Since March 2020, Australians haven't been able to take an overseas getaway, with the country's borders closed and international travel banned due to the COVID-19 pandemic. In just a few weeks, however, that'll change — with the long-discussed trans-Tasman travel bubble with New Zealand launching at 11.59pm on Sunday, April 18. Today, Tuesday, April 6, New Zealand Prime Minister Jacinda Ardern announced that the country has agreed upon conditions for opening up quarantine-free travel with Australia. Yes, that means that Aussies will soon be able to venture further than our own shores. Yes, that word you're looking for is 'finally'. And yes, the quarantine-free travel applies to New Zealanders returning from Australia, too. If this idea sounds familiar, that's because a one-way arrangement has actually been in effect since mid-October 2020, with New Zealanders currently able to visit some Australian states. While the bubble has been paused a few times due to COVID-19 case numbers in NZ, it has remained broadly in place for the past six months. But, despite a reciprocal plan being floated and discussed plenty of times over the past year, Aussies haven't been able to head to NZ in return so far. In mid-March, Prime Minister Ardern advised that the NZ Government was progressing towards a decision on the trans-Tasman bubble. After that revelation, a date of Tuesday, April 6 was given for the official announcement. So now, after all that talk and planning, Aussies now know that they can start genuinely planning NZ getaways — and when they're able to head off — while New Zealanders know when they can take an Aussie holiday, then return without quarantining. Announcing the news, Prime Minister Ardern said that the trans-Tasman bubble is "an important step forward" in the country's COVID response "and represents an arrangement I do not believe we have seen in any other part of the world". Heading to NZ won't quite be the same as it was pre-COVID-19, though, as Prime Minister Ardern also outlined today. "While we absolutely wish to encourage family and friends to reunite and visitors to come and enjoy the hospitality New Zealand is ready and waiting to offer, those undertaking travel on either side of the ditch will do so under the guidance of 'flyer beware'," Prime Minister Ardern said. "People will need to plan for the possibility of travel being disrupted if there is an outbreak," she continued. If you're wondering what that could mean, the NZ Government is implementing a framework for responding to outbreaks in Australia. It will treat Australia as its own region when making decisions on restrictions, "albeit one with the complication of multiple internal borders" Prime Minister Ardern said. So, if an outbreak arises in an Aussie state, there'll be three options. Firstly, if the case is clearly linked to a border worker in a quarantine facility and is well contained, travel will likely continue. If a case isn't linked to the border and the relevant state went into lockdown, NZ would probably pause flights from that state. And, if there are multiple cases of unknown origin in a state, NZ will likely suspend flights for a set period of time. With those three possibilities in mind, travellers from Australia have been told to expect two things. You'll need to follow NZ's guidelines on the ground while you're in the country — and, if an outbreak arises in Australia before you depart, you might have to monitor for symptoms, take a test before departing or isolate upon arrival. Going into managed isolation for up to 14 days might be required "possibly, in some situations," Prime Minister Ardern said. Folks heading from Australia to NZ will be travelling on 'green zone flights', which will only carry passengers who have been in Australia for the last 14 days. The crew on those flights won't have flown on any high-risk routes for a set period of time, too. Among the other requirements, passengers won't be able to travel if they have cold or flu symptoms, will have to wear a mask on the flight and will be asked to download and use the NZ COVID Tracer app while in NZ. You'll also need to provide NZ authorities with comprehensive information on how you can be contacted while in the country — and there'll be random temperature checks upon arrival. Australia's international border still remains shut to most global travel, although a similar travel bubble with Singapore is currently under discussion for a potential July start. If you're keen to start planning your NZ jaunt, we've rounded up some of our favourite glamping sites, wineries, sights and restaurants in NZ over here. 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. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
At last, we can take a peek at what's promised in epic new film Tracks, with the release of the first online trailer. It’s not only the panoramic desert shots and solitary-road-trip-by-foot concept that are garnering attention, but the undertaking by the lead actor, Mia Wasikowska. No doubt the experience of immersing herself in Tim Burton's weird and wild wonderland gave the Canberra-born 24-year-old a head start, but even that wasn’t sufficient preparation for the adventure of making Tracks. Based on Robyn Davidson’s memoir of the same title, the film depicts the intrepid writer’s 1977 journey from Alice Springs to the Indian Ocean — solo (well, except for three camels and a dog) and on foot. She covered 2700 kilometres in nine months. Upon publication, the book was a bestseller, turning Davidson into something of a celebrity. In making the film last year, director John Curran (The Painted Veil) shot Wasikowska and co-star Adam Driver at various sites in South Australia and around Uluru. The screenplay is an adaptation of Davidson’s story, put together by Marion Nelson, and the production team is the one that brought The King’s Speech to the big screen (winning an Oscar in the process:), Emile Sherman and Iain Canning. Having premiered at the Venice Film Festival in September, Tracks is due for release on 6 March 2014.
Following a big night out, scrolling through your snaps may be part of your morning-after routine, letting you bask in the glory of all those photos immortalising all that fun. Or, hitting up a gig, bar or party just mightn't be complete unless you're filling your socials while you're there. Whether one or both of the above apply to you, neither is out of the ordinary — so much so that heading to a shindig without being able to access your phone is now a novelty. That's exactly the kind of situation that Lane 8's record label This Never Happened is embracing, however, when it tours Australia's east coast with for a series of gatherings. At This Never Happens Presents, you won't have a screen in your hand — or face. You won't be swiping, texting or doing anything else with the gadget we're all addicted to, either. Attendees will have their phones taped upon arrival, because these dance music get-togethers are all about connecting IRL and in the moment. The tour has three stops over one July weekend, starting on Friday, July 14 at 170 Russell in Melbourne, then moving to Sydney's Metro Theatre on Saturday, July 15, before wrapping up at Brightside Outdoors in Brisbane on Sunday, July 16. In each city, you'll enjoy tunes from Le Youth, Sultan & Shepard and PARIS on the dance floor — and you'll just have to rely upon your noggin to remember all the highlights afterwards. These will be This Never Happen's first shows in this part of the world, after launching in 2016, signing artists who've toured with producer and DJ Lane 8, and first hosting parties in 2017 and 2019 elsewhere around the globe. Pics or it didn't happen? Not here. THIS NEVER HAPPENED PRESENTS 2023 DATES: Friday, July 14 — 170 Russell, Melbourne Saturday, July 15 — Metro Theatre, Sydney Sunday, July 16 — Brightside Outdoors, Brisbane THIS NEVER HAPPENED PRESENTS 2023 LINEUP: Le Youth Sultan & Shepard PARIS This Never Happened Presents tours Australia's east coast in July, with ticket pre-sales from 12pm AEST on Wednesday, May 10 and general sales from 12pm on Thursday, May 11.
2013 is the year organisers were promising Future be their "biggest festival lineup yet", and after rifling through the massive line-up piñata it seems they have indeed delivered. After an already big 2012 outing Future Entertainment has topped that with a bill straddling nearly every sub-genre of pop or dance, ensuring they'll draw not only a larger but a more diverse crowd. 2013's Day of the Dead-Set Awesome will be headlined by English electronic dance commanders The Prodigy, grime MC Dizzee Rascal, indie rockers Bloc Party and reformed rockers The Stone Roses, making it more of a Brit-fest than a Mexican one. Other exciting acts joining the bill include Harlem femcee Azealia Banks, Rita Ora, electro house mainstay Steve Aoki and our own The Temper Trap. And PSY will also be there, just in case you feel like contracting a South Korean virus without actually paying for a ticket to his own upcoming show. https://youtube.com/watch?v=i3Jv9fNPjgk
There's no doubt Australian same-sex couples have had a pretty rough go of things this year, as the nation decides the future of marriage equality via a postal vote. But in a potential win for Sydney-based same-sex couples keen to get hitched, The Sydney Morning Herald reports that the City of Sydney has announced they'll be able to marry for free in some of the city's best-loved buildings and parks — if same-sex marriage is given the green light by the Federal Government, of course. In a motion passed yesterday, the council would allow gay couples to hire halls, parks and community facilities free of charge for 100 days after the government legislates gay marriage, and has also suggested it will make Sydney Town Hall available for a mass wedding ceremony. It has, however, promised that no existing bookings for straight couples would be cancelled or moved. Lord Mayor Clover Moore tweeted on the subject this morning. But if YES 🌈 then we will provide city spaces free for 100 days to welcome same-sex couples to civil marriage #marriageequality #postyouryes — Clover Moore (@CloverMoore) October 23, 2017 The City of Sydney has been a vocal supporter of the Yes campaign, gifting the likes of mailouts, the erection of banners and the use of office space. A result is expected to be announced on November 15. So if you haven't yet posted your vote, well, make sure you do it ASAP. Via The Sydney Morning Herald. Image: Letícia Almeida.
There's this wondrous thing about magic: it almost never fails to capture the imagination of even the most ardent cynic. It might just be for a split second, maybe even less, but in that fleeting moment as the card reappears or the coin vanishes or god knows what else, you can't help but ask yourself "...how the hell did they just do that?" Because of course we all know magic doesn't exist, not real magic, yet our inability to reconcile that which we know from what we've just seen needles away at our curiosity like a splinter under the skin. It's baffling and frustrating and utterly beguiling. But then there's this awful thing about magic in film: it almost never succeeds in capturing the imagination of even the most hopeful viewer. That's because film, unlike real life, already possess the ability to do everything the imagination can muster. The transformation of a pigeon into a pocket square can never hope to impress when space ships can warp into black holes, child wizards can drag race dragons and Hulks can smash. Good movies about magic (such as 2006's The Prestige) aren't about magic, they're about the magicians, and yet the problem with Now You See Me, is that it never really commits to being about either. At the start of the film (when the only genuine magic trick takes place and is legitimately good enough to elicit an audible response from the audience), we meet four magicians played by Jesse Eisenberg, Isla Fisher, Dave Franco and Woody Harrelson. All are performing independently until a mysterious benefactor brings them together with the challenge of executing the "greatest magic trick ever conceived". Fast forward a year and they pull it off: a live televised robbery of a French bank vault without ever leaving their stage in Las Vegas. With the promise of even greater robberies to follow, the FBI brings in cynical agent Mark Ruffalo to stop them, whilst professional 'debunker' Morgan Freeman sets out to expose the means behind the magic. There are some nice performances from Harrelson and Mélanie Laurent (Inglourious Basterds); however, the plot is utterly ridiculous and the magic isn't even remotely engrossing. It's a sort of 'pop heist movie'; an Ocean's Eleven for Gen-Y that's more concerned with looking cool than being it. https://youtube.com/watch?v=KzJNYYkkhzc
Get your shopping done under twinkling lights while surrounded by real (not plastic) Christmas trees. No, this isn't a festive dream — it's the reality of South Bank's annual Christmas markets. Whether you've been every year since you can remember, or you've never gone a-browsing at the inner-city spot, visiting The Collective Markets Christmas Edition is worth the trip. While the entirety of South Bank always gets into a merry mood, nothing will steal the show from the most important part of the proceedings: the wares on offer at the rows of stalls. Kicking off from 5–9pm on Friday, December 15, then running from 10am–9pm between Saturday, December 16–Saturday, December 23, you'll find handmade toys, jewellery and other trinkets just begging to be given as gifts, as well as tasty treats to add to your Christmas feast. Yep, everyone's a winner here.
If you're the type of traveller who doesn't just plan where you'll be staying and what sights you'll be seeing, but also what you'll be drinking while you're there, then add Australia's latest accommodation option to your dream holiday list. A collaboration between caravan rental site Camplify and The Botanist Gin, The Botanist Van is the country's first gin-themed caravan — and yes, a bottle of gin will be waiting for you when you get there. Nicknamed Mazzy the Van, the holiday spot on wheels has been painted in beachy blue and white hues, while its interiors have been decked out Hamptons-style — with oozing serious 70s vibes one of its aims. The renovated 1979 Viscount Royal vintage caravan comes with a barbecue, an outdoor table and chairs, and an awning, as well as indoor and outdoor games, a beach umbrella and beach towels, and a picnic basket. It's the stocked Botanist Gin bar cart, however, that'll make you thirsty. During your stay, you'll be sipping from a complimentary 700-millilitre bottle of The Botanist gin, a four-pack of Fever Tree tonic waters and Botanicus' flavoured herbal Tea Tube. You'll also be combining all of the above with dried fruit garnishes and other ingredients to make gin cocktails. The Botanist team have some new suggestions for the latter, too, including its own spin on a G&T — so you just need to get mixing and sipping. If this sounds like your kind of getaway, The Botanist Van is available to book from Friday, November 6 through until the end of summer (February 28, 2021) from $140 per night — sleeping four people, and for a minimum three-night stay. You will need to get cosy over a weekend to receive the gin pack, though, as it comes with Friday–Sunday and Saturday–Monday bookings. As for where you'll be having a few drinks, kicking back and getting nostalgic, the van is based on the New South Wales South Coast. It can be reserved and set up on your choice of campsite within 100 kilometres of Flinders — so between Austinmer and Jervis Bay. To book The Botanist Van — with prices from $140 per day, and rentals available within 100 kilometres of Flinders in New South Wales until February 28, 2021 — visit the Camplify website.
If Harry Potter movies were still gracing cinemas, exploring the boy who lived's adult life, we're certain he'd be a brunch fan. It's a magical meal, after all. Alas, unless The Cursed Child makes the leap to the big screen, that isn't in our future. But while you're muttering "accio new HP movie" to yourself over and over again, if you're in Sydney or Melbourne, you can enjoy the next best thing. Whether you're still not over Harry or you just wish you'd had the chance to attend Hogwarts because you know you're destined to be in Gryffindor (and to be seeker on the quidditch team, obviously), you'll want to make a date with The Wizard's Brunch. You'll dine in a Great Hall-like space, matching your meal (Pixie Puffs, please) with bottomless butterbeer, 'magic' potions (aka cocktails, we're assuming) and other wizard-themed beverages. And you can bet the menu will include every Potter pun you can think of. The particulars such as the exact date, venue and how many galleons you'll have to spend haven't been revealed as yet, though keen muggles can sign up to The Wizard's Brunch email list for more information. What we do know, however, is that there'll be Harry Potter characters mingling with attendees. Folks in costumes pretending to be Hermione, Dumbledore and others isn't really our idea of a magical HP experience, but perhaps a few firewhiskys — and a spot of quidditch, a couple of sorting ceremonies and wand lessons — will get you in the right mood. The Wizard's Brunch will take place in Sydney and Melbourne later this year. We'll let you know when you can buy tickets, and you can sign up for updates here. UPDATE: FEBRUARY 12, 2018 — The Wizard's Brunch has now sold out two sessions in Sydney. More details around Melbourne are coming soon.
Take a few former members of Australia's Flipside Circus and Circa Zoo, and then add in a couple of Quebec-based performers. Next, watch the new troupe swirl through a world of seduction and whimsy as they put their dazzling physical feats and a healthy dose of caressing on show. The end result is The Games We Play by The Five Fold Collective — and if it is as playful and promising at is sounds, then it's really going to be something special. Here, extraordinary circus skills combine with a flirtatious mood where the audience is encouraged to engage with the performers.
If your Easter routine usually involves a seafood feast, then you might want to make a date with a certain Kangaroo Point fish 'n' chippery this year. From Friday, March 29–Sunday, March 31, One Fish Two Fish is serving up plenty of the ocean's finest for the occasion, all as part of a $95 four-course meal that starts with seafood platters and remains just as indulgent from there. In the past, One Fish Two Fish has called this yearly feast Great Friday; however, in 2024 it's keeping the specials going for three days. So, the name still applies, but it's a whole-weekend deal. That means more chances to head along. Those platters are made to share, and come stacked with pacific oysters, Moreton Bay bugs, cooked Mooloolaba prawns, blue swimmer crab and green-lip mussels. Next comes pineapple and mint granita as a palette cleanser, then grilled goldband snapper with Amalfi salad. We've only listed three rounds so far, with the fourth course getting sweet. To wrap things up, you'll be tucking into hot cross bun bread and butter pudding. If you're keen to eat in, you'll need to book a spot for one of five sittings: 11.30am–1.30pm, 2–4pm and 5.30–7.30pm on Friday; and 12–2pm on both Saturday and Sunday. There's also a takeaway menu featuring fish 'n' chip fare, and a different Easter treat across Saturday–Sunday: $25 lobster croissants.
Local ceramic shop Elph Ceramics is currently putting on fun workshops so you can make your own little ceramic houses at home. The Australian brand of handcrafted homewares is run by sisters Sophie and Eloise, offering virtual classes guiding you through creating adorable ceramic houses. Originally, the tiny houses were created to test glazes and clay colours, but soon became a hit with customers. The duo hosts in-person tiny house workshops in their NSW Southern Highlands studio, but with Sydney in lockdown, have taken the classes online. The classes run every Thursday until Thursday, October 14, but you'll want to reserve your spot as they've been filling up fast. When you book yourself in for a class, you're sent everything you need to make four to six tiny houses (enough for one to two people to join in) including air-dry clay and a wooden clean-up tool. All you need to bring yourself is a bowl of water, a plastic mat and your drink of choice. You then log onto the zoom call and the Elph team will guide you through making your cute new decorations. The class will set you back $85 plus $15 to ship the items. While you're booking your session, take a look at what else Elph has on offer at its online store.
The National Gallery of Victoria's revolving door of blockbuster exhibitions shows no sign of slowing, with an exceptional meeting of creative minds next set to grace its halls. Running from Friday, June 9–Sunday, October 8 as part of the Melbourne Winter Masterpieces series, the NGV will play host to world-premiere exhibition Pierre Bonnard: Designed by India Mahdavi. This major showcase is set to feature more than 100 works by the famed French painter, seen through a fresh lens as accompanied by contemporary scenography by internationally renowned architect and designer Mahdavi. Originally slated to debut in 2020 before the pandemic did its thing, the highly anticipated exhibition has been curated in conjunction with Paris' Musée d'Orsay — home to the world's largest collection of Bonnard works. [caption id="attachment_890701" align="alignnone" width="1920"] 'The dining room in the country', 1913, Pierre Bonnard. Minneapolis Institute of Arts, The John R. Van Derlip Fund.[/caption] An icon of late 19th and early 20th century art, and a good mate of Henri Matisse, Bonnard is known for his colourful, textural depictions of French life, offering stylised yet subtle glimpses of intimate domestic scenes, urban backdrops and natural landscapes. Pierre Bonnard: Designed by India Mahdavi will showcase a hefty collection of the artist's own paintings, drawings, photographs, prints and other decorative objects, alongside works from his contemporaries — including Édouard Vuillard, Maurice Denis, Félix Vallotton and cinematic pioneers the Lumière brothers. [caption id="attachment_890702" align="alignnone" width="1920"] 'The window', 1925, Pierre Bonnard. Tate, London. Presented by Lord Ivor Spencer Churchill through the Contemporary Art Society, 1930.[/caption] Considered one of the world's most influential architects, multi-award-winning Mahdavi has been commissioned to help bring the historic pieces to life via her scenography, tasked with creating a setting that complements Bonnard's signature use of colour and light. "Monsieur Bonnard and I share the same passion: colour," Mahdavi explains of the exhibition. "I love his subjective perception of colour — the way he transforms the intimacy of everyday life into something sublime." Pierre Bonnard: Designed by India Mahdavi will include numerous pieces on loan from the Musée d'Orsay, as well as other museums and private collections in Europe, Australia and the USA. They'll be joined by significant works from the NGV's own collection, including Bonnard's 1900 painting La Sieste (Siesta). [caption id="attachment_890703" align="alignnone" width="1920"] 'Siesta (La Sieste)', 1900, Pierre Bonnard. National Gallery of Victoria, Felton Bequest, 1949.[/caption] 'Pierre Bonnard: Designed by India Mahdavi' will run at the NGV International from Friday, June 9–Sunday, October 8. For more information, see the venue's website. Top image: 'Coffee', 1915, Pierre Bonnard. Tate, London. Presented by Sir Michael Sadler through the NACF, 1941.
It has been a tumultuous two years for the Sydney Film Festival. First, the event moved completely online in 2020, as many fests did. Then, it hosted a brief summer season this January, welcoming cinephiles back to the State Theatre. And, in the hope that running the huge movie-filled festival as normal might've been more of a possibility later in the year, SFF then shifted from its usual June dates to the end of August for 2021. Obviously, the Greater Sydney region's current extended lockdown has now gotten in way of the latter, and its planned run Wednesday, August 18–Sunday, August 29 now during the city's stay-at-home period. So, unsurprisingly, the fest's organisers have announced that they're shifting this year's SFF to November. Movie buffs, you'll need to block out Wednesday, November 3–Sunday, November 14 in your calendar, as that's when SFF's 68th edition is now scheduled to take place. And, you can start looking forward to a festival that won't require carting your winter coat around, sipping soup in the State or enjoying the rush between cinemas because it keeps you warm — because this year's fest will now be a late-spring affair. Which venues SFF will screen in, and how many of its already-announced first 22 films will still grace its screens — and what the rest of the program will look like, too — is all yet to be announced. It is expected that the fest's lineup will undergo some tinkering, however, given that some of the titles already unveiled will have already reached cinemas in general release before November. So far, that includes Zola, the wild Sundance hit based on a lengthy 148-tweet Twitter thread. When the rest of the program will be announced also hasn't been revealed, although SFF normally doesn't unveil its full lineup until around a month before the festival — so, it's safe to assume further details will arrive by early August. Standout movies currently on SFF's bill include New Zealand's The Justice of Bunny King, which stars Essie Davis (Babyteeth) and Thomasin McKenzie (Old); Riders of Justice, a revenge-fuelled Danish comedy led by the inimitable Mads Mikkelsen (Another Round); 2020 Berlinale Golden Bear winner There Is No Evil, a searing Iranian drama about the death penalty; and Undine, the alluring and beguiling latest film from German auteur Christian Petzold. The festival has also already announced a retrospective dedicated to Iranian filmmaker Abbas Kiarostami. SFF joins Vivid in postponing due to the current outbreak and lockdown — and doing so after already delaying its 2021 dates in an effort to avoid cancellations, rescheduling or being impacted by restrictions. At present, Vivid is due to run from mid-September. The 2021 Sydney Film Festival will now take place between Wednesday, November 3–Sunday, November 14. For further information, head to the festival website.
Just a few short years ago, Fortitude Valley's The Tivoli was in danger of being turned into apartments, a fate that's befallen other live music sites across the city. After being saved from development, it's not only still playing host to plenty of gigs — it's now adding a new 250-performance space to the 102-year-old building. Opening on Tuesday, August 27, the new venue-within-a-venue is called What's Golden, and will completely transform the site's foyer. Instead of the ordinary room with a bar that visitors have walked through during the building's more than 30-year history as a performance space, it'll now feature a custom-built stage and a new audio and lighting set-up, ready for live tunes, cabaret shows, stand-up comedy gigs, curated parties and club nights. With designer Aaron Barton and set designer Sarah Winter working on the venue, the makeover also includes a renovated box office, craft beer bar and daytime coffee nook. Given The Tivoli's extensive past — it was originally built as a bakery, and then became the State Library of Queensland's rare book depository, before launching as a restaurant and 1600-person auditorium — the revamp has been a bit of a juggling act. The aim: retaining the existing art deco features, of course, while giving What's Golden its own look and feel. Planned as a response to Brisbane's growing need for boutique and intimate spaces, What's Golden builds upon The Tivoli's history and "delivers a much-needed, niche venue for up-and-coming and underground talent," according to The Tiv co-owner and creative director Dave Sleswick. It'll launch with a party, complete with performances by First Beige and Holiday Party. The rest of the venue's current lineup spans gigs by Clea, Sahara Beck and Good Boy, queer performance event HONCHO DISKO and offbeat variety evening Grumble N' Friends. Find What's Golden at The Tivoli, 52 Costin Street, Fortitude Valley from Tuesday, August 27. For further details, visit the venue's website.
What helps a formerly active person who has lost both their legs find the will to keep on living? It's rarely a guy like Ali (Matthias Schoenaerts), who fights in illegal bouts, hits his kid, kicks dogs, disrespects women, does dodgy things for cash and is all-round one of the least likeable characters to ever appear on screen. And yet the journey Stephanie (Marion Cotillard) goes on through him makes just enough sense to be believable — powerful, actually — in Jacques Audiard's feature film Rust and Bone. The film is quite a big departure from the source material, Canadian writer Craig Davidson's collection of short stories by the same name, and is in some ways even more brutal. Stephanie is an orca trainer at a Cote d'Azur equivalent of Sea World. One day, to the poetically dissonant backing of Katy Perry's 'Firework', a public performance goes wrong and Stephanie wakes in hospital to find her legs amputated. After weeks of depression, she calls Ali, a nightclub bouncer she met briefly before the accident and thought little of at the time. His company turns out to be relaxed and matter of fact; he does not handle her with kid gloves, and it's just what she needs to begin to figure out her new sense of self. When he starts out on his underground boxing career, she finds herself unexpectedly drawn in. Rust and Bone is an unsentimentally lyrical triumph, unexpected in every way from its narrative to its mise en scene. Cotillard is a sensation. Need it be said? This film about fighters packs a punch. We have 10 double passes to give away to see Rust and Bone. To be in the running, subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au. Read our full review of Rust and Bone here. https://youtube.com/watch?v=x3leZNzz6N8
He's famous for a series about nothing. He's now heading Down Under to share something: Jerry Seinfeld, that is, with the comedian just announcing Australia and New Zealand dates for his latest stand-up show. Instead of rewatching old Seinfeld episodes for approximately the 75th time, you can catch the iconic talent on a seven-city trip that marks his first visit since 2017. Those gigs sold out faster than a Seinfeld character can say "what's the deal?", and expect tickets to his 2024 trip to get snapped up quickly as well. Mark June in your calendar, as that's when Seinfeld will be going all "yada yada yada" in Perth, Sydney, Brisbane, Adelaide and Melbourne in Australia, plus Auckland and Christchurch in Aotearoa. So far, every city scores one show except Melbourne, where Seinfeld will take to the stage for two nights. Back in 1998, he called the Victorian capital the "anus" of the world — but perhaps his feelings have now changed. In NZ, Seinfeld's Christchurch stop will mark his first ever in the city — with Auckland a return to the spot where he played his debut New Zealand gig in 2017. [caption id="attachment_925505" align="alignnone" width="1920"] Raph_PH via Wikimedia Commons[/caption] "I can't wait to bring the laughs Down Under once again," said Seinfeld about his next trip our way, which comes 43 years after he initially appeared on The Tonight Show with Johnny Carson and 35 years since Seinfeld — which was co-created by its namesake and Larry David — premiered. His career also spans everything from web series Comedians in Cars Getting Coffee, films such as Comedian and Bee Movie — with a new flick Unfrosted: The Pop-Tart Story on the way — and books Is this Anything? and Seinlanguage. And yes, we're assuming that he won't be stepping behind the microphone wearing a puffy shirt. JERRY SEINFELD AUSTRALIA AND NEW ZEALAND TOUR 2024 DATES: Saturday, June 15 — RAC Arena, Perth Sunday, June 16 — Qudos Bank Arena, Sydney Wednesday, June 19 — Brisbane Entertainment Centre, Brisbane Thursday, June 20 — Adelaide Entertainment Centre, Adelaide Saturday, June 22–Sunday, June 23 — Rod Laver Arena, Melbourne Monday, June 24 — Spark Arena, Auckland Wednesday, June 26 — Wolfbrook Arena, Christchurch Jerry Seinfeld is touring Australia and New Zealand in June 2024, with Telstra presales from 12pm local time on Tuesday, November 14 TEG Dainty presales from 1pm local time on Thursday, November 16 and general sales from 12pm local time on Friday, November 17 — head to the tour website for further details. Top image: Raph_PH via Wikimedia Commons.
For the best part of the past six years London artist Ben Wilson has spent his days painting pieces of chewing gum that have been stuck to the ground. Wilson transforms these sidewalk blemishes into miniature works of art. The paintings range from animals, landscapes, portraits and even messages to pedestrians. Unsurprisingly his chewing gum art has turned him into something of a local celebrity, meaning he also does paintings on request for members of the local community - including apologies to girlfriends, thank you messages from managers to employees, a R.I.P. painting for a deceased postal worker and even a marriage proposal. Despite this, Wilson has received some police interference including one arrest. Charges were quickly dropped after dozens of people wrote letters of support and Wilson was able to convince the police that it was not him actually sticking the chewing gum to the ground. To create it all, Wilson first softens the chewing gum with a blowtorch then sprays it with a lacquer and finally applies three coats of acrylic enamel. The works usually only last one or two years depending on conditions but this does not bother Wilson, as in his words "everything is transitory, what's important is the creative process." Images via Flickr users Jansos, Tezzer 57 and r3cycl3r [via Gizmodo]
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. Trick or Treat Little Stanley Street takes place from 5–10pm on Friday, October 27–Saturday, October 28 on Little Stanley Street and the surrounding area. Head to the South Bank website or the event's Facebook page for further details.
Netflix's algorithm has clearly figured out one of the most obvious and basic facts about humankind there is: we all really love dogs. That was obviously the idea behind the streaming platform's 2018 canine-centric documentary series — and the show sent viewers so barking mad with affection that it's coming back for another season. Called Dogs, the thoroughly feel-good series follows different puppers in different places around the world, as well as the two-legged folks who care for, groom, dress and even fish with them. Of course, the adorable balls of fluff are the real drawcards. The six-episode first season dedicated its frames to canines in Syria, Japan, Costa Rica, Italy and the US, each with their own stories to tell. The show's return was announced back in 2019, and was hardly unexpected. If something is a hit — and Dogs was, naturally — Netflix is never quick to say goodbye. Been spending the last two years wondering when a new batch of cute little woofers would grace your screen? Thankfully, that wait is about to come to an end. On Wednesday, July 7, the streaming platform will drop the show's second four-episode season — which shouldn't be confused with Dog TV, the new streaming service that's all about content especially for pooches. Netflix has also just released a trailer for Dogs, too, so prepare to meet four new canines who make their human companions' lives better with every bark. This time, viewers will be spending time with a lively four-legged university mascot, as well as the just-as-endearing dogs adored by an astronaut, a priest and a military contractor. Check out the season two trailer below: Dogs' second season will be available to stream on Wednesday, July 7 via Netflix. Images: Netflix.
Across a period of ten years from 2008–2018, British filmmaker Steve McQueen made four features — and every single one has proved essential viewing. It started with Hunger, with Michael Fassbender stepping into the shoes of Bobby Sands, the IRA member who famously went on a hunger strike while imprisoned in Northern Ireland. Then came Shame, with Fassbender playing a sex addict and Carey Mulligan co-starring as his sister. Nine-time Oscar nominee 12 Years a Slave followed, featuring powerful performances by Chiwetel Ejiofor and Academy Award-winner Lupita Nyong'o (and yes, Fassbender, too). And, last up, the Fassbender-free Widows delivered one of the flat-out best heist movies ever made. Across a five-day period this December, McQueen's next five movies will arrive — and you'll be able to stream them all via Binge. They're part of the Small Axe anthology series, with every feature directed by McQueen and co-written by him as well. The entire quintet also explores the lives of London's West Indian community between the 60s and the 80s, telling tales of race, discrimination and resistance (and beauty, love, friendship, family, music and food), too. First up, dropping on Saturday, December 19, is Mangrove. It opened this year's London Film Festival, focuses on the owner of a Caribbean restaurant of the same name in Notting Hill, and follows his and the surrounding community's response to continued police raids — and stars Lost in Space's Shaun Parkes and Black Panther's Letitia Wright. Then, on Sunday, December 20, you'll be able to watch Lovers Rock — which spins a fictional tale of love at a Blues party in 1980. And, on Monday, December 21, you can check out the John Boyega (Star Wars)-starring Red, White and Blue, about a young forensic scientist who witnesses his father's assault by two policemen, then decides to join the force himself. On Tuesday, December 22, it's time for Alex Wheatle, a biopic about the titular award-winning writer. Then, wrapping it all up on Wednesday, December 23, Education delves into unofficial segregation policies in schools. Check out the Small Axe trailer below: https://www.youtube.com/watch?v=vcqItifbNUA&feature=youtu.be Small Axe starts streaming via Binge from Saturday, December 19 — with a new film available each day for five days. Top image: BBC.
In Australia's music festival scene, 2022 has been a year of big comebacks — and when December hits, Meredith will join the list. On hiatus since 2019 due to the pandemic, the beloved three-day BYO camping festival in central Victoria will finally return across Friday, December 9–Sunday, December 11. Obviously, it wouldn't be another stint with Aunty Meredith if there wasn't a killer lineup. For its first fest in three years, Meredith will feature Canadian electronic producer Dan Snaith under both his guises — sitting at the top of the bill as Caribou, and also at the bottom of the list so far as Daphni. When you're not catching his sets, you can hit up the event's two big local headliners: Yothu Yindi and Courtney Barnett. Also on the lineup: The Comet Is Coming, Dry Cleaning, Sharon Van Etten and Derrick Carter from the overseas roster, spanning everything from post-punk and jazz through to house. And, among the local favourites, Tkay Maidza sits alongside Tasman Keith, SHOUSE and Private Function. [caption id="attachment_865436" align="alignnone" width="1920"] Mia Mala McDonald[/caption] The stacked lineup goes on — and, if you're wondering how you can see all of the above, and more, across one huge December weekend, Meredith tickets are still only available by entering the ballot. You can do so at online up until 10.29pm on Monday, August 22. This year isn't just any old Meredith, either. It's the fest's 30th event, so prepare for quite the party in the Supernatural Amphitheatre. [caption id="attachment_847588" align="alignnone" width="1920"] Ben Fletcher[/caption] MEREDITH 2022 LINEUP: Caribou Yothu Yindi Courtney Barnett The Comet Is Coming Dry Cleaning Tkay Maidza Sharon Van Etten Nu Genea DJ Quik Erika de Casier Babe Rainbow Derrick Carter Private Function SHOUSE CLAMM Minami Deutsch Tasman Keith Surprise Chef Our Carlson Darcy Justice POOKIE Rot TV OK EG Allara Rubi Du Daphni and more to come Meredith Music Festival will return to Meredith on Friday, December 9–Sunday, December 11. To put your name in the ballot to get your hands on tickets, head to the festival's website. Top image: Chelsea King.
Ambient/Noise musician Liz Harris has woven a rich fabric of her own eclectic creation with blurry clouds of foggy instrumentation knitted around a unique and deeply presenced voice. Accented by tape delay and reverb effects her bold sound is a myriad of colourful rhythms and wash away beats that float down upon a wide-eyed audience. Grouper’s most recent records A/A and Violent Replacement expand upon an already large and colourful palette of elegant and textured songwriting and liberal atmosphere. Harris’ distinctive voice floats above the music she creates like a specter, rocking gently back and forth with each delicate note and immersive tone. Bask in the glow of Grouper’s sound, an ethereal and dream-like, sophisticated assortment of melodies and skeletal moments.
Some venues feel like they've always been there, even if you haven't ever stepped inside. Perched in a prime location on Lutwyche Road in Brisbane's inner north, the Crown Hotel is one such spot. It's been part of Lutwyche since 1881, in fact — and if you need a reason to finally drop in, it's just had a $2.4 million makeover and reopened its doors. Earlier in 2021, hospitality giant Australian Venue Co announced that it was giving the 140-year-old pub a revamp, and temporarily closing the heritage-listed venue's bistro and bar during those renovations. Only the site's gaming room has been open over the past few months, even though it's getting a spruce up as well. From Wednesday, November 3, however, the entire site is back up and running. Brisbanites can now check out the Crown's new beer garden and heritage pavilion — which seats 140 people — as well as its revamped main sports bar. Overall, the renovations are designed to keep the pub's heritage character, while completely overhauling the interiors. So, design-wise, that means a sleek, warm and airy look and feel, especially if you're sat underneath the strung-up lighting in the beer garden or on the deck overlooking the outside space. The Crown's new colour scheme skews neutral with splashes of black, white and colour, too — as seen in the blue backdrop behind its towering outdoor mural. In the sports bar, there's screens that'll play a range of different sports, brews on tap (obviously) and a counter menu that includes karaage chicken, mushroom burgers, fried haloumi, chicken parmigiana and three steak choices. You'll find most of those dishes on the bistro lineup as well; however, Executive Chef Dylan Kemp and Head Chef Jamie Blake are also serving up everything from prawn rolls and confit duck leg to half a Moreton Bay Bug, Tasmanian salmon, and both beef and beetroot tartare. For something sweet, the dessert selection includes whipped baked cheesecake with strawberry and salted shortbread, vanilla bean crème brûlée, and a chocolate brownie with hokey pokey gelato and espresso caramel. And whether you're looking to drop by for a bite or a beverage, the pub is also set to host weekly bistro specials, plus themed trivia nights, drag bingo, jazz and blues, and live comedy. Crown Hotel's revamp marks Australian Venue Co's first big pub renovation in Brisbane, although the company has recently renovated both Kings Beach Tavern at Caloundra and Wallaby Hotel in Mudgeeraba. If you were lucky enough to score one of AVC's 'secret sipper' positions earlier this year — with the hospo group paying folks to eat in and review its venues — then perhaps Crown Hotel the once over might be on your list when it reopens. In Brisbane, AVC also owns a lengthy list of places, including Darling & Co, Riverland, Friday's, The Regatta, Waterloo Hotel and The Wickham. Crown Hotel's bistro and bar reopens at 446 Lutwyche Road, Lutwyche on Wednesday, November 3. Images: Markus Ravik.
While seeing fruit mince pies in your local shopping centre in October feels downright disturbing, there's one Christmas treat that no one ever minds arriving early: Four Pillars' annual Christmas Gin. The latest iteration of the Healesville distillery's seasonal sip is coming in strong, set to hit shelves on Tuesday, October 26. It's the delicious result of a yearly tradition that sees a bunch of Christmas puddings handmade with distiller Cameron Mackenzie's mother's recipe — the 1968 Australian Women's Weekly recipe, in fact — and distilled with various festive botanicals to create a sought-after tipple that pretty much screams December 25. The flavours of an Aussie Christmas are captured in notes of cinnamon, star anise, juniper, coriander and angelica. The Christmas gin is then blended with some earlier gin that's been carefully ageing in 80-year-old muscat barrels. It's all finished with a hit of Rutherglen muscat for a bit of added richness and complexity. Each year, a new unique label is chosen to wrap up this Christmas creation, setting out to evoke that same festive spirit. The 2021's bottle design is the work of Cairns-based artist Andrea Huelin, who has taken inspiration from the immensely Aussie pairing of prawns and pavlova. Known for her fondness for fruit, glassware and everyday household items, Huelin combined all of the above — and a cheeky glass of Australian Christmas Gin — in a photo that now graces the tipple's label. The distillers recommend you sip the limited-edition gin neat; mix it with ginger ale, lime and bitters; or whip up a pavlova punch with the festive gin, passionfruit, muscat, berries and your choice of sparkling. Or you can just splash a bit of it on your own Christmas pudding — or pair it with Four Pillars' own Christmas gin puddings, which'll also be available to buy from Tuesday, October 26. If you want to nab a bottle, have your fingers poised over the 'buy' button when they go on sale online next week. Alternatively, you can stop by the Four Pillars HQ in Healesville, Victoria (if restrictions allow, of course) or the brand's Surry Hills shop. Bottles are $100 a pop and would make stellar Chrissy pressies, if you're already thinking about that. Four Pillars Christmas Gin is available to buy online, from the Healesville distillery and Surry Hills shop from Tuesday, October 26. But you'd best be quick — there's only a limited amount of bottles.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from May's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in ahistorical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. IN LIMBO Not to be confused with the just-released Australian film Limbo, new six-part Aussie dramedy In Limbo not only takes its title to heart, but also uses the idea as fuel for a supernatural buddy comedy. Indeed, before the first episode is out, Nate (Bob Morley, Love Me) is palling around with his lifelong best friend Charlie (Ryan Corr, House of the Dragon) from the afterlife. The former doesn't know why he's still a presence. The latter is understandably reeling from the tragedy, and initially thinks that spying Nate is just a drunken hallucination. No one else, not Nate's wife Freya (Emma Harvie, Colin From Accounts), eight-year-old daughter Annabel (Kamillia Rihani, The Twelve), supremely very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent), can see their dearly-departed loved one as a ghost. It's Christmas, too, in this Brisbane-shot and -set series, and facing the festivities after such a shock is far from easy. While heartily deploying Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it thoughtfully does. Tackling grief, mental health and suicide is never simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up in Australian fare of late (see also: Totally Completely Fine). In Limbo is clearly made with care, empathy and understanding — and, crucially, doesn't attempt to offer any firm answers, instead acting as a conversation starter. At its core, the always-excellent Corr plays a complicated role with charm. That's no surprise given his resume, and he couldn't be better cast. Corr's likeable performance always dives deep into the about-to-get-divorced Charlie's struggle without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and never brushes past the character's flaws. And, just as importantly as the show's focus on 21st-century masculinity and friendship, Corr makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. In Limbo streams via ABC iView. CONFESS, FLETCH Since Mad Men had Don Draper want to buy the world a Coke to end its seven-season run back in 2015, comedy has been Jon Hamm's friend. He's the ultimate TV guest star, building upon stints in 30 Rock and Parks and Recreation while Mad Men was still airing with Toast of London, Unbreakable Kimmy Schmidt and Curb Your Enthusiasm, on a resume that also includes The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth and Wet Hot American Summer: First Day of Camp as well. So, casting him as the new Irwin Maurice 'Fletch' Fletcher couldn't be an easier move. Having fellow Mad Men standout John Slattery (The Good Fight) also appear in the latest flick about the investigative reporter, and the first since the Chevy Chase-led movies in the 80s, is another winning touch. Even if that reunion wasn't part of the film, Hamm is so entertaining that he makes a killer case for a whole new Fletch franchise — on whatever screen the powers-that-be like — with him at its centre. Hamm clearly understands how well he suits this type of character, and the genre; he's a comic delight, and he's also one of Confess, Fletch's producers. Superbad and Adventureland's Greg Mottola directs and co-writes, scripting with Outer Range's Zev Borow — and ensuring that Hamm and Slattery aren't the only acting highlights. Working through a plot that sees Fletch chasing a stolen artwork, discovering a dead body, and both looking into the crime and considered a suspect himself, the film also features engaging turns by always-welcome Twin Peaks great Kyle MacLachlan and Barb and Star Go to Vista Del Mar gem Annie Mumolo. There have been several attempts to revive Fletch over the past three decades, including separate projects with Ted Lasso duo Bill Lawrence and Jason Sudeikis — on the page, the character spans nine novels — but viewers should be thankful that this is the action-comedy that came to fruition, even if it skipped cinemas everywhere but the US. Confess, Fletch streams via Paramount+ and Binge. BUPKIS In its opening moments, Bupkis unloads — twice, in completely different ways, while ensuring there's zero doubt that this is a series about Pete Davidson starring Pete Davidson as Pete Davidson. First, the former Saturday Night Live comedian gets Googling while alone in the basement of the Staten Island home he shares with his mother Amy (Edie Falco, Avatar: The Way of Water). The results about Ariana Grande, Kate Beckinsale and Kim Kardashian's ex aren't positive; so, to shake off the unpleasantness of reading '12 Things Horribly Wrong with Pete Davidson', he switches from "scumbro" with "butthole eyes" comments to porn. He's wearing a VR headset, and he's soon deep in self-love. Then his mum walks in. Bupkis clearly isn't wary about getting crude. It isn't concerned about satirising its central figure, either. Instead, this semi-autobiographical dramedy relishes the parody. At the age of 29, Davidson has reached the "you may as well laugh" point in his career, which is hardly surprising given he's spent the past decade swinging his big chaotic energy around. Partway through the eight-episode series, while keen to claim some perks for being Davidson's mother — other than doting on her son, that is — Amy shouts at wait staff that "Marisa Tomei played me!". Add that to Bupkis' gleeful, playful nods to reality. An opening statement before each instalment stresses the difference between fact and fiction, and why the show has the moniker it has, but art keeps imitating life everywhere. There's no switching names, however. Davidson is indeed Davidson, his IRL mum is called Amy and his sister is Casey (Oona Roche, The Morning Show). As in The King of Staten Island, they've been a trio since 9/11, and dealing with losing his New York City firefighter dad still isn't easy. Off-screen, however, Davidson must be a fan of My Cousin Vinny, plus the gangster genre. Hailing from the former as Tomei does, and famed for his performances in the latter like The Sopranos star Falco, Goodfellas, Casino and The Irishman alum Joe Pesci is a pivotal part of Bupkis as Davidson's grandfather Joe — a hilarious and delightful part, unsurprisingly. Bupkis streams via Binge. Read our full review. VENGEANCE When Vengeance begins with a New Yorker journalist who's desperate to start his own podcast, Soho House hangouts and relationship advice from John Mayer as himself, it begins with rich and savvy character details. Writing, starring and making his feature directorial debut after helming episodes of The Office and The Mindy Project, BJ Novak instantly establishes the kind of person that Ben Manalowitz is. He shows the East Coast world that his protagonist inhabits, too — and, by focusing on the only guy in NYC without their own audio outlet, or so it seems, plus that romantic guidance, it splashes around its sense of humour. This is a sharply amusing mystery-comedy, and a highlight on Novak's resume in all three of his guises. It's also about subverting expectations, and lampooning the first impressions and broad stereotypes that are too often — and too easily — clung to. Indeed, Vengeance bakes in that idea as many ways as it can as Ben (Novak) does the most obvious thing he can to convince his producer (Issa Rae, Insecure) that his voice is worth hearing: bursts his Big Apple bubble. The Mayer bit isn't just a gag; it helps set up Ben as the kind of person who is dating so many women that he doesn't know which one has died after he gets a bereaved phone call from Texas in the middle of the night. On the other end is Ty Shaw (Boyd Holbrook, The Sandman), brother to Abilene (Lio Tipton, Why Women Kill), who insists that Ben head southwest immediately to attend her funeral — she claimed that they were serious enough that she's his girlfriend, after all. Upon arrival, the out-of-towner initially regards his hosts as jokes, and their lives and Abilene's death as content. Ty thinks she was murdered, and Ben couldn't be giddier about getting it all on tape and calling the series Dead White Girl. The journo's self-interest is up there with his obliviousness about anything that doesn't fit into his NYC orbit; however, this isn't a culture-clash comedy — thankfully — but a clever, self-aware and ambitious satire. It's also strikingly shot and features a standout performance by Ashton Kutcher (That '90s Show) as a suave record producer. Vengeance streams via Netflix and Binge. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it's also been going hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider have been giving the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek are happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they're equally thrilled for her. But ChaseDreams, their little brother's stage name, has always been a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke have never been above getting petty and messy about being the titular pair. In season three, however, they aren't just hanging around with stars in their eyes and resentment in their hearts. How do they cope? They've spent the past few years constantly comparing themselves to Chase, then to Pat, but now they're successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they're faking it or making it, nothing is ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wonders whether her dream manager gig is trivial after living through a pandemic, she starts contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he gets envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. THE CLEARING They're called The Kindred, not The Family. Adrienne Beaufort is their leader, not Anne Hamilton-Byrne. But there's no mistaking the inspiration for JP Pomare's book In the Clearing and its new eight-part adaptation The Clearing. Exploring the inner workings of an Australian cult based in rural Victoria, spouting New Age sentiments mixed with doomsday thinking, fixated upon blonde-haired children and led by a charismatic woman — a rare female cult leader — this tale fictionalises the real-life details documented in countless newspaper headlines since the 80s, and also in Rosie Jones' 2016 documentary The Family and 2019 series The Cult of the Family. Amid their so-wild-they-can-only-be-true stories, both of those projects showed viewers the eerie image of children with platinum locks in severe bobs and dressed in matching blue attire. That distinctive look is similarly at the heart of Disney+'s first original scripted Aussie drama. In the earlier of its two timelines, Amy (Julia Savage, Blaze) dons the tresses and uniform as one of the older children at Adrienne's (Miranda Otto, Wellmania) Blackmarsh bush compound — one being prepared to be her heir, and made an accomplice in the group's quest to add more kids to its ranks. Initially dutiful, the teenager is soon questioning the only existence she's ever known, with its harsh rules, strict aunties keeping everyone in line between Adrienne's sporadic visits, weekend services attended by well-to-do acolytes and, sharing the show's title, its LSD-fuelled confessional sessions. When The Clearing dwells in the now, still in Victoria at its leafiest, the smear of heartbreak and damage is ever-present. Indeed, when single mother Freya Heywood (Teresa Palmer, Ride Like a Girl) hears about a girl being abducted, she can't shake the feeling that history is repeating. She dotes over her primary school-aged son Billy (debutant Flynn Wandin), but she's also visibly nervous and anxious. When she keeps spotting a white van, she's a portrait of panic. The Clearing streams via Disney+. Read our full review. HIGH DESERT In High Desert, the always-excellent Patricia Arquette (Severance) leads a private investigator comedy that dapples its jam-packed chaos under California's golden sun, against the parched Yucca Valley landscape and with an anything-goes philosophy — not to mention a more-mayhem-the-merrier tone. She plays Peggy Newman, who isn't letting her age get in the way of perennially struggling to pull her life together. That said, when the eight-part series begins, it's Thanksgiving 2013 and she's living an upscale existence in Palm Springs, with gleaming surfaces abounding in her expansive (and visibly expensive) home. Then, as her husband Denny (Matt Dillon, Proxima) jokes around with her mother Roslyn (Bernadette Peters, Mozart in the Jungle), and her younger siblings Dianne (Christine Taylor, Search Party) and Stewart (Keir O'Donnell, The Dry) lap up the lavish festivities, DEA agents swarm outside. Cue weed, hash and cash stashes being flushed and trashed, but not quickly enough to avoid splashing around serious repercussions. A decade later, High Desert's protagonist has been sharing Roslyn's house and trying to kick her addictions while working at Pioneertown, a historical attraction that gives tourists a dusty, gun-toting taste of frontier life. Peggy would love to step back in time herself when she's not pretending to be a saloon barmaid — to when her recently deceased mother was still alive, however, rather than to her glitzy post-arrest shindigs. Still angry about being caught up in a drug bust, Dianne and Stewart have zero time for her nostalgia and a lack of patience left for her troubles. Their plan: to sell Roslyn's abode with no worries about where Peggy might end up. Her counter: doing everything she can to stop that from happening. High Desert doesn't just embrace the fact that living and breathing is merely weathering whatever weird, wild and sometimes-wonderful shambles fate throws your way; in a show created and written by Nurse Jackie and Damages alumni Jennifer Hoppe and Nancy Fichman, plus Miss Congeniality and Desperate Housewives' Katie Ford, that idea dictates the busy plot, too. High Desert streams via Apple TV+. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March and April this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Online shopping go-to The Iconic has no shortage of sales, but now it has launched a permanent sale in the form of an outlet site. The best part? Discounts start at a whopping 50 percent off. Called The Iconic Outlet and live to shop right now — say goodbye to your plans of a productive Monday at work — the site features heaps of women's, men's and kids' clothes, as well as accessories and shoes, for pocket change. You'll find heels and sandals for under $15, sneakers under $50, tops under $10, dresses under $20, shirts as little as $14 and a whole heap more. All the usual brands are on offer, too, including Nike, Speedo, Tigerlily, Calvin Klein, Tommy Hilfiger, Camilla and Adidas. As well as discounted clothes, The Iconic Outlet is offering a flat-rate delivery fee of $7.95 across Australia and $9.95 across NZ. The site's launch has come at a great time, too, with spring in full swing from tomorrow. So, if you need new bathers, beach shoes, dresses or hats, The Iconic Outlet has got your back. Alternatively, if you're still working from home and those trackies you've been thrashing are looking a little threadbare, you'll find some cheap new ones on the site. The Iconic Outlet website is now live in Australia and NZ. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
It kicked off more than four decades ago with one of the best horror movies ever made; however the Halloween franchise has been through quite a few ups and downs over the years. Clocking up ten follow-ups and 11 movies in total so far, the slasher series has delivered excellent and terrible sequels, veered into remake territory, both killed off and brought back its heroine, and completely erased parts of its own past several times. But, like its mask-wearing villain Michael Myers, it always finds a way to go on. Since 2018's Halloween, that's been especially great news — with the Jamie Lee Curtis-starring, Jason Blum-produced 11th flick in the franchise proving a smart, thrilling horror delight, and ranking second only to the movie that started it all. Indeed, the movie was such a success that two more sequels are set to come from the same team (aka Blum, writer/director David Gordon Green and co-scribe Danny McBride): Halloween Kills and Halloween Ends. Originally, Halloween Kills was due to hit screens his year, in October — when else? — but, as announced this week by franchise creator John Carpenter, it's now moving back its release to October 2021. As the iconic filmmaker explained via social media, "if we release it in October this year as planned, we have to face the reality that the film would be consumed in a compromised theatrical experience. After weighing our options, we have chosen to push the film's theatrical release by one year". Fans will now need to postpone their return trip to Haddonfield and their next encounter with Curtis' spirited Laurie Strode and her lifelong nemesis — but, if you're wondering what's in store, Carpenter also unveiled Halloween Kills' first teaser trailer. As the 30-second clip shows, the sequel is picking up where the last movie left off. Cue the iconic, Carpenter-composed theme music, obviously. Carpenter also noted that the new film has "lined up a cast of legacy characters... alongside some new faces, [and] we aggressively made the second chapter of our Halloween trilogy. It unfolded into an experience that was a creative playground and we feel confident that our misfit pleasures will be seen as an unexpected entry into this franchise". Check out the Halloween Kills teaser trailer below: https://www.youtube.com/watch?v=rHhZDYVoV7w Halloween Kills will release in Australian cinemas on October 15, 2021.
For the first time in over two decades, the Grammy Awards will take place in March this year, after the music industry's night of nights was postponed due to a surge in COVID-19 cases in Los Angeles. The ceremony has been pushed back from its original date of Sunday, January 31, and will now be held on Sunday, March 14 Pacific Time. For Australian viewers looking to tune into the ceremony, the new date to mark in your calendar is Monday, March 15. In a joint statement regarding the postponement from Chair and Interim President/CEO of the Recording Academy Harvey Mason Jr, CBS executive Jack Sussman and show producer Ben Winston, the worsening COVID-19 situation in LA was cited as the reason for the postponement. "The deteriorating COVID situation in Los Angeles, with hospital services being overwhelmed, ICUs having reached capacity, and new guidance from state and local governments have all led us to conclude that postponing our show was the right thing to do," reads the statement. The announcement comes after a record 29,464 new COVID-19 cases in Los Angeles County were reported in a single day on Saturday, December 26. There are currently 7898 COVID patients currently hospitalised in Los Angeles County. Leading the 2021 list of Grammy nominees is Beyoncé with nine nominations for her song 'Black Parade' and her collaboration with rapper Megan thee Stallion 'Savage (Remix)'. Australians Tame Impala and Flume are nominated for awards in the Best Alternative Music Album and Best Dance Recording categories respectively. Flume previously took out the Best Dance/Electronic Album Award in 2017 for his album Skin, while Tame Impala have been nominated twice previously but have never won. You can find the full list of nominees via the Grammy Awards' website. https://www.youtube.com/watch?v=MCRiUi28UpA The 63rd Annual Grammy Awards have been postponed to Sunday, March 14, 2021 Pacific Time — which is Monday, March 15, 2021 in Australia. For further information, head to the Grammy Awards website. Top images: Grammy Awards, M.Johnson / Flume, Andy Fraser.
It has been a long time between albums for Straight Arrows, but after 3 and a bit years in the wilderness they are back with their second LP, Rising. The garage-punks are highly respected amongst the Australian music community for their music, garage ethos and highly entertaining live show. Their 2010 effort, It’s Happening, was a perfect example of guitar fuzz executed to perfect and Rising follows that trend. With lead single, ‘Petrified’, the band has shown that they haven’t lost a step in their time off working on other projects and now they are ready to hit the road and show Australian crowds that they are still as energetic as ever. The band is playing The Brightside this Friday with support from acclaimed Canberra outfit, TV Colours and local punks Woodboot. TV Colours had a massive 2013 and are sure to be a highlight for any music fan. Tickets are $12 and are available from Moshtix.
This is one of those performances that makes you wonder why you can't seductively spin that many hula hoops around your body dressed in a sexy lycra glitter suit, or dangle yourself from the ceiling with a single hand without raising a sweat. Or maybe it's shows like this that make you realise why you can’t and shouldn’t ever attempt to do so. Empire has been produced by Spiegelworld and is all about the Spiegeltent experience with circus-y, burlesque-y goings on inside. Think round seating in velvet booths, tons of mirrors, and a show that’s as intimate as you can get without becoming a part of the performance. If you've been to the Spiegeltent you know what you're in for. There's also a carnival-style bar for those of us who simply cannot go without a glass of wine in our hands during a show, as you watch magicians, singers, extreme rollerskating, banana tricks, performers dangling in balls, slapstick and a few others showing off what their muscles can do.
We all know the fun things that can happen when a nostalgic childhood treat is reimagined for a grown-up audience. And the latest collaboration from gelato masters Messina and Sydney distillery Archie Rose is certainly one of the goodies. The pair has gone and reworked the classic neapolitan ice cream combo into a limited-edition trio of spirits, heavy on the retro-tastic dessert vibes and ready for your spring cocktail sessions. Available from Monday, September 7, the Neapolitan Set features three 200-millilitre spirit varieties crafted on produce from Messina's own Aussie farms, paying homage to the familiar pink, white and brown scoops that have long graced dinner tables across Australia. There's a strawberry and pink peppercorn gin, a vanilla and pandan vodka, and a chocolate-inspired cacao husk and hazelnut whisky. Archie Rose individually distilled a swag of top-quality ingredients to create each sip and has even come up with some suggested cocktails to put them to good use. For example, the gin teams locally foraged pink peppercorn and native river mint with juicy strawberries from Messina's farm in Dural, NSW. They say this one works particularly well matched with some of Messina's strawberry sorbet in a blushing riff on the miami vice cocktail. Meanwhile, the collaboration vodka uses fragrant pandan and sustainably sourced Tongan vanilla beans to create a spirit that's the perfect addition to a grasshopper. And the whisky stars roasted hazelnuts from both Italy and the Messina farm in Seymour, Victoria, along with macerated husks from rare cacao beans. Best try that one blended with a scoop of Messina's hazelnut gelato in a creamy toblerone concoction. While the spirit set will be available to buy online and from select bottle shops, Messina will also be dishing up a supporting act with a limited-edition decorated neapolitan gelato tub up for grabs from September 7. Plus, stay tuned for a virtual neapolitan cocktail masterclass, presented by Messina and Archie Rose on September 25. Find the Archie Rose x Messina Neapolitan Set ($109) at select bottle shops, the Archie Rose bar and on the Archie Rose website, from September 7.
Inspired by Madonna, Michael Jackson and Nine Inch Nails, Auckland based synth pop duo Computers Want Me Dead have decided they're not going to take themselves too seriously – resulting in a sound that's chaotic, almost dizzying synth pop that you can't help but pull shapes to. They've played Rhythm + Vines, Big Day Out and supported 30 Seconds to Mars – all while having only released their debut EP in March this year. They've taken over New Zealand and plan to take over the rest of the world later on this year, one synth track at a time. One half of Computers Want Me Dead, Sam Harvey, chats to Kirstie Sequitin about Gary Numan, Nine Inch Nails and embracing their inner synth pop. I read this thing on your Facebook profile last night, saying that your set is 'a whirling and buzzing tornado of sound akin to some wonderful lovechild of Gary Numan and Nine Inch Nails on ecstacy'. And then I saw that you had a photo taken with Gary the other day – did he have something to say about that? Yeah, yeah that was amazing! A friend of mine was organizing the Gary Numan show over here in Auckland, so as soon as I found out I ran in saying 'please, please, please can I meet him?' And I met him, he was the nicest guy I've ever met, it was incredible. Did he listen to your music at all? I don't know. It was funny because the friend that hosted the television show knows I'm a huge fan (of Gary) and actually gave him a copy of our CD live on air. I was like 'Oh my God, I can't believe you did that.' But, I don't know. I'd like to think that he would have heard it but yeah, no idea. Why do computers want you dead? The name is definitely ironic, because we both love computers and we're kind of nerdy in that way. But it actually comes from a friend of mine who had moved to Chicago wrote me this massive long email on MySpace, back in the day when MySpace was all the rage. So she wrote me this massive email and clicked send and… it timed out. She had spent two hours writing this email and was really really pissed off. The next email she wrote was titled 'Computers want me dead'. I was like, "I'm totally going to use that as a band name". She didn't believe me until we put out a single. What were you guys doing before Computers Want Me Dead and how did you guys start working together? I was wearing a Nine Inch Nails t-shirt at a work function and Damien came up to me and was like, "Oh yeah, I'm a fan of Nine Inch Nails too." And we just got talking. We were both talking about how we wanted to, you know, start a band, and we started jamming. We ended up moving into an apartment – I live here with Damien and his girlfriend – and it kind of just went from there. So how does a love for Nine Inch Nails translate to the stuff that you guys make together? Well, it's funny - it started off being a lot darker and kind of grittier. Then one day I changed the bass line on something and added the sort of poppy sounding synth and all of a sudden it was a different song and we just ran with that. But yeah, Nine Inch Nails are definitely a massive influence on both of us and kind of evidence of earlier stuff that we've done. I've played one of our singles to a friend of mine who is also a Nine Inch Nails fan and – I don't know if this is compliment but - he said "It sounds like Nine Inch Nails on E". And I was like, "Sweet. That's awesome". That was the coolest thing he could've said. You say that your music comes from being able to embrace pop music shamelessly; do you think other bands take themselves too seriously? Do you think that there's a bit of synth pop in every band? (laughs) I think everyone has a potential to take themselves too seriously. We're all guilty of it sometimes. But yeah, I don't know, there's some music that's more serious than others – and I'm a big fan of all kinds of stuff. I don't look at people who are really into what they're doing as taking themselves too seriously – I don't think they're pretentious or anything, but it's just not what this band is about. Computers Want Me Dead's self-titled EP is out now.
Windmills have gotten a bad rap, because although they successfully harness wind energy, not many find them too aesthetically pleasing. Wouldn't it be great if there was a way to capture the same amount of wind power as a windmill without building a field of giant pinwheels? Now there is. The T-Box is a power generator that uses the force of wind created by the speed of trains to produce energy. The device would be implanted in the sleepers of train tracks and are designed to capture, store and supply converted power. Rather than relying on natural wind, the idea behind the T-Box is to take advantage of wind energy that is man-made and inevitable. A 200 metre-long train traveling at 300 kph for 1km (a total of about 18 seconds) would produce 2.6 KWh of power. Collectively, the power from a train's single journey could help people in remote areas that don't have sufficient access to electricity. Trains are already one of the most 'green' forms of travel, why not make it even more efficient?
These big award shows are a funny business. Everything is so manicured and over the top. Everyone from every film or TV series you've seen seems to be there, but they're not quite right. They're not the character you really know them as, or they're too liquored up to look like anyone at all. Since the internet has risen up and eaten most of our free time, these shows have become a bit of a smorgasbord though. We don't really care about the glitz or the glamour of it, we kind of just want something funny to post on our Twitter feed. Every great joke or horrible mistake becomes well-known within minutes. Did something embarrassing happen to Matt Damon? Was Jennifer Lawrence being funny? Did Tina Fey and Amy Poehler channel Britney and Madonna for an on-stage kiss? In the interest of saving time, the answers to those questions are yes, yes, and unfortunately no. Here's your cheat sheet for the rest. 1. The Red Carpet Went Horribly Wrong Red carpets are usually pretty awkward. Most stars really just want to get inside to the open bar, and most reporters seem gloriously starstruck or out of their depth asking inane questions about manicure styles or the benefits of open toed heels versus closed. But this year's pre-show entertainment took awkward to a whole new level when E! Entertainment broadcasted some inappropriate 'fun facts' during their live stream of the event. These included 'FUN FACT: Michael J. Fox was diagnosed with Parkinson's disease in 1991' and 'FUN FACT: Robert Redford was stricken with polio as a child.' As if that wasn't enough of a dampener, the red carpet also suffered a small flash flood after a sprinkler malfunctioned. Luckily that was before the ceremony, and after a small delay Ryan Seacrest resumed his post as the weird plasticky go-to man, and stars like Elisabeth Moss rebelled the ceremony in their own small ways like flipping off the obligatory mani-cam. Go team. https://youtube.com/watch?v=Y-XGTLfaG3Y 2. Tina Fey and Amy Poehler Killed It This was always going to happen. Although it's always hard to shake images of Liz Lemon and Leslie Knope from your mind, these girls were perfect together last year and rekindled the magic for an impressive second show — they even called it in their opening monologue (duologue?): "When something kinda works, you keep doing it till everybody hates it." I don't think that will be any time soon however as all their one-liners hit the marks hard. Targets included George Clooney as they stated "Gravity [was] the story about how George Clooney would rather float away into space and die than spend one more minute with a woman his own age." Jonah Hill also got a dig off the back of his upcoming release The Wolf of Wall Street: "If I wanted to see Jonah Hill masturbate at a pool party, I would have gone to one of Jonah Hill's pool parties." Julia Louis-Dreyfus, Tom Hanks (or Tam Honks) and Matthew McConaughey also got a mention, but do yourself a favour and watch the whole thing here. 3. People were still making fun of Matt Damon Matt Damon was another mark hit in the opening monologue when Poehler said, "Matt, on any other night in any other room, you would be a big deal. But tonight — and don't take this the wrong way — you're basically a garbage person." Being the good sport that he is, when presenting on stage he then followed up with, "It's me, the garbage man. The garbage man who didn't bring his glasses. Fantastic." We know it's cruel, but there seems to be something so satisfying about making fun of this man. Team America was released nearly 10 years ago now, and he's done nothing to deserve it, but it's still so hard to say his name with a straight face. 4. Jennifer Lawrence was there (and she won) 2013 has already been deemed the year of J-Law, but we don't see the hype dying anytime soon. Right from the beginning she was causing a fuss as the entire internet exploded with something to say about her dress. So what if it's Christian Dior? She knows we love her. We have to knock her down a peg or two every so often just like we would an annoying little sister going to the formal. Before making it through the door, she already reclaimed her throne as queen of GIFs as she snuck up on Taylor Swift and joked about pushing her over. She then won Best Supporting Actress for her role in American Hustle, and followed it up with a press conference saying she needed to "catch up on her drinking". She'll be our dream babe forever. 5. People Were Drunk This is more of an educated guess than a hard observation, but hey, Emma Thompson threw her shoes over her shoulder and downed a martini on stage, Amy Poehler kissed Bono and Tina Fey compared Leonardo Dicaprio to a supermodel's vagina. I wish there was more context to each of these things, but that's really about all we can offer. Time to grab some icecream & switch over to #GIRLS — mia farrow (@MiaFarrow) January 13, 2014 6. Mia Farrow used Twitter to its full catty potential Woody Allen was a winner (of sorts) at the year's show as he received a lifetime achievement award. Star of his cult classic Annie Hall, Diane Keaton accepted the award on his behalf and praised in particular the women of Woody Allen's filmic world. "They struggle, they love, they fall apart, they dominate, they're flawed. They are, in fact, the hallmark of Woody's work," she said. Unfortunately the same cannot be said for the women of Woody's life off-screen as his ex-wife Mia Farrow took to Twitter and decided his tribute the perfect moment to tune out and catch the season premiere of Girls. No one can really blame her. 7. Things Got Awkward It wouldn't be an awards ceremony without someone overstaying their welcome during the speeches. This year, that cringe-worthy crowning moment belonged solely to Jacqueline Bisset. After winning Best Supporting Actress in a TV Mini-Series for her work in Dancing on the Edge, Bisset embarked on a strange bumbling journey into the unknown that was presumably just as painful for her to deliver as it was for us to watch. Problems on stage continued as an autocue failed for Jonah Hill and Margot Robbie, and Andy Samberg didn't have a speech at all after winning Best Actor in a Comedy Series. He then strangely copped a kiss on the lips from Modern Family's Julie Bowen. Awkward star contact continued when P. Diddy gave Bono a hug that was clearly a little off consensual. (We could watch that GIF forever.) 8. The Right People Won There's nothing more infuriating than sitting through an entire awards show, then seeing the cheesiest and least exciting shows take home the prizes. There's obviously going to be some disconnect between your opinion and that of the Hollywood Foreign Press, but still — it's nice when everything works out. Aside from J-Law, other winners included Breaking Bad for Best TV Drama and Bryan Cranston for his role in the lead. After their shocking loss at the Emmy's last year, this win seems the perfect way to see off the prolific show after its final episode late last year. Aaron Paul even summoned one final "Yeah, bitch," before leaving the stage pleasing millions of internet users worldwide. The top acting awards rightfully went out to Leonardo Dicaprio for The Wolf of Wolf Street and Cate Blanchett for her amazing work in Woody Allen's Blue Jasmine, and the top films were American Hustle and 12 Years A Slave. Amy Poehler finally got commended for her work as Leslie Knope in Parks and Recreation, and most importantly of all, both Modern Family and The Big Bang Theory received nothing. A good night was had by all.
Han Solo famously made the Kessel Run in 12 parsecs, Anakin Skywalker pod-raced his way to freedom and now Australian Star Wars fans can jog their way around a neon-hued galaxy. Even better — Aussie aficionados of George Lucas' space saga can not only run five kilometres through themed zones lit up brighter than a lightsaber, but also enjoy an intergalactic after party at the end of it. As part of 2019's 'May the Fourth' celebrations, Melbourne will welcome the first-ever Aussie Star Wars Neon Run. Yes, it's taking place on the appropriate date of Saturday, May 4, 2019, aka Star Wars day. Once evening hits, a yet-to-be-revealed Melbourne location will feel the force in a big way, and so will everyone choosing to walk, jog or sprint through spaces inspired by the series' stories, characters and icons. You'll be honouring your favourite movie franchise while exercising underneath neon light shows and fireworks, with the specifics — not only where it'll take place, but which figures will pop up, which music act will be playing the gig afterwards, what the interactive areas will entail and how much merchandise will be on offer — yet to be revealed. That said, this event has the official stamp of approval. The Walt Disney Company Australia is behind the Star Wars Neon Run, and given that it's the Aussie arm of the global company that owns, makes and releases all things Star Wars, you can expect the main event village and everything around it to be filled to the brim with appropriate theming. Tickets for this fun run-slash-Star Wars party don't come cheap, starting at $55 per person in the event pre-sale. If you're gathering the gang, forming a Rebel Alliance — aka running as a team — is welcome. All attendees will receive access to the run, main event village and shenanigans afterwards, plus a race bib, a Star Wars Neon Run headband and a sound-activated flashband as well. If you finish, you'll also receive a limited edition finisher's medal that'll make you the envy of any cantina you walk into. And, unsurprisingly, dressing up in costume is highly recommended. We all want to know whether Rey can beat Princess Leia in a footrace, after all — or whether Chewbacca, R2-D2 or BB-8 is the fastest sidekick. The Star Wars Neon Run takes place on Saturday, May 4, 2019 at a yet-to-be-announced location in Melbourne, with pre-sale tickets available now.
There's never a bad time to drink gin. If you're a fan of juniper spirits, any day ending in 'y' is a great day for your favourite tipple. But Brisbane's annual Ginuary Festival picks one date on the calendar, pours plenty of the beverage in the spotlight and turns it into a celebration. In 2023, all that gin sipping is happening on Sunday, January 22. We recommend that you arrive thirsty, as always — and that you prepare for plenty of company. Taking place for the fifth year, this shindig keeps going gin crazy and attracting a crowd, so this one is being held at Howard Smith Wharves' Rivershed and The Green House. Prepare to sip your way around ten gin degustation stations, too, which you'll find in a dedicated gin tasting hall. All samples are included in your ticket price, and there'll also be multiple gin bars — plus canapes to line your stomach. Also, you have options ticket-wise. A regular pass starts from $59 plus booking fee if you nab an early-bird ticket, or $69 afterwards, and gets you access to the gin stations — and their tastings — as well as those roaming bites to eat. Or, go VIP from $99/119 (plus booking fee) to get a festival bag, three 100-millilitre gin bottles and a few other take-home goodies. While any fest can say cheers to gin just because, Ginuary is also counting down 2022's Hottest 100 Gins, as it does every year. Accordingly, whichever ticket you go for, you'll still get to enjoy the best juniper-fuelled Australian and New Zealand tipples. You can vote online in advance, then revel in the results live on the day.
If Brisbane has a centrepiece other than the river snaking through the city, it's the most-famous bridge that sits atop the waterway. The Story Bridge is one of the Queensland capital's best-known landmarks. Its steel expanse is frequently the image used to depict Brissie. Now, whether you're a local or a tourist, it's also the perfect place to explore the city from a great height and from a First Nations viewpoint in tandem. Scaling the Story Bridge thanks to Story Bridge Adventure Climb has been a quintessential Brisbane activity since 2005. Taking in the stunning vista is only part of the new Indigenous Story Bridge Adventure Climb experience, however. You'll still reach the structure's heights, but you'll do so led by either Birrunga Wiradyuri and Jessica Skeen, with the two artists sharing stories about history, Country and culture in Meanjin along the way. Set to open in August 2024 — and already taking bookings from Tuesday, August 6 onwards — this is a two-hour, first-of-its-kind climb that's all about sharing the First Nations perspective on the city and honouring the storytelling that goes with it. Story Bridge Adventure Climb, Howard Smith Wharves and Birrunga Gallery, Wiradyuri's gallery, are behind the new experience. And while the new climb itself promises a must-do addition to Brissie, you can also expand it with native herb- and spice-seasoned crocodile and kangaroo as part of an Indigenous food platter, plus Skeen's boomerang-painting workshop. Via the Birrunga Gallery Cultural Creative Development Program, artist talks will also be on offer, and so will workshops about the importance of place. "Storytelling is an important part of Indigenous culture across Australia. Creating this experience with my friends and colleagues has been an incredibly rewarding and exciting process," said Wiradyuri. "Our goal is simple: it's to provide a safe, inclusive and creative space to immerse yourself in the history, tradition and practices of First Nations Australians. The bridge climb represents the upward journey we are on together and like all journeys, it starts with one foot in front of the other." "We hope that visitors take away a fresh perspective on Brisbane, art and their life. It's more than just a bucket-list experience, it's an opportunity to see life from another point of view." Brisbane's Indigenous Story Bridge Adventure Climb starts operating from Tuesday, August 6, 2024 — head to the Story Bridge Adventure Climb website for further details and bookings.
When the end of August hits, Greater Sydney will have been in lockdown for a very lengthy nine weeks. The region's stay-at-home stint hasn't just expanding in duration, however. Lockdowns have also been spreading across New South Wales as new positive COVID-19 cases pop up, including in Tamworth, Armidale, Newcastle, Lake Macquarie, Maitland, Port Stephens, Singleton, Dungog, Muswellbrook and Cessnock. And, since 6pm on Monday, August 9, four Local Government Areas on the NSW north coast have been put under stay-at-home conditions as well. Until at least Tuesday, August 17, the Byron Shire, Richmond Valley, Lismore and Ballina Shire LGAs are now under the same lockdown rules that Sydneysiders have been experiencing since the end of June. The stay-at-home order was announced "following updated health advice from NSW Chief Health Officer Dr Kerry Chant," NSW Health announced in a statement — and the new restrictions apply to everyone who lives in these areas, or has been there, on or after Saturday, July 31. The change comes after a man tested positive to COVID-19 in the area, after arriving in Byron from Sydney. As a result, it means that residents can only leave the house for four specific essential reasons: to work and study if you can't do it from home; for essential shopping; for exercise outdoors; and for compassionate reasons, which includes medical treatment, getting a COVID-19 test and getting vaccinated. ⚠️ Stay-at-home order for new areas of concern ⚠️ New restrictions will be introduced for the Byron Shire, Richmond Valley, Lismore and Ballina Shire Local Government Areas, effective from 6pm today until 12.01am Tuesday 17 August. pic.twitter.com/mLyRr4ShBU — NSW Health (@NSWHealth) August 9, 2021 Also, only businesses deemed "critical retail" are permitted to remain open. Stores that can continue to welcome in customers include supermarkets, grocery stores, butchers, bakeries, fruit and vegetable stores, liquor stores and fishmongers; pharmacies and chemists; and shops that primarily sell health, medical, maternity and infant supplies. Also allowed to stay open: pet supply shops, post offices, newsagencies, office supply stores, petrol stations, car hire places, banks, hardware shops, nurseries, and places that sell building, agricultural and rural goods. Any retail premises that don't fall into the above categories are closed to physical customers, but they can do takeaways, home deliveries, and click and collect orders. If you need supplies, only one person from each household can go out shopping each day to buy essential items — and browsing is prohibited, too. Carpooling is still off the cards, unless you're in a vehicle with members of your own household. And, you can still only exercise in groups of two outdoors — or as a household. And, although folks in Greater Sydney are under lockdown anyway — and, in Queensland, people in 11 LGAs in and around Brisbane have just come out of their own lockdown and are asked not to travel outside of these regions under current restrictions — no one should be venturing north or south to head to Byron while it is under stay-at-home conditions. In fact, as part of the order, people can't enter the Byron Shire, Richmond Valley, Lismore and Ballina Shire LGAs without a reasonable excuse to do so. As always, NSW residents are asked to continue to frequently check NSW Health's long list of locations and venues that positive coronavirus cases have visited. If you've been to anywhere listed on the specific dates and times, you'll need to get tested immediately and follow NSW Health's self-isolation instructions. In terms of symptoms, you should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste — and getting tested at a clinic if you have any. The Byron Shire, Richmond Valley, Lismore and Ballina Shire Local Government Areas will remain in lockdown until at least Tuesday, August 17. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
As much as we might want to be, we can’t all be on the other side of the world when 2015 commences — but we can certainly pretend we are. For the folks at The Fox, ignorance is bliss at London Calling, the best British celebration outside of Britain. Themed spaces get into the English groove, including the Tanqueray Centre Stage, Our House, The Pimms Palace and London Mega-Club, as well as the Kate Moss Rooftop Bar for high-fliers. Wearing the union jack and summoning your inner James Bond or Spice Girl is optional, but prepare for this party to leave you shaken, not stirred.
UPDATE, March 8, 2021: Brazen Hussies is available to stream via ABC iView. Chatting to activists involved in Australia's women's liberation movement during the 60s and 70s, Brazen Hussies doesn't lack in witty and wise ladies making pivotal points. But it's filmmaker Margot Nash (The Silences) who offers one of this documentary's most telling observations, and the one that crystallises exactly why this movie had to be made. "History has to be told over and over again," she advises. She's a talking head in the film, rather than the writer or director behind it — those roles fall to first-timer Catherine Dwyer — but she couldn't encapsulate Brazen Hussies' purpose any better if she was the doco's driving force. As the feature explains, it's easy for people to overlook this chapter of history, and the fact that it all happened so recently. It's easy to forget that women's lives were drastically different, as was the way they were regarded by the world around them. It'd also be easy to keep using Nash's words, and those of her fellow activists, to demonstrate why Brazen Hussies is vital, too — as a record and a reminder, and as viewing in general. Dwyer has amassed a formidable array of ladies, all of which could fuel their own documentaries. In fact, many of her subjects could make them. Cinematographer and filmmaker Martha Ansara (Changing the Needle) explains how she realised as a teen that her future was supposed to involve finding the right man. Author and journalist Anne Summers recalls how, when she became the first woman in her family to go to university, it dawned on her that she'd still be paid less than her male counterparts when she graduated. And filmmaker and writer Jeni Thornley (For Love or Money) describes her experiences as a pregnant woman after the death of the man she would've likely married, and how she was treated as if the situation was her fault. The list goes on. Academic and critic Barbara Creed notes that the word 'lesbian' just wasn't something that was uttered in Australia at the time, for instance. The first Aboriginal Australian to earn a law degree, Pat O'Shane talks about the impact of race, and the gulf between the white women's movement and the plight of Indigenous women. Elizabeth Reid shares memories from her stint as the first Advisor on Women's Affairs to a head of government anywhere in the world — to Prime Minister Gough Whitlam in the 70s — and steps through the way that the media responded to her position. Dwyer counts more than 25 women among her eponymous group, and their tales cover everything from tackling domestic violence and the victim-blaming that can go along with it, to the simple struggle to survive that single mothers faced. Indeed, Brazen Hussies packs not only a wealth of women into its frames, but a plethora of topics. There's a noticeable focus on Sydney and Melbourne over the rest of the country, and not every interviewee or issue is covered in-depth, but the film isn't short on breadth. Brazen Hussies' survey of all of the aforementioned matters — plus legal abortion, funding for childcare and society's abhorrence of female sexuality as well — happens in tandem with a historical recounting of Australia's actual fight for women's liberation. Inspired after working on 2014 documentary She's Beautiful When She's Angry, which did the same from a US perspective, Dwyer examines what drove these women to act and what they achieved, of course. At every moment, however, she's just as interested in how they battled for that change. Having access to a treasure trove of materials helps considerably. If the doco's talking-head lineup is impressive, it's bested only by the immense range of archival images and footage that Dwyer and editor Rosie Jones (director of The Family) splice together. With the rest of the filmmaking team, the pair sifted through more than 4000 photographs, journals, artworks and posters, and 800-plus news clips, documentaries and dramatic movies — and, unsurprisingly, Brazen Hussies is all the more detailed for it. All those pictures and and all that footage allows the film to show, not just tell. It also lets audiences witness key moments as they happened. Brisbanites should already know that the Regatta Hotel was once the site of an infamous 1965 protest by Merle Thornton and Rosalie Bogner, who chained themselves to the public bar to draw attention to the fact that women weren't legally allowed in. Still, seeing it occur is something else entirely. That also applies in Melbourne, with Zelda D'Aprano chaining herself to the city's Commonwealth building in 1971 to rally for equal pay. And the same feeling emanates from clips of author Kate Jennings addressing the crowd on the front lawn of Sydney University in 1970, too, which marked the first time that the male left had allowed a woman to speak at a public event. The impact of these specific actions, and of efforts big, small, headline-grabbing and routine by all the ladies seen in Brazen Hussies, is still being felt today. Paying tribute to these pioneering women is clearly another of the film's aims but, again, recognising and remembering what they did and how it echoes now couldn't be more crucial. Dwyer also serves up clips that contrast the present situation with the scenario a half-century ago, to put the bulk of the film in context for viewers. As everyone watching should already be well aware, much has changed for women since the documentary's subjects first started marching, protesting and pinching men's bums in the streets to show them how it feels; however, striving for progress remains an ongoing job. Not that any further motivation is needed, but Brazen Hussies is it: an engaging, informative and impassioned snapshot of a reality that's still so recent, and of the hard work that was required to even reach the current imperfect status quo. https://vimeo.com/451401547
When it's February in Berlin, the temperature is barely approaching positive figures and the ground is slick with last night's snow, there's only one place to be: the Berlin International Film Festival. Also known as the Berlinale, it's not just Germany's premier annual celebration of cinema, but one of the world's as well. Even from afar, it's easy to see why. Huge world premieres, like this year's opening night film Isle of Dogs? Tick. A host of famous attendees, spanning everyone from actors Bill Murray, Isabelle Huppert and Robert Pattinson to filmmakers Wes Anderson, Steven Soderbergh and Idris Elba (yes, he's a director too)? Tick again. Plenty of movies that everyone will be talking about for the next 12 months and longer? After featuring Call Me By Your Name and A Fantastic Woman on their 2017 program, the festival well and truly has that sorted in 2018 as well. There's nothing like being there, however. The rushing between cinemas, the pretzels devoured between sessions, the delicious mulled wine at the end of (and during) the day — from February 15 to 25, that was our life. We went, we watched, we saw scores of people walk out of unimpressive eventual Berlinale Golden Bear winner Touch Me Not, and we witnessed an entire theatre going crazy for Australia's own Hugo Weaving. And now that it's all over, we're excited about all of the movies that'll hopefully make their way to our own shores at festivals or in general release. Take our word for it, and look out for these ten at a cinema near you — we can't wait to catch them again. https://www.youtube.com/watch?v=dt__kig8PVU& ISLE OF DOGS A stop-motion animated movie about a futuristic Japanese wasteland filled with dogs, one plucky orphan boy trying to find his beloved pet and the island's helpful canine inhabitants, Isle of Dogs couldn't sound more like a Wes Anderson movie if it tried. Actually, thanks to a voice cast that includes Bill Murray, Jeff Goldblum, Bob Balaban, Greta Gerwig, Tilda Swinton, Bryan Cranston, Scarlett Johansson, Edward Norton and Frances McDormand, it literally sounds like a Wes Anderson movie during every moment — and, it proves a smart, sharp, glorious and gorgeous feast for both the ears and the eyes. It's no wonder that the filmmaker won Berlinale's best director award, with his ninth feature a feat of all-round artistry in each elaborate, detailed, textured frame. Similarly unsurprisingly, it's also filled with heart, humour and wit, all while making a very timely social statement. Yep, it's enough to make you go barking mad with delight. https://www.youtube.com/watch?v=jLVw6wlYJPo DAUGHTER OF MINE In 2015, Italian filmmaker Laura Bispuri and actress Alba Rohrwacher teamed up for Sworn Virgin, a compelling, moving film about an Albanian woman who vows to live life in the mountains, without sex and as a man rather than adhere to traditional views about female subservience. Their second collaboration, Daughter of Mine, also explores ideas of femininity, but in a vastly different way. It's also excellent, and exceptionally acted. As the title suggests, motherhood is in the spotlight as Rohrwacher's strong-willed Angelica and Valeria Golino's more traditionally maternal Tina grapple not only with each other, but over what's best for ten-year-old Vittoria (Sara Casu). As a Sardinian summer rolls by, the secret that connects the trio is thrust out into the open, as is a tussle between nature and nurture that shapes a young girl's journey of discovery. https://www.youtube.com/watch?v=J4LTz4OC3pA THE GREEN FOG No one loves movies the way that Guy Maddin loves movies. No one turns snippets of films into such loving, intelligent and amusing collages and homages like the experimental Canadian filmmaker either. In The Green Fog, he once again joins forces with his The Forbidden Room collaborators Evan and Galen Johnson, takes cues from Alfred Hitchcock's Vertigo and makes an amusing, immersive reimagining using clips from other San Francisco-set fare. The Game, The Love Bug, an NSYNC video — they're all featured in this retelling, as is everything from Sister Act to Basic Instinct to The Rock. The fact that The Green Fog mostly eschews dialogue adds another layer, too, to a finished product that sweeps over viewers like its titular mist. And, also brilliant is the trio's accompanying ten-minute Accidence, which peers into the balconies behind an apartment block in a clever and involving riff on Hitchcock's Rear Window. [caption id="attachment_660555" align="aligncenter" width="1920"] © Agnete Brun[/caption] U — JULY 22 There's nothing new about recreating a harrowing real-life event from the perspective of those who were there, and giving audiences an on-the-ground view of their horrifying experiences. There's nothing new about adopting that approach when it comes to mass shootings either, or just generally unravelling a tense and terrifying situation in a single shot. Still, Norwegian effort U — July 22 finds the best way to plunge viewers into the thick of one of the most traumatic incidents in the country's history. On the eponymous date in 2011, a right-wing extremist gunned down 69 of the 500 attendees at a youth summer camp on the island of Utøya, with filmmaker Erik Poppe following one 19-year-old's efforts to survive. Lead actress Andrea Berntzen is fantastic as the desperate young woman searching for her sister, and for a way to make it out alive, in a feature that's never easy to watch but remains heartbreakingly engrossing — and important — from start to finish. https://www.youtube.com/watch?v=182pyCffVLk PROFILE One of the best films at Berlinale unspools solely on a computer screen. It's the latest to use what might seem like a gimmick — and the third linked Night Watch, Wanted and Abraham Lincoln: Vampire Hunter director Timur Bekmambetov — and it's absolutely captivating. Unlike Unfriended and this year's Sundance flick Search, which he produced, Bekmambetov helms this based-on-a-true-story account of a journalist (Valene Kane) investigating ISIS enlistment campaigns by befriending a charming recruiter (Shazad Latif) online. Tabs, programs and windows pop up thick and fast, and the stress and tension soars with it, as a bond forms between the two. Profile won the audience award in the festival's Panorama section for good reason: slick, thrilling and utterly involving, and with pitch-perfect performances to go with it, it's a film that not only entertains and engages, but lingers. AN ELEPHANT SITTING STILL In his nearly four-hour debut feature, Chinese writer/director Hu Bo achieves what every filmmaker dreams of: a movie that assembles its parts in such an assured and astute way that changing even one element seems unthinkable. And it's not just the length of his first and only film that makes that such an impressive feat, but the command of tone, the naturalistic yet patient style, and the subject matter. Working with a story from one of his own novels, Hu weaves together intertwined slices of unhappy lives, following four figures miserable in their modern-day Chinese industrial town. Each is going through a particularly bleak day, and all are drawn to a story about an elephant that sits still and ignores the world around it. As a heartbreaking postscript that casts a shadow over every moment of his movie, the author-turned-filmmaker took his own life in October last year. https://www.youtube.com/watch?v=U7Z13OH9EyY TRANSIT As Barbara and Phoenix both cemented in recent years, Christian Petzold is one of Germany's best contemporary filmmakers, crafting accounts of the country's fractured past with an artistic eye and an empathetic gaze. With Transit, he bases his latest in the French port city of Marseilles, though his usual approach — and thematic fascinations — remain. Escaping war and fascism, the film's protagonist, Georg (Franz Rogowski), is desperate to flee to Mexico, but is forced to bide his time until the requisite papers come through. Assumed identities, heartbroken children, complex love triangles and the realisation that inertia is hell in itself all feature in this thoughtful, soulful film, as does a stellar turn by Victoria and Happy End's Rogowski, who proved a standout of the festival thanks to his similarly excellent work in contemplative warehouse romance In the Aisles. https://www.youtube.com/watch?v=u7KZrt_cHH0 UNSANE At the Berlinale press conference for Unsane, Steven Soderbergh was filed with enthusiasm about his latest filmmaking technique: shooting an entire feature on an iPhone. Watching the results of his efforts, it's easy to understand why — when you're making a psychological thriller about a woman (The Crown's Claire Foy) pursued by a stalker (Joshua Leonard), trapped in a mental health facility and pondering her sanity, you want the intimacy and immediacy that comes with his choice of camera. The film doesn't go exactly where that plot description suggests, either, in a tense, twist-filled, nightmarish flick that shows just why the cinema-loving world should be thankful that Soderbergh's supposed retirement didn't stick. If his 2013 flick Side Effects met his fantastic TV series The Knick, threw in a committed performance by Foy, adopted a pulpy tone and mirrored society's current probing of the treatment of women, it might look something like this. [caption id="attachment_660554" align="aligncenter" width="1920"] © Alejandra Carvajal[/caption] MUSEUM Heists have long proven one of cinema's favourite scenarios. Thankfully, there's no shortage of different approaches to what's become a very, very familiar on-screen premise. Museum throws up one of them — and won Berlinale's best screenplay prize for writer/director Alonso Ruizpalacios and co-scribe Manuel Alcala for its addition to the fold. The Gael Garcia Bernal-starring effort is actually loosely inspired by reality, taking on the Christmas eve 1985 theft of 140 indigenous objects from Mexico's National Museum of Anthropology, but doing so with fictional characters. That's just one of its playful touches, in a film that knows how to stage the main event in an attention-grabbing manner, yet also knows how to ponder everything from the control of historical artefacts to the bonds of friendship to father-son relationships, and to do so with a cheeky smile and stylistic confidence. https://www.youtube.com/watch?v=-sNP9laRXts ÁGA When a film takes viewers to a world vastly dissimilar to their own, one of the best pieces of praise it can garner is also one of the simplest. Calling a fictional movie "documentary-like" isn't just quick shorthand — it recognises the skill required to dive so convincingly, thoughtfully and delicately into another way of life, opening it up to audiences far removed from its reality while showing the requisite respect as well. And, it's a term that Ága earns as it follows ageing Inuit couple Nanook (Mikhail Aprosimov) and Sedna (Feodosia Ivanova), their daily existence in their snow-surrounded yurt, and the subtle — and not-so — changes encroaching upon their happiness. Finessed performances, astonishing images, a concise script, and a well-handled sense of pace and mood all combine for a movie that initially seems like it'll trek down a recognisable path, but is filled with its own considerable charms. Top image: © 2017 Twentieth Century Fox
The Brisbane Cabaret Festival sashays back onto the scene, enticing audiences with a moveable feast of fascinating performers. Presented across three weeks, beginning October 25th and ending November 11th, the festival will seek out intimate spaces, hidden gems, swing juke joints, sexy salons and dazzling theatres across the city. The Judith Wright Centre will play host to some of the most stunning shows in the festival lineup. Darkly funny the poetry of Jacques Prevert will be given violent rebirth using songs, movement, melody and spoken word in Projet Prevert. The piano pushing, ukele smashing, full voice of Brendan Maclean is coming to the show, with a treat for fans of Rufus Wainwright and Ben Folds. The Kransky Sisters from Esk bring their delightfully deranged performance along in their old Morris Major. Award-winning performer Megan Shorey flashes her undies as her cheeky cabaret charts the ups and downs of life through our choice of pants.
Enjoying a few beverages but avoiding a hangover is everyone's dream; however soon, it might be more than that. As far as booze alternatives go, a synthetic alcohol dubbed "alcosynth" (what else?) could just be the holy grail, offering drinkers the same happy, sociable sensations but without the morning-after consequences. It's little wonder that British professor and researcher David Nutt, who discovered the new substance, is testing two versions for widespread use. He's claiming that his hangover-free drink could replace normal alcohol by 2050, making seedy weekends a distant memory. Say goodbye to feeling like garbage after a big Friday night. Nutt and his team studied substances that have a similar effect on the brain, then designed their own non-toxic, highly secret formula that mimics the positive aspects of being drunk — aka that warm, chatty feeling everyone's seeking after a busy week. In doing so, they've avoided any impact upon parts of the brain that are negatively influenced by booze. It all sounds pretty great, though it does also seem a little too good to be true. Time will tell if hangovers really will go the way of landlines, flip phones and other long-gone remnants of the past, but until then we'll live in hope. Via Travel and Leisure.
UPDATE: SEPTEMBER 11, 2020 — Wonder Woman 1984 has moved its release date again, and will no longer release on Thursday, October 1. Instead, it will now hit cinemas on Saturday, December 26. This article has been updated to reflect that change. UPDATE: JULY 1, 2020 — Due to worldwide cinema closures and other concerns around COVID-19, Wonder Woman 1984 will no longer release on Thursday, August 13. Instead, it will now release on Thursday, October 1. This article has been updated to reflect that change. UPDATE: MARCH 25, 2020 — Due to cinema closures and other concerns around COVID-19, Wonder Woman 1984 will no longer release on its initially scheduled date of Thursday, June 4, 2020. Instead, it will now release on Thursday, August 13. 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. New Order's 'Blue Monday'. A giant mall. Women exercising in bright leotards and leg warmers. All of the above inspire instant visions of the 80s — which is where Wonder Woman is heading in her next big-screen outing. Yes, the fierce female superhero with the bullet-deflecting bracelets and Lasso of Truth is finally back, with Wonder Woman 1984 set to hit cinemas in 2020. Audiences have already explored Princess Diana of Themyscira's connection to Bruce Wayne in 2016's Batman v Superman: Dawn of Justice, stepped through her origin story and World War I antics in the original 2017 Wonder Woman, and seen how she works in a team in fellow 2017 release Justice League. Now, she's navigating the Cold War era and facing off against Kristen Wiig. The story this time around pits Gal Gadot's Amazon demigoddess against Wiig's Cheetah — also known as archaeologist Barbara Ann Minerva. While the franchise newcomer is looking rather meek and mild at the beginning of the just-dropped Wonder Woman 1984 trailer, she's not likely to stay that way for long in this eagerly awaited sequel. Game of Thrones, Narcos and The Mandalorian star Pedro Pascal also joins the cast as Maxwell Lord, a powerful businessman, and Chris Pine returns as American pilot Steve Trevor — despite the tragic events of the first film. Among the familiar faces, both Connie Nielsen and Robin Wright are set to pop up again, too, as Diana's mother and deceased sister respectively. And, behind the camera, writer/director Patty Jenkins is also back — as she should be given that Wonder Woman is currently the highest-grossing film ever directed solo by a woman. If you're a fan of huge action films based on comic books, you've probably noticed that 2020 is shaping up to be a big year for female-fronted stories, with Wonder Woman 1984 joining fellow DC Extended Universe effort Birds of Prey and the Fantabulous Emancipation of One Harley Quinn, as well as Marvel's Black Widow. The MCU has obviously been winning the cinematic battle in terms of size and scale over the past decade thanks to its 23-film saga to-date; however it doesn't escape notice that, when the latest Wonder Woman flick releases, three of the DCEU's nine films will have pushed women to the front. Check out the Wonder Woman 1984 trailer below: https://www.youtube.com/watch?v=sfM7_JLk-84&feature=emb_logo Wonder Woman 1984 was due to open in Australian cinemas on June 4, 2020, then on August 13, then October 1; however it'll now release on December 26 — we'll update you if any further changes are announced. Top image: Clay Enos/ ™ & © DC Comics. © 2018 WARNER BROS. ENTERTAINMENT INC.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are eight that you can watch right now at home. The Fall Guy The Nice Guys mightn't have scored a sequel, but The Fall Guy does nicely instead. Getting a hearty workout: Ryan Gosling's charm, comedic talent that just earned an Oscar-nominated showcase in Barbie and action skills as last seen in The Gray Man. He's back in stunts, too, as Drive first gifted the world so mesmerisingly. A loose remake of the 80s television series of the same name, The Fall Guy is a take-it-and-run-with-it kind of film, then. Not only does it grasp hold of what Gosling does best and sprint, but the same applies for co-lead Emily Blunt (Pain Hustlers) — and, of course, for director David Leitch (Bullet Train), who first took the journey from stunt performer to filmmaker with John Wick, has kept filling his resume with action fare since (see: Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs and Shaw and Bullet Train) and now virtually comes full circle in helming a flick where his protagonist does the same gig that he once did. Gosling's Colt Seavers is also taking it and running with it — in a profession where it's his job to help bring whatever impossible physical endeavour is required to the screen, as well as on the gig that gets him to Sydney. The Fall Guy starts 18 months prior to his trip Down Under, however, but still with him doubling for Tom Ryder (Aaron Taylor-Johnson, Bullet Train), one of the world's biggest actors. Seavers has a career that he loves and steady work at it thanks to Ryder's fame. He's also happily romancing Jody Moreno (Blunt), a camera operator with dreams of doing more. Then a stunt goes wrong, leaving him badly injured, battered and bruised emotionally and psychologically, and inspiring him to quit the business. Only a call from Ryder-loving producer Gail Meyer (Hannah Waddingham, Ted Lasso) sparks his return to the industry — he makes a crust as a valet once he's fit and able in-between — and, even then, it's only really the fact that Moreno is helming Ryder's latest movie as her directorial debut that nudges him onto the plane. Then, upon his arrival in Australia, Seavers soon discovers that the situation isn't exactly what he's been told. The Fall Guy streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with David Leitch and Kelly McCormick. Challengers Tennis is a game of serves, shots, slices and smashes, and also of approaches, backhands, rallies and volleys. Challengers is a film of each, too, plus a movie about tennis. As it follows a love triangle that charts a path so back and forth that its ins and outs could be carved by a ball being hit around on the court, it's a picture that takes its aesthetic, thematic and emotional approach from the sport that its trio of protagonists are obsessed with as well. Tennis is everything to Tashi Duncan (Zendaya, Dune: Part Two), Art Donaldson (Mike Faist, West Side Story) and Patrick Zweig (Josh O'Connor, La Chimera), other than the threesome themselves being everything to each other. It's a stroke of genius to fashion the feature about them around the game they adore, then. Metaphors comparing life with a pastime are easy to coin. Movies that build such a juxtaposition into their fabric are far harder to craft. But it's been true of Luca Guadagnino for decades: he's a craftsman. Jumping from one Dune franchise lead to another, after doing Call Me By Your Name and Bones and All with Timothée Chalamet, Guadagnino proves something else accurate that's been his cinematic baseline: he's infatuated with the cinema of yearning. Among his features so far, only in Bones and All was the hunger for connection literal. The Italian director didn't deliver cannibalism in Call Me By Your Name and doesn't in Challengers, but longing is the strongest flavour in all three, and prominent across the filmmaker's Suspiria, A Bigger Splash and I Am Love also. So, combine the idea of styling a movie around a tennis match — one spans its entire duration, in fact — with a lusty love triangle, romantic cravings and three players at the top of their field, then this is the sublime end product. Challengers is so smartly constructed, so well thought-out down to every meticulous detail, so sensual and seductive, and so on point in conveying Tashi plus Art and Patrick's feelings, that it's instantly one of Guadagnino's grand slams. Challengers streams via YouTube Movies, iTunes and Prime Video. Read our full review, as well as what Zendaya, Josh O'Connor and Mike Faist had to say about the film when they were in Australia. Perfect Days When Lou Reed's 'Perfect Day' enjoyed its initial sublime movie moment in Trainspotting, it soundtracked a descent into heroin's depths, including literally via the film's visual choices. For three decades since, that's been the tune's definitive on-screen use. Now drifts in Perfect Days, the Oscar-nominated Japan-set drama from German filmmaker Wim Wenders (Submergence). This slice-of-life movie takes its name from the song. It also places the iconic David Bowie-produced classic among the tracks listened to by toilet cleaner Hirayama (Kôji Yakusho, Vivant) as he goes about his daily routine. Fond of 60s- and 70s-era music, the Tokyo native's picks say everything about his mindset, both day by day and in his zen approach to his modest existence. 'Perfect Day' and Nina Simone's 'Feeling Good' each also sum up the feeling of watching this gorgeous ode to making the most of what you have, seeing beauty in the everyday and being in the moment. Not every tune that Hirayama pops into his van's tape deck — cassettes are still his format of choice — has the same type of title. Patti Smith's 'Redondo Beach', The Animals' 'The House of the Rising Sun', Otis Redding's '(Sittin' on) The Dock of the Bay' and The Rolling Stones' '(Walkin' Thru the) Sleepy City' also rank among his go-tos, all reflecting his mood in their own ways. If there's a wistfulness to Hirayama's music selections, it's in the manner that comes over all of us when we hark back to something that we first loved when we were younger. Perfect Days' protagonist is at peace with his life, however. Subtly layered into the film is the idea that things were once far different and more-conventionally successful, but Hirayama wasn't as content as he now is doing the rounds of the Japanese capital's public bathrooms, blasting his favourite songs between stops, eating lunch in a leafy park and photographing trees with an analogue camera. Perfect Days streams via YouTube Movies, iTunes and Prime Video. Read our full review. Robot Dreams Heartbreak is two souls wanting nothing more than each other, but life having other plans. So goes Robot Dreams, another dialogue-free marvel from Spanish filmmaker Pablo Berger, who had audiences feeling without words uttered with 2012's Blancanieves — and showed then with black and white imagery, as he does now with animation, that he's a master at deeply expressive visual storytelling. His fourth picture as a director was nominated for Best Animated Feature at the 2024 Academy Awards. In most years, if it wasn't up against Studio Ghibli's The Boy and the Heron, it would've taken home the Oscar. It earns not just affection instead, but the awe deserved of a movie that perfects the sensation of longing for someone to navigate life with, finding them, adoring them, then having fate doing what fate does by throwing up complications. Usually this would be a boy-meets-girl, boy-meets-boy or girl-meets-girl story. Here, it's a dog-meets-robot tale. The time: the 80s, with nods to Tab and Pong to prove it. The place: a version of Manhattan where anthropomorphised animals are the only inhabitants — plus mechanised offsiders that, just by placing an order and putting together the contents of the package that arrives, can be built as instant friends. Eating macaroni meals for one and watching TV solo in his small East Village apartment each evening, Dog is achingly lonely when he orders his Amica 2000 after seeing an infomercial. As he tinkers to construct Robot, pigeons watch on from the window, but they've never been his company. Soon exuberantly strutting the streets hand in hand with his maker, the android is a dream pal, however, this kismet pairing isn't what gives Robot Dreams its name. Robot Dreams streams via YouTube Movies, iTunes and Prime Video. Read our full review. Origin For most filmmakers, Isabel Wilkerson's Caste: The Origins of Our Discontents would've screamed for the documentary treatment. A non-fiction text published in 2020, it works through the thesis that racism in America isn't just the product of xenophobia, but is an example of social stratification. The journalist and author — and, in 1994, Pulitzer Prize-winner — examines how categorising populations into groups with a perceived grading is at the heart of US race relations, and how the same was true in Nazi Germany and still does in the treatment of the Dalit in India. A doco could spring easily from there. If it happens to in the future, no one should be surprised. Ava DuVernay, who brings Wilkerson's prize-winning tome to the screen now, has demonstrated again and again with Selma, The 13th and A Wrinkle in Time that she's not most directors, however. Make the points in Caste: The Origins of Our Discontents via a documentary, if and when that occurs, and they'd be accurate and powerful. Express them through cinema's function as an empathy machine, via personal tales including Wilkerson's own, and they resonate by getting audiences stepping into a range of shoes. Watching isn't merely investigating and learning in Origin, as Wilkerson as a character — played by Aunjanue Ellis-Taylor (The Color Purple) in a phenomenally passionate and thoughtful lead performance — does in a movie that's also a biopic about her life and work. Sitting down to DuVernay's film is all about feeling, understanding what it's like to be a range of people who are forced to grapple with being seen as less than others for no reason but the fact that urge to judge that keeps proving inherent in human nature. Origin streams via YouTube Movies, iTunes and Prime Video. Read our full review. Boy Kills World In The Hunger Games and its sequels and prequels, a post-apocalyptic totalitarian state enforces order by murder, picking children via lottery to compete until just one remains standing. Before it reached pages and screens, The Running Man, Battle Royale and Series 7: The Contenders were among the stories that got there first, always with kill-or-be-killed contests at their cores. Now Boy Kills World enters the fray, but in a city ruled over by despot Van Der Koy matriarch Hilda (Famke Janssen, Locked In), with a group of candidates chosen annually, then slaughtered at big televised display that is The Culling no matter what. The titular Boy (played by the US Goodnight Mommy remake's Nicholas and Cameron Crovetti as a kid) is the rare exception: after witnessing his sister and mother's execution in this nightmarish realm, he's simply left for dead. Making his feature debut, director Moritz Mohr (TV's Viva Berlin!) holds tight to another big-screen staple: a revenge mission. As an adult, that the role of Boy falls to Bill Skarsgård fresh from John Wick: Chapter 4 says plenty. The vengeance that's always fuelled that Keanu Reeves (The Matrix Resurrections)-led franchise, and fellow influence Oldboy as well, mixes with cinema's wealth of fight-to-the-death tales. Also thrown in with the fervour of a fan mixing together his favourite things — which is Mohr's unapologetic approach from start to finish — is a colour scheme that Kill Bill also deployed, Deadpool-style humour and violence, notes cribbed from Matthew Vaughn's Kingsman movies and Argylle with its carnage, and nods to video games and Hong Kong action fare plus Looney Tunes and anime. Boy Kills World streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Moritz Mohr. The First Omen Resurrecting horror franchises that first gleamed bright in the 70s is a trend that Hollywood isn't done idolising. Halloween did it. The Exorcist returned as well. Via remakes, Carrie, Suspiria and Black Christmas have all made comebacks since the 2010s. The Omen was always going to get its turn, then. Taking the prequel route — because the OG 1976 film hadn't spawned one yet with 1978's Damien — Omen II, 1981's Omen III: The Final Conflict and 1991's Omen IV: The Awakening, plus a 2006 remake and 2016's one-season TV series — gives rise to The First Omen, as set in Rome in 1971. Fans will know that June 6 that year was when Damien was born. Spinning backstories into new movies can create flicks that smack of inevitability above all else, but not here: this is a genuinely eerie and dread-laced Omen entry with an expert command of unnerving imagery by first-time feature director Arkasha Stevenson (Brand New Cherry Flavour), plus a well-chosen anchor in lead actor Nell Tiger Free (Game of Thrones). Horror, unusual babies, childminding at its most disquieting, a claustrophobic location, a lack of agency, distressing displays of faith: Free has been here before. Indeed, if Stevenson and her co-writers Tim Smith (a screenwriting debutant) and Keith Thomas (the director of 2022's awful Firestarter remake) used Servant as their inspiration in more ways than one, they've made a savvy choice. Featuring their star for four seasons between 2019–2023, that M Night Shyamalan (Knock at the Cabin)-produced series was one of the great horror streaming efforts of the past five years. The First Omen goes heavier on jolting visuals to go with its nerve-jangling atmosphere, but it too stands out. Its worst choice is being needlessly and gratingly blatant in connecting dots in its very last moments, even if nearly half a century has passed since this spawn-of-Satan saga began. The First Omen streams via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. Back to Black Casting a biopic can't be easy. The awards-courting label that hangs over the genre that's earned Cillian Murphy (Oppenheimer), Will Smith (King Richard), Jessica Chastain (The Eyes of Tammy Faye), Rami Malek (Bohemian Rhapsody), Renée Zellweger (Judy) and Gary Oldman (Darkest Hour) lead actor and actress Oscars over the past decade alone can't make the task any less tricky, either. Then, when music bios get a spin — which is often — the weight of recognition and fandom is an especially heavy factor. Does the actor resemble the star that they're playing physically or in spirit? Can they? Will their attempt to slip into someone else's mega fame read like a triumphant ode or a faded facsimile? Will they try to inhabit rather than impersonate? Is doing the real-life person justice even possible? The questions go on. Even with those queries in mind, Back to Black has chosen its lead well. In Industry's Marisa Abela, who has just six prior acting credits on her resume before now — Barbie is the latest; Man in a Box, her first, came when she was only 11 — the Amy Winehouse-focused film from director Sam Taylor-Johnson (A Million Little Pieces) and screenwriter Matt Greenhalgh (Film Stars Don't Die in Liverpool) has someone who looks the part beehive or not, and convincingly lives and breathes it behind a north London accent. She sings it, too, when the picture weaves in her own vocals atop Winehouse's music. But casting isn't the only key element for a biopic. The dance that a feature is taking through a well-known figure's life needs the material and the approach to support its central performance — the lyrics and tune to match with sheer talent, in music terms. If they fall flat, so does the flick. And unlike a bad song for an exceptional singer, there's no second chances in this realm. Back to Black streams via YouTube Movies and Prime Video. Read our full review. Looking for more viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April and May 2024 (and also January, February, March, April, May, June, July, August, September, October, November and December 2023, too). We keep a running list of must-stream TV from across 2024 as well, complete with full reviews. And, we've also rounded up 2023's 15 best films, 15 best straight-to-streaming movies, 15 top flicks hardly anyone saw, 30 other films to catch up with, 15 best new TV series of 2023, another 15 excellent new TV shows that you might've missed and 15 best returning shows.
A book whose plot Amazon describes as "how the sexiest sales girl in business earned her huge bonus by being the best at removing her high heels" might not be anything to write home about. You know what would be? If the author of said book was someone's dad, and that someone decided it would be hilarious to read a chapter every week to the entire world, with some incredibly funny friends providing commentary. Jamie Morton did just that with his father's (pen name: Rocky Flinstone) erotic 'novels', the Belinda Blinked series. And so the audacious and pants-wettingly hilarious podcast My Dad Wrote a Porno was born. And now Morton and his pals James Cooper and Alice Levine are bringing their hilarious smut to Brisbane on Monday, August 21. While listening to the podcast is a truly confusing and outrageous experience, imagine watching a guy read chapters from a porno novel that his dad wrote that includes the characters 'discussing the merits' of each others' nipples and popping their supposed 'vaginal lids'. In front of people. In real life. At least this time when you laugh out loud in public at the show, everyone will know what you're cackling at. If you're a fan of the show, the live incarnation should make you very happy. For as Belinda says: when you get what you want, you feel great.
When the Venice International Film Festival anoints the winner of its annual competition each year, movie lovers everywhere get a new entry on their must-see lists. It's the same with Cannes and Berlin as well — and in 2023, the Italian festival gave its Golden Lion to Poor Things. Can't wait to see Emma Stone with Greek Weird Wave director Yorgos Lanthimos after 2018's excellent The Favourite in this spin on Frankenstein? If you're in Brisbane, you can catch it soon thanks to the Brisbane International Film Festival. Fresh from announcing its first six titles for its upcoming fest, BIFF has now revealed that Poor Things is on the lineup as well. Mark Thursday, October 26–Sunday, November 5 in your diary, because that's when you'll be hitting up various Reading, Dendy and Five Star cinemas around Brisbane for this year's BIFF fix. Mark Wednesday, September 20 on your calendar as well, because that's when the rest of the bill will drop, too. As not one but two trailers so far have made plain, Poor Things looks like another unique movie from the director of The Lobster and the star of Cruella, after Stone earned an Oscar nomination (deservedly so) for Lanthimos' The Favourite. This time, the pair has traded regal dramas for a riff on Mary Shelley's Frankenstein — which will never stop being a gothic-horror masterpiece, or inspiring stories across the page, stage and screen. While Poor Things doesn't actually use that f-word, it looks mesmerising, eerie and stunning in its sneak peeks. Also, Stone is clearly playing a version of Frankenstein's monster. Poor Things adapts Alasdair Grey's 1992 award-winning novel, but the parallels with Shelley's mother-of-all horror greats are as obvious as a bolt of lightning. The focus: Bella Baxter, a woman resurrected by an unorthodox scientist, distinctive in her mannerisms afterwards and eager to learn about a world that isn't quite sure how to react. Continuing the movie's top-notch casting — and Lanthimos' in general, as seen in everything from Dogtooth and Alps to The Killing of a Sacred Deer as well — Poor Things features Willem Dafoe (The Northman) as the tinkering Dr Godwin Baxter; Mark Ruffalo (She-Hulk: Attorney at Law) as Duncan Wedderburn, a slick lawyer that Bella runs off with; and also Ramy's Ramy Youssef, plus On the Count of Three co-stars Jerrod Carmichael and Christopher Abbott. Also on BIFF's 2023 lineup: this year's Cannes Film Festival's Palme d'Or winner Anatomy of a Fall, a drama about an author (Sandra Hüller, Toni Erdmann) accused of her husband's murder from French director Justine Triet (Sibyl) — and opening-night pick Uproar, with the New Zealand feature coming to Brisbane fresh from premiering at the Toronto International Film Festival. Or, film fans can see Hirokazu Kore-eda's Monster, the prolific helmer's latest on a lengthy resume that also includes Shoplifters and Broker; body-horror film Tiger Stripes, which is set in the Malaysian jungle and won the 2023 Cannes Critics' Week Grand Prize; the talk show-set horror Late Night with the Devil ; and The Ending Goes Forever: The Screamfeeder Story, focusing on of Brisbane's 90s indie-music favourites. Check out the full trailer for Poor Things below: The 2023 Brisbane International Film Festival runs between Thursday, October 26–Sunday, November 5 at selected Dendy, Reading and Five Star cinemas around Brisbane. For further information, or to buy tickets, head to the festival website — and check back here on Wednesday, September 20 for the full program. Images: Yorgos Lanthimos. Courtesy of Searchlight Pictures. © 2023 20th Century Studios All Rights Reserved.
Earth Hour is a symbolic action. Although there is carbon saved by turning things off, the point is the unmissable demonstration that a huge chunk of the world's population caring about the same thing at the same time. If we can manage this for Earth Hour, why not for grander environmental things? The Hour started in Sydney in 2007, and has become an international event in the years since. There are Earth Hour events in Kenya, India and Ireland these days, but you don't need to travel so far afield to find a way to join in this time around. At its simplest, all you need to do is stay home and turn off the lights. But if you'd like to have a more social darkened moment, you can head to a candlelit restaurant or one of a raft of other lights-off events.
Want to bunker down in Bunker Bay with easy access to the ocean, spa treatments, infinity pools – and, of course, nearby wine regions? The Pullman Bunker Bay Resort is ticking quite a lot of those boxes and others, as it serves as a mighty luxurious base for exploration of the Margaret River Wine Region. A bit of a drive from Perth, Bunker Bay is worth the petrol for the clear waters alone, and the rest of Margaret River's attributes additionally. From here, you can head out on a group tour of the region's more than 150 cellar doors — famous wineries in the area include Xanadu, Cape Mentelle, Voyager and Leeuwin Estate — or get your own car or bike and follow an itinerary of your invention. Several of the estates also boast restaurants, so you're guaranteed to be both well fed and watered. On the other side of Margaret River's rolling hills, you've got that inviting ocean and a brilliant coastal walking track that will take you past Cape Leeuwin and its Instagram-ready lighthouse. The Mediterranean climate means there's never a bad time to holiday here, but come between June and November if you've always wanted to try a spot of whale-watching. Humpback, southern right, minke and even blue whales have been known to migrate past this coastline each year. Back in the comfort of the Pullman Bunker Bay Resort, studio or bungalow-style villas house guests here, and all villas have lake or garden views and a boardwalk to the beach, so it's an easy stroll towards fulfilling your holiday hit-list. Vie Spa occupies the side of your vacation that is "lying down and utterly relaxing", with their beachfront location and couples suites a very valid option for honeymooners. Kinks in your back all worked out? You can head to the Bunker Bay Resort's restaurant – Other Side of the Moon is its name, and utilising fresh and sustainable local produce in share plates is its tasty game. Eat well but don't forget to explore the wines too – you're in the Margaret River region after all.
