Heading to dinner and a show just got a whole lot more interesting. For three weeks as part of Brisbane Festival 2015, the concept of eating, drinking and watching a live performance will be transformed into a decadent culinary and theatrical escapade. Welcome to Fear & Delight, a whole tent full of black-and-white-themed fun that's three events in one, especially if you're in the mood for something super indulgent. Thanks to the fine folks at Strut & Fret — aka the award-winning makers of LIMBO and Cantina — the main attraction is a daring combination of physical feats and comedy, as set to the sounds of cult UK DJs The Correspondents. Plus, the first installation in the Southern Hemisphere of the G&T Cloud Experience (that's a gin and tonic based weather system for your tongue — yes, really) is part of the production. That's not all, with pre- and post-performance attractions keeping the lavishness coming. Fancy a feast prior? Then the Devil's Banquet is just the ticket you need, with world-renowned food artists Bompas & Parr serving up gastronomic concoctions that include artisan wines and unexpected antics. Keen for a tipple once the show is over? You'll want to hang around for the afterparty then, where cocktails reign supreme. If this isn't the ultimate opportunity to treat yo'self to something truly special, then we don't know what is.
UPDATE: SEPTEMBER 14, 2019 — Brisbane Festival's Fire Gardens installation has been cancelled due to the extension of Brisbane's total fire ban, with ticketholders due to receive refunds. You can read more about the bushfires and the festival's decision over here. Come September, one of the most peaceful patches of the CBD will become the most fiery. Don't worry, it's only temporary. Already a hit everywhere from Stonehenge to The Kremlin to Melbourne, French art collective Compagnie Carabosse is bringing its acclaimed Fire Gardens to town as part of this year's Brisbane Festival. While the full Brisbane Festival program features plenty of other fun, this sprawling — and suitably glowing — installation is worth getting hot and bothered about (in a good way, of course). For the four nights between Wednesday, September 18 and Saturday, September 21, Fire Gardens will take over the Brisbane City Botanic Gardens in Alice Street, filling the Gardens Point spot with thousands of fire pots, sculptures and terracotta urns. Pathways will be illuminated, burning pyres will sit in trees, huge spheres will roar and crackle with flames, and structures will be set alight in the middle of ponds. The installation will also take visitors through a blazing maze-like realm, and feature luminous animatronic sculptures. Given that the group has been starting fires professionally for more than 20 years, Compagnie Carabosse knows what it's doing — not only when it comes to safely cloaking a huge expanse of grass, plants and trees in flames, but in tapping into humanity's innate fondness for and primal attraction to fire. This isn't just about watching things burn, obviously, with a mysterious soundtrack boosting the mood and allure. Expect live musicians performing French music, adding to the radiant ambience. More than 40,000 people are expected to make their way through the huge work, so nabbing a ticket in advance is recommended sooner rather than later. Prices will rise from $25 to $33 the longer they're available, with the cheapest options put up first. Once you've nabbed your spot, blaze-loving Brisbanites can enter at five times each night — in half-hour blocks from 6–8.30pm — and once you're inside, you can stay until close at 9.30pm. Although Fire Gardens has popped up around the world, this iteration will be crafted specifically for the Brisbane City Botanic Gardens. That means that you really won't see anything like it anywhere else. And, of course, you haven't seen the gardens set on fire before anyway. Images: Sylvie Monier, Regina Marcenkiene and Vincent Muteau.
You may have already heard, indeed the internet has been speaking of nothing else, but Stereosonic will not be returning in 2016. They announced on Facebook that the festival will be back and bigger than ever in 2017 which, tbh, just sounds like a gentle breakup. Why would a beloved festival, a cornerstone event in the calendars of both gym bros and dinger slingers alike, clock out for a whole year? Organisers Totem Onelove say it's because they're committed to bringing fans the best festival experience possible. It may also be attributed to the tragic deaths of two patrons in 2015, or that the American company who own Totem Onelove, SFX, recently filed for bankruptcy. All hypotheticals, all 'could be's. It could be that the Year of the Monkey is just not their year. It could just be a sign of the times. Future Music was cancelled in early 2015 because it doesn't make "financial sense"; Soundwave soon followed due to poor ticket sales (although to be fair, their version of poor ticket sales was around 20k at $170 a pop – about $3.4 million revenue. And now Stereosonic has folded and the big three festival that defined the Aussie festival scene are done and dusted. The real shame here is without a big festival, and the big budgets they bring, there's one less drawcard to get the big acts out to Australia and put on sideshows. It's pretty good news for people who would rather bathe in urine than step foot into a gym-bro festival because at the same time, as you've probably noticed, boutique festivals are going boom — it's been a killer few years for the likes of Sugar Mountain, Secret Garden Festival, Strawberry Fields, Let Them Eat Cake, Inner Varnika, OfftheGrid, Dark Mofo and Meredith to name only a handful. In the place of the massive one-size-fits-all festival giants come hundreds of smaller, niche events. The democratisation of festival culture can only be a good thing right? See ya Stereo. You'll be missed, like the lost revenue from many, many Australian gym memberships this year. Image: Stereosonic.
As other festivals fall by the wayside, St. Jerome's Laneway Festival just keeps on keeping on. Just a couple of weeks ago Laneway debuted in Detroit, bringing that Melbourne laneways vibe to the Motor City, and now we are thrilled to announce the 2014 lineup for Australia. As we've come to expect from Laneway, it's an intriguing mix of established names, up-and-comers and best-kept secrets, as well as a number of crowd favourites from previous Laneways making a return appearance. The organisers have also forecast a bunch of tweaks to all the venues so that you can get from the mosh to a gozleme in record time, and grab a cider on the way back from the toilets without missing half the festival. Laneway has gone from strength to strength over its 11 years, adding dates in New Zealand and Singapore as well as Brisbane, Sydney, Adelaide and Perth from its humble beginnings in the back of a bar in Melbourne. It's a festival that knows exactly what it is trying to do, and who its audience wants to see, and I reckon this lineup is going to blow a few minds. In alphabetical order: Adalita Autre Ne Veut Cashmere Cat Cass McCombs Chvrches Cloud Control (no sideshows) Danny Brown Daughter Dick Diver Drenge Earl Sweatshirt Four Tet Frightened Rabbit Haim (no sideshows) Jagwar Ma Jamie XX King Krule Kirin J Callinan Kurt Vile Lorde (no sideshows) Mount Kimbie MT Warning Parquet Courts Run The Jewels (EL-P & Killer Mike) Savages Scenic The Growl The Jezabels (no sideshows) Unknown Mortal Orchestra (no sideshows) Vance Joy Warpaint XXYYXX Youth Lagoon TICKETS PRESALE: Laneway Festival fans with Visa Credit, Debit or Prepaid cards can get tickets first through Visa Entertainment. Visa Entertainment presale starts noon on Monday, 30 September, through to noon on Tuesday, 1 October (local time), or until tickets sell out at www.visaentertainment.com.au. Visa presale: Noon, Monday, 30 September – Noon, Tuesday 1 October (local time) GP on sale: Thursday, 3 October, 9am (local time) Saturday 25 January 2014 SINGAPORE The Meadow, Gardens By The Bay Monday 27 January 2014 AUCKLAND Silo Park Friday 31 January 2014 BRISBANE RNA, Fortitude Valley Saturday 1 February MELBOURNE Footscray Community Arts Centre (FCAC) and the River’s Edge Sunday 2 February SYDNEY Sydney College of the Arts (SCA), Rozelle Friday 7 February ADELAIDE Harts Mill, Port Adelaide Saturday 8 February FREMANTLE Esplanade Park and West End
If you're hungry for more from the author behind Boy Swallows Universe — and if you've ever wanted the inside scoop on Tinseltown, you'll want to make a date with the 2025 Brisbane Writers Festival. As always, the festival celebrates local literary legends as much as it welcomes international writers. Prepare to be busy, literature lovers: more than 100 live sessions are on the full bill. When the BWF takes place from Thursday, October 9–Sunday, October 12 at the Brisbane Powerhouse and other venues around Brisbane, you'll spot some familiar headliners. Trent Dalton will return with the launch of his most personal novel to date Gravity Let Me Go, while Anita Heiss retakes the mic as one of the prolific Indigenous voices resonating through the festival. They're joined by other A-listers, literary or otherwise: actress and memoirist Ione Skye, filmmaker and writer Griffin Dunne (yes, the Practical Magic director and Joan Didion's nephew) unravel the myth and mystique of Hollywood, American romantasy star Callie Hart speaks about Quicksilver and historian Bettany Hughes guides audiences through ancient worlds in a sightseeing tour and Helen Garner unpacks the Aussie passion for footy with former AFL player Brandon Jack. From there, the usual applies at Brisbane's annual ode to storytelling and publishing: if it involves words, it's probably covered. Among the book-centric buffet, other highlights include keynote addresses by Heiss and Singaporean poet Theophilus Kwek, cultural critic Sophie Gilbert dissecting Y2K-era misogyny at the heart of Girl on Girl, Fisk writer Steph Tisdell talking about her debut YA novel and a mixed bag of old and emerging authors examining their chosen genres of crime and historical fiction. Or, there's also the New York Times bestseller and PEN/Faulkner Award finalist Eric Puchner, crime novelist Mark Brandi and Obernewtyn Chronicles' Isobelle Carmody — and the fact that Sharlene Allsop and Jillian Bowie are both guest curators. Sally Hepworth, Holly Wainwright, Michael Robotham and Di Morrissey are also flying the flag for Australian scribes, each with a new tome to discuss. This year, Queensland is particularly well-represented, with over half of the artists hailing from the Sunshine State — among them are Steve Minon, Laura Elvery, Kimberley Allsopp, Melanie Saward, Martine Kropkowski, Cheryl Leavy, Joanna Jenkins, Lauren Ford and Allison Rushby. If you're trying to make sense of the world, you're in luck there, too. Political analyst Clinton Fernandes takes on the circus of politics in the Trump era, Bryan Horrigan examines ethics in business and David McWilliams unpacks the relationship between humans and money. Inspiring stories of human resilience are in the spotlight too, with sessions featuring F1 engineer turned Lune Croissanterie founder Kate Reid, Masterchef host Melissa Leong, kickboxer John Wayne Parr, Pub Choir's Astrid Jorgensen, Ottolenghi offsider Helen Goh, and athletic legend Turia Pitt — and poets from all over the Asia Pacific will unpack the importance of language. Two days dedicated to children and YA fiction, celebrating Aussie drag culture from Rupaul Drag Race Down Under's Art Simone, exploring the impact of our COVID vaccinations, solutions to the Doomsday clock, the Anzac myth, conspiracy theories, the history of Brisbane's rock scene and how to write stories inspired by your own life: they all deserve some attention because the lineup is jam-packed. [caption id="attachment_895240" align="alignnone" width="1920"] Morgan Roberts[/caption] Images: Josef Ruckli, Markus Ravik and Morgan Roberts.
A new name has joined Brisbane's ever-growing craft beer scene, but The Brew Baron Beer Co isn't exactly a new brewery. Instead, it's a fresh guise for West End's Parched Brewing. This is a case of new owners, new moniker and new fictional character to base the brand around, but the same brews and space on Montague Road. Brad Sayer, Rita Ferraro and Gibran Ferraro Firmo purchased Parched back in June, then set about giving it a revamp. That's where the changed title comes in for this husband, wife and stepson trio, as well as the baron figure. Sayer and Ferraro have overseen the fresh direction — including new additions to the brewery's home — while Gibran has deployed his skills as a chef to spearhead a food menu makeover. First, the space: if you're keen on whiling away an evening with a cue in your hand, you'll want to head straight to the pool room. On the way is a brand-new deck, too, for cruisy drinking sessions. And if you're eager to watch sports as you knock back a few cold ones, big-screen TVs have joined the site, while leather chesterfield couches will be in place by the time that September is out. Live music is also making a comeback at The Brew Baron Beer Co, echoing from the Brew Stage from 2–5pm every second Sunday. Prefer trivia over a tipple instead? That's now a Thursday-night staple from 6.30pm, and is free to enter. As for the food, Gibran has taken inspiration from his South American heritage, which comes through in both flavours and dishes among a heap of pub classics. Think: pork tacos with chipotle mayo and chilli con carne nachos, for starters. The menu also includes karaage chicken tacos, tempura prawns, five types of burger, seven styles of pizza, fish 'n' chips, and both schnitzels and parmigianas. Or, there's the birramisu pie, which pairs ten-hour braised beef cheek with peas and mashed potato. Drinks-wise, The Brew Baron Beer Co's sips include pale ale, lager, IPA and a hazy IPA, plus a peach and raspberry sour. Matt Wolfe remains as Head Brewer, with developing new brews part of his remit. View this post on Instagram A post shared by The Brew Baron Beer Co. (formerly Parched) (@brewbaronbeerco) "My wife, stepson and I have purchased the brewery, and made the changes that we think will improve things, for our customers" said Sayer, The Brew Baron Beer Co's Managing Director. "Gibran, is a qualified chef, and has led improvements to the food menu by using fresher ingredients, introducing his native South American flavours and adding more value-for-money pricing. In the brewhouse, we've been fortunate to keep long-standing great brewer Matt Wolfe, but given him greater autonomy to do what he does best — brew great beers." "And we've changed the customer area to provide a more engaging and comfortable experience. Finally, our customers will find Gibran and/or me onsite, at all times, so they can approach us and share their thoughts directly with us." "The brewery remains a small, West End family-owned and -operated business. With the support of the West End community, we'll continue operating and supporting it." Find The Brew Baron Beer Co at 391 Montague Road, West End from 12pm–late Wednesday–Sunday.
"I didn't want to simply be a socialite," Jep Gambardella (Toni Servillo) tells us. "I wanted to become the king of socialites." He has succeeded grandly in this most empty of ambitions; his life seems an endless parade of high-society gatherings, fashionable soirees and art gallery openings. A louche writer resting on the laurels of his lone novel and the occasional magazine piece, Jep has turned recently turned 65 and is shaken from his decadent torpor when he learns that his first love has died. The news acts as a reminder of his own looming mortality and is a chance to reflect on the gradual decline of Rome, the city he came to as a young man, at once drawn to its vibrancy and seemingly determined to be unimpressed with it. The film begins with an elaborately staged, gloriously shot party and doesn't reveal its immaculately dressed, glamorously jaded protagonist for several minutes, an approach in keeping with its interest in the colourful characters who inhabit his world. It is peopled with eccentric characters like Jep's combative editor, a spirited stripper who becomes involved with Jep, a centurion nun who eats only roots and a cluster of society wives, conmen and vacuous social climbers. Dispensing acidic observations a la Truman Capote, Jep surveys scenes of debauchery and hedonism with an air of slightly tired amusement. At times he seems the ultimate cynic — when he responds to a friend's taunt about his work and she calls him a misogynist, he corrects her: he is actually a misanthrope. Yet there is something melancholy about the character and the milieu he inhabits, something increasingly desperate about their pretensions and endless search for novelty, a sense that they live in the shadow of the city's great history. Writer-director Paolo Sorrentino's last film was the somewhat divisive little gem This Must Be The Place; this is a much more elaborate affair, stuffing dozens of vignettes of city life into its 142-minute running length. It evokes comparison with his great countrymen Federico Fellini and feels like a belated companion piece to La Dolce Vita, in its ambition, sweep and affectionate but pointedly warts-and-all portrait of a decaying, decadent metropolis. Filmgoers who like a sturdy narrative will likely be frustrated by The Great Beauty's structural looseness and epic sprawl, but those who can tap into its kaleidoscopic approach will find a dazzling, intoxicating feast of colour and life. https://youtube.com/watch?v=Dyt430YkQn0
Everyone's doing it: taking something not-at-all scary, switching up a word or two, and giving it a frightening twist. You've seen it all over social media, and now you can see it in action at the Southside Tea Room's latest event as well. Yep, the Morningside hangout is hosting the Mourning-side Scavenger Hunt. You'll be searching the suburbs as part of this little Halloween spot of fun — or one inner-east suburb, to be precise. If anyone can make Wynnum Road spooky, it's the SSTR, Death Valley and Red Robin Supper Truck combo. And, once the main quest is over, the latter two places will be hosting a beer garden sing-along screening of The Rocky Horror Picture Show.
It's slime time on the big screen in Brisbane this spring. Expect toxic ooze, plenty of goo and even ectoplasm to feature at New Farm Cinemas, too. Continuing to prove that there's a film festival dedicated to everything, the River City's own BORLFF is back, but with a difference for its second year. In 2022, that acronym referred to the Brisbane Only Rotoscoped Lightning Film Festival. In 2023, it means the Brisbane Only Repulsive Liquids Film Festival. So, movie lovers hitting Brunswick Street from Friday, September 22–Sunday, October 1 won't be seeing flicks with hand-drawn lightning effects this time around. Instead, sludge and its fellow liquids are in the spotlight, as is viscera as well. And yes, there are enough features to flesh out a film fest that solely focuses on repulsive liquids — starting with not only an ooze-filled classic, but a film that comes with its own smells. BORLFF is opening its 2023 season with the world's most fearsome fighting team — or so the catchy theme tune goes — and their live-action 1990 film. At this session of the OG Teenage Mutant Ninja Turtles movie, the audience will catch Leonardo, Donatello, Michelangelo and Raphael (and Sam Rockwell in a blink-or-you'll-miss-it part) in stink-o-vision. Everyone will receive scratch 'n' sniff cards, which they'll then use to emit appropriate scents as they watch. From there, the 11-film lineup is presenting themed double features on five nights. Most evenings will let you come along to just one session, other than the Troma lineup of The Toxic Avenger and Class of Nuke 'Em High — or you can get comfortable for the full oozy 80s, green gunk, sickly science and putrid pink experience. On the lineup: David Cronenberg's The Fly paired with John Carpenter's Prince of Darkness, complete with a Q&A with veteran special effects artist Chad Atkinson (The X-Files, Alien Resurrection, Starship Troopers) — and also experiments gone awry in Australia's own Body Melt (with director Philip Brophy in attendance) and the Frankenstein spin that is Re-Animator. Or, see plenty Kermit's hue in a new light in Japanese American co-production The Green Slime and fantasy-horror effort Troll 2, then go pink with 1988's The Blob remake and Ghostbusters II. BORLFF stems from Netherworld, Two Bit Movie Club — aka the regular cult and classic movie event that often screens at the arcade bar — and will also feature an art show via Feature Presentation that showcases new interpretations of movie posters for the fest's films. They're on display at the bar throughout September, and you can buy prints of them, too.
Saying that a particular actor could read the phone book and make it sound great has long been deemed high praise. It's now a cliche, but like many over-used expressions, it still remains accurate. Ask Emma Thompson to utter any words on screen, for example, and it'd likely prove enthralling. Playing a family court judge in The Children Act, she reads legal judgements in a complicated case, keeping her emotions in check when few others can. Her character gives firm, sober answers both in her professional and her personal lives — and when the justice lets her guard down on one rare occasion, Thompson literally sings. Indeed, regardless of what the two-time Academy Award winner is doing or saying, she's utterly riveting. Thompson's Fiona Maye spends her days adjudicating difficult cases involving the welfare of minors, with the 1989 U.K. law known as the Children Act her guiding light. It's a job that she approaches with the utmost care, and often under significant scrutiny. Fresh from decreeing the fate of conjoined infants in an affair that's been splashed across the newspapers, another thorny matter comes before her court. 17-year-old Jehovah's Witness Adam Henry (Fionn Whitehead) is dying from leukaemia, and refuses to have a blood transfusion because it's forbidden by his faith. His devout parents (Ben Chaplin and Eileen Walsh) support his choice, but his doctors are seeking legal intervention to administer the life-saving treatment. The decision facing Fiona might rank among the most complex of her career, weighing someone's right to life against their right to their beliefs. Crucially, she's charged with deciding whether a boy who's almost a man can make a choice between the two for himself. Thompson is a powerhouse when Fiona is quietly considering all of the details, often with a pensive yet penetrating look adorning her face. She's just as mesmerising when she's exercising the character's wit, too. But when The Children Act truly cracks Fiona's facade — in fights with her unhappy husband (Stanley Tucci) about their childless marriage, in tender moments when she flouts protocol to visit Adam on his sickbed, and when she just can't hide the stress of the situation — she's nothing short of astonishing. When Adam feels as if he's being drawn to Fiona, his reaction to her presence is easy to understand. Thompson turns in a soulful performance in a film that also earns the same description, which is hardly surprising given the movie's pedigree. The Children Act isn't just the second novel by Ian McEwan to reach the big screen this year, after On Chesil Beach. It's also the second that he has written the screenplay for himself — something that he hadn't done for nearly 25 years beforehand. On the page and in the cinema, the result is another of the writer's mature and thoughtful works, with the picture sensitively handled by director Richard Eyre. The filmmaker is no stranger to complicated matters himself, as previously seen in book-to-film adaptation Notes on a Scandal, but there's a blend of deep emotion and calm subtlety to The Children Act that borders on devastating. Credit is also due to Whitehead, best known until now for his work in Dunkirk, who ensures that Adam is as multifaceted and fascinating as Fiona. It's a portrayal that makes viewers wish for another life for his character, and certainly keeps the audience invested in Adam's fate. As an acting showcase for both the young talent and for Thompson, The Children Act couldn't be better, however the patiently shot drama also succeeds as a probing and empathetic look at a difficult topic. Like this year's festival favourite Apostasy, it ponders faith and medicine among Jehovah's Witnesses to stunning effect — and with heart-wrenching delicacy. https://www.youtube.com/watch?v=GWOfsnxcD3s
It isn't often you come across a band name that doubles as an appropriate review of the band's jaw-dropping performance. Thankfully, Holy Fuck are proudly flying the flag of that exclusive group and are about to plant it in Australia, as they are set to embark on a national tour to accompany their upcoming Groovin' the Moo appearances. The Canadian outfit is gracing our shores for the first time since 2011 and any readers who stood in awe at one of those shows will know that these are tickets not to be missed. Set lists are foregone as the band opt instead to thrive off their audience. Waves of energy cascade over the crowd, imbibing revellers with dancing urges that will continue for days as they relive the brilliance. Never has blaspheming and swearing been this fun, so grab yourself a ticket. https://youtube.com/watch?v=S2Y7TAtoAFk
Bartenders are the new rockstars — if their touring habits are anything to go by, anyway. In the past few years, more and more cocktail bars and their helmsmen have joined musicians for fly-in, fly-out visits to Australia — but instead of touring records, they're touring killer drinks lists. Last year saw Asia's best bar 28 Hongkong Street and hidden New York City jaunt Attaboy both do a quick stops in Melbourne and Sydney, while Mace popped up at Sydney's PS40 just the other week and PDT was in town a little while back too. And now another NYC bar is making its way to our shores for a cheeky cocktail pop-up. The Dead Rabbit Grocery and Grog will come to Australia for three nights only, spreading its shaking skills across the east coast with one night at Melbourne's Black Pearl, one night at Sydney's Baxter Inn and one night at The Gresham in Brisbane. Dead Rabbit will be sending their finest drink makers to work in collaboration with the host bars to create a one-night-only menu that will showcase their skills and signature drinks and food items (like their Scotch egg). Their cocktail menu is pretty extensive, but we're hoping they bring their Hong Kong Phooey with them — it blends rum with Aquavit, grapefruit, pistachio and avocado. Although we've had a few bars pass through our major cities by now, this one's pretty special as Dead Rabbit, which is permanently located in lower Manhattan, took out the top spot on last year's World's 50 Best Bars list. So if you can't get to the Lower East Side anytime soon, this is your next best option. Tickets to the pop-up have already sold out in Melbourne for April 18, but are still available in Brisbane on April 19 and Sydney on April 23. Tickets are a little pricey at $40 (plus booking fee) — that includes a cocktail on arrival and one of Dead Rabbit's signature Scotch eggs. You'll then be able to purchase extra drinks on top of that.
If you're guilty of assuming the so-called 'rock star lifestyle' is one of grandeur, dolla dolla bills and Nyan Cat-emblazoned Purraris, or have ever accused a band of 'selling out' for working alongside a commercial brand, you might want to see this. The Truth About Money in Music is a brand new mini-doco featuring the likes of Remi, James from Violent Soho, Hey Geronimo, Millions, KLP, The Cairos and many other Australian artists who are doing tremendous work on minimal budgets. Brisbane-based film director, Dan Graetz, is at the helm of this operation. The idea came to life after Graetz pitched the idea to Jack Daniels, who were looking to support creative music projects. "I pitched this documentary around musicians, brands and honesty," says Graetz. "It was great they liked it and even better that they gave me the freedom to stay true to the concept. This is the result." https://youtube.com/watch?v=XR-RA-vpm8s Graetz knows the musician's financial struggle all too well, not only through working closely with artists on music videos but also through his own creative pursuits. "In creating music videos over the past four years, my team and I have made fireworks, gutted cars, cloned humans and more — usually on a shoestring — to help new talent stand out against cute kittens, dancing babies and big budgets," Graetz says. The film interestingly sees artists like Kate Miller-Heidke talk about her move from a major label and the restrictions that came from it, in comparison to working with brands who facilitate collaboration and creative possibilities. The overarching message seems to be that if a company wants to back you because they like what you're about as you are, then why the hell not let them give you a hand. Obviously, no one was born yesterday and a JD-shaped product is being plugged here, but it's hardly 'selling out' when the bigwigs don't want you to change a thing. This is just the first chapter for the Jack Daniels Future Legends project. Expect to see the likes of Bloc Party's Kele Okereke, Sable, Motorik, The Griswolds, and The Cairos feature in instalments further down the track. JD is encouraging trailblazers and creative to get in touch if they have a bold and independent music idea that needs support. Pitch your project in 300 words or less to jackdaniels.au@gmail.com. For now, watch The Truth About Money in Music right here and hold off on those rants: https://youtube.com/watch?v=MgZJFu3SHVs
When is a comedy show more than just a comedy show? When it is also supporting an excellent cause beyond getting audiences giggling, chuckling and guffawing. That's what's on the agenda at Frocking Hilarious, which isn't just about showcasing Australia's comedy queens — although that's definitely a highlight — but also about raising funds to help champion women's rights around the world. Hitting the stage: Claire Hooper as host, plus Michelle Brasier, Rose Callaghan, Emma Holland, Jo Gowda and Alexandra Hudson among the hilarious ladies busting out bite-sized comedy sets. They'll be telling jokes to champion ActionAid's work in 45 nations, and to fly the flag for battling gender inequality, poverty and injustice. Happening as part of Brisbane Comedy Festival 2023, this is a one-night only gig from 8pm on Saturday, May 6, taking place in Brisbane Powerhouse's outdoor Pleasuredome. And, it'll also be Auslan interpreted.
If dressing up in costume is your favourite part of Halloween, then your wardrobe is getting a workout right now. And, you clearly already know one of the ace (and related) standout things about this time of year: it's perfectly acceptable to wear those costumes anywhere and everywhere. On Friday, October 28 from 8pm, that includes kitting up to head to iconic Brisbane music venue The Zoo. Just over a month out from its big 30th-anniversary celebrations, the venue is marking Halloween by hosting Creepshow — a one-night-only music fest that's all about live tunes and eerie vibes. Yes, dressing up is encouraged — heartily. There'll even be prizes, including for best solo costume and best group. So, either showing off your individual Halloween look or gathering the gang for a combined stint of scary style should be on the agenda. That said, whatever you're wearing, obviously the music is the real star of the show. Get ready to listen to Girl and Girl, Radium Dolls, Citypiss, Talk Heavy and The Dandys, all taking to the stage in Creepshow's second year. Images: The Zoo.
It's supposed to be the happiest time of the year, but Christmas sure does require everyone to make a whole heap of decisions. You need to select which gifts to buy your nearest and dearest, all the ways you're going to celebrate with your loved ones and where to spend any time you get off over festive break, for starters. You also have to pick how many seasonal-themed events to attend across December, and which dishes to make and/or eat. And, you need to choose something to drink — on several occasions over the whole period. Need something to pour into your next festive-themed cocktail, or to sip with pudding on the big day itself? Bass and Flinders has just released a limited-edition spiced Christmas brandy that's designed for both — or just to drink neat over ice when you're saying a jovial cheers to your friends and family if you prefer. The idea: to basically make a brandy that tastes like Christmas pudding in a bottle (because why just eat dessert when you can drink it, too?). Head distiller Holly Klintworth took inspiration from her family's own Christmas pudding recipe, in fact, which has been passed down through four generations. If you're wondering what you'll be knocking back, Bass and Flinders' spiced Christmas brandy uses chardonnay grapes from a Victorian vineyard, which have been distilled and matured to into an Aussie-made spirit. Then, the distillery steeped it with Christmas fruits and spices for ten days — with dried currants, cranberries and apricots; spices such as nutmeg, clove and cardamom; and also citrus rind, frankincense and myrrh. Golden amber in hue, and smelling like all of the aforementioned ingredients, the tipple is now available to purchase for $125 for a 700-millilitre bottle. And if you're after a few cocktail ideas, Bass and Flinders has also come up with a spiced brandy eggnog recipe on its website. View this post on Instagram A post shared by Bass & Flinders Distillery (@bassandflinders) Bass and Flinders' spiced Christmas brandy is available to purchase now — for more information, head to the brand's website.
Maybe viewing old episodes of Aerobics Oz Style helped you stay active during 2020's first long lockdown. Perhaps you've been obsessed with the now-iconic Key & Peele aerobics meltdown sketch for years, as everyone should be. Or, you might've watched the excellent Kirsten Dunst-starring On Becoming a God in Central Florida and got bitten by the water aerobics bug. Whichever fits — or even if none of the above applies to you — leotards, exercise and all things 80s haven't been far from our screens in recent years. And, they'll feature again in a big way in Apple TV+'s new ten-part dark comedy series Physical. Set in the decade that's always going to be synonymous with leg warmers, Physical sees Rose Byrne make the leap from hanging out with talking CGI rabbits in terrible book-to-screen adaptations to getting hooked on aerobics. She plays Sheila Rubin, a San Diego housewife with a husband that's running for California's state assembly. While playing her dutiful part as expected, she struggles with her self-image. Then, the only form of exercise that TV shows and movies seem to think that anyone did back in the 80s suddenly enters her life. Cue a journey that brings Sheila success, and turns her into a lifestyle guru. Obviously, she won't be posting about her daily life on social media — but this show is set in the peak VHS era, so expect videotapes to play a part in the story. Physical is set to start streaming on Friday, June 18, and will drop its first three episodes in one hit before releasing the rest weekly afterwards. Naturally, big hair and spandex abound in the just-dropped, supremely 80s trailer for the series. Alongside Byrne, the show stars Rory Scovel (I Feel Pretty), Dierdre Friel (Second Act), Della Saba (Ralph Breaks the Internet), Lou Taylor Pucci (American Horror Story), Paul Sparks (The Lovebirds) and Ashley Liao (Fuller House). Desperate Housewives and Suburgatory's Annie Weisman created, wrote and executive produced Physical, and serves as its showrunner, while I, Tonya's Craig Gillespie, Dead to Me's Liza Johnson and Love Life's Stephanie Laing all enjoy stints in the director's chair. Check out the teaser trailer below: https://www.youtube.com/watch?v=AQaHAy7r660 Physical starts streaming via Apple TV+ on Friday, June 18.
Nothing in pop culture every truly dies, and that includes teen-oriented late 80s and early 90s-era sitcoms about high schoolers. Yes, more than three decades since it first hit the air, Saved by the Bell is returning to screens. Sure, you're now past the point of being able to watch it after school each day — but if you want to stream it when you get home from work, that'd be fitting. After initially running from 1989–1993, Saved by the Bell has actually popped up in several guises since. Two spinoffs arrived shortly after the original show, thanks to 1993–94's Saved by the Bell: The College Years and 1993–2000's Saved by the Bell: The New Class. And, it also gave rise to two TV movies: 1992's Saved by the Bell: Hawaiian Style and 1994's Saved by the Bell: Wedding in Las Vegas. Now comes a new series that's simply called Saved by the Bell, and also features some of the show's original cast members. That makes it a revival and a sequel, rather than a reboot or remake — although there's a new bunch of teens navigating high school, obviously. And while the likes of Elizabeth Berkley Lauren, Mario Lopez, Mark-Paul Gosselaar and Tiffani Thiessen all reprise their characters, they're either the parents or teachers of the series' new kids. Comedy veteran John Michael Higgins also features as Principal Toddman and, if you saw his last sitcom appearance, that's particular good news. Actually, it's a reunion with his Great News costar and that show's creator Tracey Wigfield, who is also doing the latter on the resurrected Saved by the Bell. Check out the trailer below: https://www.youtube.com/watch?v=O0uCr5-5p5Q&feature=emb_title Saved by the Bell starts streaming via Stan in Australia from Thursday, November 26. Details for New Zealand are still to be announced.
One of the last remnants of Septembers Brisbane Festival is Colour By Numbers, an exhibition of works by Dale Harding. The exhibition combines storytelling and nostalgia with a modern spin by incorporating commentary on Australia’s past history with Aboriginal children. Drawing inspiration from oral traditions passed on by family members, Dale transforms these stories into stimulating visual representations. The exhibition wraps up this week, so if you are still looking for a post-Brisbane Festival cultural fix, then let this be it. Head over to Metro Arts between 10am and 4.30pm.
The annual French Film Festival is touring the country next month and is set to be an entertaining delight for film lovers of all tastes and ages. The festival is a wing of the Alliance Française, an independent, not-for-profit organisation devoted to promoting the spread of French language and culture worldwide. With a presence in over 146 nations and over 30 Alliance Françaises in Australia alone, it is safe to say the organisation has done well in achieving these goals. The Alliance Françaises of Adelaide, Brisbane, Canberra, Perth, and Sydney have joined forces to develop the Film Festival, now in its 24th year. And the 43 films set to screen at this year's festival will certainly not disappoint. The festival has a huge array of productions on offer, sure to sate the appetites of the soppy romantics, the arty, youngsters, those simply looking for a bit of a laugh, nostalgia-sufferers, and even thrillseekers. These films are some of most acclaimed productions to have come out of France over the last 12 months and will have you adoring both the language and the artistic creativity of the French by the time the credits roll. Opening the festival is Haute Cuisine, light fare about a successful chef who is appointed to head the President's kitchen in the Elysee Palace. During the festival you can see Renoir (pictured), a sumptuous film about the feuds of great painters; the erotic tableaux of FEU by Christian Louboutin; the Cannes closer and Audrey Tautou vehicle Therese Desqueyroux; and the pre-Freudian Augustine. The French Film Festival will tour to major capital cities during March and April. Visit their website to see the full program.
Real and imaginary. Animal and human. The everyday and the subconscious. Because life is about the in-between, not the extremes, these are just some of the divides interdisciplinary artist Zoe Porter considers in her latest exhibition. Homunculi uses drawing, sculpture, installation and performance to create a hybrid of forms, myths, ideas and environments — and to explore the concept of solo work versus collaboration, too. That's under the spotlight at the show's opening night on March 24, when Ali Cameron, Olivia Porter and Ben Ely woll join Porter for an evening of live sound, percussion, dance, circus and more.
Would the latest big-screen adaptation of Stephen King's Firestarter have been better or worse if it had included The Prodigy's hit of the same name, aka the most obvious needle-drop that could've been chosen? Although we'll never know, it's hard to imagine a film with less personality than this page-to-screen remake. Using the 1996 dance-floor filler would've been a choice and a vibe — and a cliched one, whether gleefully or lazily — but it might've been preferable to the dull ashes of by-the-numbers genre filmmaking that's hit screens instead. Zac Efron looking so bored that blood drips from his eyes, dressing up King's 1980 story as a superhero tale (because of course) and having its pyrokinetic protagonist say "liar liar, pants on fire" when she's torching someone aren't a recipe for igniting movie magic, or for even occasionally just lighting a spark. That said, the best thing about Firestarter circa 2022 is actually its 'Firestarter'-free score, and with good reason. It hails from legendary original Halloween director John Carpenter, plus his son Cody Carpenter and regular collaborators Daniel A Davies (all fresh from 2018's Halloween and its follow-up Halloween Kills). It's a savvy touch not merely for the kind of atmospheric, eerie, mood-defining electro-synth sounds that only the elder Carpenter can deliver, but because he was originally slated to direct the first version of Firestarter in 1984, only to be ditched because The Thing — now a stone-cold sci-fi/horror classic — didn't do well enough at the box office. While both features could've desperately used Carpenter behind the lens, at least the initial flick didn't feel like all it was burning was the audience's time and patience. Then, now and in King's book, Firestarter follows the McGee family, whose lives would blaze brighter if they didn't have abilities most folks don't. After volunteering for a clinical trial in college, Andy (Efron, Gold) and his wife Vicky (Sydney Lemmon, Fear the Walking Dead) have telepathic and telekinetic powers; being experimented on with mind-altering chemical compounds will do that. And, from birth, their now 11-year-old daughter Charlie (Ryan Kiera Armstrong, It: Chapter Two) has been able to start fires with her mind. How director Keith Thomas (The Vigil) establishes this backstory says more than it should about the movie, how blandly it turns out and what it might've been with more flair. A flashback to Charlie getting fiery as a baby is laughable, and kindles exactly zero thrills, scares or unease. But, flickering over the opening credits as old video footage, Andy and Vicky's time as test subjects ripples with tension and creepiness — that's swiftly extinguished and never felt again. Unsurprisingly, the McGees have spent years attempting to blend in, hiding their powers and fleeing the shady government department, The Shop, that's responsible for their situation — and now sports a keen interest in using Charlie as a weapon. Alas, as the girl grows, holding her abilities back is becoming harder. Andy and Vicky argue about what's better: training her to suppress the flames or teaching her how to harness them. Then she literally explodes at school, The Shop head honcho Captain Hollister (Gloria Reuben, City on a Hill) puts bounty hunter John Rainbird (Michael Greyeyes, Rutherford Falls) on their trail and the heat is on. (No, that track from Beverly Hills Cop, which reached cinemas the same year that the OG Firestarter did, doesn't feature here either.) When a film gets its viewers thinking about the songs that aren't on its soundtrack, and more than once, it's a flaring warning sign. It's a scorching indictment of how uninvolving the new Firestarter is, too. Its predecessor isn't great, only really proving notable for starring a nine-year-old Drew Barrymore, but at least its chase-driven plot was propulsive. Here, Thomas and screenwriter Scott Teems (another Halloween Kills alum) scale back the story to spend half of the picture dwelling in the McGee's incognito existence, barely a few scenes on the run, and then turning in the least climactic finale in The Shop's secret base they possibly could. It all smacks of trying to cash in on King fandom after It and It: Chapter Two's huge success, and also continuing producer Jason Blum's penchant for remaking, reviving or riffing on movies gone by (see also: the Groundhog Day-but-horror Happy Death Day franchise, the latest The Invisible Man, Freaky Friday-but-horror flick Freaky and the past two Halloween films). At least this Firestarter doesn't have a white actor playing its First Nations hitman, although that doesn't mean that Greyeyes — who is so great in streaming sitcom Rutherford Falls — gets anything resembling a fleshed-out part. At least his character isn't written as inappropriately fascinated with Charlie this time, a wholly unpleasant aspect of the original's narrative that's thankfully cut. Asking much of its cast isn't on the new Firestarter's agenda, though. Reuben is cartoonish and saddled with clunky dialogue ("you are a real-life superhero," she somehow spits with a straight face); Kurtwood Smith (The Dropout) goes unhinged with aplomb as the man originally behind the mind-bending drug, but is underused; Armstrong is mostly tasked with scowling a lot. And while that blood oozing from Efron's peepers isn't genuinely caused by his visible lack of interest in his role, and there's a quiet power to his passive performance, it's the most relatable thing in the movie for audiences feeling just as underwhelmed. At least Firestarter 2022 is short, too, clocking in at 20 minutes less than the initial feature; there's a difference between burning fast and dazzling, however. When the psychokinetic pyrotechnics come — less often than you'd think in a film called Firestarter — the movie just looks cheap, the budget seemingly extending to a wind machine, a smoke machine, some shoddy CGI and piles of ashes. Letting King's underlying themes blaze away instead isn't the flick's aim, either. Firestarter is still about the sins of parents playing out through their children, as well as the ills of government wreaking havoc on ordinary families, but only in the broadest and most simplistic of ways. Even the Carpenter score, as welcome and excellent as it is, unintentionally undercuts the film — reminding the audience that the iconic filmmaker did helm a King adaptation once, aka 1983's haunted car flick Christine. Rewatching that is a far better move than seeing this cold Firestarter rehash fail to catch aflame.
A carbon neutral city in Abu Dhabi, in the United Arab Emirates, is emerging. Masdar City is a leading sustainable development project designed by Foster & Partners. Buildings take inspiration from traditional Arab architecture and feature undulating curves. Alternative energies power the city, like solar roof panels which capture the noonday sun. Last week 8,000 visitors flocked to get a first glimpse of the city as part of the Organic Market launch event. “The event aimed at creating awareness among the UAE community, highlighting the benefits of sustainable living at one of the world’s most environment-friendly urban developments,” said Ahmed Baghoum, Director of City Zone, Masdar City. [Via PSFK]
Last year, Brisbane scored a new riverside market. Also, it nabbed a new festive market, too. That wasn't just a 2021 highlight, however, with the Portside Local Markets returning several times in 2022 — and coming back this Christmas as well. Everyone likes shopping and hanging out by the water, after all, especially when festive season is approaching. If you really like browsing and buying, taking in the riverside air, and having a reason to stop for a bite and a drink, you'll want to head to Hamilton on Sunday, December 18 from 3pm, with these seasonal stalls popping up at twilight. Until 7pm, you can shop, stroll, sip and purchase gifts, which sounds like a mighty fine weekend itinerary. More than 50 stalls will be offering up everything from art and plants to ceramics and accessories — and more. If you've been to markets at the Gasworks, or in Fish Lane and Woolloongabba, you'll have a firm idea of what you're in for, because The Market Folk is behind all of the above and runs this Portside event as well. Festive decorations will deck the halls and walls with more than boughs of holly, grabbing gifts will be the main name of the game, and there'll be three Christmas ornament-painting workshops so you can make something unique for your tree at home. Plus, Portside's eateries will keep you fed if those hunger pangs strike — and quench your thirst if just keen on having a drink. In a bonus for this year's Christmas markets, the first-ever Northshore Christmas Boat Parade will run on the same day from 4–9pm, giving your shopping a shipping backdrop. Images: Claudia Baxter / Markus Ravik.
This year hasn't been easy for anyone, but it has been extra tough for folks in Melbourne. The city's residents went into lockdown earlier in 2020, when the rest of the country shut down — and, when cases in the state started to increase again mid-year, they endured new Melbourne-specific stay-at-home restrictions that have only been easing since mid-September. From tonight — at 11.59pm on Tuesday, October 27, to be specific — Melburnians will be allowed to drink brews at bars, pubs and restaurants again. Understandably, the city's residents and venues are rather excited about that development. But if you're located in the rest of Australia and you'd like to help make this development as cheery as possible, you can help out by shouting a Victorian a drink. If you're located in Victorian or even Melbourne and you want to spread the love to everyone else who just navigated the past few months, that's on the cards too. If you'd like to send this link to your interstate friends to nudge them in the right direction, that's obviously an option as well. When it comes to donating, anyone can take part in the #ShoutAVicADrink campaign started by The Otter's Promise in Armadale. It's really as simple as it sounds. Via the craft beer bar and bottle shop's website, you can pledge $10, which'll be used to to buy a random Victorian a drink at the bar. You can choose to donate more than $10, of course, which'll be used for multiple drinks. And it will be random, based on whoever is in the bar — and no, you can't specify who your shout goes to. If you're a Melburnian who lives within 25 kilometres of The Otter's Promise, obviously that's as good a reason as any to stop by when it reopens from midday on Thursday, October 29. The venue is hoping that other Melbourne joints will join the campaign, too, turning #ShoutAVicADrink into a city-wide campaign. To shout a Victorian a drink, head to The Otter's Promise's website. To visit The Otter's Promise, head to 1219 High Street, Armadale from midday on Thursday, October 29.
At the risk of sounding a little anti-social, I can admit to remembering a time when I was sitting at a pub with a bunch of friends who were all busily tapping away at their iPhones (myself included). It's a sight that at first seems inappropriate for the pub but, in the age of the smartphone, probably one that won't disappear anytime soon. Untappd is an app that will have you doing more of the above. Released last week, the app is a social network for lovers of beer. And unlike checking your Facebook, using Untappd at the pub is a little more socially acceptable because you actually have to be at the pub drinking beer to use it. The app combines all the familiar social networking features such as check-ins, friending and rating. So if you're familiar with those things (via Fourquare, Facebook and Yelp) you'll understand the concept behind this beer-drinking app. It allows you to share what you're drinking and where you're drinking it, as well as your rating to earn some creds for drink choices. And for those who wish they could track 'life stats' like this guy, it does that too. If you ask me, it's probably a good way to keep busy during those awkward standing-alone-while-friend-goes-to-the-bathroom moments at the pub.
It's just a jump to the left. And then a detour down to the Schonell Theatre for an evening of the Rocky Horror Picture Show and Floor Show. From 7.30pm on Friday, March 22, prepare for a debaucherous night courtesy of Dr. Frank N. Furter, as you marvel at vintage Susan Sarandon and wish like hell you had legs like Tim Curry. Oh, and as any Rocky Horror fan worth their fishnets knows, the only way to see this Science Fiction Double Feature is decked out in full raucous regalia. Audience participation is actively encouraged, including dancing in the aisles, and the accompanying floor show comes courtesy of performance troop Cards 4 Sorrow. Saucy good fun — tickets cost $19–20 and bookings are essential. Image: 20th Century Fox.
The recent trend of cinemas screening 'live' showings of stage production is a strange sort of phenomenon. An imperfect marriage of mediums, these shows seem on the one hand like a rather counterintuitive concept, possessing neither the immediacy of theatre nor the aesthetic craftsmanship of film. On the other, it’s a testament to the power of great art that these screenings have proven so popular with audiences, with the quality of the productions transcending the shortcomings of the exhibition. There’s also something nicely democratic about the idea that viewers in Australia can sit down and enjoy a show from the Bolshoi Ballet or the New York Metropolitan Opera — and all for little more than the price of a ticket to an Adam Sandler movie. The latest live show to hit screens around the country is the UK Donmar Warehouse’s production of Shakespeare’s Coriolanus. It's one of the Bard’s longer, grimmer and generally less well known works, although perhaps that’s changed in the wake of the recent film adaptation directed by and starring Ralph Fiennes, the play tells the story of Caius Marcius Coriolanus, a fierce Roman General whose prowess as a military man is matched only by his woefulness as a politician. Perhaps in acknowledgement of the cross-over nature of her international viewing audience, Josie Rourke, both director of the play and artistic director of the trendily stripped-back warehouse theatre where it’s being staged, casts Tom Hiddleston (Thor) in the lead. It’s a little stunty, maybe, but he’s a great actor either way, bringing both gravitas and humanity to the play’s proud and prickly protagonist. Coriolanus has nothing but contempt for the common man, who the script portrays as a fickle, easily led mob. If the notion of a righteous patrician class is rather outdated, the 400-year-old text’s depiction of the two-faced politicians who connive behind Coriolanus’ back still feels right on the money. Hiddleston’s co-stars include a few recognisable TV figures, including Birgitte Sørensen (Borgen) as Coriolanus’ wife and Mark Gatiss (Sherlock) as his sole political ally. The entire supporting cast acquits themselves well, with one huge exception: Emma Freud as herself, the inanely bubbly presenter, whose fawning, superficial interview with Rourke between the end of intermission and the beginning of act two could not be a bigger or more nauseating distraction. Nothing like hearing about how Tom Hiddleston was recently voted MTV’s sexist man alive to put you back in the headspace for a violent Shakespearean tragedy. Perhaps the producers felt they had to spice up their broadcast with supplements. They shouldn’t have. The production is strong enough on its own. Coriolanus will be on screens for a strictly limited season. For a list participating cinemas and screening dates, visit www.ntlive.com.
When Re opened in Sydney's growing South Eveleigh precinct back in April with hospitality stars Matt Whiley (Scout) and Maurice Terzini (Icebergs Dining Room & Bar, Ciccia Bella) at the helm, it did so with a bold and important mission. It's aim: to create less waste, have less of an impact on the environment and forge a blueprint for other venues to follow. It's Australia's first no-waste bar, in fact, and its menu reflects that ethos. Here, Sydneysiders can sip drinks made with excess, salvaged and foraged ingredients — but still with plenty of flavour. Fast favourites include melon and wasabi negronis, yuzu and matcha margaritas, and cherry ripe old fashioneds — and, even though Sydney is currently in lockdown, they're still on offer. Adjusting to the current situation, Re has launched the Re Up Bottle Shop for takeaway and delivery orders. And, if you're not located in the Harbour City, it's also delivering these pre-bottled cocktails nationally. Ten different types of tipples are available in both 100-millilitre ($18) and 500-millilitre ($85) sizes. If you'd fancy more than one, you can opt for a four-pack ($65 for the smaller bottles / $320 for the larger serves). And if you're wondering what other kinds of cocktails are on the menu, other highlights include the 50 Shades of Gruyere, which is made with mushroom cognac, sweet vermouth, gruyere and bloody shiraz — and an old fashioned that goes heavy on seeds and grains, including toasted pumpkin seeds, red rice and fermented black barley. A small selection of wine, beer and spirits is also available to purchase, as is Re and Mr Black's recycled coffee liqueur collaboration — which uses recycled coffee grounds to give you a boozy and caffeinated hit. The Re Up Bottle Shop is open every day except Sunday for pick ups, and delivers in Sydney from Thursday–Saturday (yes, just in time for the weekend). For interstate folks now feeling mighty thirsty, it does next-day delivery outside of Sydney as well. Sydneysiders can find the Re Up Bottle Shop at 2 Locomotive Street, Eveleigh — open 12–5pm Monday–Tuesday and 12–8pm Wednesday–Saturday for pick ups. For online orders anywhere in Australia, head to the bar's website.
If you're planning on spending a Saturday with a beer in your hand, then one Fortitude Valley establishment has you covered. Admittedly, serving up pints is what Bloodhound Bar does every day of the week; however in honour of Brewsvegas, they're bringing back their beloved beer fest, adding it to the city-wide celebration, and making an extra special occasion of it. At the third Hopfields, they're also making an occasion out of showcasing hops, without which we wouldn't have the brews we know and love. With that in mind, expect all the tasty ales from around the world that you could dream of — and plenty you've likely never heard of, too — including limited releases, launches of new beers and one-offs brewed especially for the event, plus a slew of classics. Check out the drinks list and start salivating. With names like YankeeBrewdle and the Aussie-as Continuous Daryl on the menu, you're going to want to try them all. Save some room for the cocktails though, with the humble hop flower given its moment to shine in all its forms.
Nature lovers, listen up. Australian Geographic has put together an exploration of the plants and animals that help make this country of ours what it is, with Our Country going big on the multi-sensory experience. When it hits Brisbane from Saturday, March 11–Sunday, May 7, the exhibition will let visitors wander through 40-plus screens that reach up to six metres tall, with its super-sized projections spanning across 1200 square metres and featuring works by 25 accomplished cinematographers. Here, attendees will encounter mist, starry night skies, all creatures big and small, and a 360-degree soundtrack. You'll feel like you're stepping across the nation's stunning landscape, rather than simply through the Brisbane Convention and Exhibition Centre. Yes, that's a big part of the point. Each screen will be present previously unseen footage collected from over 100,000 hours in the field from the lineup of cinematographers, which includes Peter Nearhos, a frequent collaborator of David Attenborough. Nearhos has worked on documentaries such as One Life and David Attenborough's Tasmania, and it's exactly this type of close-up look at Australia's wildlife that you can expect to revel in. Emmy Award-winner Karina Holden (Love on the Spectrum) was tasked with the challenge of whittling down this footage, curating an intimate look at ecosystems across the country. Bustling bushland, expansive desserts and vibrant rainforests all make an appearance. Also featuring contributions by Indigenous and non-Indigenous artists, sound designers and performers, this is Australian Geographic's first-ever multi-sensory experience. Tickets are available for $34.90 for adults, $24.90 for kids under 16 and $94.90 for families. Images: Ben Broady. Updated April 17.
UPDATE, Monday, March 1, 2021: The Trial of the Chicago 7 is available to stream via Netflix. If you were to start watching The Trial of the Chicago 7 without knowing who made it, it wouldn't take long to realise that it's an Aaron Sorkin film. The playwright, screenwriter and filmmaker's career has relied heavily upon the power of words — and so championing their power, especially in rousing speeches that sway emotions and heated conversations that ping clever opinions back and forth in rapid succession, sits at the heart of his work. It's there in his steely Academy Award-winning script for The Social Network, and in the baseball banter of Moneyball. It's evident in his three TV shows about TV shows, aka the entertaining Sports Night, the underrated Studio 60 on the Sunset Strip and the overblown The Newsroom, too. And, it was apparent in the explosive courtroom theatrics of A Few Good Men and the frequent political walk-and-talks of The West Wing, both of which are clear precursors to his latest film. Combine A Few Good Men's setting with The West Wing's faith in democratic ideals, and that's where The Trial of the Chicago 7 lands. Thankfully, while Sorkin's work can veer from exceptional to frustrating, his second stint as a director (after 2017's Molly's Game) makes the very most of his usual traits. Given the true tale he's telling — a story of vocal dissent against unpopular government actions and latter's retaliation, spanning protests and violence on the streets involving both activists and police — that's hardly surprising. That Sorkin has amassed a typically top-notch cast to sling his words helps considerably, including Bridge of Spies Oscar-winner Mark Rylance, The Theory of Everything Oscar-winner Eddie Redmayne and Watchmen Emmy-winner Yahya Abdul-Mateen II, plus everyone from Joseph Gordon-Levitt and Michael Keaton to Sacha Baron Cohen and Succession's Jeremy Strong. In the summer of 1968, as the Democratic Party assembled in Chicago for its national convention to confirm the party's nominee for the presidential election, several activist groups decided to make their displeasure known. There was much to rally against: the Vietnam War was raging and American soldiers were dying, both Martin Luther King Jr and Robert F Kennedy had been assassinated in separate incidents months earlier, and civil unrest was mounting across the country. The Trial of the Chicago 7 first introduces six figures making plans for the day, then cuts to the commencement of legal proceedings for eight defendants, all charged by the US federal government the next year. By then, Richard Nixon is president and, as the scene that tasks Assistant US Attorney Richard Schultz (Gordon-Levitt) with going after a supposed all-star group makes plain, his administration was intent on prosecuting their opposition to make a statement. The government was also adamant that the police couldn't have started the riots that arose outside of the convention. If you've noticed that the numbers in the above paragraph don't add up, so has The Trial of the Chicago 7. When the court proceedings open, eight defendants do indeed sit before Judge Julius Hoffman (Frank Langella), who has clearly already made up his mind about their guilt from the second the trial begins. These men have been grouped together, but they're hardly a group. The clean-cut Tom Hayden (Redmayne) and Rennie Davis (Alex Sharp) hail from the Students for a Democratic Society, and believe in working within the system to change it, while long-haired radicals Abbie Hoffman (Baron Cohen) and Jerry Rubin (Strong) are members of the counterculture Youth International Party, the Yippies, who favour more revolutionary tactics. Boy Scout troop leader Dave Dellinger (John Carroll Lynch) is an avowed pacifist, and John Froines (Danny Flaherty) and Lee Weiner (Noah Robbins) don't even know why they're there. Then there's Black Panther Bobby Seale (Abdul-Mateen II), who hadn't met any of the others, was only in Chicago for mere hours on one day to give a speech, and ends up being literally bound and gagged by the court during the trial. Based on all of the above — and despite the best efforts of defence attorneys William Kunstler (Rylance) and Leonard Weinglass (Ben Shenkman) as the months roll by — this was never going to be a straightforward legal matter. It's also catnip for Sorkin, who unleashes his trademark flourishes on not only passionate speeches, but also infuriating courtroom incidents and the festering disagreement between codefendants, as well as in recreating the fateful protests. There's nothing unexpected about the way the filmmaker handles this story visually, narratively or thematically, but the end result proves a case of applying the right approach to the right tale. Everything about this chapter of history should resonate with importance and, given the blatant parallels to America today, still feel urgent and angry; however, Sorkin's showy, snappy knack for deploying potent words to distill crucial and complicated matters, and to stress the need to speak truth to power, constantly shines through. Among The Trial of the Chicago 7's sizeable cast, there are no weak links, especially when it comes to talking all that talk. But just try to tear your eyes away from Abdul-Mateen II's rightfully furious Seale, or from Kelvin Harrison Jr (Waves, The High Note) in a supporting role as fellow Black Panther Fred Hampton — or, in what amounts to far more than a stoner comedy double-act, to the witty and loose yet weighty and film-stealing work of Baron Cohen and Strong. Indeed, The Trial of the Chicago 7 is at its most compelling when it dissects the vastly different perspectives motivating its central figures, which is what arises in these performances. The film is gripping anyway, even as it plays out exactly as anyone could predict, whether you're familiar with the real-life facts or not. But perhaps most essential is how it doesn't merely wrap up a pivotal case in pithy words, timely comparisons and relatable ire, but in astute and affecting detail. https://www.youtube.com/watch?v=FVb6EdKDBfU Top image: Niko Tavernise/Netflix © 2020
No one in Australia expects to feel cold in January. Summer is in full swing, after all. It's prime beach and pool season, obviously — and, even though the festive period is over and everyone is settling back into the year after the holidays, thoughts of lazing around by or splashing around in a body of water aren't ever too far from anyone's minds. Whether you're fond of cooling down with a refreshing dip, or you prefer to escape to the vicinity of the nearest fan or air-conditioner, you might want to put those plans into action across the rest of this week. From today, Thursday, January 21, temperatures are expected to be mighty hot all around the nation, according to the Bureau of Meteorology's latest major cities forecast. As per BOM's city-specific forecasts, some of those temps are due to stick around a bit longer than that, too. After an expected top of 27 degrees on Thursday, Sydneysiders can expect a few sweaty days, with temps staying at 30 or above from Friday until mid-next week. Still in NSW, Newcastle will hit 34 on Sunday, while Wollongong will get to 31. That isn't as warm as Canberra in the ACT, though — with the Australian capital forecast to hit 38 on Sunday and 39 on Monday. Sunday and Monday will be warm in Melbourne, too, with tops of 35 and 37 forecast. They'll come after a 31-degree Thursday, then expected maximums of 26 and 27 on Friday and Saturday. Thankfully, a drop to 22 is forecast for Tuesday. https://twitter.com/BOM_Vic/status/1351781371715477504 Brisbane will get to 27 on Thursday, 29 on Friday, and 30 from Saturday–Monday, and 33 on Tuesday and Wednesday — so it'll be warm, but also usual summer weather. In Adelaide, the mercury will rise to 35 on Thursday, dip down to 32 on Friday, then soar to 39 on Saturday and a whopping 41 on Sunday. Also in the centre of the country, Alice Springs can expect its maximum temperature to stay between 35–39 degrees for four days from Thursday, while Darwin's will sit at 32-33 across the same period. In Perth, it'll actually get a tad cooler over the weekend — starting with a 34-degree maximum on Thursday, then going up to 36 degrees on Friday, before dropping to 26 on Saturday and Sunday. And down in Hobart, a top temperature of 27 is forecast for Sunday, with 30 expected on Monday — following other maximums of 22, 23 and 25 in the days prior. Of course, while these are BOM's forecasts as issued at 6.05am on Thursday, January 21, conditions may change — so keep an eye on the Bureau's website for the most up-to-date information. For latest weather forecasts, head to the Bureau of Meteorology website.
Maybe you discovered omurice on a holiday to Japan. Perhaps you saw it in a Japanese film or TV show, instantly tempting your tastebuds. The dish's viral fame might've started your stomach rumbling. Whichever fits, the combination of omelette and rice is up there with sushi and ramen as a beloved Japanese staple — and Brisbane just keeps scoring new excuses to tuck in. Alongside conjuring up pavlova bao and air cheesecakes with a Mont Blanc spin, Harajuku Gyoza has been championing omurice in a big way in Brisbane. Already in 2024, it has hosted an omurice pop-up at its Albert Lane store and welcomed in chef Motokichi Yukimura from Kyoto's Kichi Kichi. The latter is also returning in July. So news that Harajuku Gyoza's South Bank store is next dedicating six weeks to omurice isn't at all surprising. It is delicious, though. Some dishes are as straightforward as they sound, and omurice — aka omelette rice — is one of them. It's an omelette made with fried rice, then typically topped with sauce. Yes, it's an easy concept to get around. From Saturday, July 27, Brisbanites will be treated to three versions from Osaka Omurice's Chef Tadamichi, who is coming to the Queensland capital to prepare and serve up the popular meal at diners' tables. Starting at his family's market stall, Tadamichi has been cooking up omurice since he was 14. In Brisbane, he'll be making the classic version, one with ketchup and an Osaka okonomiyaki-style take, his signature. It features okonomi sauce on top, as well as mayonnaise and katsuobushi flakes. Whichever you choose, you'll be paying $28 a dish from 4–8pm Wednesday–Thursday and from 5–8pm Friday–Sunday, as well as for lunch from 11.30am–3pm Friday–Sunday. The reason that Harajuku Gyoza is leaning into omurice so heavily, especially in 2024? Saving themselves the airfare to Japan or trying to make their own version at home, its customers can't stop eating it. With the upcoming Kichi Kichi tour, "even after adding capacity, the event sold out in less than 24 hours and there was clearly huge demand for omurice", explains Harajuku Gyoza General Manager Masahiro Endo. Harajuku Gyoza South Bank's omurice pop-up runs for six weeks from Saturday, July 27, 2024 — from 4–8pm Wednesday–Thursday and from 5–8pm Friday–Sunday, as well as for lunch from 11.30am–3pm Friday–Sunday. Head to 184 Grey Street, South Bank. For more information and bookings, check out the eatery's website.
After a sold-out season in Sydney and a current run in Melbourne, Muriel's Wedding the Musical is coming to Brisbane in 2019. A co-production between Sydney Theatre Company and Global Creatures, the musical adaptation of Muriel's Wedding is like a perfect high school reunion — maximum 80s nostalgia without having to tell any of your old friends you're in HR now. When Muriel Heslop realises that the small town of Porpoise Spit has nothing in store but grim futures, she decides to take off, with only her parents' chequebook, a couple of ABBA albums memorised note for note and a vague sense that the wider world has something that she is hungry for. PJ Hogan, who wrote and directed Muriel's cinematic adventure, has adapted and updated the script for the stage, while Kate Miller-Heidke and Keir Nuttall have built the music around ABBA's towering back catalogue. There's a real buzz around Muriel. Sure, it's a chance to re-immerse yourself in the unadulterated joy of Muriel's hijinks, but it's also because Muriel hasn't stopped holding the mirror up to our desperate, fame-hungry society since she first hit the screen. As director Simon Phillips points out: "Muriel's governing delusion is becoming a celebrity and becoming famously married. The world has caught up with Muriel." Running at QPAC's Lyric Theatre from September 19, the Brisbane season comes after the show won a slew of awards at last year's Helpmann Awards, Australia's annual awards for live entertainment and performing arts. Muriel's Wedding the Musical picked up five gongs across the two nights of awards, including Best Original Score, Best Music Direction, Best Costume Design, Best Sound Design and Best Choreography in a Musical. Muriel's Wedding the Musical will play a limited season at QPAC, South Brisbane from September 19, with tickets on sale now. Image: Christine Messinesi.
Brisbane and sunny days are pretty synonymous with one another. But when a good-weather day happens, you should always be ready to take advantage of it. And if there's one neighbourhood brimming with opportunity for such an adventure, it's Fortitude Valley. From a flourishing arts and culture scene to some of the best dining in Brisbane, this inner-city 'burb has a lot going for it. So, we've teamed up with White Claw to pull together a dawn-to-dusk itinerary in the Valley. 6AM: START THE DAY WITH ROOFTOP YOGA Even the most motivated fitness fanatics can struggle to drag themselves out of bed from time to time — but pairing your morning workout with a stellar view makes the serotonin hit that much sweeter. Kick off your busy day with an early-morning stretch overlooking the Valley at Cielo Rooftop. On Tuesdays and Saturdays, the rooftop bar hosts a gentle sunrise yoga session for $20 per person — all you need to bring is your own mat. Fingers crossed your instructor incorporates a sun salutation into the routine to usher in good weather vibes for the day ahead. 8AM: TREAT YOURSELF TO SWEET PASTRIES After that wholesome morning activity, you've earned yourself a sweet treat or two. Fortunately, the Valley has plenty of spots to choose from should you wish to indulge. Our pick? The recently opened Agnes Bakery — one of the few good things to come out of lockdown. You'll find it in a heritage-listed cottage on the corner of James and Harcourt Streets. Just like its restaurant counterpart, fire is at the core of Agnes Bakery, so expect complex flavours and interesting spins on classic sourdoughs and pastries. Enjoy the likes of miso and spring onion escargot, a variety of kouign-amann, potato and rosemary danishes and super luxe basque cheesecake. It'll be near impossible to pick just one. 10AM: SOAK UP SOME CONTEMPORARY ART Culture vultures should already be very familiar with the Judith Wright Arts Centre. This Brunswick Street building is home to a number of Brisbane's most important arts institutions, including AusDance Queensland, BlakDance, Outer Space, The Little Red Company and Institute of Modern Art. Set your sights on the latter today — and take advantage of its free entry — to check out its latest thought-provoking exhibition. Until April 16, you can visit This language that is every stone, a survey of Martinican writer Édouard Glissant's work. And, from May 7, a collection of artists will explore the notion of value and a circular economy in An Alternative Economics. 12PM: ENJOY A LEISURELY LONG LUNCH AT A ROOFTOP BAR Another rooftop? Yep. What Maya has on offer will make your second journey skyward feel very different from the early morning yoga sesh — but equally worth the effort. We're talking stunning 270-degree city views and dreamy decor, complete with cosy booths, marble tables, lush greenery and desert cacti. And we've not even mentioned the food and drinks yet. As the name suggests, this rooftop venue is inspired by the Mayan region of Central America. Load up on dishes such as tostadas topped with seared wagyu and salsa macha; aguachile with scallops, yuzu and baby cucumber; and crumbed jalapeños stuffed with tequila cream cheese and smoked cheddar. 3PM: EXPLORE THE BOUTIQUE SHOPS IN THE VALLEY'S HIDDEN LANEWAYS One of the best parts about Fortitude Valley's revitalisation over the past few years has been the network of funky little laneways that has emerged. Some of the city's most creative minds have flocked to these laneways to set up shop, so it's worth dedicating a little time to exploring what they have to offer. Winn Lane hosts pop-up shops and boutiques like Jess Blak, House of Ezis, Uncommon Store and Forge Forward (plus, the legendary Ben's Burgers, should you get peckish). Nearby Bakery Lane is home to a bunch of eateries and bars, like Johnny's Pizzeria, Nom-Nom Korean and Laruche. For sweet treats, swing by Cakes and Shit to check out its X-rated baked goods or drop into dessert bar Moist. Finally, 1960s-inspired California Lane has even more eateries, bars and boutiques, including vibrant fashion labels Alice Nightingale and Bella Joan, sustainable skincare line Dunkle and jewellery brand Rebellious Grace. 6PM: ENJOY SUNDOWNERS AND SNACKS IN A SUNNY COURTYARD The best way to end a busy day is enjoying frosty cold drinks in a buzzing courtyard as the sun sets. Simple as that. What's not so easy? Deciding which worthy Fortitude Valley spot you should visit for this end-of-day ritual. Our recommendation is eight-in-one venue The Prince Consort. Make tracks to the Garden Bar to nab a table in the openair courtyard, where you can enjoy a White Claw hard seltzer alongside bar snacks like pulled pork croquettes, coconut-infused calamari and popcorn chicken. Then, you have plenty of choice for how you continue your evening within this multifaceted building. Check out dive bar The Greaser, or head to La La Land for a boogie. 8PM: TEST YOUR PIPES AND PUTTING SKILLS AT HOLEY MOLEY If you still have some party left in you, make tracks to Holey Moley Golf Club. We probably don't need to tell you what this haven of late-night fun is best known for. But if it's been a while between rounds, consider this your sign to have another go at the crazy-loose course that includes Stranger Things- and Uno-themed holes. The venue also has a few karaoke rooms if you're keen to belt out a tune or two in between sips of White Claw hard seltzer. For more information on White Claw, head to the website.
Cairns has two incredible venues located in the CBD where you can catch a local production — JUTE Theatre Company and the state-of-the-art Cairns Performing Arts Centre (CPAC). JUTE's upcoming production of Queenslander — a darkly funny political drama – will run from Friday, March 11 till Saturday, March 19 at Bulmba-ja Arts Centre. Nearby, CPAC will showcase a mix of local and international entertainment including the mesmerising production of The Wider Earth by Brisbane theatre company Dead Puppet Society.
Sorry AFL, NRL and all other types of kicking a ball around. Football fever is sweeping through Brisbane right now, and soccer is the main focus. When the Matildas are competing in the 2023 Women's World Cup and smashing it — topping their group, making it to the Round of 16 and now lined up for a quarter-final showdown against France — no other form of sport really counts. Brisbane has been playing host to games, too, but not everyone can make it along. Missed out on a match ticket, but still want to enjoy the football frenzy? Try soccer ball-shaped pastries, riverside brews and chicken salt-flavoured chicken wings. They're all on our list of ways to get into the Women's World Cup spirit around Brisbane, no matter which team you're cheering for, how you feel about Sam Kerr's calf and how tense you get watching penalty shootouts. Recommended reads: The Best Things to Do in Brisbane This Week The Best Things to Do in Brisbane This Weekend Brisbane's Best Beer Gardens
Space Virgin. John Farnham, I'll Be Your Substratum. A Crotch Full of Diamonds. Danger Zone... Of Love. They're all titles of comedic, erotic tales, and they're as amusingly, purposefully awful as they sound — and they have the book covers to match. That's what Fanciful Fiction Auxiliary is all about: fictitious amateur romance writers penning stories that make Mills & Boon seem classy, complete with so-bad-they're-good-but-still-really-really-bad artwork. It's the latter that's decking the halls of the Brisbane Powerhouse from October 28 until December 11 as both a prelude to and a part of their annual Wonderland festival, and it is certain to inspire many things. You'll cry. You'll laugh. You'll whip out your phone, head to the FFA website and start devouring the accompanying text. Expect big hair and shoulder pads aplenty, because it's always the '80s as far as romance book jackets are concerned. And expect a hilarious project from some very talented folks, including Pascalle Burton, Trent Jamieson, Krissy Kneen, Michelle Law, FFA creator Jackie Ryan and more.
In Locke, the improbable proves possible — and in more ways than one. The second film from director Steven Knight (best known as the screenwriter of Dirty Pretty Things, Eastern Promises and The Hundred-Foot Journey) takes the simple and routine and turns it into the complex and compelling. Never before has a one-man effort, set solely in a car, structured around a series of phone calls and ostensibly concerning the machinations of the largest concrete pour in history become so engaging and immersive. As the titular figure and only on-screen presence, Ivan Locke (Tom Hardy) is the lynchpin in the spoken drama. He leaves work one evening, but rather than head for a home that boasts a wife (Ruth Wilson) and two sons (Tom Holland and Bill Miner) waiting to watch a soccer match with him, or even for a good night's rest before the important day that awaits, the building site foreman drives away from his usual responsibilities. Conversations crystalise the details, sentiments escalating as he informs all those relying upon his dependable nature of the departure from his duties as an employee, husband and father. Increasingly upset altercations with a co-worker (Olivia Colman) in hospital are revelatory, as Locke faces the repercussions of an ill-thought-out act from his past. Of course, the central conceit of a single protagonist within a lone location is far from new; however, Knight does more than merely follow a formula. Avoiding easy comparisons with the likes of classics Lifeboat, Rope and Rear Window and recent thrillers Cube, Phone Booth and Buried, the filmmaker explores a situation marked by its modesty rather than its gimmick. The stakes are far from life and death, the crux of the story is akin to those seen in a soap opera, but tension radiates from the mundane and relatable. What results is the juxtaposition of several layers of confinement: physically, in a car careening towards London; emotionally, amid the reactions of all immersed in the mess; morally, in doing the right thing in the wrong circumstances Accordingly, Locke succeeds via the astute intersection of terse scripting, inventive filming and an exceptional performance. Knight's war of words never falls victim to complacency, every exchange adding to the pile of punishing problems and pulsating pressure. Cinematographer Haris Zambarloukos's (Thor) slick gaze offers a shiny veneer peppered with imperfections, creating imagery that matches the film's thematic thrust. But it is Hardy, Welsh-accented and stone-faced, that makes the scenario leap from the screen as he simmers under the strain of his character's choices. The feature's greatest achievement may stem from eliciting interest from its story, style and structure; however, it is its lead that sears its exploration of the inescapable inexplicably into memory. https://youtube.com/watch?v=HxLPXMEYGeI
Back in 2021, news arrived that Round the Twist was joining The Adventures of Priscilla, Queen of the Desert, Muriel's Wedding, Strictly Ballroom, Starstruck and Moulin Rouge! in making the leap from Australia's screens to its theatres as a stage musical. If you've ever, ever felt like you needed to see the classic 90s and early 00s Aussie children's TV series with singing and dancing, the end result finally has a debut date. Your destination if you want to catch it first: Brisbane, with Round the Twist The Musical making its world premiere as part of Queensland Theatre's 2024 season. The homegrown gem is going the screen-to-stage route in a production that hasn't yet unveiled its cast, but already has the entire country well-acquainted with its characters. It'll hit QPAC's Playhouse from Tuesday, November 12–Sunday, December 1, closing out Queensland Theatre's 2024 run. We bet you're now more excited right now than a Twist family member in a lighthouse. Airing for two seasons between 1990–93, then another two from 2000–01, Round the Twist adapted Paul Jennings' popular books into an offbeat fantasy series. If you were the right age, it was must-see TV — and now it's your next must-see musical. Here's hoping that the new stage production not only does justice to the show that absolutely every Aussie kid watched in the 90s and 00s, and more than once, but that it taps into its balance of humour, strangeness and scares. There's definitely a big lighthouse involved, because of course there is. Obviously, we all know which song absolutely has to be included — and multiple times, ideally. Yes, it's the theme tune by Andrew Duffield that you've now got stuck in your head and will keep singing to yourself for the rest of the week. (And no, we're not sorry for putting it there.) Writer/composer Paul Hodge and director Simon Phillips (Muriel's Wedding: The Musical, Ladies in Black) are guiding the show, which will focus on single father Tony Twist; his children Pete, Linda and Bronson; and their efforts to save their home from the Gribble family while also attempting to solve a 200-year-old mystery. Expect haunted spaces, ghosts, smelly feet and a crystal ball as well, and songs. "Round The Twist The Musical is iconically Australian and it is our absolute pleasure to bring these characters, these stories and these songs to the stage for the first time ever," said Queensland Theatre Artistic Director Lee Lewis, announcing the 2024 program. "This has been a giddy labour of love for all of us here at Queensland Theatre for years now, and we're beyond excited to finally see this production come to life." Where Round The Twist The Musical will play after its Brisbane debut hasn't yet been announced, if you're hoping to see the production elsewhere around the country. Back in the Queensland capital, Queensland Theatre will also stage versions of Gaslight and Medea in 2024, the latter by Kate Mulvany and Anne-Louise Sarks. Football drama 37 will enjoy its world premiere, while Pulitzer Prize-winner Cost of Living and the Veep-style POTUS, Or Behind Every Great Dumbass Are Seven Women Trying To Keep Him Alive will make their Australian debuts. If you need something Round the Twist-related to watch until November 2024 hits, all four seasons of the show are streaming on Netflix. You can also check out the trailer for Round the Twist's first season below: Round the Twist The Musical will premiere at the QPAC Playhouse, South Bank, Brisbane from Tuesday, November 12–Sunday, December 1, 2024 as part of Queensland Theatre's 2024 season — head to Queensland Theatre's website for further details. Top image: Round the Twist filming location Split Point lighthouse, Natalie Maguire via Wikimedia Commons.
Find yourself surrounded by some of the world's brightest journalists at this year's Storyology, returning to Brisbane at the end of July. Brought to you by The Walkley Foundation, Australia's networking festival of media and storytelling welcomes Australian and international journalists who'll be leading talks and lectures on today's big questions around the forever-changing industry. The festival kicks off in Brisbane on Friday evening with a panel dubbed This Book Changed My Life. Adam Suckling from Copyright Agency will moderate as three storytellers discuss the nonfiction and fiction books that have most impacted their lives. Saturday will take a 'behind the news'-style approach to uncover what journalism looks like in 2018. First up, journalists and editors (plus one cartoonist) from the likes of Buzzfeed and Guardian Australia will lead an ethical discussion on reporting some of the year's biggest stories. At noon, photojournalist Nick Moir will share the storm-chasing stories behind dramatic weather shots, before a timely discussion at 1.30pm dubbed Power Shifts: Identity, Diversity, #Metoo. Four female journalists, led by ABC Regional Queensland editor Cathie Schnitzerling, will share insights on the 'Time's Up' movement, including how their newsrooms are approaching the ever-evolving coverage and the lasting impact on diversity. The day will wrap up with a session exploring why podcasts have become the medium-of-choice for sharing true crime stories and all nuances that play into this — from nailing the tone to reporting respectfully. Storyology 2018 will take place at Palace Cinema at the Barracks from Friday, July 27 to Saturday, July 28. See the full program of events and talks here. We also have five doubles passes to the full festival to giveaway. To enter, see details below. [competition]675850[/competition] Image: Tim Marshall.
Something delightful has been happening in cinemas across the country. After periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — at present, spanning both big chains and smaller independent sites in Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE SUICIDE SQUAD New decade, new director, new word in the title — and a mostly new cast, too. That's The Suicide Squad, the DC Extended Universe's new effort to keep viewers immersed in its sprawling superhero franchise, which keeps coming second in hearts, minds and box-office success to Marvel's counterpart. Revisiting a concept last seen in 2016's Suicide Squad, the new flick also tries to blast its unloved precursor's memory from everyone's brains. That three-letter addition to the title? It doesn't just ignore The Social Network's quote about the English language's most-used term, but also attempts to establish this film as the definitive vision of its ragtag supervillain crew. To help, Guardians of the Galaxy filmmaker James Gunn joins the fold, his Troma-honed penchant for horror, comedy and gore is let loose, and a devil-may-care attitude is thrust to the fore. But when your main aim is to one-up the derided last feature with basically the same name, hitting your target is easy — and fulfilling that mission, even with irreverence and flair, isn't the same as making a great or especially memorable movie. Indeed, a film can be funny and lively, use its main faces well, have a few nice moments with its supporting cast and improve on its predecessor, and yet still fall into a routine, unsuccessfully wade into murky politics, never capitalise upon its premise or promise, keep rehashing the same things, and just be average, too — and right now, that film is The Suicide Squad. Mischief abounds from the outset — mood-wise, at least — including when no-nonsense black-ops agent Amanda Waller (Viola Davis, Ma Rainey's Black Bottom) teams up Suicide Squad's Rick Flag (Joel Kinnaman, The Secrets We Keep), Captain Boomerang (Jai Courtney, Honest Thief) and Harley Quinn (Margot Robbie, Dreamland) with a few new felons for a trip to the fictional Corto Maltese. Because this movie has that extra word in its title, it soon switches to another troupe reluctantly led by mercenary Bloodsport (Idris Elba, Concrete Cowboy), with fellow trained killer Peacemaker (John Cena, Fast and Furious 9) and the aforementioned Polka-Dot Man (David Dastmalchian, Bird Box), Ratcatcher 2 (Daniela Melchior, Valor da Vida) and King Shark (Sylvester Stallone, Rambo: Last Blood) also present. Their task: to sneak into a tower on the South American island. Under the guidance of The Thinker (Peter Capaldi, The Personal History of David Copperfield), alien experiment Project Starfish has been underway there for decades (and yes, Gunn makes time for a butthole joke). In this movie about cartoonish incarcerated killers doing the US government's dirty work, Waller has charged her recruits to destroy the secret test, all to ensure it isn't used by the violent faction that's just taken over Corto Maltese via a bloody coup. The end result is silly and goofy, fittingly — and yet, even when a supersized space starfish gets stompy (think: SpongeBob SquarePants' best bud Patrick if he grew up and got power-hungry), this sequel-slash-do-over is never as gleefully absurd as it should be. Again and again, even when Gunn's gambit works in the moment, that's how The Suicide Squad keeps playing out. Read our full review. THE ROSE MAKER The scent of popcorn lingers in the air, and long-standing venues tend to have a particular aroma, but cinema isn't generally an olfactory medium. Smell-O-Vision pops up every now and then, using scratch-and-sniff cards to emit particular tangs tied to specific films; however, any whiffs tickling your nose while you're watching a movie usually have nothing to do what's on-screen. One of the joys of The Rose Maker is that it makes its audience feel like they're smelling the rows and bouquets of roses they're seeing, even though they obviously can't. Filmmaker Pierre Pinaud (On Air) arranges many of his frames with colourful blossoms, with his array of woody perennials in a rainbow's worth of hues basically becoming flower porn. The more these vibrant sights appear, the more your brain fills in the gaps — but that isn't this kind-hearted comedy's only source of charm. Based on the flicks releasing in Australian cinemas of late, the current state of French cinema is sweet, both scent- and sentiment-wise. Let's call it the fragrant French film universe: the realm in which The Rose Maker, which focuses on growing standout roses, and Perfumes, about a perfume-industry veteran with a particularly fine-tuned sense of smell, can co-exist. The two recent movies don't overlap in their narratives (although a pivotal plot point in the former could easily see one character step right into the latter), but as well as flowers and and scents, they do also share an underlying warmth, an interest in how the senses can bring people together platonically and professionally, and a blend of sincerity and insight layered over otherwise formulaic storylines. In The Rose Maker, Eve Vernet (Catherine Frot, The Midwife) has devoted her life to creating glorious new rose hybrids — and, ideally for her reputation and her business' bank balance, winning awards for them as well. Her dad did the same, and she's carried on the family trade in the 15 years since his death, even though it's becoming increasingly harder in the face of big, slick outfits that have hundreds of workers, spit out new varieties with frequency and don't care about the longevity of their creations. Indeed, when she's beaten at a prestigious annual rose contest by Lamarzelle (Vincent Dedienne, A Good Man), the owner of one such competitor, Eve fears for her future. Vernet Roses is already struggling financially and can't afford workers, and sales are down. Then her long-standing assistant Véra (Olivia Côte, Antoinette in the Cévennes) comes up with the idea of obtaining help through a rehabilitation program, which sees ex-thief Fred (Manel Foulgoc, Poètes), 50-year-old Samir (Fatsah Bouyahmed, Invisibles) and the highly strung Nadège (Marie Petiot, Hippocrate) begin to learn the rose game. Eve is initially skeptical, but more than roses start blossoming as she enlists her new offsiders' assistance with creating a particular hybrid to win next year's prize. There isn't much in the way of narrative surprises here, but the screenplay co-written by Pinaud, fellow filmmaker Philippe Le Guay (Normandy Nude) and three other scribes smartly uses its familiar plot to interrogate the tiers of French society. And, not only the always-excellent Frot but also relative newcomer Foulgoc turn in textured and moving performances. SOME KIND OF HEAVEN If you didn't know that Some Kind of Heaven was a documentary, you might think that it was a skit from I Think You Should Leave with Tim Robinson. The same kind of social awkwardness that makes the Netflix sketch comedy such an equally savage and hilarious watch is present in this factual look at the retirement community also dubbed "god's waiting room": The Villages, Florida, the world's largest master-planned, age-restricted locale of its kind, and home to more than 120,000 people. This is a place for folks aged over 55 to live in multiple senses of the world. Couples tend to move there, then sign up for some of the thousands of activities and clubs that get them out dancing, kayaking, cheerleading, swimming and more. If a resident happens to be on their own — usually after their partner's passing — they can get involved in the local singles club, too. Around since the early 80s, and also described as "Disney World for retirees", this community is meant to be a dream. It was specifically designed to resemble the kinds of small towns its inhabitants likely grew up in, right down to the shop-filled main street and the large town square, and locals aren't ever meant to want to leave. But as Some Kind of Heaven follows four folks who've made The Villages their home — including one ex-Californian import that's just squatting — it demonstrates the reality that lingers behind the busy facade and glossy sales pitch. Requiem for a Dream's Darren Aronofsky is one of the doco's producers and, while Mother!-style horrors never quite pop up, this isn't a portrait of bliss by any means. Many of The Villages' residents are clearly happy. In his first feature-lengthy documentary, filmmaker Lance Oppenheim trains his gaze at people who aren't likely to appear in any of the community's brochures, however. Every shot lensed by cinematographer David Bolen (1BR) and boxed into the film's square frame is scenic and striking — Some Kind of Heaven sports an exquisite eye for visual composition — but much of what the movie depicts feels like stepping into a surreal alternative realm. (In one sequence, the camera meets a room filled with women called Elaine, all of whom introduce themselves one after one — and it's a scene that could've come straight out of any one of David Lynch's visions of suburban horror.) Approaching their 47-year wedding anniversary, Reggie and Anne think they've found the place for them. That's what they're both saying, at least, but The Villages means different things for each of them. Reggie has used the move to embrace his love of drugs and doing whatever he wants, and Anne has once again been forced to stand by his side, including when he's sent to court and admonished for his rudeness while representing himself. Then there's Barbara, a widow from Boston who didn't ever plan to live in Florida alone. She still works full-time, a rarity among her fellow residents, and she yearns for the company she thinks a margarita-loving golf cart salesman might bring. Rounding out the interviewees is the sleazy Dennis, an 81-year-old living in his van until he can find an attractive and rich woman to marry. Some Kind of Heaven doesn't judge him, or anyone else in its frames, but it lets these stories speak volumes about a place positioned as a fantasy land and yet really just bringing out the chaotic teenager inside everyone. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; June 3, June 10, June 17 and June 24; and July 1, July 8, July 15, July 22 and July 29. You can also read our full reviews of a heap of recent movies, such as Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old and Jungle Cruise.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Reality is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE There's nothing small about Hollywood's superhero obsession, with its 30-movies-deep-and-counting cinematic universes, competing caped-crusader realms, ever-growing spread across screens big and small, and determination to enlist every actor ever (and some actors more than once). That decades have passed, many spandex-clad characters have cycled through a few faces now, and reuniting past and present versions of beloved crime-fighters is the current trend: none are minor matters, either. And yet, when 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made those flesh-and-blood flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. Five years later, the first sequel to the deservedly Academy Award-winning masterpiece plasters around the same sensation like a Spidey shooting its silk. Give this latest take on Stan Lee and Steve Ditko's iconic character by directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer) 2024's Best Animated Feature Oscar immediately. All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so astonishing and exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because as the Spider-Verse movies tell of Miles Morales (Shameik Moore, Wu-Tang: An American Saga), Spider-Gwen (Hailee Steinfeld, Hawkeye), Peter B Parker (Jake Johnson, Minx), Miguel O'Hara/Spider-Man 2099 (Oscar Isaac, Moon Knight) and more, they truly do whatever a Spider-Man movie can. Spider-Man: Across the Spider-Verse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOY RIDE Before it busts out licking lucky cats, K-pop-style Cardi B covers, cocaine enemas, threesome injuries and intimate tattoos, Joy Ride begins with a punch. For most of the movie, Audrey Sullivan (Ashley Park, Beef) and Lolo Chen (Sherry Cola, Good Trouble) are nearing 30, travelling in China and going on a wild journey in a gleefully raucous comedy. In the 1998-set prologue in White Falls, Washington, though, they're five-year-olds (debutants Lennon Yee and Milana Wan) first meeting, being taunted by a racist playground bully and responding with the outgoing Lolo's fist. Crazy Rich Asians and Raya and the Last Dragon screenwriter Adele Lim uses her directorial debut's opening scene not just to start a fast and firm friendship, but to establish the film's tone, sense of humour and, crucially, its willingness to fight. Joy Ride will ultimately get sentimental; however, this is a movie that beats up cultural prejudices and stereotypes by letting its four main female and non-binary Asian American characters grapple with them while being complicated and chaotic. Hollywood should be well past representation being such a noteworthy factor. That should've happened long before Bridesmaids and Bachelorette gave The Hangover's template a ladies-led spin more than a decade ago, and prior to Girls Trip spending time four Black women on a raucous weekend away six years back. Reality proves otherwise, sadly, so Joy Ride openly addresses the discrimination and pigeonholing slung Audrey, Lolo, and their pals Kat (Everything Everywhere All At Once Oscar-nominee Stephanie Hsu) and Deadeye's (comedian and movie first-timer Sabrina Wu) ways — and in Audrey's case, after being adopted as a baby by the white Sullivans (The Recruit's David Denman and Bridesmaids' co-writer Annie Mumolo), internalised. With its booze- and sex-fuelled antics, Lim's film could've simply been formulaically entertaining, just with Asian American characters in Asia. It certainly doesn't hold back with its raunchy setpieces. But it's a better and more thoughtful feature because it engages with the diasporic experience; "I'm just a garbage American who only speaks English," Audrey chides herself, which the picture she's in unpacks. Joy Ride is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO HARD FEELINGS Has Jennifer Lawrence entered her Jennifer Coolidge era? With the spirit of American Pie lingering over No Hard Feelings like unpaid property taxes — a pivotal part of the movie's plot — the Silver Linings Playbook Oscar-winner and Winter's Bone, Hunger Games, X-Men and mother! star is flirting with that direction and loving it. No one sticks their genitalia in a warm home-baked dessert or talks about band camp in Lawrence's latest film, but it is a sex comedy about an inexperienced teenager that includes parents giving clumsy advice. It also involves getting lucky with an older woman; while Lawrence is only 32 and plays it here, an age gap — as well as the chasms between millennials and zoomers, and with the generations prior — is essential to the narrative. The spirit of Coolidge, a game Lawrence, gags about Hall & Oates' 1982 earworm 'Maneater' — a storyline that somewhat riffs on its lyrics, in fact — and battles over class, generational differences and gentrification: that's No Hard Feelings. Based on a real-life Craigslist ad, it's also the next movie from filmmaker Gene Stupnitsky, who penned Bad Teacher and made his feature directorial debut with Good Boys. Where the latter took a Superbad-esque setup but swapped 17-year-olds out for sixth graders, his second flick as a helmer tells a coming-of-age tale on two levels. Percy Becker (Andrew Barth Feldman, White Noise) is the introverted brainiac whose helicopter parents (Daybreak's Matthew Broderick and Life & Beth's Laura Benanti) want to live a little before he hits Princeton University, while Maddie Barker (Lawrence, Causeway) is the bartender and Uber driver who's been in a state of arrested development ever since giving up her plans to surf California's beaches when her mother got sick. No Hard Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ELEMENTAL When Pixar is at its best and brightest, the animation house's gorgeous and heartfelt films flow across the silver screen. They glow with colour, creativity, sincerity and emotion. In movies such as WALL-E, Inside Out, Soul, Toy Story 4, Up and Ratatouille, the Disney-owned company's work floats beyond the ordinary as it flickers — and yet, it's also grounded in genuine feelings and insights, even while embracing the now Pixar-standard "what if robots, playthings, rats and the like had feelings?" setup over and over. Accordingly, it makes sense that the studio's Elemental draws upon the sensations that its features usually inspire. It seems like something that was always destined to happen, in fact. And, it's hardly surprising that its latest picture anthropomorphises fire, water, air and earth, and ponders these aspects of nature having emotions. What's less expected is how routine this just-likeable and sweet-enough film is, with the Pixar template lukewarm instead of an inferno and hovering rather than soaring. Elemental also treads water, despite vivid animation, plus the noblest of aims to survey the immigrant experience, opposites attracting, breaking down cultural stereotypes and borders, and complicated parent-child relationships. The Captain Planet-meets-Romeo and Juliet vibe that glinted through the movie's trailers proves accurate, and also something that the feature is happy sticking with exactly as that formula sounds. Although filmmaker Pete Sohn (The Good Dinosaur) draws upon his own upbringing as the son of Korean expats growing up in New York City and its distinctive neighbourhoods — that his family ran a grocery store is worked in as well — and his own marriage, his second stint as a director is too by-the-numbers, easy and timid. Elemental looks like a Pixar film, albeit taking a few visual cues from Studio Ghibli in some character-design details (its bulbous grassy creatures noticeably resemble Totoro), but it largely comes across like a copy or a wannabe. Elemental is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LITTLE MERMAID For anyone without a scaly tail, communing with the ocean can be a routine dip, a refreshing splash or a sail into choppy waters. In Disney's latest dance with merpeople and the humans that its main mythical sea creature yearns for (and desperately wants to learn more about), all three prove true. The next in the Mouse House's long line of live-action remakes — albeit with ample CGI helping to bring its sea-dwelling characters to life, but no hand-drawn animation — the new The Little Mermaid from director Rob Marshall (Mary Poppins Returns) is often content to wade where its beloved 1989 predecessor went before. That's the Disney do-over standard. Sometimes, though, this new effort is its own delightful paddle; when 'Under the Sea' echoes against a literal sea of colour, movement, creatures and energy, it's a dazzling Golden Age Hollywood-esque spectacular. There's no escaping the movie's bloat when it's not merrily floating, however, due in no small part to inflating the storyline from the original's 83 minutes to a hefty 135 minutes. This day at the cinematic beach — glowing highs and waterlogged lows included — keeps the same basic narrative that viewers loved 34 years ago, as loosely inspired by Hans Christian Andersen's 19th-century fairy tale of the same name. A quote from that text opens the film as Alan Menken's revisited Oscar-winning score starts to swell, advising "but a mermaid has no tears, and therefore she suffers so much more". The curious and adventurous Princess Ariel (Halle Bailey, Grown-ish) cries through her siren's song instead, lamenting the strict no-humans rule enforced by her father King Triton (Javier Bardem, Lyle, Lyle Crocodile). And, in rebellious teen-style, she acts out by sneaking off to scour the ocean floor's shipwrecks with her fish best friend Flounder (voiced by Jacob Tremblay, Luca), even when Sebastian the crab (Daveed Diggs, Snowpiercer) is tracking her every move, and stashing trinkets from the world on land in a secret cave. The Little Mermaid is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOHN FARNHAM: FINDING THE VOICE There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. John Farnham: Finding the Voice is available to stream via 7plus, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INSIDIOUS: THE RED DOOR Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Insidious: The Red Door is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. TRANSFORMERS: RISE OF THE BEASTS In the breakout movie of 2022, Michelle Yeoh was everything and everywhere. Multiverses are like that. Now, the Oscar-winner voices a space-robot peregrine falcon in Transformers: Rise of the Beasts, and viewers should wish that this only existed in Everything Everywhere All At Once's kaleidoscope of realities. Alas, in this very realm, the newest Transformers film is indeed flickering through projectors. The toy-to-screen series it belongs to is now seven live-action entries in and — apart from 2018 spinoff-slash-prequel Bumblebee — largely still as dull as a smashed headlight. Set in 1994, the current instalment is a sequel to the last 1987-anchored franchise flick, which focused on the yellow-hued mechanised alien that can morph into a car, and also a prequel to 2007's saga-spawning Transformers. It draws upon the Transformers: Beast Wars animation, comics and video games, too, and feels in every frame like a picture that purely exists to service intellectual property that does big box-office business (2011's Transformers: Dark of the Moon and 2014's Transformers: Age of Extinction each made over a billion dollars). Michael Bay, Hollywood's go-to director for maximalist action carnage, might've been enthusiastic about Transformers when he started the silver-screen series nearly two decades back — the Ambulance filmmaker was definitely devoted to crashing together pixels replicating chrome in all five titles he helmed, including 2017's Transformers: The Last Knight — but these movies can't be anyone's passion projects. They show zero feeling, and seem to keep rolling out because the saga assembly line has already been established. New faces and a new guiding force behind the lens (director Steven Caple Jr, Creed II) can't dislodge that sensation with Transformers: Rise of the Beasts. The five-person team responsible for the script give no signal that they even wanted to. The feature's latest two leads (In the Heights' Anthony Ramos and Swarm's Dominique Fishback) do resemble people better than most flesh-and-blood characters in the Transformers world, welcomely, although one gets a sick-kid backstory and another a bad boss. Were the Transformers themselves asked to write the most cliched screenplay they could? Transformers: Rise of the Beasts is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June and July, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
Over the past decade, Marvel has trained superhero-loving cinema-goers well. Now 23 films into its enormous cinematic universe and showing zero signs of stopping, the comic book company has basically taken over the big screen, with three of its huge movies ranking among Australia's top five box office hits of the year in 2019 alone — Avengers: Endgame, Captain Marvel and Sony-Disney collaboration Spider-Man: Far From Home. More flicks are coming in 2020, of course. So are a heap of TV shows, all headed to Disney's new streaming platform. But, if you'd love to see your favourite spandex-clad crime-fighters try to save the world in person, you'll be happy to know that's coming next year as well. Marvel Universe Live! is exactly what it sounds like, with the production taking more than 25 characters such as Spider-Man, The Avengers and the Guardians of the Galaxy, teaming them up on stage and letting audiences marvel (pun intended) at their exploits. Featuring everyone from Iron Man, Thor, Black Panther and the Hulk to Captain America, Doctor Strange, Black Widow and the Wasp, it tasks the beloved superheroes with facing off against some of Marvel's infamous villains, including Nebula, Loki and Green Goblin. And, it packages their antics with video projections, special effects, and both aerial and motorcycle stunts. The performance is aimed at all ages and, in news that's about as unsurprising as most wisecracks that Tony Stark ever uttered, the show has proven a massive success in the United States, Latin America and Europe. As a result, it was only a matter of time until it hit Australia, which it'll do across March and April next year. Obviously, attendees won't be watching Robert Downey, Jr, Chris Hemsworth, Benedict Cumberbatch, Scarlett Johansson or Tom Hiddleston — or any of the many, many other high-profile stars who feature in the Marvel Cinematic Universe. But, if you're happy to get your Marvel fix however you can, then you can do just that in arenas and stadiums around the country in 2020. Thanks to recent news — namely the revelation that, due to negotiation breakdowns between Disney and Sony, Spider-Man may no longer be part of the MCU — it might also be your last chance to see the web-slinger join forces with other Marvel heroes, other than on the page. Of course, Disney and Sony might also come to mutually agreeable terms and the MCU could continue on as it is, so heading to Marvel Universe Live! would just be a bonus. MARVEL UNIVERSE LIVE! 2020 DATES Adelaide — Adelaide Entertainment Centre, March 26–29 Melbourne — Rod Laver Arena, April 2–6 Brisbane — Brisbane Entertainment Centre, April 11–13 Sydney — Qudos Bank Arena, April 16–19 Perth — RAC Arena, April 25–27 Marvel Universe Live! pre-sale tickets are available from 9am on Monday, August 26 with general sale starting at 9am on Wednesday, September 11 via Ticketek.
In 2023, Australia's east coast joined New York, Hawaii, Mexico and Croatia as a host of Palm Tree Music Festival, the fest filled with folks hitting the decks that was co-founded by Kygo. With one of the event's guiding forces himself leading the lineup — and Tiësto also on the bill — the Down Under debut went down well, so much so that a second spin is on its way. Mark your calendars for December 2024, then, because the festival is returning for round two. 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent Kygo isn't on the lineup this time, but The Chainsmokers happily lead the charge instead, ready to bust out 'Closer', 'Something Just Like This' and more. The Grammy-winners' spot on the bill marks Drew Taggart and Alex Pall's first trip to Australia in five years — and get excited about the festival's rendition of 'Don't Let Me Down' because Daya is also on the Palm Tree Music Festival roster. For company, Swedish DJ and producer Alesso, the San Francisco-born Gryffin and Harlem's Austin Millz round out the first announcement of acts. Accordingly, everything from 'Words', 'Remedy' and 'If I Lose Myself' to 'Woke Up in Love', 'You Were Loved' and 'Cry' — and also 'Lovely Day', 'Inside Out' and 'Bad Behaviour' — could echo through Palm Tree Music Festival's three 2024 Aussie stops. Just as with its premiere run in Australia, the festival has a date with Brisbane, hitting up Sandstone Point Hotel on Saturday, December 7. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too — this time with the bonus of a summer berth. Palm Tree Music Festival 2024 Australian Lineup: The Chainsmokers Alesso Gryffin Austin Millz Daya Images: Jared Leibowitz.
If an early 20th-century Jewish immigrant found himself walking around in 2019, what would he think of the world? That question comes with a flipside, of course, because it's equally valid to wonder how today's folks would react in response. With Seth Rogen starring as a ditch-digging, rat-catching new arrival from Eastern Europe to Brooklyn, these are a couple of the queries pondered by An American Pickle. It's the latest in a long line of comedies that trifle with time while doubling as time capsules, and it falls firmly from a familiar mould. Some such flicks send teens to the past via Deloreans and phone booths, as seen in the Back to the Future and Bill & Ted franchises. Others focus on people from another era grappling with modern living, as the likes of Encino Man and Blast From the Past demonstrated. Yes, these concepts were particularly popular in the 80s and 90s — but no matter when they flicker across our screens, they do two things: serve up a snapshot of the attitudes and norms prevalent when they're made, and explore how current perspectives intersect with those gone by. That's true of An American Pickle, and overtly so, with seeing, examining and giggling at the contrast between century-old ways and contemporary ideas a considerable part of the film. Not only that, but this Simon Rich-penned adaptation of his own short story Sell Out does all of the above broadly and blatantly — pointing out that big, bushy beards have become hipster beacons, for example, and that much has progressed since the 1900s. Consequently, there's no avoiding just how slight An American Pickle is. Its protagonist might fall into a vat of brine, get sealed in, then emerge in a new millennium, but this movie isn't diving deep. Thankfully, mixed up with all the obvious jokes are two thoughtful performances, both by Rogen, that help the film interrogate the push and pull between the past and the present in a moving fashion. Rogen plays Herschel Greenbaum, a new arrival to US with his wife Sarah (Succession's Sarah Snook), after the pair leave their home of Schlupsk to escape Russian Cossacks and chase a better life. Rogen also steps into the shoes of app developer Ben Greenbaum, Herschel's great-grandson and only living descendant when he awakens in his preserved (and presumably extra salty) state. The two men are the same age, and look alike. That said, they sport differences beyond Herschel's facial hair and Ben's technological know-how. It's the usual generational divide, as instantly recognisable to everyone watching. The elder Greenbaum is devoted to his family and faith, and is horrified that his sole remaining relative doesn't appear as fussed about either, while Ben gets increasingly frustrated with his great-grandpa's know-it-all-approach, bluntness and incessant meddling. Rich gives the two men more reasons to argue, and for Ben to start plotting Herschel's downfall. An app that rates companies on their ethics, an artisanal pickle business that becomes a viral hit and a towering billboard for vodka all factor into their feud. So too does Ben's willingness to capitalise upon Herschel's inherent ignorance of 21st-century minutiae, and the proud and stubborn Herschel's insistence upon staying set in his ways. The details are almost superfluous and, as the narrative keeps picking low-hanging comic fruit, they feel that way in the movie as well. Herschel upends Ben's business plans with some unethical behaviour, and Ben tricks Herschel into spouting his dated and offensive opinions on social media, but there's never any doubt that it'll all eventually work out. As a result, even though An American Pickle delivers plenty of conflict, there's no real drama here — and no real investment in Herschel and Ben's spat. Instead, the movie deploys over-the-top clashes in the service of clearcut gags and satirical observations, and to drum up easy laughs. Well that, and a product placement-driven fondness for Soda Stream that's the one thing Herschel and Ben always agree on. But, despite how straightforward it all proves, the film still boasts heart, sweetness, and an understanding of how the past always leaves an imprint, the future needn't fastidiously be chained to tradition, and that everything old and all things new have a symbiotic relationship. Yes, watching Rogen battle with himself manages to convey those notions. Luckily, too, given that the latest feature from The FP's Brandon Trost is rather standard otherwise. Generally, everything about An American Pickle takes the expected option — including switching aspect ratios to distinguish between 1919 and 2019, and using varying colour palettes to differentiate between Eastern Europe and America — but that description doesn't fit Rogen. If you've seen him in everything from Freaks and Geeks and Knocked Up to the Bad Neighbours movies and Long Shot, you've probably started predicting how he plays his parts here. And yet Herschel and Ben feel grounded and textured in a way that little else in this flick does. Rogen offers up two convincingly melancholy visions of two men cartoonishly wrapped up in their own needs and ideas, and his dual performances are consistently anchored in relatable emotions instead of merely self-evident jokes. And, in an affable but also mostly forgettable film, he's the only aspect that doesn't feel like it's been pulled straight from a jar that's been sitting on the shelf for quite some time. https://www.youtube.com/watch?v=RC2dsAGvGy0 Top image: Hopper Stone. © 2020 Warner Bros. Entertainment Inc. All Rights Reserved.
Have you heard of competitive endurance tickling? Neither had David Farrier. The New Zealand journalist came across videos of Adidas-clad men participating in the activity online quite by accident, and was (understandably) fascinated. We've all been sucked in by strange subjects before, but very few internet obsessions turn out like this. Indeed, there's a reason that Farrier decided to pick up a camera and trek from Auckland to Los Angeles with co-director Dylan Reeve to make a doco about the bizarre world he had uncovered. The result is Tickled, the kind of stranger-than-fiction film best enjoyed by those with as little pre-existing knowledge as possible. That said, because it's also a feature that has to be seen to be believed, it's guaranteed to cause a reaction regardless of how much of the story you've already heard. In fact, part of the documentary's success stems from how it balances the laughs with the cringes, making audiences feel incredulous and infuriated all at once. As someone who has, in his own words, made a career out of reporting on "the weird and bizarre part of life", Farrier started his investigation by firing off a few emails asking questions about a barely publicised but well-paying tickling contest. After a couple of responses, each one more hostile and homophobic than the last, the journo realised he had become immersed in a strange world in more ways than one. If you thought the idea of pro-tickling was unusual, just wait until you discover the alarming reality behind it. Bullying, exploitation, intimidation, fetishes and fake personas are just the beginning. In truth, Tickled is about a lot more than its title suggests. In addition to investigating the mysterious company behind the competition and exploring the experiences of others who've turned the touch of a feather duster into something lucrative, the film also serves as a reminder about the unseemly side of our interconnected existence. In that way, it sits alongside the 2010 documentary Catfish, posing queries about modern interactions and examining the ways in which technology can both bring people together and tear lives apart. Farrier himself proves a vital central figure. Whether he's on-screen guiding what becomes a race for answers, or off-screen narrating his exploits over recreated footage, the journalist manages to maintain a sense of urgency while at the same time keeping things intimate and personal. And it is personal, as anyone who has been keeping up with movie news of late will be aware. Farrier and Reeve are still receiving legal threats from the film's subjects, who have also taken to showing up to screenings unannounced. Astonishingly, that's one of the most straightforward aspects of this compelling and confounding film.
So your local music store is basically out of business, the chain stores are full of crappy pop on overpriced CDs, and op shops are clueing to the fact they can charge a lot more than $1 for that quality Ziggy Stardust LP — where are we supposed to snag our vinyl these days? The answer will surprise and sadden you (of course we don't yet have this store in Australia). Buzzfeed has today named Urban Outfitters as the biggest seller of vinyl in the world. A hip stockist of quirky homewares, ironic t-shirts and boyfriend jeans, Urban Outfitters is like a more affordable version of every designer concept store you window shop in. But music definitely doesn't seem like its beat. This is because, instead of stocking shelves with dusty records and turning into a modern-day Championshop Vinyl, they offer most of their catalogue online. For around US$20 you can order any of the latest indie releases and old classics, and delivery is free for orders over $50 (because who just buys one album at a time?). Unlike CDs and iTunes downloads — may they rest in peace — vinyl is experiencing a huge resurgence at the moment. Sales have increased by more than 40 per cent in the last year alone and are hitting the highest numbers seen since the early '90s. As online streaming options increase in the same way, our new listening practices are becoming more and more apparent. We want to listen to everything for free on Spotify and Pandora then treasure the albums we really like on vinyl. And why wouldn't we? With the rest of our kit from Urban Outfitters, these records make our lives just that little bit closer to a Wes Anderson film. Via Buzzfeed and Stereogum.
When Dorothy Gale was whisked somewhere over the rainbow, she learned just how much she loved her life and her home. In Motherland, Queensland Theatre Company plays with the same themes — but without wicked witches, cowardly lions or flying monkeys. Instead, the Katherine Lyall-Watson-written play intertwines the tales of three women in three different times and places, with their yearning for their homelands their uniting factor. Drawn from real life, the historical drama jumps from Russia to France to Brisbane in search of the one thing we all want, even if we don't know it: a place to belong.
