It's a great time to pay tribute to ladies in science. On cinema screens everywhere, a fab foursome of females has been veering into the spooky and sci-fi side of things in a little film called Ghostbusters; however if you're a Brisbanite and you're into art, that's not the only celebration of women in the field you should flock to. The exhibition offshoot of QUT Creative Industries' one-day CONFLUENCE symposium — where political and social themes of creative practice at the intersection of art, science and technology are the main topics of discussion — Femel_Fissions shines a spotlight on the historical influence of women on scientific discovery and research. If you're not aware of the groundbreaking work ladies in lab coats have contributed to neurology, biology, cytogenetics, psychology, primatology and anatomy over the past three centuries, you will be after viewing this collection of creative pieces. Newly commissioned works by contemporary art/science practitioners Trish Adams, Tarsh Bates, Gina Czarnecki, Svenja Kratz, Rachel Mayeri, Helen Pynor and Jillian Scott all feature, and all strive to highlight the unrestricted inquiry and experimentation that sits at the heart of both of their chosen areas. The showcase kicks off with an opening night event at 5pm on July 19, and then runs from Monday to Friday until August 19. Image: Svenja Kratz, 'Life and Death Vessels: A Collection of Curiosities' 2011.
As much as we all might want to, not everyone can make it down south for the Melbourne International Comedy Festival. No, we're not happy about it — but it's time to turn that frown upside down, because you can go to the next best thing. Yes, the Melbourne International Comedy Festival Roadshow is back for another year of touring hilarity. Bringing the best of the fest to the Brisbane Powerhouse, its showcase of highlights and hijinks is almost like being there. This year's line-up of local and international acts is certain to tickle your funny bone, including Barry Award-winning sketch stars the Pajama Men. They're joined by prolific performer Rachel Berger, Perth export Xavier Michelides, comedian and hip-hop didgeridoo player Sean Choolburra, and TV's own Bob Franklin. Catch all five funny acts live on stage during one chuckle-heavy set, trading their best jokes for your loudest laughs.
When a laneway boasts a pub, bar, bistro, pizzeria and beer cafe — and will soon play host to Brisbane's only Gelato Messina store — it's the kind of place you want to spend plenty of time in. And whether you've been hanging around South Brisbane's Fish Lane already, or you're planning to in the future, here's another reason to stop by: they're throwing their own free festival. That'd be the aptly titled Fish Lane Festival on May 7, which promises to showcase all of the food and drink options the stretch of road between Merivale and Grey streets is known for, plus a few other nearby favourites as well. Satisfying your hunger and thirst isn't the only thing on the agenda, though. Two stages of live music will also feature among the gourmet eats, signature dishes, and craft cocktail beer and wine bar pop-ups,complete with tunes by Reece Freeman, Franky Smart, Groove or Die, Soulergy Music and Parasol. Trust the folks from The Fox Hotel to be behind the fun; they are the laneway's most prominent hangout, and one of its longest-standing hotspots, after all. They'll be joined by Billy Kart Kitchen, Birds Nest Restaurant, Fish Lane Bistro, Gauge, Habitat Restaurant & Bar, Julius Pizzeria, Madame Wu, Maker, Saccharomyces Beer Cafe and The Gunshop Cafe. And, gelato fans, Gelato Messina will be making a pop-up appearance ahead of their much-anticipated October opening. Not only does it sound like a great day out, but it's also the kind of party that wasn't possible even a decade ago. Remember when Brisbane didn't have thriving nooks and crannies like this? Yes, we're choosing not to, too; however Fish Lane Festival proves a very fitting celebration of the city's blossoming laneway culture. Fish Lane Festival takes place from 12pm on May 7. For more information, visit the festival's Facebook page. Image: Dana Newman for Gelato Messina, coming soon to Fish Lane.
There's a time and a place for everything, and that includes talking, jeering and heckling in a cinema. Well, in a bar that's screening a film, to be precise. Of course, the overall effect is the same. Yep, if you've ever wanted to share your snarky remarks while watching a trash classic, or shout at characters on screen doing stupid things, Comedy Commentary Cinema is the safe space where that really can happen. At their first-ever screening, you'll watch the 1989 kung fu comedy Samurai Cop, and you'll enjoy a participatory experience in the process. No one will shush you here. Comedians Jasmine Fairbairn and Chris Martin will be on hand to oversee the shenanigans, get the chatter started and offer their own comic thoughts. Arriving early to grab snacks and drinks from the bar is recommended. And you thought this was the kind of thing you could only do in your lounge room.
A film festival dedicated to American films? Bear with us here. Sure, Hollywood pumps out most of the movies that reach our screens, but don't expect to see superheroes battling for supremacy, transforming robotic cars saving the world or an endless parade of sequels at Essential Independents: American Cinema, Now. Instead, the brand new event is dedicated to the types of US flicks that don't usually make it to our shores. Here, smaller titles and character-driven fare share the spotlight with experimental efforts, intriguing docos and the kind of classics that you won't find on every retro lineup. Think revisionist westerns featuring gun-slinging gals and explorations of important American artists, plus the chance to see early work by the Coen brothers, Kathryn Bigelow, Richard Linklater and Sofia Coppola in a cinema. The festival will run from May 17 until June 8 at Palace Centro. You can find Brisbane session times here. Need help deciding what to see? Take a look at our top five films to see at the festival.
Miss Phryne Fisher might be known for solving mysteries; however from July 15 to September 4, her sleuthing skills aren't required. Trying to unravel the hidden truth behind the character's gorgeous attire is futile. As Miss Fisher's Murder Mysteries Costume Exhibition at Old Government House makes plain, their artistry speaks for itself. Everything that made season three of the ABC TV series sparkle with 1920s glamour will be on display, including both outfits and props. As a result, so will the award-winning work of costume designer Marion Boyce. Of course, Miss Fisher came to the page courtesy of Australian author Kerry Greenwood — and then to the screen in the guise of actress Essie Davis — but the important efforts of the woman responsible for her stylish look can't be underestimated. As well as showcasing sartorial delights, the Miss Fisher-focused season will also offer up a selection of special events, talks, tours and workshops. Whether you head along to the free lawn party, kick up your heels at the pop-up speakeasy bar, contemplate Brisbane's art deco history or learn about making flapper headbands, just make sure that you dress for the occasion — if there's an exhibition that you'll want to look your best at, it's this one.
Anyone can drink a lager, pilsner or pale ale. Not everyone can knock back a stout or porter. And while the former are available everywhere, you won't find a celebration of the latter just anywhere. That's why Milton's favourite dive bar started the Weekend of Darkness. Since 2013, the Scratch has dedicated two days each year to showing their love for brews on the blacker end of the beer spectrum — and offering a home for those who feel the same way, of course. If it's yeasty, liquid and overflowing with smoky, coffee, chocolate, spiced and even bourbon flavours, you'll find it here. You'll also find snacks, offbeat vibes and strange happenings galore. Expect this year's dalliance with the dark side to kick off on Friday to extend the drinking fun, include a 30-beer lineup, and also offer a feast of burgers from local BBQ legends the Shank Bros. Expect everything, be it food, booze or atmosphere, to warm up your insides too. There's a reason this takes place in winter, after all.
In Frances Ha, Greta Gerwig became the on-screen embodiment of a predicament most twenty-somethings can relate to: knowing what you don't want out of life, rather than what you do. In Mistress America, she offered a different side of failing to achieve your dreams, this time from a slightly older perspective. Now, in Maggie's Plan, she grapples with the fact that you can't control everything, no matter how hard you try. Consider it the next phase in her ongoing examination of the idiosyncrasies of quarter-life malaise. Written and directed by Rebecca Miller (The Private Lives of Pippa Lee) based on an unpublished novel by Karen Rinaldi, the film explores two schemes hatched by the eponymous Maggie (Gerwig), a college careers advisor whose life is...well...a bit of a mess. When the film opens, she's telling her married best pal Tony (Bill Hader) about her intention to become a mother using sperm donated by their high school classmate turned pickle entrepreneur Guy (Travis Fimmel). Cut forward three years and she instead has a daughter with John (Ethan Hawke), an anthropology professor and aspiring novelist who's struggling to cut ties with his imposing ex-wife Georgette (Julianne Moore). Although it may certainly sound like one, to simply call Maggie's Plan a romantic comedy doesn't quite do the film justice. While the situations the characters find themselves in are by no means unique, there's a level of intricacy to all the major players that ensures Miller's screenplay feels as authentic as it does amusing. When Maggie tries to muster a polite response to Guy's offer to help her get pregnant "the old-fashioned way", for example, her awkwardness feels ripped from reality. That's the gift that both Gerwig and Miller bring — an understanding of how to convey life's ups and downs in a way that's equally playful and relatable. The two prove as an apt a pair as Gerwig and Frances Ha filmmaker Noah Baumbach, yet they're not the feature's only standouts. Adopting a severe Danish accent that she takes time to settle into, Moore proves both hilarious and surprisingly sympathetic. Of course, with its jaunty jazz score and New York setting, Maggie's Plan can't escape the shadow of other, similar films gone by. It's not only Baumbach that springs to mind, but Woody Allen — though any resemblance is likely by design. Miller has crafted a movie knowingly comprised of familiar parts, but cleverly filled with astute reflections that tell the tale from a fresh perspective.
Once you've seen David O'Doherty live, you'll likely come to a conclusion. The Irish comedian has such a winning way with his '86-vintage keyboard that you'll think all performers should tickle the ivories — or at least combine their amusing musings with music. This realisation will most probably be followed by another: just like Highlander, there can be only one comic this playful and perceptive while armed with an electronic approximation of a piano. There's a reason he's graced every comedy panel television show you can think of, after all — and his 2016 Brisbane Comedy Festival show We Are All in the Gutter But Some of Us Are Looking At David O’Doherty will reaffirm his genius. David O'Doherty is one of our top ten picks to see at the Brisbane Comedy Festival.
Last year, we got all revved up about Speed the Movie the Play, but when it comes to comical stage interpretations of famous '90s films, it seems that was just the beginning. And while there'll sadly be no blank-faced Keanu driving a bus, this year's Brisbane Comedy Festival will take on the tragic romance of Kate and Leo (as well as the just-as-tragic collision of a boat and some frozen water). Yes, your heart will go on as two lovestruck ship-dwellers attempt to overcome their different backgrounds, ignore any rules about getting hot and steamy in someone else's car, and try to avoid a pesky iceberg. And chances are you'll still laugh along — even though you know how it all turns out. Actually, maybe you don't; if anyone was going to work in Winslet's recent revelation that there was actually room for DiCaprio on the door that proved so pivotal to the movie's final scenes, it's this spirited bunch. Titanic the Movie the Play is one of our top ten picks to see at the Brisbane Comedy Festival.
Turning a novel into a play is no easy feat — the laws of written fiction can be very different to those of onstage drama. But Andrew Bovell's adaptation of Kate Grenville's hit novel, The Secret River, was so popular when it debuted in 2013 that it returned for a Sydney encore, and now heads to Brisbane. Not only did the production sell out, it won a slew of awards, including six Helpmanns — Best Play, Best Direction and Best New Australian Work among them. With Neil Armfield in the director's chair, the play tells the story of two families and one landscape. The first is that of William Thornhill. A convict from the dark, crowded, desperately poor slums of London, he thinks he has found a home for himself and his family on the Hawkesbury River. And he can't believe his luck. The other family is one of the Dharug people, who have lived in the area for thousands of years and whose survival — physical and spiritual — depends on their surroundings. Unable or unwilling to relinquish his hold on the land, Thornhill makes a horrific decision, which he carries with him for the rest of his life.
The best artwork makes audiences see things in a different way. Perhaps a piece plays with different formats. Or, it could simply shine a new light on existing elements. Maybe it makes a statement that fuses seemingly unconnected ideas, items and places. Meagan Streader's W-inter aims to do all three in an immersive, large-scale installation. In Metro Arts' first exhibition for 2016, she fashions a mesmerising field of illuminated linear structures. Her creations not only craft a futuristic vision of cyberspace, but also respond to the gallery's heritage-listed building in a way that has never been seen before. Basically, Streader's latest show aims to embody a term that gets bandied about all-too-often in the art world: sensory experience. Given that W-inter combines light, geometric lines and architecture, the Brisbane creative is certainly doing her best to earn that description — and, you can hear chat about all that and more at an artist talk on March 2.
With Supanova in town this weekend, pop culture enthusiasts can be forgiven for being all a-flutter. That's your daylight hours taken care of, but what's an avid fan to do after a day spent strolling around a convention? The Motor Room has the answer. Yes, the West End hangout is throwing a video game music party — aka the perfect way to keep the geek-fuelled vibes going. Of course the evening is called Press Start to Continue. And of course it features game music maestros Boss Fight, plus Sydney's jazzy gamer outfit The Consouls in their first-ever Queensland show. Both bands will pump out a soundtrack of all the tunes that have kept your favourite game titles jumping, whether you're a dedicated arcade aficionado or prefer to keep your frenetic button-pressing to the confines of your lounge room. Expect classics and anthems from across all platforms, as well as a few dips into the more obscure. And, expect the most amount of fun you can have when you're not playing your favourite console.
Ever daydreamed about breaking out of the 9-to-5 grind by taking to the streets and throwing a lunchtime party? We all have, but such flights of fancy have stayed confined to our imaginations — until now. Between 11.30am and 2.30pm on December 4, the stretch of Albert Street running from Charlotte and Mary streets will become the kind of midday fun fair usually relegated to the realm of fantasy. Instead of road, you'll find astroturf. Instead of cars, you'll find deck chairs. Instead of inner-city hustle and bustle, you'll find live music, board games and craft workshops. Yep, it's the perfect way to celebrate a whole host of things: an hour out of the office, the end of the week and the arrival of the holiday season, for starters. It's also a great excuse to head away from the mall, put Christmas shopping out of your mind and really enjoy all things festive. Image via Kgbo.
When it comes to annual traditions, the release of a new ensemble Christmas movie is among the most reliable. That doesn’t mean that it’s good — it just means that another festive feature seems to reach screens every year, overflowing with star power as well as predictability. This year's entry is Love the Coopers, and if you've seen a holiday flick before, you can probably already guess the storyline. On Christmas Eve, a dysfunctional family has to overcome their differences and learn to appreciate each other — and yes, the film really is that routine. That's not the only dash of formula director Jessie Nelson (I Am Sam) and writer Steven Rogers (P.S. I Love You) sprinkle throughout their big screen attempt to deck cinemas with some yuletide cheer. There's nothing like a last chance at happiness, aka a potentially final Christmas together as a group, to up the stakes. And, when following a big group getting into the spirit of the season, why not flit between individual stories before weaving them all together in the manner of Valentine's Day and New Year's Eve? Indeed, on the checklist of standard elements in occasion-oriented offerings, Love the Coopers ticks all the boxes. The characters continue the trend, including bickering, long-married parents Sam and Charlotte (John Goodman and Diane Keaton), and troubled adult children Hank and Eleanor (Ed Helms and Olivia Wilde). Sam and Charlotte are about to separate, but haven't told anyone yet. Hank has just divorced from Angie (Alex Borstein), struggles with sharing custody of his three kids and can't find a job, while Eleanor is sick of being judged for being single, so she convinces Joe (Jake Lacy), a soldier she meets in an airport bar, to pretend to be her boyfriend. Throw in a few other stragglers — Charlotte's jealous sister Emma (Marisa Tomei), who spends her day dispensing amateur counselling to a closeted cop (Anthony Mackie); Aunt Fishy (June Squibb), the requisite eccentric elderly person with a failing memory; and family patriarch Bucky (Alan Arkin), who's closer to the waitress (Amanda Seyfried) at his local diner than his family — and the scene is set for the usual festive hijinks. Arguing and hugging ensue, and then more of the same. Presents and food are often in the frame. It's all as predictable as eating too much at Christmas dinner, only not at all filling. Narration links what are essentially intertwined short films; however the feature falls victim not just to cheesy clichés, but to blandness. Wilde and Lacy's segment invests a little energy into proceedings, and Arkin and Seyfried share the sweetest story, but they're the highlights of an average-at-best lot. The performances meet the same fate, with the rest of the high-profile cast largely squandered. Wasted, too, is any sincerity and good cheer, as an overdose of sentiment and contrivance leaves the bulk of the movie veering in tone and feeling forced. Sweeping camerawork can't improve matters, nor can a schmaltzy soundtrack. The end result: Love the Coopers isn't a seasonal gift, but a holiday chore.
Trust Black Bear Lodge to come up with a Christmas event that recognises what the majority of Australians would rather be doing on December 25. Most of us can't head to the beach for a spot of surfing and splashing about — no matter how much we'd like to — but we can do our best to pretend otherwise at Surfmas. Yes, the Brunswick Street venue is throwing everyone's favourite end-of-year party again, much to the delight of anyone of anyone who wants to get tropical. Los Huevos, Teen Sensations, The Plastic Fangs and The Wet Fish will help set the mood, and cocktails with pineapple in them will as well. We're sure they'll all do the job.
This year, the Brightside welcomed fried chicken joint Lucky Egg to the fold; however that's not the Fortitude Valley venue's only source of edible fun. For one afternoon only, they're inviting some of the city's favourite sources of meals on wheels to stop by for a laneway party. What better way to celebrate Brisbane's obsession with street food, after all? Yep, The Bun Mobile, The Bone Lorry, Micasa, Juan More Taco and Gourmet H-Dogz will be making Warner Street their temporary home for what's certain to be a scrumptious way to end a Friday. With delicious burgers and ribs, both Tex-Mex and Mexican morsels, plus hotdogs on the menu, one thing is certain: you'd best arrive hungry. If you've been to one of Brighty's regular shindigs, no doubt you're already keen — and no doubt you already know that it's not just your stomach that'll be satisfied. At the Truck-It Street Feeds Laneway Party, a local music lineup and other funky forms of entertainment are all part of the package. An after dinner game of bag toss, horseshoe or life-sized Jenga, anyone? Image via The Bone Lorry.
Good things come in small packages, and good gigs happen in small venues. That's part of the philosophy behind the music event that's tiny in size but big in impact. The name probably gives that away though, given that it's called the Festival of Small Halls. Produced by the Woodford Folk Festival in partnership with other Australian events, the series of tours takes the best folk and contemporary acoustic artists away from the large stages and cities and out to regional locations and intimate places. At least one Australian artist and one international artist is always on the bill, whether the fest is venturing to farmland or outer coastal suburbs. In good news for Brisbanites willing to journey north of the CBD, the latter provides the latest stop as part of the summer 2015 tour, with the Sandgate Town Hall the spot to head to on December 17. There, you'll find Canada's Irish Mythen and Tim Chaisson, plus Australia's own Starboard Cannons. You'll also find a charming evening of entertainment, aka reason enough to hit the road.
Last-minute shopping, over-indulging at celebratory shindigs, and pretending not to be annoyed about receiving another pair of socks: they’re each part of every Christmas. For kids and adults alike, so is many a seasonal-themed movie. If it has Santa or Christmas in the title, it is optimal viewing at this time of year. The folks at South Bank certainly think so, and have thrown together their yearly Christmas Cinema Series brimming with festive spirit. These free films aren’t just for families. Any Yuletide movie held under Brisbane’s starry skies and on the shores of Streets Beach at this summery time of the season is perfect for, well, everyone. Pack a picnic, bring your beach towel, and enjoy everything from Jingle All the Way’s ‘90s stylings to the classic treat that is Miracle on 34th Street. That’s not all, with The Muppets Christmas Carol, Elf, It's a Wonderful Life, Home Alone and more among a positively jovial and jolly selection of childhood classics gracing the waterside big screen.
It's a problem that everyone can relate to, and on more than one occasion. You reach for two socks, but despite your searching, you can only find a solo foot covering, sans partner in crime. It's all alone and destined to be deemed odd due to its lonely status. As the name suggests, Odd Sock! ponders this common predicament, attempting to offer an adventurous, amusing answer to the age-old question of lost socks' whereabouts. With The Mime Guy in the performer's seat, you also know what kind of show you're getting as slapstick, silent physical comedy ventures into the unknown sock universe.
If Wonderland's 2014 run had a breakout hit, it was I Want to Know What Love Is. If you saw it then, you were ahead of the trend. If you missed out, one of your friends has probably raved about to you in the year since. The reason everyone was talking about it — and still is — is simple: the show takes 800 anonymous love stories submitted by you, your friends and your exes, and then turns them into a theatre performance. Long-buried memories and bedroom fantasies become on-stage declarations, as do crushes, conquests and secret confessions. Here, you really will find out what love is.
If you're lucky enough to enjoy the gift of sight, you probably take it for granted without even realising it. So many of the things you do rely upon being able to see, whether it's something mundane like getting dressed or something fun such as viewing an art exhibition. It's the latter experience Nothing to See Here is concerned with — and we're certain that you haven't seen anything like it before. In fact, locked cabinets are the only things you'll see. Inside each sits artworks by members of the blind communities of Seoul and Brisbane, but they won't be stared at by curious eyes. Instead of gazing upon the art show as you wander around Brisbane Powerhouse's Mosquito Foyer, you'll interact with descriptions of every piece, rather than the actual displayed works. Audio recordings from each artist provide further details and share insights, allowing you to form your own impressions without ever casting your peepers over their creative efforts.
Remember when you spent your time dreaming up magical places and fantastic creatures? Well, Sarah-Jayne McCreath still does that. Her art feels like childhood imaginings entering an adult world. It bursts with playfulness and recalls all things weird. It's a fascinating combination. Indeed, hers are the type of pieces likely to spawn their own mythology, and the type to get grouped together in an exhibition called Drongos, too. They're both cute and a little creepy, and they're the perfect thing to look at while you're having a coffee. Yes, really. If you head to Haven Espresso at Stafford Heights until the end of December, you can do just that, enjoying something creative with a caffeine fix or a tasty snack. McCreath — aka Beara, the name of her imagination playground — is the cafe's featured artist of the month, with her works not just adorning the walls, but available for sale as well.
Fifty years ago, the events of one night changed Dadang Christanto's life. Now, he's an Indonesian-born, internationally acclaimed artist who has exhibited around the world; then, he was an eight-year-old suddenly forced to cope when his father was taken away and his home was burned to the ground. He's still coping, as his work makes clear. Indeed, his latest collection reflects that ongoing personal process and recognises the cathartic role creativity can play in coming to terms with trauma. More than that, it renders the horrific realities that characterised his homeland from 1965 until 1998 onto canvas. If it sounds like confronting viewing, spanning a time when death and imprisonment without trial were all too commonplace, that's because it is. In the aptly named 1965, pieces old and new combine to speak not only of Christanto and others who suffered five decades ago, but of "everyone who has suffered the misfortune of systematic violence," as the artist so devastatingly puts it.
Everybody loves a good procedural. Meticulously charting the steps of an investigation can be as immersive as it is thrilling; there's a reason that serial killer flicks and cop shows prefer the approach, after all. Truth applies the style to a tale of media troubles, tracking a group of US journalists trying to cover a story of national significance. Unfortunately, while the film sticks to the formula of chasing leads and piecing together a puzzle, it does so in a standard and heavy-handed fashion. It's a disappointing outcome, and surprising for two reasons. The first is that the real-life circumstances that inform the feature — the incident that ended the careers of seasoned news producer Mary Mapes (Cate Blanchett) and veteran news anchor Dan Rather (Robert Redford) — are both complicated and compelling. The second is that although filmmaker James Vanderbilt is sitting in the director's chair for the first time, he previously wrote the script for David Fincher's Zodiac, one of the best procedural efforts ever made. With Truth, he offers an account of a controversial report about then-President George W. Bush's military record, which aired on American TV's 60 Minutes in 2004. Mapes, Rather and their team (played by the likes of Topher Grace, Dennis Quaid and Elisabeth Moss) burrowed into rumours and leaked memos surrounding the President's service with the Texas Air National Guard in the 1970s and the preferential treatment he might have received, only to be subjected to accusations of factual inaccuracy and political bias in the aftermath of the broadcast. Much of the enjoyment of procedurals stems from the journey on which they take the audience, letting us watch as details are discovered and dots are joined together. Alas, in adapting Mapes' memoir Truth and Duty: The Press, the President and the Privilege of Power, Vanderbilt renders Truth an exercise in telling rather than showing. Everything of importance is spelled out multiple times, and speeches about the downfall of the media are given more weight and emphasis than the minutiae of the investigation. The underlying situation remains fascinating, as does the statement the film makes, but the former too often feels like a tool for the latter. Thank goodness for Blanchett, who channels both the vulnerability of her Oscar-winning portrayal in Blue Jasmine and the steeliness of her performance in Elizabeth. The crusading film she's in might largely go through the motions, but the same could never be said for her. Redford, too, is expectedly strong, playing Rather with weariness and wisdom. Sadly, the rest of the cast is relegated to sidekick roles and bit parts, a symptom of Vanderbilt's blunt focus. That said, Noni Hazlehurst stands out among a bunch of local talent that also includes Rachael Blake, Andrew McFarlane, Steve Bastoni, Martin Sacks and Nicholas Hope. Turns out the movie was actually shot in Sydney: the biggest surprise in a movie that lacks them otherwise.
When writer Herman Melville (Ben Whishaw) knocks on the door of retired sailor Thomas Nickerson (Brendan Gleeson), he's chasing a white whale. The year is 1850, and the author is writing a novel that he'd like to base on his own time at sea as well as another true tale. When Nickerson eventually agrees to share the story of the ship he worked on three decades earlier, he's fleeing the same beast. The Essex, a Nantucket whaler, had dallied with the giant sea creature — and Nickerson had refused to talk about it since. So starts In the Heart of the Sea, Ron Howard's account of the real-life events that inspired Moby-Dick. Based on the non-fiction book that gives the film its name, the movie both searches for and tries to escape the monstrous animal in its midst. In the narrative, it tells of men charging forward and then retreating — though as anyone familiar with Melville's epic would be aware, the whale isn't the only thing they're seeking or running from. In the feature's approach, it rises and falls in its energy and bobs and sways in its style, ensuring that the to-ing and fro-ing of story comes through in the mood and visuals. The Essex had set off in 1819 to gather barrels of oil, with melted-down whale blubber the preferred source at the time. Two men led the crew: the untested Captain George Pollard (Benjamin Walker), who received his position due to his family name, and first officer Owen Chase (Chris Hemsworth), who boasted plenty of experience but lacked a wealthy pedigree. Their clashes rocked the boat figuratively and literally, leaving the likes of young Nickerson (Tom Holland) and second mate Matthew Joy (Cillian Murphy) caught in the middle. Keen to complete the job and get away from each other as soon as possible, Pollard and Chase ventured 10,000 leagues along the equator to find a pod of sperm whales, ignoring warnings about an unfriendly mammal that had terrorised other vessels. While In the Heart of the Sea is framed as a showdown between Pollard and Chase, their combined foe becomes that cinema cliché — the third character in their battle. Thankfully, Howard and screenwriter Charles Leavitt (Seventh Son) know that less is more, teasing the impact of the animal more than they show it. Though the film doesn't miss a chance to flaunt its use of 3D or the aesthetic jerkiness that stems from its watery setting, this isn't a creature feature. Instead, it’s seafaring fare that's littered with more than a few arresting moments, while remaining more concerned with the trouble the whale both causes and amplifies than it does with the whale itself. With Hemsworth playing up the drama that results, it makes for a brooding clash of egos and a blustering tale of humanity versus nature. His accent may waver, but he's a solid lead, even if he's often shouting, scowling and staring out to sea. With Gleeson, he's also an anchoring presence in a film that swims between a drunken retelling, unleashing the chaos and the fury of the ocean; and showing the kind of drifting seen in other recent seafaring films like Unbroken, All is Lost and Life of Pi. A rough but most rousing journey.
In their stories and themes, Pixar often play in the same territory over and over. Generally, they take an object, animal or concept – say a toy, a fish or a car – and instill it with consciousness and emotion. And yet when it comes to visuals, they rarely do the same thing twice. Each new Pixar movie might feel somewhat similar, but they always look different. The Good Dinosaur, the animation studio's latest effort, demonstrates both extremes. "What if lumbering prehistoric creatures had feelings?" is the question the feature asks, then attempts to answer in heart-warming, lesson-learning fashion. A green, long-necked apatosaurus by the name of Arlo certainly has plenty, mostly of the melancholy variety. As a child (voiced by Jack McGraw), he's worried about his lack of size, strength and skill around the family farm, particularly in comparison to his bigger siblings. A few years later (now voiced by Raymond Ochoa), those self-doubts are put to the test when he wanders far from home and has to find his way back again. Director Peter Sohn (short film Partly Cloudy) and writer Meg LeFauve (Inside Out) take Arlo through well-worn territory — and not just for Pixar, but for many other animated movies about talking animals. Arlo is forced to face his fears, come of age and survive in the wild, with only a scampering, growling, primitive human boy, who he names Spot (Jack Bright), for company. They forge a connection despite having some initial troubles, and help each other through episodic encounters with other dinosaurs and creatures. Yes, it's a routine narrative, and it's mostly told as such, hitting all the expected beats. In fact, The Good Dinosaur is the kind of film that will cause your eyes to wander away from the main action — although given the artistry on display around the primary characters, that's a good thing. It's not often that the background proves more engaging than the figures at the centre of the frame, or that the direction makes sure you're noticing that peripheral beauty. Yet that's frequently the case here. The photorealistic details evident in images of fields, mountains, waterfalls, trees and other natural features are the real stars of the show, and provide the picture with a distinctive, eye-catching appearance. Of course, the film isn't without its other modest pleasures. For starters, there's its alternate timeline, one that sees dinosaurs not only roaming the planet long after an asteroid should've hit, but living an agrarian lifestyle. There are nods to the western genre, a brief but inventive hallucinatory sequence, and enjoyable voice-acting by Frances McDormand, Sam Elliott and Steve Zahn in smaller parts. Like the familiar story though, they simply pale in comparison to the splendour that surrounds them. Sure, the movie might be about a good dinosaur, but what it best serves up is great, gorgeous visuals.
Who doesn't love a tap takeover? If you're keen on beer, bars and breweries, you're getting the best of everything: the atmosphere of your favourite haunt, the usual beverages and a limited-time-only selection of other tasty tipples. Most Tuesdays, all of the above occurs at Newstead Brewing Co, because those fine folks know how to take a good thing — aka one of the city's favourite purveyors of yeasty goodness — and make it even better. The guest brewery might change each week, but a commitment to damn fine drinks remains. To kick off 2016, the Tamborine-based farmhouse brewery that is Beard and Brau are in the spotlight. They'll be pouring their famous Miley's Mulberry Tart (aka kettle soured wheat ale), Mrs B's Spring Ale, Fox 'n' Hounds Pale Lager and Bon Chiens French Farmhouse Ale, so you'd better arrive thirsty. If you miss out, don't stress — another tap takeover is just a week away.
What's better than getting dressed up for an end-of-year party? Getting dressed up for an end-of-year masquerade ball. Yep, these kinds of shindigs don't just happen in the movies. You won't just need a new outfit — you'll need a disguise, because wearing a mask isn't optional. Not sure which one to choose? Well, why not take a few cues from the venue. Woolly Mammoth is embracing its animal side, complete with themed rooms, of course. Perhaps you'd like to take to the tropics (aka the Garden Bar), or get all cozy in a log cabin (aka the Alehouse)?
Canvas Club as become a favourite New Year's Eve haunt for a number of reasons. Firstly, if you live on Brisbane's south or east sides, you can get to the Woolloongabba bar without having to brave the CBD. Secondly, they know how to throw a mighty fine party. Or a mighty fine luau, in keeping with 2015's theme. Yes, all things Hawaiian are on offer to end the year, although we don't think means pineapple-topped pizzas. What it does mean is cocktails galore, so expect to be drinking something fruity as part of the four-hour food and beverage package.
If crowds aren’t your caper, but fine food is, then you'd best treat yo'self this New Year's Eve. At E'cco Bistro, you can sit back and relax, enjoy a six-course menu and end 2015 while savouring all things tasty. A glass of Louis Roederer on arrival will certainly set the mood, but this event is all about the culinary creations of head chef Simon Palmer. Start with crab and watermelon salad, then work your way through chicken liver parfait with chambord jelly and cranberries, as well as slow-cooked heirloom carrots with toasted tahini cake, buffalo curd and dukkah. There's more — including confit ocean trout with puffed fish skin, pomegranate, rye and tahini yoghurt, roast lamb with glazed eggplant, green tomato, labna and mint, and strawberries and cream. Don't worry, it's okay if your mouth is watering while reading this.
Ben Mendelsohn stealing the show in a character-driven indie film? Now there's something you can bet on. Ryan Reynolds holding his own alongside one of Australia's greatest working actors? That probably attracts larger odds. Still, as far as casting is concerned, Mississippi Grind wins big. Their characters, Gerry (Mendelsohn) and Curtis (Reynolds), meet over a hand of poker, then bond over a glass of bourbon. Gerry is an Iowa-based real estate agent who needs a hefty payday to take care of his considerable debts, while the journeying Curtis is more concerned about the fun of playing and wagering than he is with lining his wallet. Soon, they're fast and firm gambling companions, sharing the rush of the high-stakes chase. With a lucrative game in New Orleans in their sights, they jump between bars, casinos, card tables, racetracks, pool halls and betting agencies across America's south, trying to make enough cash for the buy-in. The details of Mississippi Grind are fairly predictable: one down-and-out guy wants something more in life, and another charismatic fellow coasts along. Their pairing sparks ups and downs, all while revealing truths about themselves and the women in their past that they've each been running from. And yet, the latest offering from Anna Boden and Ryan Fleck (Half Nelson) mostly rises above its recognisable combination of road movie and addiction drama. The filmmakers' ambling, unhurried approach deserves credit, as does their '70s-style aesthetic dominated by browns, blues and greys. Still, the film's true source of success can be found in its stellar performances. Indeed, as the expertly deployed creases on Mendelsohn's face indicate, this is a movie that values all things lived-in. Accordingly, weariness emanates from the actor, although that's not the only trait he paints his character with. In his hands, Gerry alternates subtly between tentative, slippery, proud and thoughtful. It's a masterly display from Mendelsohn, and another highlight of his recent renaissance (though with the likes of Animal Kingdom, Killing Them Softly, The Place Beyond the Pines and Bloodline on his resume, he certainly has plenty already). Reynolds' efforts might appear more overt, yet they're ultimately no less impressive. At first, his casting as an assured, smooth-talking figure feels a little too obvious. However as the film goes on, he not only unpacks that confidence and allure, but wears it like a mask. And while his back-and-forth with Mendelsohn undoubtedly drives the movie's best moments, he offers plenty of charms of his own. In gradually revealing the sadness that lingers beneath Curtis' façade, he's never been better on screen. As it intertwines a familiar narrative with finessed portrayals, Mississippi Grind presents a case of taking the standard with the spectacular. And in a feature about wins and losses, that's quite the fitting outcome.
There’s no nice way to put it: Aloha is a mess. It's not a hot mess, despite its disorganised array of attractive actors and its scenic setting. It's not a fun mess, because it rarely entertains. Instead, it's the worst kind of cinematic clutter: an indulgent mess. Aloha is a movie that hasn't met a cliche it doesn't love — and given that its writer/director, Cameron Crowe, has met many in his past efforts (such as Jerry Maguire, Elizabethtown and We Bought a Zoo), that's saying something. It's also a feature with so little to show or say outside of its rehash of the filmmaker's usual plotline — down-and-out man is refreshed by the attention and affection of a younger woman — that it spends a fair chunk of time referencing its title in dialogue, songs and even on fridge magnets. The film's main tale focuses on former NASA worker turned defence contractor Brian Gilcrest (Bradley Cooper), who returns to the Hawaii base where he once spent the best years of his career. He's tasked with negotiating permission from the locals to move US military operations to another site, which links in with the shady work he's doing for an eccentric billionaire (Bill Murray). While there, he also confronts old issues with his ex-flame (Rachel McAdams), who's struggling with marital problems with her strong, silent-type husband (John Krasinski). Brian's every move is shadowed by an eager fighter pilot, Allison Ng (Emma Stone), assigned as his handler — and of course, soon they're flirting with becoming more than colleagues. As overly sincere as it is sprawling, Aloha exists to trade in Crowe's usual brand of rom-com optimism and self-belief, love conquering all mid-life crises and all that. Sometimes, the filmmaker doing what he does best results in flashes of corny charm, as glimpsed in the banter between Cooper and Stone, and a dance shared by the latter with Murray. Too often, however, he's content with trifles such as featuring a rotating handheld shot around Cooper, Stone and McAdams, or making a joke out of Cooper and Krasinski communicating without words, or shoehorning in a space hacking threat as the movie's climax. This seesawing between too-cute, too-contrived and too-clumsy might have been excusable if the characters immersed in such shoddy plots and shots remotely resembled people, other than physically, that is. Alas, the figures on screen never transcend their status as the idealised imaginings of a dreamer, nor do the corresponding performances. Saying that Stone steals the show is a reflection of her natural pep and flair, not of her ability to repeat the reasoning for her playing someone with partial Hawaiian heritage. Of her co-stars, Cooper is in stock-standard mode and Murray is barely glimpsed, alongside the rest of the high-profile cast, Alec Baldwin and Danny McBride included. Even the one element that typically, reliably stands out in Crowe's films — his use of music, as seen in Say Anything and Almost Famous, for example — doesn't hit the mark. When a movie has to resort to Murray announcing "everybody wants to rule the world" moments before the track is heard, it's hard to get swept away in the emotion of the scene. It's hard to get swept away in Aloha altogether; in fact, you might just want to sweep its mess from your memory.
When is a gallery more than just a gallery? When it transforms its exhibition space into a local pop-up market. That's what's happening at Artisan, and with a name like that, there couldn't be a better place for it. The link between food and craft is what Melinda Gagen, Artisan’s emerging curatorial fellow, is really looking at in Marketplace, from idea to crafted product — or paddock to plate, as you might know it. The show looks back at the art of baking, brewing and bread-and cheese-making, while looking forward to the concerns now plaguing the industry, including waste, excessive consumption, food miles, food security and an increasing disconnect with food production. Not only can you explore food as a craft while thinking about its evolution and issues but you can also do that one thing we all love: eat it. The exhibition also connects audiences with local craft makers and food producers — they exact right people to seek out when you're feeling hungry. Image by Jaala Alex.
If you've ever found an inanimate item around the house and pretended it was a puppet — and be honest, we've all been there — then Queensland Theatre Company has something for you. That'd be Argus, the latest production from Dead Puppet Society. Using nothing but household objects and the performers’ hands, this imaginative show brings readily available materials to life to tell a tale of adventure and magic. In a whimsical land where tabletops grow grass and water bottles are transformed into a deep sea, a creature will try to find a home and audiences will find their sense of wonder. Dead Puppet Society have previously worked with The Jim Henson Foundation, so you know their brand of all-ages entertainment is going to be special. Argus also features a live music score performed by Topology, so you know it is going to sound great, too. And, let's face it, enjoying a puppet show is something that you never grow out of.
Art imitates life in Dust Covered Butterfly, but this performance work delves into deeper and darker territory than most. Here, three unlikely protagonists — the Captive, the Captor and the Bait — are locked in a basement for a morally challenging, survival-of-the-fittest ride. There's a reason it sounds a bit like something ripped out of the news — along with The Collector by John Fowles, that's partly where director Thomas Hutchins and actor Michael Whittred took their inspiration from. When they first created the piece in 2013, the Ariel Castro kidnappings were in the headlines. The horrific case sent the duo into a spiral of research through other real-life circumstances. They're not the first to have followed this path, though the end result of their efforts looks a tad bit bleaker and bolder than similarly themed TV sitcom Unbreakable Kimmy Schmidt. Prepare for a stripped-back contemplation of love, power and freedom in experimental theatrical form, accompanied by haunting live original music. Image by Morgan Roberts Photography.
Prepare to be plunged into an unsettling world in Partisan, but prepare to be unable to look away, too. A charismatic man charms struggling single mothers into his thrall, and the film casts the same spell on its viewers. The magnetic figure at the centre of the movie is Gregori (Vincent Cassel), who wields his influence over Susanna (Florence Mezzara) when her son is born. Eleven years later, Alexander (Jeremy Chabriel) is the eldest child in Gregori's commune, secreted away on the outskirts of a rundown city and sheltered from the rest of the civilisation. His days, like those of the other kids living there, are filled with lessons and attempts to win gold stars for good behaviour. They're taught about gardening and trust, and play violent games with paintball guns — which Alexander then relives, outside the compound's walls, with a real weapon. Much of Partisan beguiles, early on, by remaining ambiguous and refusing to make plain its story — and by the time some of the pieces start to come together, you'll probably realise that you're already hooked. Just what Gregori is up to isn't the real point, nor why. Instead, the film pulls apart the bonds that a parent holds over his progeny, with Alexander's questioning nature kicking into gear when a new boy, Leo (Alex Balaganskiy), joins the fold but refuses to do what he's told. First-time director Ariel Kleiman, who also co-wrote the script with his partner Sarah Cyngler, was inspired by actual accounts of child assassins; however, their movie doesn't even pretend to reflect reality. It's not a typical killer kid flick either, for those familiar with The Professional and Hanna. Partisan toys with recognisable components such as cults and crime, but makes everything in its frames its own. That includes an ambient score that will echo around your head as it sets an eerie, uneasy tone, and lingering images that do what so many films try to: find glimpses of beauty in gritty, grimy brutality. While the narrative demands attention, doling out its details in fits and spurts, it's the way that Kleiman creates an unnerving atmosphere with both sound and vision that intrigues the most, and proves completely immersive. Well, that and the performances, particularly Cassel and newcomer Chabriel. Oscar Isaac was originally set to play the part of Gregori, and though there's no doubt he would've fit the bill (as his mesmerising menace in Ex Machina proves), Cassel is never anything less than hypnotic. There's something especially savvy about using the actor, who is so often seen as a more blatant threat, as someone with such power and allure. Plus, his rapport with his inexperienced but all-round excellent co-star is simultaneously natural and on-edge, as a father-son bond threatened by rebellion should. Watching Partisan, you'll swiftly become invested in their efforts, and in a moody, tug-of-war-like thriller that both creeps up on the audience and slaps them in the face.
Each year, Italy celebrates Festa della Repubblica — otherwise known as the country's national day. The occasion might not be a big deal in Australia, but don't tell that to the folks behind An Italian Affair. Come May 31, they're doing their best to give Brisbane a taste of the fun by throwing a free street festival. That means a sea of Italian-themed festivities will take over New Farm Park, featuring plenty of food and wine, of course. There'll also be operas, bands and other live shenanigans, with close to 100 performers getting in on the action. An Italian Affair isn't just a one-off event — it's the centerpiece of Italian Week, which celebrates Italian influence in Australia and the country's culture in general. That's right, you now have an excuse to eat all the pizza and pasta you like for seven whole days — not that you need one, of course.
The Terrace at Emporium is an impressive spot for a drink every day of the year. Being perched 21 storeys above South Bank will do that. Come Christmas, it doesn't need to do much to dazzle its patrons — but the South Bank spot is serving up festive cocktails to get you in a merry, jolly mood right through until New Year's Day. Two seasonal tipples are on offer for those who like their Christmas spirit with some actual spirits. The 'Merry Berry' Christmas cocktail combines berry gin, strawberry gum leaf syrup and lemon myrtle soda, while the '21 Palms' — which is designed for New Year's Eve — features Cocchi Americano Bianco, pineapple run, white rum, clarified pineapple juice, toasted coconut syrup and smoked lemonade. They'll both set you back $22. Whether you're doing your seasonal celebrating over lunch or after work, the cocktails are available every day of the week. If you aren't staying at the hotel, you can only reserve a table from Monday–Thursday, though — with walk-ins on offer for the general public from Friday–Sunday.
Talented pooches have been barking their way to big screen stardom since the birth of the medium, and Cannes Film Festival even gives out awards for ace pupper performances. Now, Australia has a dog-themed cinema showcase — and while it pops up around the country every year, it's heading to Moonlight Cinema in 2021. At the Top Dog Film Festival, doggos and puppers cement their status as humanity's favourite movie stars in a program of pooch-centric shorts. Viewers will watch dogs will leap across the screen in a curated selection of heartwarming flicks about humanity's best friend — think films about dog-powered sports, dogs in space, dogs hiking through the desert, senior dogs and more. The festival hits Moonlight Cinema in Brisbane's Roma Street Parklands on Saturday, January 30, and rushing after tickets the way your best four-legged friend rushes after a frisbee is recommended. Given how much we all love watching dog videos online, not to mention attending pupper-centric shindigs in general, this one-night-only under-the-stars event is certain to be popular. Also, in exceptional news for pooch-loving movie buffs, you can take your pupper along.
Like much in 2020, Brisbane's next big music festival is going to look more than a little different than usual. Indeed, when Remix Hotel hits town between Friday, October 9–Sunday, October 11, it'll combine two of the year's big trends: making the most of this city of ours and live-streaming top-notch entertainment. Across the whole weekend, the tunes will be pumping at Ovolo The Valley. And if you're thinking that's a unique choice for a music fest, well, this is a unique event. Featuring a lineup that includes Groove Armada, Marshall Jefferson, Jason Bye, Rachel May, Groove Terminator and Mark James, this fest will be broadcasting its live sets from the likes of London, Manchester and Ibiza — all into the hotel's rooms and entertainment areas, and all for music lovers who are staying onsite for a couple of days of ace sounds and staycation shenanigans. Yes, that means you'll need to book a room, which starts at $598 for two people for two nights. But, once you're onsite, you'll be able to tap your toes to a stellar soundtrack in said room, as well as in the hotel's gorilla lounge, its interactive lounge, by the pool and at Za Za Ta Bar and Kitchen. Dancing isn't permitted in line with Queensland's current COVID-19 restrictions; however if you're hanging out in one of the communal spaces, there'll be a heap of seating. Your package includes your stay, free minibar, breakfast and rooftop sunset sessions daily, and a brunch bloody mary on the Saturday, too. More artists will be added to the lineup — and, if you're keen, the whole event is open to hotel guests only. Remix Hotel takes place at Ovolo The Valley from Friday, October 9–Sunday, October 11, with tickets starting from $598 for two people for two nights.
When Ivory Tusk decided to mark International Tequila Day with a boozy festival (and celebrate its reopening after Brisbane's lockdowns, too), the event proved a huge hit. So, it did so for a second time, which was also popular. For its next fest, though, it's favouring a different type of beverage. At Sangria Fest, you know what you'll be drinking. Taking place from 8pm on Friday, September 18, it'll feature plenty of wine- and fruit-filled punch. There'll also be Mexican-inspired canapes to help line your stomach, plus DJs and live entertainment. Two types of tickets are available, to suit both your budget and your thirst. Nab a 'single slice' ticket for $19, and you'll get a sangria on arrival and access to the food. Level up to the 'wine lover's package' package for $85, and you'll sip your way through three hours of bottomless sangria, plus tuck into more than a few bites to eat. Tickets are on sale now, but it's worth noting that capacity is limited — life isn't quite back to normal just yet. So, if you're keen to spend a night downing sangria, you'll want to get in quick smart. Sangria Fest takes place from 8pm on Friday, September 18 at Ivory Tusk.
They're words every hungry stomach likes to hear: cheap dumplings. And, much to your tummy's delight, they're words that apply at Jade Buddha on Tuesday, September 8 from 12–1pm and 6–7pm. That's when the Eagle Street spot's Fifty-Cent Dumpling Day is taking place, and it's all rather simple. Venture in for lunch or dinner between the allocated times, buy a drink and then order up to ten tasty parcels in exchange for a dodecagonal coin each. Want more? That's on offer too, but you'll have to pace yourself. Once you're done with your first serving, you can grab another beverage and another plate of dumplings. Given the location, you'll also be doing all of the above while soaking in riverside views. Obviously, arriving early is recommended — there's limited stock available, and Jade Buddha is also operating under a COVID-19 Safe plan. Jade Buddha's Fifty-Cent Dumpling Day takes place from 12–1pm and 6–7pm on Tuesday, September 8.
Forget worms — the early bird gets gourmet bites to eat, farm-fresh produce to line the cupboards, and an enjoyable morning of browsing and shopping at Milton Markets. Every Sunday morning, more than 80 stalls descend upon the corner of Cribb and Little Cribb streets in the inner western suburb to sell tasty wares. From whenever you feel like waking up until midday, you can wander through massive fig trees to join them. Once a season, the Milton Markets also celebrates the change of weather — and all of the food that goes with it. On Sunday, September 13, it's doing so with Milton Markets: Spring Seasonal Flavours, which'll showcase the tastes that make everyone think of this blossoming time of year. If fresh seasonal fruit gets your stomach grumbling, you can stock up here. If a range of snacks do as well, you're in luck again. Flowers will be blooming everywhere, naturally. Expect themed gourmet food stalls, decorations to suit the occasion and a collaboration with Love Handmade Markets, too. Milton Markets: Spring Seasonal Flavours takes place from 6am–12pm on Sunday, September 13 on the corner of Cribb and Little Cribb streets.
It's that time of year, Brisbanites — time to say goodbye to winter, cold weather and gloomy moods, and offer up a big hello spring, sunshine and blossoming flowers. If the change of season has you feeling not only extra chipper, but eager to get outside and make the most of it, Roma Street Parklands has just the event for you, too: its new weekend Blooms and Tunes series. Taking place from 1–4pm every Saturday and Sunday in September, Blooms and Tunes combines live jazz and blues, an immensely picnic-worthy spot and the Parklands' already impressive greenery. You'll sit, listen to music and have a bite to eat, and you'll also be able to check out the 15,000-plus flowers blooming in the site's aptly named Spectacle Garden. Tunes-wise, the lineup includes Andrea Kirwin and the Yamanui Social Club, Ingrid James Ensemble, Cigany Weaver, CC the Cat, Soulergy, Blues Arcadia and Mzaza, with a different artist playing each session. You can bring your own snacks along, order a $25–65 hamper from The Garden Room Cafe along with something to sip on, or opt for a VIP package that includes drinks ($90–130) and a prime seating spot. Heading along is free but, to keep the event COVID-19-safe, pre-registration is required. Blooms and Tunes takes place at Roma Street Parklands every Saturday and Sunday in September from 1–4pm.
Rise up, Hamilton fans — whether you're a Sydneysider counting down the days until the biggest musical of the past decade finally makes its way to our shores, or you're an aficionado elsewhere in the country that's been spending the past couple of months streaming the filmed version on Disney+. Whichever category you fall into, you won't want to throw away your shot at glory at Totally F*ct Trivia's Hamilton night. You don't need to be young, scrappy and hungry to succeed at this trivia evening. You don't need to have seen oceans rise and empires fall, either. You will need to know plenty about Hamilton, though, of course. And, there are two ways to get some skin in the game: by heading along in-person and taking part in the room where it happens, or by live-streaming the fun when push comes to shove. As hosted by The Chaser's Julian Morrow, Totally F*ct Trivia: Hamilton Edition will next take over the Giant Dwarf Theatre in Redfern from 6.30pm on Tuesday, October 20. Yes, it was a such a hit when it last took place in September that it's coming back — like that oh-so-catchy King George III song told us. Tickets to attend physically cost $20, or $30 with two drinks included. Connect virtually for $10 for one person, $15 for a couple and $20 for a group of three or more if you want to get involved from home. And if you need a refresher, check out the Hamilton Disney+ trailer below: https://www.youtube.com/watch?v=DSCKfXpAGHc Totally F*ct Trivia: 'Hamilton' Edition takes place from 6.30pm on Tuesday, September 8 — live at the Giant Dwarf Theatre in Redfern, or you can play along via live-stream from around the country as well. Top image: Hamilton filmed version courtesy Disney+. Updated September 26.
Representation, body image and the cut-throat nature of the dance industry are the themes explored by this all-female dance collective in five 45-minute dance performances at Brisbane Festival. Wanida Serce, Amy Zhang, Monika Stojevski, Floss Moloney and Kimberley Smit make up Pink Matter — a diverse dance group with industry experience ranging from teaching Groove Therapy classes to performing at Australia's Got Talent and the Commonwealth Games. Their world-premiere performance brings together street dance and hip hop with strobe lighting and haze effects to bring you an uplifting show of girl power. Image: Ben Garcia
Any venue can serve up a brunch that goes on for hours, or so it seems given the sheer number of such mid-morning sessions across Brisbane. Cloudland's Brunch With Bite fits that mould, offering plenty of food as well as bottomless booze — but it also adds something a little different to the menu. Fancy getting a bit of camp drag comedy with your meal? Watching an uproarious game show? Belting out a tune while brunch rolls on? They're all on the bill at this banquet, with the lineup changing weekly. Food-wise, you'll tuck into an Italian-inspired spread and nab a drink on arrival, all as part of your $79.90 ticket. The event kicks off at 11am, with two hours of bottomless spritzes, mimosas, bloody marys, select beers and sangria on offer between 11.15am–1.15pm. And, if you're going booze-free, you can opt for mocktails instead.
Late in 2020, Brisbane welcomed a new arrival — and one of the most exciting things to happen in the city all year, too. That'd be Will & Flow, the overwater bar that you might've seen perched over the river on the CBD side, opposite South Bank. If you're in the area, it's hard to miss. You can stop by whenever you like to pair a bite to eat and a few drinks with the venue's view, of course. Or, you can make a visit on a Sunday between 12.30–4.30pm. That's when Will & Flow hosts Sundaze sessions — and yes, they're really just an excuse to kick back in a scenic spot over a couple of beverages. Sundaze does boast a few specialities on its menu, though, including negronis, mojitos, cosmos and spritzes — and oysters, buckets of tiger prawns and wood-fired pizzas. Entry is free, you'll pay for whatever you'd like to eat and drink, and you'll also be treated to live tunes. The music lineup changes weekly, but you might find yourself listening to Musica, Nik Conomos, Parallel Duo or Izaeah Marsh.
Already known for its bottomless vegan pizza and pasta feasts, Italian restaurant chain Salt Meats Cheese is upping its cruelty-free food game across a new food series. Called Soul Meets Cheers, the event consists of two parts: a five-course vegan banquet and a vegan cooking class. At the former, you'll tuck into en entirely plant-based menu, which'll feature vegan versions of Italian classics. Think pizzetta with butternut pumpkin and mozzarella, tagliatelle with Swiss brown mushrooms and porcini jus, and apple and ginger cake with coconut yogurt, almond crumble and a big tuft of fairy floss. The vegan dinner takes place on Tuesday, August 4 at SMC's Newstead venue, with bookings from 5pm — and your $49 ticket also includes a glass of wine upon arrival. At the latter, which is being held on Saturday, August 29 also at Newstead, you'll learn how to make your own SMC-style vegan dishes at home. In this year of lockdowns, isolation and quarantine, that's a particularly handy skill. If you're keen, tickets cost $89. Salt Meats Cheese's Soul Meets Cheers Vegan Series five-course banquet takes place from 5pm on Tuesday, August 4 at SMC's Circular Quay, Cronulla, Drummoyne and Dee Why, with the cooking class held on Saturday, August 8 at Circular Quay — and bookings are essential.
