Every Friday night during Brisbane Festival, you can don your most glittery get-up and hit the d-floor with artist Neridah Waters and the Common People Dance Project. You'll have all the space you need to bust a move, as each person is encouraged to find their four square metres and dance like 2020 wasn't the s**tstorm it's turned out to be. Waters wants to give the public a chance to shake it off, shimmy through the pain, and ultimately connect with our fellow humans. It's an all-ages affair, and you should expect audience participation games, too. Head to Flowstate at South Bank Parklands from 6.30pm on Friday, September 4; or from 6pm on September 11, 18 & 25. There are three dance-offs per Friday night.
Pairing movies with music is no longer new news, but the latest returning event that's serving up that combo is hoping for two things. Firstly, it's betting on a whole lot of love for Patrick Swayze and Jennifer Grey dancing up a storm in a classic 1987 romantic drama. Secondly, when it comes to getting excited about seeing that now 36-year-old flick on a big screen with its soundtrack performed live, it's hoping that you've never felt like this before. Obviously, Dirty Dancing in Concert wants to give you the time of your life as well — and to not only let you celebrate one of Swayze's biggest and most charming film roles, but to immerse you in the movie from the moment you take your seat. No one will be carrying watermelons or checking into Kellerman's Mountain House in the Catskills, but the digitally remastered feature will grace the big screen, and a live band and singers will perform its iconic songs as it plays. Just as swoon-worthy: the fact that those musicians will stick around afterwards to headline a party that'll naturally have you singing and dancing. If you're feeling adventurous and inspired by the movie, you might even want to try to recreate the famous lift. Here, nobody will put you or Francis 'Baby' Houseman in a corner — and you'd be just a fool to believe otherwise. Your hungry eyes will soak in Baby's first taste of dirty dancing, her eager rehearsals and her growing infatuation with Johnny Castle, as well as her parents' bitter unhappiness about the entire situation. This blast-from-the-past affair is touring Australia this spring, hitting Brisbane Convention and Exhibition Centre on Friday, September 22.
You'll know Untitled Group best as the crew behind hit music events such as Beyond the Valley, Pitch Music & Arts and Grapevine Gathering. But as it turns out, these guys have some chops when it comes to making top-notch booze, too. They've gone and launched their own vodka brand, Ugly — a new Australian-made spirit crafted from imperfect apples that would otherwise be headed straight to landfill. Made in Melbourne in collaboration with the pre-batched cocktail experts at 80proof Liquor, the new drop is distilled five times to create an extra smooth sip without any residual apple flavour. It uses unwanted fruit sourced from the Goulburn Valley, with the apples containing a starch extract that works similarly to the potatoes in regular vodka. An innovative response to the issue of food wastage, Ugly gives new life to imperfect fruit that would otherwise be chucked out, having not made the cut to end up in the neat piles of good-looking apples at the supermarket. This preference for perfection contributes a huge amount of food waste to landfill, which leads to hefty CO2 emissions. After 80proof co-founder Danny Grant witnessed the impacts first-hand while on his research trips and talking to farmers, he was inspired to create a new drink that would help undo some of the damage. An initial limited-run batch of Ugly has hit shelves, having rescued an estimated 20 tonnes of unwanted apples from heading to landfill. Ugly Vodka clocks in at 40% ABV and is priced at $64.99 RRP. You can grab a bottle online. Images: Michael Woods
If you're sick of bringing crackers and dip to the party, but get cheese blind when faced with a fridge full of fromage, then read on. There's no need to taste everything in the deli (although that isn't ever a bad idea), and we've a little something for you to ensure cheese no longer becomes such a pandemonium requiring social etiquette. Soon you'll be able to tell everyone how nutty but sweet the prima donna is. The Dutch-style gouda, that is. So, fromage fans, listen up: here's Concrete Playground's bluffer's guide to cheese. 1. Cheese 101: How is Cheese made? Apparently, the process of cheese making was an accident. The story goes that milk overheated in a storage container of some sort, soured and created curd. Now don't squirm, but rumour has it that the said 'container' was either an animal's internal organ or an inflated animal skin. Nowadays, it's more of a civilised process. The milk (from a cow, sheep, goat or buffalo) is pasteurised (heated then cooled to remove harmful pathogens) then starter cultures and rennet are added. This causes the milk to coagulate into an attractive custard-like mess. Miss Muffet then separates the curds and whey (milk serum) and appropriately ripens to enhance the variety of textures and flavours. 2. Varieties So how can one identify all those cheeses at the deli? It is possible to judge a cheese's character by its rind; the texture, taste, strength of flavour, and even maturity. However, for us cheese novices, it's best to just remember these types to get the mozzarella ball rolling. Fresh cheese: feta, cottage, ricotta and cream cheese Soft white cheese: brie and camembert Washed rind (warning: stinky): tallegio and langres Blue: roquefort, gorgonzola, stilton Semi-hard: cheddar, manchego and gruyere; and Hard (robust flavour): parmesan. And lest we remind you that there's always the 'try before you buy' option. 3. Storing cheese The common rule of storing cheese is to store in its original wrapping. Failing that, plastic wrap is fine. If left unwrapped, the cheese will dry out and lose flavour. Harder cheeses have a longer shelf life than fresher types, such as a cream cheese or feta. These should be kept in their container with the lid on so no air can get in. If you start to smell something funkier than the cheese should, toss it. Make sure blue cheese and rind cheeses are kept tightly wrapped and separate to other food as their odour is quite strong. Again, you don't want your housemates to think something died in the fridge every time they open it up to get their milk. Mozzarella and bocconcini should be kept in their water, and don't get turned off if the water starts to get mirky coloured. It's just the milk in the water as the cheese releases its salt. But, as Stefano says, "to be honest, I never store. I always open and finish what I eat!" So shame on you if there are leftovers. 4. The perfect cheese board When preparing a cheese board, Stefano suggests not having more than three cheeses on offer and only one or two accompaniments per cheese. It's also best to bring the cheeses to room temperature in order to appreciate their full flavour. As a guide, you generally want a soft white cheese (such as brie), a blue (Ra Roquefort from France) and a firmer type (such as vintage cheddar). But don’t be afraid to ask your cheesemonger for recommendations. Encourage guests to cut wedges 'nose to tail' and cheese with rinds from centre to the edge. And don't forget to allow a few knives for cutting. You can't have the Stinking Bishop on the Jean de Brie. In terms of accompaniments, "definitely sliced pear, fig jam, quince paste or even orange marmalade, muscatel grapes and honey. And olives of course!" says Stefano. 5. Matching cheese with wine Cheese and wine. They're a perfect match. Complimenting the two requires a bit of time and experiment, but lest we forget to remind you that one without the other is a social faux pas. You can't go too wrong, however, if you follow the golden rule: the whiter and fresher the cheese, the whiter and crisper the wine; the darker and stronger the wine, the darker and stronger the cheese. For instance, brie is best matched with a dry sparkling or chardonnay; edam is great with a shiraz, grenache or pinot noir; and camembert's delicate 'mushroomy' character would be nicely offset with a sparkling white. Stefano highly recommends manchego for a dry white, and a simple cheddar for any red. He also emphasises that "any cheese will be good!" Cheese to that, we say. 6. Best melting cheese for pizza Mozzarella is originally from Italy, so it goes without saying that it would be the most ideal cheese for a pizza. "I love the buffalo mozzarella, just because of its white colour", says Stefano, "my pizza is just red and white. The tomato and the mozzarella." Bocconcini (any type is good) goes down a treat on pizzas too; its semi-soft elastic texture is mild, yet a little sweet. Stefano recommends cherry bocconcini. "The small balls are easy to slice and melt beautifully," he says. 7. European vs Australian ... similarities and differences With over 45 countries producing their own varieties of different cheeses, how on earth are we meant to decipher the difference ourselves? Basically, the flavour is affected by its origin. So essentially this comes down to what grass the cows or sheep are grazing on. For example, all blue cheeses are named so because of the mould Penicillin that is added, however, each has their own flavour and characteristic. A Bleu de Gex from Germany may be richer than a gorgonzola from Italy. The Greek's tend to add more salt to their varieties too. Think haloumi and feta (compared to a creamier Danish type). Most cheeses are named so after their place of origin. Fine examples include Gruyere, (Switzerland), Brie (region in France), Cheddar (England), Fontina (Italy), Havarti (named after a Danish farm called Havarthigaard) and Jarlsberg (Norway). 8. Cheese on a budget This can be done. Visit your local deli and suss out what's on special. Don't be shy to ask for a taste too. if you're going to be spending your pennies on cheese, it has to please. Stefano says that camembert, manchego, local vintage and smoked cheddar are generally going to be the more affordable varieties and "will always go down a treat no matter what". Pricier cheeses don't necessarily indicate that they will knock your socks off either, as it is a matter of preference. The price is just an indication that it's from a smaller farm and/or imported. Artisan cheeses are often more expensive as they are made by hand using traditional methods. 9. Talk like a pro Before you go forth and preach the gospel of cheese to your friends, brush up on these decorative phrases to raise a few brows ... "Wow, the camembert has a very pronounced, 'mushroomy' flavour." "This pecorino grated on the pasta is quite piquant and not too acidic. It’s not as strong as Parmesan Reggiano and seems to add a strong dimension to the dish." "I like semi-soft cheeses such as Monterey Jack, for its mild and buttery flavour. It goes perfectly with a good lager." "Epoisses is quite voluptuous with a well-rounded flavour." "I'm after something a little nutty, yet mild and pleasant. Nothing too earthy and pungent please."
Huge music tours are back on Australia's agenda — and they aren't just confined to chart-topping stars, iconic names and huge festivals. In the classical world, the London Symphony Orchestra is also coming our way to play a series of shows in Brisbane, Sydney and Melbourne. And, the 2023 tour will mark only its fourth-ever trip Down Under. Famous for everything from being the official orchestra of the London 2012 Olympic and Paralympic Games ceremonies through to recording the Star Wars, Superman, Indiana Jones, Thor and The Shape of Water film soundtracks, the LSO held its first-ever gig in 1904. That means it's been picking up its instruments for almost 120 years — and in that time, it has only visited Australia on three occasions before now. The April and May shows at QPAC in the Sunshine State, the Sydney Opera House in the Harbour City and Arts Centre Melbourne in Victoria will also see the orchestra make the journey Down Under for the first time since 2014. If it's drama you're after, get ready to watch music director Sir Simon Rattle's baton fly as he conducts the orchestra during his final season with the organisation. The LSO is bringing 114 musicians our way for the tour, including two Australians: Naoko Keatley and Belinda McFarlane, both on violin. And, it's the largest orchestra it has ever toured to our shores. The orchestra will play three different programs — two each in Brisbane and Melbourne, and a third in Sydney as well. All cities will be treated to a night featuring John Adams' 'Harmonielehre', Claude Debussy's 'La Mer' and Maurice Ravel' 'Daphnis and Chloé Suite No.2', plus an entire evening dedicated to Gustav Mahler's 'Symphony No.7'. As for that extra Sydney gig, it'll feature Daniel Kidane's 'Sun Poem' and Anton Bruckner's 'Symphony No.7'. Before its 2014 tour, the LSO first came to Australia in 1966 and then again in 1983. LONDON SYMPHONY ORCHESTRA 2023 AUSTRALIAN TOUR Friday, April 28–Saturday, April 29 —Queensland Performing Arts Centre, Brisbane Monday, May 1–Wednesday, May 3 — Sydney Opera House Friday, May 5–Saturday, May 6 — Hamer Hall, Arts Centre Melbourne The London Symphony Orchestra will tour Australia in April and May 2023. For further information and to buy tickets — with on-sale dates varying per city — head to the Sydney Opera House, Melbourne Symphony Orchestra and websites. Images: Mark Allen.
There's a vibe that buzzes through a venue just before a live gig starts. It's a feeling of excitement shared by a room, arena or field full of people who just can't wait to see a performer take to the stage, and to completely surrender their senses to a show for the next few hours. We all know it. If you're fond of seeing musicians, bands and comedians do their thing right in front of your eyes, you love it. But for nearly two years now, much of Australia has missed it — or missed experiencing it whenever we liked, as was the norm before the pandemic. The country's live entertainment industry has obviously been suffering due to COVID-19, and the lockdowns and restrictions that've been helping to stop the spread since March 2020. Yes, that's an understatement. So, more than 400 artists, performers and other organisations involved in putting on live shows — think: venues, music festivals, tour promoters, ticketing agencies, record labels and comedy producers, as well as theatre, opera and dance companies — have banded together to encourage a way forward. As the Melbourne Symphony Orchestra did back in July, this alliance has kicked off a campaign that's all about getting the jab. The message: #VaxTheNation, stop the interruptions to our daily lives. Accordingly, the just-dropped campaign commercial features shots of sights that feel a bit like a dream from another time, with performers on stages and packed crowds lapping up their sets. These images play to the sound of Powderfinger's 'My Happiness' — and yes, the Brisbane band is one of the big names backing the initiative. Also involved: Jimmy Barnes, Courtney Barnett, Paul Kelly, G-Flip, Tim Minchin, Celeste Barber, Vance Joy, Archie Roach, Amy Shark, Regurgitator, Courtney Act, Birds Of Tokyo, Tom Gleeson, Amyl & The Sniffers, Hilltop Hoods, Nazeem Hussain, Marcia Hines, Midnight Oil, Judith Lucy, RÜFÜS DU SOL, Nina Las Vegas, Briggs, Daryl Braithwaite and Human Nature. The list of performers and musos throwing their names behind the campaign goes on, while new industry group Live Alliance — which includes folks from a heap of other live entertainment bodies — are onboard as well. Check out the #VaxTheNation commercial below: In a statement, Live Alliance members said that "the impact of the pandemic on Australia's world-leading music, theatre, comedy and live entertainment industries has been truly devastating. Getting vaccinated is the crucial step fans can take which will allow us to join together and enjoy the unbeatable magic of live performance once again." Those sentiments have been backed up by words of encouragement from plenty of the high-profile names involved, too. "It's like boxing — a few well-placed jabs can keep your opponent at bay — so let's get the jab to fight COVID-19 so we can get back to what we love doing," noted Archie Roach. "I miss my family, I miss my mates, I miss travelling, I miss performing and sweating it out with other music loves at live music events. But every day when I see those vaccination rates getting higher and higher, it reminds me that I'll be doing all of that again soon and we are so, so close now to dancing together again!" said KLP. "This IS a race. A race we are all running, together," advised Tim Minchin. "As someone who hates COVID and is desperate for attention, I think we should all vax it up so we can get back to normal and have comedy and music and theatre again ASAP. Let's #VaxTheNation so we all have a reason to have a shower and leave the house," said Tom Ballard. If you're now looking for vaccination clinics, you can check out a handy online map that collates vaccination hub, clinic and GP locations. It covers all Australian states and territories, including New South Wales, Victoria and Queensland. For more information about #VaxTheNation, head to the campaign's website.
Consider Dine BNE City the festival that does both: kicking off winter, it gets Brisbanites eating and sipping out of the house, patronising the River City's restaurants and bars; it also serves up wallet-friendly deals that let you wine and dine without busting your budget. Luxe experiences are equally on the menu at this month-long event, but snapping up a special for lunch, dinner or drinks is the main attraction. For 2025, it's back for the entirety of June again, although it officially starts on Friday, May 30 with annual outdoor feast Fireside at St Stephen's Cathedral. This year's launch event will again combine openair dining — with dishes on offer from Dark Shepherd, Naldham House's The Brasserie and The Fifty Six, plus Doughcraft and Walter's Steakhouse; the drinks come courtesy of Club Felix — with entertainment under the stars. Expect to tuck into prawn saganaki, lamb souvlaki, baked Queensland blue swimmer crab and sweet treats from the crumble station, as soundtracked by DJs and live music. That's how Dine BNE City is beginning for 2025. Returning for the fifth time after initially starting in 2021 when Brisbane's dining scene was struggling through the early part of the pandemic, the festival's latest lineup spans more special events, plus reasons to make plans for every lunchtime, after-work drinks and dinner across the month. In the first category, the Urban Wine Walk is strolling around the CBD, Tillerman is doing banquet lunches, Gather Bistro is putting on Friday-night parties, and Naldham House has everything from five-course truffle dinners to high tea and bubbles on its itinerary. If lunch is your favourite meal of the day, the Let's Do Lunch program features specials for $25 and $35. The first price point includes two courses with a drink at Cheeky Poke, a BLT and a beer at Santa Monica, pinza and beer at Doughcraft, a burger and beer at Gather Bistro, and either slow-braised pork belly or golden skin chicken at New Shanghai, among other options. The second expands your picks to gnocchi at overwater restaurant Stilts, a Japanese set menu at Tenya, one of three mains choices at Brisbane Phoenix, the same with French-inspired Vietnamese at Longwang, chicken or beef shawarma at Little Miss Sunshine, and steak and salad at The Walnut, to name just a few deals. For dinner, prices vary — but you could be sharing paella at Mulga Bill's, also getting communal at Babylon Brisbane, tucking into a Donna Chang mini banquet, enjoying Boom Boom Room's yakitori showcase, digging into Harajuku Gyoza's salaryman banquet and seeing how much you can handle at Navala Churrascaria's all-you-can-eat Brazilian BBQ experience. A tasting menu at The Lex, Matt Moran's slow-roast lamb shoulder at Riverbar & Kitchen, $30 lobster brioche with bubbles at Hibiscus Bar & Terrace: add them to your list as well. Or, make the most of the city's after-work bar scene, including for bao and beverages at Luc Lac, wagyu beef sandos with Moscow mules at The Charles, skewer platters and umeshu at Bar 1603, a French spread with bubbles at Pompette, oysters and champagne at Rothwell's, and spritzes and charcuterie at Blackbird.
Cooking is an act of precision. It's also one of feeling. On the movie that nabbed him the Best Director award at the 2023 Cannes Film Festival, Trần Anh Hùng (Éternité, Norwegian Wood) helms with the same care, spirit and emotion that his characters display in the kitchen. The Taste of Things' audience has a front-row seat to both, as this 1885-set French picture begins with dishes upon dishes being whipped up and the feature's gaze, via cinematographer Jonathan Ricquebourg (Final Cut), lenses their creation intimately and sumptuously. The film's extraordinary opening 30 minutes-plus, as the camera is trained on the stove and counter with slight detours around the room to collect or wash ingredients, is meticulously crafted and at the same time instinctual. Think: the sensations of observing the finest of fine-dining chefs and being a child watching your grandmother make culinary magic, as nearly every kid has, all rolled into one appetising introductory sequence. In the home of gourmand Dodin Bouffant (Benoît Magimel, The King of Algiers), and in its heart, his personal chef Eugénie (Juliette Binoche, The New Look) is so skilled and fastidious that she'd do small-screen hit The Bear proud; she's clearly a conjurer of the culinary arts, too. Hùng and Ricquebourg — the latter a well-deserving Lumiere Award-winner for his efforts here — are methodical with the choreography of setting the scene, while equally deeply immersed in the flow of the kitchen's tasks. As soundtracked by chirping birds, if this was The Taste of Things for 135 minutes and not just half an hour-ish, it'd remain a mesmerising movie. (A word of warning: eat before viewing, lest hunger pangs not just simmer but boil over.) Adapting 1924 novel The Passionate Epicure: La Vie et la Passion de Dodin-Bouffant, Gourmet by epicure Marcel Rouff as he scripts and directs, Hùng does more than fashion among the most-handsomely staged and shot imagery of a meal coming to life, but his approach to this entrée establishes the flavour. For its main course, still never roaming far from the most-important room in the house, The Taste of Things sinks its teeth into a relationship that is first laid bare as the film warms up. Anyone who has ever been employed in a kitchen, or caught a movie or series — fiction and documentary alike — set within one, knows that there's no hiding anything in this always-on-the-go space. How people interact and react can't be seasoned over, either, amid the pots, pans, trays, whisks and spatulas. Accordingly, it's plain to see from the get-go that Dodin and Eugénie are as connected to each other as they are to food, even if Hùng doesn't layer in much in the way of backstory. As well as working together for 20 years, they're occasional lovers, and they'd be married if Dodin had his wish; that they're not isn't due to his lack of asking. Featuring a seafood vol-au-vent, poached chicken, crayfish, a rack of veal, braised lettuce and more — and also a baked alaska that looks as divine as desserts get — that initial meal is a feast for Dodin and his friends at his rural estate. As it is served course by course, praise is showered Eugénie's way, as are pleas for her to join them at the table. She'd rather be behind the scenes; for her, the glory of creation, toiling at something that you're passionate about and dedicating your time to the only work you've ever wanted to do trumps everything. As Eugénie does, much of The Taste of Things shows rather than utters, commencing with the scant amount of dialogue said as lunch is being prepared with assistance from kitchenhand Violette (Galatéa Bellugi, Junkyard Dog), plus Violette's visiting niece Pauline (debutant Bonnie Chagneau-Ravoire), who shows a flair for cooking beyond her years. That The Taste of Things is a sensual picture is evident from its debut bite. That it is patient — slow-burning in fact — is just as apparent. Its guiding force has form in 1993's The Scent of Green Papaya, the Vietnamese French director's Oscar-nominated debut; however, when you're making a movie about savouring what's truly valuable in life, from food and fervour to the pleasure of the person that you love's company, matching that notion is essential. Nothing about The Taste of Things is in a rush, or afraid to revel and linger. Drama is sprinkled through the storyline, as is grief, but the pacing and mood is contemplative to the point of being almost meditative. And that air of appreciation, of luxuriating, of enjoying exactly what's in the title when you can, is the vibe and ethos of its central couple. Irrespective of the turned-down proposals, Dodin and Eugénie have made relishing their shared affair with cuisine and their years side by side the core of their romance. Binoche and Magimel, both luminous beneath painterly lighting whether they're standing over a chopping board, in the bedroom —including after an attention-grabbing cut from a pear to the naked form — or strolling through the sunny garden, aren't strangers in either a professional or personal capacity. In 1999, they co-starred as lovers in The Children of the Century. That same year, their daughter was born. Their off-screen relationship ended in 2003, but there's a comfort in their parts as Dodin and Eugénie that feels both raw and rich, not to mention rare. Watching characters who are allowed to delight in each other with decades of respect and affection behind them is indeed infrequent on-screen, and helps make The Taste of Things play like a delicacy. This gorgeously filmed, performed and penned picture has become famous for something other than its contents, though: it's one of the reasons that Anatomy of a Fall doesn't have 2024's Best International Feature Oscar to its name. Each nation can only put one title forward each year, with France's submission committee opting for Hùng's film over Justine Triet's Palme d'Or-winner (at the same Cannes where Hùng took home the Best Director accolade). The choice didn't escape notice, even if it'll never now be known if Anatomy of a Fall would've pipped The Zone of Interest for the Academy's global cinema prize to add to its win for Best Original Screenplay, and also scoring four other nominations. The scrutiny over the pick, especially after The Taste of Things was shortlisted but not nominated — for anything — does this nourishing treat an injustice. As remains true in the culinary and cinematic spheres alike, a sublime meal is a sublime meal regardless of other exquisite dishes existing.
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=MlBWyDf0r2M THE BROKEN HEARTS GALLERY Romantic comedies routinely trade in cliches, and The Broken Hearts Gallery is no different. Here, aspiring gallery curator Lucy (Geraldine Viswanathan, Miracle Workers) endures a traumatic breakup, indulges in a niche hobby that might just change her life, and oozes chemistry with the handsome and brooding Nick (Dacre Montgomery, Stranger Things) after the obligatory meet-cute. Her obsession: turning her hoarded mementos from past relationships, and similar junk collected by other lovelorn New Yorkers, into a cathartic, heartwarming exhibition. Long taunted by her best pals and roommates (Hamilton's Phillipa Soo and Good Boys' Molly Gordon) about her need to hold onto trinkets for sentimental purposes, she's actually motivated to make something of her bric-a-brac after drunkenly mistaking Nick's car for an Uber, unburdening her woes to him as he kindly drives her home, and later visiting the rundown old hotel that he's pouring his heart, soul and cash into as a passion project. From the above description, it should be apparent exactly where this film goes — but, in another rom-com trope, The Broken Hearts Gallery's likeable leads make a big imprint. Seen at home in Emo the Musical and Janet King, as well as Better Watch Out and A Few Less Men, Australian duo Viswanathan and Montgomery have already made a splash via high-profile US-made TV shows in the past few years — and, in Viswanathan's case, in the film Blockers as well. They're both destined for bigger things, especially the grounded, relatable and very funny Viswanathan, but they make the most of their roles here. Well, they do as much as they can given they're in an immensely standard movie otherwise. Indeed, while there are few weak links among The Broken Hearts Gallery's cast (which also includes Brittany Runs a Marathon's Utkarsh Ambudkar and Mozart in the Jungle's Bernadette Peters), the film's central duo easily make viewers wish that everything around them had more spark, served up more surprises and took more chances. Even when it's upbeat, spirited and delivered with charming talent, a happily by-the-numbers affair is still going to feel formulaic, after all, a sensation that this feature debut from writer/director (and ex-Gossip Girl scribe and story editor) Natalie Krinsky never quite shakes. https://www.youtube.com/watch?v=RC2dsAGvGy0 AN AMERICAN PICKLE If an early 20th-century Jewish immigrant found himself walking around in 2019, what would he think of the world? That question comes with a flipside, of course, because it's equally valid to wonder how today's folks would react in response. With Seth Rogen starring as a ditch-digging, rat-catching new arrival from Eastern Europe to Brooklyn, these are a couple of the queries pondered by An American Pickle. It's the latest in a long line of comedies that trifle with time while doubling as time capsules, and it falls firmly from a familiar mould. Indeed, seeing, examining and giggling at the contrast between century-old ways and contemporary ideas is a considerable part of the film. Not only that, but this Simon Rich-penned adaptation of his own short story Sell Out does all of the above broadly and blatantly — pointing out that big, bushy beards have become hipster beacons, for example, and that much has progressed since the 1900s. Consequently, there's no avoiding just how slight An American Pickle is. Its protagonist might fall into a vat of brine, get sealed in, then emerge in a new millennium, but this movie isn't diving deep. Thankfully, mixed up with all the obvious jokes are two thoughtful performances, both by Rogen, that help the film interrogate the push and pull between the past and the present in a moving fashion. He plays Herschel Greenbaum, a new arrival to US with his wife Sarah (Succession's Sarah Snook), after the pair leave their home of Schlupsk to escape Russian Cossacks and chase a better life — and he also steps into the shoes of app developer Ben Greenbaum, Herschel's great-grandson and only living descendant when he awakens in his preserved (and presumably extra salty) state. The two men are the same age, and look alike, but they sport differences beyond Herschel's facial hair and Ben's technological know-how. It's the usual generational divide, as instantly recognisable to everyone watching. But when An American Pickle lets its star shine, rather than gets weighed down with over-the-top clashes in the service of clearcut gags and satirical observations, this affable but also mostly forgettable film boasts heart and sweetness. It's oh-so predictable, but it also shows an understanding of how the past always leaves an imprint, the future needn't fastidiously be chained to tradition, and that everything old and all things new have a symbiotic relationship. Read our full review. https://www.youtube.com/watch?v=THXebxAFCzY THE TRANSLATORS Like Agatha Christie and Knives Out before them, the makers of The Translators know that a good whodunnit serves up two major joys. That'd be the puzzle and the journey — because whichever intriguing narrative is being thrust their way, audiences want to sleuth along with the characters, piecing clues together in their heads; and, they want to enjoy each and every one of the story's many ins, outs, twists and turns as all the details unravel, too. In fact, this French film embraces those truths heartily. Writer/director Régis Roinsard (Populaire) and his co-scribes Romain Compingt and Daniel Presley even go a little heavy on convoluted minutiae and attempts to keep everyone guessing. Still, they mostly deliver an entertaining thriller — and, as always proves the case in this genre, if you enjoy the game and the ride enough once, it doesn't really matter if you won't be clamouring for a second helping The Translators' premise is killer — in a film that doesn't shy away from a body count, but is actually more concerned with stolen pages from the yet-to-be-released last book in the bestselling The Man Who Did Not Want to Die series. The latest novel has only been seen by its secretive author, arrogant French publisher Eric Angstrom (Lambert Wilson, The Odyssey) and the nine translators the latter has assembled to prepare the text in multiple languages for a simultaneous worldwide debut. The enlisted team of experts are working in a bunker under stringent conditions, however, so when Angstrom receives an email threatening to leak the new book unless a huge ransom is paid, he's both perplexed and angry. Also starring Olga Kurylenko (The Man Who Killed Don Quixote) as a Russian translator who purposely dresses to resemble the fated heroine in the novel the group is working on, as well as Alex Lawther (The End of the F***ing World) as a noticeably young Brit, The Translators isn't big on depth but still keeps viewers engaged. Hurtling forward like someone furiously thumbing through an airport novel, and offering a slick, swift-moving affair that ticks all the whodunnit basics (even as it gets a little too carried away with the exaggerated drip-fed clues, surprise reveals and reversals) will do that. Read our full review. https://www.youtube.com/watch?v=8Jv6f59Z4Y8 THE SECRETS WE KEEP First bursting onto cinema screens as The Girl with the Dragon Tattoo's Lisbeth Salander — before Rooney Mara and Claire Foy both played the role in US versions — Noomi Rapace instantly became a star. Since her great performance in that thriller series and the underrated Prometheus, however, she's struggled to secure meaty roles that do her talents justice. And, unfortunately, The Secrets We Keep doesn't redress that situation. In a film that takes a premise already explored in 1990 play and 1994 film Death and the Maiden, but shifts the details to post-Second World War America, she's saddled with a stock-standard revenge narrative that couldn't feel more routine. In fact, Rapace's casting is actually one of the movie's overtly obvious elements. She's famed for her work a woman determined to right past wrongs and unafraid to take drastic actions to do so, and that's what she's asked to do here. Her last big part, as a mother who might be getting gaslit in Angel of Mine, also proves relevant as well. Rapace plays Romani immigrant Maja, who has set up a life with her physician husband Lewis (Chris Messina, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) and their young son (Jackson Dean Vincent) in a small American town. Then, in passing, she spies newcomer Thomas (Joel Kinnaman, Suicide Squad). Still haunted by horrors from the war 15 years prior, she's certain that he once brutally attacked her — then changed his identity and moved to her neighbourhood. So, Maja takes matters into her own hands. Quickly, even though he has plenty of doubts, Lewis is enlisted to help. Writer/director Yuval Adler's last film, The Operative, also attempted to wade through a murky plot and similarly had little success. Rapace hits the familiar notes she's asked to with visible gusto, Kinnaman endeavours to play more than just a cookie-cutter possible Nazi, and She Dies Tomorrow filmmaker Amy Seimetz turns in a nuanced supporting performance, but The Secrets We Keep constantly mistakes its solemn tone for substance. A thoughtful, captivating or even just intriguing reckoning with vengeance, trauma and trying to reconcile past struggles, this sadly isn't. https://www.youtube.com/watch?v=fy32-KCnexo THE SECRET GARDEN When The Secret Garden first reached the page as a serialised story in 1910, author Frances Hodgson Burnett couldn't have known how relevant her tale would feel 110 years later. Obviously she'll never know, as she passed away in 1924 — but if there was ever a time for a new big-screen version of this beloved children's favourite about escaping life's woes by banding together, making the most of things and enjoying the pockets of nature at hand, it's 2020. Indeed, while this new cinematic iteration was actually due to hit screens earlier this year, which means that it was made pre-pandemic, it firmly strikes a chord in these strange times. Whether you loved the book when you were much smaller, you can barely remember it, or you're more familiar with the narrative from the 1993 movie, a lavishly shot fantasy about a unhappy girl plagued by tragedy yet finding solace in the titular space couldn't be more fitting right now. The narrative, for those who need a refresher, focuses on the pre-teen Mary (Dixie Egerickx, The Little Stranger) — who swiftly segues from from living in India under British rule to being sent to the Yorkshire moors to stay with her reclusive uncle (Colin Firth) when her parents are killed. She's bratty, spoiled and far from content about the new arrangement, but wandering the estate's sizeable grounds soon brings her to a hidden patch of greenery. Under the direction of TV veteran Marc Munden (Black Sails, National Treasure), this version of the tale takes place after the Second World War, but that's not the only change. It relays the same overall details, but it also leans into the darkness and gothic drama of the material in a firm and noticeable way. Perhaps that's another reason why it also feels apt for viewers young and young-at-heart — because overcoming loss, misery and struggle always comes with a sense of weight and, amidst its expected leafy sights and general childhood wonder, this take on The Secret Garden never forgets that. https://www.youtube.com/watch?v=tvXgXQ6iro4 TROLLS WORLD TOUR Fuzzy-haired playthings turned into animated heroes, glitter fart clouds and cupcakes poop, and a lengthy list of earworm-style songs: that's what 2016's Trolls served up. It was loud, shiny and sickly sweet, but it also featured lively voicework from Anna Kendrick and standout handmade-looking visuals, which made the film's CGI look as if it had been made from felt and other crafting products. Naturally, the all-ages movie was a hit, like most flicks based on toys and simultaneously designed to sell more toys. So, it's to the surprise of absolutely no one that sequel Trolls World Tour now exists, and that it's once again using bright and bouncy visuals and a jukebox-musical style format to appeal to viewers young and old, and to spread a positive message — again, as efforts like this are known to. With Kendrick back as the perky Queen Poppy and Justin Timberlake once again voicing her best friend Branch, this follow-up returns to the first film's trolls as they learn that other creatures like them exist. They're not exactly the same, though, with different troll groups favouring varying styles of music — making Poppy's community the 'pop trolls'. Clearly, as the villainous Queen Barb (Rachel Bloom, Crazy Ex-Girlfriend) of the hard rock trolls tries to make the separate tribes assimilate under her preferred style of music, there's an overt message about acceptance on offer. It isn't subtle, and it's actually undercut by the fact that the different troll crews (including techno trolls, funk trolls, classical trolls and country trolls) are all given such blatantly stereotypical traits. But, once more, the film is lifted by its cast (complete with Sam Rockwell and Ozzy Osbourne), it's textile appearance and the fact that it actually works its ongoing medley of well-known songs into the story, rather than merely uses them as an easy distraction technique as many fellow Hollywood-made animated movies do. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23, July 30, August 6, August 13, August 20, August 27, September 3 and September 10 — and our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables and The New Mutants.
1987's Predator is so much better than you remember, even if you remember it being pretty bloody great. Written by Shane Black (who also scribed Lethal Weapon before writing and directing Kiss Kiss Bang Bang and The Nice Guys), Predator was framed as just another action blockbuster vehicle for Arnold Schwarzenegger, yet proved a surprisingly smart and masterfully constructed thriller with equal measures of horror, science-fiction, eternally quotable lines and laugh out loud comedy. Best of all, its villain was something entirely new: a sneaky, lethal and superior hunting machine that could turn invisible as it hunted humans for sport like the antagonist from an alien version of The Most Dangerous Game. Sequels followed. The first wasn't bad. The rest were. They even tried spinoffs, hoping the success and popularity of the Alien vs. Predator comic book series would translate to the big screen. It didn't. Now, some 31 years after the original, Black returns as both writer and director with The Predator. At the end of the day though, things probably would have been better if he hadn't. If the original Predator defied easy categorisation, The Predator proves even harder, shifting from extreme gore and violence one minute to 80s-style quips and blokey banter the next. The hero this time round is Narcos star Boyd Holbrook, whose vanilla performance matches his vanilla character - a grizzled sniper who finds himself on the wrong side of a shady government agency after inadvertently establishing first contact with Earth's latest predatory guest. He's soon bundled in with a bunch of PTSD-affected military rejects as part of a smear campaign, only to have these so-called loonies become his reluctant allies in a desperate effort to stop the extraterrestrial killer and save his autistic son (whose savant abilities – surely one of cinema's most tired cliches – allows him to read and interpret the alien language). It's a mess of a movie, uncertain from its opening scene whether it wants to make you laugh, wince or hide behind your hands. Black's strength has always been dialogue, so it's no surprise The Predator's less action-oriented scenes are also its strongest. Even in these moments, though, the jokes a wildly inconsistent, with every witty high point undermined by a crude, racist, bigoted or sexist jibe. Yes, soldiers are far from saints and doubtless many speak exactly like those presented on screen. Less so scientists whose behaviour in The Predator is often distinguishable from the soldiers around them thanks only to their white lab coats. Performance wise, Olivia Munn does what she can with limited resources (including having her introductory sequence edited out of the film after she discovered her co-star in the scene was a registered sex offender and raised objections with the studio). She's one of a number of talented actors stuck with thinly-crafted actors, including Moonlight's Trevante Rhodes and Key & Peele's Keegan-Michael Key. Jake Busey also makes a cameo, marking one of the film's many tips of the hat to the preceding films (his father was in the sequel), with playful quotes, musical cues and various props all there to reward long-time fans. The gritty action-comedy genre could well do with a comeback, and nobody would seem better placed than Black to make it happen. With The Predator, however, he falls short, delivering something that's entertaining at times but ultimately feels entirely forgettable. Certainly, it's a far cry from the brilliance of his original. https://www.youtube.com/watch?v=WaG1KZqrLvM
Australians devour approximately 190,000 tonnes of meat per year. This equates to 120kg per person per annum, which is almost three times as much as the world average. Despite the phenomenal increase in meat consumption over the last few decades, particularly in pork and poultry, the number of pig producers in the country has reduced by 94 percent and there are only two major producers of chicken. This is largely why two-thirds of the world's meat now comes from factory farming. So what can you do about the animal cruelty and health problems this gross over-consumption is causing? Take part in Meat Free Week from March 23 - 29 to help spread the word and raise funds for this important issue. Money raised from the initiative goes to charities such as Voiceless, who help protect factory farmed animals in Australia. And they're not trying to persuade you to become an avid vegan or vegetarian; it's simply about modifying meat consumption: limiting meat intake and only choosing free-range animal products in order to reduce the amount of factory farming in Australia. You could also improve your own health in the process, as eating excessive amounts of meat can lead to heart disease, kidney failure or even cancer. Head to the Meat Free Week website to read more and sign up.
New South Wales being as big as it is, it should come as no surprise just how varied the communities and events calendar can be. If you're committed to travelling across this wide land in search of a good feed, let us do the hard yards for you. Throughout the year, there are food festivals of all shapes, sizes and menus happening across the state, so we've partnered up with Destination NSW for this definitive list of events you'll need to add to the agenda. As of autumn, we're fast approaching the annual celebration of luminescence and warmth that is Vivid Sydney, conveniently timed to fend off the cold and dark nights of winter. Beyond the obvious attractions of bright lights and exclusive experiences, a great many foodie-centric events are booked across the state, too.
Everyone has an Ekka routine. For most of us, it involves trying to get someone you know to buy you a Bertie Beetle show bag, and then still managing to get the flu even after steering clear of the RNA Showgrounds. But this year, make a new tradition. Black Bear Lodge will help. Enter the Pre-Ekka Wrekka, aka the Brunswick Street venue's inaugural public holiday bash. To get things started, Shady Bliss, The Dollar Bill Murrays, Bixby Canyon and Nice Biscuit will crank out some tunes, and Sailor Jerry will lend their boozy support. Yep, it already sounds like something we'll be looking forward to in years to come. Image: Rachael Baskerville via The Dollar Bill Murrays.
Musicians around Australia are taking to the streets in an unusual form of protest. In response to the recent decision by ABC Radio National to decommission music programs The Daily Planet, The Inside Sleeve, The Live Set and The Rhythm Divine, buskers will gather en masse outside ABC offices in capital cities to voice their concerns and belt out a few tunes. Set to take place in Sydney today, Melbourne, Adelaide, Perth and Hobart tomorrow, and Brisbane next Thursday, the RN or Busk protests are being coordinated by the Save RN Music campaign. "We need these shows for our careers, our community, our families and Australian Culture, because these shows play and support independent adult contemporary music," reads the Facebook event page for the Melbourne protest. "They are the lifeline from the musicians to the audience." Meanwhile, a number of prominent musicians including Paul Kelly, Missy Higgins, Archie Roach, Sarah Blasko, Tim Freedman, Megan Washington and Dan Sultan have co-signed an open letter addressed to ABC board members saying they were "appalled" by the ABC's decision to scrap the programs "without proper industry and public consultation". "The cuts deliver a fundamental blow to diverse, vibrant and independent sectors of the Australian music industry, which receive minimal national radio coverage elsewhere," the letter reads. It also directs the board to an online petition, signed by more than 15,000 people, that calls on the ABC to reverse its decision. To find a busk in your city, go here, and to learn more about the Save RN Music campaign, go here.
Every quarter, Australia's Bureau of Meteorology releases its climate outlook for the coming season, signalling to the country just what type of weather might be in store. For the winter just gone, for example, it advised that we were in for hotter and wetter-than-average conditions. And, for both spring and summer, it's now predicting plenty of warm-weather rain. BOM's spring forecast was actually released at the end of August, noting two key points. First, it advised that there's a high likelihood of above-average rainfall across this period. Secondly, it noted that temperatures are likely to be average or even slightly below average in the nation's south, and warmer than usual in the country's north. Since then, however, the Bureau has issued two further statements about spring and summer's weather — with the latest stressing that there's an increased chance of flooding and cyclones. Thanks to BOM's severe weather outlook, it's sensible to expect damp conditions from October through until April, as a result of La Niña. The news follows an announcement at the end of September, when the Bureau revealed that the coupled ocean-atmosphere phenomenon was now active in the Pacific Ocean, and was likely to remain that way until at least the end of 2020. Some La Niña events can last around a year. When it comes to flooding, BOM advises that because La Niña is expected to bring more rain to Australia's east and north, the risk of widespread flooding increases. It also notes that rain has already been hitting some drought-affected areas. https://twitter.com/BOM_au/status/1315493814958583808 In regards to tropical cyclones, it predicts that there's an increased risk in the country's north. "On average, Australia sees nine to 11 tropical cyclones each year, with four crossing the coast. With La Niña this year we are expecting to see slightly more tropical cyclones than average, and the first one may arrive earlier than normal," said Bureau climatologist Greg Browning. BOM also advised that there's average potential for heatwaves and severe thunderstorms across the coming months. In good news after last year's catastrophic bushfire season, the Bureau is forecasting average fire conditions for the rest of 2020 and the beginning of 2021, too, as linked to the wetter weather. "This fire season, we're expecting wetter than average conditions in eastern and northern Australia, so long-running large bushfires are less likely; however, a wetter spring can lead to abundant grass growth, which could increase fire danger as it naturally dries during summer," noted Browning. If you're wondering what all of the above means, temperature-wise, it depends on the state. Queensland is never cool once spring and summer hits, but above-average temps are particularly forecast for the state's northern half. In New South Wales and Victoria, higher-than-average temperatures are predicted, with longer and more humid heatwaves possible in NSW's south and across the entirety of Victoria. The latter also applies to South Australia, although it might be in for fewer days of extreme heat. Western Australia can expect higher-than-average temperatures across the state, especially in the northeast. For further details about the Bureau of Meteorology's spring and summer forecasts, check out its spring outlook and severe weather outlook.
Before the 1988 Brisbane Expo, South Bank didn't exist. That's how much the huge world event reshaped the city. And while that fact has been easy to forget over the years, a little upcoming spectacle called the 2032 Olympic and Paralympic Games is about to remind us how much can change when a place needs to accommodate festivities of an immense scale — with plenty of the Sunshine State's capital set to get a makeover. Tearing down and rebuilding the Gabba is one such plan. Creating a new seven-hectare riverside parkland in South Brisbane is another. Getting us all zooming around via self-flying taxis is also on the list, and so is revamping and expanding Northshore Hamilton along an extra 1.2-kilometre stretch of the river. Initially, that transformation across current industrial land along the river's northern edge is all about setting up the Brisbane Athlete Village for the Brisbane 2032 games, which has long been part of the Olympic and Paralympic planning. But once all the sporting contests are over, Brissie will score a new waterside precinct — well, a heftier version of an existing one. Deputy Premier, Minister for State Development, Infrastructure, Local Government and Planning and Minister Assisting the Premier on Olympics Infrastructure Dr Steven Miles announced on Friday, October 28 that this part of Brisbane's Olympics makeover will be accelerated, with works in the Northshore Hamilton Priority Development Area — aka that expanse by the river in Hamilton — being approved. To do so, the minister gave the go-ahead for a development scheme amendment, after consulting with the community about the proposal. "An additional 1.2 kilometres of this prime waterfront location will be transformed into a vibrant, mixed-use precinct for the community," said the Deputy Premier in a statement. "It will be one of the biggest contributions of Brisbane riverfront parkland since South Bank was established. A new commercial heart will be located along Macarthur Avenue to take advantage of increased foot traffic and maximise the invaluable new riverside parkland. This development will cement Northshore as a world-class lifestyle, recreation and events destination," Miles continued. Expect big things — 304 hectares in area, in fact, which makes Northshore Hamilton Queensland's largest waterfront urban renewal precinct. When the revamp is all done and up and running, it'll play host to shops, eateries, businesses, and places for entertainment and cultural activities. Hotels and markets have been floated for the precinct, too. Also in the plan: more than 14,000 dwellings housing 24,000-plus residents. (During its tenure as the Athlete Village, it'll host 10,000-plus athletes and team officials for the Olympics, as well as 5000-plus for the Paralympics.) [caption id="attachment_831497" align="alignnone" width="1920"] Eat Street Northshore[/caption] Brisbane will host the 2032 Olympics from July 23–August 8, 2032. We'll update you with further information about the plans for Northshore Hamilton as they're announced. Images: artists impressions, Queensland Government.
When Quibi launched in Australia and New Zealand back in April, it added yet another streaming platform to the already lengthy list of services competing for your eyeballs. But this newcomer comes with a few twists — serving up its content in small chunks of up to ten minutes in length, for starters, and also designing it all for viewing on your phone. Over the past few months, however, the platform has also undergone some changes. The big one: letting viewers stream Quibi's movies and TV shows from their phone to their television. While the service launched as a mobile-only app, forcing you to watch it on your device of choice, it added Airplay and Chromecast capabilities back in June — after realising that folks didn't just want to view things by themselves on a tiny phone screen, particularly when we're all spending more time at home during a pandemic. Now, Quibi has announced another new change. With the app's original 90-day free trial period now over, it has added a completely free ongoing option for viewers in Australia and New Zealand. There is a catch, though, as you're probably already expecting: if you want to check out the platform without spending a cent, you will need to sit through ads. Still, if you're keen to check out a new version of Punk'd hosted by Chance the Rapper, see Chrissy Teigen preside over small claims cases in the Judge Judy-style Chrissy's Court or get immersed in a Reese Witherspoon-narrated documentary series about females in natural history — or watch Anna Kendrick befriend a sex doll, follow the twists of horror-thriller The Stranger or work your way through a new version of The Fugitive — you can now do without troubling your wallet. Quibi's lineup includes everything from dramas and comedies to news and reality TV in bite-sized portions, with instalments maxing out at ten minutes but most running shorter (between five and eight minutes). Also on the bill: 'movies in chapters', which break films down into episodic segments to fit the platform's whole concept. https://www.youtube.com/watch?v=nKPuomRV5C8 With an ultimate aim of hitting 175 different shows and 7000 episodes in its first year, other Quibi highlights include mockumentary Nikki Fre$h, which follows Nicole Richie's efforts to become a wellness-focused rapper; cooking competition show Dishmantled, where host and Unbreakable Kimmy Schmidt star Tituss Burgess shoots food at two culinary industry figures, then forces them to try to recreate the dish in question; and Lena Waithe-hosted documentary series You Ain't Got These, about sneaker culture. There's also Flipped, starring Will Forte and It's Always Sunny in Philadelphia's Kaitlin Olson as a down-on-their-luck couple desperate to host their own TV renovation series; Most Dangerous Game, the latest twist on the humans-hunting-humans idea, this time with Christoph Waltz and Liam Hemsworth; and Survive, which casts Game of Thrones' Sophie Turner as a suicidal patient suddenly forced to fight for her life after a plane crash. Or, you can watch luxury dog houses come to life in Barkitecture. Boasting a name that's been shortened from 'quick bites', Quibi was created by ex-Disney chairman and DreamWorks cofounder Jeffrey Katzenberg, and is led by former eBay president and CEO Meg Whitman. Before it launched, it had been in the works since 2018 — and earned ample attention thanks to its huge stash of cash (reportedly raising $1.75 billion to spend on content), as well as its hefty array of stars and shows (including an upcoming remake of How to Lose a Guy in 10 Days). If you are planning to check it out on your phone, Quibi is designed to play in full-screen no matter whether your handset is vertical or horizontal — with the image automatically changing as you move your device around. Don't like ads? If you're happy to pay, Quibi has also reduced the monthly price for its advertisement-free version from AU$12.99 to AU$6.99. For further details about Quibi, visit the streaming platform's website. To download the Quibi app, head to the App Store or GooglePlay. Top image: Barkitecture.
When you consider the conventional response to the Deepwater Horizon disaster, one of impassioned environmental outrage, you almost feel like director Peter Berg accepted his latest film as a dare. "Hey Pete, here's one for ya. You know that Deepwater thing that happened back in 2010? Worst oil disaster in US history? 4.9 million barrels of oil spilled into the Gulf of Mexico? 11 workers missing and never found. Millions upon millions of marine animals wiped out and a $100 billion company doing everything it could to avoid liability? Yeah, well…make that an uplifting story". Impressively – and to Berg's definite credit – he's done a more than solid job of it. Deepwater Horizon does indeed find its heart by telling the story of the 'roughnecks' who kept the rig running right until it didn't: the engineers, the riggers, the crane operators and the cleaners. BP executives feature too, but you'd better believe they're the bad guys, especially in the eyes of the Deepwater team. Penny-pinching and regulation-bending, the BP/Transocean head honchos (led by John Malkovich) come across like comic book villains, delivering silver-tongued insults and making unyielding demands of their subordinates through toothy, moustachioed grins and deep-south Louisiana drawls. If Deepwater Horizon were a cartoon, Foghorn Leghorn would be the first one cast ("I say, I say, I say, I do protest sir that this here rig be nigh on 43 days past delivery date, yiiiih-ha!!") Squaring up against the suits is a solid ensemble cast of hard-arses and hillbillies from the Transocean team responsible for keeping the Deepwater rig afloat. At the helm, Mark Wahlberg plays Mike Williams, a straight-talking electronics technician, husband (to Kate Hudson) and father who tells his buddies how to fix their cars and his superiors how to fix their floating oil station. Alongside his boss Mr Jimmy (Kurt Russell), Williams has no difficulty in seeing that BP's determination to complete the drilling project and advance to the next site as quickly as possible puts at risk not just the oil reserve but all the crew members responsible for drilling it. Greed and gross negligence, in the film's frustratingly simplistic estimation, explain what happened next. We say frustrating, because in Deepwater Horizon there existed an opportunity to delve deep into the specifics of what precipitated the massive blow-out and subsequent explosion on that fateful evening. Sadly the script, based on the New York Times article "Deepwater Horizon's Final Hours", rarely advances beyond repeated mentions of a 'cement bond log test' not being performed. Berg's focus is clear from the beginning: this is a human story centred on a very specific couple of hours from within a much larger tale. But whatever the movie lacks in narrative depth, it does its best to make up for in action. As with any real-world disaster movie, the inevitable cataclysmic conclusion endows it with an inherent suspense. Berg's job is to simply build the pressure until its explosive release can be held no longer – and he's happy to take his time. As in Clint Eastwood's recently released Sully, the film's patience in delivering the heart-thumping disaster moment means its eventual arrival is almost overwhelming, aptly showcasing the horrors endured by those on board, and the heroism of the few whose actions saw so many others survive. An intense and gripping piece of cinema, Deepwater Horizon ultimately resonates more than one might have expected for a film of this type and subject matter, offering at once an earnest tribute to the men who lost their lives and a solid rebuke to those who were responsible. https://www.youtube.com/watch?v=S-UPJyEHmM0
Not be outdone by their neighbours, whose own festival du film celebrates its 25th anniversary this year, the latest line-up at the Audi Festival of German Films is guaranteed to give the French a run for their money. Presented by the Goethe-Institut in conjunction with Palace Cinemas, the 2014 festival boasts a selection of more than 50 German language films, as well as parties, lectures, special screenings and Q&As. Just a few of the highlights include Marc Rothemund's The Girl with Nine Wigs, about a young woman struggling with a cancer diagnosis; Constanze Knoche's simmering family drama, Visitors, about the strained relationship between a father and his three adult children; and Jan-Ole Gerster's black and white, day-in-the-life dramedy Oh Boy, which scooped up the top prize at the 2013 German Film Awards. For the full Audi Festival of German Films program, see the festival website. https://youtube.com/watch?v=Xlyt_IRWM30
Located in the Great Sandy National Park, Double Island Point is a tranquil spot for just that. To get there you'll need a four-wheel drive, a beach driving permit, all your own supplies and knowledge of the tides (you can only reach it at certain points of the day) — so invite your mates who are more seasoned campers. But once you're there, you'll experience clear blue water, complete calm and, hopefully, a chance encounter with a dolphin or two. Pack your sleeping bag, your favourite people, supplies for a fireside feast and make a weekend of it.
Broadway and West End smash An American in Paris is singing and dancing its way into Brisbane, with the four-time Tony-winner kicking off its Australian run of shows at the QPAC Lyric Theatre on Saturday, January 8. The dazzling show is based on 1951 film of the same name so yes, if you're a fan of classic movies — and classic big-screen musicals starring none other than the inimitable Gene Kelly at that — its name will definitely sound familiar. Story-wise, the musical follows an American soldier in Paris (because its moniker is that straightforward). Set at the end of the Second World War, it charts US GI's Jerry Mulligan's exploits as he falls for a French woman. Well, he is celebrating the end of the combat in the notably romantic city, after all. Bringing the Oscar-winning 70-year-old film to the stage, this version of An American in Paris is directed by acclaimed contemporary ballet choreographer Christopher Wheeldon — and adapted for theatre and choreographed by him, too. The Aussie run is also being staged in collaboration with the Australian Ballet, so expect to see some of their dancers helping to bring the musical to life. George and Ira Gershwin's songs make the leap to the theatre as well, including 'I Got Rhythm', 'S Wonderful', 'But Not For Me' and 'They Can't Take That Away From Me'. Initially, An American in Paris debuted in Paris — where else? — in 2014, before hitting Broadway, Boston and West End. In Brisbane, it'll play until Sunday, January 30. [caption id="attachment_828886" align="alignnone" width="1920"] Tristram Kenton[/caption] Images: Tristram Kenton.
Blockbuster effects can't mask bland storytelling, as the execs at Disney dip back into their classic library with less than impressive results. An alternate take on the tale of Sleeping Beauty, the studio's latest sees the cackling, leather-clad sorceress recast as a figure of sympathy. Hard to pronounce and harder to sit through, Maleficent is a movie very much in the same vein as Oz the Great and Powerful or the recent Alice in Wonderland — which is to say that it's heavy on expensive-looking digital wizardry and light on just about everything else. Clumsy voiceover sets the scene, in a run-of-the-mill fairytale forest home to pixies, trolls and a curious winged girl named Maleficent (Isobelle Molloy). Although wary of the human kingdom that exists beyond the forest borders, when Maleficent catches an orphan boy named Stefan trespassing, a fledgling romance seems destined to ignite. But humans are a fickle bunch, and so as Stefan grows older he becomes swept up with ambition, culminating in a brutal betrayal in which he cuts off Maleficent's wings in order to secure a place on the throne. Devastated, a now adult Maleficent (Angelina Jolie) embraces her dark side, swearing vengeance on Stefan and placing a curse on his newborn baby, Aurora — spinning wheel, eternal sleep and all. The idea of a Wicked-style reversal on a classic Disney villain is an interesting idea, but first-time director Robert Stromberg — better known for the production design on films like Avatar and Alice in Wonderland — botches the execution. The sporadic voiceover and muddled editing makes the film seem oddly lacking in structure; much of the first half feels like a prologue, setting up what turns out to be an incredibly short and perfunctory climax. The CGI is admittedly pretty immaculate, but none of the designs are in the least bit distinctive. If one the creatures from Maleficent popped-up in The Hobbit or Snow White and the Huntsman, you wouldn't bat an eye. Angelia Jolie is enjoyable as the eponymous spell-crafter, especially in the one or two scenes where she gets to really lay the villainy on thick. On the other hand, the talented Elle Fanning is seriously underutilised as the teenaged iteration of Aurora, whose insipid purity melts Maleficent's heart while putting audience members to sleep. You could argue that the film deserves some credit for its empowered female characters, although the fact that Maleficent's arc is catalysed by a man does somewhat muddy those credentials. On a sidenote, one could also potentially read the film as a kind of PG rape-revenge narrative. The rawest emotional moment in the film comes when Maleficent awakens from a drug-induced sleep only to realise that her lover has forcibly removed her wings. The allegory is obvious, and Jolie completely sells the agony of violation. Ultimately though, any and all subtext is either mishandled, squandered or lost under a wave of glossily rendered pixels. In other words, it's business as usual for the folks at the Mouse House, who apparently don't even respect their own canon enough to get a reboot right. https://youtube.com/watch?v=w-XO4XiRop0
You’re on the bus alone, you forgot your headphones and you have no other choice but to hear the chatter of those around you. Well, hear might not be the best word. You’re not just letting the sounds of their voices hit your ears, you’re actively listening. Admit it. So was Anne Edmonds, and now she’s turned the act of eavesdropping strangers’ tidbits into her latest comedy show. While you’ve been watching her on Backseat Driver, It’s A Date and Wednesday Night Fever, she could’ve been overhearing your public transport gossip — and her observations about your conversations are no doubt funnier than anything you’ve ever uttered.
El Camino Cantina is known for its colourful interiors, cheap Tuesday tacos and giant margaritas, including across its existing Brisbane stores. From mid-November through until early January, its newest local outpost at South Bank is celebrating those oversized drinks with a six-week-long festival dedicated to the frozen cocktail. Head by between Friday, November 20–Sunday, January 3, which is when inaugural Ritapalooza will feature 15 limited-edition margaritas, as well as food and drink specials. Skittle, Hubba Bubba and marshmallow margaritas will be on offer alongside classics like mango, strawberry and passionfruit — and you can nab them as part of four-flavour tasting paddles. Tacos will be going for $7 — and $4 on Tuesdays — throughout Ritapalooza, and the ten-cent Wing Wednesday tradition will be on offer, too. Or, you can tuck into a palooza party package, which includes two hours of margs for $89 — along with a food spread that features buffalo wings, chicken fajitas and churros. [caption id="attachment_789077" align="aligncenter" width="1920"] Michael Gribbin[/caption]
Late in January, the Alliance Française French Film Festival confirmed the news that Australian movie-goers wanted to hear: not only that the annual cinema showcase would be back this year, notching up its 33rd round of fests, but that it had set its dates and first ten movies. Now, the event has freshly unveiled its full program — so get ready to watch your way through more than 40 flicks that'll whisk you off to France while you're munching popcorn in your cinema seat. There's no shortage of highlights from this year's complete lineup — including the festival's opening night pick, the 19th-century Paris-set Lost Illusions, which had already been announced — but Claire Denis' Fire is easily one of the most exciting films on the bill. It'll play AFFFF straight from the Berlinale, and marks the acclaimed French filmmaker's first release since 2018's exceptional High Life. It also stars her Let the Sunshine In lead Juliette Binoche, with the romantic drama pairing the latter up with French actor Vincent Lindon (Titane) for the first time. Also a standout: Happening, winner of the 2021 Golden Lion at the Venice Film Festival, which adapts Annie Ernaux's autobiographical novel about the rights of women in France in the 60s. It just nabbed filmmaker Audrey Diwan a BAFTA nomination for Best Director, and follows a bright young student who gets pregnant, then sees her options — for her future, and regarding what to do about her situation — quickly dwindle. When AFFFF tours Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra and Hobart — and in Byron Bay and Parramatta, too — from Tuesday, March 1–Sunday, April 24, the exceptional Petite Maman also sits at the very top of the fest's must-see list. The latest film from Portrait of a Lady on Fire's Céline Sciamma, it already made a few Australian festival appearances in 2021, and channels the director's trademark sensitivity and empathy into a sci-fi-skewing tale of mothers and daughters that's instantly among Sciamma's best. Other top new picks from its complete lineup include the latest film in the OSS 117 spy spoof series, OSS 117: From Africa With Love, once again starring The Artist Oscar-winner Jean Dujardin; François Ozon's Everything Went Fine, which sees the Summer of 85 filmmaker tackle the right to die with dignity; Paris, 13th District, a love story from A Prophet and Rust and Bone's Jacques Audiard; and Murder Party, a murder-mystery with big Cluedo vibes. Or, there's also Anaïs in Love, a rom-com about a woman having an affair with a married man but then falling for his wife; biopic Authentik, about French hip-hop duo Suprême NTM; World War II drama Farewell, Mr Haffmann, as based on the play; and friendship drama The Braves, about two twentysomething women following their dreams to become theatre actors. And yes, the list of French cinema treats gracing the fest's full bill goes on — so don't say you don't have anything to see at the cinema in March and April. ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL 2022 DATES: March 1–April 6, with encore screenings from April 7–10: Palace Central, Palace Norton Street, Palace Verona, Chauvel Cinema and Hayden Orpheum Cremorne, Sydney March 2–April 6, with encore screenings from April 7–10: Palace Electric, Canberra March 3–April 6, with encore screenings from April 7–10: Palace Balwyn, Palace Brighton Bay, Palace Como. Palace Westgarth, Pentridge Cinema, The Kino and The Astor Theatre , Melbourne March 9–20: State Cinema, Hobart March 9–April 6, with encore screenings from April 7–10: Camelot Outdoor Cinema, Luna Leederville, Luna on SX, Palace Raine Square and Windsor Cinema, Perth March 16–April 13, with encore screenings from April 14–18: Palace Barracks and Palace James Street, Brisbane March 24–April 24, with encore screenings from April 25–26: Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas, Adelaide, plus Victa Cinemas, Victor Harbor March 30–April 14, with encore screenings from April 15–16: Palace Byron Bay, Byron Bay April 7–10: Parramatta Riverside Theatres, Parramatta The Alliance Française French Film Festival tours Australia from Tuesday, March 1–Tuesday, April 26. For more information or to buy tickets, visit the AFFFF website.
Thanks to his Oscar-nominated work co-penning The Worst Person in the World's screenplay, Eskil Vogt has already helped give the world one devastatingly accurate slice-of-life portrait in the past year. That applauded film is so insightful and relatable about being in your twenties, and also about weathering quarter-life malaise, uncertainty and crisis, that it feels inescapably lifted from reality — and it's sublime. The Innocents, the Norwegian filmmaker's latest movie, couldn't be more different in tone and narrative; however, it too bears the fingerprints of achingly perceptive and deep-seated truth. Perhaps that should be mindprints, though. Making his second feature as a director after 2014's exceptional Blind, Vogt hones in on childhood, and on the way that kids behave with each other when adults are absent or oblivious — and on tykes and preteens who can wreak havoc solely using their mental faculties. Another riff on Firestarter, this thankfully isn't. The Innocents hasn't simply jumped on the Stranger Things bandwagon, either. Thanks to the latter, on-screen tales about young 'uns battling with the supernatural are one of Hollywood's current favourite trends — see also: the awful Ghostbusters: Afterlife — but all that this Nordic horror movie's group of kids are tussling with is themselves. Their fight starts when nine-year-old Ida (debutant Rakel Lenora Fløttum) and her 11-year-old sister Anna (fellow first-timer Alva Brynsmo Ramstad), who is on the autism spectrum, move to an apartment block in Romsås, Oslo with their mother (Blind's Ellen Dorrit Petersen) and father (Morten Svartveit, Ninjababy). It's summer, the days are long, and the two girls are largely left to their own devices outside in the complex's communal spaces. That's where Ida befriends Aisha (Mina Yasmin Bremseth Asheim) and Ben (Sam Ashraf), albeit not together, and starts to learn about their abilities. One of The Innocents' most astonishing scenes — in a film with many — springs from Ida discovering what the sullen, bullied Ben can do solely with his brain. Indeed, one of Vogt's masterstrokes is focusing on how she reacts to the boy's telekinesis, as demonstrated by flinging around a bottle cap. Ida is almost preternaturally excited, and she's lured in by the thrall of what Ben might be able to do next, even though she can visibly sense that something isn't quite right. Another series of unforgettable moments arises shortly afterward when her new pal, lapping up the attention from his only friend, cruelly and sickeningly shows off without even deploying his superpowers. It's a deeply disturbing turn in a movie that repeatedly isn't afraid to find evident terrors in ordinary, everyday, banal surroundings, and Ida's response — horrified, alarmed, yet unwilling to completely cut ties — again says everything. Vogt doesn't shy away from intimating something that society often doesn't, won't or both: that childhood and innocence don't always go hand in hand. En route to their new home in the film's opening sequence, Ida is already spied pinching the non-verbal Anna just to glean what she'll do. Later, as conveyed in economical imagery lensed by stellar cinematographer Sturla Brandth Grøvlen — who already has Another Round, Last and First Men, Shirley, Rams and Victoria to his name, and uses blood here with haunting precision — she's seen escalating that pain-fulled experimentation in a gutwrenching fashion. This side to the girl's personality isn't played as a twist or shock, and neither are Ben's skills and proclivities, or the friendly Aisha's telepathic powers (including the ability to communicate with Anna). Instead, The Innocents is positively matter of fact about what its pint-sized characters are capable of, and also steadfastly avoids trading in simplistic ideas of good and evil, or offering up neat rationales. It's one thing to bake such complexity into the script, which Vogt does with ease. When it comes to working with children, it's another entirely to have those layers and that eagerness to reside in shades of grey radiate from the cast. All newcomers to the screen, Fløttum, Ramstad, Ashraf and Asheim each manage to possess both relaxed naturalism and heaving texture — like they're not being recorded at all, but also as if they've always belonged in front of the camera, playing out their intricate games. Fløttum's expressive face is particularly striking in capturing The Innocents' eerie yet probing mood, whether Ida is flirting with darkness herself, frightened by what may come, or doing whatever she can to protect her sister and her family. But she's definitely not alone in making chatting without saying a thing, throwing about frying pans without moving a muscle and twisting childhood larks in otherworldly ways feel as commonplace as hitting the sandpit or swing set. They're little alike in vibe and atmosphere — a sense of fairy tale-esque dreaminess aside, although deployed in vastly dissimilar manners — but in stepping into the realms inhabited only by young hearts and minds, The Innocents slides in nicely alongside recent French delight Petite Maman. Both movies let their youthful characters exist in worlds defined only by themselves and their own rules, rather than by ideas and norms outlined by grown-ups. Neither of the two features would ever dare suggest that how its central figures experience life isn't worthy of attention or respect, or comes second to adult routines and woes. And, the pair of flicks also dive into how kids cope with everything that's constantly thrown in their direction, including by each other, with the utmost of seriousness. Here, that includes unpacking the morals they enforce among themselves, and also come to by themselves, but never explaining away something so complicated. In The Innocents, that detailed and disarming portrait of youth sits within a daylight nightmare, too — one that's not quite on the also Scandinavian-set Midsommar's level of chills, but always festers with unease nonetheless. Parallels also lurk with the superb Let the Right One In and its account of an undead tween, with the mental scares inflicted in Carrie and The Shining, and, unsurprisingly, with Thelma, the 2017 film about a university student grappling with inexplicable powers that Vogt wrote with The Worst Person in the World's Joachim Trier. The Innocents stands boldly beside its thematic peers, however, rather than in their shadows. Its various bits and pieces have their predecessors, but its blend of uncanny candour, creepiness, empathy and intelligence is all its own. While an English-language remake is bound to follow, frolicking in this smart and savvy playground again — and making something that doesn't just play like a cookie-cutter superhero origin flick at best (yes, the recent Firestarter comes to mind once more) — won't be an easy feat.
For years, if someone said that things were looking up in Brisbane, they were probably talking about the Queen's Wharf precinct with its 100-metre tall Sky Deck, or the city's embrace of rooftop bars over the past decade or so. Over at Howard Smith Wharves, levelling up is also on the agenda, with not one but two of the riverside spot's beloved restaurants revamping their second levels. Cantonese eatery Stanley was the first to announce that its top floor would become a new bar — and the end result, the Hong Kong-inspired Stan's, opens on Thursday, October 4, 2024. Now, Japanese favourite Yoko Dining has also revealed that it's making over its upstairs space to celebrate five years since opening, and you'll be able to check it out from Monday, October 14, 2024. Meet B-SIDE, a record bar that takes inspiration from Tokyo in a number of ways. Firstly, Yoko Dining as a two-storey izakaya already owes the Japanese capital's similar joints a debt, so B-SIDE not only embraces that idea but runs with it. Menu-wise, however, it's also nodding to the kind of fare that you'll find in Tokyo train stations. Explains restaurateur Jonathan Barthelmess, who is behind Yoko Dining: "we wanted to create something that encapsulates the energy and playfulness of Tokyo's vibrant back-alley bars but with a Brisbane twist." "B-SIDE is for those who want to kick back after work, enjoy amazing food and drinks, and let loose with good music," he continues. The tunes will come via DJs hitting the decks every night. On Monday evenings, 80s and 90s tracks will be echoing at the bar's retro vinyl sessions. On Sundays from 8pm, discounted rates for hospitality workers who show their RSA card will be on offer. B-SIDE's drinks lineup has another impressive name involved: Matt Whiley, best-known of late for his acclaimed low-waste Sydney bar Re (which placed 46th in 2021's World's 50 Best Bars list and made the 51–100 longlist in 87th spot). Fresh from whipping up a sustainability-focused cocktail menu across town in Brisbane at W Brisbane's Living Room Bar, he's doing the honours for B-SIDE, where slushies and highballs will feature prominently. For bites to eat, patrons can tuck into wagyu katsu sliders, prawn buns and two different types of ramen — plus Japanese potato salad, kizami wasabi octopus, tuna tataki and seasonal sashimi sliced to order. Or, for something sweet, there'll be miso caramel soft serve. On opening day, when B-SIDE starts letting Brisbanites through the door from 5pm, there'll also be 50 bowls of free chicken miso ramen on offer. Howard Smith Wharves is set to keep looking up thanks to the broader precinct's own plans — if they receive development approval, they'll add a new nine-story hotel to the site, plus a music hall, overwater pool, and waterside food and drinks deck. Find B-SIDE upstairs at Yoko Dining, Howard Smith Wharves, 5 Boundary Street, Brisbane, from Monday, October 14, 2024 — open nightly from 5pm–late. Head to the venue's website for more details. Images: Nikki To / Dexter Kim.
Lou Reed knew what he was talking about when he named his 1972 album Transformer. Offering listeners a 'Perfect Day' and taking them for a 'Walk on the Wild Side', it's the kind of record that leaves you forever changed. It did 44 years ago, and it still does now. No wonder Brisbane vocalists Alison St Ledger, Lucinda Shaw, Sandro Colarelli, SS.Sebastian and Sabrina Lawrie are paying tribute to a true great of modern music as part of this year's Wonderland. Join the quintet plus an eight-piece band as they play Transformer in full, which was not only originally performed by the late Reed, but produced by David Bowie. The performance will honour its inimitable sounds and the legends that first made it possible.
Beware wells in the middle of the forest, crawling women with long black hair completely covering their faces and, naturally, any VHS tapes that depict both. Along with a healthy disdain for viral videos, that's what the Ring franchise has taught us over the past three decades — and the original Japanese series isn't done yet. The seventh film in the initial saga, Sadako follows psychology counsellor Mayu Akigawa (Elaiza Ikeda). Her younger brother is a YouTuber, and her latest patient may have a connection to the eponymous murderous spirit that's known to haunt videotapes. Yes, that likely means that someone will let the killer ghost loose on the internet, giving anyone who sees the creepy force just seven days to live. While Ring's concept was always going to play with the online world at some point, perhaps the most exciting aspect of Sadako is its filmmaker, with Hideo Nakata returning after directing the initial Japanese flick Ringu. He also helmed sequel Ring 2, as well as the sequel to the American remake, called The Ring Two. If you're a fan of J-horror, you've probably seen his other flicks, such as Dark Water and Kaidan. Ring actually started on the page back in 1991, thanks to a horror mystery novel series that spawned printed follow-ups called Spiral, Loop, Birthday, S and Tide. On-screen, the Japanese films debuted in 1998, and are split over two different timelines — with Sadako following on from 1999's Ring 2, and the other branch releasing its first follow-up in 1998, two more 3D movies in 2012 and 2013 that are confusingly also called Sadako, plus a cross-over with the Ju-on series named Sadako vs. Kayako in 2016. Of course, there's also the three American movies, starting with 2002's well-received The Ring starring Naomi Watts and ending with 2017's terrible Rings. A South Korean remake, The Ring Virus, also popped up in 1999. Check out the trailer for Sadako below: https://www.youtube.com/watch?v=5-Pftw4fd8k Sadako doesn't currently have a release date Down Under — we'll update you if and when that changes. Via IndieWire.
UPDATE, January 15, 2021: Widows is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. Widows begins with images of both passion and peril, contrasting intimacy with anarchy and the everyday with the extreme. Against crisp white sheets in their well-appointed Chicago penthouse, Veronica (Viola Davis) and Harry Rawlings (Liam Neeson) embrace. In a van filled with stolen cash, Harry also leads a gang of thieves that are being pursued by the police. Directing his fourth film, Steve McQueen jumps between the two scenes throughout Widows' opening moments, letting blissful domesticity and a chaotic chase clash together. It's an effective juxtaposition for many reasons, including the technical flair on display from McQueen's regular cinematographer Sean Bobbit (On Chesil Beach) and returning editor Joe Walker (Blade Runner 2049). It also couldn't better encapsulate this stunning heist movie. When Harry's job goes wrong, Veronica is left a widow. So are the wives of his accomplices, though mother-of-two Linda (Michelle Rodriguez) and Polish transplant Alice (Elizabeth Debicki) don't know each other, let alone Veronica. But this trio of women from different backgrounds has more in common than just their grief. The lives they previously knew explode in the hail of gunfire that claims their husbands, leaving them all struggling to get by. Moreover, they become targets for a local crim turned aspiring politician (Brian Tyree Henry), who needs the $2 million that Harry pilfered to battle his corrupt opponent (Colin Farrell) at the polls. Pierce the veneer of normalcy, and desperation follows. That's Veronica, Linda and Alice's shattered situation in a nutshell, with tough times calling for tough decisions and deeds. To deal with the mess they're now in, the three ladies decide to stage their own heist, using plans left in Harry's secret notebooks. Remaking the 1983 British TV series of the same name, writer-director McQueen teams up with Gone Girl's Gillian Flynn to paint a portrait of women doing what they have to to get by. That the uncaring, unjust and inequitable world has led them to this juncture never escapes attention. Nor does the fact that these ladies — including hairdresser-turned-getaway driver Belle (Cynthia Erivo) — are all too accustomed to society turning them a blind eye. A slick thriller with much to show, just as much to say and plenty of grim, purposeful swagger, Widows achieves what few heist flicks manage. When it comes to the nuts and bolts of the genre, it glides forward with exacting precision and bristling tension. When it comes to giving resilient, enterprising but far-from-perfect women their due — and in a testing situation, too — the film builds complex, capable and compelling characters. And when it comes to making a statement, McQueen and Flynn don't hold back. They're subtle more often than not, knowing that the most potent tool in their arsenal is simply depicting what these ladies are going through. That said, they also know when nuance isn't enough. A moving #BlackLivesMatter moment packs a blunt but powerful punch, for example. In short, Widows is the sum of its parts in the best, smartest and most entertaining possible manner. McQueen's knack for devastating drama, as so exceptionally deployed in Hunger, Shame and 12 Years A Slave, meets Flynn's knack for twisty female-driven tales — and both meet the well-oiled crime plot of Lynda La Plante, who scripted the original television show. The combination gives Widows a layered, lived-in feel that makes its quiet moments of mourning land hard and its action scenes land even harder. 2018's other caper about light-fingered ladies, aka Ocean's 8, this decisively isn't. Men play their part here, in the form of Neeson's criminal mastermind, Farrell and Henry's warring politicos, and Daniel Kaluuya as the latter's vicious enforcer brother. As the title suggests, however, Widows is firmly about women who've had much taken away — and who are fighting to survive the latest blows life has sent their way. The movie's lead actors are all fighting too, putting in career-best work across the board. Like their characters, there's much that connects Davis, Rodriguez and Debicki, who all say as much when they're not speaking as when they're uttering the film's smart dialogue. But perhaps the thing that binds them best is the multifaceted picture of womanhood that they offer. They're fragile and fierce, confident and uncertain, and messy and motivated all at once. Singling out one of their performances is no easy task, although Davis leads the charge. If you encountered her commanding, heartbroken protagonist in real life, you'd likely follow her. https://www.youtube.com/watch?v=qbKgqY3Fv9k
It's not every day that one of the world's best bars starts pouring tipples in Brisbane. It isn't every day that you can sip a cocktail out of a treasure chest, either. But both of those things are now a reality at Brisbane's Living Room Bar, which has just kicked off a boozy collaboration with Spain's Paradiso, one of the top watering holes on the planet. That world's-best label isn't just hype; on the World's 50 Best Bars list for 2021, the Barcelona spot came in third. The venue is acclaimed for its striking design (which obviously hasn't made the leap to Brissie) and its elaborate Universo menu (which absolutely has). Wondering what makes a cocktail menu so beloved that it's named one of the globe's standouts? Paradiso's Universo lineup goes big on theatrics; think: glowing green concoctions, tipples in smoky domes, dry ice, light, innovative glassware and one particular drink served in a treasure chest. Created by owner and mixologist Giacomo Giannotti — who was dubbed the Best Barman of Spain 2017, and Best Italian Bartender Abroad in 2019 — these aren't the kind of beverages that you sip without paying any attention. Inspired by the cosmos — hence the menu's name — the Universo range of tipples is led by the Mediterranean Treasure, which goes both savoury and sour with its blend of elderflower, honey, citrus fruits, coriander oyster-leaf sherry. And yes, it's the drink that comes in its own box, with smoke wafting out when you open the chest. Also on the lineup: the Great Gatsby, Paradiso's take on the old-fashioned, which is served in a glass dome with a chocolate and vanilla tobacco cloud (and features Glendronach Port Wood, amaro, white truffle honey and lavender bitters). Or, there's The Big Bang , which blends spiced cane rum, guava liqueur, earl grey tea, pandan, beetroot, clarified lemon juice and almond milk, and is served on a platter of sweets that are meant to mimic the creation of the universe. Plus, The Cloud uses a bit of levitation, with its mix of Amor de Maguey mezcal, Herradura Añejo tequila, Amaro Montenegro, Mandenii La Tonique vermouth, hibiscus and birch syrup topped with an edible coffee cloud. As well as ten tipples from Paradiso, W Brisbane is also plating up Spanish-style tapas such as jamones ibericos with guindilla peppers and picos (Spanish breadsticks); duck pate with davidsons plum compote on rye; and flatbread with hummus, fried chorizo and shrimp. And, it's pairing the sips and bites to eat with live beats every Friday and Saturday night. This is the venue's second huge international collab in as many years, after getting the folks behind London's Oriole Bar and its sibling venues Nightjar and Swift — the latter ranking at number 33 at the 2020 World's 50 Best Bar Awards — to do the honours first. W Brisbane's Paradiso Universo cocktail menu is now available at its Living Room Bar, 81 North Quay, Brisbane. It's open from 4–11pm Monday–Thursday, 11am–11pm Friday–Saturday and 11am–10pm Sunday.
Thirteen years ago, an orange-and-white clownfish swam away from his home and into our hearts. He wasn't alone, with his anxious father Marlin (Albert Brooks) just as endearing, and forgetful blue tang Dory (Ellen DeGeneres) an ideal comic offsider. Charting a child's adventurous first steps in the world and a parent's fear of the dangers that might come, their tale was always bound to strike a chord. Pixar know it as one of their biggest hits; you know it as Finding Nemo. If that film coined a catchphrase, it'd have to be "just keep swimming," which was Dory's favourite piece of advice. It is far from surprising that the line pops up again in the sequel to the animated feature, or that returning writer-director Andrew Stanton and co. have taken it to heart. Indeed, Finding Dory is the movie equivalent of paddling along and letting the current sweep you forward. Cheerfully content to ride in its predecessor's slipstream, it just keeps swimming, with the film's irrepressibly upbeat nature ensuring it stays bubbly and buoyant. Nemo (Hayden Rolence) going astray again would've been a stretch, so this time, it's Dory who wanders beyond the patch of ocean the central trio calls home. In fact, it turns out that she's done so before — not that she can really recall. When Dory starts getting flashbacks of her loving mother and father (Diane Keaton and Eugene Levy), she decides to follow her memories. Marlin and Nemo join her epic swim to the Marine Life Institute in California, where Dory believes her parents might be waiting. A crafty octopus (Ed O'Neill), near-sighted whale shark (Kaitlin Olsen) and some sun-loving sea lions (Idris Elba and Dominic West) pop up along the way. Still, Finding Dory belongs to its key trio. In fact, the strengths of the film spring from spending more time in their company — particularly Dory, who might be a bit absent-minded, but is never treated like a joke. Time and again, Pixar films find the right blend between emotional insight and character-driven comedy, and both are on display here. Brought to life by energetic voice work, bright CGI visuals and well-placed, action-packed interludes, the movie thoughtfully fleshes out the makeshift family at its centre. Of course, while Finding Dory represents the animation studio at its kind-hearted best, it also demonstrates their increasing fondness for rehashing old stories. There's much about this follow-up that feels a little too familiar. Returning to bathe in warm, well-known waters can certainly be fun, but for all its easy comforts and nostalgic pleasures, it's not quite as vibrant the second time around.
Fans of the legendary Stephen Fry should prepare to laugh, cry and squabble over ticket sales because the man himself is coming down under in November with a new comedy show, Telling Tales. The announcement hit hungry inboxes this morning, accompanied by an arguably redundant biography about Fry’s history of making us laugh, cry and think; from his days in A Bit of Fry and Laurie and Blackadder all the way up to his poignant LGBT doco Out There. Yes, we know who he is. Yes, we will sell our hair to go to his show and bask in his glowing presence. Fry will be hitting the big cities, Melbourne (Hamer Hall), Canberra (Royal Theatre, Perth (Riverside Theatre) and Sydney (State Theatre). Sorry Brisbane, next time. The show has been described rather alliteratively as an evening of "fun, frolic and uniquely Fryish delight" but let's be honest, the host of QI, the best TV quiz show of all time, needs no fancy introduction. Frankly we’d respond the same way to an email that just barked, "Stephen Fry is coming to Oz, buy a ticket you garbage people." Speaking of, tickets go on sale Tuesday 1 September at 9am. STEPHEN FRY'S TELLING TALES 2015 TOUR DATES: Monday, November 9 — Hamer Hall, Melbourne. Tickets via Arts Centre Box Office or Ticketmaster. Saturday, November 14 — Royal Theatre, Canberra. Tickets via Ticketek. Tuesday, November 17 — Riverside Theatre, Perth. Tickets via Ticketek. Saturday, November 21 — State Theatre, Sydney. Tickets via Ticketmaster. Image: Virgin.
Knocking back a few gins at someone's home might be something you can do any night of the week; however we're betting your martini-fuelled house parties aren't usually like this. They probably don't boast a couple of chanteuses and a pianist, for starters. And we're guessing said performers don't turn a stranger's place into a Manhattan-style salon, either. Leave all that to Miss Laine and Alicia Cush as they transform a Carina residence into the ultimate suburban speakeasy. They'll take care of the mood and music; you just need to bring your fun-loving self wearing your best jazzy outfit.
When we take that first sip of our barista-brewed coffee on a workday morning, we often say to ourselves, and our friends, "I can't imagine living without coffee." Well, what about living without a roof over your head or a guaranteed meal? Unfortunately, this is what many homeless people around Australia face each day, but on Friday, August 8, you can help out simply by purchasing a coffee as part of CafeSmart. CafeSmart is an annual event from StreetSmart that raises money and awareness for the homeless and is back for its fourth year running, aiming to build on the $83,950 raised last year. From every coffee purchased at a participating cafe, $1 will be donated towards local projects, so if your cafe is not participating, head to one that is, just for one day. You can also donate at the counter, so if you prefer a hot chocolate, then you can still help out. It's one day when the little things can definitely make a big difference.
If the impending winter chill has you dreaming of cosy nights spent quaffing drams of whisky, there's a Melbourne-made creation that deserves a spot in your spirits collection. The team at the city's own Starward Whisky has just unveiled the latest edition of its Ginger Beer Cask series — and, as it has six times before, this spicy little number promises to keep those wintry blues at bay. The seventh iteration of Starward's ginger-based program since 2014, 2022's offering isn't just about pairing ginger and whisky, as fine a combination as that is. Another winning duo gets a look-in as well: chocolate and orange. So, expect to smell ginger, orange and dark chocolate while you're sipping — and to taste ginger, obviously, as well as vanilla, pineapple, sweet raisins and fig. For this year's version, Starward has also added more ginger for extra spice, and only used American Oak red wine barrels, which've helped ramped up the vanilla and coconut characters. Starward's experts say you can try the whisky any way you please, but they particularly recommend sipping it straight, perhaps alongside some good-quality dark chocolate. Either way, it's safe to say you can expect a very good drop — 2021's drop won a Double Gold medal at the 2022 San Francisco World Spirit Competition, while 2020's Ginger Beer Cask edition took out a gold medal at the World Whisky Masters, plus a bronze at the Hong Kong International Wine and Spirits Competition. The special-edition spirit is always quick to sell out, and this year's release is pegged to be no different. It's on sale now, so stocking up for winter ASAP is highly recommended. Starward's Ginger Beer Cask #7 is on sale now via the distillery's website, and at national retailers. A 700-millilitre bottle will set you back $149.
It doesn't take long for a burger place to become a local favourite. Before Ze Pickle came to Brisbane though, it had a bit of a head start. Word of its extreme creations — think 12-hour smoked beef brisket topped with mac 'n' cheese, crispy fried chicken paired with maple smoked bacon, and hand-pressed wagyu patties with cheese sticks — had been filtering up from Burleigh over the past couple of years. And then there's their famous Triple Loco, which combines beef, bacon, pulled pork and jalapenos between two grilled cheese sandwiches. How could you stay away from a burger joint that sells this?
Many families' budget for Christmas lunch doesn't factor in lobster. Enjoying a $40 crustacean around the Christmas table feels like an activity reserved for households with large end-of-year bonuses. Woolworths and Coles, however, have both made this a more affordable reality in 2020, dropping the prices of their Western Australian rock lobsters to just $20 a pop nationwide. On Friday, December 11, both supermarket giants announced the reduction in price of the luxury seafood item by 50 percent, down from $40 this time last year. Woolworths reportedly has purchased five times as many lobsters as it did last year, with the company sighting recent restrictions on seafood exports from Australia as a reason the company has reduced the price. "Our support in purchasing more rock lobsters this year will give WA producers an avenue to move more volume into the domestic market which would have traditionally been exported," said Dudding. "It's a win-win partnership and we look forward to working with the industry to offer Australian households the chance to add premium seafood to their Christmas table this year at a more affordable price." Coles seemingly one-up its competitor, announcing on the same day that it had purchased 29 times as many lobsters as it had in 2019. Eager shoppers have already jumped at the opportunity to snap up the half-priced lobsters, with Woolworths implementing a limit of four lobsters, per person, per transaction. Coles is set to introduce the same limit from next Wednesday, December 23. Seafood is a holiday tradition in Australia, with Coles stating the supermarket sells 70 percent more seafood in December in comparison to every other month. That number may rise even more this year thanks to the reduced price, with Woolworths estimating Australians will purchase 35 tonnes of lobster this holiday season compared to 6.5 tonnes last year. $20 Western Australian rock lobsters are available nationwide at both Coles and Woolworths while stocks last.
Usually, for one week each September, Brisbane becomes Australia's live music capital — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city, it seems like every venue in Fortitude Valley is packed to the rafters with bands, industry folks and music-loving punters, all enjoying the latest and greatest tunes and talent the country has to offer. There's nothing usual about 2020, though. And, yes, that applies to this beloved music-fuelled celebration. Thankfully, BIGSOUND is still forging ahead this year as a physical — but socially distanced and COVID-safe — event; however it'll look a little different. Rather than a four-day lineup of conferences, workshops, facilitated conversations, live festival showcases, secret shows and official parties, music fans can look forward to all of the above across a condensed two-day (and two-night) program. And, instead of happening in September, it'll all take place on Wednesday, October 21 and Thursday, October 22. While just who'll be strutting their stuff hasn't yet been revealed, this year's changes are likely to mean that there'll be a smaller list of artists gracing the event's stages — down from last year's tally of 147. Venue-wise, too, BIGSOUND will be smaller, taking over ten Fortitude Valley spots compared to 2019's 18 sites. Again, just where the fest will be cranking up the tunes hasn't been revealed, but venues such as Black Bear Lodge, The Zoo and The Elephant Hotel have been involved in past years. [caption id="attachment_636255" align="alignnone" width="1920"] Bec Taylor[/caption] Overseeing the yet-to-be-unveiled program are Janne Scott, BIGSOUND's creative director (and Splendour In The Grass' senior creative manager); Alethea Beetson, the event's First Nations producer and programmer; and Dominic Miller and Ruby-Jean McCabe as festival co-programmers. Past BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so its program is usually a very reliable bellwether of current and up-and-coming talent. BIGSOUND 2020 runs across Wednesday, October 21 and Thursday, October 22 at various venues around Fortitude Valley, Brisbane. For further details, or to pre-register for delegate pass from 9am on Wednesday, July 29, visit bigsound.org.au. To discover what to do, see, eat and drink while visiting Brissie for the annual event, check out our weekender's guide to Brisbane during BIGSOUND.
From the writing team behind Fat Swan comes this performance that exponentially raises the calibre of things set in the Sutherland Shire. Little Orphan TrAshley is the latest adults-only panto to verify the genius of Sydney drag artist Trevor Ashley, who this time plays a ten-year-old orphan seeking her birth parents so they can give permission for gender-reassignment surgery. The performance is much in the same vein of Fat Swan. A good portion of the humour is due to the fact that Ashley is a slightly overweight man and hence looks funny dressed as a girl, but most of it is due to the fact that he’s an extraordinary actor with impeccable comic timing. The rest of the characters are no less ingenius — a photographer/multi-millionaire named Daddy Warhorse (Gary Sweet), the boozy matron Miss Trannigan (Rhonda Burchmore), and Fannie’s ex-sniffer dog Bullshit (Rhys Bobridge). You'll never look at that cutesy orange mop the same way again, but it will be worth it.
Some say it's blasphemy. Others have branded it the funniest film of all time. When it was being made, the original backers were so worried about potential controversy that George Harrison — yes, The Beatles' George Harrison — had to step in and stump up the cash. Of course, we're talking about none other than Monty Python's Life of Brian — aka the tale of the man mistaken for the messiah, even though his mother says that he's just a very naughty boy. Nothing says Easter like viewing this comedy classic under the stars at the Eat Street Drive-In, no matter how many times you might've seen it before. They're screening it at 7.30pm on Thursday, March 24. The remainder of the Easter weekend will see a short run of Deadpool, playing on Good Friday, Easter Saturday and Easter Sunday.
After eight seasons, a massive body count and an enormous wait for winter, Game of Thrones is coming to an end, with the final season kicking off this week. But that doesn't mean saying goodbye to the world first created by author George R.R. Martin — not only thanks to the author's books, whenever The Winds of Winter finally hits shelves, or even simply due to the planned prequel series. In addition, fans will soon be able to visit a heap of new GoT tourist attractions. After shooting much of the show in Northern Ireland for the past decade, last year HBO announced that it's teaming up with Tourism NI to open a number of sets and sites to the public for the first time. If you've ever dreamed about walking around Westeros, this will be your chance. Winterfell, The Wall, King's Landing and Dragonstone are among the iconic spots that'll feature in what's being called Game of Thrones Legacy. Now, further details have been revealed, so prepare to be happier than Arya Stark crossing a name off of her infamous list. The first part of Game of Thrones Legacy will be a huge Game of Thrones studio tour within Linen Mill Studios, which is where plenty of she show has been filmed. Yes, this is where you'll find the ancestral home of House Stark, the headquarters of the Night's Watch and the capital of the seven kingdoms. When it launches as a tourist site, it'll be filled with original set pieces, costumes, props and weapons across a hefty 110,000-square-feet. The tour has been dubbed an 'interactive experience', although exactly how you'll be able to interact with these GoT items — other than training your peepers towards them — hasn't yet been unveiled. You will definitely wander through fully dressed sets, walk "in the very footsteps of Westeros's most prominent residents", relive "key moments from the series" and stand "right where they took place" as part of the immersive attraction, according to the press release. There'll also be informative displays highlighting the production spaces, as well as the craftsmanship and artistry that goes into bringing something as epic as GoT to life. Plus, you'll also be able to play around at an interactive costume department station, as well as sections dedicated to the show's make-up, prosthetics and armoury. Also set to go on display: art files, models and other production materials, as well as accompanying digital content and interactive materials highlighting GoT's digital effects. If you're now contemplating a trip to Northern Ireland, the entire Game of Thrones Legacy setup will comprise the largest authentic public display of GoT artifacts in the world, should that stoke your excitement. More details are set to come and, after originally touting a 2019 opening date, the tour looks slated to open around this time in 2020 (spring in Northern Ireland) instead. By then, you'll certainly know whether Jon Snow really does know nothing — and then you can head to Northern Ireland to visit many of his haunts. Images: Home Box Office, Inc.
As you're reading this, no matter what you've done today, you couldn't have done it without steel. If you ate something with a metal utensil, used a household appliance, or hopped on a bus or train, steel was involved. And that's just naming a few things. Yes, steel is certainly functional — but, it an be artistic too. At STEEL: art design architecture, QUT Art Museum explores the innovative and creative ways the titular material can and has been used. And, as the name also makes plain, the exhibition focuses its gaze on the realms of art, design and architecture. From industrial designers to jewellers, 29 different exhibitors are represented in this showcase of a substance that surrounds us on an everyday basis. It'll display at QUT's Gardens Point campus from February 17 to March 25, with admission free. Image: Brodie Neill, Reverb Wire Chair 2010 hand formed, mirror stainless steel rods. Photo: Marzorati Ronchetti. Collection of Patric Brillet of Patrick Brillet Fine Art Ltd.
Desperate to get away from the ceaseless monotony of their suburban lives, four regular Joe's come together and form a neighbourhood watch group, but unwittingly unearth evidence of an alien invasion that sees their quiet town overrun by aliens masquerading as citizens. With all weary hopes of male bonding over gambling, women and binge drinking shattered they must save the town, and the world, before it’s too late. Featuring a stellar class including established funny-men, Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade, The Watch has all the right elements to be a great comedy - add in some great special effects and some hilarious lines and we may have a Spring comedy hit on our hands.
What a difference 128 years can make. Back in August of 1888, the final bricks were laid on The Prince Consort Hotel. Now, after weathering many a change over many a decade, the place now known as The Elephant is throwing a party to commemorate their longevity. Saying that it's going to be quite the gathering is probably one of the understatements of the venue's century-plus of operation, so prepare for a wild night whooping it up in heritage-listed confines. Dallas Frasca, Aerials and The Strums will take care of the live music, and all The Elephant's usual drinks, meals and revelry will be on offer. Remember, you only celebrate an iconic pub's 128th birthday once.
Back in the '80s, Bruce Springsteen was onto something — and so was Courteney Cox. As immortalised in one memorable music video, the boss and the Friends star know the joys of dancing in the dark. So does No Lights No Lycra, Brisbane's weekly evening dedicated to getting your groove on without glaring brightness, staring revellers or shiny outfits. And while they're letting limbs fly every week over in West End, come February 23 they have something extra special on offer. From 7pm, anyone keen to let loose can do so at the UQ Art Museum — while wandering through the Ecstasy: Baroque and Beyond exhibition, no less. Experiencing one form of ecstasy in a space dedicated to the concept in its many artistic iterations? Yes, it's a perfect match, with DJ Chris Bennie providing the tunes. Entry is free but registration is required as places are limited.
Ben & Jerry's aren't afraid to put their ice cream where their mouth is, and not just by devouring their own creamy frozen desserts. In their latest show of support for marriage equality in Australia, the sweet treat makers are giving away free ice cream cones to celebrate this week's historic passage of legislation. Between 5.30pm and 9.30pm on December 11, visitors to Ben & Jerry's Aussie stores can pick up a frosty scoop without spending a cent. The offer applies at the chain's seven New South Wales, five Victorian, four Western Australian, one South Australian, two Australian Capital Territory and five of its six Queensland stores. If you're wondering why one misses out, that's because their Movie World digs aren't open once the park closes at 5pm. It's not the first time the brand has demonstrated their values with ice cream, as anyone who asked for a double dose of New York Super Fudge Chunk this year would know. When the fight for marriage equality was still under way, they instituted a same-flavour ban across their stores, refusing to put two scoops of the same ice cream variety on a single cone until the country's LGBTQI+ citizens were given the same rights as their heterosexual counterparts. Now that the plebiscite has been and gone, 61.6 percent of respondees voted yes and lawmakers followed through, the ban has been lifted. Ben & Jerry's history of supporting marriage equality also includes their 2013 launch of the I Dough, I Dough ice cream flavour and campaign. Grab a free ice cream cone from Ben & Jerry's stores across Australia from 5.30pm to 9.30pm on December 11. For further information, visit the event Facebook page.
After drip-feeding various teasers over the past few months, Netflix has finally released the full trailer for The Crown's third season. The regal drama's new batch of episodes won't just continue the tale of Queen Elizabeth II and the rest of Britain's royals, but will tell the next chapter of their story with an entirely new cast — including Oscar-winner Olivia Colman as the monarch, Tobias Menzies as Prince Philip and Helena Bonham Carter as Princess Margaret. They'll be joined by Josh O'Connor (God's Own Country) as Prince Charles — and, given that this season steps through the late 60s and 70s, he starts to get a hefty amount of attention in the new sneak peek. The show has already been renewed for a fourth season that's due to be set in the 80s; in fact, it's currently in production. So, as history dictates, Charles is about to be thrust into the spotlight in a big way. Also coming on board for season three are Erin Doherty as Princess Anne, Marion Bailey as the Queen Mother and Game of Thrones' Charles Dance as Lord Mountbatten. Although Gillian Anderson's casting as Margaret Thatcher has been grabbing headlines, she won't show up until season four. Welcoming Colman and company means farewelling the show's stars across its first two seasons, including Claire Foy as Elizabeth, Matt Smith as Philip and Vanessa Kirby as Margaret. Since 2016, The Crown has peered inside both Buckingham Palace and 10 Downing Street, unpacking the goings-on behind Britain's houses of power. So far, it has chronicled Elizabeth's wedding to Philip, her coronation and the birth of her children (Charles and Anne, as well as Prince Andrew and Prince Edward). In addition to delving into the monarch's marital ups and downs, the series has also explored the romantic life of her sister, Margaret, plus the major political events throughout the late 40s, entire 50s and early 60s. In season three, everyone's favourite source of royal intrigue will see Lizzie and her family grappling with the fact that Britain is changing — and, as the monarch reflects in the trailer, not necessarily in the way she'd like. Charting the years between 1964–1977, it'll also cover Harold Wilson's (played by The Man Who Killed Don Quixote and The Children Act's Jason Watkins) two stints as prime minister. And plenty of drama at the upper echelons of power, of course. Check out the third season's full trailer below: https://www.youtube.com/watch?v=vLXYfgpqb8A&feature=youtu.be The Crown's third season will hit Netflix on November 17. Images: Sophie Mutevelian / Netflix.
It only ran for three short years, but when international dance festival Creamfields took a hiatus in 2013, it left a big, fat hole in the Aussie festival calendar (large-scale festivals, at least). Now, folks who count the days for big drops have something to plan for, with today's announcement that Creamfields will make its return to Australian shores at the end of this year. Transplanting the clubbing experience into a huge outdoor event, Creamfields has given the global electronic music scene a solid shake-up since it first landed in 1998, starting life as a one-day UK show with a crowd of 25,000. In the years following, it's been staged in 22 countries, with that original UK festival morphing into a 70,000 capacity, four-day camping situation. It's raked in the accolades too, including the 2010 Music Week Award for Festival of The Year, and the 2016 gong for Best Major Festival at the UK Festival Awards. And this November, as it celebrates the big 2-0, Creamfields is heading back to Melbourne, set to bring with it a suitably huge lineup of DJs and electronic artists. Exactly which names will take the stage is yet to be revealed, but with past Aussie headliners including the likes of Skrillex and David Guetta, it's looking pretty darn promising. Both the lineup and venue for Creamfields Australia 2017 are yet to be announced, but you can register here for first dibs on tickets and the chance to win some sweet prizes. Images: Supplied.
Do you feel like the '00s were yesterday? I bet we know why. You're still hooked on the decade's ace indie music, aren't you. We can all remember where we were when we first heard the Arctic Monkeys for the first time — and we can all still recite every track by The Streets, too. Taking over Woolly Mammoth on July 14, I Bet You Look Good on the Dance Floor is the night for you. The name says it all really. Somebody told me that you'll dance over and over and over and over, get a dose of lisztomania and heads will roll — but hey, you only live once, right? Yes, The Killers, Hot Chip, Phoenix, Yeah Yeah Yeahs and The Strokes are certain to get a spin, as is everyone from The Rapture to Peter Bjorn and John, and LCD Soundsystem to Kings Of Leon.
