick's TikTok-worthy dance sequence alone. Meme-starting fancy footwork is just one of the titular doll's skills. Earnestly singing 'Titanium' like this is Pitch Perfect, tickling the ivories with 80s classic 'Toy Soldiers', making these moments some of M3GAN's funniest: they're feats the robot achieves like it's designed to, too. Although unafraid to take wild tonal swings, and mining the established comedy-horror talents of New Zealand filmmaker Gerard Johnstone (Housebound) and screenwriter Akela Cooper (Malignant) as well, this killer-plaything flick does feel highly programmed itself, however. It's winking, knowing, silly, satirical, slick and highly engineered all at once, overtly pushing buttons and demanding a response — and, thankfully, mostly earning it. Those Child's Play-meets-Annabelle-meets-The Terminator-meets-HAL 9000 thoughts that M3GAN's basic concept instantly brings to mind? They all prove true. The eponymous droid — a Model 3 Generative Android, to be specific — is a four-foot-tall artificially intelligent doll that takes the task of protecting pre-teen Cady (Violet McGraw, Black Widow) from emotional and physical harm deadly seriously, creeping out and/or causing carnage against everyone who gets in its way. Those Frankenstein-esque sparks, exploring what happens when humanity (or Girls and Get Out's Allison Williams here, as Cady's roboticist aunt Gemma) plays god by creating life? They're just as evident, as relevant to the digital age Ex Machina-style. M3GAN is more formulaic than it should be, though, and also never as thoughtful as it wants to be, but prolific horror figures Jason Blum and James Wan produce a film that's almost always entertaining. M3GAN is available to stream via Binge and Netflix. Read our full review. THE BOOGEYMAN Teenagers are savage in The Boogeyman, specifically to Yellowjackets standout Sophie Thatcher, but none of them literally take a bite. Grief helps usher a stalking dark force to a distraught family's door; however, that malevolent presence obviously doesn't share The Babadook's moniker. What can and can't be seen haunts this dimly lit film from Host and Dashcam director Rob Savage, and yet this isn't Bird Box, which co-star Vivien Lyra Blair also appeared in. And a distressed man visits a psychiatrist to talk about his own losses, especially the otherworldly monster who he claims preyed upon his children, just as in Stephen King's 1973 short story also called The Boogeyman — but while this The Boogeyman is based on that The Boogeyman, which then made it into the author's 1978 Night Shift collection that gave rise to a packed closet full of fellow movie adaptations including Children of the Corn, Graveyard Shift and The Lawnmower Man, this flick uses the horror maestro's words as a mere beginning. On the page and the screen alike, Lester Billings (David Dastmalchian, Boston Strangler) seeks therapist Will Harper's (Chris Messina, Air) assistance, reclining on his couch to relay a tragic tale. As the new patient talks, he isn't just shaken and shellshocked — he's a shadow of a person. He's perturbed by what loiters where light doesn't reach, in fact, and by what he's certain has been lurking in his own home. Here, he couldn't be more adamant that "the thing that comes for your kids when you're not paying attention" did come for his. And, the film Lester has chosen his audience carefully, because Will's wife recently died in a car accident, leaving his daughters Sadie (Thatcher) and Sawyer (Blair) still struggling to cope. On the day of this fateful session, the two girls have just returned to school for the first time, only for Sadie to sneak back when her so-called friends cruelly can't manage any sympathy. The Boogeyman is available to stream via Disney+. Read our full review. KNOCK AT THE CABIN Does M Night Shyamalan hate holidays? The twist-loving writer/director's Knock at the Cabin comes hot on the heels of 2021's Old, swapping beach nightmares for woodland terrors. He isn't the only source of on-screen chaos in vacation locations — see also: Triangle of Sadness' Ruben Östlund, plus oh-so-many past horror movies, and TV's The White Lotus and The Resort as well — but making two flicks in a row with that setup is a pattern. For decades since The Sixth Sense made him the Oscar-nominated king of high-concept premises with shock reveals, Shyamalan explored the idea that everything isn't what it seems in our daily lives. Lately, however, he's been finding insidiousness lingering beyond the regular routine, in picturesque spots, when nothing but relaxation is meant to flow. A holiday can't fix all or any ills, he keeps asserting, including in this engaging adaptation of Paul Tremblay's 2018 novel The Cabin at the End of the World. For Eric (Jonathan Groff, The Matrix Resurrections), Andrew (Ben Aldridge, Pennyworth) and their seven-year-old daughter Wen (debutant Kristen Cui), a getaway isn't meant to solve much but a yearning for family time in the forest — and thinking about anyone but themselves while Eric and Andrew don robes, and Wen catches pet grasshoppers, isn't on their agenda. Alas, their rural Pennsylvanian idyll shatters swiftly when the soft-spoken but brawny Leonard (Dave Bautista, Glass Onion: A Knives Out Mystery) emerges from the trees. He says he wants to be Wen's friend, but he also advises that he's on an important mission. He notes that his task involves the friendly girl and her dads, giving them a hard choice yet also no choice at all. The schoolteacher has colleagues, too: agitated ex-con Redmond (Rupert Grint, Servant), patient nurse Sabrina (Nikki Amuka-Bird, Avenue 5) and nurturing cook Adriane (Abby Quinn, I'm Thinking of Ending Things), all brandishing weapons fashioned from garden tools. Knock at the Cabin is available to stream via Netflix and Binge. Read our full review. Looking for more things to watch? Check out our monthly streaming roundup, as well as our rundown of recent cinema releases that've been fast-tracked to digital home entertainment of late.
Before donning a face covering became a regular part of life for everyone during the pandemic, one of the most famous mask-wearing figures in popular culture was doing it first. And, the fictional character will be doing so again in Australia — but, although The Phantom of the Opera was set to head to Sydney from September this year, and then to Melbourne from November, the famed musical's upcoming dates have been postponed. Accordingly, the music of the night will still be crooning its way into both cities via to a new season of the acclaimed Tony-winner; however, it'll now happen sometime in 2022 instead. New dates haven't been announced as yet, but Opera Australia, who is staging the production, advised that it had decided to push its shows to next year due to "the uncertainty created by the ongoing restrictions imposed by both the New South Wales and Victorian Governments because of the indefinite COVID-19 lockdowns." "This has been a really difficult decision for OA and our partners to make and has certainly not been made lightly when so many people will be affected," said Artistic Director Lyndon Terracini. "After making box office history at the Opera House, it was clear that Australians were very excited about this new production of the world's most successful musical, and we'd brought together a fantastic cast of Australian performers, it's heartbreaking to have to postpone." When it does eventually hit the stage, the current production of The Phantom of the Opera will arrive in Down Under after breaking records in the UK and touring the US for seven years. Australia will become just the third country to witness this take on the tale, in fact. Obviously, all of the familiar songs are part of it, such as 'All I Ask of You', 'Masquerade' and the titular number. You'll also be lapping up Maria Björnson's original costumes, too. But, if you've seen the show before, expect the chandelier to look a little different. Australian musical theatre performer Josh Piterman is set to play the Phantom, after first wearing the character's mask in London pre-pandemic. He'll be joined by a cast and orchestra of 65 people, which'll make The Phantom of the Opera one of the largest musical productions in Australia. If you need a refresher on the musical's story, it follows soprano Christine Daaé and the masked musical genius who lives beneath the Paris Opera House — and the latter's obsession with the former. Although first turned into a stage musical in the 80s, it's based on Gaston Leroux's 1910 novel. And yes, you might've seen the 2004 movie, which starred Gerard Butler as the Phantom. https://www.youtube.com/watch?v=-jpaw9dft2Y The Phantom of the Opera will tour Australia in 2022. Tickets for current shows will remain valid for the production's new dates, when they're announced. For further information, head to the musical's website. Top image: Michael Le Poer Trench.
First, the bad news: if you're not fond of peanut butter of you have an allergy (and therefore you've decided deep down in your stomach that it tastes awful), Krispy Kreme's latest batch of limited-time-only doughnuts definitely isn't for you. For everyone else, get ready to treat yourself to a dreamy mashup, because the fried pastry chain and Reese's have joined forces. A couple of years back, gelato brand Gelatissimo scooped up Gelato made with Reese's Peanut Butter Cups. Now, it's Krispy Kreme's turn to give those American sweets the doughnut treatment. The three-option range does indeed go all in on peanut butter — two with chocolate, too, and one in a cheesecake variety. If you opt for Krispy Kreme's peanut butter cheesecake made with Reese's doughnut — a mouthful to say and to eat — you'll be munching on the brand's original glazed doughnut, which has been dipped in white truffle, topped with peanuts and then given a Reese's Peanut Butter cream cheese frosting swirl. As for the others, the Krispy Kreme Reese's Peanut Butter and choc doughnut takes the usual Krispy Kreme shell, fills it with Reese's Peanut Butter sauce, then dips it in chocolate ganache, and sprinkles on peanuts and Reese's Peanut Butter Chips. Then there's the Krispy Kreme Peanut Butter choc brownie made with Reese's doughnut, which jams its shell with Reese's Peanut Butter and choc brownie butter, then gets plunged in milk chocolate ganache, and comes with Reese's Peanut Butter drizzle, choc crumbs and peanuts on top. You'll find the first two varieties — the Krispy Kreme's peanut butter cheesecake made with Reese's doughnut and the Krispy Kreme Reese's Peanut Butter and choc doughnut — on sale from today, Tuesday, September 20, at all Krispy Kreme stores nationwide. The cost: $3.90 each and $29.90 for a dozen. The Krispy Kreme Peanut Butter choc brownie made with Reese's doughnut will only be available from Tuesday, October 4 from 7-Eleven stores for the same price. Krispy Kreme's Reese's range is available for $3.90 each/$29.90 for a dozen for a limited time — with two varieties available at Krispy Kreme stores from Tuesday, September 20, and a third from 7-Eleven stores from Tuesday, October 4.
A long time ago in this very galaxy, a whole year passed by without a new Star Wars movie hitting cinemas. That year was 2014, with Disney delivering a fresh trilogy of flicks and two spinoffs to big screens for five years straight between 2015–19 — introducing the world to new lightsaber-wielding characters, farewelling old favourites and delving into stellar side stories. Alas, in 2020, that run is coming to an end. More Star Wars movies are planned, because of course they are; however, wannabe Jedis won't be watching them just yet. But that doesn't mean that the force won't be with us this year, with The Mandalorian's second season heading to Disney+ from Friday, October 30. For those that missed it or need a refresher — the Star Wars universe certainly does sprawl far and wide, both within its tales and in its many different movies, shows, books and games — the Emmy-nominated show follows the titular bounty hunter (Pedro Pascal). In the series' first season, which was set five years after Star Wars: Episode XI — Return of the Jedi and aired last year, that meant tracking his latest gigs. And, it also involved charting his encounter with a fuzzy little creature officially known as The Child, but affectionately named Baby Yoda by everyone watching. Also on offer the first time around: Breaking Bad's Giancarlo Esposito playing villain Moff Gideon, aka the ex-Galactic Empire security officer determined to capture The Child; everyone from Carl Weathers and Taika Waititi to Werner Herzog playing ex-magistrates, droids and enigmatic strangers; and plenty of planet-hopping. Yes, it was firmly a Star Wars TV series, and yes, it plans to continue in the same manner. As the just-dropped first trailer for The Mandalorian's second season shows, it also plans to once again focus on one of television's best pairings. Not only is Mando back, but so is the oh-so-adorable Baby Yoda. The duo's quest to return to The Child's home planet continues, and they aren't parting ways on the journey — "wherever I go, he goes," Mando advises. In addition to showering viewers in Baby Yoda's cuteness, the eight-episode new season will see Boba Fett (Temuera Morrison) pop up — it is a show about a bounty hunter, after all — plus Timothy Olyphant and Rosario Dawson join the cast. Behind the lens, directors include showrunner Jon Favreau, Jurassic World star Bryce Dallas Howard, Dope's Rick Famuyiwa, Ant-Man's Peyton Reed and Alita: Battle Angel's Robert Rodriguez, as well as Weathers doing double duty on-screen and off. Check out the trailer below: https://www.youtube.com/watch?v=5LkkaL-y6Hc&feature=youtu.be The Mandalorian's second season hits Disney+ on Friday, October 30. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: Disney+
UPDATE, November 11, 2022: Fire of Love is available to stream via Disney+. Spewing fire is so hot right now, and literally always — and dragons aren't the only ones doing it. House of the Dragon and Blaze can have their flame-breathing creatures, and Fire of Love can have something that also seems fantastical but is one of the earth's raging wonders. The mix of awe, astonishment, adoration, fear, fascination and unflinching existential terror that volcanoes inspire is this documentary's playground. It was Katia and Maurice Krafft's daily mood, including before they met, became red beanie-wearing volcanologists, built a life chasing eruptions — The Life Volcanic, you could dub it — and devoted themselves to studying lava-spurting ruptures in the planet's crust. Any great doco on a topic such as this, and with subjects like these, should make viewers experience the same thrills, spills, joys and worries, and that's a radiant feat this Sundance award-winner easily achieves. What a delight it would be to trawl through the Kraffts' archives, sift through every video featuring the French duo and their work, and witness them doing their highly risky jobs against spectacular surroundings for hours, days and more. That's the task filmmaker Sara Dosa (The Seer and the Unseen) took up to make this superb film. This isn't the only such doco — legendary German director Werner Herzog has made his own, called The Fire Within: A Requiem for Katia and Maurice Krafft, after featuring the couple in 2016's Into the Inferno — but Fire of Love is a glorious, sensitive, entrancing and affecting ode to two remarkable people and their love, passion and impact. While history already dictates how the pair's tale ends, together and exactly as it seemed fated to, retracing their steps and celebrating their importance will never stop sparking new pleasures. For newcomers to the Kraffts, their lives comprised quite the adventure — one with two volcano-obsessed souls who instantly felt like they were destined to meet, bonded over a mutual love of Mount Etna, then dedicated their days afterwards to understanding the natural geological formations that filled their dreams. Early in their time together, the couple gravitated to what they called 'red volcanoes', with their enticing scarlet-hued lava flows. What a phenomenon to explore when romance beats in the air, and when geochemist Katia and geologist Maurice are beginning their life together. From there, however, they moved to analysing what they named 'grey volcanoes'. Those don't visually encapsulate the pair's relationship; they're the craggy peaks that produce masses of ash when they erupt — Iceland's Eyjafjallajokull, for instance — and often a body count. As narrated by actor and Kajillionaire filmmaker Miranda July, Fire of Love starts with blazing infatuation and devotion — between the Kraffts for each other, and for their field of interest — then establishes their legacy. Both aspects could fuel their own movies, and both linger and haunt in their own ways. And, as magnificent as this incredibly thoughtful, informative and stirring documentary is, it makes you wonder what a sci-fi flick made from the same footage would look like. The 16-millimetre imagery captured during the Kraffts' research trips around the globe, whittled down here from 200 hours to fill just 98 minutes, puts even the most state-of-the-art special effects in a different realm. Pixels can be used to paint gorgeous sights, and cinema has no shortage of movies that shimmer with that exact truth, but there really is no substitute for reality. During Fire of Love's first half, those easy visions of science fiction just keep flickering; if someone else had Dosa's access, and had July employ her dreamy voice to spin an otherworldly narrative, movie magic would likely explode. There's a particular sequence that cements that idea, set to the also-ethereal sounds of Air — layering French icons upon French icons — and featuring the Kraffts walking around against red lava in their futuristic-looking protective silver suits. They wander, they risk their lives, and pure actuality beams back. It's nothing short of extraordinary, as well as enchanting. Fittingly, the film's entire score springs from Air's Nicolas Godin, and it couldn't better set the mood; that said, these visuals and this story would prove enrapturing if nary a sound was heard, let alone a note or a word. Other segments ripple with sheer incredulity — not the several riffs on Katia and Maurice's meet-cute, though, or how he worked the publicity angles to fund their work while she pumped out their books. (In a doco stitched together from archival materials rather than contemporary talking-head interviews, those past TV chats come in handy, too). When Maurice and one of the duo's offsiders decide chalk up the first-ever sailing trip across a lake of sulphuric acid in just a rubber dinghy, floating around the crater of Java's Ijen, jaws can only drop. The footage is breathtaking, and more petrifying than any horror flick. That Katia refused to hop onto the raft also helps spell out the pair's differences. No chemist would trust their life to a bath of acid, yet the geologists are willing to take the chance. Fire of Love falls head over heels for the Kraffts' similarities and mutual fixations, but Dosa, her co-writers/editors Erin Casper (The Vow) and Jocelyne Chaput (Fractured Land), plus producer/fellow co-scribe Shane Boris (Stray), also see where they went their own ways. When Fire of Love focuses on the Kraffts' groundbreaking observations, it's even more astounding. The film covers the crucial life-or-death impact of their work on grey volcanoes, after attempting to educate towns and cities in the vicinity of such masses — so they could react appropriately and in a timely manner to avoid casualties — became a key part of their mission. Spying the fallout when the couple's warnings about potential fatalities went unheeded, including their cautions about deadly mudslides, is simply heartbreaking. Witnessing how one pyroclastic flow from Japan's Mount Unzen in 1991 forever ended the Kraffts' own narratives, albeit not for the same reason, is just as moving. What an existence Katia and Maurice shared — and what a stunningly compiled and edited tribute this is to them, the rock they called home as we all do, the land features they adored, the ash and fire those volcanoes expel into the sky, and the fragility of life, love and, well, everything.
As if Wes Anderson's The Grand Budapest Hotel could get any more adorably twee, Argentine designers Sabrina Giselle Acevedo and Jazmin Granada (both graphic design students at the University of Buenos Aires) have recreated Anderson's latest film's opening credits using paper. Making a pop-up book-like representation of Gustave's reception keys and Agatha's perfect Mendl's cake, Acevedo and Granada have created a squealworthy sequence of stop animation to make your day that little bit more grand. Via Fubiz. Want more Grand Budapest Hotel-ery? Check out our attempts to recreate Mendl's Courtesan au Chocolat with Gelato Messina over here.
What Maisie Knew is an adaptation of the classic Henry James novella of the same name. Set in modern-day New York, it tells the story of Maisie (Onata Aprile), a seven-year old girl caught in the middle of a game of custody one-upmanship between her divorced parents, rock star Susanna (Julianne Moore) and art dealer Beale (Steve Coogan). Through Maisie's point of view, we see her parents resort to increasingly immature measures for full custody, as Maisie somehow manages to stay calm amongst all the chaos going on around her. Some more positive parental influence comes via Susanna and Beale's new partners, Lincoln (Alexander Skarsgard) and Margo (Joanna Vanderham). (In fact, the True Blood hottie and child star Onata have such a genuine bond it will hit your ovaries hard.) Brought to you by the producers of The Kids Are All Right, What Maisie Knew is touted as "an enchanting drama that explores the tangled complexity and often humorous aspects of contemporary relationships and family life." To celebrate the release of What Maisie Knew on August 22, Madman Entertainment and Papillionaire are giving one lucky reader the chance to get in touch with their inner seven-year-old, on The Sommer, a stylish, fully custom, Boston red, single-speed bicycle with basket, valued at $553, as well as a double in-season pass to see What Maisie Knew. Ten runners up will also receive double passes to the film. To be in the running, all you need to do is email hello@concreteplayground.com.au with your name and address.
Jurassic Park and Jurassic World films typically have a moment — more than one, sometimes — where an ominous sound gets the franchise's characters looking upwards. The source of that noise tends to be a towering dinosaur, which also becomes everyone's next sight, the movie-watching audience included. In those seconds, folks on- and off-screen tend to share a look. Viewers of 1993's OG picture in the saga, and of 1997's The Lost World: Jurassic Park, 2001's Jurassic Park III, 2015's Jurassic World, 2018's Jurassic World: Fallen Kingdom, 2022's Jurassic World Dominion and now 2025's Jurassic World Rebirth, have all spied it. Awe, wonder, surprise, shock, amazement, reverence, a touch of fear: that's the Jurassic expression when the kind of critter that lived more than 66-million years ago looms large over modern-day humans. Audiences do indeed sport the same reaction. Jurassic World Rebirth star Rupert Friend (The Phoenician Scheme) has witnessed it. At the film's premiere, "occasionally we turned around in our seats to look at the faces watching it," he tells Concrete Playground, "and you saw a thousand people with that look on their face". If you're thinking that perhaps that is just the innate, instinctual response to dinosaurs, then, you're not alone. "So maybe it's just a natural thing when you're experiencing this stuff, to have that — somewhere between awe, wonder and terror, maybe — I would say," Friend continues. Friend's character is the entire reason that the new narrative, which is set five years post-Jurassic World Dominion, kicks into gear. In the seventh instalment in the big-screen series, and in a movie directed by Gareth Edwards (The Creator) — adding a Jurassic Park franchise film to a resume that's already seen him tackle sizeable creatures in 2010's Monsters and 2014's Godzilla, and jump into huge sagas courtesy of the latter and Rogue One: A Star Wars Story — Martin Krebs is the man with the plan. Working for pharmaceutical company ParkerGenix, he recruits ex-special forces operative Zora Bennett (Friend's The Phoenician Scheme co-star Scarlett Johansson), her seasoned associate Duncan Kincaid (Mahershala Ali, Leave the World Behind) and palaeontologist Dr Henry Loomis (Jonathan Bailey, Wicked) on a mission to collect dino DNA. The idea is to use the specimens in medical research to create new treatments. Making money is as much of a goal. Venturing to an island that's one of the last places on the planet with a climate and ecology still suitable for ancient beasts — and to a location that's forbidden to people as a result — Zora, Duncan and Henry are Jurassic World Rebirth's core trio. Fans know that the saga has enjoyed putting that dynamic front and centre since Sam Neill (The Twelve), Laura Dern (Lonely Planet) and Jeff Goldblum (Wicked) were at the heart of 1993's franchise-starter. Unsurprisingly given his employers, and befitting the series' fondness for a human villain, too, Krebs and the latest film's three leads don't always agree. Experiencing the wonders of living dinosaurs right now equally harks back to the original flick. That's where Manuel Garcia-Rulfo (The Lincoln Lawyer) comes in as Reuben Delgado, a father holidaying at sea with his daughters, 11-year-old Isabella (Audrina Miranda, Criminal Minds) and 18-year-old Teresa (Luna Blaise, Manifest), plus Teresa's boyfriend Xavier (David Iacono, Fear Street: Prom Queen). Their sailing getaway crosses paths with giant prehistoric critters of the deep, and with Zora and her crew's clandestine trip. Garcia-Rulfo partly credits Jurassic Park for him even being an actor. "The first one, the Spielberg one, it was such a big part of me. For me, films are like my second mother, my second school. I thought since I was a kid, I was a terrible student, and all I did was watch movies — and a big one was Jurassic Park. So now to be part of that, it's just very, very big for me." Also filled with affection, his Rebirth director admits that many of his features before now have all been secret attempts to make a Jurassic entry. "Well, it's just not so secret anymore, I think," Edwards advises. [caption id="attachment_1012234" align="alignnone" width="1920"] Roy Rochlin/Getty Images for Universal Pictures and Amblin Entertainment[/caption] Those throwback-style leanings to Jurassic World Rebirth's story aren't just a case of a filmmaker getting a chance to pay tribute to something that he's long loved within its own realm, and doing so entertainingly, however. After respectively directing and adapting Jurassic Park and The Lost World, Steven Spielberg (The Fabelmans) and David Koepp (Black Bag) are back among the movie's team — one as an executive producer, the other penning the script. Accordingly, Edwards is working with the two figures who initially made movie magic from Michael Crichton's novel. Koepp's script delivers him the job of not only crafting a dinosaur action-adventure, though, but also a heist film with Krebs' mission, an anti-big pharma movie there as well, a family drama with Reuben and his children, an ocean creature feature at times, and a leap into sci-fi horror territory with a Frankenstein angle thanks to its new to genetically engineered dinosaurs, such as the Mutadon and the Distortus rex. With Edwards, Garcia-Rulfo and Friend, we chatted more about what it means to be part of this now 32-year-old franchise, working with Spielberg and Koepp, dreaming up new dinos, always grounding the tale in humans first and other topics — including its multiple-movies-in-one narrative, plus how nature's persistence remains pivotal. Yes, life keeps finding a way, just as it does in bringing all things Jurassic Park and Jurassic World back to cinemas. On Edwards Taking the Helm on a Franchise That He Grew Up with — and Has Said He's Been Trying to Secretly Make in All of His Other Films So Far Gareth: "I think it's like a coming out party where I can finally declare that Jurassic Park, it was just such an inspiration as a kid. I ended up buying a computer and learning how to do computer animation, and doing dinosaurs in my bedroom-type stuff — thinking 'oh, this is going to be the way you make films and if you learn how to do this, you'll be able to make a movie from home' kind of thing. Cut to 15 years later, I'm still doing visual effects, thinking I've wasted my life, I made a terrible mistake — but it actually turned out okay in the end, I think. I don't really understand how it led to this, but I feel like I'm in a simulation or something. I don't really know how it happened is the honest truth." On What Being Part of the Jurassic Park Franchise Means to Its Cast Manuel: "It's huge. For me, it's so big. So honestly, it's kind of overwhelming. I don't know if that's the word, but Jurassic Park really changed me — and, I guess, marked a generation — but it really changed me as a person. Meaning, when I saw it, I really wanted to be part of the films, of this industry, of that world. So now to be part of that franchise, which is one of the biggest franchises in cinema, I'm just really, really happy and grateful — and very happy with the result. I've seen it two times, the film, and it's so good — it's such a fun film." Rupert: "Yeah, likewise. Of any of the sort of super blockbuster franchises, I was always my favourite. I think the idea of exotic foreign locales plus that weird thing which is not science fiction, but it's not totally known to us — the world of dinosaurs. If you think about things that are set in space, that's sort of complete science fiction, and this always felt like the most-perfect hybrid. Aside from being made by Spielberg, who I've loved all my life, and Crichton, who I read when I was a child and continue to adore his writing. So to do it as a kind of brand-new venture within a familiar universe with this incredible new cast, new dinosaurs, Gareth Edwards at the helm, it was just the perfect melting pot." On How Working with Steven Spielberg and David Koepp, Who Started the Film Franchise Three Decades Ago, Assists When You're Directing the Saga's Sixth Sequel Gareth: "It was the key to everything. Essentially, Steven had kind of come up with the whole premise with David Koepp, figured out the storyline. And then David, I think, wrote a first draft and that got greenlit. It was a really fast process. I think it existed in December and by March I was going to meetings at Universal. And then we did this movie in a year and a quarter. Normally on a giant film like this, you have two-and-a-half years — and this is half the amount of time. My editor, he put a sign up on the edit suite, a quote — I think it's from Leonard Bernstein — and it said something like "art is when you have a plan and not quite enough time". It's like having a gun at your head. It's really interesting, because it makes — you can't second guess yourself. Everyone who worked on the movie had to just go with their first instincts first time. And there was no messing around. If anyone got in the way of anything, the film wouldn't make the release date. And weirdly, looking back now, I kind of feel like 'okay, my next contract, if I ever make another film, I'm going to tell them to take the schedule and halve it' — because I think it leads to a more interesting result. It's like you just have to go with your gut." On the Importance of Jurassic World Rebirth Grounding Its Dinosaur Adventure in Its Human Characters Manuel: "I think that's the most important for me. That's what really drew me to the story. And I really believe that Gareth was the perfect one. I recently, before being cast, I watched his latest film, which was The Creator, and it really made me want to see all his films. And he's a perfect director that works with science fiction, even though this is different. But he never loses the element of humanity in his stories. And I think this is for me, it's just the heart of the film. Otherwise you don't care for the characters. And again, I think this movie has not just very scary moments, but a lot of heart because of the characters." On Whether It's a Dream Come True Getting to Create New Dinosaurs — Creatures Literally Whipped Up in a Lab — for a Jurassic Movie Gareth: "I love monsters. And I love, obviously, when you get given the task of designing a monster for some reason — it's also one of the hardest things you can do, because there's so many great monsters that have already been done. There was a concept artist I worked with who did the Joker's mask in The Dark Knight and stuff like that, and he said it's like trying to find the last carpark space in the Disney World carpark or something — where you're going around, you know it's there somewhere, there is a new monster that's not been done, but everywhere you go, you go 'well, that's been done, that's been done, that's been done'. And so what you end up in a situation is, sometimes, like real animals, like breeding things. So it was a bit like the rancor monster from Star Wars had a sexual relationship with the HR Giger's alien, and had a little kid that was like a T. rex. And then what's interesting is, then the animators have to animate that stuff, and one of the questions they ask you is 'if this was a real character from a real film, who would it be?' — so we just get the personality across. And it was a tricky question. For the D. rex, the big, massive dinosaur you see on the posters, it was like 'well, go rewatch The Elephant Man'. Because I felt like that was kind of where I was imagining it in my head — is that something where you had a little bit of empathy for them as well. It wasn't just a monster. And it makes the audience feel a little bit more uncomfortable because they can't just want to kill this thing." On the Idea of Nature's Persistence Being So Pivotal to the Film Rupert: "Life finds a way. Certainly all the characters in this film have a temerity and a tenacity to survive — and in the case of the family, to survive as a team; and in the case of the more bounty-hunter gang, to complete the mission as well as survive. And in terms of the dinosaurs as well, we see the laboratory now ruined from which they escaped, and that's a perfect visual metaphor for life finding a way. Even if it's locked up in some laboratory on a remote island, eventually evolution will have its day." On What Excites Edwards About Getting the Chance to Add His Voice and Vision to Big Beloved Franchises, Including Godzilla and Rogue One: A Star Wars Story in the Past Gareth: "It's funny because it does feel a bit like — when I grew up, the films that were being made were all very original movies. Every single one of them. What we call a franchise now was at one point original. And so there's half of me that's like 'what's the matter? What's going on? Why is it all franchises and IPs?'. And then you start to realise that what's probably going on is it's a little bit like a mythical story. Like, for hundreds of thousands of years, you'd be a little kid around the campfire, and some elder would tell you this tale about how they went off over the hill and fought some animal and came back with all the things for the village. And you would hear that story and go 'oh wow, that's amazing'. And then one day as you got older, you would then want to tell that story to the little kids around the campfire. I feel like that's what a franchise is, a good one — it's like a modern myth. And what you're doing is you're getting the chance to retell that thematic mythology. I'm basically being allowed to take one of these things that I grew up around the campfire loving and made me want to tell stories, and now I get to tell it, but put your own spin on it and add a few things and all that sort of stuff. And so I just think it's a modern version of that. For instance, when we were shooting or editing the film, Jonathan Bailey was in Richard II, the Shakespeare play in London. And I was sitting in the audience, because I went to see it with him, and thinking 'this is like a franchise, really'. Like Shakespeare, everyone comes along and they do their version of it, and retell it and make a new film or make a new play, and no one thinks twice about it. Everyone's very happy. And they're really like franchises or IPs. And when you get the right idea and the right ingredients and everyone's excited about it like Jurassic Park, then it sort of catches fire, and then it's something that — it's like there's this thing, and you can remake it and retell it, and there's offshoot ideas and storylines or different takes on it. And dinosaurs, I think, are very embedded genetically in being human. To have that reaction to an animal that might come and kill someone we love at any moment, I think it's very hardwired in us. And so it's not going anywhere. I think dinosaur stories and films are so primal, they'll keep happening as long as there are people in the world." On What Interested Garcia-Rulfo About His Character's Ocean Survival Thriller-Meets-Family Drama Journey Manuel: "Personally, everything. I mean, being part of the franchise, knowing that Gareth was going to direct, knowing that all these amazing actors — Scarlett, Rupert and Mahershala — were going to be in it, knowing that David wrote the script again. So it was all those elements. But also, I really, when I read it, it really fell in love with the story of the family — because, for me, it's like the heart of the film, especially because there's a little kid. So that becomes very vulnerable. It's like the most-vulnerable character of the film. So everybody's going to want to care for her or want her to be okay. And so I fell in love with it. I fell in love with this guy, with this father, knowing nothing about survival or dinosaurs and all this, and having just to protect the loved ones and being this journey. And I think that was fascinating, and I loved it." On Friend's Task Playing a Big Pharma Representative Chasing Something That'll Both Change Human Existence and Bring in a Huge Profit Rupert: "I think it's a balancing act for Krebs, and the film is definitely interested in exploring that. At the head of the film, Scarlett's character, Mahershala's character and my character are all in it for pretty much the same reason — it's just that there is an overarching validation of that reason. It's not just 'get money to sock it away under your bed'. It's to do something that is altruistic. And I think that that motivation evolves and changes for the characters as it goes along. But yeah, it's a fascinating dichotomy, for sure." On Jurassic World Rebirth Playing Like a Few Different Movies in One, From Creature Feature and Frankenstein-Esque Sci-Fi Horror to Family Drama, Heist Flick and Anti-Big Pharma Film Gareth: "It was like having a bunch of kids, in that one kid grows up really well and becomes really strong and you go 'oh, this is really working, this section of the film' — and so then it was my job to then look at another section and go 'okay, let's make this better, let's help this one and refine it and try to add ideas' until that was now competing with the other one. And so you're basically moving around the whole movie, trying to take each sequence and elevate it, and just make it as strong as the others. And so yeah, that was my job mainly on the film, because there were some really strong ideas in there. Like visually, when I read the script, the section where there's a T. rex chasing a family in a raft, I was like 'well, that's worth directing the movie just for this sequence'. It's a kind of killer visual that's going to definitely work. And so then it's like 'okay, well, my job is now to make sure all these other sequences around it are as good as that'. And so it was really tricky, because it's the highest of high bars to compete with Jurassic Park. It's a masterpiece of filmmaking. And ultimately, you can't compete with it. It's a moment in cinema that you're never going to get again, where the world got to see dinosaurs for the very first time. But so what we did do is go 'well, let's imagine that we made this movie back then' — like we shot this in the early 90s. It has all that flavour of the original. And for whatever reason, Universal went 'okay, well, we've got this big dinosaur [movie] this summer, this Jurassic Park film, so we're going to put this in the vault, on the shelf, for a second', and then they forgot they'd done that. And then suddenly, in like 2025, they go 'oh my god, we completely forgot we made this movie' and they decided to release it. We wanted it to feel like a throwback to something of that kind of movie we grew up loving as kids." Jurassic World Rebirth released in cinemas Down Under on Thursday, July 3, 2025.
Want to bunker down in Bunker Bay with easy access to the ocean, spa treatments, infinity pools – and, of course, nearby wine regions? The Pullman Bunker Bay Resort is ticking quite a lot of those boxes and others, as it serves as a mighty luxurious base for exploration of the Margaret River Wine Region. A bit of a drive from Perth, Bunker Bay is worth the petrol for the clear waters alone, and the rest of Margaret River's attributes additionally. From here, you can head out on a group tour of the region's more than 150 cellar doors — famous wineries in the area include Xanadu, Cape Mentelle, Voyager and Leeuwin Estate — or get your own car or bike and follow an itinerary of your invention. Several of the estates also boast restaurants, so you're guaranteed to be both well fed and watered. On the other side of Margaret River's rolling hills, you've got that inviting ocean and a brilliant coastal walking track that will take you past Cape Leeuwin and its Instagram-ready lighthouse. The Mediterranean climate means there's never a bad time to holiday here, but come between June and November if you've always wanted to try a spot of whale-watching. Humpback, southern right, minke and even blue whales have been known to migrate past this coastline each year. Back in the comfort of the Pullman Bunker Bay Resort, studio or bungalow-style villas house guests here, and all villas have lake or garden views and a boardwalk to the beach, so it's an easy stroll towards fulfilling your holiday hit-list. Vie Spa occupies the side of your vacation that is "lying down and utterly relaxing", with their beachfront location and couples suites a very valid option for honeymooners. Kinks in your back all worked out? You can head to the Bunker Bay Resort's restaurant – Other Side of the Moon is its name, and utilising fresh and sustainable local produce in share plates is its tasty game. Eat well but don't forget to explore the wines too – you're in the Margaret River region after all.
The middle of the year means shorter days and longer nights — and, rather than yearning for Brisbane's summer sun, you might as well embrace the two. Here's one way: Milton by Moonlight, Milton Markets' returning midyear shindig. On the agenda: everything that makes this inner-west market a firm favourite, but during an early winter evening. Taking place from 4–10pm on Saturday, June 3, the event will start serving up bites to eat — and setting up 140-plus stalls to shop — in the late late afternoon, so you can jump into the fun as twilight approaches. Then, when the moon comes out, you can browse, buy, sip, munch and dance the night away. With gourmet street food, artisanal wares and live entertainment on offer — the former including dumplings, tacos, noodles and wings; the latter across two stages — you'll have plenty to see, taste, purchase and listen to. And to drink as well, all thanks to the pop-up Milton Rum Distillery and Stone & Wood bars. They'll be pouring beers and spirits, obviously, as well as seltzers, ciders and wines. Entry costs $3 at the gate — and if you're driving there, parking costs $2 as well.
2022 was a big year for Brisbane-based hospitality crew Potentia Solutions Leisure, with Lina Rooftop and Soko Rooftop both opening their sky-high doors, and Mina Italian first welcoming in diners as well. How does a restaurant and bar-running (and -loving) crew top that? By kicking off 2023 with another new venue, obviously: Rumba, a Cuban and Latin American-centric joint. While this cocktail- and platter-slinging spot is a fresh arrival, officially launching on Thursday, February 2, it'll draw Brisbanites to familiar digs. Potentia has farewelled Argentinian eatery Evita on St Paul's Terrace, with Rumba taking over its site. New year, new focus, clearly. [caption id="attachment_863797" align="alignnone" width="1920"] Evita[/caption] While the full menu details haven't yet been revealed, patrons can start looking forward to share-style meat and fish bites, a big focus on roof vegetables, plus homemade cheese bread served in Cuban cigar boxes. Drinks-wise, expect creative concoctions that nod to the venue's regions of inspiration — and plenty of them. The vibe: relaxed yet boisterous, colourful but raw, and stripped back while soundtracked by Latin jazz. Azulejo prints and bright hues will cover the place, and there'll even be the remnants of a car in a hole in the wall. A roster of DJs and bands will set help set the mood, too, in the kind of space that'll be worlds away from Lina and Soko's luxe rooftops — but promises to be lively and enticing in its own way. Unsurprisingly given Rumba's name, wearing a comfortable pair of dancing shoes is also recommended. Find Rumba at 365 St Paul's Terrace, Fortitude Valley, officially launching on Thursday, February 2 — then operating 4pm–12am Tuesday–Saturday.
For years, Strut & Fret has turned Brisbane's performance venues into its playground, with shows such as Blanc de Blanc, FUN HOUSE, THE PARTY, LIFE — The Show, Fear & Delight and more popping up around town. The events and production company next has a date with the River City at 2024's Brisbane Festival, a trip to the Sunshine State that's almost as reliable as clockwork; however, when it unveils LIMBO — THE RETURN, it'll unleash the circus-cabaret show in Strut & Fret's very own site. From late August, The West End Electric will become Brisbane's new 400-plus-seat theatre and entertainment space, making 125 Boundary Street its home. The venue is launching with LIMBO — THE RETURN's opening, then sticking around. That'll make two Strut & Fret locations around the country, adding a sibling to The Grand Electric in Sydney. "We have been blown away by The Grand Electric's success since it opened in Sydney last year. It's quickly established itself as both a smashing venue for our own shows, and a venue for other players like Michael Cassel (Titanique) and Sydney Comedy Festival," said Scott Maidment, who is both Strut & Fret's Creative Director and the director of LIMBO — THE RETURN. "We staged our first Brisbane Festival production over 25 years ago in 1998, so it feels very fitting to launch The West End Electric with this year's festival." Both Maidment and Sarah Stewart, who co-founded Strut & Fret together, are from Brisbane — and it was in the Queensland capital in 1997 that they gave rise to the company. Accordingly, The West End Electric is a homecoming in a way, not that the outfit's productions are ever absent from Brissie for long. LIMBO — THE RETURN revamps a show that's been touring the world for over a decade, taking audiences to a netherworld scored by live tunes composed by Sxip Shirey, and filled with cabaret and circus alongside eye-popping acrobatic feats. Both it and The West End Electric will kick off in Brisbane on Thursday, August 29, in a space that designer James Browne is decking out with a nod to West End's London counterpart. "It will be chic and luxurious but with the essence of historical vaudeville, bohemian hedonism and abandonment. The space itself will be immersive, full of surprising elements that are unforgettable," said Browne. [caption id="attachment_960920" align="alignnone" width="1920"] The Grand Electric, Nick Jones[/caption] [caption id="attachment_960921" align="alignnone" width="1920"] The Grand Electric, Lexy Potts[/caption] [caption id="attachment_960922" align="alignnone" width="1920"] The Grand Electric, Lexy Potts[/caption] [caption id="attachment_960923" align="alignnone" width="1920"] The Grand Electric, Lexy Potts[/caption] [caption id="attachment_960924" align="alignnone" width="1920"] The Grand Electric, Lexy Potts[/caption] Find The West End Electric at 125 Boundary Street, West End, from Thursday, August 29, 2024, opening with LIMBO — THE RETURN at Brisbane Festival — head to the venue's website for further details. LIMBO — THE RETURN images: Damien Bredburg.
Home to brews, bands and giant-sized board games since 2014, Ann Street's Woolly Mammoth Alehouse now has an in-house sibling venue: a tropical-themed watering hole called Ivory Tusk. Now open after first being announced late last month, the new bar has taken over Woolly Mammoth's Mane Stage area and given it a Palm Springs-inspired revamp, complete with plenty of pastels. As well as transforming the Fortitude Valley's site's existing garden terrace into a tequila-focused party space, Ivory Tusk boasts three bar areas, all serving up cocktails on tap. Expect eight different concoctions made from fresh ingredients and botanicals — such as the Living Vanilla Loca, with rum, French vanilla syrup, citrus and spritz; and the Apricot Julep with bourbon, apricot brandy, lime, mint and sugar. Wine and craft brews are on the menu, too, plus ten types of tequila. And, you can nab either a cocktail tasting paddle or a tequila flight, each featuring four tipples. Food-wise, the venue champions Mexican cuisine, with the kitchen overseen by Executive Chef Graeme McKinnon (Covent Garden) and Head Chef Jack Thompson (The Line & Label, Port Lincoln). Think gazpacho tequila shooters, lamb barbacoa, chorizo sliders, black bean chilli and roast pork, as well as vegetarian, vegan-friendly and gluten-free options. With the site also doubling as an events space — and catering for between 20-1000 people — set menus are a feature. Visitors will also spy plenty of colour, new furnishings and a lighter, airier feel to suit the 'tropicali' vibe, thanks to renovations led by Luis Nheu of BSPN Architects. In the garden terrace, that means pendant lighting and a stencilled terrazzo floor. Back inside, Woolly Mammoth's band room has also been given a makeover. Ivory Tusk's entertainment lineup will span regular DJs, live bands and rockaoke — aka karaoke, but with a live band playing as you sing. And if you're fond of Woolly Mammoth in its current guise, its Mane Stage is still hanging around — just smaller, and on the site's upper level. Find Ivory Tusk at 633 Ann Street, Fortitude Valley, open Wednesdays and Thursdays from 4–11pm, Fridays and Saturdays from midday–midnight, and Sundays from 5pm–midnight.
In accomplished The Box style, this creative little art-space brings together a cross-pollination of talent that have long been riddling Brisbane but in only the humblest of manners. Bloody Oath gives the long awaited recognition to a set of artists who encompass work expressing diverse cultural heritage, and a play on stereotypical Australian culture This string of artist's projects and designs are recognised as some of our best local exports, from Holly Ryan's coneptual yet classic jewellery to Frank+Mimi's signage which is taking over almost every Brisbane street. From design to detail, the art of Ellie Anderson is as intricate as the environment she paints. Exploring patterns, print-making and flaura and fauna, her art has featured in Brisbane's very own Bleeding Hearts Gallery, Oh Hello and Brew as well as being collected locally and abroad in the UK and Canada. Be it a strong use of Australian iconography, symbolism, or artwork derived directly from a culture, ‘Bloody Oath’ presents a visual snapshot of the modern Australian identity through the works of these local creatives.
Bon Iver is on their way to Australia for their first national tour in 14 years with the trailblazing indie rock act hitting stages across Sydney, Hobart, Perth, Brisbane, Melbourne and Adelaide in February and March of 2023. The tour will kick off on Friday, February 17 in Sydney at the Aware Super Theatre next to the ICC Sydney. Brisbane and Melbourne will also receive standalone shows on the tour — Melbourne's first Bon Iver show in 11 years — with shows popping up at the Riverstage on Thursday, March 2 and Sidney Myer Music Bowl on Saturday, March 4. There will also be three festival appearances on the tour — Tasmania's Mona Foma on Tuesday, February 21, Perth Festival on Sunday, February 26, and WOMADelaide Festival on Friday, March 10. [caption id="attachment_746634" align="alignnone" width="1920"] MONA/Rémi ChauvinImage courtesy of the artist and MONA Museum of Old and New Art, Hobart, Tasmania, Australia[/caption] Bon Iver is one of three acts revealed to be heading up next year's edition of WOMADelaide. Alongside the blissful falsetto of the Wisconsin band, Florence and the Machine and Gratte Ciel's Place des Anges will be appearing at the festival which is returning to Botanic Park in Adelaide between March 10 and 13. Florence will also be appearing in Perth, Melbourne, Sydney, Brisbane and Auckland throughout March as part of her world tour supporting her latest album Dance Fever. It's exciting news for Bon Iver fans after the band was forced to pull out of a run of shows originally slated for 2020 due to the pandemic, as well as a headline appearance at the cancelled Bluesfest 2021. This tour will mark the first time for Australian fans to catch Bon Iver's latest album i,i live and marks the influential artist's first return to Australian shores since a run of four sold-out shows at the Sydney Opera House as part of Vivid 2016. Presale tickets are available from 9am, Thursday, August 25 with the code JELMORE. View this post on Instagram A post shared by Bon Iver (@boniver) Bon Iver's Australian tour will take place between Friday, February 17–Friday, March 10. Presale tickets will be on sale from 9am, Thursday, August 25 through Handseom Tours and general sale tickets will be available from 9am, Friday, August 26. Top image:danieljordahl
There are plenty of ways to pick which music festivals to dance your way through, but one method reigns supreme: the all-powerful lineup. When a fest puts together an A-plus roster of onstage talent — like Charli XCX, Duke Dumont and Sonny Fodera headlining For the Love 2023, for instance — your decision is often made for you. That's one reason to get excited about the event's return next February and March. Here's another: its waterfront locations at its four stops. For the Love pairs its packed bill of dance and pop hitmakers with stunning backdrops, and will hit up the Gold Coast's Doug Jennings Park, Wollongong's Thomas Dalton Park, Melbourne's Catani Gardens and Perth's Taylor Reserve for its 2023 run. Also doing the honours: Cosmo's Midnight, Snakehips, Budjerah and KYE, as well as Sumner and Jade Zoe. And yes, Charli XCX's spot on the lineup means that if you live outside of Sydney and you can't make it to WorldPride next year, you can still catch her onstage. As in previous years, punters will also have the opportunity to kick back in style in one of For The Love's VIP lounges, presented by Aussie streetwear label Nana Judy. Plus, For the Love's Music For Oceans eco-friendly initiative is back, to do once again do the environment a solid. Behind the scenes, the folks at Untitled Group — the same minds behind Beyond the Valley, Pitch Music & Arts, Grapevine Gathering and Wildlands — are running the show, and splashing around their hefty festival experience. If an evening spent cutting shapes by the water sounds like a much-needed addition to your 2023 calendar, you can now register for presale tickets. Those advance tix go on sale from 9am AEDT on Thursday, December 1, with general sales from 4pm AEDT the same day. FOR THE LOVE 2023 AUSTRALIAN DATES: Saturday, February 25 — Doug Jennings Park, Gold Coast Sunday, February 26 — Thomas Dalton Park, Wollongong Saturday, March 4 — Catani Gardens, Melbourne Sunday, March 5 — Taylor Reserve, Perth FOR THE LOVE 2023 LINEUP: Charli XCX Duke Dumont Sonny Fodera Cosmo's Midnight Snakehips Budjerah KYE Sumner Jade Zoe For The Love 2023 tours the country in February and March 2023. Head to the festival's website to register for presale, with ticket presales from 9am AEDT on Thursday, December 1 — and general sales from 4pm AEDT the same day.
Crispy, sweet, stuffed with a creamy filling and made in a variety of flavours, there's only one thing wrong with cannoli. No matter how many that you happen to devour in a single sitting (admit it — no one just eats one), it never feels like you've ever had enough. If you know that sensation all too well, then you might want to tempt your tastebuds down to Locale on Saturday, May 9. For one day, the Newstead cafe is hosting another pop-up — and while this one isn't solely dedicated to cannoli, they are on the street food-filled menu. Feeling hungry? There'll be both ricotta ($5) and vanilla ($4) flavours available, plus dulce de leche and caramelised pear maritozzi, as well as a strawberry and cream variety too ($5.50 each). Or, tuck into a caprese focaccia ($5.50) or one of four different types of arancini ($5.50 each), such as beef ragu, pistachio and ham, prawn and seafood bisque, and spinach and mushroom. Reflecting the current socially distant situation, it's strictly a pre-order-only affair — so head online, place an order and then wait for your allocated collection time (which'll be between 11am–1pm or 5–7pm). If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health. Images: Locale.
Almost five decades ago, a filmmaker wanted to journey to a galaxy far, far away, and he needed a republic cruiser's worth of epic tunes to go with it. Enter John Williams and the theme everyone now knows. When the first notes of Star Wars: Episode VI — A New Hope's score started playing over the film's opening crawl, movie and music history was made. Neither Williams nor George Lucas could've known just what they'd unleashed, nor that Luke and Leia, Han and Chewie, plus the next generation of wannabe jedis and empire lackeys, would be gracing cinema screens years and years later. They also couldn't have known that the Star Wars movies, classic and recent alike, would keep hitting the big screen in a new concert format — pairing all those space-opera antics with a live orchestra playing the soundtrack. Thankfully, that's what's been happening on this very planet — alongside oh-so-many other reasons to embrace The Force, including TV shows such as Andor and The Mandalorian — and one such gig is returning to Brisbane in 2023. Get ready to revisit the first film in the franchise's third main trilogy, the seventh movie in the saga all up, and the one that brought in Daisy Ridley (Chaos Walking), John Boyega (The Woman King), Oscar Isaac (Moon Knight) and Adam Driver (White Noise) alongside a host of returning faces: Star Wars: Episode VII — The Force Awakens. We don't need to have a good feeling about what promises to be a force-filled evening of sound and vision, because it's been doing the rounds for a few years now. Still, on Saturday, April 22 at the Brisbane Convention and Exhibition Centre, the Queensland Symphony Orchestra will pick up their instruments to perform the corresponding score as The Force Awakens plays. The flick itself is already epic, and so is this experience. QSO will bust out Williams' Oscar-nominated music live across two concerts, thanks to a 1.30pm matinee and a 7.30pm evening gig. Down south, both A New Hope and Star Wars: Episode V — The Empire Strikes Back are both getting the orchestral treatment again, so cross your lightsaber-wielding fingers that they return to Brisbane after Star Wars: The Force Awakens in Concert. Star Wars: The Force Awakens in Concert will play the Brisbane Convention and Exhibition Centre on Saturday, April 22. For more information and to buy tickets, head to the QSO website. Images: Lucasfilm.
Feel like you're in a weekend activity rut? Run out of ideas for your next mini break? While we adore lazy brunches and home movie nights, sometimes you need an injection of leisure time adrenaline to break into new worlds of fun. Happily, there are plenty of unusual adventure avenues to explore in New South Wales. Whether you're looking to ride camels into the sunset or fling yourself from extraordinary heights, we've found a bunch of NSW activities that will redefine your comfort zone.
