Brash and irreverent rock outfit Future of the Left have announced that they will be playing a string of shows down under in January 2014. Formed following the dissolution of the beloved post-hardcore band Mclusky, Future of the Left is a Welsh quartet that emerged in 2005. They have since gained a sturdy reputation for the sprawling energy and raw power of their live sets. With a knack for fusing together melody and groove, the band will be sweeping up the eastern seaboard, rewarding their loyal Aussie fan base with raucous performances filled with biting wit and musical mayhem. From their wry song titles to lyrics such as, "I have seen into the future/ Everyone is slightly older" and "Civilised people don't fuck bears/ Civilised people don't play fair", Future of the Left showcase an offbeat, slightly cynical sense of humour armed with heavy riffs. Prepare for a meaty slice of rock 'n' roll and a welcome dose of cheeky laughs. Future of the Left’s forthcoming album, How to Stop Your Brain in an Accident, will be released on October 25, 2013. Tickets are available now through the Handsome Tours website. The tour dates are: Thursday, Janaury 2 The Corner Hotel, Melbourne Friday, January 3 The Annandale, Sydney Sunday, January 5 The Zoo, Brisbane
Every year since 1987, when March rolls around, the Texan city of Austin becomes a hive of activity for fans of film, music, creativity, culture, technology and everything in-between. That's no longer the case in 2020, however, with this year's South By Southwest now cancelled for the first time in the event's 34-year history. In the same week that new Bond movie No Time to Die had its release date pushed back from April to November, the reason for SXSW's cancellation is obvious, with concerns mounting about the effect of the coronavirus COVID-19 — especially in such a busy, public, highly populated space as a large-scale, highly attended music and film fest. SXSW organisers scrapped the 2020 event after the City of Austin basically made the decision for them. "The City of Austin has cancelled the March dates for SXSW and SXSW EDU. SXSW will faithfully follow the City's directions," the festival announced in a statement. With SXSW 2020 due to take place next week from Friday, March 13–Sunday, March 22, speculation that the event wouldn't go ahead had been mounting over the past few days. In fact, a Change.org petition calling for the fest's cancellation due to the coronavirus outbreak received more than 55,000 signatures. Before the event was officially canned, plenty of high-profile parties had already dropped out of attending the festival — including Amazon, Netflix and Apple, all of whom had scrapped screenings of upcoming films and TV shows; music groups like Sony, Universal and Warner Music; and speakers and guests such as Trent Reznor, the Beastie Boys and Ozzy Osbourne. [caption id="attachment_764009" align="aligncenter" width="1920"] Shelley Hiam[/caption] SXSW's powers that be are currently exploring their options — to either reschedule this year's event, or provide a "virtual SXSW online experience". It's highly unlikely that this is the last time that COVID-19 will have this effect on the entertainment industry. Large swathes of cinemas have been temporarily shuttered in China, Iran, South Korea, Japan, Italy and France; theme parks have been closed in Shanghai, Hong Kong and Tokyo; and the latest Mission: Impossible movie shut down its production in Venice. Music tours have been cancelled throughout Asia, too, and plenty of questions hang over forthcoming events elsewhere in the world — such as Coachella in April and the Cannes Film Festival in May. 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. Top image: David Brendan Hall.
When TERROR NULLIUS roared across screens in 2018, it remixed, repurposed and recontextualised Australian cinema and television's familiar sights and sounds with the nation's political reality, all to create a pointed portrait of the country today. The ochre-hued terrain, the famous faces, BMX Bandits-era Nicole Kidman, the Mad Max franchise's road warriors, Skippy the Bush Kangaroo, Olivia Newton-John in her Grease leathers and the Rage intro — that and more was spliced into "a political revenge fable that takes the form of an eco-horror," as artist duo Soda Jerk describes it. Also featured: footage from 1988's bicentennial celebrations, snippets of Tony Abbott's speeches and examples of Mel Gibson at his abhorrent off-screen worst, to name a mere few of the film's melange of clips and sources. The result was not only a stunning piece of political art, but one of Australia's best movies of the past decade. It's also exactly what Soda Jerk do — and spectacularly — in their sample-based brand of filmmaking. Where TERROR NULLIUS traversed home soil, the pair's five-years-later next effort Hello Dankness turns its attention stateside. Co-commissioned by the Adelaide Film Festival and Samstag Museum of Art, it too is an experience that makes its audience see a wealth of recognisable imagery with fresh eyes, surveying glimpses of American suburbia to carve into the carnival that is America's political landscape-slash-hellscape between 2016–21. Ambition clearly isn't a problem for TERROR NULLIUS or Hello Dankness. Using hundreds of sources, with Hello Dankness featuring more than 300 film and TV clips, plus around 250 audio grabs, having an impact isn't a struggle, either. The former was called "unAustralian" by one of its funding bodies, ridiculously so. The latter enjoyed its international premiere at the 2023 Berlinale and just won the Best Narrative Feature Award at this year's Atlanta Film Festival. It "feels like some kind of stoned fever dream," Soda Jerk note of the movie's success so far. Next, Hello Dankness has stops at Dark Mofo and the Sydney Film Festival in June. This time, Soda Jerk have made what they dub "a suburban stoner musical rendered in the form of a cybernetic Greek tragedy". Here, everything from The Burbs and Wayne's World to Barb and Star Go to Vista Del Mar and The Social Network dance together — plus American Beauty, Friday, Napoleon Dynamite, This Is the End, Euphoria and PEN15 as well — alongside reminders of America's fake news-, conspiracy-, meme-, pandemic and culture war-ravaged society. That's where Donald Trump's Access Hollywood tape and Kendall Jenner's Pepsi ad come in, too. The soundtrack: songs from Cats, Les Misérables, Annie and The Phantom of the Opera, as everyone's favourite movies get the second life that no one other than Soda Jerk could've ever dreamed of to unpack a deeply polarised country and period. "There is no right way to inhabit the film," explains Soda Jerk, chatting with Concrete Playground about the movie's inspirations, ideas and process ahead of Hello Dankness' upcoming Aussie screenings. "There are many lulz to be had, but it's also an unsettling and weirdo ride. We've been genuinely floored by the kind of psyched enthusiasms it has received so far. Some of the screenings have been wild, almost grindhouse vibes," the pair continue. "But we're equally fond of one online hater who wrote that there are some things you should never have to see in your lifetime: one is how chicken nuggets are made and the other is Hello Dankness." ON DECIDING TO MAKE HELLO DANKNESS AFTER TERROR NULLIUS "Hello Dankness emerged in 2016 from a feeling of disbelief at the surrealness of US politics that was palpable at that time. There were Democrats eating babies, pedophiles communicating in pizza code and presidential pee-pee tapes. Conspiracies like these have always existed in the skanky corners of the derp web, but now they were circulating on boomer media sites like Facebook, Fox News and CNN. It was as though all the soberness had been sucked from reality and we had emerged into a stoned new world. So Hello Dankness really evolved as an attempt to document this sense of unreality, the raw feeling of it, and also what it might obscure or reveal about the shifting power contours of this moment. So we began Hello Dankness in 2016 and continued to research it concurrently throughout the two years we were making TERROR NULLIUS. When we wrapped TERROR NULLIUS in early 2018, we shifted to developing Hello Dankness as our sole focus. We spent four years working with ridiculous intensity on Hello Dankness from 2018 to late 2022. The adjacency of the two projects no doubt played a role in shaping their confluences and differences. While each is distinct in tone and genre, they're both national fables that offer a rogue account of political history." ON USING SUBURBIA TO PROBE AND SATIRISE AMERICA'S POLITICAL LANDSCAPE "Initially, we didn't know what form Hello Dankness would take — at one time, it was a cypherpunk political thriller based around Total Recall and 90s anime; at another time, it played out in the dystopian parallel universe of Back to the Future. But these kinds of sci-fi frameworks seemed to betray the sense of perverse ordinariness that also characterised the experience of the period 2016–21. For while so much of the pandemic was deeply upending and unprecedented, it's also true that we mostly experienced it from the numbingly familiar vista of our homes. So, accounting for this domesticity felt important, and this is what initially drew us away from sci-fi world-building and towards the imaginary of American suburbia. But we were also interested in placing the trad mythos of the suburbs under pressure, of thinking about the ways that this collective space has been reconfigured by the internet into increasingly privatised worlds and niche belief systems." ON THE PROCESS BEHIND HELLO DANKNESS — AND FINDING ALL THOSE SAMPLES "We don't work in a linear way; throughout our process we're constantly shifting between scripting, editing and sampling, depending on what's needed at any particular moment. It's a difficult process to untangle, and plays out differently for each project. With Hello Dankness, we had the added challenge that we were attempting to capture the contemporary moment as the ground kept shifting beneath us. From the outset, we knew we wanted to cover the period of the Trump presidency — but as history got sucked into a pandemic sinkhole in 2020 we had to scramble to fold in new events as they unfurled around us. We've been torrent freaks since Pirate Bay was a baby, so we've amassed a formidable archive over the past 20 years of our practice. This personal stash is usually the starting point for our research, and then we begin to target specific trajectories that we want to pursue in more depth. We're high-key obsessive about it, so if we're doing a deep dive into netsploitation flicks, we'll attempt to track down absolutely every source that's available. But sometimes the best samples emerge from happy accidents, so we try to leave room for looseness, too. There is definitely something contingent and compulsive about sampling, like there is with gambling. So much wasted time among sudden staggering windfalls. We're always out there in the trenches, digging for infinitively obscure and unlikely things we might not have seen before. Somehow though, the core samples that end up making their way into the project are usually ones we have a history with. We're like some kind of homing pigeon in that sense, always finding our way back to what we're already intimate with. We just can't seem to fight it." ON MAKING A STONER MUSICAL — AND ALSO A GREEK TRAGEDY "Stoner films and musicals made sense because they are genres that traffic in strange contortions of the everyday. Early iterations of the project also leaned heavily into the janky aesthetics of online culture and led us down many k-holes into YouTube Poop, shitcore music and advanced meme magic. Some of that still remains, but as we progressed the post-internet affectations became less literal and more encrypted. We also had an ongoing fixation with Greek tragedy that ended up shaping our conception of the characters as myths and masks." ON THE ESSENTIAL CLIPS THAT HAD TO BE IN HELLO DANKNESS "Often, the things we fall hardest for are the documentary artefacts. They're really at the centre of the way we work, and what we're trying to do, which is a kind of a contorted historiography in a sense. So with Hello Dankness, these artefacts included things like Alex Jones' InfoWars rants, Trump's Access Hollywood tape and Mark Zuckerberg's Harvard commencement speech. The Pepsi commercial was also very pivotal for us as a kind of muse for the whole project. Then there are the sources that are released while we're working on the film, that can be pretty special too. This was the case with Euphoria and PEN15 — they knocked us over in a good way." ON UNPACKING POLITICS THROUGH POP-CULTURE SAMPLES "What interests us is the idea of politics as a form of memetics, the way political messaging has begun to operate through a logic of virality and contagion. As a reality TV star, Trump's intuition for transforming reality into a compelling spectacle is undeniable. But there is also a quality to Trump that exceeds the image logic of TV. Obama's cool demeanour and deft oration connect him to the era of television, whereas Trump's scattershot presence is more suited to the virology of the internet. Trump is both shitposter and shitpost personified. We think of him as the first meme to hold office in the White House." ON TERROR NULIUS BEING CALLED "UNAUSTRALIAN" — AND THE NEED FOR FILMS LIKE IT AND HELLO DANKNESS "We've been thinking a lot about the kind of cultural shifts that have occurred since all that happened with TERROR NULLIUS. It seems pretty clear that both artists and institutions have become even more risk-averse than they were back in 2018. The spectre of social media retribution hangs like a fearsome cloud over cultural production and we feel that this has had a narrowing effect on the kind of work that's being made. It's also been gutting to witness the hideous creep of political art into content production and corporate brand collaboration. More than ever, we feel that artists need to remain committed to making difficult work, work that is pro-complexity. If political art doesn't make people uncomfortable then it's not a protest, it's a parade." Soda Jerk's Hello Dankness screens at Dark Mofo and Sydney Film Festival in June 2023 — we'll update you with future screenings around Australia and New Zealand when they're announced.
When IT floated onto the big screen in 2017, inspiring plenty of coulrophobia in the process, it only told half of the story. Adapting Stephen King's bestseller into a film, the horror hit jumped back to 1988–89, visited the author's usual setting of Derry, Maine, and followed a group of teenagers who came face to face with their worst clown-filled nightmares. But, as fans of the book or the 1990 TV series know, that's literally just the beginning. Cue IT: Chapter Two, another excuse to unleash the white-faced, flame-haired Pennywise (Bill Skarsgård) upon the world, rustle up more than a few creepy scares and make a mint at the box office, all by charting the novel's other timeline. Set 27 years later — because that's how often the sadistic, shapeshifting demon pops up — it revisits the kids known as the Losers Club. They're all grown up, with Jessica Chastain, James McAvoy and Bill Hader leading the cast, but they're not done with red balloon-wielding evil just yet. Or, to be more accurate, Pennywise isn't done with them. If you're already afraid of clowns, IT: Chapter Two clearly won't be for you. If you'd like to discover just what it takes to make you tremble at the sight of circus performers, this sequel will definitely help. So will its just-released first trailer, which introduces the adult gang, reminds everyone not to chase toy sailboats into storm drains and — of course — lets its sinister villain do his worst again. Original director Andy Muschietti (Mama) is back at the helm, so expect a hefty dose of unnervingly effective and all-round unsettling horror imagery once more. And, while this eagerly anticipated follow-up has plenty of star power, the first flick's Sophia Lillis, Jaeden Martell, Finn Wolfhard and company all return as the younger versions of the Losers Club as well. Take a peek at the first trailer below: https://www.youtube.com/watch?v=zqUopiAYdRg IT: Chapter Two releases in Australian cinemas on September 5, 2019.
Yeah, we're thinking he's back — John Wick, that is. Five years after Keanu Reeves introduced everyone's favourite assassin (and dog owner) to the world, and two years after the film scored its first sequel, the action-packed franchise is bringing its third instalment to the big screen in 2019. Entitled John Wick: Chapter 3 — Parabellum and due to hit cinemas in May, the series' latest follow-up picks up where the last flick left off, aka with Wick being hunted down by his fellow killers. With a $14 million price tag on his head, plenty of hitmen and women are out to collect the bounty. And all of this because, in the first film, he became the proud owner of an adorable puppy. If you're not up on your Latin, parabellum means 'prepare for war', which is just what a kick-ass Keanu looks primed to do. This time, he'll have Halle Berry in his corner — and he's not adverse to brandishing some firepower while riding a horse. As for the rest of the cast, Ian McShane, Lance Reddick and Jason Mantzoukas all return from the previous flicks, as does Reeves' The Matrix co-star Laurence Fishburne, while Anjelica Huston ranks among the new additions. Check out the first trailer below: https://www.youtube.com/watch?v=7v2P3cpPOXY&feature=youtu.be John Wick: Chapter 3 — Parabellum releases in Australian cinemas on Thursday, May 16.
Utes are as ubiquitously Australian as Vegemite, meat pies and nicknames abbreviated to capitulate in the letter O. This is what makes a trip to the legendary Deni Ute Muster a perfect excursion for those keen to experience a classic Australian road trip. The annual event held in the NSW Riverina town of Deniliquin (a 3.5-hour drive from Melbourne) is a celebration of the iconic vehicle. But you don't need to be a rev-head or even own your own ute to get amongst this uniquely Australian shindig. Parked between the Commodores and Falcons, Rangers and Hiluxes, will be a lineup of some of the country's biggest names in music, tasty food pop-ups and the opportunity to do two nights of camping on Friday, 29 and Saturday, 30 September. Expect to spot Jess Mauboy, John Williamson, Missy Higgins and Lee Kernaghan belting out hits over the weekend. Off-stage, entertainment will be provided courtesy of activities like an ice skating rink, Bogan Bingo, camel rides, monster truck rides and a muster sandpit. Tickets start at $310 which also covers camping, so you can bring your own tent or caravan — or simply roll out a swag in the back of your ute. Deni Ute Muster is on from Friday, September 29 to Saturday, September 30 2023. For further details, head to the website.
Festival FOMO is real, and festival sideshows are one solution: the gigs you go to when you're not going to the main gig. Can't make it to Adelaide for two music-filled October days at Harvest Rock II? Loving the South Australia-only fest's lineup? Four of the event's highlights have just announced dates along Australia's east coast. Chief among them are Sparks, which will draw upon a whopping 57 years of making ridiculously catchy and smartly funny tunes on their first tour of Australia since 2001. Thanks to 2021's double of Edgar Wright-directed documentary The Sparks Brothers and Cannes Film Festival opener Annette, brothers Ron and Russell Mael have been everywhere of late — and that's now about to include Sydney, Melbourne and Brisbane, busting out tracks like 'The Number One Song in Heaven', 'This Town Ain't Big Enough for the Both of Us' and latest single 'The Girl Is Crying in Her Latte'. In a glorious move, they've been beginning their recent sets with 'So May We Start' from Annette, too, which won them the Best Composer award at Cannes. Fresh from releasing her fourth studio album Spirituals in 2022, Santigold will extend her trip to Australia with sideshows in Sydney and Melbourne. 2023 marks 15 years since the genre-defying artist first demanded attention with her debut record Santogold, and sparked a career that's seen her influence and team up with plenty of others. Drake, Lil Wayne and Future have sampled the Philadelphia-born talent's tracks, while Beastie Boys, David Byrne, Karen O and Nick Zinner of Yeah Yeah Yeahs, Basement Jaxx, Jay Z, Mark Ronson, Pharrell and Lykke Li have enlisted her as a collaborator. Following their fifth stint at Coachella earlier in 2022, Chromeo will also hit Sydney and Melbourne, bringing Dave 1 and P-Thugg our way almost two decades since their 80s-influenced electro-funk sound started echoing from intial album She's in Control. The Lemon Twigs are also veering beyond Adelaide, with visits to Sydney, Melbourne and Brisbane. Brothers Brian and Michael D'Addario will draw upon their four-album span since 2016, as bookended by debut Do Hollywood and this year's Everything Harmony. All Harvest Rock sideshows will take place around the festival's dates, both before and afterwards, across Thursday, October 26–Thursday, November 2. And no, there won't be Jamiroquai and Beck gigs, with both playing their only Aussie sets at in Adelaide. To see either this October in Australia, only a Harvest Rock ticket will do. HARVEST ROCK II SIDESHOWS: SPARKS Thursday, October 26 — Palais Theatre, Melbourne Tuesday, October 31 — Sydney Opera House, Sydney Thursday, November 2 — Fortitude Music Hall, Brisbane SANTIGOLD Friday, October 27 — Metro Theatre, Sydney Saturday, October 28 — Prince Bandroom, Melbourne CHROMEO Thursday, October 26 — Metro Theatre, Sydney Sunday, October 29 — 170 Russell, Melbourne THE LEMON TWIGS Thursday, October 26 — Corner Hotel, Melbourne Saturday, October 28 — Manning Bar, Sydney Tuesday, October 31 — The Outpost, Brisbane Harvest Rock 2023 will take at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina, Adelaide, on Saturday, October 28–Sunday, October 29, 2023. The festival's sideshows will tour Australia's east coast from Thursday, October 26–Thursday, November 2, with pre-sale tickets from 9am local time on Thursday, August 24 and general sales from 9am local time on Friday, August 25. Head to Concrete Playground Trips for a VIP Harvest Rock package for two, including tickets and accommodation.
For the next seven days, renowned Aussie butter producer Pepe Saya is giving us a full-flavoured reminder to keep celebrating and supporting our homegrown food heroes. Heading up the new Aussie Artisan Week, which debuts from Monday, August 17 to Sunday, August 23, it's setting out to raise awareness about the benefits of shopping local, especially during these tough pandemic times. Right across the week, Pepe Saya is spreading the local love and encouraging you to check out some of this country's fine artisan producers. The company's Instagram is featuring stories from a raft of its favourite food businesses — and you'll find a growing directory of artisans over on its website complete with handy links to where to buy their wares. There are plenty of more familiar faces like Crumpets by Merna, Schulz Organic Dairy, Cobb Lane Bakery and Gundowring Ice Cream, alongside others perhaps yet to be discovered — think, cheese from Queensland's Frolicking Goat and hormone-free meat from Linga Longa. What's more, you can share your own food finds on socials via #AussieArtisanWeek. Shop the directory, cook up a storm and tag your creations in support of our hard-working Aussie producers. [caption id="attachment_769323" align="alignnone" width="1920"] Cobb Lane Bakery by Armelle Habib[/caption]
This article is sponsored by our partners, Wotif.com. You might know that Adelaide is the original home of the pie floater. But did you also know that it boasts more restaurants per head than any other city in Australia? For way too long, the South Australian capital has been Australia’s beleaguered middle child, struggling to get the attention of which it’s worthy, and defending itself against the nation’s collective jokes. But, earlier this year, things changed. When Lonely Planet published its 2014 Top 10 Cities of the World, the “city of churches, festivals and homicides” burst into the international spotlight at number nine. “Adelaide is effortlessly chic,” commented Lonely Planet media and communications manager Adam Bennett, “and like a perfectly cellared red, it’s ready to be uncorked and sampled.” And the especially good news? Wotif.com wants you to do the sampling. So, they’re giving away a holiday of epic proportions. One creative reader and their guest will score return economy flights to Adelaide from their nearest capital city, four days’ car hire and three nights’ accommodation. The first two will be spent in king-beds and deep baths at the luxurious Majestic Roof Garden Hotel, situated just 50 metres from the cultural epicentre of Rundle Street. On the third, the winners will find themselves at Mount Lofty House, a 160-year-old manor in the Adelaide Hills, where they’ll be treated to a five-course degustation with matching wines and wake up to a buffet breakfast. What’s more, to ensure a comprehensive experience of the food and wine adventures that so impressed Lonely Planet, there’s a Penfolds Magill Estate Tour, a Top Food and Wine Choco-latte Tour and an Adelaide Central Market Morning Tour thrown in. All you’ve got to do is give your creative fruit a squeeze and tell Wotif.com why they should send you to Adelaide, in 25 words or less. The video below might help you to get thinking left of centre.
Bringing together skilled orchestral musicians from across Australia, Alternative Symphony takes the same approach as Britain's acclaimed orchestral group No Strings Attached. And, for its next big shows, the troupe is set to perform the work of hip hop greats with a classical slant. At The Valley Drive In from 7pm on Saturday, December 19, the Alternative Symphony will give the hits of Notorious B.I.G. and 2Pac the orchestral treatment, all while guest vocalists step in to reimagine verses. The rappers, considered two of the most significant and influential emcees of all time, were famously the focal points of the East Coast–West Coast hip hop rivalry — which spawned an endless supply of antagonistic diss tracks. At this one-off orchestral experience expect to hear hits like 'California Love', 'What's Beef?', 'Changes', 'Mo Money Mo Problems' and 'Thugz Mansion' played on violins and saxophones. The Alternative Symphony has previously tackled the songbooks of Dr. Dre and Daft Punk. https://www.youtube.com/watch?v=5wBTdfAkqGU An Orchestral Rendition of Biggie and 2Pac takes place from 7pm on Saturday, December 19 at The Valley Drive In — with tickets on sale now.
Air out that mouldy tent, start rounding up the GoPros, Falls Festival have announced their 2014 lineup. With Byron now extended to a four-day program, Falls Festival is returning to its three sites (Lorne, Marion Bay and North Byron Parklands) for its annual New Year's Eve hootenanny. So who's on the bill? Returning with a Mercury Prize and a million debut album copies sold under their belt, Leeds foursome Alt-J are sure to be one of the packed sets this year. Scandinavian super besties Röyksopp and Robyn are locked in for an epic two hour set of combined releases. There'll be ass everywhere with the presence of the unmissable Big Freedia. The sublimely talented SBTRKT is set to play a huge live set (one of Laneway Festival's best sets to memory), while the formidable Jamie XX will keep the basslines well up in grill. Fresh from Glastonbury, George Ezra is set to be one of the festival highlights, with the debut set from the legendary Todd Terje, house monarchs Tensnake, Sydney trio Movement and San Francisco's Tycho sure to send everyone on a synthy, beats-fuelled odyssey. Altanta's favourite 'flower punk' band The Black Lips are in. Confirmed after a leak in Cleo, UK's Glass Animals are confirmed to get sultry. Festival favourites Cold War Kids return with their latest album's material (and a few oldies), while Australia's own ARIA-winners The Temper Trap return to the live circuit with material from their upcoming third record. Rap fans have some gleeful squealing to get to, with Brooklyn's Pro Era whiz Joey Bada$$, Killer Mike and El-P's Fool's Gold super-collab Run the Jewels, Melbourne's own Remi locked in. 'Stolen Dance' fans will have plenty to jig about with the first Australian tour of Milky Chance, Sydney's Bluejuice are playing their last round, London's Wolf Alice are sure to generate some buzz, and Canberran trio SAFIA are also buzzworthy inclusions. There's a few Splendour returns: Britpop-loving Sydney dudes DMAs, newbie hip hop firecracker Tkay Maidza, Sydney dance legends The Presets, electronic whiz kid The Kite String Tangle, returning rock heavyweights Spiderbait, singalong starters Sticky Fingers and Riptider Vance Joy. Falls will also see a kickass 'Boogie Nights' program featuring none other than the ever-kickass hip hop legends Salt n Pepa, Melbourne's best-dressed duo Client Liaison, Sydney partystarter Alison Wonderland and Canada's Badbadnotgood. THE FALLS MUSIC & ARTS FESTIVAL 2014 LINEUP (IN ALPHABETICAL ORDER): ALT-J BIG FREEDIA THE BLACK LIPS BLUEJUICE COLD WAR KIDS DMAs GLASS ANIMALS GEORGE EZRA JAGWAR MA JAMIE XX JOEY BADA$$ JOHN BUTLER TRIO KIM CHURCHILL THE KITE STRING TANGLE MILKY CHANCE MOVEMENT THE PRESETS REMI RÖYKSOPP & ROBYN RUN THE JEWELS SAFIA SBTRKT (LIVE) >SPIDERBAIT STICKY FINGERS THE TEMPER TRAP TENSNAKE TKAY MAIDZA TODD TERJE (LIVE) TYCHO VANCE JOY WOLF ALICE + MORE TO BE ANNOUNCED. BOOGIE NIGHTS LINEUP (DEC 28 LORNE, DEC 29 MARION BAY, DEC 31 BYRON): ALISON WONDERLAND BADBADNOTGOOD CLIENT LIAISON SALT N PEPA + MORE. EVENTS: Dec 28, 2014 to Jan 1, 2015 in Lorne, VIC (est. 1993) 18+ event Dec 29, 2014 to Jan 1, 2015 in Marion Bay, TAS (est. 2003) All ages Dec 30, 2014 to Jan 3, 2015 in Byron Bay, NSW (est. 2013) 18+ event The ticket ballot is now open via the festival’s website and will be closing on Monday August 25. Enter the ballot here. Most of the event tickets are allocated to sales through the ballot process, starting at 9am on Thursday August 28; however, for those who miss out, there will also be a small allocation of tickets set aside for general public sales starting at 9am on Wednesday September 03. Image: Paul Smith
Laneway dining can be as dangerous as it is delicious. In the early days of Brew, Flamingo and Bean, trendy eaters were adventurers wandering down uninhabited, barely lit alleys; dazed, confused and chasing a hidden coffee hit. But now we've become accustomed to the escape from bustle and smoke that laneway cafes almost always offer, and Brisbane's latest addition to the scene is one you'll risk limb and pride for — because it's a hidden, inner-city gem that deserves a little light. Strauss has been open for a few months now, and in that time has taken a little while to be discovered. It's neatly tucked in a lane on Elizabeth Street opposite Wintergarden; let the high, glowing Strauss sign be your guiding star. The lane is lined with seating, but inside is the kind of cosy atmosphere you should really invest some good eyeing to secure. Plus, inside you can watch your coffee being made and food being prepared while maintaining some super uncomfortable eye contact with the wonderfully polite waitstaff. It's run by the same cafe curators as Merriweather and Cup, so you know their cafe game is strong, and their coffee one is even stronger. Truck along a few times, and you'll become familiar with the barista, who may not pump out coffee at Starbucks speed but does so with a hell of a lot more care and precision. Food wise, there's not a lot to choose from, but that's quickly compensated by the quality on show. If you're craving something hearty but don't want to torture you're waistline, then the salads are the way to go. Don't groan; these ones are actually, dare I say, tasty. From chickpea and fennel to tomato and mozzarella galore, these healthy options are packed full of ingredients and flavour. Strauss even offer a tasting plate of all the salads, will should really be used and abused. If a salad makes you writhe with fear, Strauss's sandwiches aren't your run-of-the-mill ham and cheese between two slices. The pastrami, tomato and caramelised onion baguette feels like something from a Woody Allen film and tastes even better. And if all that's just a little to high end for your CBD lunch break, treat yo' self to some avocado on toast; Strauss have got it down to a tee. Whether you're looking for somewhere quiet to chill, a salad to Instagram or a coffee with a little heart, then Strauss is the laneway cafe you best be trekking towards. Just make sure you go down the right alley.
Nicolas Cage is sorely missed in Five Nights at Freddy's, not that he was ever on the film's cast list. He starred in 2021's Willy's Wonderland, however, which clearly took its cues from the video-game franchise that this attempt to start a corresponding movie series now officially adapts. Willy's Wonderland wasn't great, but a near-silent Cage battling demonic animatronics was always going to be worth seeing. Unsurprisingly, he's mesmerising. In comparison, the actual Five Nights at Freddy's feature stars Josh Hutcherson deep in his older brother phase, bringing weary charm to a by-the-numbers horror flick that's as routine as they come no matter whether you've ever mashed buttons along with its inspiration — which first dropped in 2014 and now spans nine main games, a tenth on the way and five spinoffs — or seen everyone's favourite Renfield, Pig and Color Out of Space actor give an unlicensed take a go. Writer/director Emma Tammi (The Wind), the game's creator Scott Cawthon (Scooby Doo, Where Are You? In... SPRINGTRAPPED!) and co-screenwriter Seth Cuddeback's (Mateo) movie iteration of Five Nights at Freddy's doesn't just arrive after a Cage film got there first; it hits after season 16 of It's Always Sunny in Philadelphia wreaked havoc on a comparable setting already in 2023. If you're looking for a pitch-black comedic skewering of eateries in the style of Chuck E Cheese, the IRL pizzeria-meets-arcade chain that Freddy Fazbear's Pizza is patently based on, that's the best of the year. So, the Five Nights at Freddy film lingers in multiple shadows. There's symmetry on- and off-screen as result: shining a torchlight around in the movie uncovers sights that its characters would rather not see, and peering even just slightly through recent pop culture shows that this picture isn't alone, either. The concept in Five Nights at Freddy's whether you've got a controller in your hand or you're watching a flick: at the once-popular Freddy Fazbear's Pizza, which was big with families in the 80s, working the night shift at the restaurant's long-shuttered base has killer consequences. That's when the life-sized singing-and-dancing furry robots that performed shows for kids when the place was operational now go menacingly a-wandering, and also make their lack of fondness for visitors brutally known, causing a high staff turnover. Five Nights at Freddy's does explain why, but everything from what's going on to the reason behind it is horror movie 101. The film may take place in an eatery rather than a home — a creepy one, of course — but it's basically a haunted house affair, and happily ticks all of the most standard of genre boxes. Taking the gig from career counsellor Steve Raglan (Matthew Lillard, Scream) reluctantly, Mike Schmidt (Hutcherson, Futureman) doesn't want to be anywhere but his own abode come dark, let alone in a dilapidated old funhouse restaurant with anthropomorphic animal figures as one of its main attractions. But he's in need of work after being fired from his mall security job because he wrongly thought that a dad scolding his son was a man kidnapping a child, and reacted violently — and he has his ten-year-old sister Abby (Piper Rubio, Unstable) to look after. They're all that each other have left since the death of their parents and the abduction of their brother Garrett (Lucas Grant, The Patient) years before that, which Mike feels responsible for, other than the overbearing aunt (Mary Stuart Masterson, Blindspot) who is maliciously suing for custody. Mike normally spends his evenings attempting to find out what happened to Garrett via his dreams, a task he continues at Freddy's, with his preoccupation elsewhere giving the animatronics free rein. The place is inherently eerie in a dusty, overlooked, caught-out-of-time way — and also if you just think that giant teddy bears like Freddy can be ominous anyway — but Five Nights at Freddy's lead hasn't noticed until local cop Vanessa (Elizabeth Lail, You) drops by one night while patrolling her beat. Fuelled by his tragic past and ignoring the key 'don't fall asleep' rule of his overnight gig, he's too busy yawning his way to some shuteye to put dream theory to work to unlock his memories of the incident that shattered his family forever. Constructing a film around an oft-snoozing protagonist can be a double-edged sword, and cuts the wrong way here, reminding viewers that they might prefer to be slumbering as well. All that's endeavouring to keep most of the audience awake is predictable circuitry, from horror's current obsession with examining trauma's impact (and the genre's undying love of overusing any trend in flicks great, average and terrible) to overt nods in Stephen King and Scooby Doo's directions. That Scooby Doo vibe is telling, though: rather than just trying to evoke nostalgia in viewers who can remember their days as kids in arcades, family-themed restaurants or combos of both, Five Nights at Freddy's is as much aimed at adolescents now. Accordingly, Tammi hasn't taken a Winnie-the-Pooh: Blood and Honey approach — not that that's a worthy example of blending cuddly critters with horror at all — with her film focusing on mood, anticipation, suggestion and jump scares over anything gory or terrifying. Younger audiences still deserve better than a movie this generic. Everyone deserves something other than a film where more time is expended on the build-up and backstory than with Freddy Fazbear, Foxy, Chica, Cupcake and Bonnie. Created by Jim Henson's Creature Shop, the mechanised mascots look the part, but are both under-deployed and then stuck going through the murderous motions. Winking casting that gives away too much is also part of the Five Nights at Freddy's film experience. So is the pointless aunt subplot, which couldn't be more cartoonish. Scenes that do nothing but gush exposition — and ensure that there's zero mystery around who knows more than they're letting on — similarly bog down the movie. Hutcherson and Rubio nonetheless do well enough with pixel-thin characters, especially in a feature that frequently seems as if it has spliced an unrelated flick about sibling trauma into the Five Nights at Freddy's premise. A picture based on the gaming series was always bound to happen, and Blumhouse adding another established well-known horror name to a stable that also includes Black Christmas, Fantasy Island, The Invisible Man, The Craft's sequel, three Halloween movies, Firestarter and the latest The Exorcist entry was just as likely, but it shouldn't play like everything within it and about it is dully inevitable.
Shocking. Controversial. Bleurgh. These are just some words you will need to describe the films you'll watch during World Movies presentation of Films That Shocked The World. This week of outrageous cinema features five of the most contentious films of all time that have been banned globally, resulted in arrests or court cases, or caused an uproar defending morality (or all of the above). For five nights from Monday, 19 August, you can watch them from the sanctuary of your own home free from judgement thanks to World Movies, the only channel in Australia sanctioned to show R18+ films on national television. So if you've been warned against these films, it is time to take a bold step into the unknown and be amazed and horrified. https://youtube.com/watch?v=0piFZXT8Zxo The Human Centipede (2009) Tom Six's disturbing modern horror classic is a perfect film to commence this confronting week, somehow being both repulsive and beautiful. Despite the centipede technically being a few legs short, the film was claimed to be "100 percent medically accurate", which makes it considerably more terrifying given its scientific merits. The genre-redefining story of a demented German surgeon who kidnaps three tourists before joining their gastric systems to form a 'human centipede' more than deserves to be on this list — but be warned: it is not for the faint hearted and will cause countless viewers to watch from behind the safety of their fingers. Monday, 19 August, 9.30pm https://youtube.com/watch?v=Myzec1dgSqc Kids (1995) It is no surprise that Larry Clark's first feature film was deemed shocking in 1995 given it details the unrestrained behaviour of adolescents towards sex and substances. Written by Harmony Korine (Spring Breakers), its controversial subject material is matched by its directing of teenage sex, explicit dialogue and physical and sexual violence that makes anyone watching feel at least uncomfortable. Be prepared for a confronting tale of modern immorality that was released without classification in the US. Tuesday, 20 August, 9.30pm https://youtube.com/watch?v=cZ-Xp6VC7RQ Cannibal Holocaust (1980) Cannibal Holocaust would be shocking purely for its depiction of graphic murders and execution of live animals during filming. However, the added mystery of whether it was a snuff film in which the actors had been allegedly murdered on screen for authenticity caused the film to be almost immediately banned internationally and its director Ruggero Deodato to be arrested for murder — of which he was later acquitted after the actors were proved alive. This is controversial with a capital C. Wednesday, 21 August, 9.30pm Deep Throat (1972) Whilst the film gained notoriety for being one of the premier pornographic films featuring a (ridiculous) plot of obscenity and relatively high production values, its true shock value derives from the later claims of sexual abuse that linger over the film. Leading lady Linda Boreman (also known as Linda Lovelace) initially claimed the film was sexually liberating but later revealed her lack of consent to many of the sexual acts in the film, only being coerced into them by her abusive then-husband Chuck Traynor. If you decide to watch knowing this information, then apparently you can see the bruises on Boreman's body throughout the film. Thursday, 22 August, 9.30pm https://youtube.com/watch?v=hRubuJki4Mk Baise-moi (2000) Concluding the week of controversial cinema is perhaps the most shocking film of all, Baise-moi. The French favourite about two female prostitutes on a road trip towards retribution for their raping still cannot be shown here in its entirety today given the original features a close-up shot of penetration during rape and a scene showing a gun being pressed into a man's anus before being fired. However, World Movies will still be showing the R18+ cut, which is still many adjective levels above shocking that I would get fired for writing here. Friday, 23 August, 9.30pm
Brisbanites, cancel your lunch plans for Tuesday, March 5, 2024. Actually, maybe cancel your morning plans as well. Whatever you already had on your agenda for the day, it's being pushed back, because this is happening again: In-N-Out Burger is returning to Brisbane for one of its late-notice burg-slinging pop-ups. From 9am–3pm, the American chain will hit Fortitude Valley's The Sound Garden on Brunswick Street, serving up burgers within that six-hour window — or until sold out. The venue announced the news on its social media. And yes, these pop-ups always happen with very little notice, as you might remember from past In-N-Out frenzies before the pandemic. View this post on Instagram A post shared by The Sound Garden (@thesoundgardenbne) On the menu: the chain's double-double, animal-style and protein-style burgs, all while stocks last — with limited quantities available. If you've been to one of In-N-Out's previous Australian pop-ups — in Brisbane or interstate — then you'll know these burgers sell like, well, cult-status burgers. So, you'll have to get there ASAP on Tuesday. Work can wait. Brisbane's latest In-N-Out burger pop-up will run from 9am–3pm on Tuesday, March 5, 2024 at The Sound Garden, 312–318 Brunswick Street, Fortitude Valley. Keep an eye on the venue's Facebook and Instagram for more details. Images: Thank You (21 Millions+) views / Craig Lloyd via Wikimedia Commons.
Brisbanites can be excused for feeling a sigh of relief about The Westin. Now that it exists, the huge hole in the ground that blighted Mary and Margaret Streets for years is finally gone. And it's a case of good things coming to those who wait, with the hotel giving the city its very first swim-up bar. This alone could put The Westin in our list of the best hotels in Brisbane. It's the kind of attraction that you'd usually find on an island, by the coast or just somewhere other than an inner city street, the Nautilus is located in the middle of Westin's 300-square-metre swimming pool — and features views over the city, too. Sounds like the only excuse we all need for a stay in one of the hotel's 299 rooms and suites. Although cabanas, deck-side yoga classes, an onsite jazz bar and a 150-person restaurant all help as well. But if you're just visiting for lunch with your pet, you can bring them along for a special experience. Over at The Charles, the cafe and lobby bar at Mary Street's The Westin Brisbane in the CBD, a new 'pupfast' menu is now on offer until 1pm daily, filled with dishes and drinks that'll get your pooch's tale wagging. Adding a dash of fine-dining to your dog's day, the just-unleashed canine culinary range starts with the bibim bark which, yes, gives the Korean rice dish a hound-friendly spin. Doing just that with familiar meals is the whole focus of the 'pupfast' range, actually. So, with this option, Rex or Max can tuck into a mix of braised barramundi, carrots, peas, pumpkin, spinach, sesame and corn. Treat your pup like royalty at The Westin Brisbane, which is obviously one of the best pet-friendly hotels in all of Queensland.
So by now it's pretty well-predicted that La La Land is going to dominate this year's Oscars, which, depending on who you ask, is either The Greatest Thing and totally deserved or The Worst Thing and proof of the Academy's irredeemable age/taste/whiteness. But there is one award it shouldn't win, and that's Best Original Score — if you ask us, it shouldn't even be nominated for it. That's because La La Land is a musical, and doesn't have a score in the usual cinematic definition of the word. Generally, a score is the music underpinning the action, not occurring within the scene as it does in La La Land. Ryan Gosling might look adorable while he's noodling on a piano for 'City of Stars', but the fact that he's most certainly in the scene means that the song is not part of the score in the usual sense. This distinction has been emphasised by the Academy itself in the past — from 1949 to 1969, Best Original Score was split into two separate categories: one for Original Score, and one for Musical Score. The score of a film is as important as any other aspect of it; it occupies more of a film's screentime than any actor, conveys more emotion than any speech, sets the mood more evocatively than any costume or lighting or scenery. The great film critic Roger Ebert liked to say that "movies are like a machine that generates empathy". If he's correct, the score is the engine driving that machine. Film is an inherently visual medium, yet a great score is as memorable as any image. Two drags of a cello's bow and you're going to need a bigger boat; I only have to hint at the famous 'dum dum dum dum DAdum dum DAdum' and you're reaching for your inhaler. Show me one big-budget action film since Inception that hasn't used Hans Zimmer's patented PWAAAAAAAARP at some moment of high drama. Think of The Pink Panther, 2001: A Space Odyssey, Psycho, Chariots of Fire or basically any Spielberg film, and it's the score that leaps into your mind instantly. You only have to look at the list of winners of Best Score to see how seriously film scores are taken. Significant classical composers like Erich Korngold (The Adventures of Robin Hood), Aaron Copland (Of Mice and Men, The Heiress), Leonard Bernstein (On the Waterfront), André Previn (Gigi), Miklós Rózsa (Ben-Hur), Ennio Morricone (The Mission, The Hateful Eight) and Tan Dun (Crouching Tiger, Hidden Dragon), and even Shostakovich and Prokofiev have all written scores. Other composers like Elmer Bernstein, Malcolm Arnold, Bernard Herrmann and Nino Rota — whose careers were mostly spent writing for films — are now spoken of in the same breath as other more traditionally classical composers, while today the music of James Horner, John Williams, Howard Shore and Hans Zimmer is often performed by symphony orchestras in the world's most prestigious concert halls. Even Trent Reznor has an Oscar for The Social Network. With all this blurring of boundaries and genres, the sound palette of films is broader and more experimental than it has ever been. Philip Glass, a modern classical composer long derided as difficult and unlistenable, has achieved popular recognition thanks to his score for The Hours; similarly, Icelandic composer Jóhann Jóhannsson's work has spanned film, theatre and contemporary classical throughout his career (and would have been nominated for an Oscar for his score for Arrival but for a technicality). This year's nominees for Best Original Score cover a number of styles, from musical (La La Land) to minimalist (Lion), from shimmery strings and piano chords (Passengers) to tense, darting violins (Moonlight) and unsettling, lush-yet-uneasy chamber pieces (Jackie) – proving that the emotion you make an audience feel is far more important than the method by which you make them feel. Film scores, in all their diverse sounds and styles, are inseparable from the cinema experience. They can complement characterisation, drive plot, confirm suspicions for an audience or confound their expectations. One thing they absolutely should not do is break into song on a highway off-ramp.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've been under the weather. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 20 that you can watch right now at home. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who'd be 75 as this doco hits screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Moonage Daydream is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. BODIES BODIES BODIES The internet couldn't have stacked Bodies Bodies Bodies better if it tried, not that that's how the slasher-whodunnit-comedy came about. Pete Davidson (The Suicide Squad) waves a machete around, and his big dick energy, while literally boasting about how he looks like he fucks. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova plays the cautious outsider among rich-kid college grads, who plan to ride out a big storm with drinks and drugs (and drama) in one of their parents' mansions. The Hunger Games and The Hate U Give alum Amandla Stenberg leads the show as the gang's black sheep, turning up unannounced to zero fanfare from her supposed besties, while the rest of the cast spans Shiva Baby's Rachel Sennott, Generation's Chase Sui Wonders and Industry's Myha'la Herrold, plus Pushing Daisies and The Hobbit favourite Lee Pace as a two-decades-older interloper. And the Agatha Christie-but-Gen Z screenplay? It's drawn from a spec script by Kristen Roupenian, the writer of 2017 viral New Yorker short story Cat Person. All of the above is a lot. Bodies Bodies Bodies is a lot — 100-percent on purpose. It's a puzzle about a party game, as savage a hangout film as they come, and a satire about Gen Z, for starters. It carves into toxic friendships, ignored class clashes, self-obsessed obliviousness, passive aggression and playing the victim. It skewers today's always-online world and the fact that everyone has a podcast — and lets psychological warfare and paranoia simmer, fester and explode. Want more? It serves up another reminder after The Resort, Palm Springs and co that kicking back isn't always cocktails and carefree days. It's an eat-the-rich affair alongside Squid Game and The White Lotus. Swirling that all together like its characters' self-medicating diets, this wildly entertaining horror flick is a phenomenal calling card for debut screenwriter Sarah DeLappe and Dutch filmmaker Halina Reijn (Instinct), too — and it's hilarious, ridiculous, brutal and satisfying. Forgetting how it ends is also utterly impossible. Bodies Bodies Bodies is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FIRE OF LOVE What a delight it would be to trawl through Katia and Maurice Krafft's archives, sift through every video that features the French volcanologists and their work, and witness them doing their highly risky jobs against spectacular surroundings. That's the task that filmmaker Sara Dosa (The Seer and the Unseen) took up to make this superb documentary about the couple's lives — although, as magnificent as this incredibly thoughtful, informative and moving film is, it makes you wonder what a sci-fi flick made from the same footage would look like. There's a particular sequence that cements that idea, set to the also-otherworldly sounds of Air, and featuring the Kraffts walking around against red lava in their futuristic-looking protective silver suits. The entire enchanting score springs from Air's Nicolas Godin, and it couldn't better set the mood; that said, these visuals and this story would prove entrancing if nary a sound was heard, let alone a note or a word. For newcomers to the Kraffts, their lives make quite the tale — one of two volcano-obsessed souls who instantly felt like they were destined to meet, then dedicated their days afterwards to understanding the natural geological formations. More than that, they were passionate about analysing what they dubbed 'grey volcanos', which produce masses of ash when they erupt, and often a body count. Attempting to educate towns and cities in the vicinity of volcanoes, so that they could react appropriately and in a timely way to avoid casualties, became a key part of their mission. This isn't the only doco about them — in fact, German director Werner Herzog is making his own, called The Fire Within: A Requiem for Katia and Maurice Krafft — but Fire of Love is a gorgeous, sensitive, fascinating and affecting ode to two remarkable people, their love, their passion and their impact. It also benefits from pitch-perfect narration, too, courtesy of actor and Kajillionaire filmmaker Miranda July. Fire of Love is available to stream via Disney+. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. The Stranger is available to stream via Netflix. Read our full review. THE QUIET GIRL When Normal People became the streaming sensation of the pandemic's early days, it made stars out of leads Paul Mescal and Daisy Edgar-Jones, and swiftly sparked another Sally Rooney adaptation from much of the same behind-the-scenes team. It wouldn't have been the hit it was if it hadn't proven an exercise in peering deeply, thoughtfully, lovingly and carefully, though, with that sensation stemming as much from its look as its emotion-swelling story. It should come as no surprise, then, that cinematographer Kate McCullough works the same magic on The Quiet Girl, a Gaelic-language coming-of-age film that sees the world as only a lonely, innocent, often-ignored child can. This devastatingly moving and beautiful movie also spies the pain and hardship that shapes its titular figure's world — and yes, it does so softly and with restraint, just like its titular figure, but that doesn't make the feelings it swirls up any less immense. McCullough is just one of The Quiet Girl's key names; filmmaker Colm Bairéad, a feature first-timer who directs and adapts Claire Keegan's novella Foster, is another. His movie wouldn't be the deeply affecting affair it is without its vivid and painterly imagery — but it also wouldn't be the same without the helmer and scribe's delicate touch, which the 1981-set tale he's telling not only needs but demands. His focus: that soft-spoken nine-year-old, Cáit (newcomer Catherine Clinch), who has spent her life so far as no one's priority. With her mother (Kate Nic Chonaonaigh, Shadow Dancer) pregnant again, her father (Michael Patric, Smother) happiest drinking, gambling and womanising, and her siblings boisterously bouncing around their rural Irish home, she's accustomed to blending in and even hiding out. Then, for the summer, she's sent to her mum's older cousin Eibhlín (Carrie Crowley, Extra Ordinary) and her dairy farmer husband Seán (Andrew Bennett, Dating Amber). Now the only child among doting guardians, she's no less hushed, but she's also loved and cared for as she's never been before. The Quiet Girl is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DON'T WORRY DARLING Conformity rarely bodes well in cinema. Whenever everyone's dressing the same, little boxes litter the landscape or identical white-picket fences stretch as far as the eye can see, that perception of perfection tends to possess a dark underbelly. The Stepford Wives demonstrated that. Pleasantville, Blue Velvet and Vivarium all did as well. Yes, there's a touch of conformity in movies about the evils of and heralded by conformity; of course there is. That remains true when Florence Pugh (Black Widow) and Harry Styles (Eternals) navigate an ostensibly idyllic vision of retro suburbia in a desert-encased enclave — one that was always going to unravel when the movie they're in is called Don't Worry Darling. Don't go thinking that this handsome and intriguing film doesn't know all of this, though. Don't go thinking that it's worried about the similarities with other flicks, including after its secrets are spilled, either. It'd be revealing too much to mention a couple of other movies that Don't Worry Darling blatantly recalls, so here's a spoiler-free version: this is a fascinating female-focused take on a pair of highlights from two decades-plus back that are still loved, watched and discussed now. That's never all that Olivia Wilde's second feature as a filmmaker after 2019's Booksmart is, but it feels fitting that when it conforms in a new direction, it finds a way to make that space its own. That's actually what Pugh's Alice thinks she wants when Don't Worry Darling begins. The film's idealised 1950s-style setting comes with old-fashioned gender roles firmly in place, cocktails in hand as soon Styles' Jack walks in the door come quittin' time and elaborate multi-course dinners cooked up each night, with its protagonist going along with it all. But she's also far from keen on having a baby, the done thing in the company town that is Victory. It'd curtail the noisy sex that gets the neighbours talking, for starters. Don't Worry Darling is available to stream via Google Play, YouTube Movies, iTunes and Prime Video . Read our full review. AMSTERDAM There's only one Wes Anderson, but there's a litany of wannabes. Why can't David O Russell be among them? Take the first filmmaker's The Grand Budapest Hotel, mix in the second's American Hustle and that's as good a way as any to start describing Amsterdam, Russell's return to the big screen after a seven-year gap following 2015's Joy — and a starry period comedy, crime caper and history lesson all in one. Swap pastels for earthier hues, still with a love of detail, and there's the unmistakably Anderson-esque look of the film. Amsterdam is a murder-mystery, too, set largely in the 1930s against a backdrop of increasing fascism, and filled with more famous faces than most movies can dream of. The American Hustle of it all springs from the "a lot of this actually happened" plot, this time drawing upon a political conspiracy called the White House/Wall Street Putsch, and again unfurling a wild true tale. A Russell returnee sits at the centre, too: Christian Bale (Thor: Love and Thunder) in his third film for the writer/director. The former did help guide the latter to an Oscar for The Fighter, then a nomination for American Hustle — but while Bale is welcomely and entertainingly loose and freewheeling, and given ample opportunity to show his comic chops in his expressive face and physicality alone, Amsterdam is unlikely to complete the trifecta of Academy Awards recognition. The lively movie's cast is its strongest asset, though, including the convincing camaraderie between Bale, John David Washington (Malcolm & Marie) and Margot Robbie (The Suicide Squad). They play pals forged in friendship during World War I, then thanks to a stint in the titular Dutch city. A doctor, a lawyer and a nurse — at least at some point in the narrative — they revel in love and art during their uninhabited stay, then get caught in chaos 15 years later. Amsterdam is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. THE WONDER "We are nothing without stories, so we invite you to believe in this one." So goes The Wonder's opening narration, as voiced by Niamh Algar (Wrath of Man) and aimed by filmmaker Sebastián Lelio in two directions. For the Chilean writer/director's latest rich and resonant feature about his favourite topic, aka formidable women — see also: Gloria, its English-language remake Gloria Bell, Oscar-winner A Fantastic Woman and Disobedience — he asks his audience to buy into a tale that genuinely is a tale. In bringing Emma Donoghue's (Room) book to the screen, he even shows the thoroughly modern-day studio and its sets where the movie was shot. But trusting in a story is also a task that's given The Wonder's protagonist, Florence Pugh's nurse Lib Wright, who is en route via ship to an Irish Midlands village when this magnetic, haunting and captivating 19th century-set picture initially sees her. For the second time in as many movies — and in as many months Down Under as well — Pugh's gotta have faith. Playing George Michael would be anachronistic in The Wonder, just as it would've been in Don't Worry Darling's gleaming 1950s-esque supposed suburban dream, but that sentiment is what keeps being asked of the British actor, including in what's also her second fearless performance in consecutive flicks. Here, it's 1862, and 11-year-old Anna O'Donnell (Kíla Lord Cassidy, Viewpoint) has seemingly subsisted for four months now without eating. Ireland's 1840s famine still casts shadows across the land and its survivors, but this beatific child says she's simply feeding on manna from heaven. Lib's well-paid job is to watch the healthy-seeming girl in her family home, where her mother (A Discovery of Witches' Elaine Cassidy, Kila's actual mum) and father (Caolan Byrne, Nowhere Special) dote, to confirm that she isn't secretly sneaking bites to eat. The Wonder is available to stream via Netflix. Read our full review. YOU WON'T BE ALONE Sometimes, a comparison is so obvious that it simply has to be uttered and acknowledged. That's the case with You Won't Be Alone, the first feature from Macedonian Australian writer/director Goran Stolevski, who also helmed MIFF's 2022 opening-night pick Of an Age. His debut film's lyrical visuals, especially of nature, instantly bringing the famously poetic aesthetics favoured by Terrence Malick (The Tree of Life, A Hidden Life) to mind. Its musings on the nature of life, and human nature as well, easily do the same. Set centuries back, lingering in villages wracked by superstition and exploring a myth about a witch, You Won't Be Alone conjures up thoughts of Robert Eggers' The Witch as well. Indeed, if Malick had directed that recent favourite, the end product might've come close to this entrancing effort. Consider Stolevski's feature the result of dreams conjured up with those two touchstones in his head, though, rather than an imitator. The place: Macedonia. The time: the 19th century. The focus: a baby chosen by the Wolf-Eateress (Anamaria Marinca, The Old Guard) to be her offsider. The feared figure has the ability to select and transform one protege, but she agrees to let her pick reach the age of 16 first. Nevena (Sara Klimoska, Black Sun) lives those formative years in a cave, in an attempt to stave off her fate. When the Wolf-Eateress comes calling, her initiation into the world — the world of humans, and of her physically and emotionally scarred mentor — is jarring. With Noomi Rapace (Lamb), Alice Englert (The Power of the Dog) and Carloto Cotta (The Tsugua Diaries) also among the cast, You Won't Be Alone turns Nevena's experiences of life, love, loss, desire, pain, envy and power into a haunting and thoughtful gothic horror fable. To say that it's bewitching is obvious, too, but also accurate. You Won't Be Alone is available to stream via Google Play and YouTube Movies. Read our full review. SEE HOW THEY RUN As every murder-mystery does, See How They Run asks a specific question: whodunnit? This 1950s-set flick also solves another query, one that's lingered over Hollywood for seven decades now thanks to Agatha Christie. If this movie's moniker has you thinking about mouse-focused nursery rhymes, that's by design — and characters do scurry around chaotically — however, it could also have you pondering the famed author's play The Mousetrap. The latter first hit theatres in London's West End in 1952 and has stayed there ever since, other than an enforced pandemic-era shutdown in COVID-19's early days. The show operates under a set stipulation regarding the big-screen rights, too, meaning that it can't be turned into a film until the original production has stopped treading the boards for at least six months. As that's never happened, how do you get it into cinemas anyway? Make a movie about trying to make The Mousetrap into a movie, aka See How They Run. Was it actor Richard Attenborough (Harris Dickinson, Where the Crawdads Sing), his fellow-thespian wife Sheila Sim (Pearl Chanda, War of the Worlds), big-time movie producer John Woolf (Reece Shearsmith, Venom: Let There Be Carnage) or his spouse Edana Romney (Sian Clifford, The Duke) getting murderous in the costume shop at the backstage party celebrating The Mousetrap's 100th show? (And yes, they're all real-life figures.) Or, was it the play's producer Petula Spencer (Ruth Wilson, His Dark Materials), the proposed feature adaptation's screenwriter Mervyn Cocker-Norris (David Oyelowo, Chaos Walking) or his Italian lover Gio (Jacob Fortune-Lloyd, The Queen's Gambit)? They're among See How They Run's other enquiries, which Scotland Yard's Inspector Stoppard (Sam Rockwell, Richard Jewell) and Constable Stalker (Saoirse Ronan, The French Dispatch) try to answer. After the death that kicks off filmmaker Tom George (This Country) and screenwriter Mark Chappell's (Flaked) mostly entertaining game of on-screen Cluedo, the two cops are on the case, working through their odd-couple vibe as they sleuth. See How They Run is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE GOOD NURSE It isn't called CULLEN — Monster: The Charles Cullen Story. It doesn't chart the murders of a serial killer who's already a household name. And, it doesn't unfurl over multiple episodes. Still, Netflix-distributed true-crime film The Good Nurse covers homicides, and the person behind them, that are every bit as grim and horrendous as the events dramatised in DAHMER — Monster: The Jeffrey Dahmer Story. Such based-on-reality tales that face such evil are always nightmare fodder, but this Eddie Redmayne (Fantastic Beasts: The Secrets of Dumbledore)- and Jessica Chastain (The Forgiven)-starring one, as brought to the screen by Danish filmmaker Tobias Lindholm (A War, A Hijacking), taps into a particularly terrifying realm. The culprit clearly isn't the good nurse of the movie's moniker, but he is a nurse, working in intensive care units no less — and for anyone who has needed to put their trust in the health system or may in the future (aka all of us), his acts are gut-wrenchingly chilling. Hospitals are meant to be places that heal, even in America's cash-driven setup where free medical care for all isn't considered a basic right and a societal must. Hospitals are meant to care for the unwell and injured, as are the doctors, nurses and other staff who race through their halls. There is one such person in The Good Nurse, Amy Loughren, who Chastain plays based on a real person. In 2003, in New Jersey, she's weathering her own struggles: she's a single mother to two young girls, she suffers from cardiomyopathy to the point of needing a heart transplant, and she can't tell her job about her health condition because she needs to remain employed for four more months to qualify for insurance to treat it. Then enters Cullen (Redmayne), the newcomer on Loughren's night shifts, a veteran of nine past hospitals, an instant friend who offers to help her cope with her potentially lethal ailment and also the reason that their patients start dying suddenly. The Good Nurse is available to stream via Netflix. Read our full review. GOOD LUCK TO YOU, LEO GRANDE People have orgasms every day, but for decades spent closing her eyes and thinking of England in a sexually perfunctory marriage, Good Luck to You, Leo Grande's lead character wasn't among them. Forget la petite mort, the French term for climaxing; Nancy Stokes' (Emma Thompson, Cruella) big wrestling match with mortality, the one we all undertake, has long been devoid of erotic pleasure. Moments that feel like a little death? Unheard of. That's where this wonderfully candid, intimate, generous and joyous sex comedy starts, although not literally. Flashbacks to Nancy enduring getting it over with beneath her now-deceased spouse, missionary style, aren't Australian filmmaker Sophie Hyde (Animals) or British comedian-turned-screenwriter Katy Brand's (Glued) concern. Instead, their film begins with the religious education teacher waiting in a hotel room, about to take the biggest gamble of her life: meeting the eponymous sex worker (Daryl McCormack, Peaky Blinders). For anyone well-versed in Thompson's prolific on-screen history, and of Brand's work before the camera as well, Good Luck to You, Leo Grande inspires an easy wish: if only Nancy had a different job. Back in 2010, the pair co-starred in Nanny McPhee and the Big Bang, a title that'd also fit their latest collaboration if its protagonist cared for kids rather than taught them. Jokes aside, the instantly charming Leo is used to hearing that sentiment about his own professional choices. Indeed, Nancy expresses it during their pre- and post-coital discussions, enquiring about the events that might've led him to his career. "Maybe you're an orphan!" she says. "Perhaps you grew up in care, and you've got very low self-esteem," she offers. "You could have been trafficked against your will — you can't tell just by looking at somebody!" she continues. Good Luck to You, Leo Grande is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BLAZE In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. There are imagined dragons in Blaze, but Game of Thrones or House of the Dragon, this isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, High Ground), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. Blaze is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HIT THE ROAD How fitting it is that a film about family — about the ties that bind, and when those links are threatened not by choice but via unwanted circumstances — hails from an impressive lineage itself. How apt it is that Hit the Road explores the extent that ordinary Iranians find themselves going to escape the nation's oppressive authorities, too, given that the filmmaker behind it is Panah Panahi, son of acclaimed auteur Jafar Panahi. The latter's run-ins with the country's regime have been well-documented. The elder Panahi, director of Closed Curtain, Tehran Taxi and more, has been both imprisoned and banned from making movies over the past two decades, and was detained again in July 2022 for enquiring about the legal situation surrounding There Is No Evil helmer Mohammad Rasoulof. None of that directly comes through in Hit the Road's story, not for a moment, but the younger Panahi's directorial debut is firmly made with a clear shadow lingering over it. As penned by the fledgling filmmaker as well, Hit the Road's narrative is simple and also devastatingly layered; in its frames, two starkly different views of life in Iran are apparent. What frames they are, as lensed by Ballad of a White Cow cinematographer Amin Jafari — with every sequence a stunner, but three in particular, late in the piece and involving fraught exchanges, nighttime stories and heartbreaking goodbyes, among the most mesmerising images committed to celluloid in recent years. Those pictures tell of a mother (Pantea Panahiha, Rhino), a father (Mohammad Hassan Madjooni, Pig), their adult son (first-timer Amin Simiar) and their six-year-old boy (scene-stealer Rayan Sarlak, Gol be khodi), all unnamed, who say they're en route to take their eldest to get married. But the journey is a tense one, even as the youngest among them chatters, sings, does ordinary childhood things and finds magic in his cross-country road trip, all with zero knowledge of what eats at the rest of his family. Hit the Road is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FLUX GOURMET Flickering across a cinema screen, even the greatest of movies only engage two senses: sight and hearing. We can't touch, taste or smell films, even if adding scratch-and-sniff aromas to the experience has become a cult-favourite gimmick. British director Peter Strickland hasn't attempted that — but his features make you feel like you're running your fingers over an alluring dress (In Fabric), feeling the flutter of insect wings (The Duke of Burgundy) or, in his latest, enjoying the smells and tastes whipped up by a culinary collective that turns cooking and eating into performance art. Yes, if you've seen any of his movies before, Flux Gourmet instantly sounds like something only Strickland could make. While it's spinning that tale, it literally sounds like only something he could come up with as well, given that his audioscapes are always a thing of wonder (see also: the sound-focused Berberian Sound Studio). And, unsurprisingly due to his strong and distinctive sense of style and mood, everything about Flux Gourmet looks and feels like pure Strickland, too. The setting: a culinary institute overseen by Jan Stevens (Gwendoline Christie, Game of Thrones), that regularly welcomes in different creative groups to undertake residencies. Her guests collaborate, percolate and come up with eye-catching blends of food, bodies and art — hosting OTT dinners, role-playing a trip to the supermarket, getting scatalogical and turning a live colonoscopy into a show, for instance. Watching and chronicling the latest stint by a 'sonic catering' troupe is journalist Stones (Makis Papadimitriou, Beckett), who also has gastrointestinal struggles, is constantly trying not to fart and somehow manages to keep a straight face as everything gets farcical around him. Asa Butterfield (Sex Education), Ariane Labed (The Souvenir: Part II) and Strickland regular Fatma Mohamed play the three bickering artists, and their time at the institute get messy and heated, fast — but this is a film that's as warm as it is wild, and stands out even among Strickland's inimitable work. Also crucial: riffing on This Is Spinal Tap. Flux Gourmet is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TICKET TO PARADISE Here we go again indeed: with the George Clooney- and Julia Roberts-starring Ticket to Paradise, a heavy been-there-done-that air sweeps through, thick with the Queensland-standing-in-for-Bali breeze. The film's big-name stars have bounced off each other in Ocean's Eleven, Ocean's Twelve and Money Monster before now. Director Ol Parker has already sent multiple groups of famous faces to far-flung places — far-flung from the UK or the US, that is — as the writer of the Best Exotic Marigold flicks and helmer of Mamma Mia! Here We Go Again. Enough destination wedding rom-coms exist that one of the undersung better ones, with Keanu Reeves and Winona Ryder, is even called Destination Wedding. And, there's plenty of romantic comedies about trying to foil nuptials, too, with My Best Friend's Wedding and Runaway Bride on Roberts' resume since the 90s. Hurriedly throw all of the above into a suitcase — because your twentysomething daughter Kaitlyn Dever, Dopesick) has suddenly announced she's marrying a seaweed farmer (Maxime Bouttier, Unknown) she just met in Indonesia, if you're Clooney (The Midnight Sky) and Roberts' (Gaslit) long-divorced couple here — and that's firmly Ticket to Paradise. As The Lost City already was earlier in 2022, it too is a star-driven throwback, endeavouring to make the kind of easy, glossy, screwball banter-filled popcorn fare that doesn't reach screens with frequency lately. It isn't as entertaining as that flick, and it certainly isn't winking, nodding and having fun with its formula; sticking dispiritingly to the basics is all that's on Parker's itinerary with his first-timer co-scribe Daniel Pipski. But alongside picturesque vistas, Ticket to Paradise shares something crucial with The Lost City: it gets a whole lot of mileage out of its stars' charisma. Ticket to Paradise is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. CLEAN "It's a shock to the system. It's a change to the everyday, regular routine. It's where the unhappy gene comes out — and it's a sign of the times today." That's the gloriously candid and empathetic Sandra Pankhurst on trauma, a topic she has literally made her business. Later in Clean, the documentary that tells her tale, she describes herself as a "busy nose and a voyeur"; however, that's not what saw her set up Melbourne's Specialised Trauma Cleaning. For three decades now, her company has assisted with "all the shitty jobs that no one really wants to do," as she characterises it: crime-scene cleanups, including after homicides, suicides and overdoses; deceased estates, such as bodies found some time after their passing; and homes in squalor, to name a few examples. As she explains in the film, Pankhurst is eager to provide such cleaning services because everyone deserves that help — and because we're all just a couple of unfortunate turns away from needing it. The 2008 movie Sunshine Cleaning starring Amy Adams (Dear Evan Hansen) and Emily Blunt (Jungle Cruise) fictionalised the trauma-cleaning realm; if that's your touchstone at the outset of Clean, prepare for far less gloss, for starters. Prepare for much more than a look at a fascinating but largely ignored industry, too, because filmmaker Lachlan Mcleod (Big in Japan) is as rightly interested in Pankhurst as he is in her line of work. Everything she says hangs in the air with meaning, even as it all bounces lightly from her lips ("life can be very fragile", "every dog has its day, and a mongrel has two" and "life dishes you out a good story and then life dishes you out a shit one" are some such utterances). Everything feels matter of fact and yet also immensely caring through her eyes, regardless of the situation that her Frankston-headquartered employees are attending to. Clean is available to stream via SBS On Demand. Read our full review. SMILE If high-concept horror nasties get you grinning even when you're squirming, recoiling or peeking through your fingers, then expect Smile to live up to its name — in its first half, at least. A The Ring-meets-It Follows type of scarefest with nods to the Joker thrown in — even though it springs from debut feature writer/director Parker Finn's own 2020 short film Laura Hasn't Slept — it takes its titular term seriously, sporting one helluva creepy smirk again and again. The actual face doing the ghoulish beaming can change, and does, but the evil Cheshire Cat-esque look on each dial doesn't. Where 2011's not-at-all spooky The Muppets had a maniacal laugh, Smile does indeed possess a maniacal, skin-crawling, nightmare-inducing leer. In the film, the first character to chat about it, PhD student Laura Weaver (Caitlin Stasey, Bridge and Tunnel), explains it as "the worst smile I have ever seen in my life". She's in a hospital, telling psychiatrist Rose Cotter (Mare of Easttown's Sosie Bacon, daughter of Kevin Bacon and Kyra Sedgwick), who clearly thinks she's hallucinating. But when the doctor sees that grin herself, she immediately knows that Laura's description couldn't be more accurate. Toothy, deranged, preternaturally stretched and also frozen in place, the smile at the heart of Smile isn't easily forgotten — not that Rose need worry about that. Soon, it's haunting her days and nights by interrupting her work, and seeing her act erratically with patients to the concern of her boss (Kal Penn, Clarice). Rose upsets a whole party at her nephew's birthday, too, and makes her fiancé Trevor (Jessie T Usher, The Boys) have doubts about their future. There's a backstory: Rose's mother experienced mental illness, which is why she's so passionate about her work and her sister Holly (Gillian Zinser, The Guilty) is so dismissive. There's a backstory to the diabolical frown turned upside down also, which she's quickly trying to unravel with the help of her cop ex Joel (Kyle Gallner, Scream). She has to; Laura came to the hospital for assistance after her professor saw the smile first, then started beaming it, then took his own life in front of her — and now Rose is in the same situation Smile is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ON THE COUNT OF THREE What happens outside an upstate New York strip club at 10am on an ordinary weekday? Nothing — nothing good, or that anyone pays attention to, at least — deduces the unhappy Val (Jerrod Carmichael, Rothaniel) in On the Count of Three. So, he's hatched a plan: with his lifelong best friend Kevin (Christopher Abbott, The Forgiven), they'll carry out a suicide pact, with that empty car park as their final earthly destination. Under the harsh morning light and against a drably grey sky, Carmichael's feature directorial debut initially meets its central duo standing in that exact spot, guns pointed at each other's heads and pulling the trigger mere moments away. Yes, they start counting. Yes, exhaustion and desperation beam from their eyes. No, this thorny yet soulful film isn't over and done with then and there. There are many ways to experience weariness, frustration, malaise and despair, and to convey them — and On the Count of Three surveys plenty, as an unflinchingly black comedy about two lifelong best friends deciding to end it all should. Those dispiriting feelings can weigh you down, making every second of every day an effort. They can fester, agitate, linger and percolate, simmering behind every word and deed before spewing out as fury. They can spark drastic actions, including the type that Val and Kevin have picked as their only option after the latter breaks the former out of a mental health hospital mere days after his last self-harming incident. Or, they can inspire a wholesale rejection of the milestones, such as the promotion that Val is offered hours earlier, that everyone is told they're supposed to covet, embrace and celebrate. On the Count of Three is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. THE HUMANS If you're the kind of cinephile who likes to theme their viewing around the relevant time of year — holiday-related, primarily — then you're clearly always spoiled for choice. Christmas movies, horror flicks at Halloween, Easter-relevant films: you can build a binge session out of all of them (several in fact, depending on the occasion). The same applies to Thanksgiving, all courtesy of the US, and The Humans is the latest addition to the November-appropriate list. But while it ticks a few easy boxes, including bringing a family together to celebrate the date, steeping their get-together in awkwardness, and having big revelations spill out over the course of the gathering, this A24-distributed release is far creepier and more haunting than your usual movie about America's turkey-eating time of year. Based on Stephen Karam's Tony-winning play, and adapted and directed for the screen by Karam himself, it's downright unsettling, in fact, and for a few reasons. There's the tension zipping back and forth between everyone in attendance, of course; the bleak, claustrophobic, rundown setting, in a New York apartment close to ground zero; and the strange sounds emanating from other units. As a result, seasonal cheer is few and far between in this corner of Manhattan, where the Blake family congregates in Brigid (Beanie Feldstein, Booksmart) and her boyfriend Richard's (Steven Yeun, Nope) new abode. Also making an appearance: parents Deirdre (Jayne Houdyshell, Only Murders in the Building) and Erik (Richard Jenkins, Nightmare Alley), Brigid's older sister Aimee (Amy Schumer, Life & Beth), and their grandmother Momo (June Squibb, Palmer), who has dementia. No one is happy, and everyone seems to have something that needs airing — but there's always the feeling that, in any other location, this might've truly been a joyful affair. Discussions about dreams and nightmares prove revealing, but The Humans points out the thin line between both, whether we're slumbering or waking, several times over in its talky frames. The Humans is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and our best new TV shows, returning TV shows and straight-to-streaming movies from the first half of 2022.
Roll up, roll up, laugh-loving folks — it's that time of year. Think there's not much in common between a circus and a comedy festival? Well, both throw a feast of different acts your way for you to have a fine night out. And both will make you marvel at just what's possible — in terms of clever gags and, in comedy's case, how much more hilarity your stomach can handlee. At this year's Brisbane Comedy Festival at Brisbane Powerhouse — the event's eighth and biggest yet — there will be more than 66 comedians performing over the course of four weeks. The best thing to do is clear your schedule, dive in and prepare to give your face a workout.
The Northern Rivers' food scene has got a new kid on the block, and it's bringing more than a little of the Big Apple with it. Tucked inside a newly renovated community business precinct in Byron Bay, Baloney's is a New York-Italian-style deli and cafe that's serving up nostalgia, deli meats and loaded sambos — no baloney. It's been brought to life by founder George McFarlane as a passion project that puts a breezy Byron spin on Italian-American food culture. And while the two-hander sandwiches might be the initial drawcard, the space itself — designed by Northern Rivers studio Happy Hour — is full of character. Inside, you'll find black-and-white checkerboard tiles, a standing espresso bar and a restored vintage church bench that serves as a nod to old-school delis, while outside, a sun-soaked, 40-person deck sets the stage for relaxed al fresco hangs. View this post on Instagram A post shared by Baloney's Deli (@baloneys_deli) If you reckon the name sounds playful, that's exactly the point. Inspired by the Americanisation of mortadella — a meat banned by the US government during the Italian migration waves of the late 19th and early 20th centuries — 'baloney' became both a regulation-friendly substitute and, in time, slang for 'nonsense'. And McFarlane is actively leaning into the word's double meaning, too: "I am not Italian or American, however I am passionate about Italian and American food so I'm a phoney baloney," he tells Concrete Playground. As for the menu? Expect stacked sandwiches with a personal twist. Each one is named after someone close to McFarlane — like the Spicy Gabita, a tribute to his partner — who, according to McFarlane, is "a little bit spicy" — that sees eggplant, mozzarella, rocket, fermented chilli and balsamic layered on fluffy focaccia. You'll also find other creative combinations like the Alt Tayo, which features lemon-spiked cannellini beans, roast capsicum and vegan basil pesto, alongside the likes of a classic Reuben and, of course, a loaded mortadella, stracciatella and green olive number. If that's not enough to get you road tripping, there's also java juice by Coffee Supreme, artisan deli goods and a rotating selection of sandwich specials. Baloney's also carries the influence of McFarlane's time cutting his proverbial teeth at Mortadeli in Torquay, Victoria, and Byron's much-loved Pixie Food & Wine. Baloney's is another feather in the cap for the burgeoning Byron food scene, which continues to evolve far beyond açai bowls and organic smoothies. Baloney's is located at 10-12 Shirley Street, Byron Bay. It's open Tuesday–Sunday, 8am–2.30pm. For more info, head to the venue's Instagram page.
Get ready for wagyu with a view in West End's West Village, with Ippin Japanese Dining set to join the growing space. When it opens its doors in 2023, the new restaurant will sit inside the precinct's Garden Pavilion, peering down on openair lawn The Common from the second floor — and pairing a menu bursting with Queensland seafood and meat, plus products imported from Japan, with greenery-filled vistas. Mark April in your diaries, Brisbanites, and prepare for company, with Ippin seating 140. It's already badging itself as a hidden gem given that it'll be one level up from West Village's hustle and bustle, but word of great Japanese eats spreads fast in the River City. If you're fond of yakitori grill, toothfish, wagyu beef, tempura cuttlefish and lobster popcorn, prepare to have your tastebuds tempted, too — they'll all be on the menu. If the latter sounds familiar, that's because it's a Sydney favourite thanks to Kenny Lee, the restaurateur and owner of the New South Wales capital's Kuon Omakase, Allta and Funda restaurants, with that dish making the leap to Queensland. Lee has helped whip up Ippin's menu with head chef Tatsuya Miwa, plus owners Helen Lea and Jane Ma, with the culinary lineup also slated to include traditional Japanese seafood starters — and a rotating array of two-to-three desserts made by a specialised pastry chef. Keen on tuna? Ippin will host showcases dedicated to the fish, with Tatsuya chopping up a whole tuna in-venue, then auctioning it off. These will be ticketed, sake-fuelled events, doing their best to make you feel like you're in Japan rather than at a precinct based around Brisbane's old Peters ice-cream factory. Ippin's decor will tie into its both its culinary influence and its setting, however, featuring Japanese touches but working with the timber and brickwork that's prominent around West Village. Drinks-wise, expect sake — naturally — as well as a small lineup of cocktails and spirits, and a list of Australian, French and Italian wines. The new Japanese go-to joins West End's already hefty range of food options, including gelato, burgers, Italian eats, doughnuts, Mediterranean cuisine, Hungarian pastries and Greek eats. Find Ippin Japanese Dining at West End's West Village precinct, 97 Boundary Street, West End, from April 2023 — we'll update you with an exact opening date when one is announced.
Japanese artist Ryosuke Fukusada has created a wooden light bulb using an ancient technique called 'rokuro'. By wrapping an LED light bulb in a thin layer of wood, Fukusada's bulb was launched recently at New York Design Week. The bulb's LED lighting creates only a small amount of heat, meaning it will not catch alight. A recyclable aluminum socket works with the wood to create a sleek, modern and sustainable design, which recently received an award at the Kyoto Design competition. The bulb is currently being developed.
If you've seen the fourth and fifth seasons of Arrested Development — or actually been to Mexico — you'll know that Cinco de Mayo is a celebration like no other. Think spicy food, energetic dancing, street stalls and more mariachi bands than you can tip your sombrero to. All that comes to the Cinco de Mayo Mexican Festival, which takes over Riverlife on Sunday, May 5. Yep, it's just going to be one of those fast-paced events that will have your eyes darting between bands, dancers, chillis and tacos till you collapse. A bit of history on the day: originally Cinco de Mayo commemorated the Mexican battle of Puebla where Mexico defeated the French. Now, the fifth of May marks a celebration of Mexican culture, cuisine, cocktails and music. That means you've finally got a chance to bust out that dusty sombrero and show off your attempt at salsa. The Cinco de Mayo Mexican Festival will take place on the actual date, running from 12–9pm. Tickets are available for $17.50 including food, or $35 including food and two drinks.
Back in 2019, Sydney fine-dining institution NEL introduced tastebuds to a whole new culinary world: a decadent Once Upon a Time degustation inspired by all things Disney. Unsurprisingly, it provided a magical meal and proved a massive hit, returning in 2020 and 2022 with themed dishes created by the Surry Hills' restaurant's created by Executive Chef and namesake Nelly Robinson. Come winter 2023, it'll be back again for a fourth chapter. Amid NEL's creative spreads, this one now feels like a tasty tale as old as time — repeatedly popping up amid KFC-inspired dinners, Moulin Rouge!-themed and Christmas degustations, and one heroing native Australian ingredients as well. But whenever it unleashes its 11 courses upon plates, the Once Upon a Time serves up new and fresh dishes riffing on the Mouse House's favourites. Accordingly, even if you've been before, you haven't feasted your way through the latest menu. An alfredo linguini that nods to Ratatouille? Yes, that twist on the classic dish — and flick — featuring a lasagne-style structure layered with confit vegetables, pasta sheets, béchamel, mozzarella cheese foam and basil dust is on the lineup. So is The Tugley Wood, which combines mushrooms and fresh Australian truffle to nod to Alice in Wonderland. And when things get sweet, there's a honey-soaked sponge with a nest of honey curd topped with bee pollen, then served in a honey pot, that Winnie-the-Pooh would clearly covet. As for what else will be bothering your appetite in the best possible way, discovering the full range is part of the fun of heading along — no matter whether you're a Sydneysider with more than a few nights' experience tucking into Robinson's creations or a Disney fan keen to make a date on a future interstate trip. NEL doesn't need a reason to bring back the Once Upon a Time menu again and again — it was always going to be popular — but Robinson still keeps finding plenty of inspiration in the Disney theme. "The team and I had a blast creating and curating this one. It was so much fun to create a whole new menu around some of my favourite films and we have carefully crafted dishes to bring out each diners' inner child. Indeed, we paired it with fun cocktails and some sensational wines, too," he explains. The Once Upon a Time menu's fourth chapter will start serving on Tuesday, May 30 and run for eight weeks only, with bookings available now. Price-wise, this childhood-inspired feast will require an adult salary, costing $185 per person, with beverages matched for an extra $165. Reserving a spot ASAP for dinner Tuesday–Saturday from 5.15pm is recommended — this unsurprisingly always books out. NEL's Once Upon A Time (Chapter Four) degustation is on offer for eight weeks from Tuesday, May 30 at 75 Wentworth Avenue, Sydney. For more information or to book, head to the NEL website.
When you were a kid, did you wish that all your favourite chocolates would be turned into ice creams? You might've, but you also could've also just been perfectly happy scoffing down whichever bars took your fancy whenever you had the chance. Both are acceptable. That said, as every Gelato Messina fan knows, the dessert chain has spent a decent amount of time not only pondering whether a heap of childhood faves should get the gelato treatment, such as Iced Vovos, lamingtons, Coco Pops and more, but actually following through. Here's the latest example: gelato Bounty and Chokito bars, which are a real thing that you can treat your tastebuds to in Brisbane this week. They're called 'the bounty hunter' and 'chok-it-out-now', respectively, and the first includes salted caramel gelato and chocolate fudge, which is coated in a milk chocolate and rice bubble rocher glaze — and the second goes with chewy coconut and salted coconut gelato, as coated in a dark chocolate glaze The catch? Like almost all Messina specials, they're here for a good time, not a long time. With the James Street Food and Wine Trail finally bringing its big culinary party back to New Farm this month after two pandemic-affected years, Messina is busting out these gelato Bounty and Chokito bars as part of the trail's Market Day. While the entire food and wine fest runs from Thursday, July 28–Sunday, July 31, the Market Day only happens on the Sunday. You'll find the bars on offer then from 10am–6pm. You'll also need to hit up Messina's Market Day stall, which you'll find between McLachlan and Arthur streets, rather than its James Street store. And yes, this'll fill the Messina-shaped gap you might have in your freezer right now if you ordered some of its special tubs when it dished up 40 of its greatest gelato hits back in June, but you've eaten them all already. Gelato Messina's chok-it-out-now and bounty hunter bars will be on sale from 10am–6pm on Sunday, July 31 at the James St Food and Wine Trail. For more information, head to the Messina website.
Reckon your pup gets a bit lonely sometimes? Well, now you can find him a bunch of new mates with just a few swipes of your phone. It's all thanks to a clever new smartphone app, which helps dog owners to connect their pooches with other local doggos and dog communities. Created by Queensland University of Technology business student Josh Fritz — who came up with the app when he moved to Brisbane, adopted a cavoodle called Quincy and wanted to find him some buddies — PatchPets works a little bit like Tinder. Users create a personalised profile for their pup, and then use the app to find and network with other fur parents in their area, based on location. You can scroll through photos of local hounds, check out their details and get in touch with their owners to set up doggy play dates. To keep you informed about your pooch's possible new pal, profiles feature information about which vaccinations each dog has had, whether it's been desexed and what their all-important Instagram handle is. Got a particularly picky pupper? You can even filter the results by dog breed and size. PatchPets also comes loaded with plenty of other nifty features, including a directory that lists pet-friendly businesses nearby, plus real-time dog park maps — allowing you to see when four-legged friends are hanging out at your local park. No more rocking up to the park for a play sesh, only to find there's no one else there. And, you can use the app's message function to join group chats with your dog's new mates. Having launched in May, PatchPets has already clocked up over 5000 users — which means your doggo will be totally spoilt for choice in the friends department. PatchPets is now available to download for free, for both iOS and Android, from the iTunes App Store and Google Play. Images: QUT Media
Waiheke is an island of rolling hills, gorgeous vineyards and white sandy beaches — a glittering jewel in New Zealand's Hauraki Gulf. As it's only a short hop from Auckland's CBD on a ferry and easy to get around, it should definitely be on your list of places to visit when planning that next short break over the pond. Once there, it's not hard to see why Waiheke regularly appears in travel polls as one of the most beautiful islands in the world. It has a great reputation for relaxation and, most importantly, good food and wine. With over 20 vineyards to choose from, in the place locals affectionately call the Island of Wine, we've narrowed down some of the finest. Flights to Auckland from Sydney, Melbourne and Brisbane are super short — around three-and-a-half hours on average — and Air New Zealand offers great everyday fares from all three. That means you could be nestled up by the fire at one of these top spots in no time at all. MAN O' WAR VINEYARDS Located on the far east of the island, Man O' War vineyard definitely delivers the wow factor both for its location and its wine. The vineyards are set on slopes that surround the tasting room and restaurant, which sits at the edge of the water. It's the only beachfront cellar door on Waiheke and has amazing views over to the Coromandel Peninsula. The tasting room is a lovely place to sip and hear about the flagship and single-vineyard drops. Plus, there are platters and sharing plates available to make the most of the experience. From the big robust winter warming Dreadnaught syrah to the softer summer styles of the Pinque rosé and the Exiled pinot gris, there is something for all palates on offer at Man O' War. OBSIDIAN VINEYARD Located in Onetangi and hidden away in an amphitheatre amongst the vines, Obsidian's cellar door is a simple but beautifully relaxed setting. The 30-minute tastings are led by passionate, knowledgeable staff, and the wine is sublime. Obsidian is known for its deep and delicious Bordeaux-style reds, though it also makes a delightful rosé and chardonnay, too. Yields are deliberately kept low to maximise quality and, as a result, only a limited number of cases are produced each year. The vineyard runs a wine club membership and, as an 'Obsidianado', you'll get access to three tasting packages during the year, with each containing at least one bottle of exclusive vintage and variety. BATCH WINERY The Thomas family's vineyard restaurant and cellar door has one of the best views on the island, with stunning views across to the Coromandel and Auckland's Sky Tower. Let the crew know you're coming over and they'll pick you up from Matiatia Ferry to transport you to the beautifully designed Batch Winery. It was built with reverence — both of the relaxed Kiwi way of life and the traditional winemaking process. The restaurant offers a relaxed ambience to dine with friends and family. The menu takes its inspiration from Waiheke favourites, offering fish 'n' chips, locally sourced oysters and a take on the classic Kiwi onion dip served with potato sourdough. It's a wonderful place to while away an afternoon, drinking a glass or two of Fizz rosé and gazing out over Waiheke island. PASSAGE ROCK WINERY Passage Rock is Waiheke's most awarded winery, with over 60 gold medals earned since 2001, including 18 gold for its reserve syrah. As well as producing magnificent wine, it's also in the most picturesque setting, with Orapiu Bay in the background. After your wine tasting, make sure you spend an hour or two in the bistro, which serves delicious platters and woodfired pizzas. PODERI CRISCI Poderi Crisci offers a little slice of Italy on Waiheke with its old world-style restaurant full of Tuscan charm. A great believer in the Italian tradition of eating and drinking, Poderi Crisci has a four-hour Sunday long lunch that's well worth making the time for. But if you only have a few hours to spare, then the degustation or 'trust the chef' menu will suit you well. The wines are definitely European-influenced — highlights include the cheeky white Arneis and the red blended Viburno. These are produced in a beautiful cellar room that also hosts an annual opera night, which alone is well worth making the trip for. CASITA MIRO Situated above Onetangi beach, Casita Miro is a relaxed, vibrant place where you can take your time to enjoy some seriously delicious food and wine. The restaurant specialises in Spanish and Mediterranean sharing plates, with fine Iberian cured meat, cheeses, local oysters and melt-in-your-mouth pork belly. The outdoor area also runs with the Spanish theme, featuring an evolving mosaic inspired by Gaudi's famous Parc Guell, not to mention views out across the Hauraki Gulf. The tasting room sits outside the restaurant in a colourful garden space, and here you can try a flight of five for $15, including the delightful fortified blend, the Madame Rouge. Book your flights to Auckland with Air New Zealand and start planning your next long weekend away. Plus, Vinomofo has released a case of wine featuring six delicious wines representing the diverse and unique sub-regions of Waiheke, Kumeu and Matakana. Every case has a one in 50 chance of winning return flights to Auckland (from Sydney, Melbourne and Brisbane). T&Cs apply.
Imagine sitting on the edge of an inflatable raft boat as you float down a river through a spectacular gorge surrounded by World Heritage-listed rainforest. Sounds pretty incredible, right? Now, picture taking that same boat down steep ravines and raging rapids and you've got the wet and wild adventure that is white water rafting. In Tropical North Queensland, you can choose to conquer a number of courses on the region's world-class rafting rivers. For a full day of adventure filled with thrills and spills on 45 rapids, book a trip on the Tully River with eco-certified rafting company Raging Thunder. Or, if you'd prefer to, quite literally, test the waters on a shorter course, try the half-day trip on The Barron River.
Name a fictional detective — be it Sherlock Holmes, Hercule Poirot, Nancy Drew, Scooby-Doo, Inspector Gadget or Benoit Blanc — and, no matter who they are or which cases they've solved, someone has wanted to follow in their footsteps. Actually, more than a few someones have. We've all done it: watched, read or listened to a murder-mystery, then figured that we could solve a big case if the situation arose. Thanks to podcasts such as Serial, as well as the recent true-crime boom in general, that's become the default reaction to hearing about an unsolved or thorny story. It's also the premise behind returning Disney+ series Only Murders in the Building, which satirises the fact that everyone has wanted to be Sarah Koenig over the past decade. Only Murders in the Building has its own version of Koenig, called Cinda Canning (Tina Fey, Girls5eva). As viewers of the show's first season know, though, she's not the marvellous murder-mystery comedy's focus. Instead, it hones in on three New Yorkers residing in the Arconia apartment complex — where, as the program's name makes plain, there's a murder. There's several, but it only takes one to initially bring actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) together. The trio then turn amateur detectives, and turn that sleuthing into their own podcast, which also shares the show's title. In season two, which starts streaming Down Under on Tuesday, June 28, the show returns to the same scene. No time has passed for Only Murders in the Building's characters — and, while plenty has changed since the series' debut episode last year, plenty remains the same. Viewers now know Charles, Oliver and Mabel better, and they all know each other better, but that only makes things more complicated. Indeed, there's a lived-in vibe to the program and its main figures this time around, rather than every episode feeling like a new discovery. Among the many things that Only Murders in the Building does exceptionally well, finding multiple ways to parallel on- and off-screen experiences ranks right up there. That applies to podcast fixations, naturally, and also to getting to know someone, learning their ins and outs, and finding your comfort zone even when life's curveballs keep coming. There wouldn't be another season without another murder, however. This time, Arconia board president Bunny Folger (Jayne Houdyshell, Little Women) has left the land of the living. The OMITB crew were all known to have their struggles with her, so they're all persons of interest. They have media profiles now, due to their first-season success. Canning herself starts a podcast about the podcasters. It's Mabel who finds Bunny, in fact, sparking too many internet theories. And, to the joy of the actual NYPD detective on the case (Michael Rapaport, Life & Beth), all the evidence keeps pointing at her, Charlies and Oliver. Even if you've only watched one murder-mystery before, you know the old cliche about returning to the scenes of crimes. Generally, that's what the guilty do, driven by a need to witness the aftermath of their handiwork, insert themselves into the investigation and enjoy a second round of thrills. But Only Murders in the Building makes a comeback for a different reason, which definitely doesn't involve zapping more enjoyment out of evil deeds. At a series level, there's none of the latter to revel in anyway. The first season was such a warm and amusing gem — and smart and astute, too, whether it was serving up odd-thruple banter, or parodying whodunnits and their obsessives — that it instantly became one of 2021's best small-screen newcomers. What makes season two tick is the same thing that made season one tick, though: the show's fondness for people above all else. They're the only thing that ever truly matters in any murder-mystery, as should always be the case when someone has lost their life at the hands of another. In its first batch of episodes, Only Murders in the Building made a point of identifying its victim's flaws and troubles — explaining why more than a few people wanted him dead, because that's the genre's whole concept — but also took great care to flesh him out as a person, too. It does the same with Bunny the second time around, unsurprisingly. Indeed, diving into the ups and downs, strengths and struggles, and wins and losses that make the Arconia's inhabitants who they are is as crucial a part of the show as figuring out who decides to wield a gun, knife or knitting needle. Only Murders in the Building has been doing exactly that with Charles, Oliver and Mabel from the outset, of course, and keeps digging into its central trio. But new residents and familiar faces alike still get the same treatment during season two, including Amy Schumer as herself and the returning Theo Dimas (James Caverly, A Bennett Song Holiday). Viewers learn more about Charles' past with his father, which may be linked to Bunny — and his connection to Lucy (Zoe Colletti, Scary Stories to Tell in the Dark), the now-teenager who was almost his stepdaughter. Oliver's bond with his son Will (Ryan Broussard, Modern Love) gets pushed into the spotlight, as does his need to be the dip-eating centre of attention. And Mabel's distrust of others continues to help drive the narrative, especially after she becomes the key suspect and gets badged #BloodyMabel on social media. Around of all the above, there are blackouts and 70s-style parties, canny commentary about lives lived online and lonely hearts in equal measures, wonderful one-liners and knowing in-jokes, and an impressive balance of comedy and heart. If cracking any case is all about puzzling together the right pieces, then Only Murders in the Building has found its ideal components — more so in season two, which is weightier, deeper, funnier, more insightful and more charming. It's also an even better showcase for its three leads, who just might be the most likeable trio currently gracing any series. Martin, Short and Gomez all such delights together that they deserve their own podcast about why they're so great playing podcast-obsessed podcasters. If you're already a fan of Only Murders in the Building, you know you'd listen to it. Check out the trailer for Only Murders in the Building season two below: Only Murders in the Building's second season starts streaming Down Under via Star on Disney+ on Tuesday, June 28, starting with two episodes, then airing new instalments weekly. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
Among the latest list of temporarily shuttered venues to drop a revamped online offering for the sanity of us isolated locals, are the Museums Victoria stable of cultural institutions: Melbourne Museum, Immigration Museum and Scienceworks. The three sites can now be experienced from any screen, whenever you fancy, thanks to newly launched virtual programming Museums at Home. Museums Victoria's digital channels will now play host to a suite of videos, live streams, online events and other experiences, to keep you connected and indulging that curiosity while cooped up at home. You can take a virtual tour of Melbourne Museum, hitting exhibitions like Phar Lap: A True Legend, Dinosaur Walk, and brain-focused collection The Mind, seeing and learning plenty along the way. There'll be regular Q&A videos with the museum experts, too, where you can jump online and ask your own burning question about something that's got you stumped. Meanwhile, Scienceworks' new online offering is sure to inspire a few at-home scientists, packed with virtual tours of its own exhibitions, research videos and links to loads of fascinating science stories. You can journey to Pluto with NASA's Alice Bowman and watch a hilarious video of 'things you shouldn't put in a microwave'. Don't try and recreate at home, folks. And the Immigration Museum will have you embracing Victoria's multicultural roots, exploring personal stories and historic photos on a virtual tour of the current exhibitions. Identity: yours, mine, ours questions what it means to belong in Australia, while video footage captures award-winning First Nations artist and choreographer Amrita Hepi taking over the Immigration Museum's Long Room for a special performance last year. Or, you take a peek at much of the Museum's extensive Migration and Cultural Diversity collection, while reading up about the colourful history of migration in Australia. Check out the full Museums at Home offering at the website and each of the museums' social channels. Top image: Scienceworks, 'Beyond Perception' exhibition courtesy of Museums Victoria. Photo by Benjamin Heally.
Imagine a space bustling with bartenders creating new drinks and learning innovative techniques. Then, imagine a space where you can pull up a stool to be whisked away on a tasting journey. This is the scene Orion Leppan Taylor and Mitch Bloomfield are envisioning with their new Cocktail Lab in Wollongong. The 26-year-old south coast locals pitched the concept to Idea Lab — an initiative run by Beam Suntory, which awards grants to change-making hospitality ventures. The pair won $20,000 to help turn their plans into reality. The pair currently work at Wollongong's Breakout Bar and Escape Rooms, which is where they're planning to build the new Cocktail Lab. "It'll be a space where we can educate the bar scene of Wollongong from an industry perspective," says Leppan Taylor. "But also, where we can run classes, educate and broaden [the public's] palates." While Leppan Taylor is now the bar manager at Breakout, he was brand new to hospo when he joined the venue three years ago. "As a bartender, I've had to self direct. But a big part of that has been [being connected to] the great community we have here," he says. "There are people I can reach out to if I'm hitting a wall, or running into problems, who are very open with volunteering their time and expertise." Bloomfield was also a fresh face behind the bar when he first came to Breakout. With a background in entertainment, he was more familiar with the escape room side of the business. "I got thrown straight into a Christmas hospitality period, which I had never experienced before. So it was very much the deep end," he says. A previously under-utilised space at Breakout will become the new Cocktail Lab, which will be fitted out with sleek prep benches and storage cages filled with bar equipment like centrifuges. With a little luck, Bloomfield says the Cocktail Lab should be open by March 2021. "We're familiar with the idea of Heston Blumenthal going very technical and science-y to try and do interesting things with ingredients," says Leppan Taylor. "At the end of the day, flavours, aromas and everything that goes into a drink is just a different series of chemical compounds," he says. When the lab opens, the pièce de résistance will be a rotary vacuum — a tool for redistilling liquids, which can infuse drinks with exciting new flavours. During the week, bartenders will be able to come in and use the space and equipment for research and development. "Or, to create ingredients they can take back to their own bars," says Leppan Taylor. However, for those who don't work in the industry and just want a fun, new place to go come Friday night, the public will be able to come to the Cocktail Lab for spirit tastings, cocktail classes and well-made tipples. "The goal is also to broaden the customers' vocabulary a little bit. So when they see something on a menu that has 'centrifuged' it doesn't look intimidating. It'll be something they're excited to try." The team hopes the venue will attract interest from bartenders further afield, too, as the local bar scene evolves. "There's a bit of an underdog mentality in the community," says Leppan Taylor. "Part of the reason we all like to support and help each other is because we have this feeling we're all in it together. We want to show we have the knowledge, expertise and experiences comparable to anywhere else in Australia." Top image: Mitch Bloomfield (left), Orion Leppan Taylor (right) in the new Cocktail Lab space in Wollongong.
Drinking sessions at home just got a whole lot more stylish thanks to the arrival of Pord — a new company combining art and wine in a rather gorgeous way. Pord has pooled the talents of three female Australian artists and Victorian winemakers Mitchelton to create its first series of mini wine barrel masterpieces, designed to bring more art and beauty into your everyday life. Each artist has contributed a limited-edition and eye-catching work to grace one of Pord's three-litre barrels, which each hold a neat four bottles' worth of wine. Illustrator Filippa Edghill's monochromatic artwork, titled Ancient Lines, is inspired by nature's curves; Melbourne artist Hannah Nowlan has contributed The Last Resort II from her most recent exhibition; and designer Evi O.'s work Sorbet is a vibrant painting with bold colours and pastels. Customers can select their favourite design and have it filled with one of three Mitchelton wines from the 2017 and 2018 vintages: pinot grigio, shiraz or rosé. Unlike regular bottles of wine, your beautiful barrel will keep wine fresh for four to six weeks after opening — and it can be repurposed. Hand-signed and numbered by the artist, and teamed with a certificate of authenticity, it's the kind of statement piece destined to be the talk of your dinner parties for years to come. And there are plenty more exciting artist collaborations in the works for future Pords. A pre-sale for Pord's covetable launch series kicks off at midnight on Saturday, July 14, with the goods to be delivered in October. The limited-edition barrels will set you back $160 each. Images: Josie Mackerras
Celebrating both the latest and greatest must-see movies is what film festivals are all about — and Brisbane's returning New Farm Queer Film Festival couldn't be more committed to that remit. The River City's annual showcase of new and classic LGBTQIA+ flicks, the event began back in 2022, proved a hit, and keeps returning year after year with an impressive lineup. On 2024's program from Thursday, October 3–Sunday, October 13: movies starring Elliot Page, Tilda Swinton, Murray Bartlett, Dylan O'Brien and Evan Rachel Wood, plus Gregg Araki's Teen Apocalypse trilogy. 2024 marks seven years since Page (The Umbrella Academy) last featured on the big screen Down Under. Close to You brings that absence from local cinemas to an end, with the film boasting the actor's first male movie role, as a trans man heading home to his family for the first time since transitioning. Swinton (The Killer) features in Problemista, as directed by and also starring Fantasmas and Los Espookys' Julio Torres; The White Lotus' Bartlett and Fantasmas guest star O'Brien are part of the cast for closing night's Ponyboi, which follows an intersex sex worker on the run from the mob; and Wood (Weird: The Al Yankovic Story) plays a cheerleading coach in Backspot, with Devery Jacobs (Echo) as the squad's newcomer. This year's NFQFF kicks off with Georgian film Crossing, about a teacher looking for her long-lost niece — and, as another of its big titles, boasts Caught by the Tides from Jia Zhangke (Ash Is the Purest White), which premiered at Cannes back in May. If you haven't caught The Devil's Bath on the small screen yet (or even if you have), a big-screen session of the Austrian standout by Goodnight Mommy and The Lodge's Veronika Franz and Severin Fiala is guaranteed stellar viewing. Plus, including supervillain parody The People's Joker, which gives the caped-crusader realm a queer coming-of-age spin, is perfect timing. Another highlight, Scala!!! tells of the London cinema in the same name. The rest of the documentary's moniker is Or, The Incredibly Strange Rise and Fall of the World's Wildest Cinema and How It Influenced a Mixed-up Generation of Weirdos and Misfits, which gives viewers an idea of the kind of tale it's telling — with iconic filmmaker John Waters among its interviewees. NFQFF's 2024 lineup also features not just one retrospective trio, but two. Araki's Totally F***ed Up, The Doom Generation and Nowhere sit on the bill alongside François Ozon's Criminal Lovers, Water Drops on Burning Rocks and Sitcom. New Farm Queer Film Festival returns for 2024 to New Farm Cinemas, 701 Brunswick Street, New Farm, from Thursday, October 3–Sunday, October 13. Head to the festival website for tickets and more details.
Before 2023 rolled around, enjoying a meal with a view in Brisbane didn't mean hanging off the side of a building while you eat. Tucking into a degustation didn't happen on a bus decked out to become a fine-diner, either. They're two of the gems that this year has brought the River City's culinary scene — and two restaurants that you need to try as soon as you can, if you haven't already. Queensland's capital welcomed in everything from new celebrity chef-run venues and New York-inspired riverside joints to decadent Japanese spots and mouthwatering steak havens over the past 12 months, all to the delight of Brisbanites' tastebuds. Wondering where to start playing catch up? Which eateries to revisit? We've picked ten that impressed us in 2023. Bon appétit!
Well, it's finally happened. Google has gone and ruined Pictionary forever. The internet giant has just unveiled a new web-based tool for computer, mobile and tablet that helps translate your incomprehensible scribbling into legible images. And while it's certainly got lots of useful applications, one thing is crystal clear: family game night will never be the same again. AutoDraw uses "machine learning" to deduce what users are trying to draw, and then presents them with a number of simple artist drawn sketches to choose from. Basically it's like autocorrect for art. Google released an explainer video, which you can check out below. You can have a play around with the tool over here. And no, for the record, it doesn't spit out dirty pictures, no matter how much you might want it to (full disclosure: we tried, a lot). That said, Google is accepting artist submissions, so maybe someone can sneak one through. And look, if nothing else, at least it'll help people avoid situations like this: https://www.youtube.com/watch?v=v-NH6TGZTcc
"If I told you I was going to make a film about a poor black boy raised by a single mother struggling with addiction who has questions about his sexuality, you assume certain things about that film," says Barry Jenkins about Moonlight. He's right. But his second feature isn't the movie you might expect from that description. Watching his applauded and lauded effort — the winner of this year's Golden Globe for best drama, and an eight-time Oscar nominee — proves an experience in witnessing all of those assumptions melt away. Indeed, based on a dramatic work by Tarell Alvin McCraney, and set and shot in the same Florida area where both Jenkins and McCraney grew up, Moonlight is anything but your average coming-of-age movie about dire circumstances. Jumping between three chapters of a young black man's life, it charts the progression of a teased and taunted Miami boy nicknamed Little (Alex Hibbert) into the awkward, still-bullied teen Chiron (Ashton Sanders), and finally into hardened Atlanta drug dealer Black (Trevante Rhodes). As relayed with a commitment to reflecting reality and capturing a rare perspective — and an ability to render its central journey and the accompanying emotions like cinematic poetry — specific moments and interactions shape his growth, worldview and identity. With Moonlight now showing in cinemas, we chatted with Academy Award-nominated writer/director Jenkins about reactions to the film, the importance of representation, making immersive cinema, and more. ON THE REACTION TO THE FILM "The only way I can really sort of reason or rationalise it [the acclaim for the film] is that I remember first falling in love with cinema as a film student. And it wasn't like the big Hollywood cinema. It was mostly foreign cinema. And I remember watching films by Wong Kar-wai or Claire Denis or Jean-Luc Godard, and I remember thinking "wow, this is a world that I'm never going to visit. I'm never going to go to France. I'm never going to go to Hong Kong, and I certainly don't speak these languages." And yet, I could relate to the characters that made the worlds feel extremely small to me. I mean that in the best way — that I wasn't so far removed from these people, these characters. And so it just gives me just such an amazing feeling that now my film is doing the same thing for audiences, because the world this movie takes place in is very small, you know, and these characters are very specific to the time and place Tarell and I grew up in. And yet it's travelling far, far away from Miami and people are seeing themselves in the film, and it is lovely to give back to cinema what cinema, I believe, gave to me." ON THE RESPONSIBILITY OF REPRESENTING CHARACTERS THAT AREN'T OFTEN SEEN ON SCREEN "Here's the thing: there are just certain characters that aren't represented as often as others are in cinema. Or in arts and letters in general, I'll say. And even when those characters are present, they aren't centred. They aren't the focus of the narrative. I think because of that, when you have this kind of lack, when the character is present in the film, is centred, it inherently takes on added importance. Because people, I believe, are very hungry to see themselves represented. And so there was this feeling in the back of my head — I try to keep it in the back of my head — not that what we were doing was important, but that we had to get it right. Because it would do more harm, because of the lack of these centred characters, it would do more harm to finally present the character and get it wrong. You know, I didn't want to do an injustice to people whose stories align with Chiron's." ON CONVEYING CHIRON'S CONSCIOUSNESS — AND BLACK CONSCIOUSNESS — RATHER THAN JUST TELLING HIS TALE "We approached the film as a piece of immersive cinema. And part of that has to do with the structure of the film — because we're not telling a traditional narrative in a traditional format. We felt like it allowed us the space to do certain things that maybe wouldn't fit into a more traditional narrative framework. For us, it was really important to have the audience take the journey with Chiron, and we wanted the visuals to arise from the consciousness of the main character. If I told you I was going to make a film about a poor black boy raised by a single mother struggling with addiction who has questions about his sexuality, you assume certain things abut that film. If I'm working from the idea that I want to make a film that is rooted in the consciousness of the main character — you know, consciousness is a very beautiful, beautiful thing. And this is something I haven't talked about much, but I think the idea of black consciousness or the way black minds work is often not presented. Or not framed in the way that it actually exists. By which I mean, black people dream. We have dreams and we have daydreams and we have dreams when we sleep. And yet, I very rarely see the personification or the presentation of a black person dreaming in a piece of cinema, you know? And that's because we always tie cinema to the conventions of the story form, and not to the consciousness of these characters. But in Moonlight, the visuals, the aesthetic, the craft, arises from the consciousness of the character. So when Chiron is feeling disoriented, you will look directly into his mother's eyes, and her lips are moving but sometimes you can't hear her voice, and then her voice catches up — because the character is being disoriented. You know, we tried to take our cues from moments like that. And it was great, because as a filmmaker, you know that sound and image is the tool that carries both my voice and the character's voices. And that tool should not be beholden to an A, B, C, D, E progression of plot." ON INTERROGATING MASCULINITY AND VULNERABILITY "It was about, you know, reflecting those things in the story of Chiron — and I say reflecting because Tarell and I saw those things living our lives growing up in this place. And this aspect of vulnerability over time is denied to young men, is denied to young boys — and not only boys like Chiron, boys everywhere. What's that saying? 'Boys don't cry.' It was very important to us that this is the currency of this film — it's not a plot-heavy film. I think the story of this film traverses, or travels in, these gestures, quite a bit of these gestures between and amongst men. I've never seen a black man cradle a black boy in a film before. I just haven't. I haven't seen a black man cook for another black man in a film before. I've never seen a black man, I think, cook for anyone in a film before. And these are very simple gestures that, one, are very nurturing, but also, two, are implicitly vulnerable on the part of the person extending the nurturing. They were very important because again, they keyed into this depiction of the full humanity of these characters." ON FINDING THE RIGHT ACTORS TO PLAY CHIRON AT DIFFERENT STAGES "It wasn't this idea of a physical similarity. It was the idea of this sort of spiritual essence that could be viewed in the eyes of the characters. Which is really hitting on this idea of this feeling in their eyes, because of this book by [three-time Oscar-winning editor] Walter Murch that I've always loved called 'In the Blink in an Eye.' And so we just tried to find these guys that had the same feeling. Because, when you look at Trevante Rhodes as Black in the third chapter, it was of the utmost importance to me that you could see that little boy who played him in the first story. You could still see Alex Hibbert. I think we see people that we pass all the time on the subway or the bus or the sidewalk, who look like Trevante Rhodes as Black in the third chapter of this film, and we would never believe that this person would dance in a mirror in his elementary school when he was ten years old. But they're the same person, you know? And when we were casting, it was very important to us that we could see that continuum between the characters." Moonlight is now showing in cinemas. Read our review here.
Ready to hit the open road? If you're looking to add a dose of wacky charm to your next road trip, follow the lead of our readers who've shared some excellent suggestions for offbeat attractions that'll have you chuckling all the way to your destination. From oversized critters to weird sculptures, here's our guide to the lame (but legendary) stops you won't want to miss — as recommended by you — as well as the nearest The Bottle-O so you can stock up on bevs for a winner of a weekend. [caption id="attachment_697951" align="alignnone" width="1920"] Wikimedia Commons[/caption] The Big Merino, Goulburn NSW No surprise, one of Australia's best famed big things is first on our list: the Big Merino in Goulburn, NSW. This colossal concrete ram stands tall and proud, paying homage to Australia's wool industry and is a favourite for our reader Anita: "It's a baa-rilliant photo op you need for your Insta feed." If you're on a road trip from Sydney to Canberra over the long weekend, you've got no excuses not to pull over for a quick photo opp with this absolute unit. And before you park up at your accommodation in Canberra, swing by The Bottle-O to grab some tinnies and snacks to celebrate your arrival. Closest The Bottle-O: Mitchell [caption id="attachment_944023" align="alignnone" width="1920"] Australia Rock, David Burke[/caption] Australia Rock, Narooma NSW Are you planning a coastal road trip in NSW for an upcoming long weekend? Head to the coastal town of Narooma and you'll come across the iconic Australia Rock, a natural formation that looks a lot like the outline of this fair country. "Australia Rock in Narooma is an excellent road trip attraction," says reader Ned. "There's also loads of seals or seal lions on the rocks below. Perfect spot to stretch your legs when driving down to Bermagui, where I'll be heading this long weekend!" Stop in at The Bottle-O on the way down so you have ice cold brews to enjoy with your epic coastal views. Closest The Bottle-O: Ulladulla [caption id="attachment_944024" align="alignnone" width="1920"] SapiTerbang via Canva[/caption] Jacob's Ladder, Ben Lomond National Park TAS Feeling brave? Love a driving challenge? How about a seriously steep zig-zagging road that makes a dramatic ascent to a plateau? Make your way to Jacob's Ladder in Ben Lomond National Park for some serious adrenaline-pumping action. "Jacob's Ladder is iconic", says reader Greg. "It's well worth the trip from Launceston." Grab a few cold ones from The Bottle-O in Launceston to celebrate your driving victory after you return safely to your accommodation. Cheers to that. Closest The Bottle-O: Launceston Penguin, TAS No, we're not talking about the cute and cuddly kind – we're talking about the town of Penguin in Tasmania. Tassie has a fun habit of naming its towns and villages ridiculous names — we're looking at you Nowhere Else, Break-Me-Neck Hill, Doo Town, etc. But Penguin really takes the biscuit. "We always make a pit stop in Penguin to snap a pic with the giant penguin statue, and if it's late in the day, you could spot some local fairy penguins making their way to the water," says Penguin-town enthusiast and reader Laura. Grab a meat pie from the local bakery and enjoy a picnic by the beach with some beverages from The Bottle-O in town. Closest The Bottle-O: Penguin [caption id="attachment_944026" align="alignnone" width="1920"] The Big Pineapple, Alpha via Flickr[/caption] The Big Pineapple, Woombye QLD Planning an escape to Noosa Heads or up to Rainbow Beach for the long weekend? Hop on the Bruce Highway and make a stop at the endearingly retro Big Pineapple in Woombye, not far from Nambour. This fruity landmark is a true Aussie icon, and our readers reckon it's worth the detour for the cheesy photo op alone. "Of the Big Things in Oz, it's definitely my top choice for a road trip detour," says reader Aidan. There's even a heritage-listed Pineapple Train through the sugar cane there, which might just be the most Queensland thing in existence. Closest The Bottle-O: Maroochydore [caption id="attachment_944027" align="alignnone" width="1920"] Pete Jones via Flickr[/caption] Tin Horse Highway, Kulin WA If the outback is calling you this long weekend, you'd be hard-pressed to find a more lame (with all due respect) but still legendary road trip detour than the Tin Horse Highway in Kulin, WA. This stretch of road is lined with homemade tin horses, each more ridiculous than the last. "The tin horses get more amazing the further your drive because the locals have been one-upping each other for decades," says reader Scott. "There's a slide made of tin horses, a horse riding a horse, and so much more." What started as a lark is now a fully-fledged competition with prize money, bragging rights and more tin horses. Now there are over 60 horses out there to discover. Take in a stretch, then you can debate your favourites when you pitch up at your campsite over a cold one from The Bottle-O. Closest The Bottle-O: Byford [caption id="attachment_944028" align="alignnone" width="1920"] David Burke[/caption] The Giant Koala, Dadswell's Bridge VIC If you're travelling around The Grampians for the long weekend, you'd be doing yourself a disservice if you didn't head south to Dadswell's Bridge and pay your respects to the Giant Koala. Towering over the surrounding countryside, this oversized marsupial is a legendary and ever so slightly cursed sight for any road tripper. "Nothing can prepare for looking into those wild red eyes," says reader Kate. "it reaches into your soul. Best Big Thing. No contest". Recover from the soul-piercing eyes as you relax as the sun sets over the mountains at your campsite with a much-needed bev from The Bottle-O. Closest The Bottle-O: Sebastopol [caption id="attachment_944029" align="alignnone" width="1920"] GrainCorp Silos at Sheep Hills, Artist Adnate, Credit Aaron Powell[/caption] Silo Art Trail, VIC We received a lot of recommendations for Silo Art, from the cockatoo-clad silo on Kangaroo Island to Newdegate in WA. But one state copped more recommendations than any other and that is Victoria. Whichever direction you head from Melbourne, you'll have plenty of silos to add to your roadside attraction list. "I love the Silo Art Movement. I've knocked off ten around Melbs and I'll be heading further into regional VIC to check off a few more this long weekend," says reader Michelle. And don't forget to pick up some drinks at The Bottle-O to enjoy while admiring your snaps when you reach your accommodation. Closest The Bottle-O: Doreen Wherever the road leads you on your weekend adventuring, find your nearest The Bottle-O and stock up on some standout bevs. Ready to start planning? Head to the website. Top image: David Burke
Brisbanites, if your flight routine involves checking in, going through security, stocking up on snacks and then having a cheeky pre-flight drink, you now have a new place to do the latter. Newstead Brewing Co has just set up shop inside Brisbane Airport's domestic terminal, launching its new taphouse on the facility's second level — and giving you a new excuse to say cheers to your next trip. The airport venue marks Newstead Brewing's third site — after its original location in Newstead, obviously, and its second home in Milton. Originally due to open in 2020, but delayed due to the pandemic, the domestic terminal bar sprawls across 300 square metres near gate 38, and has room to welcome in 120 pre-departure beer-lovers. While you're sipping a brew from the 12 taps, you'll look out over the runway. That's what airport bars are all about, after all. Here, you'll be able to choose from Newstead Brewing's core range, or knock back pints of its exclusive airport beer — the fittingly named Tailwood Ale. The site will also pour the brewery's limited-release brews as they pop up. If you're feeling hungry before hopping onboard, the taphouse's pub-style food menu spans Moreton Bay Bug rolls, chicken parmigianas, burgers and pizzas, plus a range of vegetarian, gluten-free and vegan dishes. And, decor-wise, Newstead Brewing has stuck with the same industrial look as its other sites, bringing a touch of the brewery aesthetic to the new venue. Opened in partnership with Airport Retail Enterprises — who are also behind the onsite Coffee Royal, Graze Grill & Bar, Merlo Caffee, Mezze Za Za, Seeds by Bruno Loubet and New Farm Confectionery stores — the Newstead Brewing taphouse forms part of Brisbane Airport's $40 million revamp of the domestic terminal. Find Newstead Brewing Co's new taphouse on level two, near gate 38, at Brisbane Airport's domestic terminal.
In great news for cat-loving cinephiles, 2019 is shaping up to be a huge year for felines on film. Photorealistic big cats prowled around the remake of The Lion King, and they'll soon be joined by a bunch of singing, scurrying street mousers in the silver-screen adaptation of stage musical Cats. For nearly four decades, Andrew Lloyd Webber's acclaimed production has pranced across stages everywhere, turning a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. But, while plenty of other popular musicals have made the leap to cinemas, this one hasn't until now. The trailers for the new flick might just explain why. The first trailer dropped back in July and inspired much talk about its strange CGI decision to combine cats with human faces. Terrifying? Maybe. Entertaining? Definitely. If you've recovered from the first 2.23 mins of Cats madness, you'll be happy to know a second, equally bizarre, trailer has just dropped. [caption id="attachment_751620" align="alignnone" width="1920"] Judi Dench as a cat[/caption] Ever wanted to see Taylor Swift pouring cat nip on a crowd of cats from a suspended gold moon? Keen to soothe your disappointment over the fact that Idris Elba isn't James Bond by spotting him with whiskers, fur and a tail? Perhaps you've always dreamed of watching accomplished actors such as Judi Dench and Ian McKellen channel their inner feline? Have you ever hoped for all of the above, and for the actors to all play cat-sized cats? That's what's on offer in the just-dropped second trailer, as well as a heap of dancing and singing. In terms of story, Cats zaps Swift, Elba and company down to feline height to spin a narrative about the Jellicle cat tribe, who spend a night deciding just which four-legged moggy will get to leave their group, ascend to the Heaviside Layer and come back to a new life. The movie comes with a significant pedigree, with Les Miserables' Tom Hooper in the director's chair, Webber on music duties, Hamilton's Andy Blankenbuehler doing the choreography, and the cast also spanning James Cordon, Jennifer Hudson, Jason Derulo, Ray Winstone and Rebel Wilson. And yet, it all looks a little odd. But we'll let you decide for yourself. You check out the second Cats trailer below: https://www.youtube.com/watch?v=gNTDoOmc1OQ Cats opens in Australian cinemas on December 26.
Already a go-to for budget-friendly groceries, snow gear and whatever other specials that it can rustle up, ALDI is now bringing its discounted prices to your wardrobe. Selling clothes isn't new for the chain, as everyone who regularly trawls its middle aisles will be well-aware; however, for the first time ever, the brand is releasing its own ALDI streetwear collection. And yes, everything comes cheap — under $20 cheap, in fact. We all know someone that's bought a fridge, bed or TV at ALDI. You might even be that person. Now, everyone can know folks — or be them — that rock an ALDI-branded hoodie, track pants, slides, sneakers, socks or beanie. The list of items on offer in the new collection, which is called ALDImania, also includes sweatshirts, t-shirts, bucket hats and caps. For some pieces, there's also multiple colours available, with grey, navy and white the range's base hues. In total, there's 23 items made from sustainably sourced or recycled materials, with compact umbrellas and double-walled insulated mugs helping round out the collection. The socks have the lowest price, coming in at $4.99 no matter which of four styles you choose from. And the dearest item is the sneakers, which cost $19.99. In-between those maximums and minimums, fleecy hoodies will set you back $14.99, slides and beanies $7.99 each, and tees $8.99. From top to bottom — excluding underwear — you could deck yourself out in ALDI gear for less than $50. You'll only find the ALDImania collection in ALDI stores from Saturday, April 13. Given how popular the chain's usual specials are, expect the range to get snapped up quickly. "We have been offering our shoppers high-quality, affordable loungewear for years, but this is the first time we've brought our own brand of leisurewear to the middle aisles," said Belinda Grice, ALDI Australia's Buying Director for ALDImania. ALDI's streetwear range will hit the chain's supermarkets around Australia from Saturday, April 13. Visit the ALDI website for more details.
Since it kicked off in 2015, Melbourne clothing not-for-profit HoMie has been one of the most genuine 'feel good' brands on the market. Their clothes look great, and their mission – combatting homelessness – is more important than ever. Now, HoMie has joined forces with global mega label Champion to launch a very special winter capsule. Dubbed 'Champion Change', all profits from the new campaign will go towards HoMie's mission of helping young people experiencing homelessness or hardship. You might remember other capsules from these guys. HoMie and Champion have technically been collaborating since 2019, and previous collections have all been absolute winners. It's HoMie meets Champion — what's not to like? Champion Change features six bespoke apparel pieces and accessories, all designed to keep you warm this winter. You'll notice the logo isn't the normal HoMie badge: they've co-designed a new-look design with Champion. There are genderless hoodies, crew jumpers and an eye-catching reversible parka in camo print. A little something for everyone. 100% of profits will go towards training, clothing and job opportunities for young people experiencing homelessness. The capsule is available for a limited time, or until stock runs out, so get around it. You can shop the new look here. Images: Supplied
It might come as a surprise, given Australia's questionable internet speeds, but Melbourne has claimed the ranking of tenth smartest city in the world, with Sydney snapping at its heels in spot number 12. Headed up by international parking app company Easy Park, the 2017 Smart Cities Index analysed 500 cities worldwide, ranking the top 100. Other Australian cities that made the cut were Perth at number 41 and Adelaide at number 61. The key factors used in the study looked at digitalisation (including 4G connectivity, access to Wi-Fi hotspots and high smartphone usage) and knowledge-based mobility and transport (considering the prevalence of ride-share apps, smart parking and traffic sensors). Sustainability, online access to government services, and significant levels of citizen participation were also taken into consideration. Over 20,000 urban planning and technology experts were then asked to provide opinions about their own cities. Melbourne scored highest of all the countries for 4G connectivity, with Sydney and Perth making up the rest of the top three. Melbourne and Adelaide also ranked especially well when it came to citizen participation. Unsurprisingly, no Australian cities broke the top 20 for internet speed. While San Francisco topped the class with a perfect score of 10, Melbourne ranked number 26, with Sydney at 29 and Perth clocking in at 31. See the full table of results for the 2017 Smart Cities Index here. Photo via Wikimedia.
UPDATE, January 7, 2022: Wrath of Man is available to stream via Binge, Google Play, YouTube Movies, iTunes and Amazon Video. Too many times in his now 23-year feature filmmaking career, Guy Ritchie has happily crammed a heap of his favourite things into a bag, shaken it about, spilled it out onto the screen and called it his next movie. The British director likes twisty crime capers, dialogue peppered with slang and wisecracks, and memorable character nicknames. He loves chopping his narratives up into parts, then piecing them back together in a non-linear fashion. And, he's rather fond of enlisting sizeable ensemble casts, then switching between their varying perspectives. He's keen on trying to keep his audiences guessing, too. That said, he also likes having someone explain the inner workings of a plan, then showing said scheme in action while those descriptive words echo above his needle drop-heavy soundtrack. If you've seen Lock, Stock and Two Smoking Barrels, Snatch, Revolver, RocknRolla or The Gentlemen, you'll recognise all of the above. And, you'll know that in three of those films, Ritchie managed to point his lens at another of his favourite things as well. Lock Stock and Snatch didn't just make Ritchie a star, but also catapulted Jason Statham to fame. The pair found a groove that worked for them, and it changed their lives — until, with Revolver, it didn't. With revenge thriller Wrath of Man, Ritchie and Statham reunite after 16 years apart. During that stretch, the former subjected the world to his terrible Sherlock Holmes films, fared better with left-field additions to his resume like The Man From UNCLE and Aladdin, but didn't quite know what to do with King Arthur: Legend of the Sword. The latter has become an action go-to over the same time — with both forgettable and memorable flicks resulting, including three Fast and Furious movies and a stint scowling at Dwayne Johnson in the franchise's odd-couple spinoff Hobbs & Shaw. Accordingly, Ritchie and Statham reteam after heading in their own directions. Thankfully, they're not just interested in rehashing their shared past glories. From Wrath of Man's first moments, with its tense, droning score, its high-strung mood and its filming of an armoured van robbery from inside the vehicle, a relentlessly grim tone is established. When Statham shows up shortly afterwards, he's firmly in stoic mode, too. He does spout a few quippy lines, and Ritchie once again unfurls his narrative by jumping between different people, events and time periods, but Lock, Stock Again or Snatch Harder this isn't. Instead, Wrath of Man is a remake of 2004 French film Le Convoyeur. While walking in someone else's shoes turned out horrendously for Ritchie with the Madonna-starring Swept Away, that isn't the case here. Statham plays Patrick Hill, the newest employee at the Los Angeles-based cash truck company Fortico Securities. On his first day, his colleague Bullet (Holt McCallany, Mindhunter) dubs him H — "like the bomb, or Jesus H," he says — and the nickname quickly sticks. H joins the outfit a few months after the aforementioned holdup, with the memory of the two coworkers and civilian killed in the incident still fresh in everyone's minds. So, when gunmen interrupt his first post-training run with Bullet and Boy Sweat Dave (Josh Hartnett, Penny Dreadful), they're unsurprisingly jumpy; however, H deals with the situation with lethal efficiency. Cue glowing praise from Fortico's owner (Rob Delaney, Tom & Jerry), concern from his by-the-book manager (Eddie Marsan, Vice) and intrigue about his past from the rest of the team (such as Angel Has Fallen's Rocci Williams and Calm with Horses' Niamh Algar). Ritchie leaps both forwards and backwards from there, teasing out H's backstory and also exploring exactly what's brought him to his current gig. But this isn't just his tale, as seen via the time spent with Jackson (Jeffrey Donovan, Let Him Go), Jan (Scott Eastwood, The Outpost) and their fellow military veterans — plus glimpses of Agent King (Andy Garcia, Words on Bathroom Walls). The ominous mood remains steadfastly intact as Wrath of Man fleshes out the details, and composer Christopher Benstead (The Gentlemen) keeps working overtime with the nerve-rattling thrumming. Both could be accused of overplaying their hands, but they're effective. The same applies to Statham's no-nonsense tough guy routine, which never wavers, yet never becomes monotonous either. He exudes menace from the outset, as he typically does on-screen, but here it's of the baked-in variety. Wrath of Man isn't short on narrative twists, moving parts on justifications for H's behaviour, but there's an internalised sense of pain and anger in Statham's performance that never feels as if it's just going through the plot-dictated motions. Statham still glowers, throws around fists and shoots bullets like a man on a mission — and growls his lines like each word is a weapon, too — all of which happens often. But Wrath of Man is a streamlined rather than an indulgent action film. While it runs mere minutes shy of two hours, it doesn't pad out its frames with overblown and overly chaotic filler. As Godzilla vs Kong and Nobody also demonstrated recently, the power of cleanly shot and coherently staged action scenes really can't be underestimated. Viewers should be swept up in the action, rather than lost in it, which Ritchie, cinematographer Alan Stewart (Tom and Jerry) and editor James Hebert (Edge of Tomorrow) understand. Ritchie and co-screenwriters Marn Davies and Ivan Atkinson (The Gentlemen) also know the difference between a complicated storyline and a convoluted one. They wade into murky thematic territory, including exactly why folks might be driven to wage violent campaigns of vengeance or carry out intricate robberies, but don't ever expect to deliver easy answers. Wrath of Man doesn't come close to reaching the heights of fellow LA-set heist films Point Break and Heat, and it's also well aware of the crime and revenge genres' many conventions; however, it finds its niche. It also leaves its audience looking forward to the next collaboration between Ritchie and Statham — an as-yet-untitled spy film that's already been shot — rather than dreading that they'll simply stick to their decades-old greatest hits. https://www.youtube.com/watch?v=vcOP5kQrABk
Since the first Iron Man film in 2008, Marvel has trained superhero fans well. Notching up 33 movies in its enormous cinematic universe with 2023's The Marvels and showing zero signs of stopping, the comic book company has basically taken over the big screen, with this year delivering Ant-Man and the Wasp: Quantumania and Guardians of the Galaxy Vol. 3, too — and, as always, there's plenty more flicks on the way. Marvel hasn't just taken over picture palaces. Via Disney+, the small screen is also home to many a MCU story, including Secret Invasion and season two of Loki in 2023. Keen to see your favourite spandex-clad crime-fighters try to save the world in person as well? Along with splashing Marvel's heroes and villains across every screen it can find, that's also coming — and soon. Marvel Universe LIVE! is exactly what it seems — and if it sounds familiar, that's because it was meant to head Down Under in 2020, but then the pandemic hit. So, when it makes the trip to Australia in April 2024, it'll be unveiling its show to Aussie audiences for the first time. Brisbane's season takes place from Thursday, April 4–Sunday, April 7 at the Brisbane Entertainment Centre. The production takes more than 20 characters such as Spider-Man, The Avengers and the Guardians of the Galaxy, teaming them up on stage and letting audiences marvel (pun intended) at their exploits. Featuring everyone from Iron Man, Thor, Black Panther and the Hulk to Captain America, Doctor Strange and Black Widow, it tasks the beloved superheroes with facing off against some of Marvel's infamous villains, including Nebula, Loki and Green Goblin. And, it packages their antics with video projections, special effects, pyrotechnics, martial arts, and both aerial and motorcycle stunts. The performance is aimed at all ages and, in news that's about as unsurprising as most wisecracks that Tony Stark ever uttered, the show has proven a massive success in the United States, Latin America and Europe. As a result, it was only a matter of time until it hit Australia after its pandemic delay. Obviously, attendees won't be watching Robert Downey Jr (Oppenheimer), Chris Hemsworth (Extraction II), Benedict Cumberbatch (The Wonderful Story of Henry Sugar), Scarlett Johansson (Asteroid City) and Tom Hiddleston (The Essex Serpent) — or any of the many, many other high-profile stars who feature in the Marvel Cinematic Universe, because that list truly seems endless. But, if you're happy to get your Marvel fix however you can, add this to your 2024 calendar.
If you're a caffeine fiend who spends your weekday hours in the CBD, you've probably hit up Industry Beans Adelaide Street for your daily cuppa. After launching its first Brisbane cafe, Melbourne's beloved specialty coffee outfit Industry Beans has set up its second Sunshine State location right in the thick of it. There's one crucial difference between the brand's 150-person Newstead digs and this inner-city spot, however. This cosy ten-seat newcomer places a hefty focus on takeaways — no matter how you like your caffeine hit. Using beans roasted at its other site, it's serving up all the Industry Beans mainstays, including milk-based espressos coffees and its beloved cold brews. Yes, that means that the tapioca pearl-filled specialty bubble coffee and the wattleseed Fitzroy Iced are both on the menu. Also getting plenty of attention on Adelaide Street: beans to purchase, including a rotating lineup of single origins for both espresso and filter (which are obviously also available in your cuppas as well). Or, you can buy ready-to-drink cold-brew cans, specialty coffee pods and coffee equipment. You'll be doing all of the above within Industry Beans' usual minimalist decor. Pastries and other small bites to eat are available, too, in case you need a snack with your coffee.
After a horror run over the last three years, another major cancellation has hit the Australian festival scene. This time, The Grass Is Greener has been forced to cancel its new Canberra and Geelong gigs, and four of its acts won't be appearing at the remaining Gold Coast and Cairns dates. 2023 was slated to be a big year for the fest, which made its debut in Cairns back in 2016. This year, it was due to expand outside the Sunshine State, including heading to Canberra and Geelong as part of its planned four-date run — and, it had locked in multiple international headliners. The festival has sadly had to scale back last-minute, citing a range of reasons including weather forecasts, rising costs and the event industry post-COVID. "The reason for cancellation doesn't rest upon a single factor. Rather, it's related to the culmination of multiple elements that have affected not only us but our industry partners and siblings across the entire event industry in the COVID/post-lockdown period," a statement from The Grass Is Greener team reads. [caption id="attachment_856350" align="alignnone" width="1920"] Curdin Photo[/caption] The statement continues: "From an event standpoint, especially heading into these new markets, a festival team relies on certain milestones to enable us to run events successfully. What's more, the weather warnings we're receiving from Canberra and Geelong have also played a large role in this decision. While the shows were selling slower than predicted, we still had full intention of seeing them through — loss or otherwise. However, when coupled with the chance that sites might not even be built due to the impending weather, we knew we had to make a call as soon as possible." While this is sad news for those in the ACT and Victoria, it's not all doom and gloom. The festival will still be going ahead in the Gold Coast on Saturday, October 22 and Cairns on Saturday, October 29 with the likes of YG, PNAU, Alok, Wafia, Boo Seeka and Wongo. ONEFOUR, Ty Dollar $ign, Zhu and Maya Jane Coles have dropped off the bill, however, and won't be playing the Gold Coast or Cairns. [caption id="attachment_856349" align="alignnone" width="1920"] Mitch Lowe[/caption] Refund information for folks with tickets for the two cancelled dates will be made available in the next 7–14 days, or Canberra and Geelong ticketholders can use their tickets to gain access to the Gold Coast and Cairns festivals. The festival's statement also mentions that tickets will be valid for YG's Melbourne sideshow on Monday, October 31. YG was billed to appear with Ty Dolla $ign at his Margaret Court Arena show on that date. Be sure to check the festival and YG's Instagram pages for up-to-date info on this sideshow. [caption id="attachment_812356" align="alignnone" width="1920"] PNAU. Image: Pat Stevenson[/caption] THE GRASS IS GREENER 2022 LINEUP: Alok Aluna Boo Seeka Brux Crush3ed Little Fritter Wongo Market Memories Mood Swing & Chevy Bass Pnau Sidepiece Sticky Fingers TDJ YG + more THE GRASS IS GREENER 2022 DATES: Saturday, October 22 — Doug Jennings Park, Gold Coast Saturday, October 29 — Cairns Showgrounds, Cairns The Grass Is Greener has cancelled its Geelong and Canberra dates. It will now hit the Gold Coast and Cairns with reduced lineups this month. Head to the festival website for more information. Top image: Mitch Lowe.
Make October a month of wellness, as W Brisbane teams up with much-loved purveyors of all things healthy living, Cool 2Be Conscious. Held across three early morning Friday sessions, Conscious Collective runs on October 10, 17 and 24 from 6–8am, seeing locals and visitors alike guided through a revitalising experience that's both exclusive and approachable. Shaped as community-driven workshops, guests are directed through two hours of breathwork and meditation, ensuring a relaxing end to the week. Then, it's time to drift away in a restorative soundbath before rounding out the session with a rejuvenating ice plunge, making for an unmatched dopamine rush that leaves you feeling centred again. Taking over W Brisbane's WET Deck, the rooftop bar and pool give way to a mindful openair studio just before the weekend arrives, made even better with sweeping Brisbane River views. With the sun still coming up as you move through one soothing experience after another, expect this weekly ritual to deliver a major mind and body boost. Founded by Ryan Hubbard and Ru Mackenzie on the Gold Coast in 2020, Cool 2Be Conscious has become a big name in the breathwork scene, hosting massive gatherings designed to make health a collective experience. Yet for those seeking a more intimate experience, C2BC's W Brisbane collaboration might just be the perfect wellness alternative.
It's a great time to be a cinephile in Brisbane. Over the last couple of years, film fans have seen New Farm Cinemas open their doors, Cineplex build a shiny new addition in Hawthorne, Dendy announce another site in Coorparoo, Queensland Film Festival expand the city's festival offerings and Palace Centro begin a revamp. Now, add Metro Arts' refurbed cinema space to that list. Called The Lumen Room, consider it the arts venue's attempt to bring a different range of movies to the city. Befitting the theatre's quirky vibe, its single screen will boast a range of flicks that you're unlikely to see elsewhere, plus encore seasons of indie gems you might've missed and sessions of old cult favourites. That includes the likes of Aussie-made doco The Baulkham Hills African Ladies Troupe fresh from the Sydney Film Festival and Melbourne International Film Festival programs, dance-focused effort Mr Gaga and a screening of beloved '80s vampire film The Lost Boys for Halloween. Since re-launching in August, sensation American indie The Fits and recent Aussie standouts 52 Tuesdays and Spear have all popped up. Yep, they've been busy. Tickets are $12 per film, offering another point of difference from the usual multiplex experience. And as for what comes next? Well, keep an eye on their website — but keep expecting an eclectic lineup, aka just what Brisbane needs. Find The Lumen Room at Metro Arts, 109 Edward Street, Brisbane. Check out the Metro Arts website and Facebook page for more information.
First birthdays are always an exciting time, regardless of whom or what it is you’re celebrating. A whole year has passed! You’ve made it through the unknown and come out just a little bit wiser. Plus on top of all the hard stuff you’ve defeated, birthdays are always a great opportunity to eat yummy food, drink delicious drinks and be merry with pals. Joining the ranks of many other one year olds in 2012, are the Kerbside Lane Markets. After their year on the block, their distinctive mix of vintage stalls and alcohol is still treating punters with as much aplomb as ever. Pulling in great crowds every month, you can bet their first birthday celebration is sure to be a treat. With the usual 20+ stalls of eclectic goodness, there is sure to be something that tickles your fancy at Kerbside's Birthday Bash. As well, there will be music to soothe your ears plus a free sausage sizzle (including vegetarian options) to fill your belly that lasts all day! Oh, and of course there’s the option of purchasing alcohol from Kerbside itself. So head into the Valley, grab a glass of champagne and propose a toast wishing them many more Happy Birthdays and warm regards.
