If you like filling your house with Swedish furniture and homewares, then an IKEA voucher is probably high on your Christmas list. Or, you could treat yo'self in the lead up, because buying yourself a few presents is always perfectly acceptable — and also get your festive shopping done, listen to Christmas tunes and tuck into a three-course Christmas dinner. Yes, two faves are joining forces, again — and this time, instead of Halloween, IKEA is embracing Christmas. Yes, you can eat those Swedish meatballs; however, there's more on the menu, including either a Swedish seafood tasting plate or vegetable ball falafels for starters. From there, there's roast turkey with cranberry and orange stuffing, herb-crusted baked salmon, Christmas plum pudding with berry compote, DAIM cake and berry gelato cake. Happening at the brand's North Lakes and Logan stores in Brisbane, the Christmas feast costs $30 for adults and $25 if you're an IKEA Family member. You'll want to book tickets ASAP — IKEA's food events are always popular — for 5.30pm on Thursday, December 8 at North Lakes, and the same time on Friday, December 9 at Logan.
Brisbane's cultural ecosystem is booming. Cafes and bars are opening on a (almost) weekly basis, restaurants and pubs are more forward-thinking and imaginative than ever and you can find innovative cultural events and pop-up spaces to visit every day of the week. Bars continue to offer immersive, imaginative experiences that take you beyond their drinks lists — you can drink cocktails at a bar hidden in a bottle-o, climb the stairs of a two-level gin oasis and sip house-made sodas while playing arcade games. At Concrete Playground we encourage exploration and showcase innovation in our city every day, so we thought it fitting to reward those most talented whippersnappers pushing Brisbane to be a better, braver city. And so, these six new bars, opened in 2017, were nominated for Best New Bar in Concrete Playground's Best of 2017 Awards.
On several occasions this year, Fortitude Valley's resident shipping container hangout has teamed up with the One Day crew to throw a music-fuelled shindig. Now, the inner-city spot is bringing the fun on a regular basis. Going out on its own, X Cargo's weekly block party is pumping out hip hop and R&B tunes from 3pm every Sunday — so you can kick back and make shapes more often. Also on the agenda: cheap eats, plenty of drinks and a basketball competition, which means you won't be hungry, thirsty or lacking in something to do. Of course, you can just sit back under an umbrella, chat with your mates and enjoy the last of the afternoon sun while soaking in a cracking soundtrack, if that's what you'd prefer. That's what the last few hours of the weekend are made for, really. X Cargo Block Party takes place on every Sunday — and entry is free. Image: X Cargo. Updated: November 4.
Kicking off this year's Brisbane Festival in vibrant style, The Tivoli is getting a one-night-only makeover, becoming the Heaps Gay Trash Palace on Saturday, September 8. Just what does that entail? Think dumpster decadence, which is a term we've just coined to describe the shabby chic vibe. Also, think DIY frocks, a celebration of all things queer, and a heap of performers, live acts and DJs. It's an 80s-themed trash wedding, after all. And, the shindig won't just take over The Tiv's interior, but will spill out into the car park too, becoming a block party. It's a ticketed affair, for $40 per person — and it's the finale to eight actual LGBTIQ weddings, which are taking part on King Street down the road as part of Qweens on King. Image: Ezra Qua-enoo.
As a sci-fi TV series about alien abductions, unexplained happenings, UFOs, conspiracies and all manner of odd occurrences, plenty of strange things have happened on The X-Files. The sewer-dwelling man-like monster. The talking tattoo. The Cops episode. Jerry Springer showing up. Mulder dancing at a cowboy bar. The list goes on, and with the show set to return in early 2018, it's only going to grow. Only Brisbanites can enjoy Brisbane Arts Theatre's X-Files: The Musical, however. In an Australian premiere production running from April 15 to June 4, the truth is out there all right — in song, and on the stage. Tape an X to your window, pack yourself some sunflower seeds as snacks and grab your best super-bright torch, as Mulder and Scully are coming to Petrie Terrace. You'll want to believe in this song-filled parody about a half-human, half-animal hybrid that could be Mulder's long-missing sister. Trust us (when you're not trusting no one, that is). And if that's not enough off-screen weirdness for you, David Duchovny himself is also touring Australia next year — as a singer, at his own concerts, and sadly not as part of this show. Still, it's quite the coincidence.
Bury all your preconceived notions of Australian films being dry, cerebral art-house wankfests. Mystery Road is the real thing. Writer, director, composer, cinematographer and visionary filmmaker Ivan Sen has delivered a new classic, an outback murder mystery with a rich tide of ideas unravelling and washing around the edges. Mystery Road is a masterclass in first-rate Australian acting. Hugo Weaving plays the kind of male role typical of a Lars Von Trier film: not a villain but a seriously messed-up, creepy bastard. Ryan Kwanten is a diabolically suss and casually racist roo-shooter. But it's Aaron Pedersen who carries the film with a devastating performance as Detective Jay Swan. He's a cowboy, a superman, a protector of a marginalised and deeply suspicious community, and an outsider in an uncaring, corrupt police establishment. Investigating the murder of a young Aboriginal woman, he unearths a trail of prostitution, drug rings and deep social dysfunction in his outback, ex-mission town. With each new body that's found, we feel his heart sink with sorrow — he doesn't have the comfort of distance enjoyed by his white copper colleagues. He's between two worlds, as is Mystery Road itself — it's a small movie but a big story to rival any Hollywood Western, with the desire to speak to a mass audience. The unavoidable political themes and Indigenous cultural perspectives are tethered to the recognisable narrative of a police procedural, making this a familiar but strange viewing experience. It works because it springs from Sen's experience growing up and just hanging out in down-and-out regional towns that have fallen off Australia's map: where the forgotten and poor are fatally vulnerable and totally absent from the national conversation. You might not recognise this set of life-experiences, but you'll recognise the Australianisms — the old-school, sweet-and-sour-pork Chinese restaurant; the characters' casually cagey glances; the quietly funny, laconic turns of phrase. These are all the details of a master storyteller. Mystery Road's slow-beating pulse finally riptides to a heart-stoppingly tense shoot-out. As the film's rhythms crested and fell, I found no easy explanations, no Hollywood signposts, just a genre piece of great complexity, subtlety and sophistication, and troubling beauty. This is an important film, a stunningly entertaining one, and a great one. https://youtube.com/watch?v=n7CmxOOr32I
In Tammy, what you see is what you get — even if you have seen it all before. A road-trip odd-couple coming-of-age comedy, Melissa McCarthy's latest effort drives down familiar routes in search of revelations and raucousness but does little more than warmly ride through the usual cliches of its genre. McCarthy's titular character is a picture of immaturity, escaping her blue collar, Middle America problems after a day from hell that leaves her car wrecked, her employment terminated, and her husband (Nat Faxon) with another woman (Toni Collette). Despite protests from her mother (Allison Janney), she takes to the highway with her fun-loving, Cadillac-owning grandmother, Pearl (Susan Sarandon). Mismatched travelling companions with individual scores to settle, they set out on a jovial jaunt, but find more than frivolity on their journey. Tackling troubles en route to a far-flung destination has been the premise of many manchild-focused movies, as recent features Due Date and The Guilt Trip have shown. While Tammy appropriates typically male traits in a gender role reversal, even its central swap is absent originality. Indeed, McCarthy's own Identity Thief followed the same formula barely a year ago. Alas, in Tammy, McCarthy's seeming ambition to ape Zach Galifianakis' similar output continues. Even when writing her own roles — here with director Ben Falcone — she copies stereotypes rather than carves out her own niche. Her aims in broadening the representation of women on screen are admirable; her methods are less so. Despite her slapstick skill, she rarely serves up anything other than the same imitative effort. Tammy's derivation doesn't stop there, nor does its squandering of its cast. With Sarandon involved, the girl's own gambit also borrows from Thelma and Louise as it ambles through a checklist of cartoonish tropes. Tammy and Pearl cycle through liaisons with men (Gary Cole and Mark Duplass) they meet along the way, fall afoul of the law, and reunite with long-lost relatives (Kathy Bates and Sandra Oh). Of the supports, Bates makes the best of scarce opportunities in an offering that's as much McCarthy's passion project as it is her star vehicle. And yet, though the comedy and characters clearly spring from all that has come before, the feature sparkles with sincerity. Missives of the self — esteem, worth and discovery — are as common as most of the film's content; however, Tammy never feels anything other than earnest. First-time filmmaker Falcone may assemble everything together in tonally bland and comically mistimed packaging, his visuals devoid of texture and his scenes lingering too long, but his affection for his lead and narrative shines through. In its generic compilation, Tammy may lack its desired humour, but it does boast customary helpings of heart and hopefulness. https://youtube.com/watch?v=K8a3TOhVA3c
Instrumental outfit Grails are bringing their enigmatic live show to The Zoo. The five-piece are known for skipping around genres, unable to be pinned to any certain classification and yet so eloquently fill many of them. They’ve found inspiration in unexplored terrain, from Japanese psychedelic drone to Turkish ‘60s rock; near-cinematic soundscapes have wooed audiences with playful unpredictability and pinpointed minimalism since the early 2000s. The Zoo has hosted many similar acts in the past—mini-festivals of psych rock and instrumental groups have found themselves at home in one of Brisbane’s stellar music venues. Tickets are still available to this alternative show that will surely prove unforgettable.
“For never was a story of more woe than this of Juliet and her Romeo,” wrote William Shakespeare, and even with all the tragedies he imagined, he may have meant it. Romeo and Juliet serves up family feuds, forbidden lovers, fateful pacts, interfering relatives and several cases of terrible timing. There’s bad luck, there’s tragedy, and then there’s the plight that awaits the star-cross’d duo. The latest stage version provides all that and something more, the added extra coming courtesy of Shake & Stir. Known for treading the boards with the next generation, the contemporary youth theatre company thrusts the top 35 competitors from the 2014 Queensland Youth Shakespeare Festival into the famous performance. Live music helps the play dance along; however, the emerging cast are the real stars of the show. You might know the tale told, and the characters as well, but you won’t be familiar with the shining new talents in this interpretation.
In terms of products that are equally cruel and stupid, skin-lightening cream would have to be up there. And now, thanks to Anchuli Felicia King's White Pearl, it's now also brutally satirised. Fictional cosmetics company Clearday, based in Singapore, turns a very tidy profit exploiting customers' insecurities about the way they look. When one of its ads for skin-lightening products goes viral, the disapproving eye of the digital world settles on the company's pristine open-plan office. Amidst the buck-passing and fallout containment, a transformation begins to occur — what playwright King has referred to as "the shift from socialised hysteria to primal hysteria". With comedy that's blacker than bitumen and grimier than a skip in the CBD, White Pearl is here to raise conversations regarding casual racism and corporate culture. It's unlikely you needed another reason to hate on late-stage capitalism, but King will make you laugh while you do. The play is a co-production between Riverside's National Theatre of Parramatta and Sydney Theatre Company, directed by Priscilla Jackman — and it's showing at Queensland Theatre's Bille Brown Theatre from Thursday, June 17–Saturday, July 10. [caption id="attachment_748064" align="aligncenter" width="1920"] White Pearl[/caption]
Get your fill of the best vegan food in town at the Vegan Day Out. Come September 8 and 9, The Cruelty Free Shop is putting together a walking tour of vegan cafes, restaurants and retailers, many of which will be offering discounts, deals and free samples to anyone who stops by. For Saturday and Sunday, socially conscious eaters can stop by The Cruelty Free Shop on Melbourne Street, and grab a map outlining their route. From there, it's all about making your way to to plant-based delights aplenty — and making a day (or two) of it. Whether you're a dyed-in-the-wool vegan or just curious to give it a go, you'll find a whole world of retailers catering to animal-free eating, offering meal deals, two-for-ones, coffee, wine tastings and savings on vegan groceries. The Cruelty Free Shop will also be running its own tastings throughout the day, as well as offering discounts on some of its 3000+ products.
Although it may be Mercedes Benz Fashion Festival in Sydney, you can still get your fair share of hot fashion tips in Brisbane this week. Held at the gorgeous Limes Hotel is Rooftop Styling, a great excuse for a night of fab fashion. Enjoy a cocktail on arrival and a bevy of delectable canapes by Limes Hotels' sister venue, Alfred & Constance, while you ogle gorgeous fashion. The night will be hosted by fashion writer for the The Style Report, Laura Stead, so insider tips are guaranteed. Three models will showcase the new season collection from South Bank boutique Denim Co. The night will focus on elegant designs that have a dark, Gothic edge. Stead will be styling up a storm and outlining new trends for the upcoming winter season. If any of the stunning pieces tickle your fancy, you'll be able to take them home with you as Denim Co. will have a pop-up store filled with specials available on the night. Get your girlfriends together and share an evening of Gothic glamour. Grab your tickets here.
Don't even dream of calling Queensland Theatre's latest production inauthentic. In tackling Scenes from a Marriage, the company have jumped into bed with real-life married couple Marta Dusseldorp and Ben Winspear. You've seen the Aussie actors separately in Jack Irish, Janet King, Underbelly and The Babadook, and together in A Place to Call Home — and that's just on screen — and now you can see them on stage in an iconic dissection of domestic disharmony. The duo step into the roles of Marianne and Johan, who have two daughters, great careers and a seemingly happy life, but prove far from content after a revelation highlights the kind of problems they'd usually rather not talk about. From November 11 until December 3, just what happens next will play out at QPAC's Playhouse, as given extra energy and resonance given the relationship between the performers. The play itself is based on a 1973 Swedish television miniseries of the same name by the great Ingmar Bergman, with the filmmaker winning best foreign-language film at the Golden Globes for his efforts. Stage adaptations started following from 1981, and plenty of movies and TV shows have done the same since. Basically, if it was made in the past four decades, and features arguing spouses, then it probably took inspiration from Scenes from a Marriage.
When you peer inside your wardrobe but can't find anything to wear, it's often just a matter of taste. From the clothes on your racks, none might suit your mood, vibe or look that day. There's nothing wrong with what's hanging in front of your eyes — it just isn't for you right then or perhaps anymore. So, why not swap whatever you're certain that you're not going to don again for someone else's threads? Clothes swaps serve multiple purposes: helping folks clear out their cupboards, giving good-quality pieces a new life and promoting sustainability in fashion. That's what you'll find on offer at West End's Fate Space on Saturday, December 2 when fashion culture and events platform Chev Lane hosts its own clothing swap and second-life market. From 2–6pm, you'll be able to bring your own clothes in, then exchange them for something else that catches your eye. Here's how it works: when you're swapping your own outfits, you receive tokens, which you then use for other threads. There's a limit of ten items per person, and you'll nab one token if your piece is under $50 in resale value and two if it's over that amount. You'll pay $7.95 entry, then get exchanging — and local fashion re-sellers will also be slinging wares, as will designers and artists. Anything traded in for tokens that isn't picked up by someone else will be donated to charity at the end of the swap. For a soundtrack, Maggitron and Thien Pham will be on the decks. For beverages, there'll be boozy and non-alcoholic options.
Alaskan-bred, Portland-based indie foursome Portugal. The Man will be hitting the road for an epic string of Australian dates this November. We're talking a whopping 25 dates — and all free. Presented by Corona Extra, the tour kicks off in Western Australia on October 31 and travels through Queensland, New South Wales and Victoria before finishing up in Melbourne on November 30. With seven albums under their belt — including their most recent, Danger Mouse-produced, 2013 album Evil Friends — and playing up to 200 shows a year since they started, Portugal. The Man aren't ones to shy away from a long touring stint. They're big ol' festival favourites, making highlight lists at all the big guns from Coachella, Lollapalooza to Laneway Festival and Splendour. After their huge US tour wraps up, the foursome are going to bring their psychedelic, indie outdoorsiness to Australia's snuggly pubs and bars. Corona's last epic Australian tour saw Sydney's beloved Cloud Control hit the road for an unfathomable amount of free shows, so we'll see how the Portland locals go with such a schedule. Get along, burl out 'Got It All', 'Evil Friends' and 'So American' like you're front and centre for a P.TM festival set. It's freakin' free. Corona Extra Presents Portugal. The Man National Dates: Western Australia Friday, 31 October — Caves House 18 Yallingup Beach Rd, Yallingup at 6pm, then Settlers Tavern 114 Bussell Hwy, Margaret River at 10pm. Saturday, 1 November — The Left Bank, 15 Riverside Rd, East Fremantle at 3.30pm, then Northshore Tavern, Shop 66, Whitford City Shopping Centre, Whitfords Avenue, Hillarys at 6.30pm. Sunday, 2 November — The OBH, 1 Eric St, Cottesloe at 3.30pm. Queensland Friday, 7 November — Sol Bar, Ocean St, Maroochydore at 6pm Saturday, 8 November — Paddo Tavern, 186 Given Terrace, Paddington at 3pm, then Jubilee Hotel 470 St Pauls Terrace, Fortitude Valleyat 9pm. Sunday, 9 November — The Boardwalk Hotel, Marina Village Shopping Centre, Santa Barbara Rd, Hope Island at 3pm, then The Coolangatta Hotel, Marine Pde, Coolangatta at 7pm. Friday, 14 November — Komune, 144-146 Marine Parade, Coolangatta at 7pm. New South Wales Saturday, 15 November — Hotel Brunswick, 4 Mullumbimby St, Brunswick Heads at 3.30pm, then Beach Hotel Crnr Jonson & Bay St, Byron Bay at 7.30pm. Sunday, 16 November — Park Beach Hotel, 84 Ocean Parade, Coffs Harbour at 5pm. Friday, 21 November — Towradgi Hotel, 170 Pioneer Rd, Towradgi at 7.30pm. Saturday, 22 November — Bucket List, Shop 1, Queen Elizabeth Drive, Bondi Pavilion, Bondi at 2pm, then Manly Wharf Bar, East Esplanade Shop 19, Manly at 10pm. Sunday, 23 November — Watsons Bay Hotel, 1 Military Rd, Watsons Bay at 3.30pm, then Old Joes, Crnr Kingsway & Erouera Rd, Cronulla at 8pm. Victoria Friday, 28 November — Torquay Hotel, Bell St, Torquay at 9pm. Saturday, 29 November — Westernport Hotel, 161 Marine Pde, San Remo at 9pm. Sunday, 30 November — The Deck, 2-4 Davey St, Frankston at 8.30pm. All tour dates are 18+ only and free entry. More info here. https://youtube.com/watch?v=EITwxJrZKj0
Take Cirque du soleil, nab their absurdity, quarter their going price, compact the talent to three people and you have for yourself 3 is a Crowd. This new ensemble of seasoned circus artists, Bianca Mackail, Olivia Porter & Rockie Stone, bring to Brisbane their show Fright or Flight and their ridiculously bendy bodies with it. Chaotic, comical, and outright absurd this act will have feathers flying and crowds ‘clucking’ for more of the stunning physicality and theatrical performances that breath life into Fright or Flight. As the debut show by this troupe, these three artist vibrantly prove that a quirky and humour based performance can still ride the same track as one that is beautiful, endearing and ambitious. Brace yourself for the rare breed of performer that makes up 3 is a Crowd and the nest of enchantment that holds their latest theatre piece. Have a sneak peak at Fright or Flight
It's hard to imagine that there's a positive aspect to losing someone or something you care about, but with shows like The Joy of Loss, there might be a glimmer of hope for those who have dealt with the ultimate pain. Not unlike the four stages of grief, The Joy of Loss looks at six gestures of loss via multi-disciplinary installations. There is fire, air and infrasonic, eight-channel surround sound, live dance and live music installations, with the finale being interviews conducted in silence. This introspective look at a personal topic is lead by artist David Sudmalis, whose drive for this project was the notion that loss is a new starting point, that is, the moment of departure. These interconnected gestures represent the journey through which we must pass: memory, experience, emotion and physicality. We are losers by nature, we would learn nothing if we didn't grow from our losses. Hell, our twenties are just one big lose-fest! While you can't control the cards you're dealt, you can control how you approach the aftermath. Watch as sound, image, performance, space, metaphor, language, and silence come together to forge a shared understanding of loss and how its cathartic qualities can ultimately bring joy. Image credit: The Joy of Loss
To add more fizz to the festive season, Brisbane bar Cloudland is hosting a two-month celebration of bubbly. As part of the luxe affair, the glitzy venue is hosting a Grand Cru Champagne Dinner from 6–8pm on Wednesday, December 6. Guests can mingle with new friends at the communal table while being treated to a five-course menu designed by Executive Chef Andrew Musk and paired with RSRV wines. Maison Mumm Champagne and GH Mumm Ambassador Emeline Troger will also be on hand to talk diners through each sip. Arrive at Cloudland's Heritage Room, where you'll be greeted with Pacific oysters, served with cucumber and elderflower mignonette, and watermelon with goat's curd, aged balsamic and basil. Then, progress onto a refreshing blackberry-cured salmon crudo with burnt grapefruit, citrus crème fraîche and a squid ink tuile, while sipping on a glass of 2015 RSRV blanc de blancs. Seared duck breast with beetroot, hazelnut and shiso will be accompanied by a glass of the elegant Rosé Foujita, followed by a hearty herb-crusted lamb with pinot noir jus and a 2014 blanc de noirs. To finish off the night, there's a meringue with mascarpone, raspberry sorbet, strawberries and lemon balm, matched with the delicate Cuvée 4.5. For those further down south who can't attend the Cloudland Brisbane event, there'll be another Champagne Dinner at The Island Gold Coast on Thursday, December 7. Tickets are $190 per person and strictly limited, so get in quick. Book your spot and find out more at Cloudland's website.
They're taking to hobbits to Isengard at the Elizabeth Picture Theatre this spring, with one movie marathon to rule them all. Round up the Fellowship, stock up on lembas bread for sustenance and hide your finest pipe-weed from the Southfarthing for one sitting of all three of Peter Jackson's beloved OG Tolkien film adaptations on Sunday, October 7. Kicking off with The Fellowship of the Ring and ending with The Return of the King, this cave troll of a marathon clocks in at 558 minutes, starting the journey at 10am and including short breaks between each (for breakfast and second breakfast, if you will). If you make it to the final handful of endings, you can pat yourself on the back and smash a ringwraith screech at the nearest CBD resident on your way home (note: do not actually screech at the residents). Without a ticket, expect at least one overenthusiastic cinema staff member to make an example of you, thundering "You shall not pass!" to raucous applause. So buy a ticket, precious. Actually, you'll need three — one for each film, at $12 each.
It's been four years since Ryan Gosling last graced screens, rocketing to the moon in First Man. No, Barbie set photos pored over on every internet-connected device don't count. Since he played Neil Armstrong, much has happened. There's the obvious off-screen, of course — but then there's Chris Evans farewelling Captain America, and also appearing in Knives Out with the scene-stealing Ana de Armas. After co-starring in Blade Runner 2049 with Gosling back in 2017, she leapt from that Evans-featuring whodunnit to palling around with 007 in No Time to Die. Also during that time, Bridgerton pushed Regé-Jean Page to fame, and Once Upon a Time in Hollywood earmarked Julia Butters as a young talent to watch. This isn't just a history lesson on The Gray Man's cast — well, some of them, given that Billy Bob Thornton (Goliath), Jessica Henwick (The Matrix Resurrections), Dhanush (Maaran), Wagner Moura (Shining Girls) and Alfre Woodard (The Lion King) also pop up, plus Australia's own Callan Mulvey (Firebite) — for the hell of it, though. Back in 2018, before all of the above played out, it's unlikely that this exact film with this exact cast would've eventuated. But plenty of action-thrillers about attempting to snuff out hyper-competent assassins already did flicker across celluloid — both John Wick and Atomic Blonde had already been there and done that, and the Bourne and Bond movies, and countless other predecessors. Still, the combination of this collection of current actors and that familiar setup isn't without its charms in The Gray Man, which makes the leap from the pages of Mark Greaney's 2009 novel to the big and streaming screens. Reportedly Netflix's most expensive movie to date, it lets its two biggest names bounce off of each other with chalk-and-cheese aplomb, and isn't short on globe-hopping action spectacle. The off-the-book spy versus off-the-book spy killer flick is knowing amid all that box-ticking formula, too, although not enough to make its cheesy lines sound smart and savvy. Gosling plays Court Gentry, aka Sierra Six; "007 was taken," he jokes. Before he's given his codename — before he's paid to do the CIA's dirty work as well — he's in prison for murder, then recruited by Donald Fitzroy (Thornton). Fast-forward 18 years and Six is a huge hit at two things: being a ghost, because he no longer officially exists; and covertly wreaking whatever havoc the government tells him to, including knocking off whichever nefarious figure they need gone. But one stint of the latter leaves him in possession of a USB drive that his arrogant new direct superior Carmichael (Page) will ruthlessly kill to destroy. Actually, to be precise, he'll pay Lloyd Hansen (Evans) of Hansen Government Services to do just that, and to do the dirty work that's too dirty for the criminals-turned-government hitmen in the Sierra program, with Six the number-one target. If you've seen one espionage-slash-assassin flick that sends a shadowy life-or-death fight bounding around the planet — here, Hong Kong, the Czech Republic, Croatia, Azerbaijan, Germany and Austria all feature, among other spots — then you've seen The Gray Man's template. Directing duo Joe and Anthony Russo helmed the Marvel Cinematic Universe's versions with Captain America: The Winter Soldier and Captain America: Civil War, so they know the drill. That they've seen a heap of other entries in the genre is never question, either. That feeling radiates from the script, which is credited to Joe Russo with seasoned Marvel scribes Christopher Markus and Stephen McFeely (Avengers: Infinity War and Avengers: End Game), and clearly styles its one-liners after superhero banter. Having Gosling and Evans sling it, one playing bearded, silent and virtuous and the other moustachioed, jabbering and unhinged, makes a helluva difference, however. The silver screen has missed Gosling, and the moody, charismatic brooding he does so well. Thanks to Drive and Only God Forgives, the actor is firmly in his calm-but-deadly, complex-but-smouldering element — and, when Fitzroy's niece Claire (Butters) joins the story, Gosling is also in comfortable The Nice Guys-style territory. That isn't a complaint; he's great at both, reliably and engagingly so. But, again, almost every aspect of The Gray Man recalls something similar or its stars' past work. As he did so memorably in Knives Out, Evans revels in his latest asshole swerve away from The Star Spangled Man with a Plan, spitting out his smirking dialogue with relish. (The trash 'stash and skin-tight wardrobe are new, but suit the psychopathic vibe that Lloyd is wrapped in as snug as spandex.) That at least 50 shades of this feature have filled other films before can't be shaken, and yet that fact never blows up the movie. Explosions aren't lacking, given the storyline. Neither are setpieces of varying action-flick ridiculousness to house them in, as well as such a hefty dose of transport-related mayhem that the Fast and Furious movies might get envious. There's nothing grey in colour about the first big action extravaganza, staged in Bangkok amid a gleaming nightclub and bursting fireworks — and the Russos' best shootouts, fights and frays boast a sense of playfulness, just like the back-and-forth between Gosling and Evans. Still, some lively lurches stumble. A "Ken doll" quip is too calculated to crib that Barbie mania, and when the setpiece setting ante gets upped to include a hedge maze, it's yet another reminder of riches elsewhere on celluloid. That said, Netflix also previously made the abhorrent Red Notice, the last film badged as its most expensive ever. Next to that atrocious example of cobbling together well-worn parts and plastering them over with megastars, The Gray Man naturally looks like a masterpiece. The Gray Man isn't a masterpiece, though. If it was — rather than being entertaining despite showing the easy dots it's connecting, and its seams — the slickly shot picture would make full use of its entire cast. The film is all the better for having de Armas, Page and the like in it, but they all scream for more screentime (and for better-fleshed-out characters), which may come for some in future instalments. As his mentor Tom Clancy's Jack Ryan saga did, Greaney's books have spawned followups. On the screen, both a sequel and a prequel were reportedly greenlit by Netflix before The Gray Man even reached audiences. Knowing that this is meant to be a franchise-starter doesn't justify its love of formula, or hide it, but it also doesn't detract from Gosling or Evans, or the dazzling destruction around them. The Gray Man screens in cinemas Down Under from Thursday, July 14, and is available to stream via Netflix from Friday, July 22. Image: Paul Abell/Netflix.
UPDATE, October 7, 2021: Due to lockdowns in Sydney and Melbourne in 2021, Pinot Palooza has postponed its 2021 event until 2022. This article has been updated to reflect that change. Master sommelier Madeline Triffon describes pinot noir as 'sex in a glass'. Winemaker Randy Ullom calls it 'the ultimate nirvana'. Broadway wannabe Titus Andromedon loved it so much he compares it to 'caviar, Myanmar, mid-size car' (see below). No wonder the good folk at Revel — who've also brought Malbec Day and Mould our way — are coming back to town with Pinot Palooza, an epic travelling wine festival celebrating all things peeeno noir. For just two days, Brisbane wine connoisseurs will have the chance to sample more than 100 drops, direct from Australia and New Zealand's best producers. Whether you're a newbie who wants to start with something light and inviting, or a pinot pro ready for the biggest, most complex mouthful on the menu, there'll be an abundance of selections at either end — and plenty along the spectrum, too. If, at any point, you need to take a pause in your tasting adventures, you'll be catered for. Pinot Palooza will hit the John Reid Pavilion at Brisbane Showgrounds on Friday, May 20 (from 4.30–8.30pm) and Saturday, May 21 (from 11am–3pm and 4–8pm). Tickets are $65, and include all tastings and a take-home wine glass. https://www.youtube.com/watch?v=A6yttOfIvOw
Around mid-December each year, something important happens: summer solstice, or the day with the longest span of daylight and shortest stretch of night for the current 12-month period. Since ancient times, it has been a time of celebration — and that's what Northey Street City Farm is doing at its Summer Solstice Night Market. At the Windsor spot on Friday, December 16, a waste-free organic street food market will serve up locally sourced bites to eat and sips to drink, including a whole heap of vegan and gluten-free options. Think falafel, Italian cuisine, burgers, juices, smoothies, beer, cider and kombucha on tap. Everything will be served on crockery, with wash stations set up so you can help clean up. Also on the bill is live music, drumming, circus, talks and workshops — plus fire twirling and dancing. And, if you're keen to learn more about sustainable living, Mia Swainson is launching her book on the topic at the market. As well as food, you'll be able to pick up ethical gifts, too, helping take care of your last-minute Christmas shopping. The fun kicks off from 6pm, and entry costs $27.19 for adults. Images: Northey Street Organic Farmers Market.
Question: When is a German restaurant more than just a German restaurant? Answer: When it's named Heisenberg Haus and takes inspiration from a celebrated television show. Breaking Bad fans will know what we're talking about. Yep, the proprietors of Ipswich's first German eatery have embraced both aspects of their moniker — that is, its country of origin and the alter ego of school science teacher-turned-drug kingpin Walter White. It's a stroke of pop culture genius, and the perfect way to shout out to a beloved TV series without distancing the three people on the planet who still haven't gotten around to watching it. While traditional German cuisine — think classics like chicken schnitzel, pork knuckle and apple strudel — is the main attraction, references to Breaking Bad aren't hard to spot. No, you're not going to find Los Pollos Hermanos fried chicken here (though Gustavo Fring's fast food joint still could become a reality). Instead, as well as the type of subtle decorative flourishes that are best discovered for yourself, you'll find a whole host of themed cocktails. They include tasty German beer tipples, such as the Fruity Marie and the Badger and Skinny Pete, as well we the more classic kind of concoctions. Who can pass up the chance to knock back a Walt's All-Nighter Espresso Martini, the G&T twist that is the Strawberry Pinkman, or a the creamy chocolate goodness of the Goodnight Hank? And then there's the well-named combo of vodka, blue curacao, pineapple and pop rocks that is the Blue Crystal Surprise. Now that's sure to give you a buzz. Find Heisenberg Haus at 164 Brisbane Street, Ipswich, or visit their Facebook page for more information.
The Gin Club, Evil Eddie, Powderfinger's Ian Haug - these are names you most likely know. But one name you mightn't know, but should, is that of Danny Widdicombe. Most musicians tour and write songs while they have a clean bill of health, but unbeknownst to Danny, leukaemia was wreaking havoc on his body while he was away doing gigs in Berlin. His health may have been as its lowest but his spirit and drive to complete his latest, and possibly last, album never faltered. In a completely courageous act, Danny started to compile 'Find Someone' while he underwent chemotherapy, and was helped by some of Australia's best songwriters and musicians. What a great way to take your mind off grueling cancer treatment by focusing your mind on something wonderful and heartfelt. This Friday The Zoo is specially hosting a benefit concert in honour and support of Danny Widdicombe's amazing plight and story. The Gin Club will be headlining the night, and will be joined by Evil Eddie, The Wilson Pickers, Guy Webster, Tylea, with video performances as well as a head shaving event, all MC'd by Ian Haug. If you need any reason to come and support an amazing man, let it be because 'Find Someone' is actually a quality record and there's some fantastic bands supporting this worthy cause.
Have a hankering for a Chur Burger, but can't make the trek from the CBD to the Valley? Maybe your lunch break's too slim. Maybe, despite the protests of your taste buds, you just can’t be bothered. We know, we know, talk about a first world problem. But the stomach wants but the stomach wants. Soon, this dilemma will no longer exist. Behold Chur Express, your new favourite Riverside lunch spot. Yes, the cravings of city dwellers, workers and anyone else in the general vicinity of Eagle Street are set to be satisfied by the new Chur Express, albeit from a smaller menu. Devouring everyone’s favourite combination of bread and meat — and those unmissable sides of onion rings, wings and chips — will be as simple as strolling on down to Riverside. A firm opening date has yet to be announced, but expect to see the brand new Chur Burger offshoot cooking up a storm in the not-too-distant future, as their Facebook page knowingly teases. Not only will patrons be treated to some of Brisbane’s best burgers, but Chur's mouthwatering meals will come served with waterside inner-city views and river breezes. You'd be forgiven for thinking that this news has been a long time coming, with rumours about Chur's CBD offshoot circling for months now. You'll also forgive the head burgermeisters for taking the slow and steady approach — they do have an already bustling location on Constance Street to run, after all.
The funniest comics from Australia and across the globe will be in town between February 26 and March 24 for this year's Brisbane Comedy Festival. Be prepared for an onslaught of hilarity as comedians such as Stephen K. Amos, Sammy J & Randy, Dave O'Neil, Dave Thornton, and Hannah Gadsby take to the stage. Although you may not know their faces, you'll definitely recognise the voices of Triple J presenter, Mel Buttle and Tom Ballard, who will also tickle your funny bone. This year's colourful bunch of comedians include well-known entertainers as well as up-and-comers. Newbies have the chance to make you giggle at the Breakout Comedy show from February 21. Another highlight of the festival is Chalkboard, a late-night session held on Friday and Saturday nights where a variety of comedians get the chance to share their new material. Held at the Brisbane Powerhouse, this much-loved festival will make you laugh until you cry — or at least until you need to change your underwear.
On most days of the year, a Brisbanite can wander into a Fortitude Valley venue and listen to live tunes. In most years, too, the inner-city suburb celebrates that fact in a huge way. We've all been to a Valley Fiesta. We've all been to several, in fact, because they've been filling the Brunswick Street Mall and surrounding bars with music for 24 years now — and the suburb-specific festival is back in full swing in 2021. Running from Thursday, October 28–Saturday, October 30, this year's three-day Valley Fiesta is hitting up 23 locations with oh-so-much live music. Get ready to hop between Black Bear Lodge, The Brightside and its outdoor area, Cloudland, Greaser, Netherworld, The Tivoli, The Triffid, The Wickham and The Zoo. You'll also be heading to Backdock Arts, Birdees, EC Venue, Kings, La La Land, O'Skulligans, Press Club, Queens, Suzie Wongs Good Time Bar, The Prince Consort and Woolly Mammoth as well. As for who you'll be listening to, the list of acts includes more than 150 artists and bands, so you can get ready to check out Blonde on Blonde, Butterfingers, Beddy Rays, Nerve, DVNA, Jesswar, VOIID and SixFtHick — plus DZ Deathrays doing a DJ set — among a heap of other names. Prices vary and tickets for each event are sold separately — and, obviously, it'll be a COVID-safe affair with the applicable capacity restrictions. And, if you're wondering why this year's Fiesta kicks off on a Thursday, that's because Friday, October 29 is the rescheduled Ekka public holiday. So, your long weekend itinerary can including hitting up a Brisbane favourite — and also heading into the mall on the Saturday for a huge music marketplace that'll span record swaps, vintage clothing and pop-up DJs. VALLEY FIESTA 2021 LINEUP A Love Supreme Alivian Blu Allora Amarri Amy L Annoying Neighbours Asphyxia B-boy Cielo B-girl Tinylocks Bad Neighbour Band 42 BBTK Beddy Rays Being Jane Lane Betty Taylor Big Dinner Birdman Randy & The Ivory Street Preachers Blonde on Blonde Blussh Bombshell Academy Breakfast at Nans BRIA Brief Habits Brixton Alley Buttered Butterfingers Callin Malley Big Band Carmouflage Rose Charlesworth Chelsea Drive Chukale Clarence Kent Colourblind Cooper Riley Creed Tha Kid Curtis Sciliba (DJ) Dahlia Dyer Dahlia Gunn David Carberry Day of Embers De La Vinx DJ Bacon DJ Fukhed DJ Lil J Don Rual Dream Coast Dumb Things DVNA DZ Deathrays (DJ) Ebony Ruth Echowave Ella Fence Eloelo Ethan Enoch Feelsclub First Beige (DJ) Flamingo Blonde FOMI Foul Face Frenchie Darling Friends of Friends General Press: GP001 Halfway Haliday Hive Mind Hope D Hot Reno J-Funk Jack Davies and The Bush Chooks Jacob Tompkins Jesswar Kessin King Stingray Kweir La bOum Lacy Pop Late November Lazy Leis Lila Lux Lilith Revere LO'99 Local Safari Loiter Lotus Ship Lunchtime Madeline Glasseater Malibu Stacey Margeaux Le Gogo Melaleuca Mellow Miranda vs Arizona Mou MoZza Nerve Nice Biscuit Nicole McKinney Oh Bailey Parachute Youth Passionfruit People Mover Phatnug Phil Smart Pocketlove Pure Milk Pvcker Up Radolescent Ramjet Rose Rogers Ruckus Slam S*A*S*H Halloween Sachem Saint Lane Sametime Selfish Sons Sellma Soul Set The Record Shifting Sands Siala Sid The Entertainer SixFtHick Skanalosos Skies Collide Skrub Sleeping Slowrip Slurpee Jerks Smak Soviet X-Ray Record Club Start Together Stone & Wood Garden Sessions Strictly Classics Sunsets syrup, go on Teen Sensations The Buzzing Towers The Double Happiness The Lonesomes The Mangroves The New Black The Sleepyheads The Unknowns The Wolston Butchers Toby Hobart TOWNS Trilla D VERUM VOIID Waxflower Wet Season Wetlands Wharves White Light Station Yellowcatredcat Yr Familiar Zed Charles Valley Fiesta 2021 takes place from Thursday, October 28–Saturday, October 30. For further information and to buy tickets, head to the festival's website. Images: Dave Kan.
Talk about turning lemons into lemonade, or an ordering error into a bright idea for a party. You'd expect that from the Brightside after all. And even if the Fortitude Valley venue hadn't ordered 10,000 glowsticks by mistake, you'd also expect them to throw this kind of luminous shindig. That's right, on September 10, everything will be positively beaming on Warner Street — complete with UV paint for everyone to play with, too. You'll think you've time-travelled to the '90s. Plus, the fact that Brighty will be handing out those sweet, fruity and chewy lolly sticks we all know as Fizzers will really make you feel like you've gone back a couple of decades. Music-wise, once midnight hits, the shenanigans will get a bit shit — and no, we're not pre-judging the party before it has even happened. Instead, that's when the kind of tunes you won't ever admit to liking will start pumping through the speakers at the Brightside's first-ever Shit Disco. Don't say we didn't warn you about the song choices. Image: Jonathan Stonehouse.
After taking a break during COVID-19 lockdowns, Brisbane City Cathedral Square Markets is making a comeback — which is great news for anyone who works at the Spring Hill and Fortitude Valley end of the CBD. Once a week, folks on that side of the city can now wander through the stalls, grab a tasty lunch, buy some top fresh produce and pick up all kinds of other edible bites to take home. And if you're usually in another part of town but you want to drop by before work or during your break, that's obviously on the agenda as well. A weekly affair, the markets will kick off again on Thursday, July 16, running from 8am–2pm. As well as farm-fresh fruit and vegetables, artisanal breads and baked goods, and local seafood and meats, you'll find a range of vendors selling meals you can eat while you're there. That's handy —because we all know that it's best not to shop for food on an empty stomach. Brisbane City Cathedral Square Markets kick off again on Thursday, July 16, running from 8am–2pm each week.
Kevin Smith fans have to put up with a lot. His films in recent years have been akin to cruel and unusual punishment, especially when compared to his work in the 1990s that was comparatively affectionate and funny. His modus operandi these days appears to be to come up with ideas that are ripe for the cinematic picking — two friends making a sex tape to pay the bills in Zack and Miri Make a Porno; horny teenagers finding themselves in a fanatical religious cult after using an app to hook up with strangers in Red State — and defusing them of all their potential. In Tusk, Wallace (Justin Long) is an incredibly rich (six figures a year!!) podcaster who ventures into the unknown to experience all the weird and wacky things that America has to offer before going back to the studio to spend an hour telling his travel-phobic co-host all about it. Their show is called The Not-See Party, and as if the joke wasn't bad enough, Smith finds the time to explain it over and over again like the idiot at a party who goes around telling all the guests the exact same risque joke under the belief that he's funny. On one of his missions north of the border (cue terrible Canada jokes), Wallace is abducted by a psychotic madman named Howard Howe (Michael Parks), who wants to — and I am not making this up — turn his young guest into a walrus. Tusks and all. It is The Human Centipede Goes to the Canadian Wilderness and it is quite easily the worst film I have seen all year. It's not even because of the bad acting — Parks goes for broke, but there's little to be said of the rest (Haley Joel Osment and Genesis Rodriguez), and Johnny Depp goes so far overboard he needs a paddle — or the way the film lacks any sense or logic or scares to make it a satisfying horror entry beyond the gruesomeness of its third act. No, where Smith and his screenplay go so completely wrong is the laziness that overcomes the film. The jokes that come thick and fast can barely even be described as jokes. These are lowest-common-denominator gags that go for cheap, easy laughs over genuine smarts and wit. The horror is underutilised, the tragic nature of this character undermined by a stoner childishness that renders the material unwatchable. Even stoners deserve better than this. This is a movie that filled me with such contempt for its filmmaker that I want to swear off ever seeing another one of his films ever again. Life is too short for whatever cheap, cynical nastiness he has in store next. https://youtube.com/watch?v=trTTjvPCLJQ
But out your red beanie, pop on your Team Zissou sneakers and, if you're gathering the gang, make sure you're all wearing matching tracksuits. Milton bar Mongrel is throwing a fundraiser for flood relief, and it's also having fun with the concept — especially if you're a Wes Anderson fan. Given the recent weather — rain, floods, water everywhere and the like — this benefit party takes its cues from the filmmaker's The Life Aquatic with Steve Zissou. Dressing up is encouraged, and we can only assume that Mongrel will be making everything as symmetrical and pastel-hued as possible. Live tunes are also on the bill, so fingers crossed that you'll be listening to Bowie tunes. Moonboot and Kim & BVJ are on music duties, and there'll be karma kegs pouring Sea Legs Brewing Co session ale, Catchment Brewing Co pale ale, Black Hops Brewing Lay Day lager and Slipstream IPA. Tickets cost $10, with all funds — from entry and from the kegs — going to support Loop Growers, Belvedere Farm and Almanac Coffee.
Food. Drinks. Music. Doggos. It's a recipe for a great Friday evening, and it's what's on offer at The Sunset Social. Every fortnight, West End's Davies Park welcomes stalls, street food, live performers, beverages and some fun for the family. That means that littlies can have fun on the jumping castle, at the animal farm, or playing giant Jenga and Connect 4 — and the adults with them, of course. The event is fully licensed and completely pet-friendly, with the likes of The Roaming Pig, Divine Doughnuts, Flavours of Eataly, Shanks' A Lot and Wild Rissole among the vendors. Drop by from 5pm until 9.30pm for a relaxing end to the working week. Plus, entry is free, which means you'll have more cash for everything else.
Are you a budding musician, wanting to make a break in the music industry? Are you searching for the right words for your songs, or the right pathway to promote your work? The State Library of Queensland may be your answer, with their Music Zines for Beginners workshop. Cultural Seed Planter and “Zinester” Jeremy Staples will be lending a hand to those looking to get ahead, be it from the very beginning stages of creating and producing music, to promoting it through your own, hand-crafted zine. This is just one of the beginner workshops available at the library – lyrics, recording, creating cover art and promo posters, as well as music videos can all come to life by means of the right class. This is all part of the State Library’s “Live! Queensland Band Culture” exhibition, which aims to shine a light on local musical talents past and present through performances, historical showcases and informative events.
In need of some new procrastination material? Well, you're in luck. Google image search 'Banff' and spend a few minutes (or half an hour) taking in the gorgeous pictures of snow-capped mountains, aqua water and towering pines. It's impossible to not daydream about holidaying somewhere far-flung and exciting while ogling these picture-perfect views, as we're sure you'll agree. Thankfully, you'll have the opportunity to slip into this magical world without ever leaving Brisbane. A selection of venues are hosting Banff Mountain Film Festival's 2022 tour — the event's latest stopover, after beginning back in 1976. Its stunning cinematography attracts film buffs and adventurers alike, making the festival mighty popular across the world today. Every November, hundreds of films enter the competition with the cream of the crop chosen to entertain and amaze festival goers. Some of the featured flicks battled it out in categories including Best Film on Mountain Sport, Best Film on Mountain Environment, Best Film on Mountain Culture, Best Film on Exploration and Adventure, People's Choice Award and more. Check out nine of them at Brisbane Powerhouse from Thursday, June 2–Saturday, June 4.
"We shall fight on the beaches," Winston Churchill told British parliament on June 4, 1940, as World War II raged in Dunkirk. "We shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender." His impassioned words came at the end of a heated speech, after a heated month of political debate, in the heated early days of the global conflict. Churchill had been Prime Minister of England for mere weeks, and spent that entire time caught up in arguments about the country's response to Hitler. His colleagues wanted to negotiate, but he refused. It certainly seems as though filmmakers have taken Churchill's words to heart over the past 12 months. They won't give up on bringing this tense period to the big screen, whether in movies about Churchill, the Battle of Dunkirk or both. With Their Finest, Lone Scherfig came at it with a light, romantic drama about morale-raising movies. With Dunkirk, Christopher Nolan delivered a stunningly immersive account of war at sea, in the air and on the shore. Australian director Jonathan Teplitzky took a slightly different approach, with intimate biopic Churchill focusing on the lead up to the D-Day landings in 1944. It's not hard to see echoes of the latter film in Joe Wright's Darkest Hour, however, which recreates the cigar-smoking, whiskey-swilling politician's other crucial moment in power. With Gary Oldman in the lead role, Darkest Hour steps through the turbulence that awaited Churchill when he took on the nation's top job in such troubled times. With colleagues Neville Chamberlain (Ronald Pickup) and Lord Halifax (Stephen Dillane) certain that a peace treaty with Nazi Germany is the only way to save Britain from bombing, mass casualties and catastrophe, he has a considerable fight on his hands. The film includes glimpses of the ordeal at Dunkirk, but speeches, rather than bullets, are the main focus. In between verbal scuffles, Churchill seeks support and advice from his wife Clementine (Kristin Scott Thomas), has cautious lunches with King George (Ben Mendelsohn) and initially overwhelms his young secretary (Lily James) with his erratic nature. While both Churchill and Dunkirk are clearly no strangers to cinemas of late, Darkest Hour has one particular weapon all of its own: recent Golden Globe winner Oldman. The veteran actor gives a captivating performance, even coming hot on the heels of Brian Cox's excellent work in Churchill just months ago. Lured out of retirement by Oldman, special-effects makeup artist Kazuhiro Tsuji creates flawless prosthetics; however it's the man beneath them who always commands attention. Rumbling through terse confrontations, showing Churchill's tender side at home and letting his anxieties seep out in brief, quiet moments, Oldman delivers a vibrant and complicated portrayal not only marked by its impressive imitation, but by the immense range on display. The film as a whole doesn't prove quite as consistent. Tackling Dunkirk for the second time following 2007's Atonement, Wright serves up several acutely judged and thoroughly engrossing scenes, as well as an array of inventively composed shots. Frustratingly though, he also wades into moments of easy comedy and unconvincing sentimentality — most egregiously in a sequence where Churchill takes public transport without his minders and receives some down-to-earth wisdom from his constituents. In his defence, the filmmaker is partly trapped by the straightforward script, with The Theory of Everything screenwriter Anthony McCarten checking all of the expected boxes. Thankfully, Darkest Hour can always rely on Oldman, whose performance stands out above the formula. https://www.youtube.com/watch?v=CpKvpSr7p1g
A celebration of classic cinema with a queer twist; come along to the rooftop cocktail launch party of the 2014 Brisbane Queer Film Festival. Welcome to the 15th annual Queer Film Festival, an opportunity to honour the most exciting, engaging, questioning and endearing films, both locally and from around the world. Your ticket to the hottest celebration in town gets you entertainment, prizes, a cocktail, finger food and a complimentary film ticket to a feature or Queer Aussie Shorts program. Entertainment for the night is courtesy of Brisbane’s own Carol Lloyd, plus festival favourites Vollie LaVont and DJ ISH. Keep your eyes peeled, because there is so much more to this festival than just the flicks - discussions and forums, networking, slumber parties, more cocktails, followed by yet another party to wrap up the excitement. Dress to the nines, inspired by Italian film posters of the 1950s (with a twist), bring along your similar-minded friends, and relish the flourishing queer film community of Brisbane.
Sacrifice, of the kind where ideals clash with safety and responsibility, is at the heart of A Thousand Times Good Night. The film starts with a potent example, as photojournalist Rebecca (Juliette Binoche) snaps away in Afghanistan. Secreted to a secluded spot, she starts capturing a funeral; however, it is soon revealed that her subject isn’t dead. Instead, the prone pose is part of a ritual preparing a suicide-bomber for a mission that goes awry, injuring Rebecca in the process. Juxtaposing the struggle of a woman driven to chronicle the horrors of humanity with the plights of those whose daily lives exist on the precipice between life and death, this introduction makes a strong statement. The former clearly seems trivial in comparison to the latter, but both have costs and consequences. Rebecca has a husband (Nikolaj Coster-Waldau) and two daughters (Lauryn Canny and Adrianna Cramer Curtis) restless with worry when she is out in the field. Giving up her passion for her loved ones’ peace of mind doesn’t come easily, as she is troubled in her attempts to reconcile the need to make a difference with the comforts of home and the calling of family. Alas, following on from such a striking and tense opening was always going to be difficult. The focus swiftly shifts to an account of disturbed domesticity, and so does the A Thousand Times Good Night’s effectiveness and interest. Contemplating the professional versus personal divide is admirable, and touching upon the ethics of observing versus intervening sparks questions, although both areas have been traversed more thoughtfully in other films. Here, they’re just mechanisms to incite conflict in a marriage melodrama. In such rendering of the circumstances, much is left to rest on Binoche’s talented shoulders. Thankfully, it is never tiresome to see the actress on screen, even when a furrowed brow seems her standard expression. Coster-Waldau is sadly given little to do, other than rally against the protagonist’s choices. Instead, it is young newcomer Canny that offers the best depiction of the traumatic repercussions of living with and loving someone constantly drawn to perilous situations. A Thousand Times Good Night is inspired by the early photographer years of director Erik Poppe’s own career, as conveyed in a script co-written with his long-term collaborator Harald Rosenløw-Eeg, but it is easy to dismiss its content as fiction. Only the war-torn visuals seem taken from Poppe’s experiences; indeed, some of his own stills are used, and the handsome imagery certainly eclipses the strived-for emotion. That’s the issue: the story and performances are just too concerned with heavy-handed sentiments to ring true. It seems that the key sacrifice the film makes is in its approach, preferring the appearance of resonance to taking any thematic risks.
The Belligerents may not want to be in our arms, but we sure as hell want to be in theirs. This local Brisbane band has long been one of the most talented, best dressed clique on our music scene, and their I Don’t Want to be in Your Arms tour is your chance to see them in the flesh. If you don't think you've danced to The Belligerents before, chances are high you’ve heard their stuff. Two years ago they made waves with 'Steal Money', and since they’ve been touring, producing and writing just as many jam-jacked songs. They’ve got a cranky beach vibe going on – like when you get sand in your togs. It’s surfer rock, meets psych, with a bit of heart and angst. Some of their tunes are rough and heavy, other’s are as light and free falling as half the band's hair cuts. Now, The Belligerents will be hitting the Black Bear Lodge stage for the 'I Don't Want to be in Your Arms' single launch. Local goal-kickers Baskervillain and The Jensens will be supporting – if you haven’t checked out The Jensens’ 'Shark Thunder' then quit mucking around and listen. Tickets are only $10 and you can grab them here.
Skip the airfares, hefty ticket spends and get-to-the-front crowd panic, you can stream Chicago's Lollapalooza festival right from your own snuggly warm bed. Thanks to the legends over at Red Bull TV, you'll be able to stream the entire three days worth of live shenanigans from their exclusive channel. Chicago's historic Grant Park will play host to some pretty big ol' must-streams this weekend. With the recently Splendour-victorious OutKast headlining alongside Lorde, Arctic Monkeys, Foster the People, CHVRCHES, Interpol, Childish Gambino, Calvin Harris, Kings of Leon, Glen Hansard, Chromeo, The 1975, Jenny Lewis, Courtney Barnett and a severe bucketload more (over 100 woah-inducing names) on the lineup, that's the best excuse for staying home and cleaning your house to tunes we've ever heard. With three channels of ridiculously solid programming over five stages, you'll be the worst remote pest ever (but warranted). There's over 200 hours of exclusive content as well as the sets, so you can duck backstage for some Lolla tomfoolery, artist interviews, unique POV angles and festival highlight throwbacks. It's a new era for Lolla. Since Perry Farrell started the whole thing in 1991, they've regularly rivaled Coachella for lineup steeze and have now extended to Lollapalooza Chile, Argentina, and Brazil. Now they're teaming up with Red Bull TV to take Lolla global, we're pretty stoked to feel all included in the 'palooza festivities (and we don't even have to buy a token inappropriate headdress to get involved). The livestream will kick off at 5am AEST tomorrow morning until 1pm AEST on Monday. Red Bull TV is accessible via the web at www.redbull.tv and its Android and iOS applications, as a pre-installed channel on Apple TV, and as a free, downloadable app on Samsung Smart TVs, Amazon Fire TV, Kindle Fire, Xbox 360, Chromecast, and iOS and Android devices.
When cinemas are running as normal, getting a glimpse of the other side of the world is as easy as stepping into a darkened theatre. While lockdowns have impacted picture palaces around the country, and Australia's huge lineup of film festivals have moved online, that experience has shifted into our lounge rooms. The latest virtual film fest to make the leap to digital: the Czech and Slovak Film Festival of Australia. In 2021, it's streaming a five-movie lineup via ACMI's online Cinema 3 platform — and it won't just evoke your travel yearnings for Central Europe, but for Antarctica as well. That look at frostier climes comes courtesy of the stunning Frem, with director and cinematographer Viera Čákanyová peering out over its icy expanse in a film that blends reality and fiction. No, you won't find sights this striking elsewhere on your normal streaming queue. Or, you can also watch book-to-screen adaptation Gump and its tale of canine companions; documentary Athanor: The Alchemical Furnace about acclaimed Czech filmmaker Jan Švankmajer; and 70s classics The Ear and Pacho, The Thief of Hybe. Top image: Hypermarket Film
Think Lunar New Year, and you likely think Chinatown. That understandable — but it's not the only Fortitude Valley spot celebrating the occasion. Over at Bakery and California lanes, the two patches of pavement are putting on a Chinese New Year Celebration. There'll be food. There'll be booze. There'll be dragon dances and live music as well. From 6pm on Saturday, February 1, the Year of the Rat will get into full swing with a lively laneway party. Fat Dumpling will be serving up their titular dish (naturally), Nom Nom Korean and Nom Nom Ramen and Sake Bar will both be helping full your stomach, and Cakes & Sh!t will be whipping up 'misfortune' cookies. Those sweet treats come dipped in chocolate — and we're guessing that you won't mind if they bring you bad luck. Also on offer: lychee martinis and other cocktails at a heap of the two laneways' bars. All that celebrating is thirsty work, after all. Plus, dragon dances will take place at 7pm in Bakery Lane and 8pm on California Lane. Top image: Fat Dumpling.
When it comes to music, everyone has a secret — a song or an artist they love but know they shouldn't; maybe an album that can only be described as a guilty pleasure. Some people love '90s boy bands. Others adore hair metal. A select few think 'Footloose' is the best song ever recorded. I Can Keep A Secret revels in the eccentricities that define our own personal playlists, with love and without judgment. In a cabaret confessional, Babushka's Alicia Cush, Arlie McCormick, Bethan Ellsmore and Judy Hainsworth dig through their own dirt to not only disclose their sinful songs, but to sing them too. Expect an evening of humorous revelations mixed with four-part harmonies, delightful nostalgia, and shameful stories intermingled with blistering solos. There will a whole load of surprises with mash-ups introducing Tchaikovsky to Kate Bush and letting Kylie crash tackle Carmen. The show's eclectic songbook touches upon Portishead, Sondheim, Gotye and Sufjan Stevens.
Every week over at its Gasworks store, Salt Meats Cheese serves up all-you-can-eat pizza. Yes, it's as delicious as it sounds. Now that the eatery has made the temporary jump over to the other side of the inner-city as part of the Salt Meats Cheese and Gelato Messina Laneway WV Pop-Up, it's serving up slices upon slices twice a week — and in West End, the Thursday night frenzy is all about vegan fare. If you're a vegan and you've been holding back, now's the time to get your bottomless pizza feast one night a week. Fancy as much pizza as you can handle, but without any animal products? Then mark every Thursday between July 5 and September 6 in your diary. From 5pm, SMC's West End laneway store will serve up unlimited vegan slices for $20. The only catch is that you'll have to buy a drink as well, but you can choose from both boozy and non-alcoholic options. And, for an extra $5, you can also opt for all-you-can-eat gluten-free vegan pizza as well. Finding decent slices that cater to dietary requirements is hard enough, let alone devouring as many as you feel like in one sitting, so expect this to be popular. Unsurprisingly, bookings are essential.
Screen printing is often an artist’s first foray into artistic creation. Zines use it in the early years to transfer big impact onto many pages; bands still opt to create hand-made merchandise with the medium, the imperfectly perfect prints showcasing DIY craftsmanship. Come along to celebrate the timeless impact and true finesse of screen printing with the folks at Poly Gone Cowboy who have done their homework and collected the best in the business, from Brisbane and interstate, to show off their wares. Such include Clinton Barker, Benn Driscoll, Robert Chalender, Charles Street, Samuel Tupou, Mini Graff, Franck Gohier, Chayni Henry, Joanna Kambourian and Darren Bryant. One of the most intriguing elements of screen printing is its malleable flexibility; you can choose your muse, your artistic inspiration, and no matter the style or message, screen printing can and will showcase it just as you choose. These guys sure do know what they’re doing; you can also partake in monthly screen printing workshops at PGC, making your own image in the light of those who have rocked it before you. Be sure to check out the fuss while you can!
Happiness, then horror. That's what Herself's earliest moments serve up. When the gripping and poignant Irish drama opens, it's with the sight of Sandra (Claire Dunne, Spider-Man: Far From Home) being given a makeover by her two daughters Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara). The younger pair tenderly apply lip gloss, blush and shimmering eye shadow as they talk about their mother's under-eye birthmark, then the trio dance blissfully in the kitchen to Sia's 'Chandelier'. But Gary (Ian Lloyd Anderson, Vikings) arrives home mid-song, and he's angry. He's found a roll of cash hidden in the family's car, and he's soon unleashing his furious thoughts and unforgiving fists in response. The film cuts between the violence that follows and Emma's rushed run to a local shop to seek help for her mother — but even just seen in glimpses, the ordeal that Sandra is put through by her savage spouse is both harrowing and heartbreaking. Survivalist films typically pit humans against the elements, nature or space, frequently testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), endeavouring to prevail in unwelcoming expanses (Into the Wild, Arctic), coming face to face with animal predators (The Grey, Crawl) or ascending to the heavens and all that it entails (Gravity, The Martian). Herself doesn't tick a single one of these boxes, but it still fits the genre. In fact, it might be one of the most essential survivalist movies yet. What else is a feature about a woman trying to escape an abusive marriage, care for her two children alone and build a safe future that's all her own, if not a story of survival? What else is Sandra doing but simply attempting to persist and persevere when she leaves Gary, then weathers the consequences — because neither life in general, nor social services and government bureaucracy specifically, are particularly hospitable to women in her situation? Herself needn't wonder what it's like to try to hold on while you're cut off from the world, or to navigate that other survivalist film staple, the post-apocalyptic realm, because it dives straight into a torturous life-or-death situation that happens every day around the globe. It's clear from the outset that Sandra and Gary's marriage hasn't been content for some time, and that she's long had the bruises to prove it. Her badly fractured hand, a marker of this latest outburst, becomes the latest physical symbol of their domestic horror, as well as the catalyst that gets Sandra to finally farewell their relationship. Forging a path forward proves complicated at every turn, however. The authorities can only house the trio in a hotel far away from the girls' school, with the wait for permanent housing expected to take years. Juggling two jobs to barely scrape by becomes even trickier and, by court order, Gary still gets weekend visits with the kids. Then, thanks to a spark of unexpected inspiration from a bedtime story, Sandra decides to try to build her own house — a €35,000 self-build that only becomes possible due to an overwhelmingly thoughtful gift from one of her bosses, Peggy (Harriet Walter, Killing Eve). Also pivotal: the kindness of a construction industry veteran Aido (Conleth Hill, near-unrecognisable from his time as Game of Thrones' Varys), who knows Gary's reputation; and all the help she can muster from friends and colleagues, plus whoever they can round up to assist as well. An actor with an extensive theatre history, Dunne turns in a phenomenally rich and vulnerable performance — one that would silence an entire room if she was on a stage, rather than on the screen. In her hands, Sandra is determined, but she also knows all too well what it's like to feel defeated. She's no longer willing to stay with her husband for their children's sake, and she can understandably barely stand to be in the same place as him, but she also mourns for what their relationship once was. She knows what's against her at every turn, she has the pluck to keep soldiering on again and again, but she's no saint or martyr. She struggles, she wavers between not knowing how to accept help and almost demanding it, and she grapples with finding her voice and her sense of agency — especially when put on the spot in court — after being robbed of both for so long. With What Richard Did's Malcolm Campbell, Dunne co-wrote Herself's script, too, and it's clear that she breathes every speck of pain, despair, diligence and fortitude that Sandra so visibly cycles through. As a writer, Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra constantly, but it avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, affectionate gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and showing the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles onwards, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense, compassionate but still clear-eyed drama. It's as bleak as French standout Custody, which also plunges into an abusive marriage and the impact upon both partners and children. It's also as brutal in its unflinching depiction of navigating bureaucracy as fellow Irish film Rosie, which also tells of a mother trying to find housing for her kids. And yet, without any cloying sentiment, with purposeful but never heavy-handed symbolism, and as shot with tender naturalism and an abundant wellspring of empathy, there's hope and tenacity coursing through this sensitive and compelling drama as well.
Brisbanites, if catching a train is on your agenda between Friday, April 15–Monday, April 18, you might want to rethink your travel plans. Translink has announced that track work will take place over Easter, with a number of stations closing as a result. Buses will replace rail services in the affected areas. The closures kick off from the first service on Friday, April 15 and run through until the last service on Monday, April 18 — and a sizeable number of stations will be impacted. In the CBD, everything from Roma Street to Northgate will close, having an effect on every line — with the exception of the Airtrain from Eagle Junction to Northgate. So, if you're heading around town rather than to the airport, prepare to hop off the train at either Roma Street or Northgate, then jump on a bus to complete your journey. Additional stations will be out of bounds, too, but it depends on the line. The Beenleigh and Gold Coast lines will be shut from Roma Street to Banoon, and the Cleveland line from Roma Street to Cannon Hill. The Doomben and Ferny Grove lines won't operate at all, and neither will routes to Shorncliffe. Accordingly, rail buses will be operating between Roma Street, Banoon, Cannon Hill, Doomben, Ferny Grove, Northgate and Shorncliffe. If you're thinking that this'll add some time to your journey, you're absolutely right — travellers should factor extra time into their trips. And if you're wondering why, the works involve general maintenance across the lines and works for the Cross River Rail project. For more information about the rail closures between Friday, April 15–Monday, April 18, and to check train and bus timetables, visit the TransLink website.
Another occasion, another opportunity for a Southside Tea Room party. And Brisbane’s best suburban hangout sure does know how to throw them. For Halloween, all things dark and sinister take over, and we don’t just mean witches, pumpkins, skeletons and cats. Prepare for a scream-worthy, scare-inducing wonderland, complete with cheap beers and the intriguing promise of black snacks. Wander through the smoke-filled bar while wearing your most frightening costume, with prizes awarded for the best dressed. If wearing spooky clothing isn’t your thing, there will be other giveaways on offer. Consider yourself warned: eternal damnation may or may not be one of the rewards. This isn’t being billed as the Halloween party to end all Halloween parties without good reason. Whatever your preferred attire, corpse paint is essential – either DIY before you arrive, or be transformed at the door. If you don’t know how, Daemyan Raven’s tutorial is recommended.
For more than a decade, Roomies Arts has supported artists with disability and mental health concerns — helping these artists to overcome the barriers presented by society and the arts world, and to achieve their goals and develop their creative skills. During the pandemic and Australia's transitions in and out of lockdown, the organisation decided to expand its workshops, creating sessions that would help reach more of the general public while people were experiencing increased mental health challenges. One way that the organisation is doing exactly that is through a series of online creative workshops. There are currently four workshops up on the Roomies Arts website — so, you can participate in a still-life drawing session with artist Anne Kwasner, make paper sculptures with visual and performing artist Jeff McCann, upcycle clothing with designer Holly-Jane Cohle, and create air-dry clay figures with mixed-media painter and sculptor Michelle Connolly. The sessions are designed to help you slow down and focus on something relaxing and mediative for a short period, which is something we could all benefit from this year. Each workshop is free to participate in, and comes with a list of materials and items needed to take part. Generally, those lists include household arts and craft items, so they can be easily purchased if you don't have them. To stay up to date with everything Roomies Arts does, follow along at the organisation's Facebook page. That's where you'll also find a live-streamed art class on Saturday, October 16.
Co-curators Jay Younger, Professor at Griffith University’s Queensland College of Art, and Byron Wolfe, Associate Professor at the Tyler School of Art in Philadelphia, bring some hefty academic weight to this two-part collaborative exhibition. In Cast by the Sun, the works of 32 photographers — all academics or higher research students from the two institutions — have been brought together to collectively examine a central question: what role does place have in artistic practice, and is it more evident in photographic form? It is a question that is served particularly well by the collaborative nature of the exhibition, with each artist’s own experiences arguably driving the direction of their work. When everyone draws from the same spaces, a picture of the cultural and historical identity of those places begins to emerge. Cast by the Sun opens at The Hold Artspace on 29 July, with the exhibition continuing to 15 August. Image: Marian Drew, 'Moon Drawing, Lake McKenzie, Fraser Island' (detail), 2007, giclee print on cotton paper, 90 x 152cm.
Edge of Tomorrow tells the story of a cocky, unlikeable man trapped in an inescapable temporal loop where he must relive the same day over and over again. From the trailer alone it was clear this new film by director Doug Liman (The Bourne Identity) had borrowed heavily from 1993's outstanding live-die-repeat karmic comedy Groundhog Day. The only questions were: how much, and how well? Over the past 20 years, a number of attempts have been made to match the Groundhog Day formula, with Source Code and Deja Vu perhaps the most on point, while Looper — though not specifically a 'repetition' film — offered the most refreshing perspective on what it called "that time travel crap [that] just fries your brain like an egg". In Edge of Tomorrow, the allusions to Ramis' film are at their most pronounced, yet — thankfully — they are also perhaps at their best. Tom Cruise, putting in his best performance in years, plays the spineless advertising exec turned military spin-doctor Will Cage, who's railroaded by his commander (Brendan Gleeson) and dispatched to the western front as a regular grunt on the eve of a major military offensive. The enemy is an alien species whose arrival, objective and anatomy most closely resemble those of the bugs in Starship Troopers. As the waves of troop carriers, aircraft and boats swarm across the English Channel towards France, it's hard not to think the timing of this film's release wasn't just a little bit strategic given this week's 70th anniversary of D-Day, yet it neither grates nor bears any significance to the wider implications of the compelling plot once Cruise dies and begins his seemingly endless loop. Edge of Tomorrow was written by Hiroshi Sakurazaka, whose background in IT and video games unmistakably impacted on both the visuals and narrative. For one thing, the soldiers resemble something between human Mech-Warriors and Titan Convertibles, yet it's in the nature of the temporal loop that the gaming analogy is most apposite. Every time Cage dies, he immediately restarts from the same time and place. It is, in effect, his 'save point', and — just as in gaming — he uses both the pain and knowledge from his previous deaths to extend the time before his next one in order to beat the eventual 'Boss'. In Groundhog Day, the main character taught himself piano. In Edge of Tomorrow, it's martial arts and weaponry. In Groundhog Day, he got to know a woman in order to sleep with her. Here, it's to keep her alive. That woman is Rita Vrataski (Emily Blunt), a war hero and propaganda darling whose nickname is either 'The Hero of Verdun' or 'Full Metal Bitch' depending on whether she's there to hear it or not. Blunt is spectacular in the role, playing an entirely plausible warrior without having to resort to hackneyed tough-talking or turning her body into a giant muscle in a sports bra. She's less a love interest than she is a trainer, motivator and ally, and the partnership is a delight to watch. Funny, suspenseful and terrifically imaginative, Edge of Tomorrow is a thinking-person's action film that will surely stand as one of 2014's best blockbusters. https://youtube.com/watch?v=vw61gCe2oqI
