2020 might just be a mere one month old; however it has already been an eventful year for the British royal family. But if you've been scanning recent tabloid headlines, seeing the chaos surrounding the Duke and Duchess of Sussex's decision to step back from being senior royals, and thinking "that'll make a great season of The Crown one day", Netflix has some news for you. While The Crown was originally envisaged as a six-season show — which would've presumably followed Queen Elizabeth II's story up until the present day — creator Peter Morgan has now decided to end the series after its fifth season. As reported by Deadline, the screenwriter said it has become obvious "that this is the perfect time and place to stop". Just how much more of Lizzie's life the show will detail hasn't been revealed. This news doesn't mean that The Crown is ending just yet, though. With the series' third season only hitting Netflix last November, there are still two more seasons to come. The fourth season is in the works at the moment, and will take place during Margaret Thatcher's time as Britain's prime minister — and undoubtedly feature Princess Diana quite heavily. The fifth season is then likely to follow the Queen into the 21st century. One other big change has been announced, too, although it's hardly a surprising one. With the series changing its cast as its story progresses and characters age, Netflix has revealed that Imelda Staunton will play the Queen in The Crown's fifth season. She'll take over from Oscar-winner Olivia Colman, who dons the titular headwear in seasons three and four. Of course, Colman herself took over from season one and two star Claire Foy. Staunton will only spend one season in the top job, but she'll add it to a hefty resume that includes last year's Downton Abbey movie, the Maleficent and Paddington films, her Oscar-nominated work in Vera Drake and the Harry Potter franchise's Dolores Umbridge — to name just a few titles on her resume. Just who'll be joining her in The Crown — aka who'll be playing the older versions of Prince Philip, Princess Margaret, Princes Charles and the rest of the family — hasn't yet been revealed. In case you haven't watched The Crown's third season yet, check out the trailer below: https://www.youtube.com/watch?v=vLXYfgpqb8A Via Deadline. Image: Sophie Mutevelian / Netflix
UPDATE, January 26, 2022: Gold opened in select Australian cinemas from January 13, and is available to stream via Stan from January 26. Gold's title doubles as an exclamation that Australian filmmakers might've made when Zac Efron decamped to our shores at the beginning of the pandemic. Only this outback-set thriller has put the High School Musical, Bad Neighbours and Baywatch star to work Down Under, however, and he definitely isn't in Hollywood anymore. Instead, he's stuck in "some time, some place, not far from now…", as all-caps text advises in the movie's opening moments. He's caught in a post-Mad Max-style dystopia, where sweltering heat, a visible lack of shelter, a cut-throat attitude, water rationing, and nothing but dirt and dust as far as the eye can see greets survivors navigating a rusty wasteland. But then his character, Man One, spots a glint, and all that glisters is indeed gold — and he must guard it while Man Two (Anthony Hayes, also the film's director) seeks out an excavator. Exactly who stays and who goes is the subject of heated discussion, but Gold is an economical movie, mirroring how its on-screen figures need to be careful about every move they make in such unforgiving surroundings. As a filmmaker, helming his first feature since 2008's Ten Empty, Hayes knows his star attraction — and he's also well-aware of the survivalist genre, and its history, that he's plonking Efron into. Almost every male actor has been in one such flick or so it can seem, whether Tom Hanks is talking to a volleyball in Castaway, Liam Neeson is communing with wolves in The Grey or Mads Mikkelsen is facing frosty climes in Arctic. Although Gold purposefully never names its setting, Australia's vast expanse is no stranger to testing its visitors, too, but Hayes' version slips in nicely alongside the likes of Wake in Fright, The Rover and Cargo, rather than rips them off. The reason such tales persist is pure human nature — we're always battling against the world around us, even if everyday folks are rarely in such extreme situations — and, on-screen, because of the performances they evoke. Efron isn't even the first import to get stranded in sunburnt country in 2022, after Jamie Dornan did the same in TV miniseries The Tourist, but he puts in a compellingly internalised performance. Man One's minutes, hours and days guarding an oversized nugget pass with sparing sips of H20, attempts to build a shelter and altercations with the locals, including of the two-legged, canine, insect and arachnid varieties, and the toll of all this time alone builds in Efron's eyes and posture. His face crackles from the sun, heat and muck, but his portrayal is as much about enduring as reacting, as both Efron and Hayes savvily recognise. Writing with costumer-turned-scribe Polly Smyth as well as directing solo, Hayes puts more than just survival on Gold's mind, though: when the titular yellow precious metal is involved, greed is rarely good. Here, staying alive at any cost is all about striking it rich at any cost, and also about the paranoia festering between two new acquaintances who've randomly stumbled upon a life-changing windfall — as heightened by the film's stark, harsh, post-apocalyptic setup. When a third person (Susie Porter, Ladies in Black) enters the scenario, Gold grimly lets its life-or-death and lucky break elements keep clashing, but also pairs Man One's desperation with the mental decline that blistering in the sun, being parched with thirst and starving with hunger all bring. Greed proves perilous in a plethora of ways in the film's frames, including inside its main character's head. The mood: dire, drastic but also frantic, the latter not in pace but in how urgently Man One obviously wants the situation to work out. As lensed by cinematographer Ross Giardina, who also worked as a second unit director of photography on The Dressmaker — another feature to make strong use of the Aussie landscape while led by an high-profile overseas actor — Gold ensures its bleak tone ripples in every image. Just how grey, white and almost blue the desert can look here is one of the movie's most striking features, in fact. Where The Tourist blazed away its cooler hues, and most other outback-set fare lets ochre and golden shades radiate, Gold is sun-dappled to the point of often being sun-bleached. As shot in South Australia, all of its wide vistas look particularly ominous as a result, and never let the feature's tension subside for a second. Another of Gold's astute moves springs from its determined focus; don't expect backstory here. Barely glimpsed signs make it clear that this likely isn't Australia, but Hayes sports a heavily put-on American accent to match Efron — because keeping everything ambiguous to retain an unflinching gaze on two men and their big piece of gold is the lean aim. In early scenes, the remote outpost where Man One enlists a ride from Man Two is dystopian-standard sparse, and all that's said about Man One's need to head east is that he's en route to work in a mining camp. The details of why the world has turned to hot dust don't matter, with Hayes and Smyth leaving plenty of room for viewers to read in their own takes on how human nature — the movie's main subject — has turned the planet into this scalding hell. From its performances and visuals to its weightiness, Gold is patently well-made. Again, it's well-acted, including by Hayes (who, among his many acting credits dating back to the early 90s, also had roles in The Rover and Cargo). With every image it bakes onto the screen, it's inescapably well-lensed, which applies when peering closely at Efron in a fraying state and surveying all that desert stretching out around him. It ruminates upon familiar but still meaty matters, and thoughtfully so, all within a stingingly suspenseful feature. Gold is also never more than the sum of its parts, but those parts always do what they're meant to — and glitter as brightly as they need to.
In its former life as a bus depot and toilet block, the building next to the New Farm ferry terminal was smelly, perpetually damp, and sometimes downright scary. Thankfully, after a lengthy renovation, its new incarnation as End of the Road coffee shop is a much more pleasant beast. It's only post-renovation that it has become clear just how fantastic the location of End of the Road really is. Sitting on the intersection of New Farm Park, Brunswick Street and the Brisbane River, it's an idyllic place to while away a sunny afternoon. On the weekends it is perfectly placed to keep park-goers caffeinated, and on weekdays ferry commuters have the chance to grab a coffee and breakfast before their journey to work. Inside, End of the Road is cute as a button. Blue walls, tiles and accents tie in with the riverfront location, comfortable indoor seating is great for small groups, and artwork from local artisans adorns the walls. The small deck, furnished with shaded tables and chairs, overlooks both the river and the park. Your coffee comes from Central and South America via West End's The Coffee Roaster. A medium roast with notes of chocolate, raspberry and citrus, the award-winning blend will please connoisseurs. The beverage menu features all the usual suspects, with the juices, milkshakes and iced coffee providing respite through Brisbane's summer months. This iced coffee is the real deal, folks - ice and coffee - so you won't be sacrificing strength or flavour for your cold fix. An ever-evolving all-day menu of snacks and treats is available, including light meals such as wraps, sandwiches, quiches, pies, bagels, pastries, cakes and muffins. The well-stocked ice cream fridge is also difficult to walk past. The best news is that most of the food will get you change from a ten dollar note. Free WiFi is the cherry on top at End of the Road, so whether you're waiting for a ferry or researching your next novel, you can do so without endangering your data. There are also plenty of power points available.
During the pandemic, we all sorely missed the experience of catching live tunes in heaving venues. To get musicians back onstage, the New South Wales government and ARIA launched Great Southern Nights. Following two blockbuster years that saw thousands of gigs pop up across the state, the series is returning in 2024 with a massive 300-plus shows over 17 nights. Live music will ring out throughout NSW between Friday, March 8–Sunday, March 24, with some of the country's biggest musicians and the hottest emerging talent performing in Sydney live music institutions as well as regional hubs including Newcastle, Wagga Wagga, Wollongong, Tamworth and the Northern Rivers. With such a huge lineup, it's hard to know where to start — but let's break it down. ROCK LUMINARIES If you love the classics and have a penchant for the singular sound that is Australian rock, you'll be able to catch sets from Peter Garrett & The Alter Egos, The Church, You Am I, Yothu Yindi, The Whitlams, Black Stump Band, Hoodoo Gurus and Kate Ceberano. BEATS AND BOPS Local hip hop heads can hit up gigs from Barkaa, 360, JK-47, Bliss n Eso, L-Fresh the Lion, Illy, Drapht, YNG Martyr and Jesswar. And if your prerogative is to dance, The Presets, Havana Brown, Tigerlily, Sneaky Sound System, Hermitude and Anna Lunoe are all performing. INDIE FAVES If you're an indie-rock aficionado, Ball Park Music, Sarah Blasko, King Stingray, The Buoys, Ruby Fields, Budjerah, Alex Lahey, Gordi, Gretta Ray, The Vanns, and Teen Jesus and the Jean Teasers will be coming to a stage near you. AND A WHOLE LOT MORE Plus, there will be shows from Becca Hatch, Cub Sport, Dune Rats, Vika and Linda, A.Girl, Xavier Rudd, David Campbell, Fanny Lumsden, Kasey Chambers, Kate Miller-Heidke, Redhook and Northlane — and also a special tribute to Rowland S Howard. Check where your faves are playing and what shows are happening near you via the full gig guide, then start planning an epic 17 nights of music stat. Great Southern Nights 2024 will run from Friday, March 8, to Sunday, March 24, throughout New South Wales. Tickets are on sale now via the festival's website. Images: Enmore Theatre, Destination NSW
It happened with Cabaret, Chicago, The Rocky Horror Picture Show and Grease. With far less enjoyable results, Cats and The Prom did the same, too. West Side Story has already made the leap, and will do so again later this year. In the Heights also belongs on the list but, so far, Hamilton doesn't. We're talking about stage-to-screen musical adaptations, of course. Obviously, the list goes on, and will continue to do so. If something is an song-fuelled hit in the theatre, it's highly likely to get the big-screen treatment at some point. The latest example: six-time Tony-winning smash Dear Evan Hansen. Due to hit cinemas in September, and just dropping its first trailer, Dear Evan Hansen follows the titular anxious teen. He's advised by his therapist to pen letters to himself to highlight the good aspects of his day; however, when one of his notes ends up in a similarly lonely classmate's hands, it sparks a complex chain reaction. Created for the stage by songwriting and composing duo Benj Pasek and Justin Paul — who nabbed an Oscar for La La Land's 'City of Stars' — with playwright Steven Levenson (Fosse/Verdon), the musical spins a story about high school struggles and suicide. If you don't know the full details, the film's trailer outlines the gist. Platt, who definitely isn't a teenager, nonetheless reprises his Tony-winning stage role as the eponymous character in the big-screen version, with Levenson also returning to write the script. Also involved: a cast that spans Amy Adams (The Woman in the Window), Julianne Moore (Lisey's Story), Kaitlyn Dever (Unbelievable) and Amandla Stenberg (The Eddy), plus The Perks of Being a Wallflower and Wonder filmmaker Stephen Chbosky. Check out the trailer below: https://www.youtube.com/watch?v=QeIJG8bZHFo Dear Evan Hansen is set to release in Australian cinemas on September 23.
You just can't keep Denmark's Noma in one spot, much to the delight of hungry diners around the planet. Next stop in their global roaming: Mexico. Chef René Redzepi calls the country his adopted home in a letter on the restaurant's website. After popping up in London, Tokyo and Australia's very own Sydney, Tulum is 2017's must-flock-to destination for gastronomic-minded travellers and Noma fans in general. Need more convincing to jump on a plane between April 12 to May 28? Well, the latest short-term residency from one of the world's best eating establishments — a place that has earned the top spot on the World's Best Restaurants list no less than four times, in fact — will be an outdoor, open-air venture nestled between the jungle and the Caribbean Sea. "Exposed to the climate, it will be hot, steaming and unpredictable. Billowing smoke and the orange glow of flames will define us as all cooking will take place over the fire. It will be wild like the Mexican landscape as we share our interpretation of the tastes from one of the most beautiful countries we've come to know," wrote Redzepi in his online statement. And, if that plus Noma's usual blending of their own contemporary Nordic fare with the local cuisine doesn't sound amazing enough, Redzepi will work with his former sous chef Rosio Sanchez to craft a special series of dishes. To whet your appetite, chilli, seafood and mole were all specifically mentioned in Redzepi's post. Of course, eating at Noma Mexico won't come cheap, with the menu set to cost US$600 per person. Registrations open on December 6 for what's certain to be just one of the Copenhagen-based eatery's exciting new developments in 2017. Don't forget, they're also shutting down their existing digs, moving out of the city and re-emerging with a green-focused menu, an urban farm, a greenhouse, a farming team and a field that floats on a raft.
Springtime in Brisbane is the season of Melt Festival. The program is packed with 120+ events and 220+ individual performances in 70+ venues and four festival hubs. This is no small fry festival. One such festival hub is the Brisbane Powerhouse, which is hosting a program ready to occupy your spare time in late October and early November. It's an absolutely massive series with so much worth your time, but we can give you a little taster of what to expect with the Brisbane Powerhouse events lineup. If you love a bit of Tina Turner, TINA – A Tropical Love Story is an ode to the late superstar, a story of resilience, empowerment and the transformative power music can have on a community, taking place at two shows on Saturday, October 25 and Sunday, October 26. Hitting the Underground Theatre on Sunday, October 26, is Thank God You're Queer, a Melt Festival spin on a beloved Aussie improv show, with audience interaction and resulting laughs guaranteed. From Thursday, October 31 to Saturday, November 2, 'serial nudist' and sex worker Frankie Van Kan will take to the stage for A Body at Work, an intimate piece of confessional theatre about 16 years and counting of queerness in the sex industry. On the same dates at the Underground Theatre is Leather Lungs: Shut up & Sing!, a drag show that promises "one of the most phenomenal voices you'll ever hear". Standup star Scout Boxall is also coming to town, with three shows between October 31 and November 2, promising a blend of " the finest and crispiest treats" made of material old and new. In something slightly different, Mark Trevorrow, Rupert Noffs and Bev Kennedy will host three shows from November 7–9 of cabaret performances of songs by composer and lyricist Stephen Sondheim. If theatre is your jam, be sure to catch Helios, a modern-day spin on the Ancient Greek tale of the son of the sun god, taking place at Switch Room from November 7–10. There'll be an unforgettable show with Hans: Disco Spektakulär, bringing America's Got Talent! cabaret alumni to the stage with a live band. Additionally, acclaimed standup comic and journalist Jessi Ryan is returning to Melt for the first time since 2018 with Functional Bottom, a darkly humorous and unapologetic exploration of love, sex, death and emergency colon removal. TikTok sensations Rudy Jean Rigg and Hannah McElhinney are bringing their Rainbow History Class to a live show, and drag performer Alex Hines combines absurdist satire with supernatural pop in Juniper Wilde — Demon Slayer. All these events and more are coming to Brisbane as part of Melt Festival from Wednesday, October 23 to Sunday, November 10. For more information or to get tickets, visit the website.
Ever watched a film, then wanted to spend more time with the characters? Maybe there’s more to their story you’d like to glean, or events you’d like to see fleshed out. Perhaps you’d prefer one person’s point of view over another. In deconstructing a relationship tinged with tragedy, that’s a choose-your-own-adventure experience The Disappearance of Eleanor Rigby can offer. That, and getting a certain Beatles’ song stuck in your head, even though it doesn’t feature on the soundtrack. Writer/director Ned Benson’s first feature is actually three features, with fitting subtitles: Them, Him and Her. The individual parts came first, showing love consumed by grief in a he-said, she-said fashion. Combining and condensing them into one movie was an attempt to make the project more mainstream-friendly. Benson has advised that they can be watched in any order, but only Them is screening in Australian cinemas, with Him and Her available on video on demand. The tale the films tell is that of Eleanor (Jessica Chastain) and Conor (James McAvoy), a couple whose happy days seem long gone. To escape their troubles, she disappears from their apartment, moves in with her parents (Isabelle Huppert and William Hurt) and goes back to college. He searches for her then tries to win her back, while struggling to keep his bar open. Though shot and edited like memories of the past rather than living in the present, it’s a simple, emotional story of fading romance and misfortune seen many times before — “all the lonely people, where do they call come from?” and all that. Them works fine as a standard, standalone relationship drama, its mood of melancholy leaving a firm imprint, and its excellent lead performances by Chastain and McAvoy — both close to their career-best — lifting the well-worn material. What’s missing is anything more than broad strokes, in the narrative and about the characters. Them tells us very little, other than the obvious: she’s unhappy, he’s lost without her, they love each other but can’t find a way to move forward together. Supporting players such as Eleanor’s sister (Jess Weixler) and college professor (Viola Davis) and Conor’s best mate (Bill Hader) and father (Ciarán Hinds) also seem flimsy, each just someone to lean on. The merged film sketches an outline of everyone and everything, leaving Him and Her to fill in the gaps. Also absent in the abridged package are differences in perception and perspective. Here, more is more; it is difficult to see Eleanor and Conor’s varying takes on their marriage and its downfall when it’s all smashed together. Not the broad strokes, of course, but the detail. Showing how they each view the same events, exchanges and conversations in distinctive ways isn’t just a gimmick — it’s crucial in understanding the characters and the scenario. In that respect, perhaps Them does exactly what it is designed to do: whet the appetite, spark fascination and inspire viewers to seek out the rest of the story. That’s certainly our recommendation. There’s a familiar tale told well, shot stylishly and acted with aching insight in The Disappearance of Eleanor Rigby, as long as you get the whole picture.
When Queensland's Go Cards were introduced, they were billed as a quicker, easier way to pay for public transport — but if you've ever had trouble topping up, been wrongly slugged for not touching off or been forced to pay paper ticketing prices after leaving your card at home, then you might disagree. In fact, you've probably been dreaming of a day when you won't need that little piece of plastic. Well, we have good news: ditching your Go Card is getting closer to becoming a reality. Back in 2018, it as revealed that the Queensland Government was planning to trial and implement electronic payment methods for public transport. Then, in 2020, the first such test got underway on the Gold Coast. The latest step: giving the smart-ticketing technology a run on Queensland Rail services, which is what's happening on the Ferny Grove line right now. So, since Monday, June 6, you can now pay for your ticket using your smartphone; Visa, MasterCard or AMEX credit or debit card; or smart watch. All you need to do is tap on and off using your card or device, as long as you're only travelling between Ferny Grove and Central stations — not beyond. From Mon 6 Jun, our next #SmartTicketing customer trial is coming to Ferny Grove train line!🚆 You'll be able to tap on & off using a credit or debit card, smartphone or smart device.* https://t.co/74kjENTV4a *T&Cs apply. For travel between Ferny Grove & Central for adult fares. pic.twitter.com/gwuHMcQ6ra — Translink (@Translink_QLD) June 4, 2022 In even better news, the train trial will be expanded to include other lines before 2022 is out, although which routes will be covered hasn't yet been advised. That said, more than 230 smart ticketing gates will be installed across 19 Queensland Rail stations. After that, the contactless payment testing will move to Queensland buses and ferries, covering more than 13,500 smart ticketing onboard payment devices. And if you're wondering how the Goldie's light rail trail has been going, more than one million trips have used the technology as at May 2022. [caption id="attachment_811655" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Queensland Government $371 million smart-ticketing project is designed to complement rather than replace the existing system. That means that if you do happen to be attached to your Go Card for some reason, you can keep using it. Originally, the plan was to roll out the system across all of Queensland by 2023; however, whether that's still the case, and exact timings of when Brisbanites can expect to ditch their Go Cards, hasn't yet been revealed. Smart ticketing is currently being trialled on the Ferny Grove line on Queensland Rail trains. For further details, head to the Translink website. Top image: Kgbo.
When Coldplay, a band that has become legendary in modern music, announces tours, the tickets are more precious than gold. That was proven when the band's only Australian show in 2023 was in Perth, then again in 2024 with shows in Sydney, Melbourne and Auckland selling out within minutes. And what about Brisbane? Well, sadly, the Music of the Spheres tour has moved on, so Brisbane never got its chance. Until now. Rushing in to fill that void like the hero we didn't know we needed is The Music of Coldplay by Candlelight. It might not be the band itself, but with world-class vocalists and a live band taking to the stage at QPAC Brisbane to play hits like 'Viva La Vida', 'Sky Full of Stars', 'All Yellow', and more, it's closer than Brisbane has had in years. The kicker? It's a one-night-only event and it's coming up fast on Thursday, March 20. So, what are you still here for? Those tickets aren't gonna buy themselves. The Music of Coldplay by Candlelight is coming to the QPAC Brisbane from 7.30pm on Thursday, March 20. For more information or to book tickets, visit the website.
Three years after launching its first southeast Queensland on the Gold Coast, TGI Fridays is bringing another first to the coastal city, and to the region: the big American food brand's first-ever beachside venue. In the coming months, with an exact date yet to be confirmed, the US-based chain of bar and grill-style restaurants will open its latest outpost in Surfers Paradise. And yes, you can stop by on days other than Fridays. Of course you can. Setting up shop in the new $40-million Paradise Centre dining precinct above Cavill Avenue, the venue will be the third TGI Fridays in Queensland, following Sunshine Plaza on the Sunshine Coast, too. If you're familiar with the brand, you'll know what's in store: tucking into the chain's array of steaks, ribs, wings and burgers while sipping a hefty array of cocktails, just this time with ocean views. Those waves will be visible from the eatery's level-one location within Paradise Centre — and this isn't just the first beachside TGI Fridays in Queensland or Australia, but worldwide. The venue will also become the chain's Australasian flagship store, so it's clearly a big deal. "The Gold Coast has really embraced TGI Fridays and we're so excited to have secured this unmatched seaside address for our largest restaurant on the Gold Coast and Australasian flagship — it's something new for us but we think this iconic location will be incredibly popular with our patrons and complement our Queensland portfolio perfectly," said Signature Hospitality Group CEO James Sinclair, announcing the news. "We want TGI Fridays Surfers Paradise to be a place for everyone to meet, mingle and enjoy some fantastic food and drinks in a casual setting — whether they're coming off the beach after a day of relaxation or partying by the pool, meeting family for an early dinner, enjoying a sunset cocktail during happy hour, or catching up with mates for a beer whilst watching a live game on our big screens." Expect the store's menu to fall in line with the brand's other Aussie eateries. Food-wise, the general range includes wraps, salads, starters such as mozzarella sticks and mac 'n' cheese-loaded potato twisters, and mains that span chicken tenders, cracked pepper calamari with fries, whisky-glazed salmon and bruschetta pasta. The dessert selection goes heavy on American favourites; think brownies, sundaes and strawberry cheesecakes. As for drinks, TGI Fridays takes its beverages seriously, with its standard menu serving up over 30 types of cocktails and ten kinds of low- and no-alcohol concoctions. Wine, plus beer by the bottle and on tap, is also on offer. And, TGI Friday's famed daily happy hour will run from 4–6pm daily Seating 180 in timber booths, at stools at the central island bar and at high tables, the Surfers Paradise store will feature neon lighting — including a sign stating 'Paradise is only one cocktail away' when you walk in — plus huge windows to make the most of that seaside vista. And, it'll combine the signature TGI Fridays look, which includes timber accents and industrial-style lighting installations, with coastal furniture and a heap of greenery. When it comes to the venue's vibe, TGI Fridays pitches itself as part-way between a restaurant and a hangout spot. Back when the brand launched in the 60s, it was actually a singles bar; but these days it's focused on casual, novelty-based American dining. TGI Fridays will open on level one in the Paradise Centre, 2 Cavill Avenue, Surfers Paradise, sometime in the coming months — we'll update you with an exact launch date when it is announced.
After shuffling through cinemas for decades, the zombie genre has begun to resemble its flesh-eating undead antagonists. It seems that almost every new film takes a chunky bite out of its predecessors, whether nodding to George A Romero's seminal Night of the Living Dead, Dawn of the Dead and the rest of the Dead saga — as virtually everything does — or opting for more recent references like 28 Days Later. South Korea's Train to Busan franchise is no different, but it is willing to look far and wide for influences. Indeed, when the series first hit the big screen, it took a Snakes on a Plane-esque idea and changed it to zombies on a train, because who doesn't want to watch a speeding locomotive full of living, breathing humans battle brain-munching foes? Train to Busan not only made a top-notch action/horror-thriller flick in the process, too, but spawned an animated prequel in Seoul Station, which detailed the start of the zombie epidemic in another city. Now, series director Yeon Sang-ho expands upon his universe yet again with four-years-later sequel Peninsula. This time, via a bloody boat ride to Hong Kong and a glimpse of ex-pat life for South Koreans now stranded abroad — spoiler: parallels to COVID-19-era racism abound — Incheon is the franchise's new setting. And, in terms of taking his cues from a variety of sources, Yeon clearly adores another genre as well. Peninsula opts for decidedly dystopian Mad Max-meets-Fast and Furious-meets-World War Z heist flick setup, with a big heap of Escape from New York also thrown in. As with Train to Busan, it works. Peninsula doesn't quite reach its predecessor's heights or add anything new to the heaving undead genre. In fact, it also cribs liberally from the storyline that served the saga's first film so well, just with new characters and a different locale. Nonetheless, Yeon twists his familiar zombie and action elements into a frenetic thriller that's rarely less than thoroughly entertaining. If, prior to 2016, you'd ever wondered what might happen should zombies infest South Korea, this series has already provided a few answers. Now, if you've been pondering what could possibly occur next, Peninsula has plenty more thoughts. The less time spent thinking about the film's terrible English-language talk show clips, which spew exposition at viewers in a cringe-inducing fashion, the better — but they do provide some narrative context. Unsurprisingly, zombies have wholly overrun Peninsula's titular land mass, turning it into a wasteland. That said, they've curiously decided to respect the demilitarised zone and not venture into North Korea, a briefly mentioned development that seems designed to set up the next sequel. Initially lucky enough to flee, army Captain Jung-seok (Gang Dong-won) and his brother-in-law Chul-min (Kim Do-yoon) now get by however they can, with the former wracked with guilt for failing to help others on his way out of the country and the latter festering with grief over his own losses. They're subsequently prime targets for a mob of Hong Kong heavies who want to send them back to the abandoned and quarantined Incheon, where a truck filled with cash awaits. Zombies don't care about money, of course, so the city's valuables are there for the taking. But Incheon isn't completely empty. Min-jung (Lee Jung-hyun), her daughters Joon (Lee Re) and Yu-jin (Lee Ye-won), and her father (Kwon Hae-hyo) were never able to escape, so they've spent years evading the undead. Also roaming the streets is a brutal rogue militia group that calls itself Unit 631 and pits survivors against zombies Fight Club-style for sport. As co-scripted by Yeon and Train to Busan's Park Joo-Suk, Peninsula isn't a film about plot surprises — rather, it's a movie predicated upon setpieces and suspense. Splashing an ample array of eye-catching, unnervingly tense action scenes across the screen is the name of the game here, as well as keeping viewers on the edge of their seats while they're watching. The special effects don't always hold up, but Yeon otherwise achieves his aim with rip-roaring flair. Fresh from scoring an Oscar nomination for Parasite, editor Yang Jin-mo gets to show off his hefty skills, too, especially in the feature's big and small car chases (including the inventive use of lit-up remote-controlled cars to distract and shepherd Incheon's hordes). Predictable as it is, Peninsula's narrative still does what it needs to, providing the scaffolding for the movie's action onslaught. Even better, thanks to the film's engaging cast — especially the trio of Lee Jung-hyun, Lee Re and Lee Ye-won — it benefits from grounded performances that ensure that the audience is invested in the feature's characters. But the part of Peninsula that Yeon truly perfects is also its most obvious aspect: its commentary on humanity's savage nature when faced with anything beyond the status quo. Many a movie has sunk its teeth into the same subject before, including several of the aforementioned flicks that Peninsula owes an overt debt to, but this oh-so-timely exploration of barbarity, carnage and an every-person-for-themselves mindset during a life-changing contagious outbreak repeatedly chomps down hard. https://www.youtube.com/watch?v=cRvHl1dThlg
Avocados: everyone loves them, not just Aussies accused of spending all their cash on smashed avo for brunch. In Amsterdam, one person loves them so much that he opened up a restaurant dedicated to serving the green creamy fruit up in as many ways as possible. Now, he's thinking about taking the show on the road, including to Australia. The Avocado Show, that is — because that's what the eatery is called. It launched in February in Amsterdam's De Pijp district, and calls itself "Europe's first and finest avocado bar". Breakfast, brunch, lunch, dinner, late at night, any time in between: if you've got a hankering for avo on bread, avo between two pieces of bread (aka avocado sandwiches), burgers made with avocado buns and more, you'll find it here. https://www.instagram.com/p/BZdMi__FQxc/?taken-by=theavocadoshow With the likes of avo roses on toast, avo poke bowls, avo ice cream and avo daiquiris on offer, the venture has been quite a success — unsurprisingly — which is what has prompted thoughts of expansion. MUNCHIES reports that there'll be new sites in Europe, as well as restaurants in North America, Asia and own our shores. Owner Ron Simpson told the publication he had received franchise requests before the first store even opened, so it's little wonder that 15 additional spots are planned over the next year. As you've probably noticed, avocado isn't literally the only thing on the menu, although every item does include it in some shape or form. If that makes you hungry, feasting your eyes on The Avocado Show's Instagram pics will only make it worse. Keep your eyes peeled for more info about their Aussie ventures while your stomach grumbles, though, with just where and when they'll arrive yet to be revealed. Via MUNCHIES
Not once but twice each year, the online-only First Nations Film Festival from streaming service FanForce TV delivers a feast of Indigenous filmmaking for your next couch session. The virtual viewing event initially pops up for National Reconciliation Week. Then, it returns for NAIDOC Week. In 2025, there's a few twists, however — welcome ones. Firstly, the online fest's NAIDOC Week collection is sticking around for an entire month, from Sunday, July 6–Wednesday, August 8 — even though the celebration that it's timed to runs for just one week. Also, if you haven't yet caught this year's National Reconciliation Week films, its season has also been extended until the same date. With the NAIDOC Week package, your choices start with Warwick Thornton's We Don't Need a Map, the acclaimed filmmaker's exploration of the Southern Cross as a symbol. Or, catch Here I Am, the feature debut of writer/director Beck Cole (Deadloch) and star Shai Pittman (Around the Block), which follows a woman seeking redemption upon her release from prison. Other viewing options span Over the Edge, Mother's Day and a range of shorts. You can get access to the entire season for $38.
He gave The Social Network five stars, Hostel none, famously refused to grade Romper Stomper, and declined to cover Wolf Creek 2 at all. But how would David Stratton rate a documentary about his own life and love of film? It's a question we'll never know the answer to, although the fact that we're all wondering speaks volumes about the veteran film critic's impact. It also explains why there's now a doco about him and the Australian cinema landscape he has helped shape for more than half a century. Let's face it — for most Aussie film and television viewers, movies and David Stratton go hand in hand. For 28 years on SBS's The Movie Show and then ABC's At the Movies, he dissected the week's big screen releases on the small screen, with much of the country tuning in to catch his insights and hear his banter with co-host Margaret Pomeranz. He'd profess his hatred for shaky cam, she'd sigh "oh David," and their back-and-forth would make a conversation about an average film much, much more interesting. They even have their own board game. And while that might've all come to an end, the movie buff's movie buff isn't done sharing his love of cinema. Indeed, from the end of May, he'll talk audiences through the best flicks Australia has to offer in a three-part TV series. Consider David Stratton: A Cinematic Life the feature-length appetiser. Directed by experienced television helmer Sally Aitken, the documentary endeavours to do two things: step through Stratton's life and career, and explore a selection of influential Australian titles. The former comes complete with tales of the critic's cinema-obsessed youth, photos of his pre-beard days, a glimpse inside his catalogue of movie notes (which he refuses to digitise), and a number of famous faces popping up to sing his praises, including Nicole Kidman, Russell Crowe, and Mad Max director George Miller. To achieve the latter, the film takes Stratton around the country to visit locations immortalised on film while diving into explorations of the titles in question – from outback horror Wake in Fright and beloved comedy Muriel's Wedding, to the roadway thrills of the original Mad Max and the relatable warmth of The Castle. Understandably, there's plenty to fit in — the British-born Stratton arrived down under for what was supposed to be a two-year visit, became the director of the Sydney Film Festival for 18 years, and was the subject of ASIO interest thanks to his trips to overseas film festivals. Similarly, with around 100 flicks earning a mention, there's no shortage of movies in the spotlight. Using one as a gateway to the other, David Stratton: A Cinematic Life does an impressive job of weaving its two points of focus together. Hearing about Stratton's fascinating experiences will make you want to discover more (thankfully, his 2008 autobiography I Peed on Fellini can help fans do just that), while discovering his thoughts on an array of local films will make you want to dedicate the foreseeable future to an Aussie movie marathon. Deftly edited and filled with affection, David Stratton: A Cinematic Life is the kind of film the man himself would likely give several stars and probably more. We reckon Pomeranz would feel the same way, although here we have to be content with her commenting on her former sparring partner's shoes. Yes, that's another reason the documentary is worth watching. Come for the moving tribute and informative trip through Aussie film history, stay for the long-awaited David and Margaret reunion. https://www.youtube.com/watch?v=uoTbplWKvOg
As school kids, we're taught to think of art and science as two very different beasts. But neuroscience now shows this dichotomy to be false — when performing most complex tasks, we use both the logical and creative sides of our brain. And this July, at Carriageworks, Japanese artist Ryoji Ikeda will smash this division to smithereens by transforming science into art with two epic installations entitled micro | macro. The work — which Ikeda developed during a residency at the renowned science institution CERN in Switzerland — is divided into two sections. The first, the planck universe [micro], reveals atoms by blowing them up into visible proportions. This mind-bending installation will cover a whopping 172.8 square metres of space inside the Redfern multi-arts institution. The second, the planck universe [macro], is a ten-metre-high projection capturing the natural world in various scales — from the human perspective all the way to the cosmic one. "My work is created by reducing sound, light and the world into sine waves, pixels and data… so that the world can be viewed once more at a different resolution," said Ikeda of his new installations. As you wander through both installations, expect to feel very, very small, while finding yourself asking some big, big questions. What do we know? What can we know? Is what we see really all that it seems? This is Ikeda's third show at Carriageworks, previously presenting Superposition in 2015 and Test Pattern [No 5] in 2013, and it'll be as cutting-edge and immersive as ever. Images: Martin Wagenhan & Zan Wimberley
UPDATE, September 16, 2021: Streamline opened in Brisbane cinemas on Thursday, September 2, and is also available to stream via Stan from Thursday, September 16. Chasing a dream can feel like swimming through cool water on a hot summer's day — gliding, splashing and laidback paddling all included — with each refreshing stroke propelling you closer towards your own personal finish line. That's when everything is going well, of course, and when whatever your heart and mind desires seems as if it's waiting at the end of the pool. Otherwise, when you're bogged down by everyday minutiae and nothing seems to inch forward, working towards a set goal can also resemble treading water. It can mirror repetitively doing laps, too, when your destination seems out of sight despite all the hard work you're putting in. And, if you're tired and fed up with all the effort needed to even keep afloat — and when your heart is no longer in it — it can feel like floundering and drowning. In Streamline, all of these sensations and emotions bubble up for 15-year-old Benjamin Lane (Levi Miller, A Wrinkle in Time), as he pursues a professional swimming career, a spot in a prestigious squad in Brisbane and, ideally, an Olympics berth and all the glory that goes with it. Indeed, one of the delights of this Australian movie, which boasts Ian Thorpe as one of its executive producers, is how evocatively it sprinkles these swashes of feelings across the screen. Written and directed by feature first-timer Tyson Wade Johnston, Streamline is a sports drama as well as a small town-set family drama — and it's also a portrait of that time when you're expected to dive headfirst into adulthood, and into knowing what you want to do with the rest of your life, but you're also inescapably wracked with uncertainty and apprehension. Teenage awkwardness and angst aren't simple states to capture on-screen, although enough coming-of-age movies have been buoyed by both; however, Streamline opts to plunge deep into the existential stress that goes beyond feeling out of place with your peers or being annoyed at your parents. Its protagonist, who everyone just calls Boy, only really connects with his girlfriend and best friend Patti (Tasia Zalar, Mystery Road) at school. And, he's definitely mad at his mother and father. He resents his single mum Kim's (Laura Gordon, Undertow) efforts to keep him focused, which he sees as controlling rather than nurturing. He's doing tumble turns internally over his dad Rob (Jason Isaacs, Creation Stories), who's just been released from prison and has never been a positive influence in his life. Boy is also furious at his surrogate father figure, Coach Clarke (Robert Morgan, The Secrets She Keeps), for all the cajoling that coaches tend to give. But, mostly the swimming prodigy is unsure — about what he wants, what he's been told he wants and what to do next. Streamline takes ample cues from sports flicks and the usual formula behind them, with big races, the pressure to succeed and the push to impress the right people to score the best opportunities driving much of the narrative alongside training and its tussles. But as this emotionally astute film explores the tension and trepidation swelling inside Boy — the kind that only worsens whenever his dad is mentioned, let alone turns up, and also ramps up as he spends time self-destructing with his hard-drinking, loutish older half-brothers Dave (Jake Ryan, Savage) and Nick (Sam Parsonson, Operation Buffalo) — it taps into themes that've been washing through Australian cinema with increasing frequency over the past decade or so. In movies such as Animal Kingdom, Snowtown, Buoyancy and 1%, young men struggle to carve their own paths, or even just to survive or avoid following in damaging footsteps, all in the lingering shadow of violence. Shades of late-90s great The Boys also filter through when Streamline's Boy is with his siblings, but this measured and moving picture is never merely the sum of its influences, even as it adds more flawed and fractured males to the nation's cinematic canon. Navigating this sea of toxic masculinity, Miller manages to convey many traits that fit the mould — Boy can be arrogant, reckless, careless with other people's feelings, moody, unwilling to express what's simmering within and combative — and also show his character's pain, conflict, yearning and vulnerability. It's a stellar performance, as well as a difficult one; the best work of the young actor's career so far, it's also likely to keep the Pan, Better Watch Out and Jasper Jones star in weightier roles moving forward. There isn't a weak link among the cast, though, but the film's standout moments all come when Miller is in front of the lens. A particular sense of power emanates in his scenes with Isaacs, and therefore with the man that Boy has been devastatingly hurt by and yet still finds himself drawn to. The two actors both played the same person but at varying ages in the vastly dissimilar Red Dog: True Blue, but now they play different points on a spectrum that neither wants Boy to slide down. Contrasting the rigours of seeking perfection with the toll it takes, Streamline submerges itself in its lead character's journey visually as well. This is a melancholy movie in tone and appearance, with hues of blue hovering in frame after frame. Those shades often emanate from the water, obviously, given that it has such a pivotal part in Boy's days and dramas — but when they continue to pop up elsewhere, they also exude the sorrow of a teen who realises he doesn't know how to either keep or to stop doing what he's doing. Cinematographer Michael Latham shot the aforementioned Buoyancy, too, and gave The Assistant, Island of the Hungry Ghosts, Strange Colours and Casting JonBenet their exacting, evocative and also piercing looks, with his efforts here continuing the trend. Indeed, watching Streamline feels like plummeting into a brooding well not only emotionally, thematically and narratively, but aesthetically. Sometimes chasing a dream is like that, too, as this excellent Aussie drama also recognises.
UPDATE, February 12, 2021: The Big Sick is available to stream via Netflix, Google Play, YouTube Movies and Amazon Video. On paper, The Big Sick sounds like the standard kind of rom-com that's been made countless times before. Guy meets girl, sparks fly, only for roadblocks to get in the path of true romance... yep, we all know how that story goes. Not only that, but given the film depicts star and writer Kumail Nanjiani's real-life courtship with his co-scribe and now-wife Emily V. Gordon, we actually know how this specific story ends as well. Still, there's plenty to like about the sweet, sincere and heart-swelling details and detours that this emotionally insightful gem offers up along the way. When we first meet Kumail, he's a standup comic slogging it out in Chicago. Fame remains a distant dream, as does making a living out of comedy, but at least his set strikes a chord with grad student Emily (Zoe Kazan). While neither of them are really looking for love, their one-night-stand soon becomes something more. There are one or two complicating factors, however. For starters, he can't bring himself to tell her that his Pakistani parents expect him to have an arranged marriage, any more than he can bring himself to tell them he's fallen for an American. But that's just a minor speed bump compared to the mysterious condition that renders Emily comatose for much of the movie's second and third acts. The Big Sick isn't being poetic or ironic with its title, even if a heady dash of romance can feel a bit like an illness. Instead, it's an accurate description of the film, which largely revolves around Emily's sickness, and the uneasy dynamic between Kumail and her parents (the always excellent Holly Hunter, and a surprisingly great Ray Romano). That it manages to make a thoughtful and earnest rom-com out of some of the worst experiences a person can go through is a testament to the movie's success. Life is chaotic, bodies fail, relationships are hard, and this film does't shy away from any of it. Truth be told, the further that Nanjiani and Gordon's script gets into the tumultuous early days of their romance, the messier and more surprising everything becomes. Crucially, director Michael Showalter (one of the creative forces behind Wet Hot American Summer) manages to layer cultural, generational and interpersonal clashes with dating banter, medical drama, family tensions and twenty-something existential dilemmas. In his hands, a film that could have come across like a Judd Apatow-produced version of '90s Sandra Bullock vehicle While You Were Sleeping instead proves a textured, multifaceted example of rom-coms at their very best. It's also worth giving The Big Sick credit for getting the best out of its leading lady, even while she spends much of the film's running time in a coma. Though Emily's illness stems from reality, it still could have easily felt like a cheap ploy – a way to keep the focus on the male protagonist. Yet that's never the case here, in large part because Kazan makes such a lasting impression when her character is conscious. This may be Nanjiani's life story, but his performance wouldn't feel nearly so honest — or the movie so authentic — without Kazan making sure we're all as enamoured with Emily as he is. https://www.youtube.com/watch?v=nO5fXEczlGQ
UPDATE, December 16, 2022: Bardo, False Chronicle of a Handful of Truths screens in Australian cinemas from Thursday, November 17, and streams via Netflix from Friday, December 16. Everyone wants to be the person at the party that the dance floor revolves around, and life in general as well, or so Alejandro González Iñárritu contends in Bardo, False Chronicle of a Handful of Truths. In one of the film's many spectacularly shot scenes — with the dual Best Director Oscar-winning Birdman and The Revenant helmer benefiting from astonishing lensing by Armageddon Time cinematographer Darius Khondji — the camera swirls and twirls around Silverio Gama (Daniel Giménez Cacho, Memoria), the movie's protagonist, making him the only person that matters in a heaving crowd. Isolated vocals from David Bowie's 'Let's Dance' boom, and with all the more power without music behind them, echoing as if they're only singing to Silverio. Iñárritu is right: everyone does want a moment like this. Amid the intoxicating visuals and vibe, he's also right that such instances are fleeting. And, across his sprawling and surreal 159-minute flick, he's right that such basking glory and lose-yourself-to-dance bliss can never be as fulfilling as anyone wants. That sequence comes partway through Bardo, one of several that stun through sheer beauty and atmosphere, and that Iñárritu layers with the disappointment of being himself. Everyone wants to be the filmmaker with all the fame and success, breaking records, winning prestigious awards and conquering Hollywood, he also contends. Alas, when you're this Mexican director, that isn't as joyous or uncomplicated an experience as it sounds. On-screen, his blatant alter ego is a feted documentarian rather than a helmer of prized fiction. He's a rare Latino recipient of a coveted accolade, one of Bardo's anchoring events. He's known to make ambitious works with hefty titles — False Chronicle of a Handful of Truths is both the IRL movie's subtitle and the name of Silverio's last project — and he's been largely based in the US for decades. Yes, parallels abound. While dubbing Bardo as semi-autobiographical is one of the easiest ways to describe it, simplicity isn't one of its truths, even if the film champions the small things in life as existential essentials. Another easy way to outline Bardo: Silverio faces his choices, regrets and achievements as that shiny trophy looms, and ponders where his career has taken him, who it's made him and what that all means to him. From the filmmaker who first earned attention for telling narratives in a fractured, multi-part fashion (see: his debut Amores Perros, plus 21 Grams and Babel), and lately has loved roving and roaming cinematography that unfurls in the lengthiest of takes (see: Birdman and The Revenant), this was never going to be a straightforward affair, though. And so he weaves and wanders, and has the silver-haired Silverio do the same, while weighing up what's brought them both to this point. Bardo opens by visibly recalling Birdman, with a bounding force casting a shadow upon an arid land, but it's an early glimpse at a house from above that encapsulates Iñárritu's approach best. The home initially resembles a miniature, which Silverio then flits through — and, given its lead often segues between places and times like he's stepping through a doorway, the movie functions in the same manner. Sometimes, he's in a hospital corridor as his wife Lucía (Griselda Siciliani, The People Upstairs) gives birth to a baby boy who whispers that the world is too broken for him to want to live in, and is then pushed back into the womb. Or, he's picturing how a big TV interview with a bitter ex-colleague could go wrong, or shrinking down to childhood size to chat with his deceased father. Sometimes, Silverio is in Los Angeles holding a bag of axolotls, or striding through Mexico City streets that are empty except for corpses. Elsewhere in Bardo, Silverio has an argument with a US Customs Agent about whether he can say he lives in America, as part of the feature's interrogation of what it means to straddle two countries. But, he also refuses to fight when the family's housekeeper isn't allowed to join them at a swanky resort, with the film carving into its protagonist's contradictions. Also popping up: Silverio and Lucía's twentysomething daughter Camila (Ximena Lamadrid, On the Rocks) and teenage son Lorenzo (first-timer Íker Sánchez Solano), who are similarly tussling with the chasm between their heritage and the nation they've mostly called home, in the movie's multigenerational flourish. And, Bardo includes a recreation of the Mexican-American War, albeit with a brass band; a conversation with Aztec Empire-toppling Spanish conquistador Hernán Cortés; and news reports about Amazon buying Baja California, as approved by the US Government. As ideas to unpack, enforced control over Mexico and willingly giving up ownership of one's Mexican identity never stray far from the picture's gaze. A film can deeply contemplate weighty topics, personal and universal alike, and be told with rampant self-indulgence. Bardo is one such movie. Its best moments pull its audience into the frame emotionally and psychologically, and into Silverio's shoes, but it's also meandering and blighted by distance. Iñárritu isn't alone in trying to understand who he is by excavating his own story, of course. 'Tis the time for it, as James Gray has also done with Armageddon Time, Paul Thomas Anderson with Licorice Pizza, Kenneth Branagh with Belfast, and fellow Mexican filmmaker and two-time Best Director Oscar-winner Alfonso Cuarón with Roma. Iñárritu's first movie in the seven years since The Revenant, and his first set and shot in Mexico in more than two decades since Amores Perros, Bardo stands out by imagining its guiding force now looking back, rather than just looking back itself — and by veering so sharply between overdone and brilliant. Thankfully, whether Bardo is at its trippiest or laying its thoughts and feelings bare — nodding to Federico Fellini's 8 1/2 and Paolo Sorrentino's The Great Beauty no matter what fits — Giménez Cacho demands attention. In a performance that's never a case of an actor flattering his director, self-critical sadness radiates from his eyes as Silverio processes his trauma, plus confidence and ambition when he's wading through applause and acclaim. He's electric in that standout party scene, and thorny and tender when the feature calls for either, all seamlessly. Bardo doesn't want to be a seamless movie overall, though. It wants to gyrate, drift and whirl, and for that sensation to sweep up its audience like a man cutting loose at a shindig in his honour. It also wants to ruminate on battles internal and external, and jostle its viewers in every direction like a man conflicted. It does both and, as its title references, it loiters and lingers. Top image: SeoJu Park/Netflix © 2022
Alexandros Kouris speaks a lot about alchemy. As the owner and founder of the Nissos Brewery on the island of Tinos, he’s not just talking about the rich golden colour of his beer; he’s talking about what makes a craft beer great. “I can’t explain it chemically to you, but there’s an alchemy,” Kouris laughs. “Happy people make good beer.” Nissos Pilsner has made it to the Australian craft beer market all the way from the sunshine and aquamarine seas of the Greek island of Tinos, 6 nautical miles from Mykonos. It’s a beer craft drinkers will be drawn to not just for its unique taste (a citrusy, refreshing and full-bodied pilsner) but as a winsome example of the craft beer ethos. Nissos beer is brewed and bottled in small quantities by 15 local Tinos islanders, using purely natural, traditional and slow brewing processes, as well as Greek ingredients. For Kouris, this local authenticity is very much the appeal, and why he believes the resurgence of craft beers is well deserved. “I’m a great believer that food and drink should be — it’s not the product, it’s not the commercial product — it’s part of our culture,” says Kouris. “So if I take from your hands the production of food and drink I take part of your identity ... I come here with my beers and taste yours and I take back yours, this is beautiful, this is human. And this is human skill and it keeps the world alive.” Kouris entered the world of craft beer following the Global Financial Crisis, when he decided to sell off what companies he had. He says that while everyone in Greece was afraid and taking money out of the country, he wanted to do the opposite. “I loved beer. I followed the craft beer movement all around the world," he says. "I love the Cycladic island of Tinos and I said, putting the two together that could create a very good business, one that will make me happy and one that will, I hope, inspire people in Greece.” It seems his gamble has paid off. Last year the small brewery came away with silver in the Pilsner category at the European Beer Competition (which Kouris describes as the “Oscars” of beer competitions) against 1613 other international beers. Impressive, given the brewery was only 17 months old and produces only one beer, but hardly surprising for a pilsner whose herbal and citrus aroma and crispness tastes like a liquid advertising campaign for life on a Greek isle. This year, the taste and story of the beer has been discovered by Nick Manettas (of Nick’s Seafood Restaurant), who has embarked on a successful campaign to bring Nissos to the Australian market and into your craft beer-ready glass. “It’s very distinct, it’s very full-bodied as a pilsner and apparently it’s very good, people love it,” smiles Kouris. “And you know, this is alchemy.” You can find Nissos on exclusive release to all of the Nick’s Restaurant and Bar Group venues before it begins wider distribution to a pub near you over the next year. So keep your eyes on your craft beers and a Greek island shanty in your heart.
Spilling out from World Science Festival, Curiocity Brisbane (22 March–2 April, 2023) takes over the wider city of Brisbane. Art meets STEM in a landscape of experiences and installations designed to challenge and enlighten urban explorers. Use augmented reality to bring memory fragments to life, encounter kinetic art through an intense colour spectrum in a changing parabolic curve, interact with playful cybernetics and help teach AI in real time. Take a free curator tour to take a deeper dive into the meaning behind the artworks, which includes the interactive "sound sculptures" T.H.E.M (that's The Handmade Electric Machines, if you're curious — a collection of six sound and lighting mechanisms brought to life by musicians, artists and designers). The free Curious Conversations program offers discussions on topics such as the future of AI, our role in the natural world and First Nations artists' relationship with history, culture and traditional knowledge. [caption id="attachment_804118" align="alignnone" width="1920"] Curiocity 2021, Markus Ravik[/caption] But, Curiocity Brisbane isn't just for the daylight hours. Art installations will be scattered along the streets and South Bank, disrupting the reverie of the river city with thought-provoking displays and unexpected intrusions, both visual and auditory. Curiocity Brisbane pops up around Brisbane from Wednesday, March 22–Sunday, April 2, 2023.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. JURASSIC WORLD DOMINION When Jurassic World Dominion was being written, three words must've come up often. No, they're not Neill, Dern, Goldblum. Those beloved actors reunite here, the trio appearing in the same Jurassic Park flick for the first time since the 1993 original, but the crucial terms are actually "but with dinosaurs". Returning Jurassic World writer/director Colin Trevorrow mightn't have uttered that phrase aloud; however, when Dominion stalks into a dingy underground cantina populated by people and prehistoric creatures, Star Wars but with dinosaurs instantly springs to mind. The same proves true when the third entry in this Jurassic Park sequel trilogy also includes high-stakes flights in a rundown aircraft that's piloted by a no-nonsense maverick. These nods aren't only confined to a galaxy far, far away — a realm that Trevorrow was meant to join as a filmmaker after the first Jurassic World, only to be replaced on Star Wars: Episode IX — The Rise of Skywalker — and, yes, they just keep on coming. There's the speedy chase that zooms through alleys in Malta, giving the Bond franchise more than a few nods — but with dinosaurs, naturally. There's the plot about a kidnapped daughter, with Taken but with dinosaurs becoming a reality as well. That Trevorrow, co-scribe Emily Carmichael (Pacific Rim Uprising) and his usual writing collaborator Derek Connolly (Safety Not Guaranteed) have seen other big-name flicks is never in doubt. Indeed, too much of Dominion feels like an attempt to actively make viewers wish they were watching those other movies. Bourne but with dinosaurs rears its head via a rooftop chase involving, yes, dinos. Also, two different Stanley Kubrick masterpieces get cribbed so blatantly that royalties must be due, including when an ancient critter busts through a door as Jack Nicholson once did, and the exact same shot — but with dinosaurs — hits the screen. What do Star Wars, Bond, Bourne and The Shining have to do with the broader Jurassic Park film saga, which started when Steven Spielberg adapted Michael Crichton's book into a box-office behemoth? That's a fantastic question. The answer: zip, zero and zilch, other than padding out Dominion as much as possible, as riffs on Indiana Jones, The Birds, Alien, Mad Max: Fury Road, Austin Powers, the Fast and Furious movies, cloning thrillers, disaster epics and more also do. In nearly every scene, and often at the frame-by-frame level, another feature is channelled so overtly that it borders on parody. And, that's on top of the fact that recycling its own history is just Dominion 101. There's no theme park, but when it's mentioned that dinosaurs are being placed in a sanctuary, everyone watching knows that the film's human characters will get stranded in that spot, trying not to be eaten by a Tyrannosaurus rex and the like. From all of the above, a loose narrative emerges — an overstuffed and convoluted one, too. A few years on from 2018's Jurassic World: Fallen Kingdom, people are endeavouring to co-exist with dinosaurs. Unsurprisingly, it's going terribly. Run by Mark Zuckerberg-esque entrepreneur Lewis Dodgson (Campbell Scott, WeCrashed), tech company BioSyn owns that safe dino space in the Italian Dolomites, although palaeobotanist Ellie Sattler (Laura Dern, Marriage Story) and palaeontologist Alan Grant (Sam Neill, Rams) also tie the firm to giant dino-locusts wreaking existence-threatening havoc. Plus, ex-Jurassic World velociraptor whisperer Owen Grady (Chris Pratt, The Tomorrow War) and his boss-turned-girlfriend Claire Dearing (Bryce Dallas Howard, Rocketman) head BioSyn's way when the adopted Maisie Lockwood (Isabella Sermon) — who links back to the first Jurassic Park thanks to Forbidden Kingdom's ridiculous storyline — is snatched. Oh, and mathematician Ian Malcolm (Jeff Goldblum, Search Party) works there, as does cloning whiz Henry Wu (BD Wong, Mr Robot). Read our full review. A HERO With apologies to Bonnie Tyler, cinema isn't holding out for a hero — and hasn't been for some time. The singer's 80s-era Footloose-soundtrack hit basically describes the state of mainstream movies today, filled as screens now are with strong, fast, sure and larger-than-life figures racing on thunder and rising on heat. But what does heroism truly mean beyond the spandex of pop-culture's biggest current force? Who do we hold up as role models, and as feel-good champions of kind and selfless deeds? How do those tales of IRL heroism ebb, flow and spread, too? Pondering this far beyond the caped-crusader realm is Asghar Farhadi, a two-time Oscar-winner thanks to A Separation and The Salesman. As is the acclaimed Iranian filmmaker's gambit, his latest movie is intricately complicated, as are its views on human nature and Iranian society. As Farhadi has adored since 2003's Dancing in the Dust — and in everything from 2009's exceptional About Elly to his 2018 Spanish-language feature Everybody Knows as well — A Hero is steeped in the usual and the everyday. The 2021 Cannes Film Festival Grand Prix-winner may start with a sight that's the absolute opposite thanks to necropolis Naqsh-e Rostam near the Iranian city of Shiraz, an imposingly grand site that includes the tombs of ancient Persian rulers Xerxes and Darius, but the writer/director's main concerns are as routine, recognisable and relatable as films get. One such obsession: domestic disharmony, aka the cracks that fracture the ties of blood, love and friendship. A Hero sprawls further thematically, wondering if genuine altruism — that is, really and wholeheartedly acting in someone else's interest, even at a cost to oneself — can ever actually exist. But it charts that path because of the frayed and thorny relationships it surveys, and the everyman caught within them. When A Hero begins, calligrapher and sign painter Rahim Soltani (Amir Jadidi, Cold Sweat) is no one's saviour, victor or ideal. While he definitely isn't a villain, he's just been given a two-day pass from an Iranian debtor's prison, where he's incarcerated over a family financial feud. Owing 150,000,000 tomans to his ex-wife's brother-in-law, he's stuck serving out his sentence unless he can settle it or his creditor, copy shop owner Bahram (Mohsen Tanabandeh, Capital), agrees to forgive him. The latter is unlikely, so with his girlfriend Farkhondeh (debutant Sahar Goldust), Rahim hatches a repayment plan. She has stumbled across a handbag filled with 17 gold coins, and together they hope to sell it, then use the proceeds to secure his freedom — except, when they attempt to cash in, they're told that their haul won't reach anywhere the sum they need. Instead, with a mixture of guilt and resignation — and at Farkhondeh's suggestion — Rahim decides to track down the coins' rightful owner. Cue signs plastered around the streets, then an immensely thankful phone call. Cue also the prison's higher-ups discovering Rahim's efforts, and wanting to cash in themselves by eagerly whipping up publicity around their model inmate's considerate choice. The media lap it up, as do the locals. Rahim's young son Siavash (newcomer Saleh Karimaei), a quiet boy with a stutter that's been cared for by his aunt Malileh (fellow first-timer Maryam Shahdaei), gets drawn into the chaos. A charity that fundraises to resolve prisoners' debts takes up the cause, too. Still, the stern and stubborn Bahram remains skeptical, especially as more fame and attention comes Rahim's way. Also, the kind of heroism that's fuelled via news reports and furthered by social media is fickle above all else, especially when competing information comes to light. Read our full review. BENEDICTION To write notable things, does someone need to live a notable life? No, but sometimes they do anyway. To truly capture the bone-chilling, soul-crushing, gut-wrenching atrocities of war, does someone need to experience it for themselves? In the case of Siegfried Sassoon, his anti-combat verse could've only sprung from someone who had been there, deep in the trenches of the Western Front during World War I, and witnessed its harrowing horrors. If you only know one thing about the Military Cross-winner and poet going into Benediction, you're likely already aware that he's famed for his biting work about his time in uniform. There's obviously more to his story and his life, though, as there is to the film that tells his tale. But British writer/director Terence Davies (Sunset Song) never forgets the traumatic ordeal, and the response to it, that frequently follows his subject's name as effortlessly as breathing. Indeed, being unable to ever banish it from one's memory, including Sassoon's own, is a crucial part of this precisely crafted, immensely affecting and deeply resonant movie. If you only know two things about Sassoon before seeing Benediction, you may have also heard of the war hero-turned-conscientious objector's connection to fellow poet Wilfred Owen. Author of Anthem for Damned Youth, he fought in the same fray but didn't make it back. That too earns Davies' attention, with Jack Lowden (Slow Horses) as Sassoon and Matthew Tennyson (Making Noise Quietly) as his fellow wordsmith, soldier and patient at Craiglockhart War Hospital — both for shell shock. Benediction doesn't solely devote its frames to this chapter in its central figure's existence, either, but the film also knows that it couldn't be more pivotal in explaining who Sassoon was, and why, and how war forever changed him. The two writers were friends, and also shared a mutual infatuation. They were particularly inspired during their times at Craiglockhart as well. In fact, Sassoon mentored the younger Owen, and championed his work after he was killed in 1918, exactly one week before before Armistice Day. Perhaps you know three things about Sassoon prior to Benediction. If so, you might be aware of Sassoon's passionate relationships with men, too. Plenty of the film bounces between his affairs with actor and singer Ivor Novello (Jeremy Irvine, Treadstone), socialite Stephen Tennant (Calam Lynch, Bridgerton) and theatre star Glen Byam Shaw (Tom Blyth, Billy the Kid), all at a time in Britain when homosexuality was outlawed. There's a fated air to each romantic coupling in Davies' retelling, whether or not you know to begin with that Sassoon eventually (and unhappily) married the younger Hester Gatty (Kate Phillips, Downton Abbey). His desperate yearning to hold onto someone, and something, echoes with post-war melancholy as well. That said, that sorrow isn't just a product of grappling with a life-changing ordeal, but also of a world where everything Sassoon wants and needs is a battle — even if there's a giddy air to illegal dalliances among London's well-to-do. Benediction caters for viewers who resemble Jon Snow going in, naturally, although Davies doesn't helm any ordinary biopic. No stranger to creating on-screen poetry with his lyrical films — or to biopics about poets, after tackling Emily Dickinson in his last feature A Quiet Passion — the filmmaker steps through Sassoon's tale like he's composing evocative lines himself. Davies has always been a deeply stirring talent; see: his 1988 debut Distant Voices, Still Lives, 2011's romance The Deep Blue Sea and 2016's Sunset Song, for instance. Here, he shows how it's possible to sift through the ins and outs of someone's story, compiling all the essential pieces in the process, yet never merely reducing it down to the utmost basics. Some biopics can resemble Wikipedia entries re-enacted for the screen, even if done so with flair, but Benediction is the polar opposite. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; and June 2. You can also read our full reviews of a heap of recent movies, such as The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching and Mothering Sunday.
The Bagel Boys have been serving up some of the best boiled and baked bread in Brisbane over the past few years. And a little while ago, they did us all a favour and opened at a permanent address in the CBD. That's right, the Bagel Bar on Adelaide Street means you no longer need to hunt around town at various markets, grocers and cafes to get your bagel fix (or take that most drastic option, a trip to Brooklyn). As is to be expected, all bagels are rolled, boiled and baked fresh daily, and come in a wide variety of flavours. We're talkin' plain, poppy, sesame, onion, garlic, jalapeno, everything, sunflower and rye, and soy and linseed. For the sweet tooths among us, there's also blueberry or cinnamon and raisin ($2 each). If gluten ain't your friend, never fear, you can still enjoy the bagelly goodness and order one of the gluten-free options: plain or chia (because superfoods, duh. These are $3 each). All bagels can be bought individually or by the bag ($10 for six, $20 for a baker's dozen). You can also choose to buy them with a schmear or filled with savoury delights ($7–10). The filled options include the likes of schmear and salad, the BRAT (bacon, rocket, avocado and tomato with aioli) and, of course, the smoked salmon classic. We're also partial to the pastrami 'n' swiss. FYI, the Boys offer catering in both full-sized and mini bagels, so make a suggestion for your next supper shindig. As a worker, shopper or city dweller, you can stop by the Bagel Bar for a quick, cheap and tasty breakfast or lunch six days a week. Unwrap the parchment parcel, close your eyes, take a large bite, and transport your mouth and stomach to the boroughs of NYC right in the heart of beautiful Brisvegas.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=UtVe_8CS6vU RADIOACTIVE Even without sourcing and quoting an exact number, it's obvious that an immense amount of people owe their lives to Marie and Pierre Curie's research on radioactivity. Without their work — Marie's passion project, which she reluctantly agreed to collaborate on with Pierre after they first crossed paths in Paris — cancer treatment would've likely been vastly different over the past century. The results for scores of cancer patients would've been as well. But the pair's discovery of two new elements, radium and polonium, also led to disturbing side effects and cataclysmic events that changed the course of history in other ways. Radioactive touches upon both, from life-saving oncology usage and the ability to conduct x-rays on World War I battlefields to the bombing of Hiroshima and Chernobyl's nuclear reactor meltdown. Via the inclusion of clips in a 50s hospital, in Japan, in the Ukraine and at a nuclear bomb test in Nevada in 1961, this becomes a far more thoughtful feature than its usual biopic trappings often indicate (and make no mistake, much of the script reads from the biopic-101 playbook). It might seem strange for a film about Marie to leap forward at different moments, jumping to years and decades past her death in 1934, all to show how the physicist and chemist's work made and continues to make a colossal impact upon the world. But that's the most interesting thing about Radioactive: its willingness to contemplate both the significant benefits and proven dangers of Marie (Rosamund Pike, an Oscar-nominee for Gone Girl) and Pierre's (Sam Riley, Rebecca) pioneering discoveries. The latter is tasked with vocalising this battle in his acceptance speech for their shared 1903 Nobel Prize in physics, acknowledging the struggle but opining that "mankind will derive more good than harm". As directed by Marjane Satrapi (Persepolis) and adapted from Lauren Redniss' graphic novel about the Curies, Radioactive film doesn't simply take Pierre at his word, however. It shows his radiation sickness, and Marie's. It touches upon the backlash when news of radioactivity's health effects started becoming widely known. And those aforementioned flash-forwards to both positive and negative applications of the Curies' research keep the same conversation going, because Radioactive doesn't try to offer a right or wrong answer. Something can be two things at once, after all, as this often-probing movie shows in a variety of ways. Read our full review. https://vimeo.com/451401547#at=17 BRAZEN HUSSIES Chatting to activists involved in Australia's women's liberation movement during the 60s and 70s, Brazen Hussies doesn't lack in witty and wise ladies making pivotal points. But it's filmmaker Margot Nash (The Silences) who offers one of this documentary's most telling observations, and the one that crystallises exactly why this movie had to be made. "History has to be told over and over again," she advises. She's a talking head in the film, rather than the writer or director behind it — those roles fall to first-timer Catherine Dwyer — but she couldn't encapsulate Brazen Hussies' purpose any better if she was the doco's driving force. As the feature explains, it's easy for people to overlook this chapter of history, and the fact that it all happened so recently. It's easy to forget that women's lives were drastically different, as was the way they were regarded by the world around them. Brazen Hussies surveys pay inequality, legal abortion, funding for childcare, the way both queer women and Indigenous Australian women are treated, society's abhorrence of female sexuality and the first Advisor on Women's Affairs to a head of government anywhere in the world — plus everything from tackling domestic violence and the victim-blaming that can go along with it, to the simple struggle to survive that single mothers faced as well. But this happens in tandem with a historical recounting of Australia's actual fight for women's liberation, with Dwyer inspired by working on 2014 documentary She's Beautiful When She's Angry (which did the same from a US perspective). She examines what drove the more than 25 women she counts among her eponymous group to act and what they achieved, of course. At every moment, however, she's just as interested in how they battled for that change. Having access to a treasure trove of materials helps considerably in this engaging, informative and impassioned film. If the doco's talking-head lineup is impressive, it's bested only by the immense range of archival images and footage that Dwyer and editor Rosie Jones (director of The Family) splice together. With the rest of the filmmaking team, the pair sifted through more than 4000 photographs, journals, artworks and posters, and 800-plus news clips, documentaries and dramatic movies — and, unsurprisingly, Brazen Hussies is all the more detailed for it. Read our full review. https://www.youtube.com/watch?v=roo8p8sDX24&feature=emb_logo A LION RETURNS Following the clandestine return of a radicalised Muslim man to Sydney to see his dying mother, A Lion Returns is a film about extreme actions and the consequences they bring. And yet, as written and directed by Serhat Caradee — marking his second feature after 2009's Cedar Boys — it's a movie driven primarily by talk about those actions. Indeed, its opening third takes place in a car outside the Alamein family residence, where brothers Omar (Danny Elacci, Trust) and Jamal (Tyler De Nawi, On the Ropes) reunite in secret while their relatives gather inside. Before academic Omar can work out how to usher Jamal inside without anyone else seeing, especially their father Yusef (Taffy Hany, East West 101) who is likely to call the police, the siblings discuss everything that has led them to this juncture. Omar outlines the grim health predicament their ailing mother Manal (Helen Chebatte, Alex & Eve) faces, with hospice her next step. He also demands answers from Jamal about why he left his own wife (Jacqui Purvis, Neighbours) and young son to fight in Syria, makes his brother explain exactly what he did during his time with the Islamic State and tries to ascertain what he hopes to achieve by making a comeback. A Lion Returns is so dialogue-heavy — and so driven by two- and three-way conversations about bonds of family, faith, the lengths one will go to for both and the repercussions that follow — that it could've easily graced the stage instead of the big screen. But there's an intimacy to this independent, low-budget, shot-in-ten-days Australian drama about ripped-from-the-headline matters that's cinematic. Set in an ordinary vehicle and a just-as-standard suburban home, and unfurling in real time, its visuals mightn't provide an overt spectacle; however, the connection that Caradee evokes with his complicated characters, and with the complex ideas and themes they discuss and sift through, benefits from the film's ability to get literally close to the animated chatter happening within its frames. This is a feature that makes every move possible to place its audience in the heat of the moment with its arguing family members, to share their tension and to confront the same thorny issues with them, and does so with precision. There are few surprises, narrative-wise, as not only Jamal's abandoned loved ones but the defector himself grapple with his choices and the shadows they've left overseas and at home, but A Lion Returns excavates a difficult situation with assurance and poise, as well as with passionate performances. https://www.youtube.com/watch?v=qPie_hKO6pM IP MAN: KUNG FU MASTER It's unlikely that filmmakers will ever get sick of making movies about Ip Man, much in the same way that they never seem to tire of bringing the likes of Sherlock Holmes and Dracula to the screen. Ip Man was a real person, though. A martial arts grandmaster in the kung fu style known as Wing Chun, his life spanned fascinating chapters in both mainland China and Hong Kong, including a stint with the police force and training Bruce Lee — and it has also spawned many a film over the past couple of decades as a result. Ip Man features in movies about Lee, naturally. He has been the driving force behind the Donnie Yen-starring Ip Man, Ip Man 2, Ip Man 3 and Ip Man 4: The Finale, too, and Wong Kar-wai's The Grandmaster as well. And, first in The Legend Is Born – Ip Man, then in Kung Fu League and now in Ip Man: Kung Fu Master, he has been played by wushu champion-turned-actor Dennis To (who actually had a minor role in Ip Man and Ip Man 2). In Ip Man: Kung Fu Master, To steps into the famed figure's shoes during his law enforcement stint in Foshan. First, he's the subject of a revenge scheme by the daughter of a mobster who is killed in police custody despite Ip Man's best efforts to ensure otherwise. Then, he's targeted by the Japanese army as they make their presence known in the period between the first and second Sino-Japanese wars. Both elements of the story intertwine — as does the birth of Ip Man's first son, and his need to protect his family as multiple parties endeavour to hunt him down — but writer/director Li Liming is far more interested in the movie's frenetically choreographed martial arts scenes than its narrative. Indeed, anything that doesn't involve fighting often feels like filler. There's no doubting the impact of Ip Man: Kung Fu Master's balletic displays of flying fists, though, or how stylishly they're shot. They can't substantially lift a film that'll never be the go-to Ip Man movie, or even one of the best flicks about him either, but they're the standout elements of an otherwise average movie. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; and October 1, October 8, October 15, October 22 and October 29. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle. The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always and The Craft: Legacy. Top image: A Lion Returns via Bonafide Pictures.
If you consider yourself a bit of an adrenaline junkie, then visiting Sky Park is a must on your trip to Tropical North Queensland. Not only is it the one place in Australia where you can actually take the bungee jump plunge, but you'll get to do so while being cradled by lush tropical rainforest. Located 15 kilometres north of Cairns, here you can leap from the 50-metre bungee that teeters over a stunning natural lagoon. Or, strap into the giant swing to reach speeds of up to 120 kilometres per hour in just three seconds with two mates side by side. If you're not quite ready to take the bungee plunge, try the 140 metre high walk the plank obstacle instead. Whether you're a seasoned jumper or are ready to take your very first leap, the 16 different styles on the jump menu will accomodate for all levels of thrill seeking and ensure you experience a rush like never before. [caption id="attachment_828485" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption]
UPDATE, February 22, 2024: The Queen's Wharf precinct is now due to start opening from August 2024. When Queen's Wharf starts welcoming in Brisbanites in April 2024 after almost a decade of talk, development and construction, it will drastically reshape the north-bank patch of the CBD. That's always been the plan. Creating a new $3.6-billion, 12-hectare space means going big. Indeed, even in The Star Brisbane's part of the precinct, everything from a new five-star 340-room hotel to 12,000 square metres of outdoor leisure space awaits. A reimagined Fat Noodle, taking Luke Nguyen's southeast Asian cuisine to new digs; the city's largest hotel ballroom; a Brisbane version of the chain's signature cocktail bar; three pools for guests; a massive sports bar: they're all also on the way as well. And, as previously announced, so is the towering Sky Deck which'll soar 100 metres above the city, complete with a restaurant, bar and glass-floor viewing platform — plus 360-degree views peering as far as Moreton Bay. While Sky Deck has understandably earned plenty of Queen's Wharf's attention of late, The Star Brisbane is now filling in the details about its hotel and other venues. If you're looking for a new staycation spot, you'll be headed to a pair of arc-shaped buildings by the river. Among their features: stunning vistas, obviously; four penthouse suites with oversized freestanding bathtubs; and access to that trio of spots to take a dip via the Leisure Deck, which will spread across the equivalent of two football fields. If grabbing a bite or drink without checking in piques your interest, Fat Noodle will relocate from The Treasury into The Star Brisbane, but still serve up the dishes that Nguyen's eatery has become known for. It'll also have ample company, with Queen's Wharf set to feature 50 new food and beverage venues — Cherry, a Brisbane version of The Star's Sydney and Gold Coast cocktail bars, also among them, and boasting its own 360-degree setup. Sports fans can enjoy the 732-square-metre watering hole filled with massive LED screens and booming with stadium-like surround sound. For VIPs, it'll include three booths that are big enough to seat a whole sports team. And, for bites in general, the new Food Quarter will be about fast but fresh meals service via a one-stop cafe — and serve up everything from casual lunches to late-night snacks. As for that massive ballroom, it'll be able to fit in 2000 guests, and falls within The Star Brisbane's new Event Centre. Also, get ready for more where all of the above came from — there are other Queen's Wharf hotels in the works, four in total. A casino, approximately 1500 apartments, a swathe of retailers in a huge new shopping precinct, repurposed heritage buildings, the Neville Bonner Bridge and Brissie's first riverside bikeway cafe: they're all set to feature as well. Queen's Wharf is slated to start opening in the Brisbane CBD from April 2024. We'll update you when a specific date is announced — and you can find out further details in the interim via the development's website. Renders: concept images for The Star Brisbane.
If there was still some question over who leads the current revival of superhero movies, you can stop your pop-culture equivocating now. It's Iron Man. It's always been Iron Man. With the release of Iron Man 3, probably the best film of the trilogy, all the other Avengers can fall into line and that over-earnest heavy breather should sulk in his cave/villa in Provence. The Iron Mans have always innately had the superhero secret formula, combining the wry delivery of Robert Downey Jr, plots that aren't totally dumb, eye-popping action, a contemporary sense of cool detachment and the observance of canonical Marvel comics tradition. Then there's the fact that Tony Stark, Iron Man's alter ego, is a wealthy tech geek, not a jock (a seemingly prescient move on behalf of legendary comics creator Stan Lee back in 1963). Iron Man 3 has all this — but it is even funnier and more balls-out thrillingly action-packed than its predecessors. New writer/director Shane Black (who worked with Downey Jr in Kiss Kiss Bang Bang) keeps the film tonally in the same ballpark as forerunner Jon Favreau, but perhaps his take on Tony is even more endearingly unpredictable. Iron Man 3 isn't quite the famous 'Demon in a Bottle' alcoholism storyline, but one of Tony's nemeses in this instalment is definitely himself. He's shaken after travelling through a wormhole in an apocalyptic battle (it's worth being up to speed on the Marvel franchise before this trip to the cinema), he's feeling redundant now the government has their own 'Iron Patriot' (Don Cheadle), he's anxious, he's obsessive, and he's vulnerable. Into this mess step villains who are both corporeal and terrifying: a terrorist leader with digital prowess known as the Mandarin (Ben Kingsley) and a spurned scientist, Aldrich Killian (Guy Pearce), who commands an army of what are essentially fire monsters. In the hypothetical extended game of rock-paper-scissors, fire usually beats iron. Iron Man 3 is not without its ridiculousness. A big theme is the abilities of superheros when stripped of their suits — and here it seems those abilities are still pretty super. Tony and James 'Iron Patriot' Rhodes both display outrageous brawn (as well as their usual level of brains, of course) in just their jeans and hoodies. And while the final battle is epic and enthralling, it does have a whiff of the ol' 'why didn't they just do this from the beginning?' to it. These are quibbles — a half-star's deduction, maximum. And that half-star is won back by the brilliant path down which Iron Man 3 takes its villains. This is a slick, inspired fantasy-adventure that almost anyone can enjoy. May Marvel Studios sign Downey Jr and co for many sequels to come. https://youtube.com/watch?v=Ke1Y3P9D0Bc
What's more believable — and plot twists follow: a pre-teen playing a 33-year-old woman pretending to be a nine-year-old orphan, with a hormone disorder explaining the character's eerily youthful appearance; or an adult playing a 31-year-old woman pretending to be a lost child returned at age nine, again with that medical condition making everyone else oblivious? For viewers of 2009's Orphan and its 13-years-later follow-up Orphan: First Kill, which is a prequel, neither are particularly credible to witness. But the first film delivered its age trickery as an off-kilter final-act reveal, as paired with a phenomenal performance by then 12-year-old Isabelle Fuhrman in the pivotal role. Audiences bought the big shift — or remembered it, at least — because Fuhrman was so creepy and so committed to the bit, and because it suited the OTT horror-thriller. This time, that wild revelation is old news, but that doesn't stop Orphan: First Kill from leaning on the same two key pillars: an out-there turn of events and fervent portrayals. Fuhrman (The Novice) returns as Esther, the Estonian adult who posed as a parentless Russian girl in the initial feature. In Orphan: First Kill, she's introduced as Leena Klammer, the most dangerous resident at the Saarne Institute mental hospital. The prequel's first sighted kill comes early, as a means of escape. The second follows swiftly, because the film needs to get its central figure to the US. Fans of the previous picture will recall that Esther already had a troubled history when she was adopted and started wreaking the movie's main havoc, involving the family that brought her to America — and her time with that brood, aka wealthy Connecticut-based artist Allen Albright (Rossif Sutherland, Possessor), his gala-hosting wife Tricia (Julia Stiles, Hustlers) and their teen son Gunnar (Matthew Finlan, My Fake Boyfriend), is this flick's focus. Like their counterparts in Orphan, the Albrights have suffered a loss and are struggling to move on. When Leena poses as their missing daughter Esther, Allen especially seems like his old self again. As also happened in Orphan, however, the pigtail- and ribbon-wearing new addition to their home doesn't settle in smoothly. Orphan: First Kill repeats the original movie's greatest hits, including the arty doting dad, the wary brother, taunts labelling Esther a freak and a thorny relationship with her mum. Also covered: suspicious external parties, bathroom tantrums, swearing to get attention and spying on her parents having sex. And yes, anyone who has seen Orphan knows how this all turns out, and that it leads to the above again in Orphan, too. Thankfully, that's only part of Orphan: First Kill's narrative. Twists can be curious narrative tools; sometimes they're inspired, sometimes they're a crutch propping up a flimsy screenplay, and sometimes they seesaw between both. Orphan: First Kill tumbles gleefully into the latter category, thanks to a revelation midway that's patently ridiculous — although no more ridiculous than Orphan earning a follow-up in the first place — and also among the best things about the movie. It's a big risk, making a film that's initially so laughably formulaic that it just seems lazy, then letting a sudden switch completely change the game, the tone and the audience's perception of what's transpired so far. That proved a charm for the thoroughly unrelated Malignant in 2021, and it's a gamble that filmmaker William Brent Bell (The Boy and Brahms: The Boy II) and screenwriter David Coggeshall (Scream: The TV Series) take. Working with a story by David Leslie Johnson-McGoldrick (The Conjuring: The Devil Made Me Do It) and Alex Mace (who earned the same credit on the original), it's one of their savviest choices. Another crucial decision that would've shattered the film had it gone the other way: getting Fuhrman back. Given she's now definitely an adult, it's downright preposterous to buy her as passing for nine, Lizzie Borden dresses and all — but with the jig already up for viewers before this flick even begins, that visible discrepancy adds another sinister layer to everything Esther gets up to. Yes, Bell and cinematographer Karim Hussain (Firestarter) are toying with everyone watching just like their evil protagonist does, not only with the Albrights but with unconvinced Detective Donnan (Hiro Kanagawa, Pachinko) and doubtful Dr Segar (Samantha Walkes, Murdoch Mysteries) as well. Fuhrman makes you want to go along with the gambit; she's again a force to be reckoned with as the malevolent, manipulative miniature psychopath, playing her part with equal parts steely determination and calm-faced derangement, and with the help of camera angles and practical effects to keep up the act. Bell knows that Orphan's twist is now as familiar as those in The Sixth Sense, The Planet of the Apes and Soylent Green. He also knows that Orphan is more famous for how it ends than being a genre standout otherwise, which it isn't. And, he knows that viewers are aware that Fuhrman is now an adult portraying an adult impersonating a child, rather than a child portraying a woman professing to be a kid. That also works emotionally for Orphan: First Kill, laying the groundwork for its own change of direction. In Orphan, Esther always resembles a brattish girl, even when she drops her disguise, and sympathising with her adoptive mother's anguish comes easily. Here, she's clearly an adult, and wondering why her ruse seems to work so smoothly also comes with the territory. Orphan didn't just boast one big performance, of course, and neither does Orphan: First Kill. More Julia Stiles in all things is always welcome, including when she's dealing with demonic tykes as she also did in The Omen remake. The twist she's saddled with here is inescapably silly, but Stiles has a glorious amount of fun with it — and helps answer the question that hangs over the film's first half (that'd be "why is Julia Stiles in this?"). She isn't quite enough to justify Orphan: First Kill's existence, and nor is Fuhrman repeating her first big success, the new surprise development that the whole picture hinges on, all the callbacks or the whole origin-story vibe. The world didn't really need to know why Esther likes blacklight paintings or where she first got her ribbons, which adds zero depth to the franchise. Attempting to evoke empathy for the murder-happy figure doesn't strike the chord it's meant to, either. But that revelation is still worth discovering, and Fuhrman and Stiles' performances are still worth watching, in a movie that knows it's a lurid and needless second effort — and happily leans in.
The latest effort from RoboCop, Showgirls and Starship Troopers director Paul Verhoeven, Elle is a rape-revenge film — or a rape-anti-revenge film, perhaps. It's also a movie calculated to conjure some laughter, as surprising as that may seem given the topic at hand. The narrative's focus on a sexual assault victim's behaviour after her attack, and the incredulous reaction audiences may have thanks to more than a few awkwardly comedic moments, are closely linked. Bringing the aptly named novel Oh... to the screen, Verhoeven not only unpacks unpleasant experiences, but makes viewers confront the urges such experiences can awaken, and the instant, often inappropriate responses that come with them. It's an ambitious aim, particularly in a thriller steeped in sexual exploits both forceful and consensual, not to mention one heavily reliant upon perfecting the right mood and tone. Peppered with the kind of chuckles that sometimes spring from nerves and discomfort, it's one that the movie achieves on an intellectual rather than an emotional level. Elle will get you thinking and reacting, but not always feeling. And while that might be fitting given the psychological realm the movie willingly plays in, it's also unintentionally distancing. The film's title refers to Michèle (Isabelle Huppert), an executive at a video game company readying a new erotically violent release. After an intruder forces himself upon her and then flees, Michèle goes about the rest of her day. When the subject of her attack comes up, she steadfastly, matter-of-factly refuses to go to the police. Being plunged into the depths of physical assault, however, leaves her intrigued and even somewhat emboldened as she embarks on a mission to track down the perpetrator. While Elle isn't as violently or sexually excessive as some of Verhoeven's earlier efforts — and definitely proves more restrained in its visual style — the Dutch filmmaker has sly fun with subverting the expected in his first French-language feature. From the moment the movie opens with heated grunts that could just stem from energetic lovemaking (though they don't), he toys with content, with convention and with his audience. It's not quite a case of nothing being as it seems. Instead, everything that happens inspires many, many questions. That includes Michèle's behaviour and backstory, the several other complicated relationships involving her friends, her son and her ex-husband, and Verhoeven's ability to combine nuance in some moments with a sledgehammer lack of subtlety in others. Huppert clearly relishes the loaded territory she's playing in, and proves the real reason Elle demands attention. Although the film itself often lets its interesting perspective do the heavy lifting, its star is an absolute revelation. Or she would be, were it not for the five decade's worth of incredible performances in her ledger already. Still, operating at her absolute best, she's the complex, commanding core of a movie that's purposefully challenging in a number of senses — sometimes successful, sometimes not.
I’ll never forget my original Magic Mike experience. In a packed cinema of some 750 people, I was one of just nine men, and of those, (probably) the only straight one. After a brief welcome, the film's promoters introduced two male strippers who danced, disrobed and lap-danced their way through the crowd like bejewelled beagles at Customs, singling out the most awkward and uncomfortable with astounding accuracy. Coupled with the trailer, everything seemed in place for a movie designed to entertain everyone but me, and yet — two hours later — I stood both corrected and utterly entertained. Armed with that memory, I approached Magic Mike XXL with a much more open mind, only to once again be surprised by a film whose suggestive marketing, racy trailer and heck, even its name, belied a film of far greater substance and maturity. Magic Mike XXL is not a story about male strippers entertainers, but an old-fashioned road movie about self-discovery and friendship, where it is souls and vulnerabilities — not bodies — that the men are dared to reveal. As it happens, it's also a cracking comedy. The story itself is as scant as a stripper’s costume. Mike (Channing Tatum, whose real life story provided the inspiration for both films), finds himself visited by his old dancing buddies on their way to the annual 4th of July Strippers Convention (yes, it’s a thing). Their former emcee and manager has skipped town with the young star Adam, meaning this is to be their swan song before retiring to whatever 'normal' jobs they can find. Recently single and finding his own furniture business low on the thrills, Mike joins them in the hope of purging his demons and starting life afresh. In some ways, it’s best to think of Magic Mike XXL like a musical, given the way its stars spontaneously burst into dance routines and, this time round, singing (showcasing the talents of both Donald Glover, aka Childish Gambino, and Matt Bomer, whose voice is so remarkable it’s baffling we’ve not been treated to it sooner). Unlike most musicals, however, Magic Mike XXL navigates the almost impossible transition from acting to dancing without it ever feeling forced — the best example also being the film’s standout scene, featuring Joe Manganiello (True Blood) stripping in a gas station to a Backstreet Boys staple for no other reason than to elicit a smile from its store clerk. Funny yet provocative, childish yet heartwarming, it encapsulates everything Magic Mike XXL is about: honest desire, spiritual growth and — most importantly — intimacy. Almost every dance in this film is centred on one woman. Any woman. Every woman. No matter how large the crowd, someone is always singled out and treated to a publicly private performance, "a queen being reminded of her beauty", as Mike’s former flame Rome (played magnificently by Jada Pinkett Smith) puts it. Yes, the dancing is extraordinary (Tatum’s routines in particular are jaw-dropping in their athleticism and eroticism), but just as appealing are the ladies’ reactions — a blend of shock, lust and pure exhilaration that imbue each and every fantasy piece with a genuine sense of realism. There’s more sensuality in this film than fifty Fifty Shades of Greys, yet it never once feels sleazy, instead veering closer to something uplifting and sincere. By all means come for the bodies, but stay for everything else.
Since a US remake of Jemaine Clement and Taika Waititi's vampire sharehouse mockumentary What We Do in the Shadow was first hinted at back in 2017, and then confirmed in May 2018, fans have been waiting like a ravenous vampire for the end result. Over the past few months, three brief teasers have dropped, plus a full two-minute trailer — and now the show is headed to Australian TV screens in April. Created and co-written by Clement, and executive by the Flight of the Conchords star with Thor: Ragnarok's Waititi, the ten-episode American version will air weekly on Foxtel's Showcase channel from Tuesday, April 2. That's a few days behind the US run, with the show premiering on America's FX network on Wednesday, March 27 — hot on the heels of the film festival premiere of its pilot episode, which just screened at SXSW over this weekend. Despite the involvement of Clement and Waititi, the duo don't star in the new-look series (but may make guest appearances — we hope). Rather, this take on What We Do in the Shadows follows a group of vampire flatmates living in Staten Island, and features Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou, The Magicians' Harvey Guillen, The Office's Mark Proksch and Lady Bird's Beanie Feldstein. Novak plays the gang's self-appointed leader, 'Nandor The Relentless', who dates back to the Ottoman Empire days and is somewhat stuck in his ways. As for Berry's mischievous British dandy Laszlo and Demetriou's seductive Nadja, they've been likened to a blood-sucking Bonnie and Clyde. Guillén steps into the shoes Nandor's familiar, who'd do anything to join the undead, while Proksch's Colin has been described as an 'energy vampire'. And Feldstein's Jenna is a college student with a new craving. If you're keen for another taste before the series starts airing, here's three new teasers: https://www.youtube.com/watch?time_continue=8&v=N0cCrfvCuZM https://www.youtube.com/watch?v=WRiyeML2mnY https://www.youtube.com/watch?time_continue=1&v=4dedH5GU9QU The US remake is just the latest addition to the What We Do in the Shadows universe, too. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. And television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, debuted its first season last year and has a second season in the works. What We Do in the Shadows will debut in America on FX on Wednesday, March 27, then air on Foxtel's Showcase channel weekly from 8.30pm AEDT on Tuesday, April 2.
When it comes to variety, fusion and inventive takes on Cantonese cuisine, Brisbane isn't short on options, including at George Street's Donna Chang. But sometimes you just want an old-school meal — the kind that starts with prawn crackers, finishes with deep-fried ice cream and would've been a staple three decades ago (and was probably one of your childhood favourites from the local Chinese restaurant). That's what Back to the 1980s is about, with Donna Chang going retro for a four-course dinner. From 6pm on Wednesday, October 9, the CBD spot will be slinging plenty of classics, such as quail and peanut san choy bao, Sichuan salt and pepper calamari, and sesame prawn toast with truffle kewpie. You'll also be able to tuck into lemon chicken and sizzling black bean beef — and it wouldn't be complete without a special fried rice, of course. Tickets cost $88 per person, with head chef Jason Margaritis looking to the past in his menu — but not in its taste.
Imagine if there was a drug that could make the person you have saved as your iPhone wallpaper fall in love with you. "Gimme gimme," I hear you screaming at your screen. Well sorry, outside of Shrek 2 such thing doesn’t exist. But the latest Queensland Theatre Company’s play, The Effect, shows that maybe, just maybe, the best love drug of all doesn’t come in a little pink capsule. When Connie signs up for a clinical trial for a new, super-duper anti-depressant she meets fellow volunteer Tristan and flirtation ensues; but not in cafes, or studio apartments, or outside Pie Face on Queen Street Mall – rather, in the confines of their clinical trial room, with no contact with the outside world. In time, the chemicals running through their systems tamper with their youthful bodies, igniting canoodling, kissing and all things that make Nicholas Sparks smile. This threatens to throw the whole drug-trial off course, and that’s when the real trouble begins. The Effect is playing at Billie Brown Studio until the 5th of July. Whether you're head over heals in love, or a cynical spinster, you won't be disappointed by the twists and turns of this production. Plus, it's a little reassuring to know that the best way to someone’s heart is to get jacked up on anti-depressants, and lock yourself in a room with them – cue Tom Jones.
What's better than the chance to see your favourite French film on the big screen once more? Seeing the stage show possibly would be; however, given that Amelie the Musical isn't headed to Australia any time soon, a one-off showing with snacks to match will have to cut it. Just pick up your neighbour's garden gnome and head to Dendy Portside for an afternoon at the flicks you know you'll enjoy. At 4pm on March 5, the Hamilton cinema will transport you to Paris, into the life of the ultimate well-wisher and into the magical antics that follow. And, it'll do so with cheese and champagne, because that's how these things ought to be done. You know what happens next, and you know you want to be there. If a well-meaning interfering stranger doesn't make it happen, make sure you grab a ticket yourself.
They're taking the hobbits to Isengard at Dendy Cinemas this winter, 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 a sitting of all three of Peter Jackson's beloved OG Tolkien film adaptations in their extended editions. Kicking off with The Fellowship of the Ring and ending with The Return of the King (with The Two Towers in the middle, of course), this cave troll of a marathon will see you making the cinema your home for almost 12 hours — with the journey starting at 11am on Saturday, July 6 at Dendy Coorparoo and Portside, and also taking place again on Saturday, August 24 at Coorparoo. If you make it through breakfast and second breakfast to the final handful of endings, you can pat yourself on the back and smash a ringwraith screech at the nearest person on your way home (note: do not actually screech at people). Tickets are the precious and come in at $35 for the whole ordeal in one of Dendy's regular cinemas, or $60 for premium at Coorparoo.
Brisbane has long been partial to a party boat. The Island did the honours from the 80s through until early last decade, and Seadeck has cruised the river over the past couple of years. Now Yot Club has started sailing into the city's waters, and it's making quite a big splash — as you'd expect from a huge yacht with two bars, a stage, a dance floor and, in normal times, a 400-person capacity. Returning for the second half of 2020 under COVID-Safe guidelines — so no, it won't be jam-packed — Yot Club's next series of shindigs will float through town on selected Saturdays. The glamorous, custom-built vessel calls itself "the world's first super yacht entertainment venue", and it's certainly something that southeast Queensland hasn't seen before. Sprawling over two levels, it measures nearly 40-metres long and over 22-metres wide, and blends a licensed floating club and a luxe function space. With lounges across an open deck and undercover, a VIP room in the hull, both general and ticketed events set to welcome guests, and the promise of bands and DJs on its lineup, Yot Club wants to be the region's one-stop watery hangout. It serves up more than water, of course, thanks to a menu of classic and creative cocktails, plus brews chilled in the 45-keg-capacity cool room. Yot Club sets off from South Bank's Ferry Terminal One, with tickets starting from $49. You can head along to a Saturday session on August 15 and 22; September 19 and 26; and October 3, 10, 24 and 31 — with cruises departing at either 12.30pm/1.30pm and 6pm/6.30pm. More events for November and December are also planned. Yot Club's latest Brisbane season runs on selected Saturdays, with bookings currently available until October. Images: Yot Club.
If you've been struggling to live in the teenies because you're musically and spiritually stuck in the noughties, we have some news that's going to bring you bolting straight into the present. Ministry of Sound has just announced a super-niche tour. From mid-November, they'll be paying visits to Australia's capital cities to perform, get this, their greatest clubbing moments from The Annual 2001-2004. And that'll be all, folks. Leading the lineup will be OGs John Course and Mark Dynamix, who, between them, have placed millions of CDs in club-loving hands and ears over the past couple of decades. They're the mighty duo behind Ministry of Sound's annual compilations, on which you probably first heard Roger Sanchez, Basement Jaxx, Tim Deluxe, Cassius and Groove Armada. To each gig, Course and Dynamix will be inviting a bunch of cracking support artists. Sydneysiders will be treated to an extra-special tribute to early noughties break beat at a Clubber's Guide to Breaks Room. You can count on appearances by the UK's Plump DJs, as well as by homegrown breaks guru Kid Kenobi. MINISTRY OF SOUND 2001-2004 REUNION TOUR November 18 — The Prince, Melbourne December 16 — The Metro, Sydney December 20 — HQ, Adelaide January 13 — Discovery, Darwin January 15 — Matisse Beach Club, Perth January 21 — The Met, Brisbane In the meantime, to get yourself in the mood, have a listen to this dedicated Reunion Tour play list on Spotify.
On the lookout for a dope new denim jacket? Or do you want to be rid of that weird-looking lamp taking up space in the living room? Then, by golly, you're in luck. The Garage Sale Trail works with local council partners Australia-wide to get as many trash-and-treasure troves happening on the same few days as possible. Last year, more than 300,000 Aussies took part at this festival of pre-loved stuff, holding more than 15,000 sales. Will this year's Garage Sale Trail top those hefty numbers? It'll certainly try via a huge array of events that will open their doors to bargain hunters, selling millions items across two big spring weekends: between Saturday, November 11–Sunday, November 12, and then again from Saturday, November 18–Sunday, November 19. Aside from the retro goodies up for grabs, the Garage Sale Trail is all about sustainability. Instead of ending up in landfill, unwanted clutter becomes a fantastic find. So get that tight pair of sunnies for peanuts and help the environment at the same time. The Garage Sale Trail began humbly in Bondi in 2010 and is growing bigger every year. There'll be a right slew of sales happening all around Brisbane, so keep your eyes on the event website — or register online to make a quick buck from your old junk and hang out with the friendly folks in your hood.
As far as boozy beverages go, nothing beats the espresso martini. It gives you a buzz, it's a crowd-pleaser and most venues have one on their menu. In fact, they're so beloved, Brisbane scored a whole festival dedicated to them last year — and it's back for 2018. A separate event from Melbourne and Sydney's own fests, the Espresso Martini Festival will take over Fish Lane between 5.30pm and 10pm on Tuesday, August 14 — and, because that date sold out quicker than the jolt from your favourite beverage, between 2–6pm on Wednesday, August 15 as well. In a stroke of savvy planning, it's all happening before and on the Ekka public holiday, meaning that you can either get your caffeinated cocktail fix without worrying about the alarm going off the next morning, or spend your day off feeling mighty energetic. Of course, there's no prizes for guessing what's on offer — but don't just expect the usual 'tinis combos of coffee and alcohol. There'll be a condensed milk ice cream cold-drip vanilla martini, a rum salted golden syrup espresso martini; a tequila, agave and coffee liqueur tipple; plus versions made with Irish whiskey and cinnamon whisky. If that sounds like enough to make you bounce off of South Brisbane's walls, then that's the point; however spicy fish cake bao, potato scallop szechuan curry, prawn crackers and fish dim sims from Fish Lane eateries Hello Please and Ol' School will help bring you back to street level. Tickets cost $45, and include a free espresso martini and a selection of food on entry — and a lack of sleep that night, obviously. Updated August 6.
Mention Burleigh to a southeast Queenslander, and the sight of one of the Gold Coast's best beaches will instantly pop into their head. As well as surf, sun and sand, however, the coastal spot is also home to Burleigh Brewing Co — with Brennan and Peta Fielding setting up shop in the industrial part of the suburb more than a decade ago. The focus here is on a craft-driven approach, and sticking local in terms of ingredients and materials. Also worth noting: Burleigh doesn't use sugar in its brews. That doesn't mean that its Twisted Palm Tropical Pale Ale won't go down sweetly, though, with the 2016 World Beer Championships Gold Medal-winner featuring orange, mango and papaya notes. Unsurprisingly, it's inspired by Burleigh beach. Located on Harley Drive at Burleigh Heads, Burleigh Brewing Co's headquarters offers beers on tap and behind-the-scenes tours — aka the two staples everyone wants from a taphouse and brewery. It's only doing takeaways at present, which includes beers and growler refills, and its backstage tours are expected to return in September.
If you're of an age to remember burning your friend's So Fresh CD so you could stay up to date with the coolest songs of the season, congrats. You're old now. But also, congrats because you will seriously enjoy this shindig – So Fresh Party. So Freshtival is going down on Saturday, August 5 at The Flamin' Galah in the CBD. Expect bangers strictly of the 2000-2009 vintage, including a disturbing percentage of Channel 10 alums (Australian Idol winners/losers and ex-Neighbours actors), as well as way too much Nickelback for polite company. Also, just throwing this out there, we're desperately hoping for a timely comeback of the Duff sisters duet 'Our Lips Are Sealed.' Tickets will set you back 16 dollarydoos plus booking fee and of course it's obviously 18 and over, because if you're under 18 you definitely don't know what So Fresh is. Or CDs, probably.
Because you're reading this, we know you're not someone who received a pet for Christmas, only to decide it wasn't for you. We know you're one of the good folks. You're probably wishing that you did receive a loveable animal as a gift, even if you already have one — or several — that you adore. We understand your yearning, and so does the RSPCA. And, to find permanent homes for pups, cats, bunnies, guinea pigs and even Sheepy the Sheep surrendered into its care from all over the country, it's lowering the adoption fee to $29 this weekend. The weekend-long initiative is called Clear the Shelters and will run from Friday, February 21 until Sunday, February 23. Although you can't put a price on the happiness a new four-legged friend will bring, it's hoped that the low adoption fee will encourage people who have been thinking about adding a pet to their fam (and have considered it thoroughly) to make the commitment this week. Last year, the RSPCA found new homes for 2654 pets Australia-wide. [caption id="attachment_761823" align="alignnone" width="1920"] Jane is available for adoption in Tuggerah, Animal ID: 473147[/caption] This year, Clear the Shelters will run across Australia in all states and territories except Tasmania. The adoption fees — which usually range from $20–600 — help cover some of the costs of vaccines, training, desexing and microchipping for the animal. Whether you're in NSW, Victoria, WA or Queensland, there are hundreds of animals that need a new home full of love and pats. There's more to pet adoption than overdosing on cuteness, of course, as making the commitment to care for an animal is serious business. RSPCA's Clear the Shelters runs nationally (except Tasmania) from February 21–23. You can pre-register over here. Top image: Lady Danger is available for adoption in Sydney, Animal ID: 472000.
As if the hit Chinese dating show If You Are the One hasn't already brought enough glee into our dreary little lives, it's about to bring even more. And noodles. In almost inexplicable news, cheeky host Meng Fei is opening his own Chinese noodle restaurant in Melbourne, aptly named Mr Meng. Although we know Grandpa Meng as a television host who asks tough questions ("The question is, whether the girls can tolerate your shortcomings?"), he's actually a Kim K level celeb in China thanks to his shenanigans on the cult dating show, which has been airing in Australia on SBS 2 (now SBS VICELAND) since 2013. He's teamed up with Guo Degang, a popular Chinese comedian and actor, to open the noodle restaurant, quite out of nowhere. Why? Literally dunno. His team were tight lipped on motivations — but stay tuned for a report on the opening. In the meantime, get excited for some no-nonsense Chinese food and Chongqing-style noodle dishes. Mr Meng's is opening soon on Elizabeth Street and serving up 'delicious noodles for lunch and dinner, loved by everyone'. We only hope Meng's noodles are as spicy as his insults. In other relevant and exciting news, after eight seasons of humiliating Chinese men on air, the show is undergoing a seismic shift and reboot. A brand new 'boys special' will air on SBS VICELAND on July 2, which will be a taste of things to come before the new series relaunches in December. Mr Meng will open on Monday, May 22 at 382-384 Elizabeth Street. We'll report back on the opening.
Some places have all the luck — and when it comes to combining brews with a view, Felons Brewing Co has plenty. Nestled into the CBD's revitalised Howard Smith Wharves area, it shares that luck with Brisbanites keen for a frosty beverage by the river. On Wednesday afternoons, it's also giving you some boozy motivation to exercise. Felons' yoga classes take place from 5pm each week under the Story Bridge — and, while you're there, you'll want to put one of the outfit's tipples in your hands. Pick your favourite beer, then both work up and take care of your thirst. You'll also be immersed in the city's newest precinct with one of the city's best vantage points. Nina Lee from Sukhino will run you through your moves across 45 minutes, and attendance is free. BYO mat and just show up — although arriving early is recommended, because these sessions are popular. Also, you'll need your wallet for the beer part of the event, but you can join in without a boozy beverage.
The awkwardness and clumsiness when two incongruous elements come together — that's The Danish Girl in a nutshell. The film tells the true tale of Lili Elbe, previously Einar Wegener, the transgender woman who became one of the first identified recipients of gender reassignment surgery, and is brought to the screen by The King's Speech and Les Misérables director Tom Hooper. Unfortunately, the importance of the former is overpowered by the prestige film sensibilities of the latter. That's not to say that Hooper doesn't realise the weight of the tale he's telling, nor that writer Lucinda Coxon's screenplay — based upon David Ebershoff's fictionalised novel of the same name — doesn't endeavour to do justice to Lili's story. The tone is always earnest, with the film looking lovingly and acceptingly at its central figure. Alas, any good intentions come across as laboured and overdone, packaged up a little too nicely and neatly in order to fit the Hollywood mould. The Danish Girl opts for a restrained approach, designed to carefully bring rarely seen subject matter into mainstream cinema. That's immediately apparent in the slow and stately narrative that charts Lili's (Eddie Redmayne) journey, beginning in Copenhagen in 1926. A raft of childhood feelings are reawakened when renowned landscape artist Einar Wegener dons women's stockings to pose for his portrait painter wife Gerda (Alicia Vikander). Soon after, Lili emerges. As Lili struggles with her identity, Gerda tries to remain supportive, even as their marriage is tested. Both find solace in the friendship of others, with Lili courted by the kindly Henrik (Ben Whishaw), and Gerda seeking out Einar's hometown pal Hans Axgil (Matthias Schoenaerts). He might've won an Oscar just last year for his work in The Theory of Everything, but here Redmayne proves as problematic as Hooper. The fragility he brought to his award-winning role is on display again — and indeed, that's what his performance leans heaviest upon. Yet for all his furtive looks and heavy breathing, he never really delves beneath the surface of an obviously complicated character. Thankfully, where Redmayne grates, Vikander soars, continuing her stellar run of roles and her ascent to certain stardom. There's no mistaking that her character is as much the woman of the film's title as Lili is, just as there's no mistaking that her nuanced yet open portrayal leaves the far greater impression. Vikander isn't The Danish Girl's only strength, courtesy of elegant, handsome imagery filled with intricate costumes and picturesque scenery. In fact, from the painted scenes that start the film to the many shots of Lili trying to find her femininity while looking in a mirror, Hooper crafts the feature to resemble a painting. At the same time, that mindset is also arguably the movie's biggest issue. While The Danish Girl might tell a tale that's vital, and touch upon a topic that's timely, it always does so from a distance, like it's glancing at something that's just too delicate to examine up close.
Held from the 1st of August to the 20th of September at Griffith Art Gallery is the Churchie National Emerging Art Prize exhibition. This exhibition showcases the cream of the crop of up and coming artists. The public are invited to mosey around the gallery and view a range of pieces from mediums such as contemporary, traditional and new media. This award has been running since 1987 and it aims to celebrate excellence in artist. The overall winner will receive a $15,000 prize sponsored by Brand and Slater architects. The artists on display at the Griffith Art Gallery are the chosen few whose pieces excelled. One such finalist is Kate Tucker, who was also a finalist in the Archibald Prize for her portrait of Missy Higgins. The official opening night and prize announcement will be held on Friday 1 August 6-8pm.
It might've taken three years, but Netflix has finally produced its first original Aussie series. Shot entirely in Queensland, and providing fuel for late 2018 binge-watch sessions, Tidelands is a supernatural crime drama series about a fictional fishing village, dubbed Orphelin Bay, with strange inhabitants: a group of dangerous half-Sirens, half-humans called 'Tidelanders'. Cal McTeer (Charlotte Best), a young women who returns to the small village after a stint in jail, discovers the body of a local fisherman and must navigate the town's drug smuggling history while also investigating the Tidelanders, who are led by Adrielle Cuthburt (Elsa Pataky). Here's the trailer: https://www.youtube.com/watch?v=-gZG_ehP0Ag&feature=youtu.be Eight episodes, each running for 50 minutes, have been made by Brisbane's Emmy Award-Winning production company Hoodlum Entertainment. And Tidelands won't just gift Australian users with a new favourite series, with the show set to land in all 190 countries that Netflix is available in. Thinking you've seen plenty of Aussie stuff on Netflix already? You're not wrong, however, there's a difference between throwing old sitcoms and standup specials into a range inexplicably overflowing with new Adam Sandler movies, and actually funding brand new Australian material. Last year, it was announced that they'd join forces with the ABC to co-produce a second season of Glitch, which showed them dipping a toe in the water — but now they're completely diving in. Tidelands will join the platform's hefty stable of original series, which started back in 2013 with House of Cards, and just keeps growing (Orange Is the New Black, The Get Down, The OA, Wet Hot American Summer, Master of None, Unbreakable Kimmy Schmidt, Dear White People, BoJack Horseman, four Marvel series with one more to come — the list goes on). Given the premise, here's hoping it'll be the next Stranger Things, and not the new Hemlock Grove. Tidelands will be available globally on Netflix from December 14, 2018.
Most of us are spending a lot of time at home at the moment, meaning we may have more time to cook, but prepping meals to scoff down in your home office isn't how all of us wish to spend our Sundays. And, while you can still head down to your local pizza joint to pick up a takeaway feed or order from Uber Eats, you may be craving more nourishing food as time goes by while you're in isolation. Thankfully, healthy food delivery service Nourish'd is dropping off nutrition-packed meals to doors across the country. Its main selling point is the variety of gluten, dairy, preservative and sugar free dishes on its menu. Nourish'd delivers fresh, chef-prepared dishes to your door and is suitable for anyone looking for a tasty, nutritious meal without all the prep work. It'll also save you a trip to the supermarket, so you can practise social distancing without skipping your daily quota of veggies. You'll be tucking into a diverse range of meals, too, with everything from a nourishing chickpea dahl to pad thai, jerk chicken, veggie lasagne and chipotle shredded beef on the 55-dish menu. So, you can say goodbye to eating the same leftovers day-in and day-out. There are options for vegans and vegetarians; those on diets such as keto and paleo; and people with allergies and intolerances. Prices start from $11 per dish, with six different packs available. You can opt for the ease of a subscription-style service, delivered to your door weekly, or the flexibility of one-off orders, meaning you can tailor it to suit your needs, as well as your dietaries. Plus, you don't have to commit to anything longterm. Nourish'd is available across NSW, Qld, Tas, Vic, ACT and SA, with orders delivered every week. Meal plans start at $69.35 per week. For more information and to sign up, head here. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
