Do you live for lava lamps? Is Austin Powers right up your alley? Do you revere the odd rave party? Psychadeliaphiles near and far will be scintillated by news that there is a very cool new exhibition showing at the University Art Museum at UQ. Drawing on the aesthetics of 60s and 70s psychedelia, the UAM’s New Psychedelia exhibition is a contemporary take on the idea, exploring the ‘new psychedelia’ that has emerged in contemporary art as an off-shoot of the rave party, as well as the aesthetics of virtual reality and the ‘consensual hallucination of cyberspace’. The exhibition displays new acquisitions to The University of Queensland art collection as well as exhibiting works from the existing collection in new light. This includes work from Nathan Gray, Irene Hanenbergh, Brendan Huntley, Madeleine Kelly, Tim Maguire, Laith McGregor (yes, that’s biro), Roy McIvor, Kate Shaw, Jemima Wyman, Dale Frank and Sandra Selig.
Brisbane's busy market scene loves an occasion. Accordingly, it should come as zero surprise that Christmas markets are a massive thing around town, including at Redcliffe's regular excuse to get shopping by the sea. Indeed, only the Redcliffe Christmas Twilight Market will take you browsing and buying by the Redcliffe jetty. Fancy a merry theme and an ace waterside location? That's on offer from 4–9pm on Saturday, December 14, 2024. Also on the bill: a whole Christmas wonderland set up, festive-appropriate decorations all over the place, and music and live entertainment to fit the mood. And, a heap of food stalls serving up bites to eat, and drinks, also to suit the theme. Entry is free, but you'll want your wallet for all that browsing and buying — there's usually hundreds of stalls to peruse. And yes, dressing up is welcome for this wander along Redcliffe Parade till 9pm. There's even an ugly Christmas t-shirt competition, should something in your wardrobe suit.
In the past few years we have seen the reputation of rum go from a rugby spectator's drink of choice to a sophisticated, essential ingredient in many an innovative cocktail. Be it white, golden, spiced or aged, rum is back in the best possible way. Here are the best places in Brisbane to give the new generation of rum drinks a try. COBBLER While this bar is crafting its reputation as a go-to for a fine single malt whisky, Cobbler's also where you'll find one of the classiest rum cocktails in town. Meet the Richard Nixon — a mix of Appleton 8yo, Oloroso Sherry, grape honey and Peychaud's Bitters, served on a sophisticated single rock of ice and dressed with an orange peel. Consider this a gateway to Don Draper-esque sophistication and you'll be discussing social politics in no time. 7 Browning Street, West End LONGTIME Rum, Frangelico, orange-strawberry juice, sesame soy honey reduction, Hellfire bitters and Thai basil. Are you with us? Good. They'll shake this bad boy up, serve it with dehydrated orange triangles, sesame meringue tea drops and more Thai basil. The only remaining question after finding out about this marvellous creation is: what are you still doing here? Run, don't walk, to Longtime on Ann Street, pronto. 610 Ann Street, Brisbane THE WALRUS CLUB At the end of the day, sometimes all you want is to sink into a fine leather couch in a dimly lit bunker and sip away on a quality drop of rum. This is the winning charms of The Walrus Club; while their cocktail list is seemingly endless and rotating, their 300 choices of rum will take you back to Prohibition-era drinking den. Why not sample the Old Fashioned with your cigar? Under the Regatta, Coronation Drive, Toowong DUTCH COURAGE OFFICERS' MESS Though garnering a name as Brisbane's go-to for gin lovers, Dutch Courage in fact offers a smattering of rum-based drinks to satisfy the thirst of the more adventurous or for those looking for something a little different. Why not try the pear and almond martini, wherein "the Empire has reached Barbados", or opt for rum muddled with orchard fruits and aromatic spices in the Sailors' Plantation? All hail the Fall Maple Sangria, where Caribbean goodness comes by the jugful. 51 Alfred Street, Fortitude Valley SUBSTATION NO. 41 RUM BAR For the true rum aficionado, where better to go than Australia's largest rum bar, housed nicely in Brisbane? Substation no. 41 — an arm of the Breakfast Creek Hotel — is where it is about quality and quantity. They boast more than 500 varieties from around the globe, including one of the six bottles of Havana Club Maximo found in Australia, alongside the world's oldest, the Appleton Estate 50-year aged Jamaican Rum. Here you will decipher the the fruity from the spiced, and learn the difference between the French and British Caribbean. Breakfast Creek Hotel, Kingsford Smith Drive JUNGLE Rum can be a fitting drink for any time of the year, but the choices at Jungle in West End will have you dreaming of summer with their fresh palates. The fittingly-named Beachcombers Gold is a sweet and sultry choice with lime juice, house-crafted white grapefruit and cinnamon orgeat to give greater body to the double dash of rum. Here is where you will find a number of rum drink reinventions, with watermelon coolers, punch and daiquiris aplenty to get you in the spirit. 76 Vulture Street, Brisbane
There ain't no party like a Strut & Fret party, as Brisbane is well-aware. With Blanc de Blanc, LIMBO, FUN HOUSE and LIFE — The Show, the production company has become a River City regular — and at the Queensland capital's annual citywide arts festival in particular. Brisbane Festival 2023 is no different, with Strut & Fret embracing the fact that it knows how to throw a killer shindig right there in its latest event's name. Expect a party at THE PARTY, obviously. Expect a characteristically wild night filled with circus, dance, comedy, music and all-round extravagance at South Bank Piazza as well. Bringing together international talent and an eye-popping set, THE PARTY isn't about holding back. Lavish, decadent, provocative, OTT: they all fit this show. Doing the choreography: Kevin Maher, who has worked with Madonna, Rihanna, Britney Spears and Justin Bieber. And Spencer Novich, who is charge of the comedy direction, has American Horror Story on his resume. While surprises are always part of a Strut & Fret stage soirée, it won't astonish anyone that this is a firmly adults-only, 18+ event. Head along from Friday, September 1–Saturday, September 23. Images: Jacinta Oaten.
As both a comedian and a dramatic actor, Bob Odenkirk has earned a lifetime's worth of well-deserved praise. Writing for Saturday Night Live and starring in Mr Show with Bob and David each sit on his resume, as does his pivotal part in Breaking Bad and lead role in the exceptional Better Call Saul. But in Nobody, Odenkirk highlights a facet of his work that's easy to overlook. Jumping into a new genre, he makes viewers realise a truth that cuts to the heart of his talents. Every actor wants to be the person that can't be replaced, and to turn in the type of performances that no one can emulate; however, only the very best, including Odenkirk, manage exactly that. A movie so forged from the John Wick mould that it's penned by the same screenwriter — and boasts the first film's co-director David Leitch (Atomic Blonde) as a producer, too — Nobody could've featured any existing action go-to. It could've been an easy knockoff of well-known hit, joining the swathe of direct-to-video and -streaming titles that use that very template. It could've given Bruce Willis his next role to sleepwalk through, added yet another Taken-style thriller to Liam Neeson's resume or proven one of Nicolas Cage's more straightforward vehicles of late. Thankfully, though, Nobody is all about the ever-watchable Odenkirk and his peerless and compelling ability to play slippery characters. When Nobody begins, Hutch Mansell's (Odenkirk) life has become such a routine that his weeks all unfurl in the same fashion. Plodding through a sexless marriage to real estate agent Becca (Connie Nielsen, Wonder Woman 1984), and barely paid any notice by his teenage son Blake (Gage Munroe, Guest of Honour) and younger daughter Abby (debutant Paisley Cadorath), he catches public transport to his manufacturing company job every weekday, always puts the bins out too late for the garbage truck on Tuesday mornings, and usually earns little more than polite smiles from his family while he's cooking them breakfast that they fail to eat. Then, the Mansells' suburban home is randomly burgled. Hutch confronts the thieves in the act, has a chance to swing a golf club their way, yet holds back. But when Abby notices that her beloved cat bracelet is missing in the aftermath, he decides to take action — a choice that leads him to an unrelated bus filled with obnoxious guys hassling a female passenger, and eventually sees unhinged Russian mobster Yulian Kuznetsov (Aleksey Serebryakov, Leviathan) threatening everything that Hutch holds dear. Derek Kolstad's script — his first feature screenplay beyond the John Wick franchise — teases that there's more to its protagonist's story right from the outset. He communicates with his in-hiding brother (RZA, The Dead Don't Die) via radio, for starters, and his elderly father (Christopher Lloyd, I Am Not a Serial Killer) has a gun and multiple forms of ID stowed away in the closet at his retirement home. But Nobody isn't a twist-filled thriller that snakes, weaves and tries to keep its audience guessing. Lean and economical across its swiftly flowing 92-minute running time, it instead pairs frenetic action scenes with a character study. Yes, the stellar John Wick movies do the same, but don't underestimate the difference that Odenkirk makes. Cartoonishness can come with the territory when a film unleashes punch after punch, and Nobody is rarely subtle, except where its star is involved. On the small screen, he's currently part of the best tragedy there is, with viewers watching as the enterprising Jimmy McGill becomes Breaking Bad's shady Saul Goodman. Here, he gives the same amount of flesh to a seeming mild-mannered everyman with a complicated background, simple dreams and a formidable battle to reconcile the former with the latter. Also helpful: Odenkirk's ability to deliver the line "give me the kitty-cat bracelet" without it ever sounding like a joke. With dialogue like that, Nobody could've quickly slid into parody, but that's never Kolstad and director Ilya Naishuller's (Hardcore Henry) vibe. While there's a knowing undercurrent to the film as it keeps thrusting its various frays to the fore, that mood — like so much in this cinematic cavalcade of violence — is intricately tied to Odenkirk. Indeed, Nobody constantly has fun with its casting, riffing on its star's unlikely addition to its genre in multiple ways. Some are visual and blatant. Odenkirk doesn't resemble Hollywood's typical action hero, after all. Nobody isn't a particularly contemplative movie, but it also emphasises how dismissively Hutch is treated by everyone in his orbit, despite secretly possessing skills that his detractors can only fantasise about. Of course, fans already acquainted with Odenkirk's knack for complex characters will instantly spy the texture to Hutch, who thankfully never joins the ranks of toxically pent-up men stereotypically pushed to their supposed breaking points. Hutch is barely interested in being a vigilante, in fact. He doesn't snap in a frenzy. Rather, he just wants to return to the one thing that he's always been good at, especially after spending a couple of decades in a rut. Again and again, Odenkirk is both essential and crucial to Nobody — but its fight choreography was always going to stand out. In line with its central character, all of the movie's attacks prove resourceful instead of slick. They're exceptionally, elaborately and engagingly executed, including by its star, who does most of his own stunts; however, they're also somehow both scrappy and dynamic. Naishuller doesn't skimp on bloodshed or style, though. He wants every over-the-top showdown to strike a chord, and he gets his wish. But it's the first big confrontation, on that bus, that Nobody will forever be remembered for. As well as being kinetically yet tightly shot and staged, it manages what Odenkirk does so well, and repeatedly: anchoring this gleefully OTT symphony of brutality in the everyday and commonplace. https://www.youtube.com/watch?v=ngy7grwzFTw
UPDATE: MAY 27, 2019 — Due to an overwhelming response, Matty Matheson's Sydney and Brisbane shows have been moved to bigger venues. The former will now take place at Marrickville's Factory Theatre (previously Oxford Art Factory) and the latter at Newstead's The Triffid (previously Brightside). All tickets already purchased will be valid for the new venues. New tickets for Sydney can be purchased here and Brisbane here. Chef Matty Matheson is stepping out of the kitchen and onto the stage, heading Down Under for an expletive-laden speaking tour next month. Known for his hit TV shows Dead Set On Life and It's Suppertime — and his new New York Times best-selling book, Matty Matheson: A Cookbook — the culinary star and award-winning author will hit up Perth, Sydney, Melbourne and Brisbane. A colourful character famed for his larger-than-life personality, Matheson will be dishing up a his cooking (and life) tips, with an audience Q&A and a meet-and-greet session, too. He's set to serve his home truths on topics like addiction and mental health, the #MeToo movement and its impact on the food industry, and a few of his own life's ups and downs, as well as talking about his new web series, Just A Dash. https://www.instagram.com/p/BjKhY6iHrRZ/ Audiences will be treated to a true taste of this foodie legend, as Matheson tweaks each show to best represent himself, even down to the soundtrack plucked straight from his own playlists. MATTY MATHESON 2019 DATES Perth — Rosemount Hotel, Saturday, June 22 Sydney — Factory Theatre (previously Oxford Art Factory), Sunday, June 23 Melbourne — Corner, Tuesday, June 25 Brisbane —The Triffid (previously Brightside), Thursday, June 27 Tickets are $49 and go on sale at 9am on Tuesday, May 21 via the Secret Sounds website.
Ballet Revolución comes direct from Havana, Cuba. Having wrapped up an extensive tour of Europe and gaining praise like “an irresistible Cuban cocktail of ferocious sensuality,” the show will stopover in Brisbane for four nights. The production features 18 of the world’s finest dancers on stage, most from the same training school in Havana. Alongside them is a live band performing the rhythms of Latin America, as well as the hits of Sia, Lorde, Beyoncé, Jessie J, Bruno Mars, J Lo, Prince and Rihanna. As well as a focus on classical ballet, Ballet Revolución combines contemporary street dance, shoulder snaps, body rolls, acrobatics, jazz hands, body popping and everything else you might find in a music video.
There's usually only one problem with comedy festivals. Jam-packed lineups mean a wealth of talented folks trying to get you laughing, but we've all only got so much time. Of course, that's the best kind of issue to have, spoiling fans for choice — so, from the 100-plus names and events that'll grace Brisbane Comedy Festival in 2024, prepare to have plenty of options. Hosted by Brisbane Powerhouse each year, the month-long fest has been unveiling its next lineup in batches. The November drop included Josh Thomas, Nazeem Hussain, Joel Creasey, Rhys Nicholson, Nina Oyama, Melanie Bracewell and Arj Barker, plus Reuben Kaye, Luke Heggie, Ivan Aristeguieta, Guy Montgomery, Schalk Bezuidenhout and the return of Sh!t-faced Shakespeare. The list went on then, and does so even more now. Indeed, BCF's December announcement is its biggest for the 2024 fest so far. Ed Byrne, Stephen K Amos, Wil Anderson, Lizzy Hoo, Felicity Ward, Tommy Little, Annabel Crabb, Peter Helliar, Dave Hughes, Mel Buttle, Akmal, Effie: they've all just joined the Brisbane Comedy Festival's celebration of chuckles and giggles. The Brisbane debut of Future Science Talks, which includes both scientists and comedians, is also on BCF's 2024 roster. So is the return of improvised whodunnit Murder Village, plus everyone from Fern Brady and Urvi Majumdar to Nath Valvo and Jenny Tian, and Connor Burns, Dilruk Jayasinha, Geraldine Quinn, Hannah Camilleri and Takashi Wakasugi as well. 2024's Brisbane Comedy Festival will take place from Friday, April 26–Sunday, May 26, filling not only New Farm's riverside arts venue with laughter, but also The Princess Theatre, Fortitude Music Hall and The Tivoli. As always, BCF is a something-for-everyone fest. If you can't find something to laugh at, you mightn't have a funny bone. The event's new additions sit alongside other already-announced highlights such as the annual Brisbane Comedy Festival Opening Gala; rom-com production 44 Sex Acts in One Week; Bob Franklin, Tony Martin, Bev Killick and Gretel Killeen teaming up for an Aussie Comedy Legends night; and James Schloeffel from The Shovel and Charles Firth from The Chaser bringing Wankernomics: Solutionising the Corporate World follow-up Wankernomics 2.0: As Per My Last Email Brisbane's way. [caption id="attachment_930599" align="alignnone" width="1920"] Mark Gambino[/caption] The 2024 Brisbane Comedy Festival will take place between Friday, April 26–Sunday, May 26. For further details and tickets, head to the festival's website.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE LOST CITY Sometimes, they do still make 'em like they used to: action-adventure rom-coms in this case. Drive a DeLorean back to 1984, to the year before Robert Zemeckis made DeLoreans one of the most famous types of movie cars ever, and the director's Romancing the Stone did huge box-office business — and it's that hit that The Lost City keenly tries to emulate. This new Sandra Bullock- and Channing Tatum-starring romp doesn't hide that aim for a second, and even uses the same broad overall setup. Once again, a lonely romance novelist is swept up in a chaotic adventure involving treasure, a jungle-hopping jaunt and a stint of kidnapping, aka exactly what she writes about in her best-selling books. The one big change: the writer is held hostage, rather than her sister. But if you've seen Romancing the Stone, you know what you're in for. Movies that blandly and generically recreate/riff on/rip off others will never be gleaming cinematic jewels; the good news is that The Lost City is neither dull nor dispiritingly derivative. Cinema has literally been there and done this before, but directors Aaron and Adam Nee (Band of Robbers) are gleefully aware of that fact and don't even pretend to pretend otherwise. Rather, they wink, nod, serve up a knowing tribute to the 80s fare they're following, and repeatedly make it as blatant as can be that everything they're doing is by design. Their tone is light, bouncy and breezy. Their cast, which also spans Daniel Radcliffe and a delightfully scene-stealing Brad Pitt, is always on that wavelength. Indeed, swap out the vibe or The Lost City's four biggest on-screen names and the film would fall apart, especially without Bullock and Tatum's charisma and chemistry. With them all, it remains by the numbers but also terrifically likeable. As penned by the Nees, Oren Uziel (Mortal Kombat) and Dana Fox (Cruella) — based on a story by Baywatch director Seth Gordon — The Lost City's plot is ridiculously easy to spot. Also, it's often flat-out ridiculous. Anyone who has ever seen any kind of flick along the same lines, such as Jungle Cruise most recently, will quickly see that Loretta Sage (Bullock, The Unforgivable), this movie's protagonist, could've penned it herself. Once she finds herself living this type of narrative, that truth isn't lost on her, either. First, though, she's five years into a grief-stricken reclusive spell, and is only out in the world promoting her new release because her publisher Beth (Da'Vine Joy Randolph, The United States vs Billie Holiday) forces her to. She's also far from happy at being stuck once again with the man who has been sharing her limelight over the years, Fabio-style model Alan (Tatum, Dog), who has graced her book's covers and had women falling over themselves to lust-read their pages. Loretta is hardly thrilled about the whole spectacle that becomes her latest Q&A as a result, and that makes her a distracted easy mark for billionaire Abigail Fairfax (Daniel Radcliffe, Guns Akimbo) afterwards. He's noticed her new work, spotted similarities to the ancient riches he's chasing IRL, and gets his underlings to swoop in and snatch her up. His plan: leaning on Loretta's past as a serious historian to help him find his holy grail on a remote Atlantic island. She's given zero choice, but once the puppy dog-like Alan notices she's missing, he calls in expert assistance from devilishly suave and competent mercenary Jack Trainer (Pitt, Ad Astra). Of course, it doesn't take long for Loretta and Alan to be fleeing as an odd-couple duo, attempting to find the treasure, and endeavouring to avoid Abigail and his minions — and stay alive, obviously. Read our full review. EVERYTHING EVERYWHERE ALL AT ONCE Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. This isn't a movie that stays static, however, or wants to. Both dizzying and dazzling in its ambitions, the way it brings those bold aims to fruition, the tender emotions it plays with and the sheer spectacle it flings around, Everything Everywhere All At Once is a magnificent dildo-slinging, glitter cannon-shooting, endlessly bobbing and weaving whirlwind. Everything Everywhere All At Once is the movie version of a matryoshka set, too. While Russian Doll nods that way as well, the possibilities are clearly endless when exploring stacked worlds. Multiverses are Hollywood's current big thing — the Marvel Cinematic Universe, the DC Extended Universe, the Sony Spider-Man Universe and Star Trek have them, and Rick and Morty adores them — but the concept here is equally chaotic and clever. It starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Kills) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. There's a great gag in that revelation, playing smartly yet savagely with perspective — because Everything Everywhere All At Once is all about how we choose to see things. Imagine trudging over to your local tax department, trolley full of receipts in hand and possible financial ruin in front of you, only to be told mid soul-crushing bureaucratic babble that it all means nothing since the very fate of the universe is at stake. But, at the same time, imagine realising that it's the simplest things that mean the most when space, time, existence and every emotion possible is all on the line. Although that isn't how a different version of Waymond puts it to Evelyn, it's what sparkles through as she's swiftly initiated into a battle against dimension-jumping villain Jobu Tapaki, discovers that she can access multiple other iterations of herself by eating chapsticks and purposefully slicing herself with paper cuts, and gets sucked into a reality-warping kaleidoscope. Read our full review. HAPPENING It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. The second of Ernaux's works to hit screens of late after the also candid and moving Simple Passion, Happening begins with hope, with Anne and her Angoulême college dormmates Hélène (Luàna Bajrami, The Hill Where Lionesses Roar) and Brigitte (Louise Orry-Diquéro, Occidental) getting ready for a dance. They're filled with the excitement that comes with believing anything could happen — there's fun to be had, men to meet and lives to be changed — but, once there, it's obvious that these kinds of nights always follow the same pattern. Their university's resident mean girls glare on in judgement when Anne even talks to a guy, but she doesn't let that stop her. She isn't one to weather their bullying, gossip and slut-shaming, including once she discovers she's expecting three weeks after a casual fling. The only thing that terrifies the ambitious and bright working-class student: losing the ability to live the life that she's been working towards. The alternative is highly illegal, so much so that securing help from medical professionals, friends and family is overwhelmingly difficult. Delivering the surprising pregnancy news, Anne's family doctor (Fabrizio Rongione, Azor) is sympathetic to the stark scenario facing his patient, knowing the stigma that'll come her way for being an unwed single mother, and that her dreams of teaching will be derailed. Still, given that prison is the punishment for illicit terminations, he shuts down any notion of lending a hand. Even chatting about abortion hypothetically with Hélène and Brigitte before they know she's with child earns the same dismissive response. The baby's father (Julien Frison, Lover for a Day), a visiting student, just wants the situation handled, and asking a flirtatious classmate (Kacey Mottet Klein, Farewell to the Night) for assistance just ends with him hitting on Anne; she's already pregnant so he figures she'll be up for it and there'll be no consequences. Read our full review. THE GOOD BOSS Despite being nominated for Best Actor for Being the Ricardos, Javier Bardem had zero chance of nabbing a shiny trophy at the 2022 Oscars. The movie he deserves his next nod for instead: savagely sharp workplace satire The Good Boss, which is home to a tour-de-force of a performance from the Spanish actor. Already an Academy Award-recipient for his powerhouse effort in No Country for Old Men — and a prior contender for Before Night Falls and Biutiful, too — Bardem does what he long has, playing a character who uses a set facade to mask his real self. Here, he's a seemingly kindly factory owner who makes a big fuss about treating his employees like family, but happily lets that ruse slip if they want more money, or have problems at home that disrupt their work, or happen to be an attractive intern. He still sports a smile though, naturally. In his latest Goya Award-winning part — his 12th to be nominated, too — Bardem becomes the outwardly friendly, inwardly slippery Básculas Blanco. Given the darkness that lingers in his self-serving, self-confident, self-satisfied true nature, the character's name is patently tongue-in-cheek. He presides over a company that makes professional-grade scales, which he inherited from his father, and tells his staff "don't treat me like a boss". But filmmakers who put the word 'good' in their movie's monikers rarely mean it literally, and writer/director Fernando León de Aranoa (who reteams with his lead after 2002's Mondays in the Sun and 2017's Loving Pablo) is one of them. As portrayed with quietly compelling magnetism by Bardem, The Good Boss' ostensibly respectable CEO finds his perfectly calibrated public persona cracking slowly, surely and devilishly, all thanks to the weight of his own ruthlessness. Awards aren't just coming Bardem's way off-screen for this exceptional turn; they're baked into the movie's plot as well. When The Good Boss begins, Blanco is determined to win a prestigious business prize — but he can't be called desperate, because appearing anything other than commanding, magnanimous and prosperous isn't in the grey-haired, sleekly attired manager's wheelhouse. Still, everyone around him knows how insistent he is about emerging victorious, including his clothing boutique-owning wife Adela (Sonia Almarcha, The Consequences). Their dutiful but hardly passionate marriage says plenty about Blanco, how he operates, and how careful he is about maintaining the illusion he wants the world to see. Indeed, when pretty young Liliana (Almudena Amor, The Grandmother) starts in his marketing department for a month-long stint, she instantly earns his attention, while he still outwardly flaunts committed family-man vibes. Liliana's arrival isn't without complications either professionally and personally. But in a film that skewers nine-to-five life and relationships alike, that's one of several troubles that upsets the company's balance. Just as Blanco's business is set to be inspected during the prize's judging process, his orderly world is pushed askew. There's the just-retrenched José (Óscar de la Fuente, The Cover), who won't accept his sacking, has set up outside the worksite's gate with a loudspeaker shouting out his woes and even has his school-aged children in tow. Then, there's underling and childhood friend Miralles (Manolo Solo, Official Competition), whose marital struggles are impacting day-to-day operations. And, trusted employee Fortuna (Celso Bugallo, The Paramedic) calls upon Blanco's sway for help with a domestic situation of his own. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; and April 7. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance and Memoria.
The top level of Chermside shopping centre is undergoing quite the revamp, with Event Cinemas sporting a hefty makeover (complete with a glam new bar) and boozy mini golf venue Holey Moley opening its doors onsite. Come March, they'll also have company thanks to the first Brisbane Hijinx Hotel — the OTT challenge room bar concept that's been winning fans in Sydney and, since December 2022, in Surfers Paradise. If you're new to Hijinx Hotel, which hails from Funlab — the company behind Strike, Holey Moley, Archie Brothers Cirque Electriq, and B Lucky and Sons — we have a few questions that explain the idea. What looks like it takes its design cues from The Grand Budapest Hotel, The Shining's Overlook Hotel and Willy Wonka's chocolate factory? What gives the escape-room concept a game-fuelled twist and drips with nostalgia as well? What also combines all of the above with cocktails for the ultimate in kidulting fun? This is Funlab's adult-focused twist on sleuthing your way through various spaces with a beverage or several in your hand, inviting patrons to play and sip your way through it. It'll open its doors at Chermside on Friday, March 31, forming a mini game-fuelled — and 350-person-capacity — precinct alongside Holey Moley. Instead of escaping at Hijinx Hotel, patrons hit up challenges. So, the Chermside venue will spans ten game rooms filled with entertaining things to do. That'll include two brand-new spaces that haven't been seen at other sites: Battleship, based on the submarine-themed game, which'll involve trying to sink ships for points; and Cute as a Button, a new version of its Who Meme game, where you'll solve cartoon puzzles that feature characters from your childhood. Chermside will also get the Big-style piano room with a giant keyboard across the floor, ball pits and a giant version of Scrabble. Basically, the whole concept is a bar decked out like a hotel, but getting attendees to complete challenges rather than get a-slumbering in its various spaces. It also gleans inspiration from all those supremely Instagrammable pop-up installations that include ball pits, but this one is sticking around Brissie permanently. And, it boasts bars for cocktail-drinking opportunities, nods to New York hotels in its facade, and just generally overflows with homages to movies and board games from the 80s and 90s. Shaking off your regular routine is clearly the name of the game here, and partying like you would've before you were old enough to drink alcohol — but with the hard stuff definitely on offer. That all starts when you enter via the faux hotel lobby bar, which is full of colour and surrealist touches. Instead of merely checking in, though, that's where you'll find cocktails. As for the not-quite-hotel rooms themselves, you gain access by heading to reception t0 pick up a swipe card. Also a highlight: those creative cocktails, breaking up all that kidulting with drinks like the Bubble and Pop and the Penthouse Party. Some of the venue's tipples are designed to share, most of them look ace on your Instagram feed, and there's also a range of non-alcoholic drinks — and food to line your stomach. When Hijinx Hotel opens at Chermside, it'll see Funlab boast 14 venues across Queensland, all aiming to make you forget your age. Find Hijinx Hotel at Chermside shopping centre, on the corner Gympie and Hamilton roads, Chermside, from Friday, March 31. For further information in the interim, keep an eye on the Hijinx Hotel website. Images: Mitch Lowe / Zenniesha Butts / Funlab.
If you've been in the vicinity of James Street lately, you might've noticed something out of the ordinary. Not only has a tower of shipping containers made itself at home, but three cafes have set up shop inside them. Welcome to Box on James, aka the place with the name that says everything it needs to. Well, other than describing the kinds of food and drink on offer — but hey, even container-based stores need to retain an air of intrigue. Sure, there's little that's mysterious about the trio of operators working out of Box on James' steel confines; however there is plenty that's delicious. The Shed on James is your go-to spot for Where's Marcel? coffee, bringing the Melbourne-based outfit's caffeinated goodness to Brisbane for the first time. At Flourish Superfood Cafe, you'll find all the acai bowls, smoothies and juices you could ever need. And if a hot cuppa or something fresh and fruity doesn't perk you up, The Brezel Co's wares will. After all, everyone likes chocolate and treat-covered pretzels, don't they?
Recently opening the Sydney Film Festival to great buzz, 20,000 Days on Earth is a documentary that's fiction. It imagines the 20,000th day on earth of singer and raconteur Nick Cave, and it's a day that includes him talking to his shrink, recording an album, helping archivists make sense of his historical record, lunching with his pals, driving Kylie Minogue around Brighton, and playing at the Sydney Opera House. A pretty great day, by any standards. Instead of clarity and chronology, what you get is a fragmented sense of biography that you have to put together yourself, or let wash over you as a series of impressions, sensations and enraptured moments. Artists-turned-directors Iain Forsyth and Jane Pollard have basically conjured a new format here, made sweeter by the flair and flamboyance Cave brings. 20,000 Days on Earth is in cinemas on August 21, and thanks to Madman Entertainment, we have ten double in-season passes to give away in Sydney, Melbourne and Brisbane. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=a8vy-DO-I5E
Tents at the ready: when 2023 ends and 2024 begins, there are few better ways to spend it than dancing and camping at southeast Queensland's Woodford Folk Festival. This isn't just a fest. It's a pop-up Moreton Bay village filled with live music, arts and culture. And it's returning for another year with a heap of well-known Australian — and Brisbane — names. Throwing back to the late 90s and early 00s, Regurgitator, Custard and Resin Dogs will all take to the Woodford stage between Wednesday, December 27, 2023–Monday, January 1, 2024 at Woodfordia on the Sunshine Coast. Also hailing from Brissie, along with plenty of the festival's attendees each year: Kate Miller-Heidke. Woodford 2023–24's roster of talent includes Ben Lee, Gretta Ray, Isaiah Firebrace and Kasey Chambers as well, on a list that spans more than 400 acts and 1834 shows. So, across the fest's 27 performance spaces, there'll be no shortage of things for the expected 120,000 people attending to see at Woodfordia's 500-acre parklands space (which now boasts a lake) — whether they're among the 25,000 folks who can stay onsite or just hitting up the event for the day. Accordingly, whoever piques your interest, or even if you're just keen on a Woodford experience — for the first time, tenth or 36th, because that's how many fests the event has notched up now — prepare to catch a heap of bands, wander between arts performances and get a little muddy, all around 90 minutes north of Brisbane. As always, the fest's lineup also features circus, cabaret, yoga, dance, comedy, spoken word, poetry, comedy, films, workshops, bars, cafes and restaurants. Keen to have a chat while your clothes was at The Blak Laundry? Learn to weave baskets with Kris Martin? Get giggling to talents curated by Sandeep Totlani? Hit up the Queer Ball's third year? They're some of the other standouts. Tickets are already on sale, with more highlights from the 2023–24 lineup below — and you can check out the full list of acts and activities on the Woodford website. WOODFORD 2023–24 LINEUP HIGHLIGHTS: Regurgitator Custard Resin Dogs Ben Lee Kate Miller-Heidke Isaiah Firebrace Kasey Chambers Mo'Ju Gretta Ra Odette Yirrmal A.Girl AFRO DIZZI ACT Felicity Urquhart & Josh Cunningham The East Pointers Haiku Hands Leah Flanagan Borroloola Cultural Songwomen featuring Dr Shellie Morris AO Bumpy FourPlay String Quartet Yirinda Charlie Needs Braces Mitch King DancingWater ALPHAMAMA Jack Davies & the Bush Chooks Charm of Finches Dougie Maclean Assynt Ryan Young Hannah Rarity Dallahan Lisa O'Neill Andy Irvine Making Movies Rizo Božo Vrečo The 2023–24 Woodford Folk Festival runs from Wednesday, December 27, 2023–Monday, January 1, 2024 at Woodfordia on the Sunshine Coast. For more information, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
When it comes to exercise, we all need motivation. Making sure you're healthy works, but sometimes even the best among us need a bit more of a nudge — like a great view, for example. Leafy greenery does the trick. Water, too. If you're an early bird who starts their weekend the absolute first second they can, so does soaking in the morning sunshine. Grass, the river, the sun — yep, they're all on the agenda at Newstead's Yoga in the Park by the waterfront. Taking place on Saturday mornings (from 7am in summer and 8am in winter), it's a reason to roll out of bed with the sparrows. And, to pump up your energy, make the most of Brisbane's sunny weather, and feel fighting fit as well. Sessions are free, but bookings are required to secure your spot. You will need to bring your own mat, and you'll want to bring a water bottle as well — all those sun salutations are bound to make you thirsty.
Much to the delight of rollerskate-loving Brisbanites, RollerFit finally made it to our fair city last year. This class isn't just about learning to skate, although that's definitely on offer. It's also about exercising on four wheels. On Friday, June 21, RollerFit will add another component to the mix: 90s disco fun. Hit the rink, skate under mirrored lights, listen to killer tunes from two decades ago and bust out your best retro roller dance moves. Plus, if you dress for the occasion — 90s-style, with plenty of lycra, neon and fluoro, obviously — you could also win a prize. An all-ages affair, the RollerFit 90s Roller Disco runs from 6–9pm, with tickets only available on the door. Getting your skate on will set you back $20 if you're a RollerFit member and $25 for everyone else, while hiring some wheels will cost an extra $5. EFTPOS facilities will be limited, so cash is preferred. While you have your wallet out, there'll also be a RollerFit shop set up should you want to buy your own protective gear, accessories or merch.
If it seems like only yesterday that Regurgitator, Custard, Butterfingers, Resin Dogs and Screamfeeder were playing every venue around Brisbane every night, then you obviously have strong recollections of the city's 90s and 00s music scene. It was only a few months back that most of the above names teamed up to help celebrate The Zoo's 30th birthday, in fact, so your thoughts don't need to span back too far. Come Saturday, March 25, you can also cement new memories at Units, aka what just might be the most Brisbane music festival ever. Described as "25 years of Unit in one electric stream of sound and colour", this new one-day event nabs its name from Regurgitator's 1997 album Unit, its second record and the source of synth pop-meets-alt rock bangers like '! (The Song Formerly Known As)', 'Polyester Girl' and 'I Like Your Old Stuff Better Than Your New Stuff'. In fact, this fest is completely based around celebrating Unit's big anniversary — with more than a little help from some other huge Brisbane music names. So, that's where Custard, Butterfingers, Resin Dogs and Screamfeeder all come in, all as part of a fest that'll take over Eatons Hill Hotel's ballroom and outdoor gig space. It's a two-stage, no-clash affair, so you'll be able to see everyone on the bill. And yes, the Gurge is playing Unit in full. Dance to the band's 90s hits, with the Brissie legends also working through plenty else from their hefty catalogue — then enjoy the fellow acts that've been making Brisbane the music-filled city it is for decades. DZ Deathrays weren't releasing tunes back when Unit first released, of course, but they're also on the bill. The rest of Units' roster of talent includes Models, Flangipanis, Glitoris, Mitch, Please, The Stress of Leisure and Platonic Sex, in what's set to be a helluva day. Things don't get no better, better than you and this lineup, clearly. UNITS LINEUP: Regurgitator performing UNIT in full (and more) DZ Deathrays Custard Models Butterfingers Screamfeeder Resin Dogs Flangipanis Glitoris Mitch, Please The Stress of Leisure Platonic Sex
Beer halls aren't just for drinking brews, at least where Felons Brewing Co is involved. The Howard Smith Wharves mainstay regularly puts its barrel hall to a range of other uses, whether by hosting movies or markets — or the Seasonal Fruit music festival. On Sunday, June 16 from 4pm, the latter is on the agenda for its winter 2024 edition, with this riverside fest curated by Jet Black Cat Music. Here's one way to start the new season: with a lineup of international and local acts taking to the stage over one afternoon. Leading the bill this time: Tirzah from the UK, Bonny Doon from the US, plus Glass Beams, Skeleten, Tex Crick and Middle Name Dance Band. And for the sips? Well, you will be in a brewery after all, with Felons' beers on offer. Doors open at 4pm, tickets cost $69 for the gig, and you'll pay for your beverages on top. Summer Fruit — Winter Edition Lineup: Tirzah Bonny Doon Glass Beams Skeleten Tex Crick Middle Name Dance Band Images: Darcy Goss Media.
Coorparoo cafe Ninebar and Kitchen is a modern nod to owner Mark Bellas' retired father who previously ran a cafe in the same Eva Street space. Open for dine-in or takeaway, this light-filled venue is a delightful spot for a hang-out with friends and family. On the menu, you'll find simple yet flavoursome options and nifty cafe classics which make for a solid feast for breakfast and lunch. Take the wholesome route with acai bowls and smashed avocado with turmeric hummus, blistered tomatoes and honey-roasted chickpeas. Or, indulge in a low 'n' slow brisket burger and blueberry waffles with candied bacon, banana and vanilla ice cream. The choice is yours but it won't be an easy one. Drinks include coffee, smoothies, beer, wine and cocktails so staying a while here is not hard to do.
Perhaps you're fond of crusty sourdough with your breakfast or brunch. Maybe you have a sweet tooth for cakes, muffins and brownies. Either way, with everyone presently spending more time at home — and zero time eating out at bakeries and cafes — we're betting that you've probably cranked up your oven and put your baking skills to the test in recent weeks. Next time you get creative in the kitchen, however, you don't just have to stick to a packet mix or try out the recipe on the back of your packet of flour. And if you've been craving treats from one of Brisbane's favourite spots for tasty baked goods, you don't have to miss out. Adapting to the current situation, Jocelyn's Provisions is now selling 'take & bake' kits, which'll let you whip up some of its wares yourself. For folks who can't resist the smell of baking cookies wafting through the house, the choc chip cookie dough kit ($18.50) features 500 grams of ready-to-bake cookie dough — which is enough to make 24 cookies. And for those who are fine with leaving the baking to the experts, but would love to get crafty with icing, the cupcake decorating kit ($22.50) comes with six vanilla cupcakes, piping bags filled with raspberry and vanilla icing, and edible pink and gold decorations. Both kits are available for pick up only — with orders taken online, and collection available from Jocelyn's Provisions' stores on Sandgate Road in Albion, James Street in New Farm and Samuel Street in Camp Hill. Jocelyn's is also selling its regular range for takeaway and delivery, as well as a weekly selection of take home meals — with the current menu, at the time of writing, featuring cacio e pepe spaghetti and tomato and bacon pasta for two ($16.90 each); minestrone soup with a mini garlic bread, which also serves two ($23.50); garlic, fresh herb and parmesan sourdough that'll cater for between four and six ($18.50); and a four-person classic beef lasagne ($48.50). For more information about Jocelyn's Provisions' 'take & bake' kits — or to order one — visit the store's website. If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
Ever since Gauge opened its doors in South Brisbane back in 2015, Brisbanites have been talking about its black garlic bread, tasting menu and stripped back yet still luxe feel. Before August is out, you'll be able to turn your chatter to Essa, too. Opening on Robertson Street, the new Fortitude Valley restaurant is the latest venture from ex-Gauge chef Phil Marchant, who is bringing a focus on local produce and harvest-driven dishes to a striking split-level space just off James Street. Launching on Friday, August 27, Essa sees Marchant take up head chef duties, while also co-owning the new eatery with entrepreneur Angela Sclavos. Marchant's aim: to highlight the work of the farmers, hunters and providores he's sourcing his ingredients from, to give classic techniques a modern twist and to give diners a multi-sensory experience. On the menu, that approach translates to dishes that endeavour to pair the familiar with the surprising, as well as a big focus on raw, pickled, smoked and wood-fired meals. So, you can expect to tuck into pickled and fire-burnt kohlrabi, wood-fired beetroot, and wild venison tartare paired with toasted buckwheat and hibiscus. Or, from the grill, organic pork chops come served on the bone, or there's the spatchcock quail with brown butter, caper leaves and salt bush. And, for dessert, mandarin sorbet and Jerusalem artichoke cream buns will tempt your tastebuds. Essa also does set menus for $92 a head, which is a requirement if you're dining in a group of eight or more. Drinks-wise, wine and cocktails sit pride of place. Both lineups have been curated to pair well with the restaurant's dishes, but if you're particularly keen on something light but inventive, The Love Bird — which combines rose, strawberries and white chocolate, and uses a milk wash technique — provides a handy indication of the types of beverages on offer. Enjoying the surroundings is also part of the Essa experience, with the decor skewing industrial but relaxed. A brass mesh window sits at street level, exposed brickwork and steel alcoves are a feature, and seating includes leather lined banquettes. The dining space on the building's middle level features a bar decked out with green Verde Alpi stone, too, while the upstairs space uses a leafy garden as a background. Essa will open at 181 Robertson Street, Fortitude Valley on Friday, August 27 — operating 4pm–late Tuesday–Saturday.
When Coming Home in the Dark starts, it's with a lingering look at New Zealand's landscape, with the film peering across the magnificent countryside as far as the camera can see. In doing so, it begins with two familiar touches that bubble with comfort and security. NZ's stunning scenery has been burned into audiences' minds several times over via The Lord of the Rings and The Hobbit movies. As a result, it beckons with the kind of warm memories that've sent plenty of fans flocking to the nation's shores. And, the people seen navigating NZ's scenic sights here, and what they're doing, also initially sit in cosy territory. Hoaggie (Eric Thomson, The Furnace) and Jill (Miriama McDowell, Waru) have hit the road from Wellington with their teenage sons Maika and Jordan (debutants Billy and Frankie Paratene), all to stop at quaint service stations, hike through the wilderness, take family photos with striking backdrops and have a nice little picnic. In other words, they're enjoying exactly the leisurely trip you'd expect in such eye-catching surroundings. Fond thoughts, tranquil feelings, unspoiled vistas, loving company — none are indulged for too long, though. Coming Home in the Dark sees the bliss and beauty, but it also quickly shines a spotlight on trauma and horror. During the picnic, two men appear suddenly, instantly popping the happy little bubble that's encased the film's central family so far. It's immediately apparent that the gun-toting Mandrake (Daniel Gillies, Occupation: Rainfall) and his little-spoken offsider Tubs (Matthias Luafutu, Ghost in the Shell) aren't there to improve this picturesque escape, or to make friends. First, the interlopers demand the car keys. Mandrake taunts his hostages and struts around like he's holding court, visibly feeding on the response. He warns Hoaggie that they're facing a pivotal juncture, too — one where "later on, when you're looking back at this occasion, I think that right there's going to be the moment you wish you'd done something." Then, after a campervan of fellow travellers has been waved away from the precarious hostage situation, Coming Home in the Dark starts to sink its claws in. Within the narrative, the movie forever shatters any possibility of returning to its idyllic opening scenes. Thematically, it unearths the ills of history that refuse to remain buried. The terrain is different — there's no mistaking New Zealand's greenery for Australia's ochre-hued outback — but Coming Home in the Dark finds kindred spirits in features from across the ditch. In both countries, natural splendours can't mask the woes of the past, or the injustices waged against either nation's Indigenous inhabitants (for Aussie examples, see: Ivan Sen's Mystery Road and Goldstone, Warwick Thornton's Sweet Country and powerful 2021 release High Ground). Adapting Owen Marshall's short story of the same name, first-time feature director James Ashcroft appears to be taking cues from Austria to begin with, however, and fashioning Coming Home in the Dark after Michael Haneke's two versions of Funny Games. There's an iteration of this story that could play out at random and prove soul-crushingly chilling as a result, as all tales that highlight life's arbitrary cruelty do, and yet that isn't what's on offer. Instead, Ashcroft and co-screenwriter Eli Kent (The Seagull) find an even deeper pool of terror in pondering the treatment of children in government-run facilities. Their script shares threads in common with Cousins from earlier this year, but they dive deep into the abuse of kids in such places — the boys' homes and similar sites in use for half a century between 1950–99 — as well as examining the inescapable scars left, the paths towards criminal behaviour potentially sparked and, here, the retribution inspired. If Coming Home in the Dark doesn't waste a second in jumping from a gorgeous getaway to holiday horrors, and it doesn't, then it's just as precise about and committed to its trek from there. After Ashcroft and cinematographer Matt Henley (also making his feature debut) bask in NZ's majestic landscape — including showing how isolating it can be when things go awry, without overtly labouring the point — they embrace their journey into more brutal territory. Indeed, there's no flinching at splashing bloodshed across the screen, at boldly blasting away happiness or at exploring who is complicit in horrific deeds, and how and why. There's no simple route through the film, either, or straightforward way to apportion sympathy. As a thriller, Coming Home in the Dark is tense, nerve-wracking and unrelenting, feats it achieves in no small part thanks to its knife's-edge balancing act. What befalls Hoaggie, Jill and their family is shocking and nightmarish, and so are the events that've brought Mandrake and Tubs to them — and the connective tissue between the two couldn't be thornier and knottier. Unsurprisingly, this is a picture that's constantly shifting. It refuses to relax, seek a reprieve or offer solace, even briefly. Ashcroft helms an exacting genre piece and a weighty musing on trauma combined, and his riveting film isn't easily forgotten — not its story, its melding of vacation scares with historical atrocities, or the imagery that segues from postcard-perfect sights to stark scenes of violence. Also memorable and seeping under the skin in an insidious fashion: The Vampire Diaries and The Originals star Gillies. He's menacing in every second, and looms large like an immovable force. He's scruffy, steely, unwavering and unpredictable, and gives flesh to the movie's contemplation of piercing troubles that won't be shaken. He's also pivotal when the film explores how everyone twists tales to fit their own preferred narratives (as underscored by a short but pointed argument about Mary Shelley's Frankenstein). Still, Coming Home in the Dark has space for fine turns across the board, including from Thomson. He initially leans on the affable dad vibes that've clung to him since Packed to the Rafters — but, like everything else here, he doesn't ever just stick to the expected.
2023 might be mere weeks in, but it's already the year of Pedro Pascal. His new HBO series, a spectacular adaptation of hit video game The Last of Us, has just started airing — and it's already one of the best new shows of this year. And, come autumn, he'll be back bounty hunting and hanging out with Baby Yoda in The Mandalorian season three as well. Hanging out for more of Disney+'s space western? Keen on another dose of Pascal as Din Djarin? Can't wait to see the adorable Grogu again? The new season will start streaming from Wednesday, March 1, and has finally unveiled its full trailer in the interim. Pascal narrates the just-dropped sneak peek, explaining that being a Mandalorian isn't just about learning how to fight, but also about being able to navigate the galaxy. Mando, as he should definitely be nicknamed, is also off to Mandalore to be forgiven for his transgressions — although, as viewers of the show so far will know, and just of all things Star Wars in general, little in this galaxy far far away ever goes smoothly. Season three promises to also follow the New Republic's struggle to move past the galaxy's dark past, reunite Mando with old allies and also throw new enemies his way. And, of course, to have Grogu back by his side, as viewers love. There's also multiple bounty hunters, and "may the force be with you" is indeed uttered in the new trailer. The Mandalorian's latest batch of episodes will arrive more than two years after the show streamed its second season back in late 2020, and after 2022's first season of Andor just became Star Wars' best TV series yet. If you've somehow missed it before now, the Emmy-nominated show follows the titular bounty hunter (Pascal, The Unbearable Weight of Massive Talent); however, it's his encounter with a fuzzy little creature first known as The Child, affectionately named Baby Yoda by everyone watching, and officially called Grogu, that's always had everyone talking. So, it comes as zero surprise that one of the Star Wars universe's best-ever double acts keeps being pushed into the spotlight — including when The Mandalorian dropped its first season-three trailer a few months back, and in this new glimpse. Check out the full trailer for The Mandalorian season three below: The Mandalorian's third season will hit Disney+ on Wednesday, March 1. Images: ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.
No one is ever going to mistake a visit to Brisbane's Queen's Wharf with a trip to France — with its perch right beside the Brisbane River and views across to South Bank, there's no confusing where it's located — but Pompette wants your tastebuds to make the journey abroad anyway. Joining the precinct's smorgasbord of restaurants serving up international cuisines, this newcomer from Tassis Group goes all in on Gallic dishes. It's not only an eatery, in fact, but also a champagne bar. First announced in mid-2024 and open since December, Pompette adds French eats to the Vietnamese, Thai, Japanese, Italian, noodle, steak and seafood meals already on offer at Queen's Wharf. Under Head Chef Jean-Luc Morcellet, think: escargot, steak frites, raw beef tartlettes, chicken parfait, gruyere soufflé, baguettes with blue cheese butter, Parisian-style gnocchi, duck à l'orange, steak au poivre, côte de boeuf, crème brûlée, crêpes suzette flambée and more. At the 140-seater spot on The Terrace, there's also caviar bumps that come with a shot of frozen vodka, plus a dedicated oyster bar. Here, seven days a week from 11am onwards, classic French fare clearly features across the menu, but with two guiding principles in mind. Firstly, Pompette's dishes give traditional meals a modern spin. Secondly, if sending your tastebuds to Paris normally gets you thinking about extravagant fine-dining, this spot is aiming to be more accessible. "I've always been captivated by French cuisine — the artistry, the technique, and the craft behind it. Yet for many Australians, it can sometimes feel a little intimidating," explains Michael Tassis, Tassis Group's owner. "With Pompette, the vision is to honour the authenticity and quality of French cuisine, while ensuring it's approachable, shareable and inviting to everyone at the table." For patrons eager to say cheers to a glass of champers, more than 40 types of the French tipple are on the drinks list. Wine lovers can choose from 150-plus different bottles, while cocktails, spritzes, beer, seltzers and non-boozy sips are also among the options. Regular Tassis collaborators Clui Design and Allo Creative are responsible for the venue's look and feel, taking their cues from Paris, of course. Expect to be surrounded by pink and navy hues, plus brash touches and eye-catching artworks. Champagne and oysters are served from the site's 16-metre-long marble bar, while the outdoor terrace boasts bursts of greenery. And for special occasions, Pompette also features three private dining rooms. Find Pompette at The Star Brisbane, Queen's Wharf Road, Brisbane — open from 7am–late seven days a week. Head to the restaurant's website for more details. Images: Markus Ravik.
"I find that it takes a while for people to return to themselves after the film." For anyone who's seen The Stranger, writer/director Thomas M Wright's observations might sound like an understatement. For those who haven't yet watched the actor-turned-filmmaker's second feature behind the lens, after 2018's Adam Cullen biopic Acute Misfortune, it may come across the same way. In Australia in particular, the fact that the Joel Edgerton- (Thirteen Lives) and Sean Harris (Spencer)-starring crime-thriller is based on the 2003 abduction and murder of Queensland schoolboy Daniel Morcombe has garnered attention. The Stranger takes its cues from that monstrous real-life case, adapting Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer; however, it doesn't recreate the crime. It also doesn't depict the victim, or refer to him by name. Everyone has been fictionalised, and there's no violence in the film. Instead, it tracks the enormous police effort to capture a culprit using a criminal gang as a ruse, in what's known as the 'Mr Big' technique. Edgerton plays the incognito cop tasked with befriending the suspect, while Harris is relentlessly perturbing in the latter part. It was Edgerton, also The Stranger's producer, who optioned Kyriacou's text, saw Acute Misfortune and proposed the feature to Wright. The director was initially reluctant, but sticking to the above stipulations was the only way that he could approach the picture, and was willing to. "Those decisions about a complete unwillingness to represent any violence, to represent the victim, to represent those that cared for them — and to centre the film on a fictionalised version of a police operation like the one used in that particular case — those aren't thin acknowledgements," Wright explains. "They're deeply layered considerations that've been placed at the centre of the entire film." In every second, The Stranger feels as carefully and meticulously constructed as Wright's framework suggests — and, by design, dictates. It also feels not just tense but tough, as it should given the story it's interrogating. Debuting at the 2022 Cannes Film Festival, the feature received a seven-minute standing ovation. Now, it plays Aussie cinemas from October 6 before reaching audiences globally via Netflix on October 19. "It's an undeniably different experience," Wright notes of watching The Stranger at home versus on the big screen. "It's an intensely discomforting and very powerful film to invite into your home. For the two hours that the film lasts, I think it will take people into a completely different mindset, into a different psychological realm," he continues, while chatting us through making a movie that's both unshakeably potent and personal. ON WORKING OUT THE BEST APPROACH TO A HORRIFIC REAL-LIFE CASE "Kate Kyriacou's book The Sting, which Joel had optioned, is a non-fiction work of investigative journalism about that specific case. It goes into personal details about the victim, those affected, the other suspects — and I felt that I had no right to represent the victim, that any attempt to represent them would only diminish them and all of their infinite possibilities, and that I couldn't presume to know anything about what that family and those who cared for him went through. So early on, the initial terms for me were: there'll be no representation of the victim of any sort, there'll be no representation of the people who cared for them, there'll be no violence whatsoever in this film. There's an unconscionable way of making this film. There's a morally unforgivable way of making this film. It would not be difficult to create tension in a film about the physical vulnerability of a child, and I wasn't interested to use that space, which is sacred to those real people, for the ease of making a film. So I began to think about these strangers, and that stranger of the title could refer to the perpetrator and that archetypal fear of the stranger in our society — but actually we are a society of strangers. It could also refer to the victim, to their family. Or, to that central figure and all those undercover operatives in the film whose real names we never learn. Or, to all those nameless people, the detectives and searchers at the end of the film who provide resolution for those strangers for them, that family and the victims who've they've never met. It clearly became to me this idea of connection as a society, and of empathy, as the gravity that is going to bind film together. At the time that I was writing it, I live in the inner north in Melbourne, it's where I grew up, it's where my family lives, and there were a whole series of murders of women by strangers, by people they've never met. And it shook the entire foundation of the society — and every state and territory has their own version of these cases that totally shift our perception of safety and of the social contract. They make it feel like a lie or something weak, and it had such an effect on the community down there. It was an outpouring of empathy. And these are just the cases also that have created headlines and achieved large police commitments, and where there has been public recognition. There are so many people out there, and so many crimes that take place, where there is none of that. We still have a woman a week dying of incidences of domestic violence in Australia, and many of those victims go unacknowledged. Of course, I'm not setting out to make a public service announcement in this film, but there are individuals who have to be the first person there, and who give years of their lives, and their mental and physical health, to trying to resolve those incidences of violence." ON FINDING PERSONAL REASONS TO MAKE THE FILM "When we began work on the film, I told everybody that I worked with that I wanted them to find their own reason for making this film — and I wanted them to find a personal reason to make this film. I do think it was a very personal film for all of us who worked on it. Joel said the other day that it was the quietest set he has ever worked on. It was a very tense set because of the seriousness of the material that we're dealing with, and the moral responsibility we felt, and the focus it required of us. For me, it absorbed every waking and dreaming moment of my life for three years, and I felt a tremendous moral responsibility to get it right and make something that we could all stand behind — and that didn't let any of my collaborators down. I'm not talking about the Academy Award-winning producers. I'm talking about the sound recordist and production designer and assistant editors, and everyone with whom you make a film. And also because of the presence my son in the film, because I wrote it for my son to portray Joel's son in the film. In the process of filming, Joel found out that he was going to be a father. That made it intensely personal and emotional for him also, and I watched it change him and shift his entire being. Both Joel and Sean were transformed by the process of making this film. Sean's wife actually saw the film after we'd finished and said that there was nothing of him left in that character, that he was completely absent. She didn't recognise him, and I think she found that really overwhelming and very powerful. I can attest to that as the person that was there beside them the entire time — this was a tense, difficult film to make that just took those central cast, and I include here Jada Alberts in particular, into a place where they really weren't their selves anymore." ON MAKING THE FILM PERSONAL FOR AUDIENCES "Cinema has always been a collective experience, and when films really work, we're simultaneously aware that they're a shared experience but they're also deeply personal. This film, for people who respond to it — obviously not for everybody — gets itself into a very personal place. I think it does that by making itself physical and physically felt. That's why breath was such a key part of the film to me. I wanted to begin with something that made an audience active, even in the most subtle, underlying way, because every part of the film asks that the audience be active in that physical, subjective experience of what Mark [Joel Edgerton's character] is going through. You're trying to tune people to the frequency of the film, to the psyche of the people working on this kind of case. There's a hyper-alertness. It's a film partly about trauma more generally — a film about the fact that those of us who reach adulthood, we come into the world and at some point in time we become aware of the darkness and the unknowable things within it. We have to find a way to be able to reconcile that and continue to move forward and find meaning, because the thing about violence is that it threatens to strip things of their meaning. It renders things meaningless. So you're dealing with a hyper-alert psychology. It's certainly something that we were actively trying to encourage in the audience. When you set out to make a film, you are trying to show people something they haven't seen before, to get them to feel something they haven't seen before — and, to relate to the film in a different way while understanding it's part of an impossibly deep lineage of stories, and these kinds of modalities of storytelling that are well-established now in cinema." ON AUSTRALIA'S OBSESSION WITH CRIME STORIES — AND STANDING OUT "Even though the film is part of a strong lineage of Australian crime cinema, I just think it sits outside a lot of that work in its intentions. A lot of these kind of films are more realist depictions of people, and head toward a kind of final emphatic act of violence, which often takes place off-screen. That's certainly the case in Snowtown. It's the case in Nitram. It's the case in a film like The Boys. Even though the reason for The Stranger is violence, it's not its subject… It begins in the aftermath of that violence. It's an attempt to make meaning and to reconcile the after-effects of violence on individuals and by extension on society. I think there's a reason that that this genre and these ideas are so prevalent in Australian thinking. It's certainly not limited to Australian film. When you look at our most prominent authors — Richard Flanagan, Chloe Hooper, Helen Garner, Tim Winton, Patrick White — this is a subject that has been grappled with. And in our visual art, and in our music. We return to it over and over again. I think that has to do with an unreconciled relationship to violence in this country, a landscape that has been marked by violence, and that we know that. We can intuit it, but for the main, we don't have a way to unpack that — and it remains there, unresolved." The Stranger releases in Australian cinemas on October 6, then streams via Netflix from October 19. Read our full review.
Gareth Moody knows what he’s doing. After six years of working as one of the Ksubi co-founders, he went off to do his own thing and launched Chronicles of Never in 2006, a jewellery brand that is now iconic for Moody’s trademark symbols, materials and colours used. Following the success of the jewellery line, Moody expanded into a complete Chronicles of Never clothing line and less-exxy-but-just-as-amazing sub-label Black Noise White Rain. The amazing thing about Chronicles of Never is that you can spot someone wearing it from a mile away – and not in the sense that Moody’s used diamontes to emblazon the CoN logo across some t-shirts or something (though that is also effective if you go for that kinda thing). Quite the opposite – Moody’s designs have been cohesive within each collection and throughout the seasons, creating and developing on the CoN ‘signature style’ while establishing a cult following along the way. For two days Chronicles of Never are setting up shop on Ann Street for an AW11 end of season sale, boasting seconds, samples and rarities. If you haven’t joined the Cult of Chronicles yet, this is the perfect time to establish your membership.
Winter's rolling in, but if you're not ready to let the warm days slip away just yet, a summery whisky cocktail could be your answer. Normally, the belly-warming properties of whisky call for a cosier setting. See: dimly lit bars, roaring fires, snuggle sessions. But this season, that's all changing. Ardbeg, makers of one of the world's smokiest whiskies, is getting ready to release a summer carnival-inspired drop, Ardbeg Drum. This special blend has been created by taking the traditional Ardbeg drop from ex-bourbon casks and then resting it in rum casks, adding a uniquely Carribean note to the already complex favourite. This limited-edition drop will be released in stores on Saturday, June 1, coinciding with the brand's annual party, known as Ardbeg Day. Yep, it seems that Ardbeg — and whisky fans — have a lot to celebrate. So, in the lead-up to this big day, Ardbeg has teamed up with a bunch of Brisbane bars to keep the warm weather vibes going. Across the entire month of May, the bars will be slinging the salty, smoky tones of Ardbeg 10 Years Old in a selection of cocktails. From the aromatic essence of a fine Cuban cigar to the spice of barbecue jerk seasoning, here are six ways bars will infuse the spirit of Caribbean summer into their menus.
Finding greatness in Bong Joon-ho's Parasite isn't difficult. The perceptive class-clash and eat-the-rich story, the array of pitch-perfect performances, the acclaimed director's stunning mastery of tone, the insightful and revealing production design: they're all examples in this Oscar- and Cannes-winning South Korean masterpiece. Another instance comes courtesy of composer Jung Jae-il's score, which soundtracks the film with tunes both disquieting and baroque. It's no wonder that accolades came Jung's way, too, including from his homeland's Grand Bell Awards. Hearing Jung's contribution echoing as Parasite screens is the best way to appreciate it, of course — and watching him perform it live in Australia with Orchestra Victoria will dial what's already a spectacular experience up a few notches. For the first time, the composer is heading Down Under, all thanks to 2025's Melbourne International Film Festival. The event's commitment to honouring the art of screen composition via screenings that pair live tunes and movies is continuing, and two Parasite in Concert sessions are set to be among this year's fest highlights. At 2pm and 8pm on Saturday, August 23 at Hamer Hall in the Victorian capital, Jung is taking to the keys. He's also conducting Orchestra Victoria as he plays. Seeing Parasite on a big screen is already a treat, no matter how many times you've watched it before; however, giving the picture the concert treatment is something extra special. Jung isn't just known for Parasite. If you've felt the tension emanating from Squid Game's score, then you've also appreciated the composer's efforts. Prior to Parasite, Jung collaborated with Bong on Okja, then did so again afterwards on this year's Mickey 17. The tunes in Hirokazu Kore-eda's Broker hail from him as well, as does the score for MIFF 2025 title Twinless.
The annual Brisbane Artist-Run Initiatives (BARI) Festival aims to shine a light on artist collectives who practise and exhibit outside commercial gallery spaces. This year, the Judith Wright Centre has been added to the list of venues set to host pop-up exhibitions around Brisbane City and Fortitude Valley. These installations will be curated by four artist-run initiatives at various times. SMALL LAKES – Friday 5 October, 7pm to 10pm. DIAGRAM – Monday 8 – Friday 12 October, 11am to 5pm. They will also host a closing event on Friday 12 October, 6pm to 8:30pm. POST DATUM – Tuesday 16 October, 11am to 5pm / Thursday 18 October, 2:30pm to 6pm (with an opening event from 6pm) / Friday 19 October, 10am to 1pm. INHOUSE ARI – Opening Friday 26 October, 6pm to 9pm / Saturday 27 October, 11am to 5pm. They will also be opening their shopfront window projections nightly between Monday 22 and Friday 26 October from sunset. The festival will be running for most of Ocober, so make sure you check out a few of these exhibitions!
"We all deserve better". "Change never comes easy." "Blessed be the squad." If the latter quote didn't already give it away, they're all lines that are uttered in the first trailer for the fourth season of The Handmaid's Tale. And, as usually proves the case with the show's dialogue, they all feel like they could be said today, in reality, in everyday life. Using a deeply dystopian scenario to reflect the modern world has always been one of the acclaimed, award-winning series' strengths. It was true of Margaret Atwood's 1985 book that started it all, too. So, with the TV adaptation of the acclaimed novel now reaching its fourth season, it's no wonder that it's continuing what it has always done best — and that the first glimpse of the new season feels even more timely at present. First, some bad news, though: due to the COVID-19 pandemic, The Handmaid's Tale won't return to our screens in 2020. Instead, viewers will have to wait until a yet-to-be-revealed date in 2021 to find out what happens next in Gilead (no, not the masterplanned Sydney community with the same name), and what the future has in store for the show's protagonist, June (Elisabeth Moss) after season three's cliffhanger ending. The good news, of course, is that this tale of rebellion and revolution isn't anywhere near done yet. Toppling a totalitarian society that's taken over the former United States, tearing down its oppression of women under the guise of 'traditional values', and fighting for freedom and equality doesn't happen quickly, after all. The first sneak peek of the ten-episode fourth season doesn't reveal too much; however fans should prepare for not just an uprising, but a war — and for the return of Bradley Whitford's Commander Joseph Lawrence and Ann Dowd's Aunt Lydia, too. Check out the teaser trailer below: https://www.youtube.com/watch?v=1WLqBUi4r6o The fourth season of The Handmaid's Tale will hit screens sometime in 2021 — we'll update you with further details when they're announced.
Yarra Valley winery Helen & Joey Estate has just leapt into the world of dining and accommodation by setting up Re'em within its vast 200-acre property. The new Victorian site has been designed to take full advantage of the estate's rolling vineyard and ornamental lake, with the dining rooms and each of the 16 boutique rooms boasting views across the winery and surrounding region. In the 80-seat restaurant, guests can cosy up in booths by floor-to-ceiling windows or head to the shaded terrace to sample an impressive selection of contemporary Chinese dishes, each of which have been designed to match well with the estate's new-world wines. The menu honours owners Helen and Joey's Chinese heritage, but they've given culinary consultant Mark Ebbels (ex-The Fat Duck, Bacchanalia, TarraWarra Estate) and Head Chef Abe Yang (ex-TarraWarra Estate and Levantine Hill) plenty of room to leave their own mark on Re'em. This collaboration has resulted in plenty of raw dishes like the Sichuan beef tartare, plus dry-aged Buxton trout covered in a vibrant ginger, soy and star anise sauce. Hot dishes from the kitchen's woodfired grill also make an appearance alongside fried veggie dumplings, Hainanese chicken and crispy eggplant slathered in a capsicum doubanjiang (fermented bean paste and chilli sauce). The food offerings champion both traditional and contemporary Chinese cooking techniques while heroing seasonal Aussie produce. The team has also relocated its cellar door to the new site, where guests can sip their way through Helen & Joey Estate's new and aged drops — yet again boasting views across the winery. They've even set up a private wine-tasting room downstairs, so patrons can have a more intimate drinking experience surrounded by oak barrels and custom-made artworks. Stay at these two drinking and dining spots to catch the sunset over the vineyard, or sneak away to one of the boutique hotel rooms to stick around till sunrise the next day. Each of the 16 rooms has been designed to take advantage of the natural landscape — either through the floor-to-ceiling windows or balconies and patios. King beds, deep standalone baths, sleek kitchenettes and olive oil bath products add some luxury touches to the experience as well. Find Re'em Yarra Valley at Helen & Joey Estate, 12-14 Spring Lane, Gruyere, open every day of the week. For more information, head to the venue's website.
Is Black Mirror a sci-fi flight of fancy or a realistic window into the future? Does it take humanity's increasing reliance upon technology to the fictional extreme, or predict what's about to happen? Whichever train of thought you subscribe to, if you're a fan of the Charlie Brooker-created series, you've probably jumped at every possible chance to immerse yourself in the television series. First, there was the interactive Black Mirror exhibition that popped up in London. Then came a super bleak board game. Now there's a retro-style video game as well. Hot on the heels of the program's just-released choose-your-own-adventure movie, Bandersnatch, comes your chance to mash buttons while diving into Black Mirror's twisted realm. The video game is called Nohzdyve, and it's seen in the series' new flick. It's one of the hit titles created by Colin Ritman (Will Poulter), the programmer that Bandersnatch's 19-year-old protagonist Stefan (Fionn Whitehead) first idolises, then buddies up to. The two become colleagues at games development company Tuckersoft when Stefan tries to turn his own dream game into a reality. Avid Black Mirror fans will have spotted that Nohzdyve is a reference to the first episode of the show's third season, Nosedive, aka the Bryce Dallas Howard-starring tale about a world where social media controls life's ups and downs. It's also the episode that was turned into the aforementioned board game — and, clearly, it's one of the series' instalments with the most glaring real-world parallels. In Bandersnatch, the Nohzdyve video game was made in the 80s, which means that social media obviously doesn't rate a mention. Instead, the game involves falling through the sky while collecting eyeballs and avoiding buildings. If you're keen to play it, Nohzdyve can be downloaded from the Tuckersoft website; however there is a catch. It will only run on a downloadable emulator that recreates the ZX Spectrum home computer system from 1982 (aka a British equivalent to the Commodore 64). Still, if you've already worked your way through Bandersnatch's interactive story — deciding what path Stefan's tale takes, picking between branching narrative arcs, and looping back again and again to find all of the endings — you can trade one type of Black Mirror game for another.
If we asked if you wanted to hang out at IRL in IRL, you might think that we're repeating ourselves. We're not — we're talking about going to the IRL Digital Festival in real life. That's Brisbane Powerhouse's latest event, an interactive art and gaming playground designed to combine the virtual world with a physical experience. Running from May 7–17, IRL is a celebration of technology and creativity in its inaugural year. That means rad things like playing with electronic art works and reliving the history of gaming. It also means these five events that you won't want to miss. IAM8BIT When it comes to revelling in the retro gaming world, no one does it quite like the iam8bit gang. It might be just one of the fields the creative production company plays in, but it's one they're quite dedicated to. To celebrate their tenth year of operation, they're bringing two art shows to Brisbane from their iconic Los Angeles gallery. The first pays tribute to the incredible world of '80s video games, while the second looks to the future to predict what might come. It's fun, it's free, and it is accompanied by a pop-up store selling limited edition prints from both exhibitions. May 5 to June 28 ENTER THE MASHUP Ever watched a mashup and thought "I can do that"? Ever watched a mashup, thought "I can do that" but then never taken it any further? Don't worry, we're not here to make you feel lazy — we're here to help nudge you towards achieving your dreams. At Enter the Mashup, you're not just making your own film mashup from snippets of video and animation, or wrangling whatever you can from clips of gritty urban streets, blue-skyed pastures, hypnotic galaxies and candy-hued utopias. You're also in charge of seeing your work projected large, as you control the screens in this interactive installation. May 7–17 POP-UP VIRTUAL REALITY LOUNGE When it comes to virtual reality, movies sure do have a lot to answer for. We're not all living in The Matrix, we can't experience someone else's memories like Strange Days promised, and no one is taking the leap into software as seen in TRON. Well, not yet. Instead, we currently have to be content with whatever simulated experiences we can get, such as strapping on some goggles in the Pop-Up Virtual Reality Lounge and delving deep in a different form of storytelling. From frights to free-falling and action to fantasy, it's as immersive as it sounds — and it's also your taste of the virtual future. May 7–17 RGB LASER SHOW Lasers aren't just something that cats love (and by golly, do they love them). Here, they're something people love too, in an audiovisual feast of synchronised sound and visual electricity in hyper-amplified 3D space. In simpler terms, that's a signal that you'll see and hear at the same time. That's artist Robin Fox's thing, and it's something the Australian artist has performed in over 50 cities worldwide and counting. If you've wondered what the hype coming out of past RGB Laser Show performances at MONA FOMA and Vivid Festival was all about, here's your chance to find out. Just don't run around trying to chase the bright lights, however feline you might be feeling. May 10 QSO AND TOM THUM Orchestral music and beatboxing don't really seem like likely bedfellows. They're not, really, but that doesn't mean they can't try to be. The Queensland Symphony Orchestra and international star beatboxer Tom Thum are certainly going to give it their best shot, teaming up for a world-first production by acclaimed composer Gordon Hamilton. Testing out a possibly amazing marriage of different styles and sounds, they're aiming for a combination that ends up like jazz meets hip hop. This really isn't the type of thing you see and hear everyday — or will again any time soon, we're betting. May 16 IRL runs from May 7–17. View the full program at the Brisbane Powerhouse website.
If there's one thing the entertainment industry loves at the moment, it's turning movies into something else. Musicals and television shows, to be exact. Following in the footsteps of La La Land, Amelie and a wealth of others, The Devil Wears Prada is the latest film making the leap to another medium. Yes, the fashion-focused workplace drama is headed to the the stage in musical form. Showing just how terrifying your boss has to be to make you not just scream, but sing, the film-to-theatre adaptation will take its cues from the 2003 novel the movie was based on, as well as the 2006 flick starring Meryl Streep and Anne Hathaway. And, it'll come with songs from a famous source, with Elton John signing on to compose the production's music. If this sounds partly familiar, that's because taking The Devil Wears Prada to the stage has been mooted since 2015, but without any specific details. John will join forces with playwright and screenwriter Paul Rudnick (Sister Act, Addams Family Values) to bring the tale of aspiring journalist Andy Sachs, her haughty, haute couture magazine editor Miranda Priestley to singing-and-dancing life. No word yet on casting, or when the musical will become the kind of hot ticket that a million girls would kill for. Via Deadline.
Cooler winter weather is starting to set in across Brisbane (well, Brisbane's version of cooler weather), which means it's time to bust out your warmer outfits once again. And if you're a fan of frostier climates, you might want to celebrate with some mates over a few beverages and a bite to eat — perhaps while partying in your own private igloo. Dubbed the Pop-Up Igloo Garden, this winter wonderland will take over the Cleveland Sands Hotel's beer garden from Friday, June 19. With Queensland's current stage of eased COVID-19 restrictions allowing restaurants, bars, cafes and pubs to accommodate 20 patrons per area, it's a way for you to hang out with your mates in your own space while still being part of a socially distanced crowd. Each igloo can fit up to four people and comes with twinkly fairy lights. You can hire out the igloos for a two-hour time slot, which includes a three-course meal — featuring options such as karaage chicken, pork belly ramen, coconut and carrot barramundi, pavlova and apple crumble — and a cocktail. Priced at $60 per person, your time in an icy haven is pretty reasonable. So that you can not only enjoy a winter escape without having to leave the city, but can do so safely, Cleveland Sands Hotel's COVID-19 policies include 30-minute cleaning breaks between igloo bookings, plenty of hand sanitiser on offer, floor markers for queueing and contactless ordering and payment. The pub's wintry lairs are available for dinner seven days a week, and for lunch from Friday–Sunday. The Cleveland Sands Hotel's Pop-Up Igloo Garden kicks off on Friday, June 19, with igloos available to hire for $60 per person. For further details or to make a booking, visit the pub's website.
Stampeding wildlife, giant apes swinging through the trees, ancient mummies brought back from the dead: these are some of the wonders that cinema can deliver. The list goes on, and not only includes the kind of sights you don't usually see in everyday life, but places that mightn't be on your travel itinerary. And if the latter is true now, imagine how accurate it was when the medium of movies was in its infancy. Nearly a century ago, a trip to the cinema took audiences on adventures they could only dream of otherwise — and filmmakers capitalised upon the possibilities their chosen art form provided. It's evident when King Kong unleashes his mighty roar, as first seen in the 1933 classic, and in the likes of romance Morocco, the Singapore-set film noir The Letter and the colonial cautionary tale White Shadows in the South Seas, as the Gallery of Modern Art's Exotic Hollywood program explores. Catch all of the above, plus The Mummy long before Tom Cruise was involved, Tabu: Story of the South Seas featuring a cast of non-professional French Polynesian actors and more, all screening at the Australian Cinematheque from February 4 to 24. The main lineup is free, including a chat about the escapist narratives on offer by associate curator Amanda Slack-Smith, as well as a screening of desert fantasy The Sheik with a live Wurlitzer organ accompaniment. Or, head along to see Tarzan and His Mate with a glass of champagne in hand, in a session that's free for members and $10 otherwise.
Hellenika might be your favourite eatery in Brisbane, Greek or otherwise. Perhaps you can't go past sAme sAme's Thai dishes and two-storey venue. You could be fond of ESSA's moody space, the wine and people-watching at Cru Bar and, of course, the frosty sweet treats at Gelato Messina. Congratulations — you're a fan of James Street, which fills a stretch from Fortitude Valley to New Farm with impressive culinary options galore. You should also be a devoted attendee at the precinct's annual food and drink celebration: the James Street Food and Wine Trail. Thanks to the event, which attracted more than 20,000 people in 2022, nothing says classic Brisbane like spending four whole winter days eating and drinking your way up and down this patch of the River City. Indeed, if you're a Brisbanite with a healthy appetite, there's only one place to be between Thursday, July 27–Sunday, July 30. Take your rumbling stomach and its yearning for something scrumptious down to the well-known stretch of shops — and then fill it with tasty treats from everywhere from Gerard's Bar and Harveys Bar + Bistro to Jocelyn's Provisions and Mosconi. Over JSFWT's 2023 run, James Street will become a culinary wonderland again, and highlight the gastronomic delights of the area. That includes devouring delicious dishes and drinks, of course, regardless of what kind of food, beverage or event takes your fancy. And, it also boasts a whole day of market activity. Whenever you decide to head by, you can hop on the trail. Follow the roadway to a feast of dishes and drinks; think: the returning favourite that is Gerard's Bar's Lebanese pizza party to start things off on the Thursday, Jocelyn's launching a funfetti cake sandwich on the same date, The Green doing a Friday-night dinner and Cantinho cooking up souvlaki to end the working week. Come Saturday, champagne menus and rooftop garden shindigs join the spread at ESSA and The Calile, respectively. Then, on Sunday, 33 businesses will unleash their wares on Market Day, which'll take over the entire street. Even though Gerard's Bistro will be closed for refurbishment, it's even hosting a stall. So is Mexican newcomer Carmen, plus The Nixon Room, Sunshine and more. Also on the agenda at the picnic-style Market Day event, which turns the roadway into a 300-metre-long outdoor dining room: live performances and live music. Yes, the street will be shut between McLachlan and Arthur Streets, to make room for five live music stages, tables and dance parties. Across the trail's full duration, one-off menu pairings, set menus and tastings at James Street's residents remains a big highlight. So does Messina's contribution: five limited-edition flavours, with one per day from Thursday–Saturday and two on Sunday. James Street Food and Wine Trail returns to James Street, New Farm from Thursday, July 27–Sunday, July 30. For more information, head to the JSFWT website. Images: courtesy of James St.
The COVID-19 situation in Australia is changing every day, with the federal government first implementing a ban on non-essential events with more than 500 people and then mandating that everyone arriving from overseas self-isolate for 14 days. In response to the first restriction, events and venues around the country are cancelling and postponing their 2020 plans. This is having devastating impacts on the local hospitality, arts and music industries, with I Lost My Gig Australia reporting that, as of midday on Monday, March 16, 20,000 events have been cancelled, which has impacted 190,000 Australians and equated to $47 million in lost income. And those numbers are continuing to climb. While going out might not be at the top of your to-do list right now, you can continue to support these industries and businesses by buying from artists who've had their shows cancelled, ordering gift cards and merch from venues that are struggling or just booking in a dinner for that birthday a few months away. To keep you abreast of what's been cancelled, postponed and suspended, here's our live list, updated as it happens. [caption id="attachment_710789" align="alignnone" width="1920"] Sydney Royal Easter Show.[/caption] SYDNEY All ANZAC Day commemoration services across NSW (April 25): cancelled All City of Sydney aquatic and fitness centres: closed until at least April 3 All non-essential indoor venues, including casinos, gyms, cinemas, places of worship, clubs, pubs, bars, restaurants and cafes (can offer takeaway and delivery only): temporarily closed Alliance Francaise Film Festival (March 10–April 8): postponed from March 19 Art Gallery of NSW: temporarily closed Biennale of Sydney: cancelled Bluesfest (April 9–14): cancelled Carriageworks: temporarily closed (Saturday farmers markets will proceed) Comedy Steps Up for Bushfire Relief (March 16): cancelled Download Festival (March 21): cancelled Festival of Dangerous Ideas (April 3–5): cancelled Handa Opera (March 27–April 26): cancelled Happy Place (until May 3): postponed Momo Fest (April 18): postponed No Coal Zone (March 14): postponed Opera Australia's Carmen, Atilla and Great Opera Hits: cancelled until March 28 Palace Cinemas: all locations closed from March 19 Royal Easter Show (April 3–14): cancelled So Pop 2020 (April 25): cancelled Spanish Film Festival (April–May): postponed until August, with new dates TBC Splendour in the Grass (July 24–26): postponed until October 23–25 Sydney Film Festival (June 3–14): cancelled Sydney Writers' Festival (April 27–May 3): cancelled Sydney Opera House: all performances cancelled until June 17 Taronga Zoo: temporarily closed The Other Air Fair (March 20–23): postponed Vivid Sydney (May 22–June 13): cancelled [caption id="attachment_710610" align="alignnone" width="1920"] Ability Fest by Alex Drewniak[/caption] MELBOURNE Ability Fest (April 4): cancelled All ANZAC Day Commemorative services across Victoria (April 25): public cannot attend All City of Melbourne libraries, recreation centres and cultural and arts centres: temporarily closed All non-essential indoor venues, including casinos, gyms, cinemas, places of worship, clubs, pubs, bars, restaurants and cafes (can offer takeaway and delivery only): temporarily closed Alliance Francaise Film Festival (March 11–April 8): postponed from March 19 Arts Centre Melbourne: closed until April 13 Cirque du Soleil Kurios: suspended until further notice Download Festival (March 21): cancelled Fromage a Trois (March 22): cancelled Harry Potter and the Cursed Child: suspended until April 12 Melbourne Food and Wine Festival (March 19–29): postponed until spring Melbourne International Comedy Festival (March 25–April 19): cancelled Melbourne Queer Film Festival (March 12–23): postponed Melbourne Museum: closed until further notice Melbourne Symphony Orchestra: postponed until April 13 (but it is live-streaming select shows) Momo Fest (April 4–5): postponed National Gallery of Victoria: closed until April 13 Open Weekend (March 21–22): cancelled Palace Cinemas: all locations closed from March 19 So Pop 2020 (May 1): cancelled Spanish Film Festival (April–May): postponed until August, with new dates TBC State Library Victoria: closed until further notice Sweetstock (March 28–29): cancelled The Other Art Fair (May 21–24): postponed Wine Machine (March 28): postponed until October 31 World Tour Bushfire Relief (March 13): cancelled Wall to Wall Festival (April 3–5): postponed [caption id="attachment_764598" align="alignnone" width="1920"] Westpac OpenAir[/caption] BRISBANE All non-essential indoor venues, including casinos, gyms, cinemas, places of worship, clubs, pubs, bars, restaurants and cafes (can offer takeaway and delivery only): closed All ANZAC Day commemoration services across Qld (April 25): cancelled Alliance Francaise Film Festival (March 18–April 14): postponed The Big Pineapple Music Festival (May 30): postponed until early October — new date TBC Boho Luxe Market (April 17–19): postponed until September 25–27 Brisbane Comedy Festival: cancelled from March 16 onwards Brisbane Gin Festival (April 4): postponed until September 19 Brisbane Night Market (weekly on Fridays): closed until further notice, with all events cancelled Buddha Birthday Festival (May 1–3): cancelled Burgers and Beers (March 21+27): cancelled Cat Cuddle Twilight Market (March 27): postponed — new date TBC Charlie and the Chocolate Factory (March 18–April 19): cancelled Curiocity Brisbane (March 20–April 5): cancelled The Drop Festival Coolangatta (March 28): cancelled Eat Street Northshore: closed until further notice Fish Lane Festival (May 9): postponed until September 5 The Foundry: closed until further notice, with all events cancelled Gigs & Picnics (March 28, April 25, May 30): monthly events postponed until June 27 Gold Coast Film Festival (April 15–26): cancelled Greener Pastures (May 3): cancelled Green Jam Sessions (weekly on Fridays): all sessions cancelled until at least April 30 HOTA, Home of the Arts: closed until March 31 James St Up Late (March 26): cancelled Momo Fest (April 12): postponed — new date TBC Mould: A Cheese Festival (March 20–21): postponed — new date TBC Mov'In Bed Cinema (March 27–May 17): postponed until the last quarter of 2020 — new dates TBC Netherworld: closed from Wednesday, March 18 until at least the end of March, with all events cancelled Noosa Eat & Drink Festival (May 14–17): cancelled Not On Your Rider (March 26 and April 30): cancelled, with events likely to restart in October Palace Cinemas: all locations closed from March 19 The Planting Festival (May 1–3): cancelled The Plant Market (March 29): postponed — new date TBC Puppies and Pints (April 5): cancelled Queensland Art Gallery and Gallery of Modern Art: both galleries remain open, including GOMA's Australian Cinemathque, but all public programs, events and tours have been cancelled Queensland Performing Arts Centre: all theatres closed until at least April 30 Queensland Symphony Orchestra: all performances cancelled until April 30 Stones Corner Festival (May 3): cancelled Water Up Late (March 20–21): cancelled So Pop 2020 (April 24): cancelled Spanish Film Festival (April–May): postponed until August, with new dates TBC Westpac OpenAir (April 5–26): postponed — new date TBC World Science Festival Brisbane (March 25–29): cancelled The Village Markets Stones Corner (March 27): cancelled for March, with a decision about future markets due by March 27 Young Henrys Rock N Roll Circus (March 19): postponed — new date TBC To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Vivid
Whether you dread that early morning alarm or jump out of bed excited for each day, chances are you need (and deserve) a break — because everyone does every now and again. We understand annual leave is precious and it can be easy to fall into the trap of packing your itinerary full of non-stop adventures. But there's no shame in the relaxation game if that's what you're really craving. So we've gone on a hunt for the top experiences around New South Wales that'll leave you feeling refreshed and rejuvenated — from quick (but effective) outdoor yoga classes to multi-day rainforest retreats.
UPDATE, January 14, 2022: A Quiet Place Part II is available to stream via Paramount+, Google Play, YouTube Movies, iTunes and Amazon Video. When every noise you make could send savage aliens stalking, slashing and slaughtering your way, it's the waiting that gets you. When you're watching a nerve-rattling horror film about that exact scenario, the same sentiment remains relevant. In A Quiet Place, the Abbott family went into survival mode after vicious creatures invaded, hunted down every sound and dispensed with anyone that crossed their path. For the characters in and viewers of the 2018 hit alike, the experience couldn't have screamed louder with anxiety and anticipation. Evelyn and Lee (Wild Mountain Thyme's Emily Blunt and Detroit's John Krasinski) and their children Regan (Millicent Simmonds, Wonderstruck), Marcus (Noah Jupe, The Undoing) and Beau (Cade Woodward, Avengers: Endgame) all silently bided their time simply trying to stay safe and alive, but their continued existence lingered under a gut-wrenching shadow. The critters were still out there, listening for even a whisper. It was a matter of when, not if, they'd discern the slightest of noises and strike again. That type of waiting drips with tension and suspense, and also with the kind of inevitability that hovers over everyone alive. A certain bleak end awaits us all, a truth we routinely attempt to ignore; however, neither the Abbotts nor A Quiet Place's audience were allowed to forget that grim fact for even a moment. Initially slated to arrive in cinemas two years later, then delayed by the pandemic for 14 months, sequel A Quiet Place Part II isn't done with waiting. The film doesn't shy away from the stress and existential distress that marking time can bring, but it also tasks its characters with actively confronting life's inevitabilities. After an intense and impressive tone-setting opening flashback to the first day of the alien attack, when the Abbotts' sleepy hometown learns of humanity's new threat in the cruellest fashion, the storyline picks up where its predecessor left off. It's day 474 — the earlier film spent most of its duration around day 472 — and Evelyn, Regan, Marcus and the family's newborn are grappling with their losses. That said, they're also keenly aware that they can't stay in their Appalachian farmhouse any longer. After spotting smoke on the horizon and setting off in that direction, they reconnect with Emmett (Cillian Murphy, Peaky Blinders), an old friend who has been through his own traumas. Evelyn sees safety in numbers, but he's reluctant to help. Then Regan hears a looping radio transmission playing 'Beyond the Sea' and decides to track down its source. The plan: find other survivors, and also find a way to get the upper hand over their aggressors, all to stop spending their time simply waiting. A Quiet Place Part II isn't about making do, closing ranks and merely enduring, but about making a concerted choice to try to conquer an immensely difficult situation even when the odds seem insurmountable. No one can ultimately escape death, of course. Still, when it lurks in the form of extra-terrestrials who seem to have borrowed their resourcefulness and reflexes from Jurassic Park's raptors (and their ability to withstand most threats from Terminator 2: Judgment Day's killing machines), you can plan, prepare, fight and outsmart. The first film also used its alien attack story to explore the parental urge to protect children from life's harms, but here, writer/director/co-star Krasinski ponders the realisation that dawns upon all mums and dads eventually: that, despite their best efforts, their kids will always have to face the world's woes on their own terms. Both formidable and maternal — because the 'strong female lead' trope shouldn't exclusively favour the former — Blunt is once again a force to be reckoned with as the doting, wearied but determined Evelyn. But, while she's given top billing, this isn't the Looper, Edge of Tomorrow and Sicario star's film. Krasinski doesn't just broaden out the movie's mindset, themes and slice of dystopian life, but also expands his focus. The feature's second half masterfully intertwines Evelyn's efforts to get supplies, Marcus' struggles while babysitting and Regan's perilous quest, and it's the latter that's given pride of place. And, once more, rising talent Simmonds is exceptional. With her character proving bold, poised and resolved to do her best for her family, the young actor radiates confidence, commitment and fortitude. Indeed, while she could've been left to play sidekick to Murphy in a surrogate father-daughter relationship, there's no doubting that Simmonds is the film's hero — whether or not her character, who is deaf, is using her hearing aid as a weapon. Pushing Regan to the fore, and Simmonds with her, is a smart, savvy, engaging and rewarding move on Krasinski's part — and it's not the only choice he's made that earns that description. The film's aforementioned opening, including a particularly stunning shot set in the thick of the chaos, provides the type of spectacle that most movies can only dream of. (If the actor-turned-filmmaker wanted to dive headfirst into the action genre next, he'd have zero troubles settling in.) A Quiet Place Part II may spend more time squaring off against its aliens, rather than dwelling in a world where they'e an ever-present but often-unseen threat, but it never overplays its hand. In its fast-paced narrative, intimate visuals and pitch-perfect audio, it never simply rehashes its predecessor and hopes that the same successes will spring, either. The Abbotts' mission has evolved, as has the vivid cinematography (by Legion's Polly Morgan) that sees this post-apocalyptic world with a bittersweet eye, and the meticulous, characteristically silence-heavy soundscape as well. While the feature's potency and skill doesn't come as a surprise this time around, and neither does the unsettling unease that comes with all that waiting and those pervasive hushed tones, every second of this stellar sequel is no less thrilling. https://www.youtube.com/watch?v=Ku4yAbIu6ao A Quiet Place Part II opens in Australian cinemas on Thursday, May 27, with advance screenings over the weekend of Friday, May 21–Sunday, May 23.
Write a Brisbane-set book. Score a hit on the page. Then, see your words take to the stage, then the screen. That's how life went for Trent Dalton with Boy Swallows Universe. Next, going as far as treading the boards for now, that's also his path with Love Stories. Queensland Performing Arts Centre and Brisbane Festival are giving another of Dalton's books a stage adaptation. As the play version of Boy Swallows Universe did, Love Stories is premiering at Brisbane Festival, with Tim McGarry penning the script and Dalton contributing additional writing. Fiona Franzmann will also contribute, while Sam Strong is directing. If much of this combination sounds familiar, Strong and McGarry also brought Eli Bell's antics to the theatre when it hit QPAC first. Their stage adaptation of Boy Swallows Universe wasn't just a smash — it's still the venue's bestselling drama ever. Fans won't have to wait long to see the end result for Love Stories, with the production set to have its world premiere in spring 2024, playing QPAC's Playhouse from Sunday, September 8–Sunday, September 29. As for who'll be bringing it to life onstage, Jason Klarwein plays a writer and husband, while Michala Banas is his wife. They're both based on married couple Dalton and Franzmann. Also in the cast: Rashidi Edwards as Jean-Benoit, a Belgian busker who is also the show's narrator. Kimie Tsukakoshi, Jeanette Cronin, Mathew Cooper, Bryan Probets and Harry Tseng round out the acting talent from there, as joined by dancers Jacob Watton and Hsin-Ju Ely. The production sets its scene from the corner of Brisbane's Adelaide and Albert streets — and if you've read the book, you'll know why. Dalton wrote the 2022 Indie Book Awards Book of the Year-winner by heading to a corner in Brisbane's CBD, Olivetti typewriter in hand, and asking folks walking by for their tales. His question: "can you please tell me a love story?". Accordingly, this is another love letter to Brisbane, as Boy Swallows Universe is. This time, however, it tells true tales about romance and life. The aim is for it to be joyous but poignant, humorous but dramatic, and to be sentimental about Brisbane while telling a range of diverse love stories. Images: David Kelly.
It's been a tough few weeks for Brisbane in general — and for Windsor's Sunny Side Sandwiches in particular. When floods swept through parts of the city at the end of February and beginning of March, the sandwich spot was inundated, with water levels reaching 1.2 metres inside its Newmarket Road store. Sunny Side only opened back in November 2021, and saw its new shopfit, equipment and thousands of dollars worth of stock washed away. As a result, it's in need of sando-loving Brisbanites' help. Forget your usual at-home brekkie or brunch go-to for the next two weeks, because you can assist Sunny Side with getting back on its feet one breakfast sandwich, egg salad sandwich, and bacon and egg roll at a time. From Friday, March 11–Sunday, March 27, Sunny Side will be popping up at Broken Hearts Burger Club Ashgrove — at 161 Waterworks Road — to keep trading while its store is being rebuilt. Stop by from 7–11am daily (with last orders at 10.50am) to start your day with something tasty and a great deed. And, to make things easier, you can also order from its pop-up menu — which includes beef and picks, plus orange juice, too — online at Sunny Side's website. Plus, it's doing delivery via Uber Eats, DoorDash and Menulog.
When a music festival takes place in a winery, it already has two of the three fest essentials taken care of before it even announces its lineup: an ace location and booze. But, that doesn't mean that Grapevine Gathering slouches on talent. The acts hitting its stages around the country are always chosen to impress, and 2023's fests are no different. Leading the charge: Spacey Jane, King Stingray and Vanessa Amorosi, with the latter meaning that 'Absolutely Everybody' will be stuck in your head for weeks afterwards. The Wombats and Hayden James are also on the bill, both doing Australian-exclusive shows at the wine-fuelled festival. Rounding out the list: Cannons, The Rions, Teenage Joans and Bella Amor, plus podcast duo Lucy and Nikki on hosting duties. [caption id="attachment_905845" align="alignnone" width="1920"] Sam Hendel[/caption] Grapevine Gathering's 2023 tour will hit Queensland on Sunday, October 8, taking place at Sirromet Wines. Naturally, sipping wine is a huge part of the attraction. As always, attendees will have access to a heap of vino given the fest's locations, as well as an array of food options. GRAPEVINE GATHERING 2023 LINEUP: Spacey Jane The Wombats Hayden James King Stingray Vanessa Amorosi Cannons The Rions Teenage Joans Bella Amor Hosted by Lucy and Nikki Top image: Jordan Munns.
As fans of whodunnits on the page, stage and screen know, anything can and often does go wrong in sleuthing tales. Usually, however, the antics remain in the story. That's not the case in The Play That Goes Wrong, as its title indicates — and as theatre audiences have enjoyed for over a decade, watching what happens when The Cornley Polytechnic Drama Society endeavours to put on a murder-mystery, then chaos ensues. When the production premiered in 2012 in London, it not only proved a hit but won Best New Comedy at the Laurence Olivier Awards. It's also still treading the boards in the UK, making it West End's current longest-running comedy. For its first Broadway season, it also nabbed a Tony Award for Best Scenic Design of a Play. The Play That Goes Wrong has made its way Down Under before, too, but audiences will have another chance to catch it locally when it tours Australia again in 2025. HOTA, Home of the Arts is hosting the show's Gold Coast stop — so, the closest to Brisbane — from Wednesday, August 6–Sunday, August 10. The plot: when The Cornley Polytechnic Drama Society give the whodunnit genre a spin, telling the tale of a murder at a country manor and the quest to find the perpetrator, making it through the show becomes an accident-filled challenge. Since its debut over a decade ago, The Play That Goes Wrong has been seen by more than 4.2-million people worldwide — in 49 countries — and given 3500-plus performances at West End's Duchess Theatre alone. Another tidbit: also in West End, members of The Drama Society have been hit more than 125,545 times, sometimes by objects and sometimes by each other. Images: original West End cast, Robert Day.
After a near-sold out first spin around the Brisbane river in 2017, Sydney's permanent floating venue, Seadeck, is once again heading north. From May 12 until mid September, the glamorous vessel will be cruising through Brissie waters for another season of luxe parties and hangouts. Missed Seadeck last time? It's been up and running in Sydney Harbour since October 2016 — after almost two years, 10,000 nautical miles, a run in with Egyptian pirates and a stint in liquor licence limbo. The boat's first venture up Australia's east coast resulted in an 11-week Brisbane stint, and it clearly just can't keep away. The vessel spans 42 metres, can accommodate 410 passengers and is the epitome of handcrafted luxury — from the handmade tiles and custom-designed brass bar to the bespoke furniture from every corner of the glove, everything you see was tailored for floating. Even the palm trees, standing four metres tall, took a dozen specialists to make to the right specifications. Each of the three decks is connected by sweeping staircases and cast iron lace railings, an homage to Hollywood's golden age of the '20s, '30s and '40s. Yes, the word 'swank' should come to mind. Seadeck's second Brisbane visit will start on Saturday, May 12 with an afternoon cruise at 1.45pm. Tickets, available from the Seadeck website, start from $25 general admission on Friday nights (which also includes a tour of the city's lights) and Sunday afternoons, and $40 general admission on Saturdays. If you're feeling the need to blow some serious dosh, VIP packages and hosted bottle service is also available. By Marissa Ciampi, Lauren Vadnjal and Sarah Ward.
Jaws, but bigger. Jurassic Park but sharks. Like a prehistoric underwater predator scooping up a heap of beachgoers in one hefty mouthful, describing what The Meg and its sequel Meg 2: The Trench are each aiming to be is easy. Ridiculous big-screen fun that sets Jason Statham (Fast X) against multiple megalodons, his scowl as shiny as their razor-sharp teeth: they're the type of waters that this creature-feature franchise also wants to paddle in. Since debuting in cinemas in 2018, all things The Meg have always had a seriousness problem, however. They're at their best when they're also at their silliest, but they're rarely as entertainingly ludicrous as they're desperate to be. This five-years-later follow-up might task Statham with shooting harpoons while riding a jet ski at a tourist-trap holiday destination called Fun Island — and also busting out the line "see ya later, chum", which lands with such a sense of self-satisfaction that it feels like the entire reason that the movie even exists — but such gleeful preposterousness is about as common as a herbivore with a meg's massive chompers. Again based on one of author Steve Alten's books — he's penned seven so far, so more flicks are likely — Meg 2: The Trench doesn't just want to ape the Jurassic series. It does exactly that overtly and unsubtly from the outset, but this film is also happy to brazenly treat multiple movies from a few decades back as fuel for its choppy antics. When the feature starts, it's 65 million years ago, dinosaurs demonstrate the cretaceous period's food chain, then a megalodon shows who's boss from the water. Obviously, life will find a way to bring some of this sequence's non-meg critters into the present day. Next comes a dive in The Abyss' slipstream, before embracing being a Jaws clone again — even shouting out to Jaws 2 in dialogue — but with a Piranha vibe. Before it's all over, Meg 2: The Trench also flails in Mega Shark Versus Giant Octopus' direction, just with a visibly larger budget. Leading the charge on-screen is Statham's Jonas Taylor, who also scores an early eco-warrior Bond stint. When his character is reintroduced, he's on a container ship in the Philippine Sea taking down pirates that are dumping radioactive waste. His next stop is the Oceanic Institute run out of Hainan in China, where the world's only megalodon in captivity lives — and where Jonas' friend Jiuming (Wu Jing, The Wandering Earth), uncle to teenager Meiying (Sophia Cai, Mr Corman), claims that he has the creature called Haiqi trained. Viewers of the first film might remember that oceanography runs in Meiying's blood, but her mother has been killed off between movies because Li Bingbing (Transformers: Age of Extinction) didn't return for the second production. Hence Jiuming's arrival, and also Taylor playing father figure to a kid he forbids from accompanying him on his latest deep-dive research trip. Meiying stows away, naturally. Off-screen, British filmmaker Ben Wheatley makes the leap to the Hollywood action fold with Meg 2: The Trench, a move that isn't as wild as it initially might seem — just like everything in his big-budget B-movie. Wheatley knows black comedy, with his 2012 film Sightseers an absolute masterclass in it. With High-Rise and Free Fire, he knew how to bring a spectacle, too. Alas, the director that also crafted Down Terrace, Kill List, A Field in England and Happy New Year, Colin Burstead, flitting between the dark and the trippy along the way, plus thrillers and dramedies, is saddled with a script that couldn't be more routine. Explaining his approach to problem-solving, including while submersed 25,000 feet below sea level in the Pacific, Jonas tells Meiying that "we do what's in front of us, then we do the next thing". Was that returning screenwriters Jon Hoeber, Erich Hoeber and Dean Georgaris' own mantra as well? Whatever is in front of Jonas, and audiences, usually involves a meg. When he descends into the titular ditch with Jiuming, Meiying and their team — among them is The Meg alumnus Page Kennedy (The Upshaws) as DJ, the forceful comic relief who has definitely seen Jaws' sequel — of course oversized sharks that died out millions of years ago IRL are lurking. When Jonas finds a rogue mining outfit pilfering the deep, of course stopping its ruthless leader Montes (Sergio Persis-Mencheta, Snowfall) becomes all the more complicated with megalodons as a constant threat, too. Wheatley wrings what tension he can out of a bottom-of-the-ocean walk in Iron Man-meets-RoboCop suits as hungry creatures linger, and also out of his riff on The Thing, Alien and every horror film set in an isolated space when Meg 2: The Trench's heroes get to the miners' base. What he can't do is make the movie's various contrived parts resemble a coherent whole, skew engagingly campy or feel like anything more than a knockoff of so many other flicks in The Meg's clothing. Another feat that Wheatley's turn at the franchise's helm fails to bite into: convincing special effects. While viewers don't go to a film that has basically swapped "you're gonna need a bigger boat" for "we're gonna fight a bigger shark" for the realism, Meg 2: The Trench's CGI is distractingly subpar. Anything busting out dinos not just post-Jurassic Park, but after Prehistoric Planet and its second season, is always going to struggle if their critters can't wow. Although the megs hardly fare any better, frequently focusing on a big fin sticking out of the water still remains as helpful a tactic as it did when Steven Spielberg defined the shark genre. Getting audiences terrified, perturbed or even just a little on-edge, though? Even when the obligatory jump-scares pop up, no one is leaving this flick afraid to go into the water. Whether he's starring in several Guy Ritchie films, turning The Transporter into a franchise, making a couple of Crank and The Mechanic movies, or showing up in six Fast and Furious-related entries so far, Statham does love repeating himself. Meg 2: The Trench doesn't ask him to do anything more than he did the last time that he faced sea-dwelling fears — but even he's just going through the motions. The rest of the cast, returning and new alike, are as disposable as anyone enjoying a dip to a meg. As trusty offsider Mac, Cliff Curtis (Avatar: The Way of Water) leaves the biggest impression among an ensemble that also spans Skyler Samuels (Aurora Teagarden Mysteries), Melissanthi Mahut (The Sandman), Sienna Guillory (Silo) and Whoopie Van Raam (Counterpart). Not that anyone is required to try, but no one can stop Meg 2: The Trench's most apt line from proving oh-so-true: "this is some dumb shit".
UPDATE, September 24, 2021: The Lighthouse is available to stream via Netflix, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. Straddling the space where land meets sea, reaching high into the sky and emitting a glow that heralds safety, lighthouses have long ranked among humanity's most revered structures. They save sailors' lives by stopping them from crashing into craggy cliffs, and they're afforded not just respect as a result, but an almost ethereal, enchanting status. Also, every Australian who grew up since the 90s has dreamed of living in one, thanks to classic series Round the Twist. After watching Willem Dafoe and Robert Pattinson fart, fight, guzzle too much rum, growl at seagulls, masturbate and go steadily mad in one of the towering, alluring buildings in the nightmarish The Lighthouse, though, you might never look at these oceanside staples in the same way again. Dafoe and Pattinson play cantankerous sea dog Thomas Wake and eager newcomer Ephraim Winslow — a seasoned 'wickie' who adores the light above all else, and an ex-woodsman hoping to work his way up in the world. When Winslow arrives for a four-week stint assisting the peg-legged Wake, he really should see his choppy voyage to the isolated New England island as a sign of things to come. (As the latest film by The Witch writer/director Robert Eggers, omens come with the territory.) Although forcibly chatty while swigging spirits with dinner, Wake is a hard taskmaster. He's also dour, mean, flatulent and drunk on power. Attending to the light is his responsibility alone, with Winslow saddled with the tough, dirty, literally shitty work — and warned not to mess with the seagulls fluttering around outside, which Wake believes to be the souls of dead seamen. Scrubbing floors, carting heavy kerosene containers upstairs, emptying overflowing chamber pots — that's Winslow's new life day in, day out. Coupled with the constant stream of insults spat ferociously by Wake, it's enough to make him lose his grip on his sanity. And so, after finding a mermaid figurine in his bedsprings on his first night, then frequently fondling it with one hand while fondling himself with the other, the fledgling keeper grasps what solace he can. Then a storm sweeps in, stranding the two men inside with nothing but each other, alcohol and their bubbling acrimony for company. With a tempest swirling both in the sky and in the lighthouse, not even self-love can help brighten Winslow's stay on the island. In The Witch, Eggers charted the slow implosion of a Puritan family in 17th-century America. In an insidiously unsettling movie made with exceptional technical prowess, he watched as fear and superstition — plus good ol'-fashioned bickering and a goat called Black Phillip — collapsed his characters' bonds. Jumping two centuries forward, swapping a remote farm for the titular structure and focusing on co-workers, The Lighthouse does much the same. That said, you could never accuse Eggers of just repeating himself. He's clearly deeply fascinated with the darkness that springs when folks spend too much time together in close quarters in fraught circumstances, and how such a scenario reveals humanity's true nature. He's also well aware how common a situation that is, and how it can play out in oh-so-many ways. Here, shot in inky black-and-white, lit to stress every shadow and lapping up all shades of grey — a fitting colour for men stuck in limbo several times over — the above chain of events plays out in gripping, stunning, horrifying and even amusing fashion. Co-written by Eggers with his brother Max, the gothic-leaning narrative boasts its twists, shocks and secrets. Deconstructing masculinity while caught in a trippy daze, it offers more than its fair share of surprises. But how The Lighthouse conveys this tale is just as important as the story itself. Constrained within a square frame (deploying the 1.19:1 Movietone aspect ratio that was popular in the late 1920s and early 1930s), this is a masterclass in claustrophobia, paranoia and mania. Jarin Blaschke's Oscar-nominated cinematography is fine-tuned to agitate and disturb, as is the needling score by fellow The Witch alum Mark Korven's score. The end result? A surreal, savage and purposefully aesthetically overwhelming portrait of psychological unraveling that feels more like it has been washed up in a bottle than crafted anew. Thanks to Dafoe and Pattinson, there's no doubting that The Lighthouse was made in 2019 (and obviously not a century or so earlier). Eggers' casting instincts are superb — and not just because his monochrome visuals make the most of Dafoe's lively scowl and Pattinson's cheekbones. Spouting dialogue informed by real lighthouse-keepers' diaries, as well as by the writings of Moby Dick author Herman Melville, Dafoe barks and swaggers with frenzied energy. Glowering with growing internal rage, Pattinson's physically expressive performance is on par with the best silent film stars. The more this powerhouse duo snipe and snarl back and forth, the more they lure viewers into The Lighthouse's fever dream like a glowing beam — or like the tentacles that help make this already out-there movie even more eccentric, outlandish and utterly mesmerising. https://www.youtube.com/watch?v=7gOs6gKtrb4
Rave culture meets the roller rink at Roller Dance Australia's first-ever Roller Rave, where getting your skates on and dancing to DJ-spun tunes is on the agenda. You'll glide, you'll make shapes and you'll feel like you've been transported back to the 90s. And no, this isn't just a roller disco under another name — because recreating the rave vibe is one of the event's number-one aims. Behind the decks: DJ Phil Smart, who was indeed helping get raves pumping three decades back. To provide the soundtrack, he'll be joined by DJ Void and Truffles Bootcamp. And while they spin live sets, the visuals will also throw it back like you're in a warehouse in the era of classic flicks Go and Human Traffic. It's all going down from 6–11pm on Saturday, January 20 at Northshore Brisbane's Superordinary, with entry costing $30 and pre-booked skate hire on top setting you back another $5. No matter your skating level, or if you just want to dance without strapping on wheels, everyone is welcome. And as well as a roller rink and a dance floor, there'll be a skate ramp, a graffiti wall and an art exhibition, plus food options. Images: Marta Andrzejewska from @youartmore.
Sydney minimalist chill house trio Movement have fired a flare, significantly showing up on All The Radars in the last year. Following a hugely successful run of shows supporting Solange and Nicolas Jaar's Darkside with their self-titled EP, Jesse Ward, Lewis Wade and Sean Walker will embark on their own national headliner tour to herald their shiny new offering, Like Lust, out today via Modular and streaming below. The lads from Movement were kind enough to share their EP celebrations with Concrete Playground, fixing us up with a solid playlist of their go-to tracks right now to kickstart the listening party. We figure you've now got enough beats and smooth vocals to keep you going for the next hour or so, cheers dudes. 1. Earn — Childish Gambino (Violet Frosted Remix) "Somebody on YouTube has pitched shifted Childish Gambino's tracks — got a lot of hate for doing so — but we love it." https://youtube.com/watch?v=gQpMJwpOV9A 2. Kelela — Send Me Out "Quality production and songwriting." 3. Kwabs — Pray for Love "We really value the vocals." 4. Zoo Kid — Out Getting Ribs "Real track with a real sound." https://youtube.com/watch?v=L9wLrAtcd6Y 5. Nathan Adams & Black Coffee — Afraid of the Dark "The harmonies... we adore." https://youtube.com/watch?v=_OlIBzIir6k After that generous dose of influence, Movement's hugely anticipated new EP Like Lust is out today via Modular — and was seriously worth the wait. Just be sure to find a significant pair of cans to crank it with, this is some straight-up smooth production — recorded at home and optimized by Canadian producer and The Weeknd foil Illangelo. Four tracks of laidback chill house with some seriously silky vocals, Like Lust is full of wonderfully unexpected moments (most notably the face-melting guitar solo at the end of 'Ivory'). Take a listen below. CATCH MOVEMENT ON TOUR: 22 May - Shebeen, Melbourne - Tickets available via Shebeen. 23 May - Cats @ Rocket Bar, Adelaide 30 May - Spectrum, Sydney - Tickets available via Oztix. 5 June - Black Bear Lodge, Brisbane - Tickets available via Oztix. 6 June - Beach Hotel, Byron Bay
A Halloween without pumpkin is no Halloween at all, so South Bank's Little Stanley Street likes going all out. A few years back, the inner-city stretch first conjured up Trick or Treat Little Stanley Street, an October street party that's all about getting into the spooky spirit and splashing around plenty of orange-coloured vegetables. After a pandemic-sparked hiatus, the event is making its big return in 2023. We hope you like pumpkins, because this fest does. Indeed, when it makes its comeback across Friday, October 27–Saturday, October 28, Trick or Treat Little Stanley Street is bringing back its pumpkin patch. After you pick the perfect gourd, you can take it home with you — for decoration as it is, or for carving into a jack-o-lantern — for a fee. That's not all that this event has to offer, especially if Halloween or just being the vicinity of so many pumpkins makes you hungry. Attendees can settle in at one of the eateries along the South Bank roadway to enjoy a meal that matches the mood, themed cocktails, dishes and all. A heap of bars and restaurants will be embracing the Halloween vibe, whether you're keen on a witches hat margarita at Ahmet's over a roast pumpkin and spinach pide, voodoo people punch at Baba Ganouj — or a zombie juice mocktail if you're not partaking in the hard stuff — or Brooklyn Depot's Satan's wing roulette (aka five buffalo wings and one with Fugheddaboudit hot sauce). Ahmet's is also doing free Halloween bellinis for anyone in costume, while spooky sangria in various guises is on offer at Baba Ganouj, Vici Italian, Ole Spanish Restaurant and Mucho Mexicano. Bloody margaritas are also a common fave at the latter three joints. If Halloween to you means scary movies — or films with horror themes that aren't necessarily fright-inducing — then you'll want to hit up the Little Stanley Street South Lawn during Trick or Treat Little Stanley Street. A big screen will be set up playing all-ages-appropriate titles such as Frankenweenie, Corpse Bride, The Addams Family and Casper. Also on offer from 5–10pm on both days: a trick-or-treat trail, Halloween decorations everywhere, a ghost train, roving entertainment and craft workshops for kids. Yes, this is a family-friendly affair, so expect plenty of little trick-or-treaters for company. Attendance is free, but registering in advance is recommended if you're keen to head along.
Remember The Matrix Revolutions? It’s okay if you don’t. The final instalment of the Wachowskis’ groundbreaking trilogy possessed a litany of problems, chief among them being a Matrix film featuring little to no Matrix. It was like setting The Wizard of Oz entirely in Kansas, or Waterworld on land, or Policy Academy on a holiday in Miami (see: Police Academy 5: Assignment in Miami). In the same vein, the most disappointing aspect of Tomorrowland is that it spends the lion’s share of its 107 minutes in Todayland. Under Australian consumer protection law, you might call that ‘misleading and deceptive conduct’. Under film law, you’d just call it a giant shame. If the name ‘Tomorrowland’ sounds familiar, you’ve probably been to Disneyland. Like Pirates of the Caribbean, this is a movie based on a theme park attraction, and while that’s not quite the nadir of creative inception (Battleship surely holds that ignominy), it’s not much of an improvement either. Theoretically, the land of tomorrow is a creative utopia; an alternate universe where all the dreamers — be they artists, inventors, musicians or scientists — can actually change the world free from the negative influences of politics and greed. If it sounds good, it looks even better: a sort of shiny retro future not unlike the one envisaged by The Jetsons. The question, of course, is how do you get there? This forms the basis of much of the film. A young Frank Walker (George Clooney in his later years, Thomas Robinson as the child) attends the 1964 World’s Fair to pitch his homemade jet pack. The judge (a curmudgeonly Hugh Laurie) sends him packing, but his daughter Athena (newcomer Raffey Cassidy) takes a liking to Frank and sneaks him into Tomorrowland. The story then jumps to the present day, where an apparently ageless Athena has turned her attention to the rebellious yet unfailingly optimistic Casey Newton (Britt Robertson). Athena slips Casey a magical pin that grants her a vision of Tomorrowland, fleeting in its duration yet enticing enough to send her on a quest to get there. Standing in her way are some spectacularly unexplained automaton villains and the gruff older Frank, who’s been exiled from Tomorrowland. There’s a sense Tomorrowland needs Casey, but nobody's prepared to say how or why. On the production front, Tomorrowland boasts an impressive team: a Disney vehicle written by Damon Lindelof (Lost) and directed by Brad Bird (The Incredibles, Mission Impossible: Ghost Protocol). No surprise, then, that it looks spectacular and maintains a rollicking pace throughout, with the action sequences offering a terrific blend of thrills and imaginative visuals. The performances, too, are mostly strong, with two-thirds of the leading trio coming in the form of intelligent, capable and determined young women. What lets Tomorrowland down is the heavy-handed messaging, repeatedly ramming its ‘we’re harming the planet’ line down our throats without a trace of subtlety, save for the one amusing Laurie gem: “We have simultaneous epidemics of obesity and famine. How does THAT happen!?" Tomorrowland's other significant problem is the violence. The action sequences contain a surprising level of graphic savagery, including multiple beheadings, innocent bystanders frequently being vaporised and Casey at one point going full Pesci on an automaton with an old baseball bat. Coupled with the clumsy environmentalism, Tomorrowland finds itself too preachy for adults yet too confronting for children. All the ingredients are there for an excellent adventure, and it routinely offers moments of genuine brilliance, but the overall result is something less. The constant product placement, Disney branding and clear merchandising take their collective toll, crippling the Lindelof/Bird creative utopia with the very corporate influences it sought to denounce.
