A fixture in the historic mining town for over a century, the Broken Hill Musicians Club will play host to Adelaide's finest tribute act for one night only. The Flaming Sambucas have been playing around Australia — and the world — since 1991 and have a range of setlists up their sleeves, from Elton John to Lady Gaga. For this show, they'll be busting out the hits you know and love from everybody's favourite Swedish supergroup. There'll be 'Dancing Queen', there'll be wigs, there'll be costumes and — consider yourself forewarned — there will certainly be audience participation. Expect this slice of NSW outback to transform into a riot of sing-alongs and glittering disco balls. Best of all, the gig's free — you've just go to get there. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
He's hung out in Nevada brothels, suburban swingers' clubs and high-security gaols in Miami. Does Louis Theroux have what it takes to survive Q and As across Australia? We'll find out when the fearless filmmaker, journo and social commentator heads our way this September for a national speaking tour. In his first visit to the Great Southern Land, Theroux will be joining ABC's Julia Zemiro for big chats in Sydney, Melbourne, Adelaide, Brisbane and Perth. You'll be hearing all about how he's survived dens of iniquity all over the planet without losing his sanity or moral sense. He'll also be reminiscing about time spent with a nasty neo-Nazi gang in the United States and recounting his brief stint as a rap god on New Orleans radio. "For me, making my programs is quite a private process," Theroux said. "They are about forging a human connection with people whose lives are at the outermost edge of what we as people experience: the most forbidden impulses, the most frightening lifestyles, the most traumatic turns of events. To get inside the lives of those people — criminals, sex workers, people with mental illness, ultra-committed religious believers — is a kind of high-wire act." Theroux is looking forward to sharing the ins and outs of the filmmaking process with his listeners, while telling all the bizarre stories that didn't make the cuts. In between talking, he'll be screening footage from Weird Weekends, his famous series of one-off investigations and encounters with various celebrities and power brokers. When he and Zemiro are done, you'll have loads of time to ask questions of your own. "In his documentaries, Louis Theroux finds the extraordinary in the ordinary," says Zemiro. "Through patience, stillness and rigour, he reveals so much about human nature. I'm delighted to be hosting this tour and intend to pick up as many tips as possible in the art of interviewing." Image: Carsen Windhorst.
Before it busts out licking lucky cats, K-pop-style Cardi B covers, cocaine enemas, threesome injuries and intimate tattoos, Joy Ride begins with a punch. For most of the movie, Audrey Sullivan (Ashley Park, Beef) and Lolo Chen (Sherry Cola, Good Trouble) are nearing 30, travelling in China and going on a wild journey in a gleefully raucous comedy. In the 1998-set prologue in White Falls, Washington, though, they're five-year-olds (debutants Lennon Yee and Milana Wan) first meeting, being taunted by a racist playground bully and responding with the outgoing Lolo's fist. Crazy Rich Asians and Raya and the Last Dragon screenwriter Adele Lim uses her directorial debut's opening scene not just to start a fast and firm friendship, but to establish the film's tone, sense of humour and, crucially, its willingness to fight. Joy Ride will ultimately get sentimental; however, this is a movie that beats up cultural prejudices and stereotypes by letting its four main female and non-binary Asian American characters grapple with them while being complicated and chaotic. Hollywood should be well past representation being such a noteworthy factor. That should've happened long before Bridesmaids and Bachelorette gave The Hangover's template a ladies-led spin more than a decade ago, and prior to Girls Trip spending time four Black women on a raucous weekend away six years back. Reality proves otherwise, sadly, so Joy Ride openly addresses the discrimination and pigeonholing slung Audrey, Lolo, and their pals Kat (Everything Everywhere All At Once Oscar-nominee Stephanie Hsu) and Deadeye's (comedian and movie first-timer Sabrina Wu) ways — and in Audrey's case, after being adopted as a baby by the white Sullivans (The Recruit's David Denman and Bridesmaids' co-writer Annie Mumolo), internalised. With its booze- and sex-fuelled antics, Lim's film could've simply been formulaically entertaining, just with Asian American characters in Asia. It certainly doesn't hold back with its raunchy setpieces. But it's a better and more thoughtful feature because it engages with the diasporic experience; "I'm just a garbage American who only speaks English," Audrey chides herself, which the picture she's in unpacks. The full Joy Ride equation, then, also treads in The Farewell and Everything Everywhere All At Once's impressive and rightly acclaimed footsteps. Tellingly, Lim and her co-screenwriters Cherry Chevapravatdumrong and Teresa Hsiao, both of whom boast Awkwafina Is Nora From Queens on their resumes, originally had Joy Fuck Club as their film's working title. Also revealing: that Seth Rogen and Evan Goldberg's production company Point Grey Pictures is behind the movie, after previously giving cinemas flicks like Bad Neighbours and its sequel, This Is the End, The Night Before, Sausage Party, Blockers, Long Shot and Good Boys. Getting culturally specific; dismantling Asian cliches; examining identity, belonging and displacement; being hilariously bawdy: Joy Ride always feels like the sum of these easily spotted parts, but it also always feels genuine. As children, Audrey and Lolo are thrust together due to their shared heritage — "are you Chinese?," the Sullivans ask the Chens (The Midnight Club's Kenneth Liu and Platonic's Debbie Fan) in that introductory sequence, which inspires a shared glance that says everything — but they're a chalk-and-cheese pair personality-wise. Before the young Lolo smacks their tormentor, Audrey is cowering. As adults, Lolo makes sex-positive art riffing on Chinese culture that hasn't yet brought her success, while Audrey is a fast-rising lawyer eyeing a promotion at a firm filled with white men (such as Don't Worry Darling's Timothy Simons). Lolo lives in Audrey's garage, is steeped in her culture and content being herself. Audrey names Mumford & Sons and The National as her favourite bands, and can list Succession characters instantly. As they head to China so that Audrey can close a big deal, with Lolo along for the ride as her personal translator, the latter is excited about seeing family, while the former is guilty of making wary assumptions about what the trip will be like. When Lolo's K-pop-obsessed cousin Deadeye joins them at the airport, it's the first surprise that's thrown Audrey's way. The bickering between Lolo and Kat, Audrey's college roommate-turned- Chinese soap-opera star, over who's truly her BFF — that she easily foresees. This wouldn't be a wild getaway comedy if there weren't more bolts out of the blue coming at Audrey, of course, kicking off with a drink-heavy night trying to get her client Chao (Ronny Chieng, M3GAN) to sign, which leads to a cross-country quest to find her birth mother. Drugs, sex, vomit, a faux band, 'WAP', a distracted basketball team, vagina-view camerawork: that all follows. So does a fateful train ride that's utter pandemonium in a completely different way to Mission: Impossible — Dead Reckoning Part One, and Kat trying to hide her between-the-sheets past from her very Christian fiancé (Desmond Chiam, The Falcon and the Winter Soldier). Lim weaves Audrey's journey of acceptance and discovery, embracing her background and realising the eager-to-please and assimilate part that she's unwittingly played since childhood, throughout a zippy and brightly shot madcap romp of a movie. And, she largely finds the right balance — including as Lolo refuses to be anyone but herself; the blunt, introverted but caring Deadeye yearns to be liked for being themself; and Kat struggles with knowing how to be true to her real self beyond the demure, polite and dutiful front that she's been putting on professionally and personally. Along the way, Joy Ride revels in a candy-coloured dance number, lets Asian men be ripped and lusted after, and, yes, gets mawkish when it comes time to tie everything up neatly. Sometimes it's sidesplittingly funny, sometimes it's only eagerly trying to be, but it's aptly never happy slipping into one easy category. At their best when Joy Ride is either at its most manic and outrageous, or its weightiest and intelligent, Park, Cola, Hsu and Wu are a dream cast. If the film wants to stick to The Hangover setup by sparking sequels, teaming its core quartet up again and again would be keenly welcomed after this first go-around. Park has the trickiest and straightest role, Cola the brassiest, Hsu the lewdest and Wu the most awkward — and each nails the task while giving the film a fleshed-out, multi-faceted, smart, striving, relatably imperfect crew, and actively dispelling the idea that to be Asian American is to be a monoculture. Indeed, their energy and authenticity, and Lim's behind the lens, sometimes eclipses Joy Ride's jokes — and that couldn't be a better problem to have.
The Brisbane Fringe festival emerged in 2012 with support of a few community groups, united in pursuit of tearing down red tape in aid of Brisbane’s homegrown creative brood. Now, with 24 months of fine-tuning under their belt, festival organisers have proved themselves sharper and more streamlined than ever, with an extensive selection of collaborative work, ideas and entertainment under their 2014 banner. From circus, comedy and cabaret, to underground bands and eccentric plays, this year’s Fringe festival is running absolutely wild with acts. You can catch performers and personalities artists well-versed in their craft, or exercise some schadenfreude at the events of awkward first timers– everyone has to start somewhere after all. To kick off your Fringe experience head to the launch party at Zoo, get down with Babushka, Arandel and DJ Gaitling Gun - it'll be the best place to suss out your two weeks ahead. If Fringe is meant to encapsulate anything it’s comedy, and chuckles tend to be the epicentre of most events and showcases. The comedy performances of this year span as much in quality as they do in generations – Trashtalk will be presenting the young up and comers Tom Watkin, Sean Maccarthy and Tom Glassey at Visible Ink. They’re still in high school, but have already made their mark on the Queensland comedy circuit, daring to get away with whatever they can because at 17 anything goes. If you want something a bit more mature check out what The Bearded Lady, Lucky Duck Cafe and New Globe Theatre have on the bill. Last year’s music line-up for Fringe was flawless – between the Growl and Karl S. Williams organisers went and did real good. And this year’s selection of bee-boppers and rockers are just as dancefriendly. Josh Daveta’s Caramel at Best is an onstage, musical biopic that explores his battle as bi-racial human through a catalogue of pop, musical theatre, and even some Disney tunes. You can catch him at the New Globe Theatre on August 5. If you’re after something a little more sweet and dreamy, bounce up the Blackbear Lodge staircase to see Hana Rosa. The whole nature is of a Fringe Festival is to showcase a spectrum of art, catering to audiences who wouldn’t usually embrace harsh sunlight and don’t have to thanks to the night time events. So if you don’t like dance, music, or comedy, and like trickling Darwinism into everyday conversation and have a Sagan tattoo, Avid Readers’s Art of Science is your Fringe event. Top-notch researchers Sarah Winter, Miriam Taylor, Cindy Nicollet, events co-ordinator Madeleine Radke, and artist and curator Melody Woodnutt will be providing a set of engaging talks that fuse elements of science at art. Brisbane Fringe Festival runs from August 14 to 21 – make yourself familiar with the program, and take a chance with your event picks. You never know, he who performs in Brisbane one year, might just be at Edinburgh the next.
Have you seen your wardrobe/floordrobe lately? Do you have any idea how many potential outfits you are carelessly throwing away or are using as pajamas? Scoop up your old clothes and let Kelly Doust turn those no-hopers into show-stoppers. For anyone who's ever watched any of the morning shows (hey, we all do it, we just don’t talk about it), will know of Kelly Doust's amazing ability to wave her magic wand and transform daggy outfits into one-of-a-kind pieces, as well as simultaneously being the resident crafts person. There are many duds on these programs, but Kelly ain’t. She is even endorsed by Dita Von Teese and has been published in Vogue, which is nothing to sniff at. Anyone who loves arts and crafts, being creative, or simply learning how to style themselves will cherish the opportunity to meet the self-dubbed Crafty Minx in all her glory. The Crafty Minx is will be at Avid Reader this Friday and encourages you to bring along a piece of clothing that you can't bear to give away so that she can breathe new life into it. Think of her as the Dress Doctor and make sure your dress gets the care it deserves!
Loving Christmas is easy, especially when Brisbane delivers plenty of ways each year to get into the festive spirit. But here's the secret about Christmas markets: even if you're not usually a fan of the season and all the trimmings, who doesn't adore an excuse to spend an evening browsing, buying, eating and drinking, all under glittering lights? The West End Christmas Twilight Market is one such place to do all of the above in 2023, taking place from 4–10pm on Friday, December 1. Once quittin' time comes for the week, make a beeline to the West End Markets' usual spot in Davies Park and prepare to get jolly — or to make the most of another night market, no matter your feelings on the theme. A familiar festive spread will be on offer, which involves a heap of stalls — 180-plus, in fact — to shop for artisanal gifts, Christmas decorations all over the place, live entertainment and Mariah getting a spin on the stereo. Kids can also get the obligatory snap with Santa. And, the food and drink menu will go all in on Christmas fare. Try saying "bah, humbug!" to that.
If you've got it, flaunt it — and Claire Marshall certainly has it. The legendary Brisbane-based choreographer has showcased her smooth moves on the stage and screen for over a decade now. She's worked on sold-out productions, countless tours, and music videos for the likes of Darren Hayes, Kate Miller-Heidke, Megan Washington, Little Birdie, The Sleepy Jackson, John Butler Trio, Savage Garden and George Michael. Her latest show, Flaunt, explores female sexuality, representation and empowerment through a dazzling display of dance. Presented in the round with performers on perspex above the audience, Flaunt combines the smoky haze, glittering lights, myriad mirrors and thrilling soundtrack of a nightclub with contemporary, bold and gutsy dance. Flaunt is the second show supported by Brisbane Powerhouse's inaugural SWEET creative development program for independent performance-makers and companies. He Dreamed a Train played to much acclaim in October, and the debut season of De Profundis is scheduled for April 2015.
Every year, Brisbane plays host to the Asia Pacific Screen Awards, which hands out gongs to the year's best films from around the region. One of the categories that it recognises is animated features, focusing specifically on movies from the 70 countries and areas within its chosen remit — and yes, that means there's plenty of gems. In 2019, four films have scored nominations in the animated feature field. While the winner won't be announced until the ceremony on Thursday, November 21, APSAs is teaming up with the Gallery of Modern Art's Australian Cinematheque to screen the four nominees over the weekend of Saturday, November 16 and Sunday, November 17. Even better — they're all playing for free. So, if you'd like to spend two afternoons feasting your eyes on animated delights, you can do just that without spending a cent. On Saturday, colourful and adorable coming-of-age Japanese film Penguin Highway is up first, followed by South Korea's canine-focused Underdog. Then, head back on Sunday for New Zealand's Mosley, which features the voices of NZ legends Temuera Morrison and Lucy Lawless. Finally, the four-film program comes to an end with huge Japanese hit Weathering With You, the gorgeous and charming latest flick from Your Name director Makoto Shinkai. Films screen at 12pm and 2.30pm on both days. Each feature is also paired with an animated short that picked up a prize at the 2018 SIGGRAPH Asia Computer Animation Festival, so you'll be getting a double dose with every session.
Every city has that one suburb that is filled with heaps of great cafes, an arts scene and beautiful scenery — and in Cairns, it's Edge Hill. Perched at the base of Mount Whitfield Conservation Park, this leafy suburb is filled with excellent eats, visual treats and summit peaks for you tackle. We suggest easing into your morning with a Vinyasa class at Wild Heart Yoga followed by a breakfast board at Noa. Once you're fuelled for the day, explore the art gallery at the much-loved Tanks Art Centre situated within the bright green Cairns Botanic Gardens. If you're feeling energetic, you could then take on the steep Red Arrow incline up Mount Whitfeld, or keep your heart rate at a lower level via a guided walking tour through the gardens below. Image: Tourism Tropical North Queensland
Artificial intelligence in video games has come a long way in the last few years. Rare now are the days of mindless drones walking pre-determined paths, completely oblivious to the death and destruction around them. In an industry where a single release can pull half a billion dollars in just one day, developers have adapted to an increasingly sophisticated market and pushed AI to a point capable of rivalling the human one. Unfortunately, the same cannot be said for action movies, where nameless henchmen continue to run witlessly into hails of bullets like hapless Civil War foot soldiers or extras in Commando. The latest example of this is John Wick, a 'revenge porn' flick starring Keanu Reeves and directed by his former stuntman, Chad Stahelski. Reeves plays Wick, a retired hit man whose wife has just passed away from a terminal illness. On the day of her funeral he receives a pre-ordered puppy from her to ensure he doesn't mourn alone, but during a home invasion the puppy is killed and his beloved car is stolen. In response, Wick unleashes a vengeance-fuelled rampage on New York's Russian mobsters, ratcheting up a body count to rival ebola. It's basically Taken, but with Liam Neeson's daughter played by a foot-long beagle. Is it a dumb premise? Absolutely, but it's also terrifically fun, and let's face it, there have been far worse reasons given for cinematic rampages ("They're going to take you...again"). Stylistically, the action sequences are impressive and exhilarating. Kitted out in bespoke suits, Reeves combines martial arts with gunplay (or 'gun-fu') to despatch his enemies and secure what has to be the record for the most number of consecutive head shots. Stahelski's background in stunts clearly informs his direction, with a greater degree of physicality to the fight scenes coupled with lingering shots that hold longer in the same moment than your average film. The big problem with John Wick, though, is the HS — or 'Henchman Stupidity'. In each of the action sequences, the goons demonstrate a bewildering lack of survival instinct, immediately forfeiting their Darwinian credentials and robbing the scenes of any credibility. The defence raised here is that John Wick is a classic B-movie, but that's too convenient. Yes, it has a lower budget than many of its counterparts, but with a cast that also includes Willem Dafoe, Michael Nyqvist, Ian McShane, John Leguizamo, Alfie Allen, Dean Winters, Adrianne Palicki and Bridget Moynahan, it's hard not to think the movie pitched for another capital B: 'Blockbuster'. So no, this isn't the thinking person's action film, but an action film it definitely is. As always, Reeves is a delight to watch in full-borne badass mode. He quips and kicks and does it all with an impossible level of cool. https://youtube.com/watch?v=2AUmvWm5ZDQ
What do you do when a global pandemic cancels Melbourne's annual film festival? If you're the folks at MIFF, you move the show online. Like Sydney Film Festival, this year's Melbourne International Film Festival is going virtual. So if you usually spend most of August watching new movies from around the world, you can still look forward to doing just that. Running at the same time the physical festival would've — so, between Thursday, August 6–Sunday, August 23 — this socially distant fest has been dubbed MIFF 68 1/2. 2020 should mark the event's 69th year, but it's keeping that label for next year's in-person fest. Still, cinephiles across Australia will still be able to get a MIFF experience, complete with a ticketed program. On the bill: new flicks, fresh discoveries from emerging filmmakers, and a range of Australian, international, documentary and animation shorts. MIFF's regular Shorts Awards will also be given out. The lineup won't be announced until July 14 (again, MIFF is sticking to its usual timetable), so you'll have to wait to see what you'll be feasting your eyes on — although, given film fests have been cancelled around the world since mid-March, you can probably expect to see a healthy selection of titles from earlier festivals that did still take place, such as Sundance and Berlinale. MIFF 68 1/2 is being made possible thanks to the most significant philanthropic gift the festival has ever received from a private donor, all to ensure the fest still goes on this year — and it'll use streaming platform Shift 72 to screen its program. [caption id="attachment_769569" align="aligncenter" width="1920"] Zan Wimberley.[/caption] The full program launch and ticket sales for MIFF 68 1/2 begin on July 14. Top image: Tony Zara / Dean Walliss.
Home may mean different things to different people but, in Monsoon, Vietnam doesn't mean home to Kit (Henry Golding). He was born there, in the aftermath of the war. He spent his earliest years in the Asian nation, with his parents caught up in the aftermath of the conflict. But when he was still a child, his family left for a refugee camp in Hong Kong and then moved permanently to London. Now, as an adult who has lived the bulk of his existence far away, he returns for the first time to bring back his mother's and father's ashes. He's instantly thrown off balance upon his arrival, whether he's driving through moped-filled streets or walking around crowded markets. Little of what he remembers is the same — his old house and his neighbourhood stomping grounds, particularly — and he doesn't recall as much as his childhood best friend Lee (David Tran), who stayed behind, would clearly like. Of what he does recollect, some crucial details clash with Lee's versions, too. As Kit roves around Saigon and then Hanoi — his place of birth and his parents' original home, respectively — he's searching for a connection. He'll make one, but not in the way he expects. Monsoon tells a noticeably slight tale, but Cambodian-born Chinese British writer/director Hong Khaou (Lilting) is keenly and overwhelmingly aware that a sense of belonging doesn't simply come with one's birth certificate. Kit wants to feel like he's where he's supposed to be. He wants to appreciate his homeland, and its significance to his mum and dad, as effortlessly as he appreciates his online dates. But it takes time, immersion and a true willingness to feel an affinity to the place he's supposed to call home. It takes falling in love with one of those online dates, American ex-pat Lewis (Parker Sawyers), too, and hearing about the object of his affection's complicated relationship with Vietnam as the son of a soldier who fought for the US during the war. Khaou is a minimalistic filmmaker, in a sense. He delves into straightforward scenarios, and knows that he needn't layer them with too many external complicating factors. In other words, he's cognisant that merely examining how a person copes — even in a very commonplace situation — can deliver several lifetimes worth of complexity without a wealth of other narrative roadblocks or setbacks. Here, that means tagging along as Kit flits around Saigon, sorts through his awkward baggage with Lee, and makes a pilgrimage to Hanoi in search of the perfect resting place for his parents. It also means watching as he befriends local art curator Linh (Molly Harris) and follows her home to join her relatives as they make lotus tea, and soaking in the neon-lit bar hues and misty seaside cafe views on Kit's dates with Lewis. Monsoon revels in these moments, and in what they reveal about its protagonist, all while showing how Kit himself recognises that he's changing and connecting with each experience and realisation. As a result, both Khaou and Monsoon ask a significant amount of Golding — more than his previous charisma-driven roles in Crazy Rich Asians, A Simple Favour and Last Christmas have combined. Viewers of those three films already know that he can radiate charm like few other actors currently appearing on-screen. Indeed, because he served up such a magnetic presence in that trio of flicks, it's easy to forget that he only has seven movies to his name to-date (six of which hail from the past three years, in fact). But Monsoon requires Golding's soulful best; at every moment, he's tasked with conveying the potent thoughts and jumbled emotions swelling inside Kit, and with doing so largely without dialogue. It's a quietly powerful performance, and it's one that the movie steadfastly needs. Actually, it's one that Monsoon depends upon. All of the film's key players are superb — including second-time actor Tran (Farewell, Berlin Wall), the also charismatic Sawyers (who played a young Barack Obama in Southside with You) and Harris (Artemis Fowl) as the pragmatic Linh — but Golding is its emotionally saturating core. While it might be light on talk, making its chatter count whenever it flows either freely or nervously, Monsoon is big on atmosphere. Alongside Khaou's delicately pared-back approach and Golding's tenderly gripping performance, that's one of the film's strongest assets. Even if you've never roamed far beyond the spot where you entered this world, everyone can relate to feeling like an outsider somewhere where they think they shouldn't — and Monsoon nails and expresses that sensation again and again. That's how Khaou and cinematographer Benjamin Kracun (Beats) approach the movie in their naturalistic visuals, too. Whether staring down at the daily hustle and bustle, or dwarfing Golding via his surroundings, it views Vietnam as someone might view a childhood memory that's slipping from their mind. Accordingly, Monsoon feels comfortable and intimate and eye-opening and new all at once, like it's seeing a familiar sight properly for the first time. Of course, that's Kit's journey, as it is for anyone embarking upon a homecoming that feels foreign — and it proves immensely affecting viewing. https://www.youtube.com/watch?v=ETK0fOKwJNQ
Whether it's via a post or tweet or message, in a comment or status update, thanks to a Notes app screenshot or in an email, mean words aren't hard to share two decades into the 21st century. Click a few buttons, slide your finger across a touchscreen, then vitriol can be directed virtually instantaneously worldwide. Countless people — too many, all sticklers for unpleasantness — do just that. Such behaviour has almost become a reflex. A century ago, however, spewing nastiness by text required far more effort. Someone had to put ink to paper, commit their hatred to physical form in their own handwriting, tuck it into an envelope, pay for postage, then await the mail service to deliver their malice. Wicked Little Letters isn't an ode to that dedication, but there's no avoiding that sending offensive missives in its 1920s setting was a concerted, determined act — and also that no one could claim just seconds later that they were hacked. Times change, and technology with it, but people don't: that's another way of looking at this British dramedy, which is indeed based on a true tale. Director Thea Sharrock (The One and Only Ivan) and screenwriter Jonny Sweet (Gap Year) know that there's a quaintness about the chapter of history that they're bringing to the screen, but not to the attitudes behind the incident. In Sussex by the sea on the English Channel, spiteful dispatches scandalised a town, with the situation dubbed "the Littlehampton libels". Today, much worse than the swearing and insults initially sent to Edith Swan, then to other villagers as well, can be seen on social media constantly. Someone can fire off unhinged pettiness in seconds. No one in another 100 years will be making a movie about wicked little letters of the 2020s, then — where would they start, or end? Right now, in this flick about disagreeable and distressing communications, contrasting the reality of the human penchant for mud-slinging across a century springs from a well-told story. In Wicked Little Letters' account of the Littlehampton events, Edith (Olivia Colman, Wonka) keeps receiving notes that overuse vulgar terms, and the God-fearing, prim-and-proper spinster, who lives with her strict father (Timothy Spall, The Heist Before Christmas) and dutiful mother (Gemma Jones, Emily), is certain that she knows the source of her unwanted mail. Living next door, Rose Gooding (Jessie Buckley, Fingernails) is an Irish single mother to Nancy (Alisha Weir, Roald Dahl's Matilda the Musical), has Bill (Malachi Kirby, My Name Is Leon) as her live-in boyfriend, and is fond of a drink at the pub and of sharing her opinion. The two neighbours are as chalk and cheese as women of the time could get, but were once friendly. When Edith blames Rose, the latter's pleas that she's innocent — and that she'd just tell the former her grievances to her face, not send them anonymously — fall on deaf ears among most of the resident police. The reaction from the constabulary isn't astonishing. Papperwick (Hugh Skinner, The Witcher) and his chief Spedding (Paul Chahidi, Chad) think that it's an open-and-shut case, arrogantly and pompously so. Initially, "woman police officer" (as her colleagues insist on calling her) Gladys Moss (Anjana Vasan, Black Mirror) shares the same conclusion. But when your very presence as the first female cop is treated as a novelty day in and day out at work, it isn't a leap to spot how preconceived prejudice dictates the use of the law — sparking Gladys into investigating whether there's more afoot, going against Spedding's orders, but with a trio of local women (Saltburn's Lolly Adefope, Boat Story's Joanna Scanlan and Doc Martin's Eileen Atkins) assisting. As Wicked Little Letters spins a whodunnit around its expletive-filled correspondence and lapses in accepted propriety — albeit one with low stakes, given that the culprit is largely obvious regardless of whether you know the real-life details going in — it does so with top-notch casting. Watching any Colman-starring film means seeing one of Britain's best actors put on a show, as everything from The Favourite to The Father attests. Here, it also involves witnessing a layered portrayal, not that that's unusual for the Oscar-winner. Edith is the picture of Catholic piety, but yearns for constant approval (being called a "pretty young Christian woman" gets her beaming with pride) after spending her entire existence under her abusive father's thumb. Envy also clearly courses through her veins towards the former acquaintance that she's sending to jail. Enjoying Colman's turn also means revelling in her ability to sling profanities when the narrative calls for it ("piss" and "foxy-arsed" are high among the scribe's terms of choice). Buckley, also as always, is as spirited as she is earthy — and expertly balances Rose's bold forthrightness with her inner vulnerability as the village witch-hunt keeps pointing its pitchforks Rose's way (primarily for daring to be unmarried, a mother, cohabiting with a man, known to curse and nothing but her irrepressible self). She's having as much of a ball as Colman with her part, in just-as-stellar a performance. The dynamic between Edith and Rose spells out the narrow-minded societal mindset about women at the time, including how such judgements and expectations were internalised, but neither Buckley nor Colman are stuck playing mere symbols or subversions of regressive attitudes. Also excellent is Vasan, in a role that's no less crucial, conveying a process that is never as easy to experience as it is to witness: realising how flawed the status quo is, how your existence has been shaped by it (female police officers weren't even permitted to marry or have children), then challenging it no matter the consequences. As shot with the warm hues typical of period-set English fare by cinematographer Ben Davis (The Banshees of Inisherin), this poison-pen story doesn't send much that's surprising to the screen — as a mystery, a satire, a bundle of character studies, a cop and courtroom drama, or a portrait of the era that it depicts. It also leans heavily on its strong language being entertaining. But Sharrock, comedian Sweet and their cast have such a handle on the scenario, its amusing potential, and everything that this true-crime tale says about the 1920s, 2020s and humanity's worst impulses regardless of the year, that it always works. When Colman and Buckley last appeared in the same movie, The Lost Daughter had them playing the same person; getting them sharing a frame, and swearing in it, is also worth watching.
The annual Orange Wine Festival is back for its 11th run, with ten days of events highlighting the region's sophisticated winemaking from October 13 through October 22. Patrons can expect wine shows, tastings, dinners and educational workshops, all of which showcase the rich diversity of Orange's rich culinary culture. This year's packed-out program includes over 90 events, which are open to all wine lovers, from the connoisseurs to those still getting to know their palate. The region is known for its cool climate which creates wines with bright fruit and deep, balanced flavours, making them some of the best drops in the country. While there are events on every day of the two weeks, signature events include the Festival Night Market, the Orange Wine Show Tasting ($50-$70) and Wine in the Vines ($145).
Whether you work in the industry, or you're just obsessed with everything about it, BIGSOUND is just like a Brisbane-based music lovers version of Christmas. The Foundry clearly feel the same way, which is why their pre-event party comes with a serving of festive spirit. Grinches, don't despair — it's just the name and the night-before levels of excitement they're aping, with the rest filled to the brim with indie vibes and a rock 'n' roll atmosphere. Given that Katy Steele, I Know Leopard, Ayla, Waax, Lanks and Machine Age are in charge of the evening's music, it's safe to say it's going to be a kick-ass event overflowing with good cheer. This event is one of our top five picks of BIGSOUND. Check out the other four here.
With winter finally digging its claws in, there's nothing like a quality, spiced spirit to get you through those long, cold nights. Luckily, Baron Samedi — not only an Haitian voodoo spirit, but a spirit of the liquid kind too — is coming to your rescue. Having popped up in Sydney last month, the good ghost is making his way north to Brissie. You'll find him in residence at West End's London Fields, serving up cockle-warming cocktails featuring Baron Samedi Spiced, ginger beer, lime and bitters, as well as cups of Voodoo Punch. Yet to be acquainted with Baron Samedi Spiced? Well, it's a Caribbean spirit laced with an exotic mix of spices, including vanilla, cacao, cinnamon and Haitian native, vetiver. Its namesake, Baron Samedi, is a master of all trades, from voodoo to guédé to gatekeeper of the afterlife. We're afraid we'd be ruining the fun, were we to let you in on too many more specific details. But we will say that on July 1 and 2 there'll be special appearances from some colourful characters. So get on down to London Fields this winter and experience Baron Samedi Spiced for yourself.
The buzz of January is over and if you need a little motivation to continue with those NYE resolutions, look no further than this activewear sale. Australian clothing company Active Truth is moving warehouses and, to make the move a little easier, is offering 40 percent off sitewide. Active Truth's swimwear and activewear is accessible to beachgoers and gym junkies of all shapes and sizes, with swimsuits, tights, crops, bike shorts and maternity wear all ranging from XS to 3XL. Check out these summery floral tights or this black one-piece swimsuit. As an added bonus, you'll receive free express shipping, so even though we're already more than a week into February, you'll have your new swimsuit at your doorstep before summer ends. Plus, Active Truth is committed to sustainability, supporting the The Seabin Project and making its swimwear from reconstructed recycled fibres, such as discarded fishing nets. If you're keen to snag some new togs, have a look through the catalogue and order before the sale ends at 11.59pm on Sunday, February 14. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Lust for Life has a reputation of nabbing the work of Brisbane’s most interesting illustrators and placing it nicely on their walls, and their latest exhibition showcases the elaborate and skilful work of Tiffany Atkin. With Gyaru, she explores the concepts and representations of femininity within Japanese culture. Having openly admitted to being obsessed with Japan, Atkin describes this exhibition as “Japanfluenced pop illustration with bite.” Think big colours, delicate illustration and lines and patterns that make everything just pop. Atkin’s a bit of a local illustration superstar, and there’s a high chance you’ve already seen her work in action — she designed the logo for West End bar Bosc, does branding for Joyero Jewellry and has work show up every so often in various magazines.
The Church are one of those bands that have been around for what seems like forever. Some might say almost as long as, ahem, Jesus (Yes? No? Okay). Despite this, instead of tiring audiences with years of music and constant touring, they have somehow managed the reverse and their time in the business has only caused a growing fan base. Although they are often on the road, don’t be fooled into thinking that every performance The Church puts is uniform in its structure and song choices. This tour, Future Past Perfect, in particular, is special for the band as it’s a celebration of their 30th anniversary. After touring around both Australia and America this year they have finally returned to Brisbane and it is set to be a joyous occasion. For the first time in Church history they will be playing three of their renowned albums in their entirety, making the cost well worth it. Taking one album from each decade, the 30-year discography span is absolutely sure to provide for every fan the band has.
Whatever is gracing the Gallery of Modern Art's walls at any given time, it's usually stunning. Air, the venue's huge summer 2022–23 exhibition, is no different. Until Sunday, April 23, this thoughtful showcase ruminates on the life-sustaining substance, pondering air's cultural, ecological and political dimensions — complete with floating mirrored spheres, glowing red globes, butterflies aplenty, leafy plants, industrial pipes and a smoky, darkened room you'll never want to leave. Brisbane art lovers know that GOMA's exhibitions aren't simply dazzling to look at. For just a couple of nights each, they usually backdrop fabulous after-dark parties surrounded by all of those creative works. And, in 2023, Air is getting the Up Late treatment from 6pm on Friday, March 17 and Saturday, March 18. [caption id="attachment_884340" align="alignnone" width="1920"] Tomás Saraceno / Argentina b.1973 / Drift: A cosmic web of thermodynamic rhythms (installation view) 2022 / 15 Aerocene spheres, transparent and metallic mylar, tape, pump with overpressure release, polyester rope, kinetic system, backpack, newspaper, pamphlets, booksand photographic prints on paper / Purchased 2022 with funds from the Neilson Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: QAGOMA / © Tomás Saraceno / Photograph: Dario Lagana, Studio Tomás Saraceno.[/caption] Get ready to spend two autumn evenings seeing breathtaking installations, drinking, tapping your toes to DJs and listening to live music. A $42-per-night ticket gets you access to the exhibition, as well as the fun. On the lineup: Alice Skye and Clea doing the honours on the Friday evening, alongside DJ nejmere; and Camp Cope, Melaleuca and Special Features taking to the stage on the Saturday night, plus DJ Sonia Cougar. The live tunes will echo across the Maiwar Green, under a marquee, so you'll be hopping in and out of GOMA itself. Plus, there'll be multiple spots to grab a bite and drink around the place at the GOMA Bistro, Newstead Brewing Co Coastal Bar, River Room Bar and Bacchus Wine Room, so a tipple won't be hard to find. Expect live immersive art experiences and workshops, too — including a drop-in session inspired by Jemima Wyman's contribution to Air, which will get you suspending particles yourself by creating a cloud-like collage — and the kind of gallery visit you can't have via daylight. [caption id="attachment_884339" align="alignnone" width="1920"] Anthony McCall / United Kingdom / United States b.1946 / Crossing (installation view) 2016 / Two double video projections (20 minutes), haze machine and sound, ed. 1/3 / Commissioned to mark the tenth anniversary of the opening of the Gallery of Modern Art. Purchased 2016 with funds from Tim Fairfax AC through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: QAGOMA / © Anthony McCall / Photograph: Chloë Callistemon © QAGOMA[/caption] Top image: Mona Hatoum / Lebanon/United Kingdom b.1952 / Hot Spot (installation view) 2006 / Stainless steel and neon tube / The David and Indrė Roberts Collection / Courtesy: The Roberts Institute of Art, London / © Mona Hatoum / Photograph: Claudia Baxter © QAGOMA. Updated February 3.
If the team behind the Insidious franchise could have their time again, we're betting they'd make a significant change. You don't need supernatural abilities to pick what they'd fix, with their decision to kill off Lin Shaye's parapsychologist Elise Rainier in the first movie something they clearly regret. In the second film, they brought her back via the spirit world, while the series' third and fourth instalments have gone down the prequel route. It's easy to understand why — as the plucky otherworldly expert tasked with helping ordinary folks battle literal demons, Shaye is the best thing the horror saga has going for it by far. Indeed, thanks to the veteran actress, the Insidious flicks deserve a little more credit than they generally get. After all, how many franchises can say they have a 74-year-old woman as their star? A genre veteran with everything from A Nightmare on Elm Street to Critters to the Ouija movies to her name, Shaye remains as committed to her role as Elise as ever, including this time around. That said, pushing a septuagenarian front and centre can't make up for the series' largely by-the-numbers construction, which grows increasingly apparent with each new chapter. It would take serious mystical abilities to breathe life into the formulaic effort that is Insidious: The Last Key, for example. Directed by Shaye's 2001 Maniacs co-star Adam Robitel, this derivative outing keeps its protagonist around by taking a tried-and-tested path: an origin story. Anchored in Elise's childhood, the movie could easily be subtitled "this time, it's personal". As an introductory segment explains, she was once a girl (Ava Kolker) with special abilities, living near a prison, with a stern executioner father (Josh Stewart) who didn't approve. In the modern-day storyline, Elise is called back to her former home by its current resident (Kirk Acevedo), who's having some paranormal troubles of his own. Set in New Mexico's Five Keys and featuring a ghoul by the name of KeyFace, Insidious: The Last Key is anything but subtle. The paranormal villain also has keys for fingers, and doors and locks are prominent throughout the film. Although he created the series and has penned every instalment to date, Australian actor and screenwriter Leigh Whannell appears to be going through the motions with the flimsy narrative, even when he tries to step into more thematically interesting territory. Part of the movie focuses on abuse and the cycles of violence it can create, but it's treated with the same clunkiness as the supposedly-comic romantic subplot that sees sidekick characters, played by Whannell and Angus Sampson, hitting on a couple of much younger women. Of course, depth isn't something the franchise has ever counted among its strengths. Nor, for that matter, is comedy. Other than Shaye's presence, it has always fared best as a genre exercise. When The Conjuring's James Wan was at the helm of the first two films, what the series lacked in smarts and story, it almost made up for with its well-executed bumps, jumps, shadowy images and unsettling atmosphere. Nodding affectionately to (and borrowing liberally from) iconic horror flicks has always been part of the package too, but Wan's handling of demonic spirits and haunted houses still struck a stylistic chord. Sadly, as this trying, generic effort demonstrates, Robitel doesn't have the same talents with aesthetics or with scares. https://www.youtube.com/watch?v=qV7tKm6JCCU
After three years without sugar, Damon Gameau has come off the wagon in a big, bad way. Intent on uncovering amount of processed sugar in an average Australian diet, the actor-turned-documentary filmmaker puts his own health on the line, consuming the equivalent of roughly 40 teaspoons of sugar a day. The result is a lively and eye-opening documentary on a subject that needs as much attention as it can get. Gameau’s most obvious compatriot is Morgan Spurlock, who likewise put his own health on the line back in 2004 with the Oscar nominated Supersize Me. The comparison is an obvious one, and you’d be right in thinking that That Sugar Film seems suspiciously similar. But where Gameau has an edge is that his focus is on so-called health food. When a man dines on McDonalds for a month, of course he packs on the pounds. But when you get the same results with vitamin water and low-fat yogurt, the story is suddenly very different. Behind the camera, Gameau does everything he can to keep his viewers entertained. Music and colourful graphics are in plentiful supply, giving the film an at times hyperactive quality that fits the subject matter to a tee. Information often comes delivered with the aid of unexpected celebrity cameos, including appearances by Hugh Jackman, Isabel Lucas and Stephen Fry. There’s an initial temptation to dismiss the movie out of hand; after all, Gameau’s diet doesn’t exactly constitute sound scientific method. Yet despite the film’s gloss and gimmickry, Gameau could never be accused of sugar coating the facts. That Sugar Film attacks its subject from every conceivable angle, including sugar’s effect on children’s learning habits, the correlation between high sugar diets and poverty, and perhaps most unsettling of all, the lobbying efforts of billion-dollar food corporations, whose strategies seem frighteningly similar to those of big tobacco. Still, the scariest thing about this doco is the way in which it confronts us with just how much sugar we all consume. In one of the movie's most memorable sequences, rather than eating a day’s worth of sugary food, Gameau simply eats the equivalent amount in white sugar crystals, providing viewers with a visual reference point that’s both funny and revolting. While its message can seem obvious at times, That Sugar Film has the potential to change the way people think and behave. What higher compliment can a documentary film be given?
From the director of Dumb & Dumber, There's Something About Mary and Shallow Hal comes a race-relations drama with five Academy Award nominations to its name. Only a handful of years ago, that would've seemed like one of the most unlikely sentences in the film industry. But Green Book is a Peter Farrelly movie through and through, even if no one gets their tongue stuck to a frosty pole, uses an unconventional type of hair gel or dons a fat suit. It might take its real-life tale seriously, however the same simplicity — and the same penchant for upbeat, easy sentiment — that has characterised the director's filmography remains. Taking to the road across America's Deep South circa 1962, Green Book follows a journey within a journey. As revered classical musician Dr. Don Shirley (Mahershala Ali) and his hired chauffeur Tony Lip (Viggo Mortensen) venture from town to town on a piano recital tour, this odd couple ventures towards an unexpected friendship. Painfully aware of the discrimination of the time, the reserved, refined Shirley understands the need for a chaperone, but is hardly accustomed to some of his driver's behaviour. For the mouthy, uncouth Lip, a New York bouncer who's happy to treat African-Americans the same way he'd treat an unruly bar patron, working for a black man likewise takes some getting used to. Co-writing the screenplay with Brian Currie (also one of the film's producers) and Nick Vallelonga (son of Tony 'Lip' Vallelonga), Farrelly throws up plot developments like his characters throw fried chicken scraps out of the car window. That's one of Green Book's big scenes, and it's tossed in breezily but lands with a thud. The same is true of much of the movie. Simultaneously light and overt, and shot and styled in the same way, this is a picture that ticks all of the obvious boxes, charts all of the predictable developments and services all of the expected messages. It has a heart, as do most of Farrelly's films, yet it always seems like it's expending most of its energy on stressing its feel-good importance. While scenes that show Tony learning to overcome his own prejudice, saving Shirley from violent attacks and teaching him that stereotypical aspects of black culture may have a basis in truth, they also feel carefully calculated to further the picture's overall vibe. A film that makes Lip the protagonist and Shirley the supporting player, Green Book is also a film that's willing to shape the details to suit its smooth angle on reality. That's far from uncommon in the "based on a true story" game, but even if controversy hadn't sprung up about the handling of specific aspects of Shirley's life (with his family contesting some elements), the movie would've still felt massaged for mass consumption. Indeed, Farrelly has a mould that he's trying to fit, earning and thoroughly deserving the label of this year's Driving Miss Daisy. It's also this year's The Blind Side, aka a picture where a person of colour's narrative is framed through their relationship with a helpful white friend, or saviour. Green Book's questionable approach would've always been apparent, but it perhaps cuts deeper because of the film's biggest success: its performances. Oscar-nominated for their respective roles, Mortensen and Ali truly make the best of the material at their disposal. More than that, they exceed it — as you'd expect from both. In Mortensen's case, there's a welcome looseness to his take on Lip that never feels like he's forcefully pushing buttons or hitting marks, even though the script always is. With likely two-time Best Supporting Actor winner Ali, there's soulful elegance, resounding dignity and quiet vulnerability to his portrayal of Shirley, giving the man what he deserves even if the film around him doesn't. Although a great movie could be made starring the pair, this isn't it. Instead, they lift a polite hug of a picture, one that boils down good intentions to the easiest, most conventional elements. https://www.youtube.com/watch?v=c18JX_RS-Xo
Renowned for creating beautiful, healthy, glorious hair, Tigerlamb has built quite a name for itself in Brisbane, with four salons dotted across the city. Voted Newcomer of the Year in the Australian Hair Industry Awards in 2019, the Coorparoo Square salon is home to some of the most talented stylists in Brisbane, so you just know you'll walk out thrilled with your new 'do. Whether you're looking for a full hair makeover, or just a trim, the team will cater to your needs. Balayage, foils, blowdry, treatments, eyebrow waxing — they do it all. The salon also stocks a range of much-loved brands, including Olaplex, Redken and Kerastase. Images: Kiel Wode
Jimeoin was one of the first comedians I knew of when I was younger - his effortless humour and funny accent made me laugh even as a little tyke. Not much has changed since then. The Irish comedian who us Australians have somewhat adopted over the last couple of decades is back in Brisbane with a crazy ten-show residency at The Powerhouse, delivering his trademark wit and craic. Not to mention the man's cheeky smile, which has also earned him brownie points with da ladeez. Something... Smells Funny is a show that consists entirely of Jimeoin's superb skill – talkin' shit. He talks about everyday life, observations and, for the first time, incorporates a guitar. Jimeoin has impeccable timing and breakneck delivery so there's no doubt that audiences will be lining up to get into these shows - and hey, let's be honest, there's a day that'll suit anyone's schedule. If pissing yourself laughing and having stomach cramps sounds like the cherry on the top of a great year like it does to me, then you pretty much need to see Jimeoin as he flaunts his quirky stand-up style for ten nights only.
In 2001, Rolling Stone writer Guy Lawson published the extraordinary article: 'The Stoner Arms Dealers: How Two American Kids Became Big-Time Weapons Traders', and the response was predictably one of outrage and surprise. The entire story seemed preposterous, impossible, far too crazy to believe. As it turns out, it was precisely that quality that enabled its two subjects to get away with the impossible for so very long. David Packouz and Efraim Diveroli, two Miami-based Jewish boys in their mid-twenties, had become high-end international arms dealers, most famously landing what came to be known as The Afghan Deal – an exclusive USD$300 million contract to supply the US-backed Afghan forces with weapons, equipment and one hundred million rounds of soviet-era AK-47 ammunition from Albania. Two guys, mid-twenties, and Packouz's previous job was as a part-time masseuse. Such is the subject matter of War Dogs by director Tod Phillips (The Hangover), chronicling Packouz (Miles Teller) and Diveroli's (Jonah Hill) astounding ascent to the big leagues of international weapons trading, as well as their inevitable fall. The title, War Dogs, refers to the nature of their particular profession: scrambling for small-scale arms contracts posted by the Pentagon to help redress the constantly undersupplied forces in the disastrous Iraq and Afghan theatres. Described as "eBay for weapons dealers", these contracts were sourced off a website containing tens of thousands of Pentagon requests for tenders. By focussing on the jobs too small to interest the major players, Packouz and Diveroli were able to amass a small fortune in a remarkably short space of time. Broken up into chapters with names like "God Bless Dick Cheney's America", War Dogs is at pains to show us the corruption of the American Ideal and the toxicity of unrestrained capitalism – both decades-old points long since made in every form of media, and laboured here with an especially heavy hand. With its Americana rock soundtrack, freeze frames and bro-tasctic dialogue, the film plays like a wannabe Big Short or Wolf of Wall Street, yet lacks the emotional drive or dramatic tension to ever really deliver. Neither funny enough to be a comedy, nor serious enough to land as a drama, it instead ends up somewhere in the middle (a fate similarly suffered by the recent Tina Fey project Whiskey Tango Foxtrot). Overall, far too much time is spent on the overtly amusing and entertaining elements of the boys' earlier days, leaving the heart of this remarkable real-life tale – a deal gone awry, double-crosses and a friendship in free fall – to the final stages only. As an indictment on the arms trade, it likewise barely scratches the surface, opting instead to focus on the absurdity and corruption of the political system that enables it. Admittedly, that narrative is a compelling one, revealing a level of bureaucratic absurdity not known to most members of the public. Still, when compared to 2005's Lord of War, which dealt with similar material, this more recent offering emerges as the undisputed weaker of the two. Bland, unimaginative and ill-befitting the extraordinary story behind it, War Dogs feels like an amazing opportunity gone begging. https://www.youtube.com/watch?v=Rwh9c_E3dJk
The Cunnamulla Bushlands are perfect for a relaxed wander that puts you amongst the region's incredible natural beauty. This site is divided into ten ecological sections, with a charming one-kilometre walk that ensures you experience each one. Right at the end, you're rewarded with a peaceful place to sit in the wetlands. Here, striking native animals also run wild. You won't have any problem finding kangaroos with Cunnamulla recognised as having one of the largest populations in Queensland. Plus, the area is also known as a great place to see emus taking a stroll. Image: Mark Gillow, Flickr
"I hope it scares the shit out of you!" declared both Tom Cruise and Russell Crowe at the Sydney premiere of The Mummy, confirming that this was indeed to be a darker, more adult take on the successful movie franchise – a horror film harking back to the heady days of Val Lewton and the 1930s Gothic monster flicks that helped put Universal Studios on the map. Only...The Mummy is also peppered with comedic moments, meaning it's really better described as a horror comedy in the vein of Shaun of the Dead or Cabin in the Woods. However, its leading man Nick Morton (Cruise) is also a special forces recon soldier whose opening scene sees him dropping hellfire missiles on Iraqi insurgents. So really it's a horror comedy action film. Also, right after that opening scene we meet Cruise's on again off again love interest and globe-trotting archaeologist Jenny Halsey (Annabelle Wallis). Horror comedy action romance? Of course this all happens after we've already seen the Universal icon transform into the 'Dark Universe' logo, establishing The Mummy as the studio's opening salvo in the expansive, world-building game heretofore occupied by Marvel and DC. That makes this a horror comedy action romance franchise-founder. Ugh. No wonder it all gets a little lost in the details. In short, The Mummy is a movie guilty of overreach. Whether by studio interference or filmmaker miscalculation, it tries to achieve an impossible number of simultaneous feats, peppering you with character cameos (Crowe plays Dr Henry Jekyll and the other guy as well) and breadcrumbs for future franchise instalments (Bride of Frankenstein is next in line, followed by The Invisible Man, Dracula, The Wolfman and all the other Gothic-era classics). All this, while also trying to tell a story of its own. That it feels like it happens in that order of priority is perhaps the movie's biggest problem, because on its own the actual mummy stuff is pretty darn solid. In the title role we find this time a female mummy, Ahmanet, portrayed by the wonderful Sofia Boutella (Star Trek Beyond). After her assured reign over Egypt is suddenly wrenched from her by the birth of a baby brother, Ahmanet forms a pact with Set, the God of Death and embarks upon a killing spree before being entombed alive and erased from history. Erased, that is, until Cruise and his sidekick Chris (a clumsy, unnecessary turn by New Girl's Jake Johnson) stumble upon the sarcophagus and awaken the beast from her twenty centuries of stony sleep. From that moment on, The Mummy is a film with an identity crisis. Its mummy affairs are entertaining, action-packed and even occasionally scary, particularly through the employment of zombie henchmen reanimated by Ahmanet after she's sucked out their life force. The comedy doesn't really fit with Cruise's performance, and he has zero chemistry with Wallis, but at least the film delivers engaging set-pieces – more so than, say, Guardians of the Galaxy: Vol 2. Unfortunately, the Dark Universe stuff proves far more problematic. So much is mentioned yet left unexplored, and not in a way that can simply be excused as foreshadowing. As the Marvel superhero movies have repeatedly demonstrated, a single 10 second shot at the end of a film's credit sequence can capably tease all that is to come in future films without detracting from the story being told in the present. Left to its own devices, The Mummy might well have soared as a classic monster movie from a bygone era. Instead, it's a confused jumble of scenes and characters that undermine and trip each other up at every possible turn. https://www.youtube.com/watch?v=GzorZUuZqEI
Cunnamulla and the surrounding Shire of Paroo are steeped in history with the land occupied by the Gunya people long before the township's foundation. Nowadays, you can explore this history through the Cunnamulla Heritage Trail, which documents tales about the characters and buildings that forged this captivating outback community. There's great insight into the town's folklore throughout the trail. For instance, the Robber's Tree was climbed by wannabe bandit Joseph Wells as he tried to escape the police after he attempted to pillage the Queensland National Bank in 1880. Meanwhile, the towering bronze figure of the Cunnamulla Fella captures the spirit of 1950s bush characters recounted in Slim Dusty's namesake tune. Start your explorations at the Cunnamulla Fella Visitor Centre. Image: Tourism and Events Queensland
If the individual movies a director makes can be seen as chapters from an ongoing book, then consider Noah Baumbach the author of a sharp, sweeping coming-of-age chronicle. Whether dissecting mature malaise in Greenberg, the attempts of a twenty-something to find her place in life in Frances Ha or the clash of the two in While We're Young, he remains fascinated with the process of growing up at any stage. In Mistress America, Baumbach offers another instalment on his beloved topic, all while re-teaming with Greta Gerwig. Almost by design, their previous collaboration — both co-writing, him directing and her starring in Frances Ha, as remains the case here — looms large over their latest effort. Consider Frances Ha the fate that could've befallen Mistress America's teenager Tracy (Lola Kirke) after college if she hadn't crossed paths with her stepsister-to-be Brooke (Gerwig), or the past that might've delivered 30-year-old Brooke to her current predicament. The two are brought together by their parents' impending marriage, with Tracy seeing Brooke as the big sis — and guide to life, both in New York and in general — she's never had. They're opposites: Tracy is quiet, lonely and wants to be a writer; Brooke is confident, constantly talks about herself and has an endless array of future plans. As they spend more time together, the seeming differences between the two become less pronounced. That fact isn't lost on Tracy, who starts to imagine Brooke as 'Meadow', the deeply flawed character in her new short story. While finding commonality in Baumbach's films has become unavoidable, that doesn't make his work any less enjoyable or astute. There's a level of comfort to Mistress America's return to the filmmaker's well-traversed terrain, as well as his trademark intelligence and energy. Here, as in the rest of his efforts, he's fleshing out recognisable ideas and anxieties, but done so with slightly different parts. And while the overall message is starting to sound a little repetitive even as it remains accurate, the individual elements still have plenty of charms. The feature is at its best in its wonderful midsection, where it plunges into a superbly executed farce. When a series of circumstances sends the not-quite-siblings plus some of Tracy's friends (Matthew Shear and Jasmine Cephas Jones) on a road trip to Connecticut to visit Brooke's former boyfriend (Heather Lind) and BFF (Michael Chernus), Baumbach takes his favourite themes into shrewd, smart and incisively funny screwball territory. In some of the best sequences the director has committed to the screen, infectious laughter ensues, as does insight and urgency that the rest of the film can't quite match. Of course, that plays into Baumbach's usual oeuvre: what is a coming-of-age story, and his entire output, if not an examination of how to keep going after pivotal moments and turning points?
Mary, Queen of Scots is a film steeped in two time periods, yet firmly of the times. A historical drama set in the 16th century as two female monarchs battle for supremacy, it's also a movie that could've only been made today. The true tale itself has graced the screen before, but the angle favoured by this interpretation of the story is straight out of the #MeToo era. As much as Mary, Queen of Scots tells of its titular ruler (Saoirse Ronan) and her conflict with her cousin Queen Elizabeth I (Margot Robbie), it also explores the forces pitting them against each other and putting them in their places. When Mary returns to Scotland after a childhood spent in France, she regains her throne and sets her sights on her other birthright. The only legitimate child of King James V, she boasts a claim to England, even if Elizabeth already wears that crown. What follows is a quest for sovereignty by two relatives as different as they are alike. Mary is a teenage Catholic open to love, life and birthing a successor to both kingdoms, while Elizabeth is a Protestant who refuses to marry and isn't expected to bear an heir. But they're each headstrong, intelligent and passionate, and determined to fight for what's theirs regardless of the obstacles in their path. In a movie filled with men unhappy about serving the fairer sex, including Mary's disapproving half-brother (James McArdle), a scare-mongering religious leader (David Tennant) and Elizabeth's duplicitous chief advisor (Guy Pearce), there's no doubting how cruel the world can be to a woman in power. While political manoeuvring and machinations drive Mary, Queen of Scots' plot, confident first-time director Josie Rourke works with screenwriter Beau Willimon (House of Cards) to focus on the bigger picture. Behind both queens stands a line of wolves in sheep's clothing, complying with their rulers to the bare minimum and trying to push their own agendas. If the male posturing and plotting didn't ring so true, it might've felt like a forced, convenient modern revision designed to highlight that women still struggle to be taken seriously, even if their troubles are finally getting more attention. Sadly, men attempting to tear down female leaders hasn't gone out of fashion in the past five centuries. A veteran of the London stage before this, Rourke knows where the strength of the story lies. Although her handsomely mounted picture is based on the biography Queen of Scots: The True Life of Mary Stuart and clearly favours the Scottish monarch over her cousin, Mary's struggles are deepened by the comparison to Elizabeth. Indeed, through skilled, fluid cross-cutting, the film convincingly closes the gap between two women who only actually share one scene. Their face-to-face, when it comes, is climactic, emotional and memorable (not to mention strikingly staged by Rourke and her team), but Mary, Queen of Scots places them face-to-face from start to finish, in a manner. History branded Mary and Elizabeth competitors; this version of history sees them as kindred spirits. Still, for all of Mary, Queen of Scots' successes, it ultimately mirrors the plight of its protagonists: striving for greatness, and to make an impact, yet often weighed down. It's a fine, meaningful film that could've been stellar, but sometimes makes its minutiae feel routine and elongated. After a while, the letters back and forth, the scheming and strategies, and the fears and the threats all bleed into each other, even for those already familiar with the details. Thankfully, the same can never be said of 2018 Oscar nominees Ronan and Robbie, each worlds apart from their respective acclaimed roles in Lady Bird and I, Tonya. One is plucky and idealistic, the other fierce yet silently fraying, and both are tinged by exhaustion and frustration — not from squaring off against each other, but from simply fighting to exist. Any movie would be lucky to have them, and their equally timely and timeless vision of women holding their own. Mary, Queen of Scots is lucky to have both. https://www.youtube.com/watch?v=QEC-F8cBD9s
Do you prefer popcorn or choc-tops? Frozen coke or post-mix? Drama or comedy? Action or horror? These are all questions you need to answer because you need to be ready for the cinematic fiesta that is about to take place. The Brisbane International Film Festival is on again, and it might be the most comprehensive and diverse iteration of the festival ever experienced. Taking place in cinemas all over Brisbane, BIFF (what a great acronym) will be screening dozens of films ranging from home-grown flicks to obscure international fare. Do yourself a massive favour and check out the program online. Decide if you prefer documentaries or short films, world cinema or Australian efforts and buy a ticket (or ten). Don’t miss out on one of the cultural highlights of the year. And if you really need a hand choosing from the extensive list, we have gone ahead and made a list of ten films that you need to see.
A college student leaps from sorority life to law school, and a group of aspiring performers take the first steps towards a career in singing and treading the boards. Combine the two, and Legally Blonde: The Musical is the end result, as presented by the Brisbane Academy of Musical Theatre. That's right, you'll witness Elle Woods head to Harvard with her cute chihuahua, Bruiser in tow — initially chasing her ex-boyfriend Warner, but eventually following her own path. She'll bring more than just her love of pink to the prestigious institution, and learn more than just legal knowledge. We know that you're probably already quite familiar with the content — perhaps you've watched the 2001 film starring Reese Witherspoon, or maybe you've been along to the Tony Award-nominated, Olivier Award-winning production before. You won't be familiar with the players, though, but that might be short-lived. Here, a cult classic gets another on-stage run, and the next generation of talent continues their journey towards becoming stars.
Forget The Big Bang Theory — in The Flight Attendant, Kaley Cuoco well and truly leaves her long-running stint in the popular (and just-finished) sitcom behind. Exactly what her character does for work won't come as a surprise given the mini-series' title, but the fact that she wakes up in a Bangkok hotel room next to a dead body and then finds FBI agents on her trail when she returns to New York sparks a mighty big mystery. If it sounds familiar, perhaps you've read Chris Bohjalian's 2018 novel of the same name. Before it even hit bookstores, Cuoco's production company snapped up the rights to turn it into a thrilling TV show. Accordingly, it's clearly a passion project for the actor and executive producer, and promises to treat audiences to an array of twists and turns.
You don't need to tell Concrete Playground that Brisbane is indeed a concrete playground. When it comes to exploring this city of ours — showcasing everything that's on offer and celebrating all the different ways to make the most of all that Brissie boasts — that's our entire motto. For the next seven months, the Brisbane City Council's Outdoor Gallery agrees with us, too. We'd suggest that it concurs all year round, but it's only hosting an exhibition called Play/ground from Friday, September 9, 2022–Sunday, April 16, 2023. As always, this new splash of art is filling a heap of locations around the CBD with eye-catching work — as the Brisbane City Council's Outdoor Gallery has for years now. And yes, Play/ground is devoted to Brisbane as a concrete playground, with the participating artists providing pieces that tell visual stories about their relationship with the city; their routines as they move throughout it daily; and how they're pursuing a life that's grounded, joyful and playful. They're the ideas you'll ponder in spots as varied as King George Square Car Park, Ann Street and Fish Lane, with 11 Brisbane-connected artists are unveiling 37 pieces. You'll find their creations in light boxes, banners and outdoor display cases — and some are being projected across Howard Smith Wharves. The artist lineup spans Arkie the Label, Daniel Sherington, Emily Devers, Kelsey Doyle, Kirsten Baade and Loretta Lizzo, plus as Man&Wah, Maxim Chikanchi, MUCHOS and Yin Lu. As for where to else to visit, Edward Street plays host to some of the exhibition's works, and hitting up a laneway — including Eagle Lane, Irish Lane, Edison Lane, Giffin Lane and Hutton Lane — is recommended. Or, you can check out the Museum of Brisbane screen as well. There's also a launch party at Howard Smith Wharves from 5.30pm on Friday, September 16, with Devers DJing.
When the director and lead of one of 2021's best Norwegian films — and best movies from anywhere that year — joined forces again, of course the Scandinavian Film Festival needed to get the resulting picture on its program. Accordingly, Sentimental Value from The Worst Person in the World filmmaker Joachim Trier, once more starring Renate Reinsve (Presumed Innocent), is one of the big highlights at 2025's Australian showcase of cinema from the Nordic region. Stellan Skarsgård (Andor) and Elle Fanning (A Complete Unknown) also feature, and the results won this year's Cannes Grand Prix (the award below the Palme d'Or). At the Scandinavian Film Festival, Sentimental Value is getting the centrepiece treatment. Movies from Norway, Sweden, Denmark, Finland and Iceland are always in the drawcard at this Aussie fest — so a Norwegian spy drama to kick things off in 2025, then an Icelandic black comedy to wrap things up, are both on the itinerary. This year's national tour will hit Brisbane across Wednesday, July 23–Thursday, August 14 at Palace James St and Palace Barracks. Launching the fest: Number 24, the latest from The Burning Sea and The Quake director John Andreas Andersen, recounting a true espionage tale from World War II. The aptly named Grand Finale comes in at the other end, spinning a Reykjavik-set story about a struggling chamber orchestra's efforts to endure. Alongside Sentimental Value, Quisling: The Final Days is another of the festival's big-name titles, this time from The King's Choice and Utoya: July 22's Erik Poppe, with the trial of its controversial namesake head of state the film's focus. Cannes favourites, blasts from the past, laughter-inducing fare: they're all on the lineup, then. Add watching Björk's daughter in her first feature role, multiple dates with Danish actor Trine Dyrholm (The Girl with the Needle) and celebrating the 25th anniversary of a Swedish romantic-comedy to the list, too. The first comes courtesy of The Mountain, a coming-of-age and road-trip flick starring Ísadóra Bjarkardóttir Barney. Dyrholm pops up in both the healthcare-centric Second Victims and the David Dencik (Other People's Money)-co-starring Beginnings. And Jalla! Jalla! is marking its quarter-century milestone. Audiences keen to spend Australia's winter feasting their eyes on colder climes from the other side of the world can also look forward to the Faroe Islands-set The Last Paradise on Earth and heading into an Icelandic seafood restaurant with Odd Fish. Nikolaj Lie Kaas (Riders of Justice) leads Way Home, about a Danish father endeavouring to save his loved ones. With heist effort The Quiet Ones, Denmark's biggest-ever robbery makes its way to the screen. Finnish relationship dramedy Sudden Bursts of Emotions, the nation's great Heikki Kinnunen playing 'The Grump' in Long Good Thursday, three siblings returning to the house they grew up in in Everything Must Go, the couch-surfing antics of Live a Little, the beer-brewing sisters of 100 Litres of Gold, My Father's Daughter's focus on a Sámi teenager: add them to your Scandinavian Film Festival list as well.
Why head home from work for a single Wednesday night tipple when you could drop by the Paddo for more than 100? That might come pretty close to describing the inner-west mainstay's usual drinks menu; however, come August 23, the Paddington Tavern wants red wine lovers to taste as many as possible. You don't call a boozy shindig The Big Red Night without offering up a huge range of crimson vino, after all — and yes, there really will be more than 99 bottles of wine on offer (without the singalong, we're guessing). Taking over the downstairs Squeeze Club, the evening will see grape-based goodness flow freely for your sipping and tasting pleasure, plus finger food to help line your stomach. Attendees will also receive a Plumm glass to take home with them, which is included in the $42 ticket. You'll be a red wine connoisseur in no time, with the souvenir to prove it – and, likely, the tannin-stained lips.
It's that time of year again. The temperature's rising, festivals are coming up left right and centre - and it's hard enough choosing which festival to attend, let alone which event to go to when you get there. In a generous gesture, The Courier-Mail once again have made your life that much easier by providing their epic Spiegeltent (spiegel=mirror in German, FYI). It's here for three weeks during the 15th Annual Brisbane Festival, and is a Belgian-esque, cabaret club-inspired, fantasy dome. The favourite venue of the Festival will take residency in King George Square for 22 days and nights and has a packed line up: with stand-up comedy, indie rock, soul, jazz and reggae on the bill. The first night is set to go off with a bang as Clairy Brown and The Bangin' Rackettes + Sweet Jelly Roll DJs will be rocking 60s style all through the night. Other guests sharing the love in the ol' Spiegz are Kimbra, Emma Louise, Andy Bull, Josh Thomas and Sam Simmons, just to name a few. Also in attendance will be Lior, comedy trio Tripod, and Syl Johnson (who's currently in a copyright battle with Kanye and Jay-Z). Who knows what sort of wonderful shenanigans you will get up to within the almighty Spiegeltent? Enter through the velvet curtain and be immersed in a wonderland of heart and soul, whilst sipping on a quiet few and indulging in a showcase like no other.
Expect this weekend spectacle to bring a beacon of hope to Brisbane's skyline during this year's festival. Sunsuper Night Sky is a large-scale light and laser installation, with accompanying sound by acclaimed audio-visual artist Robin Fox. More than a dozen rooftops across Brisbane CBD will light up every Friday and Saturday night, from 7–9pm, from September 4–26. Each one hosts an interconnecting and pulsing laser beam show set to an ethereal soundtrack. You'll be able to see it dance across the skies from vantage points across the city, so take an evening stroll or cycle to catch the light artwork from afar.
It is often said that drawing is the ultimate artistic skill. It reveals the abilities of the artist to produce an image with the most simple of tools, the marker (pencil, charcoal, graphite) and the blank page. The new summer exhibition at GOMA ‘Matisse: Drawing Life’ is the most comprehensive exhibition of Henri Matisse’s drawings and prints ever mounted. It reveals that even before he added colour and paint, Matisse could make amazing imagery with merely a brush and a canvas. This exhibition brings together works from international, national, and private collections to reveal the breadth and depth of the drawings Matisse created. It reveals the style that Matisse developed in his works, and how this evolved. Alongside the exhibition there is a film program and although Matisse’s engagement with cinema was limited, there are a number of films showing the artist working in his studio. This is could be one of few chances to see the amazing scope of Matisse’s artistic skill.
Lambda is getting an American invasion, with an appearance from Baths in amongst his exciting world tour. He first made his music debut with Cerulean, a stunning record that gained much attention and praise after its release 3 years ago. Since then the expectations of this stunning singer have skyrocketed, with his second album Obsidian defying possibilities by outing his initial offering which only amplified the collective musical respect he demanded and deserved. Baths has just returned from a whirlwind tour through Europe and the United Kingdom, and he will be preparing for an extended visit to the United States; come and see him at his peak, riding the high of success and amongst his readying for some of the biggest shows of his career. He is joined by the highly rotated Tincture, the pair proving a complimentary match for your listening pleasure. Be sure to head to Oztix as soon as possible to secure your spot in the crowd that will stir jealousy amongst the avid music fan.
If you've ever wanted to see Mr Burns sing, here's your chance. Okay, so Harry Shearer probably won't actually belt out 'See My Vest' or 'We Do (The Stonecutter's Song)', however getting to witness the man who gives provides Springfield's most ruthless millionaire with his voice live and in the flesh is still worth the price of admission. The multitalented Shearer, who also starred in This is Spinal Tap, isn't the only attraction here. He's sharing the stage with his real-life partner Judith Owen, and tackling topics of fame, celebrity, politics, religion and relationships through song. In the words of a certain power plant owner: excellent. This is one of our five top picks from this year's Queensland Cabaret Festival. Read the full list.
Bakehouse Buns is the sister restaurant to Ipswich's legendary Bakehouse Steakhouse, serving up home-style classics such as cheeseburgers with caramelised onions, and crumbed pork cutlets with apple cabbage slaw. The dessert menu is similarly impressive, with the kind of sweet treats that you would find at your favourite country bakery, such as lemon meringue tart, baked cheesecake and banoffee pie. All of this, and you don't even need to fill up the fuel tank (or fight over the Spotify playlist).
If you didn't already have plans from 11.30pm on Saturday, June 23, you do now. And if you did, change them — or factor sending a whole lotta love Queen Bey's way into your schedule. Reacting promptly, impulsively and passionately is just something Beyoncé inspires, and has been doing so for almost two decades. You probably don't even remember a time before Bey ruled our airwaves and screens. Thanks to The Foundry's Dangerously in Love 15th Anniversary Party, you won't have to. Expect all of the hits from the 2003 album — her debut solo record, and the one that made sure we were all crazy in love with all things Bey. We're guessing you can also expect her other solo tracks, and even some songs from her Destiny's Child days — plus all of the epic dance moves that go with them. No, it's not Bey's b'day, but you'll be feeling like Sasha Fierce, as well as drunk in love with the pop idol in the spotlight. The joint will be jumpin' jumpin', and we're not telling you what to drink to celebrate the occasion; however you might want to mix it with lemonade.
Maybe you're looking for a way to celebrate Easter. Perhaps you've noticed that Albion's French-inspired restaurant and bar Hervé's has almost notched up a year of business. Whichever you'd like to mark — including if you're keen on both — Hervé's Laneway Session has the answer on Sunday, April 9. That date is Easter Sunday, which means that appropriate bites will be on offer at the Craft'd Grounds spot. Think: seafood, including oysters, baked Tasmania scallops and salt cod croquettes; lamb on a spit, served with either flatbread or cauliflower and tabbouleh; and custom chocolate desserts such as hot cross and choc cross buns, plus warm chocolate brownies. [caption id="attachment_896088" align="alignnone" width="1920"] Markus Ravik[/caption] You'll pay for what you eat; however, drinks-wise, there's a two-hour unlimited package, spanning wine, beer and Hervé's spritzes, for $59 from 12–2pm. Other beverages are available afterwards, of course. The shindig runs till late soundtracked by DJ-spun tunes, with dancing encouraged — and, yes, as the name suggests, it's all happening in the Craft'd Grounds laneway. [caption id="attachment_879387" align="alignnone" width="1920"] Full Stop Social Media[/caption] Top image: Full Stop Social Media.
In a bid to contain the last coronavirus outbreak, the Queensland Government mandated the wearing of masks across Greater Brisbane in late March, and then expanded some face covering rules statewide, too. The requirements were given a slight tweak when April started, but wearing a mask has been part of daily Queensland life throughout this month so far — until 6am hits tomorrow, Thursday, April 15, that is. At the moment, if you're spending time indoors somewhere other than your house, you need to wear a mask. They must be worn in all indoor spaces other than your home, all indoor workplaces unless it is unsafe to do so, on public transport, in taxis and ride share vehicles, and outdoors when social distancing isn't possible. But, from 6am on Thursday, April 15, covering your face will no longer required unless you're at an airport or you're flying. The Queensland Government still advises that folks should carry a mask with them, though, to use in crowded places when you're not able to social distance. https://twitter.com/AnnastaciaMP/status/1382107083324084225 The change was announced by Queensland Premier Annastacia Palaszczuk alongside a heap of other easing restrictions. Queenslanders will be able to have 100 people over to their houses, gather outdoors in groups of any size, dance both indoors and outdoors, and stand up to eat and drink at bars and clubs, too. The usual requests regarding social distancing, hygiene and getting tested if you're feeling even the slightest possible COVID-19 symptoms still apply, though — as they have since March last year. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website.
Die! Die! Die! exploded onto the music scene with a powerful display of DIY compositions and authentic punk ethos. Their self-titled debut was produced by legendary producer Steve Albini, and ever since, Die! Die! Die! Have honed their brand of sharp and fast punk to the point where it is being hailed as some of the best punk music currently around. Their fourth studio album, Harmony, saw the band record in France, and continues the upward trajectory of their career as their sound develops in complexity and energy. Brisbane music fans lucky enough to have witnessed Die! Die! Die! in the past know that their riotous sound transfers well to the stage, so it will be a nice treat to experience that energy as it relates to their new material. Die! Die! Die! will be supported by Royal Blood.
