As Pedro Almodóvar sees it, every aspect of life is filled with emotion and mystery. Sentiment and suspense ooze through his movies – although it's not just his narratives that inspire intrigue, or speak volumes about desire, loss, longing and guilt. With a command of style that matches his storytelling abilities, each shade of colour, each textured surface, each intimate close-up and each patient pause reveals and teases, too. The writer-director asks audiences to do more than watch; he wants viewers of his films to probe, to question and — above all else — to feel. It's little wonder, then, that Almodóvar's career has been built upon affairs of the heart and matters weighing on the mind, with his twentieth feature sticking to familiar territory. After sky-high camp comedy misfire I'm So Excited, Julieta unpacks the life of its eponymous figure with hints of the darkness that made the horror-tinged The Skin I Live In so thrilling, and with ample doses of the contemplation and inner drama that have served the Spanish filmmaker so well. First glimpsed in middle age, Julieta (Emma Suárez) is preparing to leave Madrid with her boyfriend (Darío Grandinetti) when she crosses paths with an old friend of her now-estranged daughter. Memories of other times swirl up, derailing her plans and motivating a move into a building the two inhabited years earlier. There, as she comes as close as she can to living in the past, she puts pen to paper to recount her tale. The film brings her recollections to the screen, as a younger Julieta (Adriana Ugarte) meets fisherman Xoan (Daniel Grao) on a train, settles in a seaside village, and forges a happy but short-lived existence. Complex relationships, contentment stolen away by a painful fate, and previous tragedies colouring future decisions – yes, Julieta proves a classic Almodóvar effort through and through, as it fuses three separate short stories from Alice Munro's 2004 book Runaway into one vivid and involving whole. Of course, from the moment the movie opens with the sight of the red fabric of one of Julieta's dresses, its visuals fall into the same category. And while there's little about Julieta that challenges its director or will surprise his fans, it still offers an evocative example of a craftsman doing what he does well. That Julieta largely unravels as expected in both its narrative and in Almodóvar's approach doesn't dampen its vibrancy. Indeed, appearing to so closely follow his own formula might just be by design. That increasingly seems the case whenever the film's performances capture attention, with both Suárez and Ugarte demonstrating devastating nuance. Not only do they provide two different takes on the titular character, but, in the process, they also represent the present and past of Almodóvar's long line of on-screen women. He's long been recognised for exploring female-centric stories and drawing potent performances out of his actresses. As he lets his two leads energise and complicate the film as necessary, he showcases their talent as well as the quiet evolution of his various heroines.
If you’ve been keeping up with Brisbane’s live music exports, you’ll be no stranger to Kite String Tangle. With his groove-abusive beats, and vibrant angles on conventional electo-sound, he’s one of our cities finest musical crafters, and is finally receiving the overwhelming national credit he’s long deserved – hand him the key to the city already Newman. Kite String Tangle has strings pulling him all around the nation – from festivals to sold out gigs – and now he’s home, and ready to throw some dance beats around the neighbourhood. The Zoo will be hosting his homecoming – tiara’s encouraged, and you can jog along for the cheap and chips price of $19.40. If you’ve read this entire piece, thinking who the heck is Kite String Tangle, you are a loser – sorry. But seriously, get on board, and discover the best piece of musical meat on the Brisbane beat buffet. Check out Kite String Tangle’s 'Given the Chance'
Death is everywhere in The Book Thief: sometimes shown, usually implied and — every so often — speaking as its narrator. There is death in the film's opening scene, and there is death again at its end, yet early denunciations have labelled it 'Holocaust lite' or 'Holocaust kitsch', with one critic going so far as to call it "a preposterously sanitised portrait of hardship and war". If these criticisms (of which there have been many) were to be distilled into one pure, refined quibble, it would be that The Book Thief is simply too nice for a story that, at least in part, touches upon the Holocaust. Is it Schindler's List? No, but let's be clear: it's not even remotely trying to be. Directed by Brian Percival (Downton Abbey), this is a PG film, based on a young adult novel and told from the perspective of a 13-year-old German girl. Neither the bestselling book by Markus Zusak nor the film adaptation ever set out to tell the same old conventionally harrowing and affecting war narrative, because — presumably — that story has already been told so many times before. Instead, it presents the moving, imaginative and even charming tale of a child's profound love of literature and its ability to transport, enlighten, incriminate, incite and inspire its reader. That child is Liesel Meminger (Sophie Nelisse), who's put up for adoption after her communist mother is forced to flee the Nazi purge. Liesel's brother dies en route to their new home with the elderly Hubermanns (Geoffrey Rush and Emily Watson), and from the outset it's clear she has an ally in the playful Hans and a challenge in his irascible wife Rosa. She also quickly befriends her snowy-haired neighbour and champion runner Rudy (Nico Liersch), whose idolisation of African-American sprinter Jesse Owens places him at odds with local the Nazi Party officials. Most importantly, though, Liesel begins to learn how to read, and together with Hans she quickly discovers the infinite joys and rewards to be found in books. Her first is picked up on the day of her brother's funeral, the next, rescued from the ashes of a book burning event. Each book tells a story, yet also has a story of its own, and none more so than the copy of Mein Kampf possessed by Max (Ben Schnetzer), a Jewish man kept safe and hidden by the Hubermanns. Which brings us again to the accusation of 'Holocaust kitsch'. Max's torment is prolonged and palpable, drifting close to death on multiple occasions through exhaustion, malnourishment, exposure and the unremitting threat of discovery. Worst of all, he spends — quite literally — years living in the Hubermanns' basement without even a single opportunity to breathe fresh air or once see the sky. Had The Book Thief been told from his perspective, it would have been every bit the despairing and wretched tale so many apparently seek, yet it would not have been the tale told to Zusak by his grandparents and which he, in turn, wished to tell the world. If many of these critics are to be believed, the only way you're permitted to tell a Holocaust story is through bleak imagery, solemn dialogue and a complete lack of tenderness. The Book Thief, much like 1997's Life Is Beautiful, offers a different perspective. Through the extraordinarily talented Nelisse, we see a scared, confused and compassionate girl attempting to make sense of the senseless. The horrors befalling so many around her aren't explicitly shown, but our knowledge of them, matched with the meticulously recreated settings, contributes to a beautiful and largely original tale of one family's bravery, decency and humanity. https://youtube.com/watch?v=hEnLF-pCybw
It couldn't have been hard to cast Pete Davidson as a stoner in Dumb Money, but getting the Bupkis star playing a part that barely feels like a part on paper is perfect in this ripped-from-the-headlines film. He doesn't give the movie's top performance, which goes to lead Paul Dano (The Fabelmans), but he's satisfyingly great as the DoorDash driver who's often trolling his brother online and in-person. He's also an example in Cruella and I, Tonya director Craig Gillespie's entertaining feature of one of the ideas that this true tale heartily disproves. Viewers know what they're going to get from Davidson, and he delivers. Wall Street thought it knew what it was in for when small-time investors splashed their cash on stock for US video-game store chain GameStop, too, but the frenzy that resulted demonstrated otherwise. It was in 2019 IRL when DeepFuckingValue aka Roaring Kitty aka Keith Gill first posted on subreddit r/wallstreetbets that he'd bought stock in GameStop, the Texas-born brand that had been struggling but he thought was undervalued. Dumb Money tells this story from Keith's digital enthusiasm through to the impact upon the financial markets, plus the worldwide attention that followed. In 2021, the GameStop situation wasn't just news. It was a phenomenon, and one of the great modern-day David-versus-Goliath scenarios. There's a reason that this recent chapter of history been turned into a movie, and not just because it's an easy candidate to try to emulate The Big Short: the big end of town kept pulling its usual strings, the 99 percent played their own game instead and the status quo was upended — temporarily. Amid its array of memes, news clips and TikTok snippets, Dumb Money meets Keith in the pandemic, where empty commutes to his industry gig contrast with netizens hanging on his virtual chatter. As the hachimaki-wearing, beer-sipping Roaring Kitty, the Bostonian YouTuber streams from his basement, talking about how "Wall Street gets it wrong all the time" — and why GameSpot might be one of those instances. His wife Caroline (Shailene Woodley, Robots) is already supportive, and viewers and forum posters begin to agree. Enter a motley crew of characters all snapping up stock: Pittsburgh nurse and single mother Jenny (America Ferrera, Barbie) dreams of being able to comfortably take care of her children, Austin college students Riri (Myha'la Herrold, Black Mirror) and Harmony (Talia Ryder, Do Revenge) have tuition to pay, and Detroit GameStop worker Marcos (Anthony Ramos, Transformers: Rise of the Beasts) sports bigger ambitions than toeing the corporate line enforced by his by-the-book boss Brad (Dane DeHaan, Oppenheimer). Keith, Jenny and company comprise Dumb Money's titular term: it's what amateur individual investors are dubbed. On the supposedly "smart money" side sit the wealthy who want to get even wealthier. Hedge fund cronies Gabe Plotkin (Seth Rogen, Teenage Mutant Ninja Turtles: Mutant Mayhem), Steve Cohen (Vincent D'Onofrio, Godfather of Harlem) and Kenneth C Griffin (Nick Offerman, The Last of Us) are all spliced into the pacy narrative from luxurious abodes — Miami mansions, well-appointed offices and country clubs — while looking like money as well as living and breathing it. With GameStop, they're aiming to make more by betting the other way. They'll profit as shares fall, which Roaring Kitty, his acolytes and their efforts to drive up the price to cash in themselves threaten. Also in the slick-and-sweating camp are Vlad Tenev (Sebastian Stan, Sharper) and Baiju Bhatt (Rushi Kota, Never Have I Ever), creators of trading platform Robinhood, which is touted as a democratising advance and widely used by GameStop stock devotees, then shifts its allegiances. Rogen, Stan and Australian filmmaker Gillespe collaborated on Pam & Tommy, which also took a slice of actuality, broke down the details, unpacked the chaos and served it up engagingly. It was an underdog tale as well — not by splitting its time between its eponymous celebrities and the folks who leaked their sex tape, but because Pamela Anderson's fight to be seen as more than a sex symbol beat at its centre. Here, the hierarchy is straightforward. There's no doubting who's battling and who already possesses the power, although an off-screen tidbit does cast a shadow over the anti-establishment push, emphasising that money talks no matter what. Among the film's executive producers are Tyler and Cameron Winklevoss, the investors famous for being portrayed by Armie Hammer in The Social Network, plus everything that movie covered about their involvement in Facebook's early days. Penned by Orange Is the New Black alumni Lauren Schuker Blum and Rebecca Angelo, adapting Ben Mezrich's 2021 book The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees (the author's 2009 tome The Accidental Billionaires: The Founding of Facebook, a Tale of Sex, Money, Genius, and Betrayal was the basis for The Social Network), Dumb Money isn't the first time that the GameStop stock saga has reached screens. It also won't be the last. Two-part HBO documentary Gaming Wall Street arrived in 2022 with Succession's Kieran Culkin narrating, and doco film GameStop: Rise of the Players hit the same year. Reports have also swirled about a Netflix feature starring To All the Boys' Noah Centino and written by The Hurt Locker Oscar-winner Mark Boal, and another flick called To the Moon. Whatever else does follow, this version is clearly a Gillespe joint right down to the overt needle drops, which summed up Cruella in all the wrong ways — but style and substance find a better match here. Dumb Money keeps things snappy but never too sleek; it's lively and giddy but grounded; and it's about the rise to eat the rich, not just about rich who demand eating, even if reality's revolution hasn't been that ravenous. The narrative journey is all rollercoaster, as is the stock journey — rises, falls, soaring and dipping included — and Dano's key performance straps in for it all. He's calm, earnest, determined, passionate and likeable, selling Keith's growing folk-hero status as well as the fact that he's an everyman galvanising ordinary people from his suburban home while trying to carve out a better future for his family. Dano is also excellent when dealing with Davidson as Keith's gleefully shit-stirring brother Kevin, who borrows his car without asking to make his deliveries and skims off the orders he's ferrying around. This pair constantly prove apt in the film's story in multiple ways, including by conveying eagerness for more yet not dutifully buying what capitalism is slinging. Everyone around Dano and Davidson hits their marks, albeit without as much room for depth afforded by the screenplay, but Dumb Money is all the more compelling — and right on the money — for never forgetting that this is a collective tale.
It has been a busy year for Russian incompetence, on-screen at least. After Chernobyl so blisteringly explored 1986's devastating nuclear reactor explosion and its widespread fallout, Kursk jumps forward to 2000's submarine disaster, where 118 sailors lost their lives during the sinking of a nuclear-powered vessel. The arrival of both the HBO mini-series and now this film in such short succession is a clear sign of the times — as Russia's influence, especially of the covert kind, continues to loom over world affairs, interrogating the country's high-profile misfortunes is hardly an unexpected trend. Today's filmmakers can't force certain parties in power to take Russian election meddling seriously, but they can examine how the world's largest nation by area has dealt with its own catastrophes. Kursk, like Chernobyl, doesn't provide a flattering portrait. In August 2000, as part of the first major Russian naval exercise since the fall of the Soviet Union, Oscar-class K-141 submarine Kursk descended into the ocean's depths. Although it was merely participating in training, it carried live combat weapons, including practice torpedoes — and when one exploded onboard, it set off a chain reaction that would strand the vessel at the bottom of the Barents Sea. Those who survived the initial blast were stuck waiting. First, they waited for Russian authorities to realise what had happened, which took hours. Then, as water seeped in, and supplies and oxygen dwindled, they bided their time as repeated rescue efforts floundered. Ever-protective of their military technology, and just as determined to assert that they could take care of the problem themselves, the Russian Navy even refused international assistance, making the trapped men wait longer still. That's how Thomas Vinterberg tells the tale of the Kursk, with the Danish filmmaker teaming up with Saving Private Ryan screenwriter Robert Rodat to adapt Robert Moore's non-fiction book A Time to Die. For the sake of heightened drama, some facts and timelines have been massaged, however the overall premise — that a Russian submarine sank, the country was poorly equipped to handle it and people paid with their lives — remains. So too does the notion of a nation more concerned with perception than its population; one in which citizens are expected to prove their unflinching patriotism by paying the ultimate price, but where the government won't dare risk its reputation to save them in return. Understandably, this damning truth lingers over every moment of Kursk, making an already sombre story even more so. Indeed, it's as evident on-screen as the grey colour scheme, the oppressive pressure felt in the movie's submarine scenes, and the use of different aspect ratios to send an emotional message. While he's working with a budget far beyond anything he might've dreamed of, or wanted, back when he co-founded the fiercely independent Dogme 95 cinema movement with Lars von Trier, Vinterberg is in comfortable thematic territory. Boasting a resume littered with moral quandaries, including the recent The Hunt and Far from the Madding Crowd, the writer-director has always been a keen observer of folks in a bind. That's what captain-lieutenant Mikhail Averin (Matthias Schoenaerts) and his men find themselves in, to put it mildly, as the clock ticks down and the end we all know is coming inches closer. Meanwhile, Mikhail's wife Tanya (Léa Seydoux) fights for both action and answers back above sea level, numerous admirals (Max von Sydow and Peter Simonischek, primarily) either toe or flout the government line, and offers of British help by Commodore David Russell (Colin Firth) keep falling on stubborn ears. Kursk doesn't spend enough time with any one person to be called a character study, and its broad scope necessitates more than a few shortcuts and cliches. When the movie opens with the sound of gasping breaths, only to show Mikhail timing how long his pre-teen son Misha (Artemiy Spiridonov) can stay underwater in the bathtub, it's an obvious move, for example. Still, in serving up an overview of the disaster's affected parties, and cycling between them as they endeavour to weather the horrific situation, Vinterberg's film is never less than compelling and heartbreaking. While his cast helps considerably, especially Schoenaerts and Seydoux, the director paints a powerful picture of tragedy, courage and (on the part of the Russian officials) sheer arrogance. This is a story of sailors scrambling to wade through life-or-death terror, of their loved ones refusing to kowtow to the authorities, and of the conflict bubbling beneath the rescue attempts — and it's as moving and gripping as the real-life scenario and the men lost to it demands.
When it happened, the global financial crisis wasn't funny, and frankly it still isn't. That The Big Short manages to find humour amidst the ruins is a credit to writer-director Adam McKay — even if it is a very different brand from his usual shtick, seen in Will Ferrell flicks Anchorman, Step Brothers and The Other Guys. "What else can we do but laugh?", the film asks, tell-it-like-it-is style. It's a brand of humour informed by outrage: horrified at what happened, determined to explain it and furious that little has changed. That air of impassioned incredulity suits the facts the feature concerns itself with, namely the bubble in the U.S. housing and mortgage market that very few people saw coming. It also suits the source material, a non-fiction book of the same name by Moneyball author Michael Lewis. If you're still not certain how such a film could garner laughs, that's understandable. In telling a true tale that still inspires disbelief — and sifts through some complex economic concepts in the process — The Big Short benefits from McKay's savvy stylistic choices. Accordingly, when viewers meet the rare folks who thought something was wrong prior to 2008, they're not just following a straightforward narrative. Rather, they're switching between larger-than-life players, and listening to knowing narration by Ryan Gosling in character. In between, celebrities playing themselves help break down the complicated economic jargon, while the audience is given a glimpse of society's obsession with wealth and excess through rapid, infomercial-like montages. Taken together, it paints a slick, cynical, at times farcical picture, though the details themselves remain potent. Dr Michael Burry (Christian Bale) first notices the potential for the bubble to burst and decides to bet against the market by buying credit default swaps, something that money-hungry bankers had to create because no one had asked for anything like them before. Deutsche Bank trader Jared Vennett (Ryan Gosling) starts shopping around the same products, convincing crusading hedge fund manager Mark Baum (Steve Carrell) that a collapse is imminent. Meanwhile, up-and-comers Charlie Geller (John Magaro) and Jamie Shipley (Finn Wittrock) are trying to move their garage-operated fund into the big leagues when they get wind of the situation. As the characters wait for the market to topple over, McKay delves into the shady practices that brought about such a precarious scenario. His sly tone and smart approach to the topic lays the circumstances bare in accessible terms, while making his anger perfectly clear. It's the closest a film can get to simultaneously educating, entertaining and shouting at its audience, and it makes for highly compelling viewing. The high-profile cast — which also includes Brad Pitt as a retired banker pal of Charlie and Jamie — are further weapons in McKay's arsenal. In fact, so skilled are their efforts that you might not grasp the movie's biggest joke until the end. Burry, Vennett, Baum and company might be the film's protagonists, but they're just as immersed in the fiscal mess as everyone else. In a situation where there can be no winners, they're the sympathetic parties only because they know that that's the case.
Happiness, then horror. That's what Herself's earliest moments serve up. When the gripping and poignant Irish drama opens, it's with the sight of Sandra (Claire Dunne, Spider-Man: Far From Home) being given a makeover by her two daughters Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara). The younger pair tenderly apply lip gloss, blush and shimmering eye shadow as they talk about their mother's under-eye birthmark, then the trio dance blissfully in the kitchen to Sia's 'Chandelier'. But Gary (Ian Lloyd Anderson, Vikings) arrives home mid-song, and he's angry. He's found a roll of cash hidden in the family's car, and he's soon unleashing his furious thoughts and unforgiving fists in response. The film cuts between the violence that follows and Emma's rushed run to a local shop to seek help for her mother — but even just seen in glimpses, the ordeal that Sandra is put through by her savage spouse is both harrowing and heartbreaking. Survivalist films typically pit humans against the elements, nature or space, frequently testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), endeavouring to prevail in unwelcoming expanses (Into the Wild, Arctic), coming face to face with animal predators (The Grey, Crawl) or ascending to the heavens and all that it entails (Gravity, The Martian). Herself doesn't tick a single one of these boxes, but it still fits the genre. In fact, it might be one of the most essential survivalist movies yet. What else is a feature about a woman trying to escape an abusive marriage, care for her two children alone and build a safe future that's all her own, if not a story of survival? What else is Sandra doing but simply attempting to persist and persevere when she leaves Gary, then weathers the consequences — because neither life in general, nor social services and government bureaucracy specifically, are particularly hospitable to women in her situation? Herself needn't wonder what it's like to try to hold on while you're cut off from the world, or to navigate that other survivalist film staple, the post-apocalyptic realm, because it dives straight into a torturous life-or-death situation that happens every day around the globe. It's clear from the outset that Sandra and Gary's marriage hasn't been content for some time, and that she's long had the bruises to prove it. Her badly fractured hand, a marker of this latest outburst, becomes the latest physical symbol of their domestic horror, as well as the catalyst that gets Sandra to finally farewell their relationship. Forging a path forward proves complicated at every turn, however. The authorities can only house the trio in a hotel far away from the girls' school, with the wait for permanent housing expected to take years. Juggling two jobs to barely scrape by becomes even trickier and, by court order, Gary still gets weekend visits with the kids. Then, thanks to a spark of unexpected inspiration from a bedtime story, Sandra decides to try to build her own house — a €35,000 self-build that only becomes possible due to an overwhelmingly thoughtful gift from one of her bosses, Peggy (Harriet Walter, Killing Eve). Also pivotal: the kindness of a construction industry veteran Aido (Conleth Hill, near-unrecognisable from his time as Game of Thrones' Varys), who knows Gary's reputation; and all the help she can muster from friends and colleagues, plus whoever they can round up to assist as well. An actor with an extensive theatre history, Dunne turns in a phenomenally rich and vulnerable performance — one that would silence an entire room if she was on a stage, rather than on the screen. In her hands, Sandra is determined, but she also knows all too well what it's like to feel defeated. She's no longer willing to stay with her husband for their children's sake, and she can understandably barely stand to be in the same place as him, but she also mourns for what their relationship once was. She knows what's against her at every turn, she has the pluck to keep soldiering on again and again, but she's no saint or martyr. She struggles, she wavers between not knowing how to accept help and almost demanding it, and she grapples with finding her voice and her sense of agency — especially when put on the spot in court — after being robbed of both for so long. With What Richard Did's Malcolm Campbell, Dunne co-wrote Herself's script, too, and it's clear that she breathes every speck of pain, despair, diligence and fortitude that Sandra so visibly cycles through. As a writer, Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra constantly, but it avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, affectionate gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and showing the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles onwards, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense, compassionate but still clear-eyed drama. It's as bleak as French standout Custody, which also plunges into an abusive marriage and the impact upon both partners and children. It's also as brutal in its unflinching depiction of navigating bureaucracy as fellow Irish film Rosie, which also tells of a mother trying to find housing for her kids. And yet, without any cloying sentiment, with purposeful but never heavy-handed symbolism, and as shot with tender naturalism and an abundant wellspring of empathy, there's hope and tenacity coursing through this sensitive and compelling drama as well.
UPDATE, September 16, 2021: Streamline opened in Brisbane cinemas on Thursday, September 2, and is also available to stream via Stan from Thursday, September 16. Chasing a dream can feel like swimming through cool water on a hot summer's day — gliding, splashing and laidback paddling all included — with each refreshing stroke propelling you closer towards your own personal finish line. That's when everything is going well, of course, and when whatever your heart and mind desires seems as if it's waiting at the end of the pool. Otherwise, when you're bogged down by everyday minutiae and nothing seems to inch forward, working towards a set goal can also resemble treading water. It can mirror repetitively doing laps, too, when your destination seems out of sight despite all the hard work you're putting in. And, if you're tired and fed up with all the effort needed to even keep afloat — and when your heart is no longer in it — it can feel like floundering and drowning. In Streamline, all of these sensations and emotions bubble up for 15-year-old Benjamin Lane (Levi Miller, A Wrinkle in Time), as he pursues a professional swimming career, a spot in a prestigious squad in Brisbane and, ideally, an Olympics berth and all the glory that goes with it. Indeed, one of the delights of this Australian movie, which boasts Ian Thorpe as one of its executive producers, is how evocatively it sprinkles these swashes of feelings across the screen. Written and directed by feature first-timer Tyson Wade Johnston, Streamline is a sports drama as well as a small town-set family drama — and it's also a portrait of that time when you're expected to dive headfirst into adulthood, and into knowing what you want to do with the rest of your life, but you're also inescapably wracked with uncertainty and apprehension. Teenage awkwardness and angst aren't simple states to capture on-screen, although enough coming-of-age movies have been buoyed by both; however, Streamline opts to plunge deep into the existential stress that goes beyond feeling out of place with your peers or being annoyed at your parents. Its protagonist, who everyone just calls Boy, only really connects with his girlfriend and best friend Patti (Tasia Zalar, Mystery Road) at school. And, he's definitely mad at his mother and father. He resents his single mum Kim's (Laura Gordon, Undertow) efforts to keep him focused, which he sees as controlling rather than nurturing. He's doing tumble turns internally over his dad Rob (Jason Isaacs, Creation Stories), who's just been released from prison and has never been a positive influence in his life. Boy is also furious at his surrogate father figure, Coach Clarke (Robert Morgan, The Secrets She Keeps), for all the cajoling that coaches tend to give. But, mostly the swimming prodigy is unsure — about what he wants, what he's been told he wants and what to do next. Streamline takes ample cues from sports flicks and the usual formula behind them, with big races, the pressure to succeed and the push to impress the right people to score the best opportunities driving much of the narrative alongside training and its tussles. But as this emotionally astute film explores the tension and trepidation swelling inside Boy — the kind that only worsens whenever his dad is mentioned, let alone turns up, and also ramps up as he spends time self-destructing with his hard-drinking, loutish older half-brothers Dave (Jake Ryan, Savage) and Nick (Sam Parsonson, Operation Buffalo) — it taps into themes that've been washing through Australian cinema with increasing frequency over the past decade or so. In movies such as Animal Kingdom, Snowtown, Buoyancy and 1%, young men struggle to carve their own paths, or even just to survive or avoid following in damaging footsteps, all in the lingering shadow of violence. Shades of late-90s great The Boys also filter through when Streamline's Boy is with his siblings, but this measured and moving picture is never merely the sum of its influences, even as it adds more flawed and fractured males to the nation's cinematic canon. Navigating this sea of toxic masculinity, Miller manages to convey many traits that fit the mould — Boy can be arrogant, reckless, careless with other people's feelings, moody, unwilling to express what's simmering within and combative — and also show his character's pain, conflict, yearning and vulnerability. It's a stellar performance, as well as a difficult one; the best work of the young actor's career so far, it's also likely to keep the Pan, Better Watch Out and Jasper Jones star in weightier roles moving forward. There isn't a weak link among the cast, though, but the film's standout moments all come when Miller is in front of the lens. A particular sense of power emanates in his scenes with Isaacs, and therefore with the man that Boy has been devastatingly hurt by and yet still finds himself drawn to. The two actors both played the same person but at varying ages in the vastly dissimilar Red Dog: True Blue, but now they play different points on a spectrum that neither wants Boy to slide down. Contrasting the rigours of seeking perfection with the toll it takes, Streamline submerges itself in its lead character's journey visually as well. This is a melancholy movie in tone and appearance, with hues of blue hovering in frame after frame. Those shades often emanate from the water, obviously, given that it has such a pivotal part in Boy's days and dramas — but when they continue to pop up elsewhere, they also exude the sorrow of a teen who realises he doesn't know how to either keep or to stop doing what he's doing. Cinematographer Michael Latham shot the aforementioned Buoyancy, too, and gave The Assistant, Island of the Hungry Ghosts, Strange Colours and Casting JonBenet their exacting, evocative and also piercing looks, with his efforts here continuing the trend. Indeed, watching Streamline feels like plummeting into a brooding well not only emotionally, thematically and narratively, but aesthetically. Sometimes chasing a dream is like that, too, as this excellent Aussie drama also recognises.
The best joke in The Boss is the one that no one talks about. Whatever Michelle Darnell (Melissa McCarthy) is wearing, her outfit includes a turtleneck jumper pulled up over her chin. Whether it's meant to be slimming or is simply an eccentric style option, it looks as ridiculous as it sounds — and while there's no avoiding the silly sartorial sight that greets viewers every time the protagonist graces the screen, the unusual clothing choice is actually among the film's most subtle elements. The fact that it remains hilarious while never earning a mention or explanation is refreshing, particularly in a movie that takes every other chance it can to either state or rely upon the obvious. At the beginning of the film, which McCarthy co-wrote with her director husband Ben Falcone, Darnell is a self-made titan of business. After wheeling and dealing her way to the top, she's the 47th wealthiest woman in America, and at the filling stadiums, splashing cash around and dispensing self-help advice stage of her career. Alas, all it takes is an insider trading charge and a stint in prison for her fame and fortune to disappear. With nowhere to go upon her release, Darnell turns to her former assistant Claire (Kristen Bell) to help get her life back on track — and seizes upon a brownie-selling opportunity inspired by Claire's young daughter Rachel (Ella Anderson). The Boss is an awkward film, and not just because it pairs a predictable storyline with clumsily inserted scenes of outlandish behaviour. It's the kind of movie in which school girls brawl with their mothers in the street, and swearing and physical antics are presented as the height of comedy. Yet the bulk of the awkwardness stems from McCarthy herself. Arguably The Boss ranks alongside The Heat and Spy as one of the actresses better starring roles, but with Identity Thief and Tammy also on her resume, that's not saying much. As committed as she remains to doing whatever it takes to garner laughs, there's no escaping the feeling that she's done it all before. The fact is, audiences may well be getting tired of watching McCarthy bear the brunt of violence, become the butt of jokes and deliver expletive-filled dialogue. Showcasing rather than stretching the energetic performer's many talents is the movie's main aim, however it actually fares best in quieter, less exaggerated moments. There's an astuteness and understanding in the ever-changing dynamic between McCarthy and Bell, even if the latter frequently threatens to steal the show from the former. Dissecting the ways women can both come together and tear each other apart, their exchanges provide The Boss with its much-needed heart. Of course, such moments of depth are few and far between, as is demonstrated by McCarthy's other main adversarial relationship with an over-the-top Peter Dinklage as her ex-boyfriend turned rival. That the end result proves a jumble of earnest sentiment, too-easy gags, one-dimensional characters and inconsistent absurdity is hardly surprising. But at least there's always those unexplained turtlenecks to keep you chuckling.
Over the last few years, we've seen a certain literary crime-solver follow the action-packed route with Robert Downey Jr, then stalk around modern-day London as Benedict Cumberbatch, and head to America in the guise of Jonny Lee Miller. We've seen Sherlock Holmes in his prime, puzzling over clues and cracking cases. We've seen him save the day, struggle against a nemesis or two and even shoulder a few rough patches. What we haven't seen is the famous "elementary!"-exclaiming figure later in life — well, until now that is. Enter Mr. Holmes, an effort that explores what comes next for the cantankerous detective with the brilliant analytical mind. Set in 1947 and adhering to the original timeline for Sir Arthur Conan Doyle's creation, the latest filmic take on the ace investigator sees him older, wiser and a little worse for wear. His deductive skills still put others to shame, but his 93-year-old memory is failing. After a trip to Japan, Sherlock (Ian McKellen) returns to his seaside farmhouse buoyed with hope that he's found the answer to his ailing state; yet even his great intellect can't conjure a solution to getting long in the tooth. As he attempts to gather his wits to write his own version of his last-ever case, he shares his knowhow with Roger (Milo Parker), the young son of his housekeeper (Laura Linney), with the boy eager to learn everything he can from his idol. Watson might be absent, and Baker Street isn't a primary place of interest, but no rendering of the legendary detective would be complete without a cryptic situation (or several) to unravel. Just don't expect a traditional whodunit, because that's what this film is not. Piecing together the tale Holmes is jotting down — as well as the secretive details of his recent overseas jaunt — actually prove the feature's least intriguing parts. In a film that's more character study than mystery, the real enigma in need of untangling is Sherlock himself. Other recent screen incarnations have fleshed out the person behind the reputation, though not in such a delicate and delightful fashion as McKellen's hobbling, grumbling curmudgeon. His super sleuth isn't just a formidable brain packaged with some unsociable traits; he's a fragile elderly man facing a short future while looking back on a life he's no longer all that certain about. It feels fitting, then, that director Bill Condon lets his star steal the show in their second collaboration after 1998's acclaimed Gods and Monsters. In adapting Mitch Cullin's novel A Slight Trick of the Mind and trawling through its driving theme of accepting mortality, the filmmaker hones in not just on matters of the busy head, but those of the unfulfilled heart — and he has the perfect lead for the job. Condon also boasts a fine eye for the warm hues needed to colour Mr. Holmes' interpretation of the icon's golden years, and a feel for the stately rhythm required for what amounts to a hero's last chapter. Yes, his film is old in its protagonist and old-fashioned in its nature, but it's also an elegant, enjoyable alternative to the recent spate of rousing revisionist takes. That dispelling myths about the fictional hero becomes the film's running joke speaks to the vibe he's going for — and when it comes to Sherlock on screen, it's a vibe that's more than welcome.
If there was still some question over who leads the current revival of superhero movies, you can stop your pop-culture equivocating now. It's Iron Man. It's always been Iron Man. With the release of Iron Man 3, probably the best film of the trilogy, all the other Avengers can fall into line and that over-earnest heavy breather should sulk in his cave/villa in Provence. The Iron Mans have always innately had the superhero secret formula, combining the wry delivery of Robert Downey Jr, plots that aren't totally dumb, eye-popping action, a contemporary sense of cool detachment and the observance of canonical Marvel comics tradition. Then there's the fact that Tony Stark, Iron Man's alter ego, is a wealthy tech geek, not a jock (a seemingly prescient move on behalf of legendary comics creator Stan Lee back in 1963). Iron Man 3 has all this — but it is even funnier and more balls-out thrillingly action-packed than its predecessors. New writer/director Shane Black (who worked with Downey Jr in Kiss Kiss Bang Bang) keeps the film tonally in the same ballpark as forerunner Jon Favreau, but perhaps his take on Tony is even more endearingly unpredictable. Iron Man 3 isn't quite the famous 'Demon in a Bottle' alcoholism storyline, but one of Tony's nemeses in this instalment is definitely himself. He's shaken after travelling through a wormhole in an apocalyptic battle (it's worth being up to speed on the Marvel franchise before this trip to the cinema), he's feeling redundant now the government has their own 'Iron Patriot' (Don Cheadle), he's anxious, he's obsessive, and he's vulnerable. Into this mess step villains who are both corporeal and terrifying: a terrorist leader with digital prowess known as the Mandarin (Ben Kingsley) and a spurned scientist, Aldrich Killian (Guy Pearce), who commands an army of what are essentially fire monsters. In the hypothetical extended game of rock-paper-scissors, fire usually beats iron. Iron Man 3 is not without its ridiculousness. A big theme is the abilities of superheros when stripped of their suits — and here it seems those abilities are still pretty super. Tony and James 'Iron Patriot' Rhodes both display outrageous brawn (as well as their usual level of brains, of course) in just their jeans and hoodies. And while the final battle is epic and enthralling, it does have a whiff of the ol' 'why didn't they just do this from the beginning?' to it. These are quibbles — a half-star's deduction, maximum. And that half-star is won back by the brilliant path down which Iron Man 3 takes its villains. This is a slick, inspired fantasy-adventure that almost anyone can enjoy. May Marvel Studios sign Downey Jr and co for many sequels to come. https://youtube.com/watch?v=Ke1Y3P9D0Bc
UPDATE, January 27, 2021: Savage is available to stream via Stan and Amazon Video. Tattoos covering his cheeks, nose and forehead, a scowl affixed almost as permanently, but raw sorrow lurking in his eyes, Jake Ryan cuts a striking sight in Savage. He's a walking, drinking, growling, hammer-swinging advertisement for toxic masculinity — how it looks at its most stereotypical extreme, and how it often masks pain and struggle — and the performance is the clear highlight of the Home and Away, Wolf Creek and Underbelly actor's resume to-date. Playing a character named Danny but also known as Damage, Ryan also perfectly epitomises the New Zealand gang drama he's in, which similarly wraps in-your-face packaging around a softer, richer core. Savage's protagonist and plot have had plenty of predecessors over the years in various ways, from Once Were Warriors' exploration of violence, to Mean Streets' chronicle of crime-driven youth, plus the bikie warfare of TV's Sons of Anarchy and even Aussie film 1%, but there's a weightiness on display here that can't just be wrung from a formula. That said, although first-time feature director and screenwriter Sam Kelly takes inspiration from NZ's real-life gangs, and from true tales from within their ranks spanning three decades, Savage does noticeably follow a predictable narrative path. Viewers first meet Danny in 1989, when he's the second-in-charge of the Savages, which is overseen by his lifelong best friend Moses (John Tui, Fast & Furious: Hobbs & Shaw, Solo: A Star Wars Story) but is also under threat by rank-and-file members agitating for a leadership challenge. In-fighting, and Moses' sheer desperation to remain on top, aren't Danny's biggest issues, however. Whether imposing the ramifications of being disloyal upon a younger colleague or being unable to relinquish control in an intimate situation, he's both tightly wound and silently aching, and he's also unable to shake the cumulative effect of all the factors and decisions that have led him to this testosterone-saturated point. A series of flashbacks, each fittingly moody and tense, explain why Danny is in his current situation physically, mentally and emotionally. The film first jumps to 1965, when he's nine (played by Pete's Dragon's Olly Presling), victimised by his overbearing father and sent to juvenile detention, where he initially meets and befriends a young, wild-haired Moses (Lotima Pome'e). The circumstances leading to Danny's stint in custody and his treatment while he's there each leave an imprint, with Moses swiftly becoming the only person that he can count on. Skipping forward to 1972, when the pair are in their late teens (played by James Matamua and Haanz Fa'avae-Jackson), they establish the Savages — and, although it gives them a sense of belonging that's absent elsewhere, they're soon caught in a Wellington turf war with a rival gang. Yes, all of the above narrative elements have a well-worn feel to them, but a blandly, routinely by-the-numbers flick isn't the end result here. Aided by suitably gritty and restless camerawork that mirrors Danny's inner turmoil, the film packs a punch when it lets that unease fester in quiet moments. It's also particularly astute when honing in on Danny and Moses's complicated friendship, and how pivotal it is throughout their constantly marginalised lives. There's never any doubting that Savage is a movie about family, including the traumas they can inflict, the hurt that comes with being torn away from loved ones at a young age, the kinship found in understanding pals and the concept of brotherhood in gangs, and the feature is at its most affecting when it lets these truths emanate naturally. Kelly does like to stress the point, though, and to do overtly. Indeed, the clunkiest parts of Savage involve Danny's yearning to see his mother and his tussles with his older brother Liam (played by Jack William Parker as a teen and Seth Flynn as an adult). Every year Danny, stands outside his childhood home, looks on at his parents and siblings and, unable to step into the yard, notches a mark on the fence outside — and it's an instantly and repeatedly overdone touch. When he's reunited with Liam, it's because the two brothers are in opposing crews, another obvious, template-esque inclusion that's far less effective or moving than seeing how Danny navigates the gang he has chosen as his new family. Unsurprisingly, Danny's gang life is brutal and violent, which Savage doesn't shy away from in a visual sense. Tonally, the film aims for Shakespearian levels of tragedy, too, as Sons of Anarchy did before it. But while most of the feature hits its marks, draws viewers in and keeps them interested, the movie's biggest force and asset is always Ryan. Tui also proves a commanding screen presence, as does first-timer Alex Raivaru as the latter's nemesis, while young Presling and Pome'e share a convincing rapport. When an actor plays the kind of immediately imposing role that Ryan is tasked with, however, how they handle the subtler side of the character is pivotal — and audiences can feel Danny's bubbling distress even when he's the most formidable figure figure in the room. https://www.youtube.com/watch?v=NK3eDfkXBzg Top image: Domino Films, Matt Grace.
Ever had a hankering for a burger, but couldn't decide which joint to visit? Thanks to Brisbane's hefty array of burg-slinging places, we've all been there — and often. Thankfully, The Triffid came up with a solution a few years back: Brisbane Burger Fest, which is returning again in 2023 from 11am on Saturday, June 24. Wondering about the festival's burger credentials? Ze Pickle, Fritzenberger, Brooklyn Depot, Hashtag Burgers & Waffles and Remy's will all whip up their usual favourites. Embracing the occasion in the tastiest way possible, they'll be making a few special and exclusive Burger Fest creations as well. There'll also be an official burger-eating competition as part of the festivities (of course there will be), which pits regular burger-lovers up against the pros. If you don't think you can handle taking part in the contest, that's okay — everyone at Burger Fest will be seeing how many burgs they can eat in their own way, after all. And, attendees can look forward to plenty more to keep you entertained beyond eating burgers, including a beer pong tournament. [caption id="attachment_780426" align="alignnone" width="1920"] Hennessy Trill[/caption] Making a burger party even better, the event will be showcasing live music from Melaleuca, Radium Dolls, The Dandys, Lucid Safari, Pipin and Bean Magazine, as well as Echo Wave, Fleur Fatale, Demi Casha and Huxley & Friel. Drinks-wise, Stone & Wood and Heaps Normal will be taking care of the beers — boozy and not-so — and Burger Festival cocktails are also on the menu, including a Bundy dark and stormy. Tickets cost $15 — and if past years are any guide, they're expected to get snapped up quickly. Top image: Brooklyn Depot.
There’s whisky and then there’s whisky — but can you tell the difference? Jim McEwan certainly can. A veteran of over 50 years in the business, working his way up to Bruichladdich’s master distiller, he knows cheap liquor from the top-of-the-line, put-hairs-on-your-chest tipples certain to get mouths watering. McEwan is stopping by The Gresham to share knowledge from a life lived with delicious amber spirits — accompanied by a sampling menu, of course. For two hours, one of the best-known figures in the industry will discuss whiskies many aficionados have only dreamed of, including the experimental Octomore 6.1, distilled from the most heavily peated barley humanly possible. It is little wonder, then, that The Jim McEwan Whisky Experience is being dubbed a once-in-a-lifetime treat. When else will the only three-time winner of the Whisky Distiller of the Year award impart his tricks of the trade, after all, with drinks to match?
Any time that you step inside West End's Chu the Phat, you can order up a banquet, get cosy and comfortable, and eat your way through multiple dishes. On Sundays, however, you have an extra reason to say cheers to this hefty feast — and that'd be the two hours of drinks that come with the package. Running from 12–9pm each week, Chu the Phat's Super Sundays promise to keep your stomach satisfied and ensure that you don't go thirsty. It's a gather-the-gang type of special, because that's what the last day of the weekend is all about, and it'll cost you $50 a person. While you're tucking into the eatery's banquet, you'll be munching on steamed duck buns, vegetable spring rolls, chilli chicken and braised beef, as well as vegetable crackers, stir-fried pork and steamed greens. Beverage-wise, you can choose between spritzes, selected beers and wine, and a range of non-boozy tipples.
For decades, beer commercials have told us that a hard-earned thirst needs a big, cold beer. Perhaps it needs a big tourist attraction to hang out at while you're drinking, too? In the type of fun you definitely couldn't enjoy onsite when you went north with your parents as a kid, a day-long craft beer and cider expo is coming to The Big Pineapple. More than 30 breweries and cideries will be on-site, serving up more than 100 different types of tipples — so you definitely won't leave thirsty. You can also knock back wine, cocktails and sparkling as well, and line your stomach with meals from more than ten food vendors, including low-and-slow cooked meats. Plus, live music is part of the fun too, giving your sipping and sightseeing a soundtrack. The Big Pineapple Craft Beer and Cider Expo takes place from midday on Saturday, September 14, with pre-sale tickets available now from $25. Image: Anne and David via Flickr.
After enlivening previous Brisbane Festivals with Blanc de Blanc and LIMBO, Strut & Fret are back with their latest theatrical fun. A world premiere production designed specifically for the South Bank Piazza, FUN HOUSE promises to live up to its name by throwing a huge house party — with acrobatics, circus stunts, physical theatre and more. And when we say more, we mean a jumping castle. With YouTube sensation Pogo on DJing duties, this interactive show turns its venue into a playground, and turns attendees into willing participants. It's also one of two S&F efforts in this year's lineup, with Bris Fest also hosting the sizzling party sequel that is LIMBO UNHINGED.
A couple of hours south of Cairns is where you'll find the spectacular sights of Tully Gorge National Park. The Tully River churns its way down the mountain creating rapids and world-class white water rafting throughout this stunning gorge. But it's not all rough and tumble in at every turn along this river. You have two options to find Ponytail Falls — by car or by raft with Raging Thunder Adventures. For drivers, follow signs to Cardstone Weir until you spot the number 11 painted on the road. Then, take a short stroll through the rainforest to uncover the hair-like spout that spills into pale blue water below. Or, if you want to see the falls from a raft, sign up to a white water rafting adventure and a guide will take you there via wet and wild rapids.
Walkabout Cultural Adventures is a 100 percent First Nations-owned and operated cultural tour company based on Kuku Yalanji Country, also known as Port Douglas and the Daintree. Owner Juan Walker has been working in the region for nearly two decades and prides himself on offering informative and personalised tours to all guests. Under Juan's expert guidance, you'll discover the wonders of Kuku Yalanji Country, including where two World Heritage-listed sites — the Daintree Rainforest and the Great Barrier Reef — meet. The half or full-day tours will give you the opportunity to learn about food and medicines grown in the region and how Kuku Yalanji people have managed the land and its natural resources for millennia. You'll also get to sample bush foods, collect shellfish and try your luck at catching delicious mud crab.
Disney is back in the fairy princess business, and by god it wants you to know it. Except, it doesn’t want young boys to know it, which is why this film is called Frozen instead of The Snow Queen. When Disney finally bought Pixar in 2006, the deal essentially saw Pixar's creative team taking control of Disney’s animated output. Given the strong quality control Pixar has over its products, this was no bad thing. But not all of the experiments worked. Determined to resurrect Disney's tradition of hand-drawn animation, they made The Princess and the Frog in 2009, a tremendously underrated film which moved the classic tale to 1920s New Orleans. The film’s undeserved financial failing made Disney gunshy, and their takeaway was this: stick to computer animation, and no more princesses in the titles. In fairness, this shift didn’t kneecap the quality of the films. 2009’s Rapunzel film Tangled is an outstanding work, with rich characters, beautiful animation and incredibly catchy songs. Tangled really worked, which is why it appears to be the template Disney has used for its newest animated feature, Frozen. Based loosely on Hans Christian Andersen’s The Snow Queen — a story Disney has been trying to adapt since the 1940s — the film follows Anna and her sister Elsa, two princesses who are left alone when their parents die at sea. The relationship between the two is difficult: Elsa has magical powers, which due to an unsatisfactorily explained plot contrivance, have been wiped from Anna’s memory. To keep Anna safe, Else keeps her at arm’s length as they grow up. But on the evening of Elsa’s coronation, she accidentally creates a permanent winter in the kingdom and retreats to a remote ice palace of her own making. It’s up to Anna to save her sister and her kingdom. The parallels with Tangled are striking. Both changed the name of their original story to a more marketable, generic title. Both feature a similar working-class man developing a love-hate relationship with a princess. Both have a crazy, anthropomorphised horse/moose for company. Both even feature a princess whose power is represented by a streak of colour through the hair. The comparisons, though superficial, reveal an attempt at a modern formula. And although Frozen is enjoyable enough, the characters aren’t quite as engaging as they ought to be, the songs not quite memorable enough. The animation, however, is superb. On a technical level, it’s a marvel. Frozen represent the middle of the bell curve in terms of animated features. It’s a far cry from the insufferable toy-selling, pop-culture spewing, catchphrase-ridden films churned out during at the beginning every school holiday period, but nor does it hit the heights of Disney’s best output. It is admirable, enjoyable, but ultimately unmemorable.
Until the end of August, Northshore Hamilton is an impressionist wonderland, with stunning exhibition Monet in Paris projecting the French artist's work — and that of his contemporaries — all over its walls. A visit to the event's 2500-square-metre Grand Palais doesn't just mean staring at some of the best art ever created as it hangs, however. Like Van Gogh Alive before it, this showcase is a multi-sensory experience, with everything from Monet's Water Lilies to Edgar Degas' ballerinas being given an immersive spin. Here's another way to make the most of this stunning event, which is a global debut: picking up a paintbrush and whipping out your creative skills yourself. Take inspiration from the exhibition's dazzling art at Paint Like Monet, regular paint-and-sip sessions in the best surroundings possible. Happening on various dates — sometimes on Tuesday nights, sometimes on Thursday afternoons and sometimes on Saturday evenings — these classes include an hour walking around Monet in Paris. Then, it's easel time. Equipment is supplied, as is a glass of champagne, so you can unleash your inner Monet, Degas, Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne, Berthe Morisot, Mary Cassatt and more. This is a gather-the-gang type of experience or a date-night go-to, with tickets costing $280 for two people. Images: Axis Productions.
This year's Oscar winner for best documentary, Free Solo took viewers into the nerve-wracking world of rock climbing, charting Alex Honnold's epic quest to scale Yosemite's El Capitan without ropes. But he's not the only superstar climber endeavouring to literally rise to great heights — and the film about him wasn't the only rock climbing doco to reach the big screen recently. Last year, another movie called The Dawn Wall started doing the rounds, chronicling another couple of daredevils. Tommy Caldwell and Kevin Jorgeson are also considered among the globe's best climbers, and their feats are mighty impressive. Now they're coming to Australia to talk about their efforts. On Monday, July 29, the duo will take to the stage at the QPAC Concert Hall — providing live commentary while The Dawn Wall plays on the big screen, chatting about just why they do what they do, and answering all of your other questions. It's their first time in the country, and they'll talk you through their inspirations, motivations and, again, why they took on the world's hardest rock climb. This goes without saying, especially if you're not fond of heights, but prepare to be both in awe and mighty tense. Image: Brett Lowell.
Take a boat from Cairns to this secluded eco-friendly escape on the cusp of the reef that has held and advanced ecotourism certification for over 20 years. Green Island Resort sits in the tropical habitat of a coral cay and rainforest and implements a number of innovative sustainability initiatives to limit waste and protect the pristine natural environment where it's located. A quarter of the island's energy supply comes from solar power and the resort is working towards closing the loop in its waste management. This includes things like turning food waste into nutrient rich fertiliser and using a glass crusher that turns bottles into sand. Plus, raised timber boardwalks allow you to explore the national park with minimal impact on wildlife and tree root systems. Image: Tourism Tropical North Queensland.
The British Film Festival might only be six years old, but this year's event comes with a considerable sense of history. It's there in the fest's opening night film, Collette, which stars Keira Knightley as 19th-century French novelist Sidonie-Gabrielle Colette. It's evident in a four-movie tribute that'll blow the bloody cinema doors off, showcasing the work and career of Michael Caine. And, it's obvious in closing night's Stan & Ollie, with Steve Coogan and John C. Reilly as one of cinema's greatest double acts: British comedian Stan Laurel and his American counterpart Oliver Hardy. Dramatic true tales about Oscar Wilde, Virginia Woolf and Wolfgang Amadeus Mozart all keep the theme going, as do real-life spy thriller Red Joan with Judi Dench and the Idris Elba-directed, 70s and 80s-set Jamaican gangster movie Yardie. There's also a retrospective dedicated to Brit flicks from the swinging sixties, plus Peterloo — the latest effort from seven-time Oscar nominated writer/director Mike Leigh, which focuses on a working-class demonstration in Manchester in 1819. Screening at Brisbane's Palace Barracks and Palace Centro between Wednesday, October 24 and Wednesday, November 14 (with a few extra days always tacked on at the end to replay the most popular titles), the 2018 BFF boasts plenty of other highlights — and genres and stars as well. Catch a Scottish Christmas-themed teen-zombie-musical-comedy courtesy of Anna and the Apocalypse, and watch Rob Brydon go synchronised swimming (yes, really) in Swimming with Men. Or, see Star Wars' Daisy Ridley, Harry Potter's Tom Felton and Clive Owen take on Shakespeare in Ophelia, a reworking of Hamlet.
'I Miss You' isn't just the name of a beloved blink-182 song. It isn't just a track they're busting out on their 2024 tour Down Under, either. It's also the vibe being felt around the band in general, based on how popular tickets to its 2024 Australian and New Zealand tour have been proving — but there's still seats available. In 2022, blink-182 revealed that they were reforming their classic lineup of Tom DeLonge, Mark Hoppus and Travis Barker, then hitting the road — and that Aussie fans would get their chance to see the end result live in February 2024. Brisbane's dates, at the Brisbane Entertainment Centre with Rise Against in support: Monday, February 19–Wednesday, February 21. For three decades, blink-182 have been the voice inside punk and rock fans' heads, especially in the late 90s and early 00s thanks to albums Enema of the State and Take Off Your Pants and Jacket. Accordingly, expect to hear everything from 'Dammit' and 'The Rockshow' to 'What's My Age Again?' and 'All the Small Things' live. Now that they're back together after DeLonge left the band in 2015, blink-182 are also recording new music together, with single 'Edging' out now — and on the setlist.
Set your GPS to The Record Exchange, then let all notions of modern technology melt away at this nostalgic musical mecca on Adelaide Street in Brisbane's CBD. Home to some 250,000 records (no, that's not a typo) and over 10,000 CDs, the store is an ideal spot to while away an hour, browsing the latest new releases and getting nostalgic with a look through the retro gems. If you've got some musical gems lurking in your CD wallet or record crate, The Record Exchange buys and trades. So gather up your old CDs and get down there on Thursday afternoon. Flick through some vinyl and pick yourself up some analogue tunes while you're at it. Image: Anwyn Howarth.
Meet death — and no, that's not going to be anywhere near as grim as it sounds. In Mort, death is a seven-foot tall skeleton who loves cats, of course. He also offers the titular young man a job as his apprentice. So unravels a stage incarnation of a beloved novel first published in 1987, and one that proves as funny and fantastical today as it was then. The lead character is keen on the free board and lodging part of his new profession, but trouble brews when he's left in charge for an evening and steps outside the bounds of duty for a princess. As the latest in Brisbane Arts Theatre's series of Discworld works, Mort also comes with a sliver of sadness this time around. With the book's author, Terry Pratchett, passing away in March this year, crying while you're laughing is completely understandable.
Brisbane's penchant for a party boat has a long history, from The Island to Seadeck and now Yot Club. Haven't had the joy of revelling on the water while cruising down the river? Give it a try for Halloween. Yot Club has been making quite a big splash, as you'd expect from a huge yacht with two bars, a stage, a dance floor and a 400-person capacity. The glamorous, custom-built vessel calls itself "the world's first super yacht entertainment venue", and it's certainly something that southeast Queensland hadn't seen before it hit our waters. Sprawling over two levels, it measures nearly 40-metres long and over 22-metres wide, and blends a licensed floating club and a luxe function space. With lounges across an open deck and undercover, a VIP room in the hull, and the promise of bands and DJs on its lineup, Yot Club wants to be the region's one-stop watery hangout. It serves up more than water, of course, thanks to a menu of classic and creative cocktails, plus brews chilled in the 45-keg-capacity cool room. Yot Club sets off from City Botanic Gardens River Hub — and its Halloween bash on Friday, October 27 includes spooky-themed cocktails, a photo booth to snap all those costumes and prizes for best dressed as well. Yes, you do need to don something to suit the occasion to hop onboard; "only guests in full costume will be allowed on the cruise," the venue advises. Prices vary, starting at entry from $49.95 with drinks and food purchased separately, and also including a $99.95 option with a sip upon arrival. Images: Richard Greenwood / Yot Club.
Before 2020 hit, anyone who found themselves in the Brisbane CBD on a Friday was bound to have plenty of company. But after a year of lockdowns, social-distancing measures and modifying routines in response to the pandemic, the city centre isn't the thriving hub of activity it once was when the working week comes to an end. To bring more folks back into the city — and to get them to spend more money to support the CBD's businesses while they're there — the Property Council of Australia has unveiled a new initiative. Called Fridays in the City, it kicks off today, Friday, May 21, and runs through until Friday, June 25. And if you're a nine-to-five worker, it means that you can get excited about free coffees, cheap lunches, rooftop exercise classes and more. Different activities and offers are available in different parts of the inner city, so you're likely to find something that appeals to you. If spending as little cash on a meal or drinks as possible tempts your tastebuds (and your wallet), the Myer Centre is doing $2 deals from 12–3pm, while Vapiano is slinging a $15 special that includes either a pasta bake or pizza foldover and a soft drink until 5pm. Aquila Caffe Bar is dishing up $30 pizza and jug combos, and Grape Therapy is serving up free olives and chips with every drink purchase between 4–5pm. Fancy a free coffee? Nespresso will be handing them out in the Wintergarden, but only one specific Friday — between 12–4pm on Friday, May 28. But, because office buildings are also taking part in the initiative, workers at some CBD addresses will be able to score free cuppas and snacks onsite every week — at 40 Tank Street, 85 George Street, 343 Albert Street, 61 Mary Street, Brisbane Square, 69 Ann Street, 275 George Street, 32 Turbot Street and 175 Eagle Street. A heap of other specific buildings are hosting various giveaways and events in their lobbies, too, including Waterfront Place and Eagle Street Pier. At 100 Creek Street and Central Plaza, there'll be games and live music — and at 111 Eagle Street and Riverside Centre, free gelato and popcorn will be available on certain dates in June. Some of the Fridays in the City deals and freebies are only on offer to workers in those buildings, so you might turn up and find a surprise. Other events are open to everyone, such as Goodlife's free 11.30am and 12.30pm fitness classes in Post Office Square, plus Glowing Yoga's rooftop class atop the Wintergarden on June 18. For the full list, head to the initiative's website. [caption id="attachment_812924" align="aligncenter" width="1920"] Kgbo via Wikimedia Commons[/caption] Announcing the campaign, Property Council Queensland Deputy Executive Director Jen Williams said that it's all about helping boost foot traffic on "the best day of the working week". She continued: "People are more relaxed, and workers are more likely to go shopping, knock off early for a drink, or meet up with friends for dinner at a restaurant after work. However, since the pandemic Fridays haven't been the same. According to the Property Council's office occupancy data, people tend to opt to work from home on Mondays and Fridays, meaning the CBD is noticeably quieter than during the middle of the week." The Property Council launched a similar initiative in Melbourne earlier this month, called FOMO Fridays. Fridays in the City runs each Friday between May 21–June 25. For further details, head to the initiative's website. Top image: Kgbo via Wikimedia Commons.
The northern British city of Sheffield has given the music world many gifts, but for the last decade or so, one band has sat at the top at the heap. The Arctic Monkeys got toes tapping with the fastest selling debut album in UK chart history, and kept oozing out indie-rock tunes across four more albums. You own their records. You saw their shows. If you lived in Brisbane last time they came to town, you were probably there when the PA system stopped working but Alex Turner kept singing — and you've probably got tickets to see them again next month. In the lead up to the band's next local gig, you can head to Black Bear Lodge for an evening dedicated to loving everyone's favourite Yorkshire group. And while they released a new album last year, this night is all about the record beforehand — AM. Still, consider it a wholehearted celebration of everything the Arctic Monkeys have ever done. It all takes place from 8pm on Wednesday, February 27, so prepare to look good on the dance floor. Taking the group's advice, snapping out of your everyday life and putting on your dancing shoes for a piledriver waltz or two of is recommended, because the bulk of their tracks will get a spin over the course of the evening.
Unroll your posters, dust-off that secret diary and get ready to rock your body right: the Backstreet Boys are bringing their latest world tour Down Under. Get ready for another hefty dose of 90s nostalgia, too, given that you can now see the huge boy band at the Brisbane Entertainment Centre on Wednesday, March 8. Backstreet's back — alright. Get ready to belt out the lyrics to 'Everybody (Backstreet's Back)', 'As Long As You Love Me', 'I Want It That Way', 'Larger Than Life' and 'Show Me the Meaning of Being Lonely' when the famous five — aka AJ McLean, Brian Littrell, Nick Carter, Howie Dorough and Kevin Richardson — head our way for a very nostalgic arena tour. The Backstreet Boys will also be performing songs off their 2019 album DNA, which debuted at number one on the charts when it was released and features Grammy-nominated single 'Don't Go Breaking My Heart'. Fingers crossed that they also break out tracks from their new festive record A Very Backstreet Christmas, even though it won't quite be the season. Either way, we know you'll most likely be there for the 90s and early 00s goodness — and to break out your 'Everybody' moves.
There's something magical about jumble sales. You know what we mean. As you trawl through other people's trash hoping something you find might just become your own piece of treasure, you're rifling through items with a past — and, if you buy them, a future. Perhaps that's why everything from op shops to car boot sales just keep on keepin' on: we all want that search-and-discover kind of shopping experience. It's also why Annerley Junction's annual jumble sale keeps popping up. To say that this Saturday morning event is going to be a bargain hunter's delight is an understatement. If you're after tables, stalls and stores boasting everything from crockery to books to clothes — and more — you'll find it here. The Annerley Junction Jumble Sale isn't just about stocking up on vintage, pre-owned goods, however, with yarn bombing, Rwandan drumming performances, and other live music and art projects offering an added sense of fun and frivolity for this once-a-year community celebration.
Brisbane has long been partial to a party boat. The Island did the honours from the 80s through until early last decade, and Seadeck has cruised the river over the past couple of years. Now Yot Club has started sailing into the city's waters, and it's making quite a big splash — as you'd expect from a huge yacht with two bars, a stage, a dance floor and, in normal times, a 400-person capacity. Returning for the second half of 2020 under COVID-Safe guidelines — so no, it won't be jam-packed — Yot Club's next series of shindigs will float through town on selected Saturdays. The glamorous, custom-built vessel calls itself "the world's first super yacht entertainment venue", and it's certainly something that southeast Queensland hasn't seen before. Sprawling over two levels, it measures nearly 40-metres long and over 22-metres wide, and blends a licensed floating club and a luxe function space. With lounges across an open deck and undercover, a VIP room in the hull, both general and ticketed events set to welcome guests, and the promise of bands and DJs on its lineup, Yot Club wants to be the region's one-stop watery hangout. It serves up more than water, of course, thanks to a menu of classic and creative cocktails, plus brews chilled in the 45-keg-capacity cool room. Yot Club sets off from South Bank's Ferry Terminal One, with tickets starting from $49. You can head along to a Saturday session on August 15 and 22; September 19 and 26; and October 3, 10, 24 and 31 — with cruises departing at either 12.30pm/1.30pm and 6pm/6.30pm. More events for November and December are also planned. Yot Club's latest Brisbane season runs on selected Saturdays, with bookings currently available until October. Images: Yot Club.
Slow motion drips, close-up pourovers, helicoptered overheads of sprawling plantations — Brandon Loper knows how to write a love letter to his favourite bean-shaped subject. Premiering his straight-up stunning A Film About Coffee in Seattle in April, Loper's celebrated project has been subject to pretty limited screenings worldwide. Lucky for coffee fiends and doco lovers, the film is now available to stream online (for a teeny fee, just over the price of a cappuccino). Created with adorably-named production company Avocados and Coconuts, A Film About Coffee is an indulgence for the eyes and a bit of a wake-up call (fittingly), meandering through the story of specialty coffee from its organic beginnings to your morning cup. Loper's jaw-dropping cinematography makes for some serious foodporn — any hardcore baristas or coffee tragics need to get over here — but also captures some intimate interviews with the world's top coffee aficionados (featuring Kent Bakke, Devin Chapman, James Freeman, Katie Carguilo, Chris Owens, Darrin Daniel, Peter Giuliano, Eileen Hassi Rinaldi, Kyle Glanville, George Howell, Michael Phillips, Ben Kaminsky and Kevin Bohlin). While the film is scheduled to screen throughout Europe, the UK, US and Canada, plans haven't yet been announced for an Australian screening. For now, you can rent the film at home and stream until your caffeine addiction's content. Just throw the team a measly $4.99 for a 72-hour streaming rental (or $12.99 to own it, if that's a Thing any more) and hold your own screening with all the cheaper-than-Event-Cinemas popcorn you bloody well want. Here's the trailer, so, so pretty. Via Daily Coffee News.
The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok and Carol actor — "our Cate", of course — best be making space next to her Oscars for The Aviator and Blue Jasmine as a result. Well-deserved accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them) and, as the Golden Globes showed, they're not likely to stop till this awards season is over. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Directing a film for just the third time in 22 years — and the third at all, as well as the first since 2006's Little Children — writer/helmer Todd Field begins Tár with the woman, the myth and the legend. Since the feature's US release, viewers have been known to think that Lydia is an actual person, which has proven instantly memeable, yes, but more importantly is a testament to the detail and potency of the filmmaker's layered script. As Gopnik advises, Tár is a protégé of the one and only (and real) Leonard Bernstein, the first female chief conductor of the Berlin Philharmonic and an EGOT-winner. She has a book in the works, Tár on Tar, and she's soon to record her dream piece, Gustav Mahler's Symphony No. 5. She's not fond of having her successes ascribed to battling sexism, but she's proud, confident and authoritative talking about her career, field and leap to the top of classical music. Not mentioned in this early celebration, unsurprisingly: the behaviour that'll come back to stalk Lydia, involving her treatment of mentees and students, and cracking her hard-carved place in an elite realm. With two Academy Award nominations to his name for screenwriting, for both Little Children and his 2001 feature debut In the Bedroom, Field is in his element plotting Tár's intricate and tangled life that just keeps getting more and more knotted — and penning and directing a film that's equally as complicated. Tár is many things and never merely one thing, but it's a psychological character study above all else. As the feature charts its namesake's downfall from the heights that the picture opens with, and unpacks her arrogance and ambition, it unravels Lydia. As it examines her professional dealings and personal bonds, sees transactional connections wherever she goes and shows her scant regard for most folks other than herself (although she'll happily bully a schoolgirl for her young daughter Petra, played by first-timer Mila Bogojevic), the movie chips away at Lydia's carefully established personality and mystique. And, as her standing plummets amid a scandal, and her relationships with it, the film probes and ponders who she truly is anyway — and why. Is Tár a groomer, predator and liar? A talent who took her lust for triumph too far? A celebrity overly enamoured with her own fame and power? Is she a woman fracturing? Someone literally haunted? An egotist using and emotionally bruising, then getting what she deserves? Tár is too crafty — and well-crafted — a drama to quickly or easily tick most of those boxes for its protagonist, and finds much of its depths (and much of its fuel for Blanchett's performance) in provocatively giving all of the above attention. As Lydia belittles Juilliard kids in showy lectures about JS Bach, grinds first violin Sharon down to just one of her offsiders, capitalises upon Francesca's own conducting dreams, weathers a storm with her past favourite Krista (debutant Sylvia Flote) and throws her current approval towards new Russian cellist Olga (acting newcomer Sophie Kauer), Tár is also as precise at building the world that its titular character dwells in, where her genius and thrall draws in everyone, enables her, and lets Lydia herself believe that everything is excused and even worth it if it results in her art. Collaborating with cinematographer Florian Hoffmeister (Pachinko), editor Monika Willi (Happy End), costume designer Bina Daigeler (1899), production designer Marco Bittner Rosser (Only Lovers Left Alive) and composer Hildur Guðnadóttir (Joker), Field does indeed fashion Tár immaculately. A film of cool hues, firm lines and rich surfaces — Lydia's suits encapsulate the look perfectly — as well as a gripping, tension-dripping beat, it's a film where every choice seen and heard is revealing about its story, central figure and themes. Tár is also a movie of striking scenes revelling in such tightly constructed surroundings, all with Blanchett at their centre. Every choice she makes with her facial expressions and body language, whether Lydia is regaling fans, instructing pupils, pushing aside loved ones or luring in new points of interest, is a compelling, entrancing masterclass. When Tár picks up the baton, plays the piano, holds court, tries to navigate her own fall and perhaps even orchestrate her own second rise: these moments, whether loud and intense or quiet and contemplative, are hypnotic and loaded, too. But, across a 158-minute duration that never feels that long and shows zero signs of bloat, Field fills his frames with more than just one outstanding player. He could've simply let Blanchett's awards-worthy efforts be Tár's everything alone, and this'd still be captivating, bold and intelligent. Again, there wouldn't be a film this piercing without her, and it rises in tandem with her astounding work. In what's hopefully not his last picture for another decade and a half, however, Field sees what Lydia can't and won't. Casting German acting royalty Hoss and French Portrait of a Lady on Fire standout Merlant, both of whom bring texture, vulnerability and visible signs of pain to their pivotal characters, makes a statement: that no story is one person's only.
It may have dropped the $2 price from its moniker, but there's nothing quite like the Sunnybank Food Trail on Brisbane's culinary calendar. The appeal is all there in the name, with the Brisbane suburb's shopping hubs becoming a diner's delight in quite the affordable fashion. Think of it as the ultimate self-guided foodie adventure, for nothing more than spare change — and, pre-pandemic, with around 22,000 people taking part. The latest time that the Sunnybank Food Trail popped up was in 2019. As many food-focused events were, it was forced to take a break when COVID-19 hit; however, now this southside feast is finally returning. Mark Saturday, July 22 in your calendar and get ready to tuck in from 12–8pm at both Sunnybank Plaza and Sunny Park. How does it work? Attendees walk between a heap of local cafes and restaurants, all at their own pace. The range of eateries taking part is usually hefty — in 2018, more than 45 places served up dishes. From chicken katsu and wontons to mochi ice cream and bubble tea, every participating joint will feature a range of authentic Asian cuisines. You'll feast on Chinese, Japanese, Hong Kong-style, Vietnamese, Korean, Malaysian and Taiwanese bites, with prices starting at $2 per tasting plate. With such an array of steaming soups and sizzling stir-fries on offer, we don't recommend eating lunch or dinner first; in fact, you'd best arrive feeling as hungry as possible. Snacking on signature dishes is the main course — or several — but there's also plenty of non-edible appetisers, too. Enjoy live music, watch traditional lion dancers, and and check out the roaming entertainment as you feast and wander, adding the perfect garnish to every meal by setting the mood. Image: Sunnybank Food Trail.
International Taco Day is coming in hot this Friday, with spicy sauces and jalapeños aplenty. So, you'll want to be feasting on as many tacos as possible. And where could be better to do so than at one of the world's most renowned taco slingers, Taco Bell. Better yet, this year, Taco Bell is marking the occasion with a brand-new, limited-edition menu. Head on down to any Taco Bell in Brisbane on October 4 and you'll score the first taste of Taco Bell's Lava Burst range, featuring its hottest menu yet. Planning on being on the Gold Coast this long weekend? The limited-edition range will be available there, too. Spice up your life with the Lava Burst Taco, which comes with seasoned beef, crisp lettuce, cheese and the all-new fiery lava sauce, loaded into a bright red crunchy taco shell. Taco Bell's stacked nachos and chips also get a hit of Lava Burst flavour, loaded with beef, jalapeños, sour cream and lashings of both nacho cheese sauce and that fiery new lava concoction. Plus, when you buy any taco in-restaurant this International Taco Day, you'll also get a free pair of limited-edition Taco-patterned socks. A Taco Bell pop-up will also be hitting Brisbane's King George Square from noon until 2pm on the day, handing out a stack of freebies, from Lava Burst tacos to limited-edition merch. And while the Lava Burst menu won't be available outside of Queensland, at least Victoria and NSW can look forward to getting their own taste of Taco Bell, with new restaurants opening in both states later this year. Taco Bell's limited-edition Lava Burst range is launching on Friday, October 4 for International Taco Day. It will be available at all Brisbane and Gold Coast restaurants for a limited time only.
Get set to jump up, jump up and get down, just go ahead and jump, or get jumpin' jumpin at Northshore Hamilton from Saturday, June 29 to Sunday, July 14. Whichever jump-themed song you now have stuck in your head, it's appropriate. We are talking about a pop-up inflatable theme park, after all. Setting up shop at the waterside spot over the school holidays (and over at Bribie Island's Sandstone Point Hotel if you happen to be in that vicinity), The Inflatable Factory is fun for kids and kidults alike, boasting quite the range of blow-up bouncy attractions. On-site you'll find a 12-metre-high slide, a Zorb ball ramp and a 20-metre-long wild west obstacle course — plus a bubble soccer arena, and more. Tickets cost $19 for as much jumping around as you can fit into two hours — which, let's face it, is probably just about the right amount of time. If you do want to stay longer, you can purchase an extra hour for $7. There's also coffee and snacks available as well.
When Coldplay, a band that has become legendary in modern music, announces tours, the tickets are more precious than gold. That was proven when the band's only Australian show in 2023 was in Perth, then again in 2024 with shows in Sydney, Melbourne and Auckland selling out within minutes. And what about Brisbane? Well, sadly, the Music of the Spheres tour has moved on, so Brisbane never got its chance. Until now. Rushing in to fill that void like the hero we didn't know we needed is The Music of Coldplay by Candlelight. It might not be the band itself, but with world-class vocalists and a live band taking to the stage at QPAC Brisbane to play hits like 'Viva La Vida', 'Sky Full of Stars', 'All Yellow', and more, it's closer than Brisbane has had in years. The kicker? It's a one-night-only event and it's coming up fast on Thursday, March 20. So, what are you still here for? Those tickets aren't gonna buy themselves. The Music of Coldplay by Candlelight is coming to the QPAC Brisbane from 7.30pm on Thursday, March 20. For more information or to book tickets, visit the website.
Accustomed to digital deception across all types of visual media, it often takes us more than one look to realise that an effect has been achieved solely by the human hand. The new food-art stylings of Hong Yi, or 'Red' as she is nicknamed, almost look too perfect to be real. An artist/architect, Red set herself the task of creating a new artwork using only comestibles, every day for a month. From a serene cucumber landscape to a dragonfruit dragon in battle rapture, the resulting scenes are highly detailed, innovative and beautiful. Hong Yi loves painting "but not with a paintbrush"; her other works have included a painting made using a basketball, a portrait of Ai Weiwei in sunflower seeds, and another of Adele using melted candles. Check out her Facebook page to see deluxe Louis Vuitton mushrooms and more. Via Colossal.
At pubs, breweries and bars, wings are a menu staple — and it's easy to see why. They can be slathered in different marinades and dipped in various sauces, and taste great both fried and baked. And, they're easy to eat plenty of. BrewDog DogTap Brisbane is hoping that you agree every Wednesday. Actually, it expects that you already do. That's why the riverside venue is dedicating the entire day to all-you-can-eat wings, whether you're keen on chicken pieces or prefer cauliflower instead. Either way, you can choose between buffalo-style (which come honey glazed, and with hot sauce and blue cheese dip) or Korean fried wings (as paired with red onion and coriander kimchi). Whichever options you choose when it comes to type and flavour, you'll be tucking into something crispy — and as much of it as you can handle for $20 per person. The bottomless feast is available all day, with no set times, no time limit and no need to buy a drink (although, given you'll be in a brewery, you might feel a hankering for a beer or two). You do need to book, however, and you'll need to be a little prepared, as reservations for Wings Wednesday are only taken up until Tuesday each week. [caption id="attachment_751725" align="aligncenter" width="1920"] Pandora Photography[/caption] BrewDog DogTap Brisbane's All-You-Can-Eat Wings Wednesday takes place weekly for $20 per person — with bookings required. Top image: DogTap Brisbane.
Calling all wizards, witches and muggles: a nail-biting Harry Potter trivia night is coming to West End. Hosted by Ninja Trivia at Browning Street's Hotel West End, the night will feature three hours of Harry Potter fun. This is a must-attend event for all Potterheads who have read all eight books from cover to cover and know their alohomoras from their sectumsempras. Dressing up is highly encouraged, and a wizard's feast-inspired menu and butterbeer will be available to purchase. There'll also be Harry Potter-themed mini-games before, during and after the quiz, which means that you could very well end up playing a game of Quidditch Pong — a combination of quaffles, bludgers, red cups and maybe even a golden snitch, we expect. Prizes will be on offer not only for first, second and third place, but also for coming last — and, naturally, for best dressed. Entry cost is $30 per person. Choose your team wisely.
Why is it the most controversial topics that make us laugh the hardest? Perhaps it's catharsis. Perhaps it's because we dare not make the jokes ourselves. In either case, Sacha Baron Cohen's latest film The Dictator requires no introduction. But let's just say, Baron Cohen's newest creation - supreme leader General Aladeen - is on a mission to safeguard his beloved (oppressed) nation from the clutches of democracy. That's right. The man behind Borat and Bruno is no stranger to controversy; to promote his upcoming release he famously turned up to the 2012 Academy Awards (despite being initially banned from attending) bringing with him "the ashes of Kim Jong-il". Later spilling those "ashes" (reportedly pancake mixture) over well-known American TV host, Ryan Seacrest. Don't call that funny? Then it's likely that The Dictator may offend. Starring Anna Faris, Ben Kingsley and John C. Reilly alongside Baron Cohen, and loosely based on Saddam Hussein's novel Zabibah and the King, the film is hitting cinemas on May 16. Concrete Playground has 20 double passes to give away. To get your hands on a pair of tickets, make sure you are subscribed to Concrete Playground, then email your name and postal address to hello@concreteplayground.com.au
Why did the fried chicken fan cross Hawken Drive? To eat all the greasy chook they could handle, of course. What might sound like a groan-worthy joke is actually happening in St Lucia thanks to KaiKai Chicken and its popular fried chicken buffet — and it's slinging a special for three days. Since opening back in 2018, the shop has helped locals solve the eternal question faced by hungry chook fiends everywhere — aka whether to have one finger lickin' good piece, several, or more than anyone should actually admit to. It serves up an endless array of poultry in 12 different flavours, plus all-you-can-eat ribs, chicken nuggets, pizza, fries, salads, other sides and desserts to round out the meal. Beverage-wise, you can also tuck into bottomless milkshakes (in creme caramel, triple chocolate, and peanut butter and jelly shake flavours), plus iced tea and mocktails. All up, from Thursday, June 6 to Saturday, June 7, the deal will set you back $39.90 per person. If it sounds too good to be true, we're here to tell you that it's a clucking reality; however, each visit does have a time limit. Flocking customers are asked to get their chicken fix within 90 minutes due to the demand — and, let's be honest, after an hour and a half of seeing how much chook you can feast upon, you'll probably be ready to fly the coop anyway. Image: KaiKai Chicken. UPDATE: This post initially stated that the special includes premium alcoholic drinks; however they are not included in the premium beverage package.
Is it possible to make a heist movie that's inspired by detective fiction but takes some cues from reality, including riffing on the director's own mother's experiences and her work as a filmmaker? Then, can such a flick become a charming crime caper that's effortlessly fresh and oh-so French, and yet also could've been made during both the French New Wave and American cinema's glorious 70s era? With his latest feature The Innocent, consider actor, writer and helmer Louis Garrel 100-percent guilty. Consider the film itself an utter delight, too. And, consider it gorgeously shot (by César-nominated Les Misérables cinematographer Julien Poupard), smartly penned (by Garrel, gumshoe novelist Tanguy Viel and Garrel's The Crusade co-screenwriter Naïla Guiguet) and winningly cast, with the latter including Little Women's Garrel himself opposite Portrait of a Lady on Fire's Noémie Merlant, plus Roschdy Zem (Other People's Children) and Anouk Grinberg (The Night of the 12th). Actually, in his fourth stint as an actor-turned-filmmaker following 2015's Two Friends, 2018's A Faithful Man and 2021's The Crusade, Garrel hasn't just assembled a stellar core quartet of actors. In addition to that, he has them anchoring a movie that overtly explores the role of acting in everyday life. Sylvie Lefranc (Grinberg) is a theatre thespian and teacher, as initially observed showing imprisoned men the tricks of the board-treading trade. In her class is Michel Ferrand (Zem), who she swiftly marries — with Sylvie's thirtysomething son Abel in attendance but hardly approving, especially because this isn't her first set of jailhouse nuptials. He's worried about his mom and suspicious about his new stepdad, which gives him a distraction from grieving for his recently deceased wife and hearing about her best friend Clémence Genièvre's (Merlant) tumultuous love life. He knows that Sylvie's head-over-heels infatuation isn't a performance, but is the just-released Michel's claim that he's now on the straight and narrow all for show? To answer that question, Abel gets a-tailing throughout Lyon with the game and eager Clémence's help. This couldn't be a heist film if they found nothing amiss, of course, with ex-con Michel's plans linked in with the cute little florist shop he's opened to make Sylvie's dreams come true — claiming that a friend had rented them the space for free, which is obviously far too good to be accurate. So, Abel is faced with his own spate of acting to protect his mum. Michel can't do the job without assistance from him and Clémence playing decoys, and his mother will suffer if he doesn't aid and abet an armed robbery pilfering lucrative Iranian caviar. Yes, as well as being a heist movie, a romance, and a drama about parents, children, love, loss, moving on and second chances all in one, The Innocent is a delicious and hilarious farce. There's a clear contrast at the heart of The Innocent: women who love quickly and deeply, as Sylvie and Clémence do, and men who are hesitant and guarded, as Abel and Michel prove. In much lesser hands, that juxtaposition might be dated and cliched, not to mention needlessly and gratingly stereotypical. Thankfully, adding to the lengthy list of things that The Innocent manages to be, and breezily, it's also an intelligent, textured and savvily scripted character study. Even when they're overtly acting a part — for work, for each other and, in the widowed Abel's case, often with himself — Sylvie, Abel, Michel and Clémence are each lived in to the point of seeming ready to walk right off the screen. Crucially, every move they make is steeped in their fleshed-out stories and backgrounds, rather than mere convenience, too. Garrel, Viel and Guiguet have penned these characters with nuance, intricacy, and realistic emotions and motivations. Thoughtful touches abound around The Innocent's stars; see: Abel's job as a marine biologist at a local aquarium, where Clémence also works, which nicely stresses the difference between analysing and diving in — and also provides a dazzling setting for pivotal scenes and shots. The film makes wonderful use of Sylvie and Michel's florist in a comparable way, the space literally blooming with colour and life but its roots not what they seem. The Innocent's casting can't be underestimated, though, as particularly seen in Grinberg, Merlant and Zem's efforts. Grinberg steps into Garrel's IRL mother Brigitte Sy's shoes, given she too is an actor who got married in prison, and does so with a gregarious and yearning spark. With a sense of lightness here, Merlant keeps showing her exceptional range, boosting a growing resume that also includes Jumbo, Paris, 13th District and Tár. And Zem, a director himself — including of 2011's Oscar-shortlisted Omar Killed Me and 2016's Monsieur Chocolat — is sincere, determined and charismatic, and also helps turn a bit with a bowtie into something special. As for Garrel, he enlists himself for the fourth time as the fourth character called Abel (although in A Faithful Man and The Crusade, they're the same figure), and he's again ace under his own direction. When your godfather is Jean-Pierre Léaud, one of the faces of the French New Wave ever since starring in the movement's seminal film The 400 Blows, perhaps being drawn to spirited and soulful movies about emotional chaos just comes with the territory. Garrel keeps writing, directing and performing in them, with The Innocent his most entertaining instance yet. Cinema was always in his blood as well as his orbit, seeing that his father is French filmmaker Philippe Garrel, whose pictures he often features in (such as 2013's excellent Jealousy); Sy clearly has an acting history (including 2018's Invisibles); his sister Esther also pops up on-screen (as seen in Call Me By Your Name); and his grandfather is the late actor Maurice Garrel (César-nominated for La Discrète and Kings and Queen) — and it shows. As conveyed in celluloid dreams, heists, crime capers, mysteries and noirs frequently involve throwing an array of moving parts together in high-stakes circumstances, then seeing what fits, sticks, struggles and leaks. French greats Rififi and Bob Le Flambeur, both of which The Innocent feels tied to, knew this. US highlights The Long Goodbye and The Last of Sheila, which it similarly brings to mind, capitalised upon it as well. In all of their many guises, these narrative setups and mainstays strike a chord because they so vividly reflect life's mess, just in heightened circumstances — and Garrel is equally well-aware of that. The Innocent's French pop-synth soundtrack gifts the already fast-paced film with a marvellous sense of bounce, but also reflects exactly what the movie is: a supremely finessed, funny, endearing and engaging flick that echoes for everyone.
Every phrase has to start somewhere, and "you had me at hello" started with Jerry Maguire. When it's uttered by Renée Zellweger to Tom Cruise, it's one of those big on-screen moments that lovers of romantic comedy-dramas will still be talking about decades from now — as they have been for the nearly quarter-century since the Cameron Crowe-directed movie first arrived on screens. Everyone knows that aforementioned piece of dialogue, and the film's other catchy line: "show me the money". You might recall that Cuba Gooding Jr won an Oscar for his supporting performance, too. But you may not always remember how astutely the feature steps through its narrative, spinning a story about a sports agent who has an epiphany about the ruthless business he's in, decides that both him and the entire industry should do better, subsequently gets fired from his high-paying job and then goes out on his own.
The Night Noodle Markets are the jewel in the Good Food Month crown and are exactly what they sound like: a noodle market at night. Take a trip across Asia and indulge in all your favourite dishes from 30 different stalls, including gyoza, Vietnamese pho, ramen, yakitori sticks and yes, lots of noodles. Eat separately or mash them all together into a giant ball of decadent goodness that will earn you jealous stares as you wander around South Bank, soaking up the festival atmosphere. Night Noodle Markets are open from 5pm Monday - Thursday, from 4pm Friday and from 2pm on weekends.
In Her's almost certainly near future, Joaquin Phoenix plays Theodore Twombly — a gentle, retiring man who works at BeautifulHandwrittenLetters.com penning heartfelt correspondence between people he's never met. In his personal life, his wife (Rooney Mara) has left him and now communicates exclusively via their lawyers. In short, nobody really talks anymore. Then one day he buys and installs a new operating system called 'OS1' — an artificially intelligent construct that names herself, or rather itself, 'Samantha' (voiced to perfection by Scarlett Johansson). At first Samantha simply streamlines Theodore's life, triaging his emails and encouraging him to get out more, but gradually, as she evolves and learns more from their interactions, they begin to fall in love. It seems ridiculous, yes, but thanks to Spike Jonze's masterful script and direction, it never really feels it, and that's what makes HER the first must-see film of 2014. it is a beautiful, imaginative and provocative offering by Jonze that asks some fascinating questions about the direction love is taking in the technological age. Read our full review here. Her is out on DVD, Blu- ray and digital download on May 22, and thanks to Sony Pictures Home Entertainment, we have 15 DVDs to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=1awGTPsEmiU
Nadine Labaki directs and stars in this amusing modern fable about a group of women in a remote Lebanese village who try to defuse mounting inter-religious tensions by finding obscure ways to distract their menfolk. Lead by the beautiful Amale (Labaki), the women of the village, both Muslim and Christian, band together to find various ways to stop the men from following in the civil strife that has engulfed their country. In an attempt to keep the peace, the women conspire to hire exotic dancers, lovingly drug sweet pastries and remove weapons from the village. However, not all of their extraordinary ideas go to plan, resulting in a serious of comic, and chaotic, incidents. Following on from Caramel, Labaki's second feature film in the director's chair made official selection at Cannes in 2011 and this year at Sundance, as well as making its debut on Australian screens at the recent Sydney Film Festival. Concrete Playground has ten double passes to give away to see Where Do We Go Now? To be in the running to win a pair of tickets, make sure you're subscribed to Concrete Playground then email your name and postal address to hello@concreteplayground.com.au
