UPDATE, December 11, 2020: The Prom is screening in select cinemas in Brisbane, and is available to stream via Netflix. A word of warning to filmmakers eager to make the next big on-screen musical: cast James Corden at your peril. It may now seem like a lifetime ago that Cats proved a gobsmacking catastrophe, but that 2019 movie's horrors are impossible to shake — and while Corden's latest, The Prom, thankfully doesn't resort to repeating the word 'jellicle' over and over again to try to convince the world that it means something, it still follows in the feline-focused flick's paw prints as this year's all-singing, all-dancing misfire. The two films' common star is grating and relies upon gratuitous overacting in both features. He's hardly alone in bombing and flailing, though. In The Prom's case, a 2018 Broadway success with an important message about acceptance and being true to one's self has been transformed into an over-long star vehicle, as well as a movie that can't see past its sequin-studded pageantry and smug attitude to actually practise what it preaches. Miscast from the get-go, Corden plays Barry, a Broadway veteran playing second fiddle to multi-Tony-winning drama diva Dee Dee (Meryl Streep, Little Women) in Eleanor!, a new production about former US First Lady Eleanor Roosevelt. Initially, the pair is on top of the world after the show's opening night — but then the reviews start piling in and piling on. Distraught from the critical savaging as they drown their sorrows with perennial chorus girl Angie (Nicole Kidman, The Undoing) and Juilliard-trained actor-turned-sitcom lead-turned bartender Trent (Andrew Rannells, The Boys in the Band), they concoct a plan to get back in the showbiz industry's good graces. Scrolling through Twitter, Angie spies a news story about Indiana teenager Emma (feature debutant Jo Ellen Pellman), whose high school has just completely cancelled the prom because she wanted to bring her girlfriend. As quick as a burst of confetti, Barry, Dee Dee, Trent and Angie are on a Godspell tour bus to America's midwest to rally against this injustice and whip themselves up some flattering publicity. In the screenplay written by Bob Martin and Chad Beguelin, both of whom worked on the original stage production, this is all meant to be a joke: that fading, has-been and never-were celebrities shallowly and calculatingly try to use one young woman's horrific plight for their own gain, that is. But The Prom likes the gag so much that it misguidedly decides that favouring stars over substance is the best approach in general. No one is disparaging Streep, Kidman, Rannells or Corden's fame or status, or that of their fellow well-known costars Keegan-Michael Key (Playing with Fire) and Kerry Washington (Little Fires Everywhere). While Corden is terrible, some of his high-profile colleagues have their moments — a flame-haired Streep eats the often neon-hued scenery and loves every bite, for example. When there's a tale to be told about an ostracised queer teen who is cruelly rejected by her school's Parents and Teachers' Association and her peers, and who sees her quest to simply be treated like everyone else become a national scandal, though, that story is far more interesting than the arrival of a self-centred quartet of blow-ins from New York. Perhaps balancing the two parts of The Prom's narrative works on the stage; on the screen, Emma seems as much of an afterthought to director Ryan Murphy (Eat Pray Love, plus TV's Pose and American Horror Story) as she is to Dee Dee and company. Both the movie and the characters it chooses to focus on have their own senses of worth pumped up by even feigning to care about something else, but the fact that the film and its main players can all convince themselves they're great doesn't mean they can do the same with those watching. Again, this terrain is designed to fuel the feature's main gags. Case in point: we're supposed to laugh heartily and knowingly when Dee Dee interrupts the latest PTA meeting — where Key, as a caring principal, is battling Washington, who plays the conservative parent leading the charge against Emma — with a song called 'It's Not About Me'. Alas, almost everything about The Prom constantly falls so flat that its attempt at self-referential humour is as hackneyed as the concept that a bunch of celebs can solve homophobia with a few ditties, a splash of dancing, and some fabulous outfits and decor. When Rannells' Trent heads to the local mall and attempts to do just that on one occasion — pointing out that Emma's schoolmates are picking and choosing which parts of the bible they're faithful about upholding, all via singing and breaking out fancy footwork on an escalator — it does give The Prom one of its best moments. The scene in question also emphasises how far the film is from many better, smarter, savvier-executed musicals on-screen and on-stage, however. Rannells has sung about faith and its contradictions before as an original Broadway cast member in the brutally clever The Book of Mormon, a comparison The Prom really shouldn't be trying to conjure up in viewers' heads. With Glee, Murphy made an entire teen-centric TV show that nodded to pop culture influences it could never live up to, so The Prom really just sees the filmmaker do more of the same but worse. That said, when the film actually spends time with Emma, her secret girlfriend Alyssa (Hamilton's Ariana DeBose) and even their anti-LGBTQIA+ classmates — following in Glee's footsteps in another way — it's a better movie. But the temptation to value flash over meaning, and to think that simply saying 'discrimination is bad, here's some glitter', never subsidies. Although it's shot by the acclaimed Matthew Libatique (an Oscar-nominee for Black Swan and A Star Is Born), the film's continually, needlessly and irritatingly circling cinematography captures The Prom's struggles perfectly, because it's too caught up in shiny things, recognisable faces and disposable songs to let everything that should matter, including its message, have any real impact. https://www.youtube.com/watch?v=TJ0jBNa6JUQ
One of today's most exciting directors adapts one of the great novels of the past two centuries, all with a lineup of stars that should make all other movies envious. That's the new version of Little Women in a nutshell. Greta Gerwig writes, directs and takes inspiration from Louisa May Alcott's classic of the same name, while Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Meryl Streep, Timothée Chalamet and Bob Odenkirk all feature among the cast. After nabbing Oscar nominations and widespread acclaim for Lady Bird, her solo filmmaking debut, Gerwig once again turns her attention to the trials and tribulations of young women. It's clearly a topic of great interest to the actor-turned-writer/director. She co-wrote Frances Ha and Mistress America with Noah Baumbach (as well as starring in them both), and did the same with her first joint stint behind the camera, Nights and Weekends, which she co-directed with Joe Swanberg. If you haven't read the book, or perhaps you just need a refresher, Little Women steps into the lives of the March family in 1860s New England in the aftermath of the American Civil War. It's a time when gender roles are clearly demarcated, but that isn't going to stop the spirited Jo (Ronan) from chasing her dreams — while her sisters Meg (Watson), Amy (Pugh, worlds away from Midsommar) and Beth (Australian actress Eliza Scanlen, who started her career on Home and Away) all have their own plans for their futures. Dern plays their mother, Streep pops up as the girls' aunt, and Chalamet once again has his sights set on Ronan, as he did in Lady Bird. This marks the eighth big-screen adaptation of Little Women, with Gillian Armstrong's 1994 film — starring Winona Ryder, Kirsten Dunst, Claire Danes, Susan Sarandon and Christian Bale — the most recent version of note. Watch the first trailer for Gerwig's take on the tale below: https://www.youtube.com/watch?v=AST2-4db4ic Little Women releases in Australian cinemas on January 1, 2020.
At the 2024 British Film Festival, when you're not watching movies starring Saoirse Ronan, Andrew Garfield, Florence Pugh and Barry Keoghan, you'll be catching the latest performances from Ralph Fiennes, Jude Law, Pierce Brosnan and Helena Bonham Carter. There's never any lack of big-name talents gracing the screen at Australia's annual celebration of the UK's latest and greatest contributions to cinema, but this year's is particularly jam-packed — so much so that there's not just one feature boasting Ronan among its cast, but two. Blitz, which sees the Foe, Little Women and Ammonite actor team up with 12 Years a Slave, Widows and Small Axe filmmaker Steve McQueen, is the British Film Festival's 2024 opening-night film. Playing Down Under fresh from also launching the London Film Festival, the period drama heads back to World War II, and starts the fest's month-long run at Brisbane's Palace Barracks and Palace James Street from Wednesday, November 6–Sunday, December 8 with one of the year's must-see movies. At the other end of the festival, the also highly anticipated We Live in Time will close out the event. Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) lead the romance from Brooklyn filmmaker John Crowley, which follows a couple's relationship across a decade. The second Ronan-led flick on the full 2024 British Film Festival comes courtesy of page-to-screen adaptation The Outrun, where the four-time Oscar-nominee plays a recovering addict — and there's plenty more highlights on the program from there. Hard Truths sits in the fest's centrepiece slot, reuniting iconic director Mike Leigh (Peterloo) with his Academy Award-nominated Secrets & Lies star Marianne Jean-Baptiste (Surface). Also boasting the coveted pairing of an impressive helmer and an exceptional on-screen talent: Bird from Andrea Arnold (American Honey), which is where Keoghan (Saltburn) pops up. As for Fiennes (The Wonderful Story of Henry Sugar), he stars with Juliette Binoche (The New Look) in The Return, a British spin on Homer's Odyssey — and also in papal thriller Conclave with Citadel's Stanley Tucci, Killers of the Flower Moon's John Lithgow and Spaceman's Isabella Rossellini. Law (Peter Pan & Wendy) plays King Henry VIII opposite Alicia Vikander (Irma Vep) as Katherine Parr in Firebrand, while Brosnan (The Last Rifleman) and Bonham Carter (One Life) feature in romance Four Letters of Love. Other standouts include the century-hopping dark comedy Timestalker from Garth Marenghi's Darkplace alum Alice Lowe, the Gillian Anderson (Scoop)- and Jason Isaacs (Archie)-led The Salt Path, Julia Louis-Dreyfus (You Hurt My Feelings) facing death in Tuesday, and Kelly Macdonald (Operation Mincemeat) and Damian Lewis (Billions) in vampire comedy The Radleys. For music fans, there's a dedicated themed sidebar featuring both Blur: To the End and Blur: Live at Wembley Stadium — one about the band's most-recent chapter, the other a two-hour concert film — as well as the Led Zeppelin-focused The Song Remains the Same and The Rolling Stones-centric The Stones and Brian Jones. This year's British Film Festival is also peering backwards via retrospective sessions of Ratcatcher, the debut feature from You Were Never Really Here's Lynne Ramsay; the Bonham Carter- and Dame Maggie Smith (The Miracle Club)-starring A Room with a View; and classic British historical dramas such as A Man for All Seasons, Heat and Dust, The Lion in Winter and Kenneth Branagh's (A Haunting in Venice) Henry V.
There's always something happening in New South Wales, no matter what time of the year. So whether you're a local looking for extravagant summertime surf carnivals on the coast or an interstater on the hunt for cosy winter festivities, there's something for everyone. So why not get a weekend getaway on the books? We've scoured the calendar for festivities taking place across the state, and here's our round-up of the outdoor events. Depending on where you go, you'll need some sunscreen, a good jumper or a couple of napkins. Adventure awaits.
When Moonlight Cinema returns for its 2019–20 season, the annual feast of outdoor movies will give film fans exactly what we all want. Sure, we're all keen to roll out our picnic blankets, sit under the stars and stare up at the big screen — but, given that this openair cinema launches at the end of each and every year, we also want Christmas movies. In the week leading up to the big festive day, Moonlight will screen Last Christmas, Die Hard, Home Alone, Love Actually and Elf. Yep, all the basics are covered. They're not the only highlights from the just-dropped November, December and January program, but they sure do twinkle brightly among a heap of other movie standouts. If you're wondering what else will tempt your inner cinephile from November 28 in Sydney and Melbourne, November 30 in Perth and December 14 in Brisbane, it's a lengthy list. With recently or newly released movies a big part of Moonlight's lineup, expect to watch Rocketman, Hustlers, Joker, Ford v Ferrari, Knives Out, Cats, Star Wars: Episode IX — The Rise of Skywalker and Charlie's Angels — and, in some cities, to see Brad Pitt twice thanks to Once Upon a Time in Hollywood and Ad Astra. Moonlight also showcases advanced screenings of upcoming films, so add the Nicole Kidman, Charlize Theron and Margot Robbie-starring Bombshell and Tom Hanks in It's A Beautiful Day in the Neighbourhood to your must-see pile. Going retro, the outdoor cinema will mark 20 years since Bring It On first waved its pom poms, step back into The Matrix in some cities, and revisit last year's A Star Is Born — as well as Bohemian Rhapsody in Sydney, Melbourne and Perth. Dirty Dancing is also on the bill, like every year — it wouldn't be a Moonlight without it. The February and March lineup will be announced on January 15, so there are even more movies to come. As always, Moonlight will also boast its usual food truck and licensed bar offering, and its reserved bean beds. You can also BYO booze everywhere except Brisbane — and bring your dog everywhere but Perth. MOONLIGHT CINEMA 2019 DATES Sydney: Nov 28–Mar 29 (Centennial Park) Melbourne: Nov 28–Mar 29 (Central Lawn at Royal Botanic Gardens) Perth: Nov 30–Mar 29 (Kings Park and Botanic Garden) Adelaide: Dec 13–Feb 16 (Botanic Park) Brisbane: Dec 14–March 29 (Roma Street Parkland) The Moonlight Cinema kicks off on November 28. For more information and bookings, visit the website. Top image: Moonlight Cinema Brisbane, Melbourne, Perth and Sydney.
UPDATE, APRIL 4: Paramount Pictures has announced a new release date for A Quiet Place Part II, with the film now hitting cinemas on September 3, 2020. UPDATE, MARCH 13: Due to concerns around the coronavirus, Paramount Pictures has announced that A Quiet Place Part II will no longer release on its initially scheduled date of Thursday, March 19, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. In 2018, the biggest horror movie of the year leaned heavily on silence. A Quiet Place tasked a young family with staying soundless, lest they be heard and then killed by giant spider-like monsters — and their efforts to survive became a huge box office hit. Indeed, A Quiet Place was so successful that it had a flow-on effect. When you watched it in a cinema, you probably glared whenever someone near you crunched popcorn, crinkled a packet of chips or started talking. Your ears keenly listened out for any noise that could put Lee (John Krasinski), Evelyn (Emily Blunt), Regan (Millicent Simmonds) and Marcus (Noah Jupe) Abbott in jeopardy, and you didn't want some loud person in the next row ruining that viewing experience. The frightful aliens, the hushed tones and Emily Blunt in kick-ass mode — it's all back thanks to sequel A Quiet Place Part II. So, too, is hoping that your fellow cinema-goers don't make a sound while you soak in every second of expertly calibrated stillness. Like the first film, this follow-up is directed and written by Krasinski, with Blunt, Simmons and Jupe all returning on-screen. The sequel's cast also welcomes franchise newcomers Cillian Murphy (Peaky Blinders) and Djimon Hounsou (Guardians of the Galaxy). And if you're wondering why Krasinski isn't mentioned among the actors, then you need to go back and watch the original movie again. As the just-dropped first trailer shows, A Quiet Place Part II picks up where its predecessor left off. The suitably unsettling sneak peek starts with a flashback to the day the monsters initially made their presence known, before jumping to Evelyn, Regan and Marcus' latest attempts to avoid the fearsome creatures. Expect plenty of bumps, jumps and — naturally — silence. Check out the trailer below: https://www.youtube.com/watch?v=k7qxYOpy9Ms After being delayed from its original release date of March 19, 2020, A Quiet Place Part II will now open in Australian cinemas on September 3, 2020. Image: © 2019 Paramount Pictures. All Rights Reserved
In these Netflix-obsessed, streaming video-heavy days, the words 'on demand' have been added to almost everything we watch. But it seems they're no longer restricted to screens, with a Brisbane venue bringing the concept to live theatre performances. In an Australian first, 50-seat Brisbane establishment Studio Theatre and Cafe is offering live theatre on demand. Patrons can request a staging of a show at any time of the day — and any day of the week — that takes their fancy. Yes, you can say goodbye to being at the mercy of regular sessions, and start seeing things more suited your schedule. Catching a play in the late hours of the evening or the early hours of the morning is real option. There are a few caveats though, to help minimise the impact of keeping the cast and crew on permanent standby — waiting in the wings 24/7 isn't the best situation for actors. Bookings must be for groups of ten people or more, and only certain productions are available at on-demand times. Along with the $20 ticket cost, both are a small price to pay for seeing a live performance with your friends whenever you want to. Kicking off the test period of the flexible gimmick until the end of the year is one-man musical Once in My Life, which tells the tale of a figure who probably wouldn't have played whenever the audience asked him to — aka Frank Sinatra. If the season is successful, more will follow. Find Studio Theatre and Cafe at 647 Wynnum Road, Morningside. Visit their website and Facebook page for more information. Image: Dollar Photo Club.
You might have thought King George Square looked pretty fine during the day and maybe a tad finer at night, but it's at twilight City Hall really shows off its colours. And what better backdrop when you're shopping the evening away — especially when the King George is filled with some of Brisbane's best designers and makers. The regular Brisbane Twilight Market shows off a sizeable array of stalls — more than 60, in fact — all staffed by some pretty nifty and talented local artists. Returning for 2021, the event will host an eclectic selection of items, so prepare to browse and buy. You'll be perusing everything from handmade clothing, accessories and leather goods to paper goods, homewares, art and ceramics (and more). This market is all about sound, smell and sales — so live music will provide a soundtrack to the evening, and expect to be hit with that spring flowerbed smell that always lingers when there's a soap stall around. Food stalls are also on the agenda, with 2021's slate of regular markets held on Friday, May 28, Friday, July 30 and Friday, September 24. Each event runs from 4–9pm, so take along some cash and stock up on all things crafty. [caption id="attachment_753580" align="aligncenter" width="1920"] Brisbane City Council[/caption] Top image: BrisStyle.
Over the past few years, Gelatissimo has whipped up a number of creative flavours, including frosé sorbet, gelato for dogs, and ginger beer, Weet-Bix, fairy bread, hot cross bun, cinnamon scroll, chocolate fudge and bubble tea gelato. Most recently, it made its own spin on Caramilk gelato, too. For its latest offering, the Australian dessert chain is taking inspiration from another beloved foodstuff — and from the current time of year. Can't choose between devouring Easter eggs or licking your way through a few scoops of ice cream? Gelatissimo has the solution. Yes, that very combination will be on the menu from Friday, March 26, with Easter egg-filled mint chocolate gelato earning the honours as Gelatissimo's next flavour of the month. Only available while stocks last until Thursday, April 22 — so for Easter, but not just until Easter — the flavour starts with mint-choc gelato, then adds in those round pieces of chocolate. It also features cookie crumbs, which add to the chunky texture. You can get it in stores Australia-wide, or via delivered take-home packs through services such as UberEats, Deliveroo and DoorDash. And yes, you can add it to your indulgent Easter list — alongside everything from boozy coffee liqueur-filled Easter eggs to hot cross bao (but you'll only be able to nab the latter if you're in Sydney or Melbourne). Gelatissimo's mint-choc Easter egg gelato is available from all stores nationwide from Friday, March 26–Thursday, March 22.
When Colin From Accounts arrived for its first season in 2022 with a nipple flash, a dog and strangers committing to take care of a cute injured animal together after a meet-cute, it also began with a "will they, won't they?" story. Ashley (Harriet Dyer, The Invisible Man) and Gordon (Patrick Brammall, Evil) crossed paths in the street in Sydney when she gave him a random peek, then he was distracted behind the wheel. Thanks to the titular pet, the pair were soon intricately involved in each other's lives — and, as they endeavoured to work out what that actually meant, sift through their feelings for one another and navigate the respective chaos that fills everyone's existence anyway, a delightful small-screen Australian rom-com (and one of that year's best new TV shows) was the end result. In season two, which streams weekly on Binge from Thursday, May 30, the series picks up after the duo gave Colin From Accounts to new owners at the end of the show's debut batch of episodes, then immediately regretted the decision. A couple of things are different from the outset: after moving in together, Gordon and Ashley are on a quest to get their pup back and they'll stop at almost nothing for their family to be reunited; also, this award-winning series is now in "should've they or should've they not?" territory about its central romance. (Moving from an all-at-once release to week-by-week instalments is another change for viewers.) Falling in love is easy. Being in the honeymoon period, whether or not you've tied the knot — Colin From Accounts' protagonists haven't — is clearcut, too. Taking a relationship further means peeling away the rosy and glowing surface, however, which is where the series follows its medical student and Inner West microbrewery owner in its second season. A television romantic-comedy with longevity can't be solely fuelled by fluttering hearts and butterflies in stomachs, especially one that's as dedicated to eschewing saccharine cliches as this. Colin From Accounts isn't afraid to be sweet, but a not-insignificant amount of its charm comes from feeling lived in as Ash and Gordon's romance keeps developing. Same show, but with a few new tricks: that's season two, then. Like relationship, like series: when it comes to diving deeper than the first season, that also fits. There has always been a spark between Colin From Accounts' lead characters, or else it wouldn't have made it to air in the first place, but the program's return digs into the reality that taking the next step for any couple is a dance through love's equivalent of dog mess on an otherwise pristine lawn. No matter how well you plot out a clear path, how flexible and adaptable you are to obstacles, and how determined you are to evade the crap, no one can avoid dirty shoes 100-percent of the time. As season two sees Ash and Gordon confronting the everyday details of intertwining their lives, it also has them tackling a range of relatable questions again. This round inspires plenty, in fact. Is there more than just chemistry between them? How much do shared interests count? Does a lack of commonalities cast a shadow, and their age gap as well? Will their routines knit together easily enough? Can they weather setbacks and roadblocks, unpack historical baggage and make space for a new way forward? How will their respective dating histories colour the first real serious relationship that they've each been in? Also, as they continue getting to know each other better — warts and all, and through secrets and surprises — will they still feel the same way? Ash and Gordon have another query to face at the outset of this new set of chapters: without Colin binding them together, who are they are a twosome? The first new instalment starts with a happy park playdate and all seeming being well, until it's revealed that the dog's former guardians are just pestering his new ones (Bump's Sam Cotton and Home and Away's Sophie Bloom), who'd really like them to go bark up another tree. From there, unexpected news, meeting family members, former flames and more await, all with their own tests. Plus, Ash's best friend Megan (Emma Harvie, In Limbo) and Gordon's counterpart Chiara (Genevieve Hegney, In Our Blood) are using the couple's home as a love nest while embarking upon an affair, while brewery employee Brett (Michael Logo, High Country) is being pushed out of home by his parents. Creators, writers and stars Dyer and Brammall keep performing their parts to perfection; given that they're married IRL and no strangers to working side by side (see: the also-excellent No Activity, which ran for two seasons between 2015–18), the charisma between them isn't hard to maintain. Neither is the naturalism in their portrayals, but they're not just playing themselves. As scribes, Dyer and Brammall are also particularly gifted with dialogue, ensuring that everything that the show's characters are saying always feels authentic. Sometimes the banter is amusing, sometimes it's heartfelt, and it can be acerbic and insightful, too — and all of the above combined — but it never sounds like something that works fine on the page yet no one would ever utter aloud. When it initially bolted out of the gate, Colin From Accounts was a fast homegrown hit, then had audiences overseas swooning as well. A series this genuinely funny, heartfelt and honest, and that manages to be light yet weighty and grounded, was always going to earn affection — and the same remains true in season two. Again, Dyer and Brammall have crafted a gem that bounces by with help from its directors (the returning Trent O'Donnell and Madeleine Dyer do the honours once more in season two, plus Summer Love's Robyn Butler and Wayne Hope), and that plays like hanging out with old friends. And yes, in lead, supporting and guest roles alike, casting is another of its treats — including with new additions such as Celeste Barber (Wellmania), Justin Rosniak (Wolf Like Me) and Aunty Donna's Broden Kelly (Aunty Donna's Coffee Cafe) this time around. Check out the trailer for Colin From Accounts season two below: Colin From Accounts season two streams via Binge from Thursday, May 30, 2024. Images: Lisa Tomasetti / Joel Pratley.
The films we like to classify as big, dumb fun haven't had a great run of things so far in 2018. They've made money, definitely, but the balance has been out. Be they clangers like Pacific Rim: Uprising or mindless popcorn offerings like Rampage, there's been a lot of big and even more dumb, but the fun has been noticeably absent. The latest contender, Skyscraper, fares a little better, although ultimately its preposterous script and story render it little more than a passing diversion. Set in Hong Kong and starring Hollywood's most bankable star Dwayne 'The Rock' Johnson, Skyscraper is a thriller centred around The Pearl, the world's tallest and (supposedly) safest building. Johnson plays Will Sawyer, a former FBI agent turned high-rise security expert who finds himself in the midst of a convoluted terrorist plot to steal a valuable flash drive by setting fire to The Pearl in order to flush out its billionaire owner. Allusions to both Die Hard and Towering Inferno have been embraced by the film's distributor, so much so that they even created homage movie posters. Sadly, Skyscraper possesses neither the wit and gritty action of Die Hard nor the suspense of Inferno to see it come close to either. As always, Johnson does his level best to keep the film entertaining. But he's robbed of his usual charm-fuelled asides, left instead to deliver bizarre non-sequiturs like "if you can't fix it with Duct Tape, y'aint using enough Duct Tape" (this also ranking as perhaps cinema's most unexpected product placement). The movie's villain, too, is entirely forgettable – and whilst it might be unreasonable to hope for another Hans Gruber, writer-director Rawson Marshall Thurber could at least have endeavoured to give us something a little meatier than the generic hired gun he serves up. Refreshingly, Neve Campbell appears as Johnson's wife, who proves a far more capable action-movie heroine than the traditional spouse-in-distress. Multilingual, combat-trained and a surgeon, she's the first to clue in to the terrorists' plot and doesn't back down when the guns are pointed in her direction. And then there's that jump. Every poster, promo spot and trailer has focussed on Johnson's physics-defying leap from a towering crane into the blazing building. Every part of the sequence is ludicrous, from the impossibly short space of time it takes for Johnson to ascend the crane in a free-climb, to the Olympic gold medal everything a leap of that magnitude would win, to the police shooting at him from a helicopter despite him being unarmed and no threat to anyone. Of course, in the end he does land the jump and the crowds both on screen and off cheer in unison. It's an A+ example of big, dumb and fun existing in perfect harmony. The great shame is how few of these moments exist in Skyscraper despite a setting of such scale and design offering so many more possibilities. At the end of the day, there's not much of Skyscraper that holds up to any real level of scrutiny. Still, as a park your brain at the entrance type distraction, it mostly gets the job done. https://www.youtube.com/watch?v=t9QePUT-Yt8
It's nice to escape out of the big city sometimes. Just a hop, skip and a jump (90 minutes) from Sydney, the Pullman Magenta Shores Resort is a worthy way to exit hectic Sydney and get a little quality R&R in. Beachfront and with numerous, luxurious pools, the resort is nestled in between Tuggerah Lake and the sea, so swimming is probably #1 on your holiday priorities list. For those who can drag themselves away from their sunlounger, the resort is the perfect gateway to the New South Wales Central Coast. Around summer, this area is your go-to for outdoor adventures ranging from surfing and paddleboarding to quad biking and ziplining through the treetops. Take your pick from beaches like The Entrance, Bateau Bay, Shelly Beach, Copacabana or Macmaster's, enjoy your cold-drip coffee barefoot in the cafes of Avoca and Terrigal, and breathe in a big gulp of fresh air at Bouddi National Park. So you can further remind yourself that you're out of the city, all rooms at the Pullman Magenta Shores (choose from a studio apartment up to a three-bed villa) have relaxing nature views, just so you can remind yourself that you're out of the city. You can kick back in the Lagoon Pool, the heated lap pool indoors if it's a bit nippy, or even the beach rock pools if you want to go crab-watching. The Resort is also home to the Magenta Shores Golf & Country Club, designed by Ross Watson and 18-holes long to fully occupy your vacation days. You're only allowed on this private green if you're staying at Pullman Magenta Shores, or if you've invested in a pricey membership, so take advantage. If you're tuckered out from the activity time or golf isn't your bag, head to the on-site Vie Spa to pamper yourself in one of their five treatment rooms. Once you're hungry from all the relaxing, head over to the resort's fine-dining Barrett's Restaurant, or Shallows Bar – there's a tasting menu as well as a wood-fired pizza oven and a range of share plates on the menu, so your belly will be just as happy as your relaxed muscles.
In 2010's How To Train Your Dragon, the Vikings of Berk learned the virtues of embracing fears and looking beyond the surface when the plucky Hiccup (Jay Baruchel) made a friend out of one of their most fearsome foes. His fellow villagers eventually came to an accord with their fire-breathing enemies, refashioning their society to fly atop and frolic with the scaly organisms. Five years later, that lifestyle persists within the veritable dragon haven. Alas, now another challenge confronts the peaceful settlement, with not all inhabitants of the surrounding lands and territories embracing their newfound fondness for the pests turned pets. As a trapper, Eret (Kit Harington), hunts the benevolent beasts for an evil warmonger, Drago (Djimon Hounsou), and his army of controlled creatures, Hiccup is called upon to fight for their survival once again. Like its predecessor, How to Train Your Dragon 2 continues the page-to-screen journey of the 12-strong children's book series by Cressida Cowell; however, it uses its source material as little more than inspiration. Returning franchise writer/director Dean DeBlois goes it alone in bringing to life the second effort in a planned trilogy, not only in losing his co-helmers and scribes from the first feature, but also in shaping a story more indebted to family-friendly film formula than anything that happens to have the same name. Of course, the template here is obvious, with a tale of the bond between animals and humans simply expanded by medieval lore and fantastical embellishments. That doesn't make it any less affecting or endearing as Hiccup strives to save his best friend, tamed dragon Toothless — just overtly familiar. The insertion of family drama continues in the same vein, more so when competing dynamics come into play. Hiccup becomes sandwiched between his chief father (Gerard Butler), who wants to anoint him his successor, and the enigmatic Valka (Cate Blanchett), with whom he shares his against-the-odds kindness. From DreamWorks Animation, beautifully rendered visuals enliven all character interactions and their accompanying environment, but it is the sights of soaring the skies and following in Toothless's cute footsteps that fare best. Thankfully, How to Train Your Dragon 2 balances the spectacle and the intimacy, creating an effort as comfortable with its advanced action stakes as it is with its increased sweetness and sentiment. The diverse voice cast also creates just the right emotional moments, from the high-profile additions to the repeat supporting contributors of Craig Ferguson, America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller and Kristen Wiig offering more of the same. That's How to Train Your Dragon 2 all over — the new overlaid upon the far from original with ample warmth and wit, creating an agreeable animated offering never remarkable but always affable. https://youtube.com/watch?v=tGFUmPhVhtU
Family-owned and -run Junction Yoga is a haven for yogis on Brisbane's southside. The Sullivan family has been running businesses and supporting their community here since 1952 and this studio has been in the works for them since 2008. Here, you can zen out or challenge yourself with a range of classes to suit your experience and skill levels. Primarily focussing on vinyasa, yin and meditation, this studio is excellent for those who want to dip their toes in for the first time or perfect their flow in a calm and supportive environment. BYO mat and props to class or hire and buy from the studio when you arrive. Junction Yoga is located on Cavendish Road (just off Old Cleveland Road), making it an easy stop on the way home for locals to pop in for a class.
For their first film program of 2018, the Gallery of Modern Art's Australian Cinematheque is offering up its own take on old adage: if you can't explore the world, then bring the world to you. In All the World's Memories, that includes seeing the planet through a seasoned documentary cinematographer's eyes in the highly acclaimed Cameraperson, stepping into a treasure trove of lost nitrate film prints in Dawson City: Frozen Time, examining American race relations in I Am Not Your Negro and travelling through the last trips made by an Austrian filmmaker in Untitled. And, they're just some of the more recent titles that feature in the program. From January 5 to February 24, GOMA will highlight the best factual flicks, film essays and artist videos not only from the past year, but throughout the history of cinema as a medium. The showcase is designed to delve into humanity's desire to understand our world, as seen in everything from collages and compilations to personal explorations and probing pieces. Other highlights span from perennial favourite Koyaanisqatsi: Life Out of Balance, to the applauded and influential San Soleil, to the clip-focused Los Angeles Plays Itself and Final Cut — Ladies and Gentlemen — plus the pioneering Man With a Movie Camera, the 1929 effort dismissed in its own time but now considered one of the best docos ever made. And, in even better news for cinephiles looking to catch a few films that have never graced Brissie's big screens, movie buffs keen to revisit some old factual faves and anyone eager for quite the movie journey, the entire program is free. Sessions run on Wednesday and Friday evenings, and Saturday and Sunday during the day.
Don't be turned off by the name of Woolly Mammoth's Australia Day event. No, people won't just be sitting around chatting about how things used to be cool way back when — or what the next big trend is going to be. We promise. Instead, bearded blokes will be encouraged to liberate their chins, and everyone will be encouraged to enjoy a beer or several. Both are aligned with good causes, with shaving your face supporting Lifeline's suicide prevention initiative, and knocking back a few beverages all part of the Hottest 100 Aussie Craft Beers.
Masters of late night snack fuel Ben & Jerry's have been dishing out pop culture-riffing flavours like Liz Lemon Greek Frozen Yoghurt, Stephen Colbert's AmeriCone Dream and, of course, Schweddy Balls for years. Then the masters of frozen confection go and create something called 'Free Cone Day', an annual event which defies haters. You can score an ice cream on the house, as part of the company's yearly, worldwide tradition thanking its fanbase for all the gluttonous support. On Tuesday, April 9, Ben & Jerry's Scoop Shops around Australia are hosting the eighth annual Free Cone Day — scooping out free ice cream from 12pm until 8pm. Suss out your nearest Scoop Shop purveyor of frozen dairy heaven here, and rock up on April 9 to claim your cone. Check out Ben & Jerry's Facebook page for updates.
My job with Concrete Playground involves a lot of writing. It’s true; you’re reading my work right now. Being a writer is great, but it can be a lot of hard work too. Grammar and sentence structure aside, you have to constantly think on how to make you mind words be good when you think them on paper (See what I mean?!). The Brisbane Writers Festival celebrates those who can convey their thoughts well through the written form. Fiction, non-fiction, poetry, essays, it’s all gravy – everyone featured in the Brisbane Writers Festival Program is pretty savvy around pen and paper, so come see what they have to say about their craft, including famed Brisbane novellist, Nick Earls (pictured). The team behind the festival have done us all a favour and posted their recommended panels to check out. If you are someone who would rather make their own decisions, then hit up the general program and sift through the amazing and informative panels on offer.
In Mark Wahlberg's performances, men are patriotic heroes and fun-loving dads. With his Funky Bunch and Boogie Nights days long behind him, that's the image he's been cultivating on-screen of late. The actor's resume has become littered with gung-ho action and family-friendly comedies — Patriot's Day, Mile 22 and Transformers sequels on one side; a pair of Daddy's Home movies and now Instant Family on the other. As different as the two might seem, both types of film basically allow him to play the same character. He doesn't disappear into his roles or make every part feel distinctive, but simply adds to his particular portrait of masculinity. While Wahlberg might hunt down terrorists in one flick, battle shape-shifting robots in another and then face the challenges of being a father in the next, he's really just painting the same picture one movie at a time. Instant Family, Wahlberg's latest all-ages affair, slides seamlessly into his recent filmography. As for the actor, he steps into the shoes of Pete Wagner, a take-charge kind of guy who renovates and sells houses for a profit with his wife Ellie (Rose Byrne). The couple's life is comfortable and happy, but they've fallen into a rut. So, being at the age where everyone comments about their lack of kids, they start thinking about helping children in need. Approaching becoming foster parents like they're remodelling a rundown home, the pair considers their new task a spiritual and emotional revamp. And the arrival of teenager Lizzy (Isabela Moner) and her siblings Juan (Gustavo Quiroz) and Lita (Julianna Gamiz) goes smoothly at first; in fact, Pete and Ellie are initially pretty pleased with themselves. It's easy to see why Instant Family appealed to Wahlberg, who gets to play another tough but tender everyman facing a challenge, looking out for his family and doing what his type of guy does. That said, there's more to this specific story, with the film inspired by the life of director and foster parent Sean Anders. There's an evident ring of truth to many of the movie's scenes — the awkwardness of adoption fairs, where potential caregivers browse for kids like they might a new pet, coo over cute tykes and steer clear of teenagers, provides just one example. Anders hasn't come up with an offbeat scenario solely for laughs, and it shows in the script penned with his regular co-writer John Morris. Certainly, the authentic side of Instant Family shines through on occasion. It definitely shines brighter than the picture's unremarkable imagery. But Anders also wrote and directed the broad, formulaic Daddy's Home and its equally grating follow-up, and he's not giving up his by-the-numbers ways yet. As a result, Instant Family is a movie with its heart firmly in the right spot, yet it doesn't trust that audiences will buy in without the expected array of physical mishaps, kids saying the darnedest things and adults getting frustrated in the usual cliched manner. It's a film that feels caught between what it wants to say and what it needs to be — and while supporting actors Octavia Spencer and Tig Notaro bring genuine comedic chops to the more overt comic moments, the movie just can't reconcile its various parts. Think the Bad Neighbours flicks, but pitting new parents against actual children in a kid-friendly fashion. Think the aforementioned Daddy's Home duo, too, but much less stale and more sincere. Instant Family is never as entertaining as the first set of films or as excruciating as the second, and if you prefer the former to the latter, Byrne is obviously here to help. Like her co-lead, she's doing something that she's done before, however the Aussie actor never makes her character feel like a stock-standard part. That she manages such a feat while being saddled with some of the movie's most routine material — playing a thirty-something woman who suddenly gets maternal and regrets her life decisions, namely — confirms why she's one of today's great, often underrated comedic performers. When it comes to enlivening an otherwise run-of-the-mill role, Wahlberg might want to take note. https://www.youtube.com/watch?v=JCWHr6AUxwI
If you're in southeast Queensland and you're a fan of Lin-Manuel Miranda, rejoice: your next chance to enjoy the musical talent's work is on its way in 2025. Hamilton has already done the rounds, including a season in Brisbane. Next, it's time for another of Miranda's big Tony Award-winning shows to take to the stage locally — and his debut smash, too. HOTA, Home of the Arts is set to turn into New York City's Washington Heights for a run of In the Heights. Initially staged in 2005, then leaping to off-Broadway in 2007, then playing Broadway from 2008–11 (which is where it nabbed those 13 Tony nominations and four wins), Miranda's first stage sensation spends its time with Usnavi, a bodega owner from the Dominican Republic who dreams of going back — and who also sports a crush on Vanessa, who aspires to move out of the neighbourhood. Miranda himself originated the role of Usnavi, scoring a Tony nomination for his efforts. In Australia for this run, which began in Sydney in 2024, Ryan Gonzalez (Moulin Rouge! The Musical) has stepped into the part. When the show heads to the Gold Coast from Friday, September 12, fellow Moulin Rouge! The Musical alum Olivia Vásquez is playing Vanessa. Alongside Gonzalez, she's joined by Richard Valdez (All Together Now — The 100) as the Piragua Guy — another character that Miranda has brought to life personally, this time in the 2021 film version of In the Heights. On the stage and on-screen, the production not only follows Usnavi and Vanessa's connection, and their respective hopes for the future, but also the residents of Washington Heights, their family ties across multiple generations and their friendships. The soundtrack — which helped In the Heights win Best Musical and Best Original Score Tonys — as well as the vibe and mood bring together salsa, soul, rap, hip hip, merengue and street dance. Images: Daniel Boud.
If there’s one thing the movies of Noah Baumbach tell us — including the college exploits of Kicking and Screaming, the teenage unhappiness of The Squid and the Whale and the midlife crisis of Greenberg — it’s this: growing up doesn’t come easily. Sure, we all get older as the days, months and years pass, but that doesn’t mean we feel our age. While We're Young lives and breathes this sentiment, and its characters as well. “For the first time in my life, I've stopped thinking of myself as a child imitating an adult,” says documentarian Josh Srebnick (Ben Stiller) to his producer wife Cornelia (Naomi Watts), to which she replies, "you feel that way too?" It's an easy way of expressing the feature's theme in dialogue — a little too easy, in fact — but it rings true. They're trapped by expectations they can't fulfil and ambitions they haven’t achieved, and they're not ready for that realisation. Two events start Josh and Cornelia thinking that maybe their mid-forties life isn't what they think it is. First, friends their own age (Maria Dizzia and the Beastie Boys' Adam Horovitz) have a baby and tell them constantly that they should do the same. Then they meet wannabe filmmaker Jamie (Adam Driver) and his wife, Darby (Amanda Seyfried), twenty-somethings they can nostalgically see decades-earlier versions of themselves in. Cue a whole heap of generational contrasts, of the young-folks-like-retro-trinkets versus older-people-prefer-technological-gadgets variety. Again, it's simple shorthand for a divide that looks obvious, but the film isn't just trying to show how things are different. Focused on a couple who don't feel in synch with their age group yet soon learn that they don't really fit in with younger friends and trends either, While We're Young is trying to understand why. That's a big challenge for a 97-minute comedy; however, it is one that the ever-perceptive Baumbach accepts. As he did with the delightful Frances Ha before this, the writer/director homes in on details so specific, they might as well be ripped from many of the audience's lives. And if his last film was his attempt at combining such wry observations with a French New Wave coming-of-age tale, this is him revelling in Woody Allen, comedy-of-manners territory. Though a Bowie song is again in the mix, While We're Young doesn't quite bounce along with the same zest as its predecessor, but it does roll with the punches of a story that morphs into a contemplation of authenticity. Thankfully, the film's bright frames boast that in spades, as it juxtaposes both sides of the age divide but, crucially, never judges. Everyone — Josh, Cornelia, Jamie and Darby alike — just wants to reconcile their dreams with their reality. Performance-wise, the good stuff keeps on coming, gifting Watts her best work in years, letting Stiller show a more chilled version of his Greenberg persona and playing with Driver's natural charm. That said, if there's one thing that doesn't sit right in the whole movie and its musings on getting older, it's one piece of casting. Seriously, who wouldn't want to hang out with Ad-Rock, baby or not, at any age?
UPDATE, November 04, 2020: Good Time is available to stream via Netflix, Google Play and YouTube Movies. Robert Pattinson. New York City. One wild night. What could possibly go wrong? In Good Time's account of a petty crook trying to rustle up some cash to get his brother out of jail, the answer is plenty. The title is tongue-in-cheek, for the characters at least. For the audience, it's more of a promise. A good time is all but guaranteed as you watch Benny and Josh Safdie's grubby, energetic heist movie unfold. Gritty but vivid is an unlikely blend, and yet that's Good Time from start to finish. In the siblings' hands, the film is so grimy that you can almost feel the dirt, blood and blonde hair dye getting under your fingernails (full credit to cinematographer Sean Price Williams and his constantly roaming camera). Amplifying the sense of immediacy even further is Oneohtrix Point Never's pulsating electronic soundtrack, which proves so urgent and exhilarating in its mood and rhythm that you'll feel as riled up as the figures on screen. When a bank robbery leaves Connie (Pattinson) and his mentally challenged brother Nick (played by Benny Safdie) covered in telltale red paint from head to toe, the particularly crafty crim is quick to search for a solution. After the cops spot them and detain Nick, he's desperate and determined to rustle up the cash for his bail — sweet-talking his sometimes-girlfriend (Jennifer Jason Leigh), staging a hospital rescue, fooling around with a teenager (Taliah Webster), trying to find some stashed acid, and tussling with an amusement park security guard (Barkhad Abdi) in the process. This eclectic series of events would be played for laughs in any other movie, but that's not Good Time's angle. Likewise, a lesser film might have wallowed in its protagonist's backstory, making him a sympathetic underdog with a thousand reasons for breaking bad. That's not what the talented Safdies are up to either. Like their last picture, the excellent heroin addict drama Heaven Knows What, the duo plunge into marginalised worlds that many of their viewers won't have experienced, and from there let their characters do the talking. The siblings' distinctive on-the-street style never fails to set the tone, or demonstrate their eye for rich texture and grungy detail. That said, the filmmakers are also aided by their high-profile star giving what might just be the finest performance of his career — and with a growing array of great non-Twilight turns on his resume, that's saying something. Armed with peroxide locks, a greasy complexion and a jittery demeanour, in Good Time Pattinson wears his character's confident, quick-thinking guise like a second skin. The charm to always get his way, the resourcefulness to constantly find a path forward, the smarts to get the best of almost everyone he encounters: thanks to this former teen heart-throb, the scheming, scamming, never-stopping Connie is magnetic, dynamic, complicated and compelling. In one of the year's best films, Pattinson is having a very good time indeed. https://www.youtube.com/watch?v=hsQBe3BlMMk
When was the last time you sent a Christmas card? (And no, e-cards don't count.) When was the last time you wrote something down — let alone in something other than scribble? Showroom's latest class wants to help you do both. Soon, you'll be wowing your friends and family with your thoughtful, handwritten, seasonal cards and notes. At the Christmas Card Lettering Workshop, you'll learn how to create custom lettering pieces using fine black markers and brush pens, explore cursive compositions and expressive brush lettering, and make unique, hand-lettered cards. And if you're feeling extra festive, why not stick around for the afternoon session on making your own garlands?
"Didn't seem fair on the young lad. That suit at the funeral. With the braces on his teeth, the supreme discomfort of the adolescent." That's how what just might be your favourite new novel of 2024 starts. The book in question? Intermezzo by Sally Rooney. The acclaimed Irish author, who previously penned Conversations with Friends, Normal People and Beautiful World, Where Are You, will release her fourth tome on Tuesday, September 24, 2024. It arrives three years after her last, which also hit three years after Normal People. And if you're already wondering if it will get the TV treatment, as Normal People did first — and made everyone obsessed with Paul Mescal in the process — then Conversations with Friends, it's obviously too early to answer that. Cross your fingers, though. View this post on Instagram A post shared by Faber Books (@faberbooks) Intermezzo will follow two brothers, Peter and Ivan Koubek, as they're grieving the loss of their father's death. The former is in his 30s and a successful Dublin lawyer, but turns to medication to sleep to cope with his loss. The latter is 22 and plays chess competitively. Peter also has complicated bonds with two women, his first love Sylvia and college student Naomi — which will sound familiar to Rooney fans — while Ivan meets the older Margaret not long after his dad's passing. "For two grieving brothers and the people they love, this is a new interlude — a period of desire, despair and possibility — a chance to find out how much one life might hold inside itself without breaking," says the official blurb for the book. "Intermezzo is a story of brothers and lovers, of familial and romantic intimacies, of relationships that don't quite fit the conventional structures," explains Alex Bowler, the book's publisher at Faber & Faber in the UK. "After three miraculous books, Sally Rooney's millions of readers will recognise the beauty and insight, the pain and hope that radiates from this new novel. But it marks an exquisite advance, too, in the work of a writer who seems so attuned to our lives, our hearts and our times." [caption id="attachment_842444" align="alignnone" width="1920"] Enda Bowe/Hulu[/caption] Intermezzo will be published on Tuesday, September 24, 2024. For further details, head to publisher Faber & Faber's website. Images: Normal People / Conversations with Friends.
If your Friday knock-offs are more bland than banging, then you ought to consider getting this Aussie hip hop act to kick off your weekend. Horrorshow has played all the major national festivals (think Big Day Out, Splendour and Groovin' the Moo) and toured Europe while supporting local faves Hilltop Hoods. These guys regularly play for crowds of up to 10,000 people, but this upcoming gig at Woolly Mammoth promises to be a more stripped-back intimate set. Hang around after the show to crush a few lawn games on the AstroTurf — think bocce and (perennial fave) giant Jenga. Image: Steven Woodburn.
Remember being bored? Filling your time with TikTok challenges, cruising from beach to beach on a road trip, or gliding along a promenade in your favourite pair of skates? Those peak summer vibes are what we're craving now that autumn has kicked into gear and we've swapped slides for sensible shoes. But, you don't have to live in the moment. At least not all day. Together with our friends at TikTok, we've picked out five sunshine-filled videos that capture that endless summer feeling so you can tap into it anytime you like. Go on, have a taste. [embed]https://www.tiktok.com/@teigan_nash/video/6785796678071979270[/embed] Former Saturday Disney host Teigan Nash has been keeping busy over summer with a couple of pals in the pool. Here she's taking on The Avengers pool challenge and totally nailing it. If you're wondering, Teigan is second from the front. Follow @teigan_nash for more wholesome, Australia-loving content. [embed]https://www.tiktok.com/@zulfiyeah/video/6892730698013216002[/embed] Effortlessly gliding through a Victorian car park, Zülfiye here is the boss of eight-wheeling through summer. She can waltz, shoot hoops, strut and 'Buss It', too. Most of all, she's crushing it on a pair of skates at every rink, wharf and promenade in Melbourne. And we're here for those feel-good vibes. [embed]https://www.tiktok.com/@aimeemassie/video/6894703521560579330[/embed] Newcastle-born pro skater Aimee Massie has serious board skills, as any#skatergirl would already know. Here, she's proving something we already knew: we don't need skater bois and we certainly don't need the everyday sexism Aimee is calling out in her TikTok videos. We see you Massie and we're loving your work. [embed]https://www.tiktok.com/@pnuks/video/6784646050956332294[/embed] If we could bottle up "Almost there. Almost there. Have a break" from Paniora Nukunuku we'd use it as daily inspo in the office. The Sydney-based social influencer is a youth worker and advocate for giving people a fair go. Here, @pnuks gives us a joyful take on having a fake leg on a spicy hot summer's day at the beach. We can almost feel the heat. [embed]https://www.tiktok.com/@pachalight/video/6901777782364310786[/embed] Is there anything better than a dunk in the ocean? How about doing it with a great big grin on your face because you've found a job you love and you live it every day? That's the vibe we're picking up from Aussie surfer Pacha Light. The emerging pro is based on the Gold Coast and here she's channelling pure summertime happiness. We love it. Download TikTok to watch more summer-loving videos. Top image: Pexels; Larry Snickers
Liam Neeson is back, along with a very particular set of skills that he'll use to separate film-goers from their money. The third film in the Luc Besson-produced action series, Taken 3 once again sees ex-special forces operative Bryan Mills wreak havoc on a group of Eastern European gangsters, all in the name of protecting his wife and daughter. To their minimal credit, screenwriters Besson and Robert Mark Kamen at least try to break the mould a little, inasmuch as Taken 3 doesn't feel like a carbon copy of the original as the second movie did. Even so, there's no forgiving their tin-eared dialogue and wafer-thin storyline, not to mention the fact that director Olivier Megaton still doesn't know how to frame or edit an action scene. Not that that last point necessarily matters as much as you'd think, given that, for what is supposedly an action movie, Taken 3 contains very little action. Most of the first act is instead dedicated to Mills bumbling through a series of family problems, first botching a birthday gift to his daughter Kim (Maggie Grace) and then providing marriage counselling to his ex-wife Lenore (Famke Jensen), whose marriage to rich dickhead Stuart (Dougray Scott) is on the rocks. Say what you will about his skull-shattering prowess; as an actual father and husband, this guy kind of blows. Luckily, he doesn't have to worry about that for long, because before you can say "cheap plot device", someone comes along and cuts Lenore's throat. Even worse, they frame poor old Bryan for the murder. The rest of film sees him running around Los Angeles in pursuit of the actual killers, while at the same time avoiding capture by LAPD Detective Franck Dotzler (Forest Whitaker) — a cop whose habit of constantly fiddling with a chess piece is meant to paint him as some kind of eccentric investigative genius, despite the fact that he basically spends the whole movie at least three steps behind his suspect. Of course stupid and/or lazy writing wouldn't be so much of a problem if the film supplied us with decent action — after all, just look at John Wick. Yet despite this being Megaton's fifth time behind the wheel of a shoot-'em-up actioner, his execution of the film's chase and shootout sequences can only be described as incompetent. Flailing handheld camerawork, frantic over-editing and claustrophobic close-ups make it basically impossible to distinguish Miles from his enemies, or to decipher the geography of a given scene. It's ugly, frustrating and totally lacking in tension, and makes the film’s scant 93-minute runtime feel a good fifteen minutes too long.
JLo once told us that love don't cost a thing, and she's right — but, neither does exercise. If you're keen to get your endorphins pumping by getting active, you needn't spend a cent, particularly if you're in the vicinity of South Bank. For years, the riverside spot has been hosting cost-free exercise sessions, and 2018 is no different. A completely free program of 45-minute group classes, Feel Good has something for every lazy sod, with their latest run kicking off on January 29 and showering the city in fitness until March 31. Classes are held on Mondays through to Thursdays, as well as on Saturdays, though times and activities vary each day. Head along at 5.30pm on Mondays for yoga, the same time on Tuesdays for pilates, Wednesday afternoons for energy sessions and Thursday arvos for dance — or drop by for some early-morning cardio at 6.45am on Wednesdays and Tai Chi at the same time on Thursdays. Come Saturday, yoga starts at 8am and aqua fun in the boat pool at 9.15am.
If you live your life a quarter-mile at a time, then you'll want to travel quite a few of them for Yatala Drive-In's latest movie marathon. In the kind of film frenzy that's tailor-made for their particular setting, the outdoor picture palace will be screening four flicks from the Fast & Furious franchise over one night. And yep, of course you'll be watching them in your car. From 7pm on February 3, prepare to rev your engines as the movie that started it all kicks things off, before the high-octane cinema spectacle jumps forward to the fifth, sixth and seventh instalments. If you've mixed up the franchise's many titles featuring the words 'fast' and/or 'furious', here's what you're in for: 2001's The Fast and the Furious (aka Point Break with vehicles), 2011's Fast Five (the one where The Rock joins the fun), 2013's Fast & Furious 6 (featuring a back-from-the-dead favourite) and 2015's Furious 7 (otherwise known as "hey, let's throw Jason Statham into the mix as well.") Bringing your family, whether they're related by blood or they're the friends you consider as close as kin, seems like a fitting thing to do. Tickets cost $69 per carload, and in good news for hungry viewers, the on-site diner will be open until midnight.
With international travel expected to be off the cards until mid-2022, and Australians encouraged to spend their holiday dollars at home to help the country's tourism industry, the 2021–22 Federal Budget is committing a hefty amount of cash to roads, rail and infrastructure projects. Aiming to support the nation's economic recovery from the pandemic, and boost jobs in the process, the Budget allocates $15.2 billion over the next ten years as part of an overall $110 billion spend across the same period. The Great Western Highway between Katoomba to Lithgow ($2 billion), Victoria's Monash ($250 million) and Pakenham ($380 million) roads, and Queensland's Bruce Highway ($400 million) are just some of the stretches of road that'll receive upgrades. So will the Great Eastern Highway in Western Australia ($200 million), the North-South Corridor from Darlington to the Anzac Highway in South Australia ($2.6 billion), the Midland Highway in Tasmania ($113.4 million) and the Northern Territory National Highway ($150 million). Announced last night, on Tuesday, May 11, this year's Federal Budget commits $3.8 billion in new spending to New South Wales, $3.4 billion to Victoria, $2 billion to Queensland, $1.6 billion to WA, $3.4 billion to SA, $377.2 million to Tasmania, $401 million to the NT and $186.2 million to the Australian Capital Territory. If some of the above projects sound familiar, that's because part of the cash has been allocated to works currently underway — but as a new funding commitment. Also covered: the Princess Highway Corridor in Jervis Bay ($500 million), and the M5 ($87.5 million) and M12 motorways ($229.4) in NSW; the Melbourne Intermodal Terminal ($2 billion), as part of the national freight network; the third stage of the Gold Coast Light Rail ($126.6 million); and stage 2A of the Canberra Light Rail ($132.5 million). The Budget also includes $1 billion to extend the Local Roads and Community Infrastructure Program to 2022–23 — which, as its name suggests, is all about supporting local councils to deliver local road and community infrastructure projects — as well as another $1 billion to continue the Road Safety Program into the same year. For more information about the 2021–22 Federal Budget, head to the government's website. Top image: Kgbo via Wikimedia Commons.
New years and treating yo'self go hand in hand, including on Lunar New Year. So, for an indulgent way to welcome the Year of the Snake, CBD fine-diner Donna Chang is throwing a party — and you have six days to head along to make the most of it. From Tuesday, January 28–Sunday, February 2, 2025, the eatery is serving up celebratory meals and cocktails. Across Wednesday, January 29–Saturday, February 1 only, it's also whipping up a special banquet for dinner. Donna Chang is known for its Sichuan and Cantonese-style cuisine, which is what you'll find on the menu, whether you're keen on an express lunch or a dinner feast. For midday meals on weekdays, $89 gets you chilli and Sichuan pepper school prawns, scallop and prawn wontons in black vinegar and chilli, stir-fried wagyu and more. If you're keen for a drink to wash it down, you'll pay as you go. For dinner, the $138 golden serpent banquet includes roast Chinese duck with Davidson plum sauce, Singapore chilli-style spanner crab and mandarin cheesecake with osmanthus jelly, plus other dishes. Fancy an upgrade? On all options, you can spend an extra $88 for a wagyu rib fillet MBS 9 special on top. Say cheers to your meal with snake-themed cocktails, plus Penfolds wine both by the glass and bottle. There'll also be dragon dancers livening up the inner-city restaurant on the Friday and Saturday nights, alongside lucky red envelope prizes.
Dark Mofo might be taking a breather in 2024, but Tasmania's Museum of Old and New Art (MONA) will still be embracing summer at Mona Foma. The sunny counterpart to the Apple Isle's moody winter fest has locked in its 2024 return from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. It has also dropped one helluva getaway-worthy lineup. [caption id="attachment_923130" align="alignnone" width="1920"] Andreas Neumann[/caption] Back in October, Queens of the Stone Age were revealed as the first act on Mona Foma's program for the year. They're joined by Courtney Barnett, TISM, Paul Kelly, Mogwai, Shonen Knife and Cash Savage and The Last Drinks, for starters. If you don't know where to start, the quintessential Mona Foma experience is the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can catch live music from international artists on the sprawling museum lawns. Arrive on a camouflage ferry before exploring one of Australia's most innovative museums. Then, enjoy back-to-back performances by Scottish rockers Mogwai and Japanese band Shonen Knife, joined by fellow overseas talents Holy Fuck, Wednesday, Michael Rother + Friends (playing Neu! songs) and Lonnie Holley with Moor Mother and Irreversible Entanglements. Now that TISM are back playing live together, the Australian legends will bust out 'Greg! The Stop Sign!', 'Whatareya' and 'Ol' Man River' at Cataract Gorge. The Ron Hitler-Barassi-led band are part of a free one-day event at the stunning site during Mona Foma's Launceston weekend, as are Cash Savage and The Last Drinks. Head along and you'll also enjoy morning meditations to start the day and hear from Mulga Bore Hard Rock and FFLORA + Grace Chia. [caption id="attachment_926553" align="alignnone" width="1920"] Steve Cook[/caption] More on the music program: Darren Hanlon, Bree van Reyk and the Tasmanian Symphony Orchestra are teaming up; French Korean siblings Isaac et Nora will perform Latin-American songs they've learned by ear; and Barelona-based producer Filastine and Indonesian singer Nova will provide live tunes on a 70-tonne sailing ship to muse on the climate crisis. DJs will get spinning beneath James Turrell's Armana at Mona and artists will be hitting up the Frying Pan Studios to jam and record. Emeka Ogboh's contribution to the festival is another big highlight. In the immersive exhibit Boats, the Nigerian artist ponders migration in a sensory experience that boasts its own gin — made with native Tasmanian and West African botanicals — alongside snacks, conversation and a sound installation. [caption id="attachment_926554" align="alignnone" width="1920"] Wei-Tsan Liu[/caption] Also set to impress: Taiwanese artist Yahon Chang will be painting on a 20-by-15-metre canvas at Princes Wharf 1 with a human-sized brush in a performance that'll blend calligraphy, art, meditation, kung fu and tai chi. Other program standouts include the world premiere of Justin Shoulder's Anito; Dancenorth's latest production Wayfinder, which includes Hiromi Tango on design duties and music from Hiatus Kaiyote; the return of party venue Faux Mo at The Granada Tavern; and a Street Eats food and drink market pop-up with a lineup of musical guests. [caption id="attachment_784488" align="alignnone" width="1920"] MONA/Jesse Hunniford, Robin Fox laser installation at the Albert Hall, Launceston, Mona Foma 2019[/caption] Nab your tickets now at the Mona Foma website. You can also book your getaway package through Concrete Playground Trips. Top images: Moshcam, Pooneh Ghana, Akira Shibata. All images courtesy of the artist and Mona Foma.
Every time that the Brisbane International Film Festival rolls around, something is a little different. After a decade of almost constant change, that's how it feels, at least. BIFF cycled through a few artistic directors, then found itself completely scrapped. It was replaced by a short-lived Asia Pacific-focused film fest, and then revived as BIFF again at Palace Cinemas. Next, it moved to the Gallery of Modern Art for three years, before getting another revamp in 2021 — with the folks behind the Gold Coast Film Festival now calling the shots. One thing that's remained through all of those ups and downs: screening must-see films to devoted Brisbane movie lovers. Tweaks keep happening behind the scenes, but watching the latest and greatest flicks dance across the silver screen has always been the main attraction. So, from Thursday, October 21–Sunday, October 31, that's what's happening. Cinephiles, Christmas has come early. BIFF's 2021 lineup includes more than 100 films — features, documentaries and shorts alike, spanning both brand new and stone-cold classic titles — all waiting for your super-eager eyeballs. That's a hefty lineup to wade through, so we started our festival viewing early. Here's ten standout BIFF highlights that we've seen, reviewed and heartily recommend. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, but it's mandatory if you've ever seen a film by Céline Sciamma. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director, with her talent for truly seeing into hearts and minds shining again in Petite Maman. In Sciamma's latest delicate and exquisite masterpiece after Tomboy, Girlhood and Portrait of a Lady on Fire, she follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. Nelly's grandmother (Margot Abascal, The Sower) has just died, and the house needs packing up. While her parents work, the curious child roves around the surrounding woods — and discovers Marion (fellow newcomer Gabrielle Sanz), who could be her twin. Sciamma is exceptionally talented at many things, creating richly detailed and intimately textured cinematic worlds high among them. She doesn't build franchises or big fantasy realms, but surveys faces, spaces, thoughts and feelings — exploring them like the entire universes they are. That approach pulsates through every frame of Petite Maman like a heartbeat. The film itself resembles a gentle but soul-replenishing breeze in its rustic look and serene pacing, but it thrums with emotion and insight at every moment. It's a modern-day fairy tale, too, complete with a glorious twist, with this radiant, moving, smart and perceptive movie musing deeply on mothers, daughters and the ties that bind. THE DROVER'S WIFE THE LEGEND OF MOLLY JOHNSON Leah Purcell's resume isn't short on highlights thanks to Black Comedy, Wentworth and Redfern Now, but the Australian actor, director and writer clearly has a passion project. In 2016, she adapted Henry Lawson's short story The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she brings it to the screen via The Drover's Wife The Legend of Molly Johnson. Only minutes into her searing feature filmmaking debut, it's easy to see why Purcell keeps needing to tell this tale. In her hands, it's a story of anger, power, prejudice and revenge, and a portrait of a history that's treated both women and Indigenous Australians abhorrently. Aussie cinema hasn't shied away from the nation's problematic past (see also: Sweet Country, The Nightingale, The Furnace and High Ground); however, this is an unshakeably potent film. In a fiery performance that bristles with steeliness, Purcell plays the eponymous and heavily pregnant Molly. In the process, she gives flesh, blood and a name to a character who wasn't ever afforded the latter in Lawson's version: a 19th-century Indigenous Australian woman left alone with her children on a remote property for lengthy stretches while her husband works. During his latest absence, new sergeant Nate Clintoff (Sam Reid, The Newsreader) and Aboriginal fugitive Yadaka (Rob Collins, Mystery Road) separately venture Molly's way. From there, this sometimes-stagey but always blistering western digs sharply into issues of race, gender and identity — and eagerly, shrewdly and ferociously draws cinematic blood. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend it is mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his previous efforts Happy Hour and Asako I & II. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is one of two new films by Hamaguchi currently doing the festival rounds, too, with Wheel of Fortune and Fantasy also screening at BIFF — so that's your festival double feature sorted. THE WORST PERSON IN THE WORLD Sometimes, a performance just flat-out shakes and startles you — in a good way, that is. In her 2021 Cannes Film Festival Best Actress-winning role, Norwegian actor Renate Reinsve (Phoenix) turns in that type of complex, layered, no-holds-barred and relatable portrayal. She's magnificent, and thoroughly deserves all of the shiny trophies sent her way. She plays Julie, a young Oslo resident who doesn't ever earn The Worst Person in the World's title, but nonetheless pinballs through the mess of her millennial life. Across 12 chapters, plus a prologue and epilogue, almost everything about the character's existence changes within the mere four years that the movie focuses on: dreams, goals, studies, careers, loved ones, boyfriends (including Bergman Island's Anders Danielsen Lie), apartments, friends and her perception of herself. That aforementioned moniker stems from a comment that Julie spits her own way, actually, because she's often aware of her own chaos. Writer/director Joachim Trier (Thelma) is just as cognisant of how romantic dramedies like this tend to turn out, which both feeds and enables Reinsve's astonishing performance — because this isn't the usual cliche-riddled affair. Every up and down that comes Julie's way transcends tropes to contemplate what growing up, being an adult and forging a life is really like, including at both the sunniest and the most heartbreaking extremes. As a character study, The Worst Person in the World is a masterpiece. As a snapshot of an age and life stage, it's just as canny, insightful and excellent. ZOLA It wasn't just a Twitter thread — it was the Twitter thread. Whether you read it live as it happened, stumbled across the details afterwards or first heard about it via Zola's buzzy trailer, calling this stranger-than-fiction tale a wild ride is always an understatement. Its opening words, as also used in this tweet-to-screen adaptation, happen to capture the vibe perfectly: "you wanna hear a story about how me and this bitch fell out? It's kind of long, but it's full of suspense." In the film, that phrase comes via the eponymous Detroit waitress (Taylour Paige, Ma Rainey's Black Bottom). The other person she's referring to: a woman (Riley Keough, The Lodge) she serves at work, then joins on a road trip to Florida. The minutiae is best discovered by watching, but saying that Zola's getaway with her new pal doesn't turn out as planned is really just the starting point. Paige is fierce and finessed as Aziah 'Zola' Wells, Keough adds another tricky yet memorable performance to her resume (see also: American Honey), Succession's Nicholas Braun twists his Cousin Greg persona and Colman Domingo (Candyman) proves scarily commanding. That's all crucial, but this is writer/director Janicza Bravo's (Lemon) film. Wondering how you adapt a series of tweets into a movie? Bravo approaches the task with not just flair, energy and enthusiasm, but with a dreamlike vibe and a clear understanding of social media's role in our lives. This is exactly what a flick based on tweets should be — and, among its many delights (including the score and the cinematography), it features the smartest urination scene you're ever likely to see. BERGMAN ISLAND Each filmmaker walks in the shadows of all who came before them — and as the cinema's history lengthens, so will those penumbras. With Bergman Island, French director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and creativity. Her central couple, both filmmakers, literally tread in the footsteps of the great Ingmar Bergman. Visiting Fårö, the island off Sweden's southeastern coast that he called home and his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't, of course, as they're searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. These Fårö escapades only fill half of the movie, because Bergman Island also brings Chris' budding screenplay to life. There, fellow filmmaker Amy (Mia Wasikowska, Blackbird) visits an island, too — dancing to ABBA and crossing paths with her ex Joseph (The Worst Person in the World's Anders Danielsen Lie). That tumultuous relationship is as bedevilled by other art and the past as Chris' quest to put pen to paper. And, via the film-within-a-film concept, there's a sense of mirroring that couldn't spring any firmer from Bergman himself. That said, the end result is as savvy and soulful as anything on Hansen-Løve's resume (including the stellar Eden and Things to Come) — and, due to Krieps and Wasikowska, as exceptionally acted. UNDINE For the second time in as many films, German writer/director Christian Petzold teams up with Paula Beer and Franz Rogowski, but you could never accuse them all of doing the same thing twice. Back in 2018, the trio turned Transit into a war-torn romance that mused on conflict's lingering scars. Here, they reinvent a German myth about a water spirit who can only turn human via love. A familiar chemistry lingers, though, as it's meant to. Whenever directors and actors keep collaborating — especially when directors retain multiple actors across different movies — that's built into the fabric of the film. As viewers, we can't help recalling our knowledge of their shared past. It's just how we respond to art, to people, and to connections. A movie not only about romance, but about the impact of the past on the present, Undine provokes and rewards this reaction. Undine (Never Look Away's Beer, the 2020 Berlinale Silver Bear winner for Best Actress for her efforts here) is a historian who guides museum tours about Berlin's origins. When her boyfriend Johannes (Jacob Matschenz, Babylon Berlin) breaks up with her suddenly, she warns him that she'll have to kill him. Then she meets industrial diver Christoph (Rogowski, A Hidden Life), but even as their love blossoms, her previous relationship isn't easily overcome. Petzold is no stranger to pondering the tides of history that just keep ebbing, flowing and swelling (see also: Barbara and Phoenix); however, in the enchanting, beguiling, beautifully shot Undine, he's at his most haunting. THE SCARY OF SIXTY-FIRST When Succession roves over New York's skyline, it gleams with wealth and privilege, a world that the stellar HBO satire sharply cuts into at every chance it gets. As one of the show's supporting cast members, Dasha Nekrasova slides into that realm, but that's not her only dalliance with the city's architecture, power brokers and all that both represent. The Scary of Sixty-First, her feature directorial debut, also savages the rich and seemingly consequence-free. More accurately, it clasps onto a real-life story that's made that case inherently, abhorrently and monstrously. There's no gentle way to put it, but the fact that Nekrasova plays a woman investigating whether a bargain Upper East Side duplex was once one of Jeffrey Epstein's "orgy flophouses" says plenty about this purposefully provocative conspiracy thriller-slash-horror/comedy. College pals Addie (Betsey Brown, Assholes) and Noelle (co-screenwriter Madeline Quinn) can't believe their luck when they find the cheap property, even if it does visibly need a clean (and have mirrored ceilings). From night one, however, the literal nightmares begin — and soon they're spying blood stains, scratched walls and eerie tarot cards. Enter Nekrasova's paranoid stranger, who comes bearing the Epstein news. Addie and Noelle take the revelation in vastly different ways, and The Scary of Sixty-First keeps boldly twisting its 70s and 80s-influenced frames (and Eyes Wide Shut and Rosemary's Baby-influenced, too) in hellish directions. Uncompromising and compelling, this slap in the face of a movie really isn't easily forgotten. BAD LUCK BANGING OR LOONY PORN "Banging" is the certainly word for it; when 2021 Berlinale Golden Bear winner Bad Luck Banging or Loony Porn begins, it's with high school teacher Emi (Katia Pascariu, Beyond the Hills) and her camera-wielding husband (first-timer Stefan Steel) having loud, enthusiastic, pink wig-wearing sex — and filming it. Romanian director Radu Jude (I Do Not Care If We Go Down in History as Barbarians) shows the explicit footage as others will see it, because others will indeed see it: the students at Emi's school, their parents and her fellow teachers. All genitalia and thrusting and lustful talk (and shouted queries through the door from whoever is looking after the couple's child), this graphic opening also makes a statement. So many people with the film's frames will take issue with it as vocally as Emi and her partner are enjoying themselves, but Jude definitely isn't one of them. What follows is a razor-sharp satire of a world that's so indifferent to so much, but so unaccepting of carnality. The film wields that notion as a weapon, all as Emi and Bucharest's other residents also navigate the pandemic. In the cinema verite-style first section, Emi rushes around the city on foot, learning of the sex tape backlash while surrounded by everyday hostilities and vulgarities. Next, Jude unleashes scathing and playful cine-essay snippets about Romania's past, the planet's present, human behaviour, and how porn is used as both a scapegoat and anaesthetic. Then, Emi is interrogated by parents and teachers, their judgement and hypocrisy on full display — in the climax to an already brilliant, biting and bleakly hilarious achievement. BLIND AMBITION From fleeing Robert Mugabe's Zimbabwe to taking their nation's first-ever team to the World Wine Blind Testing Championships in Burgundy, Joseph, Tinashe, Marlvin and Pardon have quite the story to tell. The quartet met in South Africa, where they each individually made their home long before they crossed paths. They all also found themselves working with wine, despite not drinking it as Pentecostal Christians — and, in the process, they discovered a knack for an industry they mightn't have even contemplated otherwise. That's the tale that Blind Ambition relays, and it's a rousing and moving one. Indeed, it won't come as a surprise that the movie won Australian filmmakers Warwick Ross and Rob Coe (Red Obsession) this year's Tribeca Film Festival Audience Award for Best Feature Documentary. Blind wine testing is a serious business; the first word isn't slang for inebriation, but describes how teams sample an array of wines without knowing what they're drinking. Then, they must pick everything from the country to the vintage to the varietal within two minutes of sipping. As stressed both verbally and visually throughout the doco, there's a specific — and very white — crowd for this endeavour. Accordingly, Team Zimbabwe instantly stands out. Heralding diversity is one of their achievements; their infectious joy, pride and enthusiasm for the field, for competing at the Olympics of the wine world, for the fact that their plight has taken them from refugees to finding a new calling, and for opening up the world to African vino, is just as resonant. Looking for more BIFF recommendations? We've taken a look at a couple of others already this year. So, you can also check out our thoughts on Sisters with Transistors, The Girl and the Spider and The Witches of the Orient, as well as Strong Female Lead. The 2021 Brisbane International Film Festival runs between Thursday, October 21–Sunday, October 31. For further information, or to buy tickets, head to the festival website.
The Brisbane International Film Festival is back again — with more than 100 films over 11 days, and with the Gallery of Modern Art at the helm. Organised by GOMA for the first time, this year's BIFF boasts local and international features, an array of special events and guests, and the Australian premiere of one of 2018's most controversial titles. The festival kicks off on Thursday, October 11 with the already-announced Celeste, an operatic drama set within north Queensland's lush greenery, before coming to close on Sunday, October 21 with Debra Granik's empathetic father-daughter drama Leave No Trace. In-between, high-profile highlights include Hotel by the River, the latest film by prolific Korean auteur Hong Sang-soo, and the Melissa McCarthy-starring Can You Ever Forgive Me?, a twisty effort about a real-life writing scandal. And then there's Lars Von Trier's ultra-violent The House That Jack Built, which is set in the 1970s, stars Matt Dillon as a serial killer, and prompted considerable walk-outs when it debuted at at Cannes. Other notable titles span festival circuit favourites such as Cannes Palme d'Or-winner Shoplifters, Nuri Bilge Ceylan's The Wild Pear Tree, and Jia Zhangke's crime romance Ash is the Purest White, plus Jafar Panahi's 3 Faces, Christian Petzold's Transit and the Paul Dano-directed Wildlife. This year's Berlinale Golden Bear winner Touch Me Not also features, as does the experimental and immersive Madeline's Madeline, the gloriously lurid Knife + Heart, and Guy Madden's entrancing The Green Fog. Or, there's M.I.A. documentary Matangi/Maya/ M.I.A., as well as a doco about the making of David Lynch's Blue Velvet — a nice remember that Lynch himself went to GOMA just a few years ago, in his first and only visit to Australia. On the local front, Australian standouts include the excellent Acute Misfortune, about artist Adam Cullen and journalist Erik Jensen; [CENSORED], featuring film clips excised by the country's censorship board between 1958–71; Terror Nullius, Soda Jerk's Aussie movie mashup; and Ghosthunter, which relays a strange tale that can only be true. Keeping things very local is The Picture Show Men, a documentary about the Sourris family — aka the folks behind New Farm Cinemas, the Elizabeth Picture Theatre and the potential new cinema slated for Red Hill. Events-wise, viewers can see documentary Ex Libris: The New York Public Library at a special screening at the State Library of Queensland, or catch a blend of virtual reality with live performance courtesy of the inventive thriller Frogman. Live music will accompany sessions of classics The Cameraman and The Passion of Joan of Arc, while the soundtracks of Japanese composer Teiji Ito will also be thrust into the spotlight. As previously unveiled, BIFF is training its gaze on movies either involving or considered inspiring by festival patrons Bruce Beresford and Sue Milliken — who've worked together on a number of titles, including this year's Ladies in Black. As well as featuring in an in-conversation session about their careers, they'll join Queensland Ballet Artistic Director Li Cunxin for a chat about Mao's Last Dancer, Beresford's adaption of Li's autobiography. The list goes on, with strands dedicated to African and Iranian cinema, plus a mystery movie in a secret location. With the latter, the details won't be revealed until you get there, but it's a new, buzz-worthy film that you won't see elsewhere in BIFF's 2018 program. The 2018 Brisbane International Film Festival will take place from October 11–21 at the Gallery of Modern Art, Event Cinemas Myer Centre, New Farm Cinemas, the Elizabeth Picture Theatre, Reading Cinemas Newmarket, the Brisbane Convention and Exhibition Centre, Brisbane Powerhouse and the State Library of Queensland. For full program details and to buy tickets, visit the festival website.
Maybe you really love Patrick Swayze. Perhaps you just need some more terracotta or ceramics in your life. Or, the idea of pottering around a clay-based showcase and finding pottery gifts could just be your idea of a great Saturday afternoon. Whichever category you fall into, coast on over to the Clayschool Christmas Market. Browse, buy, support local artists — it's the ultimate exhibition-slash-excuse to get shopping. Indeed, while we're talking multi-tasking, Clayschool's students are hoping to show off their unique, handcrafted designs, and sell some as ace one-off Christmas presents. What do you get the person who has everything? This — and there'll be plenty of pupils exhibiting their wares. Plus, given that it's all taking place at West Village from 4–7pm on Saturday, December, that means food and drinks will be in the vicinity as well. No one likes shopping on an empty stomach, after all — or while thirsty.
UPDATE: October 9, 2020: Just Mercy is available to stream via Netflix, Google Play, YouTube, iTunes and Amazon Video. When Walter McMillian was arrested in 1987 for the murder of a white teenager Ronda Morrison, the African American man was immediately sent to Alabama's death row. Before his was convicted and sentenced — before his trial even started — he spent 15 months among men condemned to die for their crimes. This move, orchestrated by the Monroeville sheriff's office, was extraordinary. It also speaks volumes about the way McMillian was treated from the moment he was cuffed. It's a minor detail in Just Mercy, the legal drama that tells his story, and McMillian is by no means the only person the tactic was used on — but if a suspect is saddled with such a fate before their day in court, how can justice ever truly prevail? That's one of the questions that lawyer Bryan Stevenson (Michael B. Jordan) both ponders and seeks to redress in Just Mercy, with the movie exploring his tale as much as McMillian's (Jamie Foxx). Another issue the crusading attorney tackles: why black defendants are instantly assumed guilty, but the same rarely applies to white culprits. This is a film filled with fervour, charting the Stevenson's efforts to save a man facing execution. It's also an indictment of the inequities of America's legal system, and of US society as a whole. Those two aims are intertwined, of course. The minutiae of McMillian's case remains heartbreakingly familiar, as does Stevenson's accompanying battle for fairness — because in situations like this, the names may change but the details usually stay much the same. When the feature introduces Stevenson, he's an idealistic Harvard student meeting his first death row prisoner. Realising how much he has in common with the incarcerated young man — and seeing the difference lending a kindly ear makes — he commits to fighting against unjust death sentences when he graduates from college. After securing federal funding, crossing paths with the similarly passionate Eva Ansley (Brie Larson) and starting an organisation called the Equal Justice Initiative, he moves to Alabama in 1989 to do exactly that. McMillian's case is still the talk of Monroeville and, although it takes time to convince the imprisoned man himself, it's soon Stevenson's priority. Even audiences with zero prior knowledge of McMillian's plight can guess what comes next. A plethora of evidence proves his innocence, while just as much illustrates how little the folks that put him behind bars cared about his legal rights — or about true justice. Confronted with these facts, everyone involved in the local legal system sports an uncaring attitude, including the new prosecutor (Rafe Spall) who refuses to reopen the case. Adapted from Stevenson's own memoir by writer/director Destin Daniel Cretton with his The Glass Castle co-scribe Andrew Lanham, each of Just Mercy's revelations, speeches and courtroom showdowns plays out as expected; however, that's actually part of what makes this earnest movie pack a punch. Just Mercy boasts much that other films would envy, such as an emotive true tale, serious subject matter that's sadly still relevant today and a top-notch cast. Eyes blazing, his voice calm yet commanding, and compassion driving his every move, Jordan is especially fantastic as Stevenson — and he's matched by a restrained but no less resonant Foxx as a man resigned to the lie of the land in the deep south. But the feeling that this has all been seen before is used to particularly compelling effect here. It's something that Cretton is clearly cognisant of, as he was when he focused on troubled teens living in a group home in the excellent Short Term 12. Layering in other cases, such as that of fellow death row prisoner Herbert Richardson (Rob Morgan), the filmmaker draws attention to the unending spate of real-life stories such as these. That's not a new revelation, but it bears heavily on a movie that's already weighty anyway. Indeed, in the feature's most powerful scenes, Cretton makes viewers face the ultimate consequences of a legal system predicated upon prejudice rather than justice. His is a measured and polished film both visually and tonally, but it purposefully lingers as one character inches towards their state-sanctioned end — lurking over every step and staring at the pain in the condemned man's expression, all to evoke a concerted sense of discomfort. This approach is far from understated, although neither is Just Mercy in general. Sincerity and deliberation don't have to go hand-in-hand with subtlety, after all. These types of tales might've reached pages and screens so often that they've become standard (McMillian's hometown of Monroeville was also the place where To Kill a Mockingbird's Harper Lee grew up, as the feature points out repeatedly), but this one firmly demonstrates why the fact they've become so routine also remains undeniably rousing, moving and devastating. https://www.youtube.com/watch?v=78k9Mhgzy74
Almost a decade and a half after the Marvel Cinematic Universe first reached screens and began to change blockbuster entertainment as we know it, it can often seem like its sprawling range of interconnected films and TV shows has featured every actor ever. We'd start naming stars, but there's just so many. And the next show headed to the comic book company's television ranks — and set to stream via Disney+, obviously — definitely won't change that feeling, given that it features Oscar Isaac and Ethan Hawke. In Moon Knight, Isaac (The Card Counter) plays the eponymous figure — and yes, from the MCU's Phase Four ranks (because Marvel splits its movies and series into phases depending on where the overarching story is at the time), this'll be the first Disney+ series that doesn't overtly tie in with characters we've already seen in plenty of its past flicks. So, if it all sounds unfamiliar after the last year served up WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye, there's a very good reason for that. On the page, Moon Knight dates back to 1975 — and, on-screen, hasn't ever gotten the live-action treatment until now. Also known as Marc Spector, the character is an ex-marine who has a dissociative identity disorder as well as a sleeping disorder, and also becomes the conduit for the Egyptian moon god Khonshu. Already dealing with multiple distinctive identities and not being able to tell the difference between being awake and asleep, the latter run-in doesn't go down smoothly, unsurprisingly. Just how that'll turn out for this Isaac-starring version of the figure won't be seen until Wednesday, March 30, when Moon Knight will start hitting Disney+ — but the first trailer for the six-part series has just dropped to give everyone a glimpse in the interim. Isaac plays frantic, stressed and panic well, and not only because he plays almost everything well (see also: last year's Scenes From a Marriage and Dune). And this sneak peek both gets twisty and teases out the show's premise. As for Hawke (The Good Lord Bird), he's the villain of the piece, and is seen drawing a crowd, looking like a cult leader and encouraging Marc to embrace the voice inside his head. Moon Knight boasts impressive talent behind the camera, too, with The Endless and Synchronic's Justin Benson and Aaron Moorhead directing. And yes, this is just the first of Marvel's 2022 TV shows, with She-Hulk starring Tatiana Maslany (Perry Mason) and he-hulk Mark Ruffalo, plus Ms Marvel and Nick Fury-focused series Secret Invasion, all likely to hit this year, too. Check out the Moon Knight trailer below: Moon Knight will be available to stream via Disney+ from Wednesday, March 30.
All hail the Keanaissance — for bringing him back to our screens, and often; and for giving everyone an excuse to shower his past hits with love as well. Before he was Neo and John Wick, he wasn't just one half of Bill and Ted, or Point Break's surfing FBI agent Johnny Utah, but also a guy trying to stop the bus that couldn't slow down. We know you're a fan, because who isn't? Alongside the aforementioned Point Break, Speed is one of action gems of the 90s — and Keanu is at the heart of both of them. And, we know you've always wanted to relive the latter film's high-stakes action movie magic, so here's your chance. Brisbanites, get ready to step onboard a vintage bus and prepare for the ride of your life. After thrilling fans and making plenty of new ones during several previous Brisbane Comedy Festival runs, Speed: The Movie, The Play is bringing its high-octane thrills back to the fest in 2022. It's taking on passengers between Thursday, May 5–Sunday, May 29, with shows held Thursday–Sunday — and this is one stint of public transport chaos (and 90s nostalgia) that you should willingly sign up for. Need to whet your appetite? Check out the trailer for the original film: https://www.youtube.com/watch?v=8piqd2BWeGI
If you're of an age to remember burning your friend's So Fresh CD so you could stay up to date with the coolest songs of the season, congrats. You're old now. But also, congrats because you will seriously enjoy this shindig — yep, it's a So Fresh Party. The nostalgic party to end all nostalgic parties is coming to The Foundry on June 9, and it'll be playing bangers strictly of the 2000-2009 vintage. You can expect a disturbing percentage of Channel 10 alums (Australian Idol winners/losers and ex-Neighbours actors) as well as way too much Nickelback for polite company. Also, just throwing this out there: we're desperately hoping for a timely comeback of the Duff sisters duet 'Our Lips Are Sealed.' Entry will set you back $10 on the door or $12.75 including booking fee if you grab one of the limited early bird tickets currently on sale, and of course it's obviously 18 and over — because if you're under 18 you definitely don't know what So Fresh is. Or CDs, probably.
MELT may be overflowing with fantastic shows, but the festival isn't just about the performance side of things. Simply take a look at the walls of the Brisbane Powerhouse, and you'll see what we mean. For the month of February, their foyers will play host to not one, not two, but three MELT art exhibitions. In Lz Dunn's Reintroducing Joanna Jones, the life of the famous Melbourne drag queen becomes a fascinating film project. Ray Cook's If You Can’t Say Something Nice About Anyone, Come Sit Next to Me looks at the ever-changing face of queer culture. And then there's Tyza Stewart's Field of Untitle, which explores identity and gender through a series of self-portraits. Yes, this creative showcase lives up to its aims, highlighting not only artistry, but diversity too.
Nutella has a legion of fans. Peanut butter, too. But for those who are't so fond of nuts, or happen to be allergic to them, Lotus Biscoff cookie butter spread has emerged as a very worthy alternative. It's made from the crumbs of Lotus Biscoff caramelised biscuits, comes in creamy and crunchy varieties and, understandably, has picked up quite a following. Last year, Australians were also able to enjoy Lotus Biscoff cookie butter spread in their gelato, thanks to a limited-edition flavour at Gelatissimo. In 2021, another team up is bringing the spread to your tastebuds in a creative fashion — this time thanks to Krispy Kreme's new range of Lotus Biscoff doughnuts. If you've ever had trouble choosing between slathering Belgium's Lotus Biscoff cookie butter spread over bread or munching your way through a circular baked good or two, you no longer need to pick — at least while stocks last at Krispy Kreme stores around the country, and at 7-Elevens as well. Two types are available, with the 'Lotus Biscoff Ring' taking an original glazed doughnut, smothering it with Lotus Biscoff spread, and adding a swirl of Lotus Biscoff crème on top. As for the 'Lotus Biscoff Cheesecake' version, it's dipped in the spread, filled with cream cheese frosting, and then topped with Lotus Biscoff crumbs and chocolate ganache. The Lotus Biscoff doughnuts are also available via Krispy Kreme delivery, click and collect, Uber Eats, Menulog and Deliveroo. Krispy Kreme's Biscoff doughnuts are available from all stores nationwide while stocks last (including via Krispy Kreme delivery, click and collect, Uber Eats, Menulog and Deliveroo) and at 7-Eleven stores nationally.
Whatever you're doing this weekend — gardening, partying, doing your tax return — you're going to need a killer soundtrack. This is that soundtrack. <a href="http://fbiradio.bandcamp.com/album/song-reader-sydney-sessions" mce_href="http://fbiradio.bandcamp.com/album/song-reader-sydney-sessions">Song Reader Sydney - Sessions by Aidan Roberts</a> 1. AIDAN ROBERTS - NOW THAT YOUR DOLLAR BILLS HAVE SPROUTED WINGS Last year, American indie hero Beck released an album called Song Reader. Nothing exciting there, except that he released it as sheet music only, the idea being that to listen to the music, you needed to be a part of a community, and to sit around with musician friends and create the music together. Beck's imagining of a community inspired a small, dedicated group of Australian music industry folk to put on a show late last year, where the likes of Sarah Blasko, Jonathan Boulet, Josh Pyke and Caitlin Park came together to play the 'album' in full. Now, some six months later, our friends at Sydney's FBi Radio have released perhaps the world's first full Song Reader album, available on iTunes and via FBi's Bandcamp page. And they are doing it for charity, with all money raised going to the Sydney Story Factory — an organisation that encourages and fosters creative writing among marginalised and disadvantaged young people. This — from Aidan Roberts of The Maple Trail and Belles Will Ring — is just beautiful and heartbreaking and all those wonderful words. (Oh, and that wailing guitar noise you hear in the background? That's local legend Brian Campeau dragging kitchen scissors across his guitar strings.) 2. PAPA - YOUNG RUT They haven't even released an album yet, but PAPA are a group to keep an eye on. The two-piece from Los Angeles make perfect indie-pop, but there's always something fascinating going on just on the edges that stops it sinking in to dullness. On 'Young Rut' it's those guitars in the chorus that crash in and transform the song from mid-tempo and forgettable to urgent, driving and absolutely indispensable. And more than one reviewer has noted a touch of the Springsteen in drummer/singer Darren Weiss's voice. It's time to hop on board the PAPA bandwagon, because they're pulling outta here to win. 3. KANYE WEST / TAME IMPALA - BLACK SKINHEAD vs. ELEPHANT In case you hadn't noticed, Kanye West recently released a new album. Whatever you think of him as a human being, there's no question that his desperate need to be A Serious Artist has led to some of the best hip hop of the past decade — 'Jesus Walks', 'Stronger', almost all of My Beautiful Dark Twisted Fantasy, 'Gold Digger', 'Touch The Sky', and so many more. 'Black Skinhead' is another such song, one that seems to be tearing down everything Kanye has built up around him: gold chains, designer clothes, even his own celebrity. And this mashup — essentially just Kanye's vocals over Tame Impala's 'Elephant' — works really well and demonstrates that Kanye really can do anything, even if that is rapping over an Australian psych/rock band. 4. JESSICA PRATT - HOLLYWOOD Originally released at the end of 2012 in the US, Jessica Pratt's self-titled debut has only just made its way to our sunny shoes. But it's well worth the wait. 'Hollywood' recalls nothing more than the folk of the late 1960s, Pratt sounding for all the world like Joan Baez, or a young Joni Mitchell. With just a guitar and her voice Pratt presents incredibly vivid descriptions of the world around her, and manages to capture the excitement and confusion of being young and arriving in a new city, redolent with possibilities. If you enjoyed the Laura Marling track we featured here a few weeks ago, then you will absolutely love this. https://youtube.com/watch?v=unNa-9qGkfI 5. NEKO CASE - MAN You might know Neko Case from The New Pornographers or from her amazing solo albums (if you don't, you need a copy of Twin Cinema and Middle Cyclone right this second), and she's always seemed like that one awesome older sister/aunt/friend you always wished you had: wry, badass and full of knowledge of the ways of the world. And now she's back with her newest solo album, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You. The title might be hard work, but the record won't be: Case's combination of country, indie, folk and rock and roll influences has led to a handful of absolutely essential albums, with her beautiful, clear, bell-like voice able to adapt itself to the music. She's also a shredding guitarist, gives no fucks, and once revealed on Spicks and Specks that her grandmother was one of America's first professional female wrestlers. All the types of rad.
Roll on up, the circus is in town — but Vulcana Women's Circus isn't any old acrobatic troupe. The Brisbane mainstays are known for their energy and experimentation. They're also known for putting on quite the MELT show. For the 2017 festival, that'd be Quiver. We're pretty certain that the performance's title describes how you'll probably react. To try to entice that reaction, it will present a mix of queer and queer-friendly artists, who'll all combine circus, dance, music and spoken word to contemplation notions of sexuality and gender.
"I kneel before no one," says Teth-Adam, aka Black Adam, aka the DC Comics character that dates back to 1945, and that Dwayne Johnson (Red Notice) has long wanted to play. That proclamation is made early in the film that bears the burly, flying, impervious-to-everything figure's name, echoing as a statement of might as well as mood: he doesn't need to bow down to anyone or anything, and if he did he wouldn't anyway. Yet the DC Extended Universe flick that Black Adam is in — the 11th in a saga that's rarely great — kneels frequently to almost everything. It bends the knee to the dispiritingly by-the-numbers template that keeps lurking behind this comic book-inspired series' most forgettable entries, and the whole franchise's efforts to emulate the rival (and more successful) Marvel Cinematic Universe, for starters. It also shows deference to the lack of spark and personality that makes the lesser DC-based features so routine at best, too. Even worse, Black Adam kneels to the idea that slipping Johnson into a sprawling superhero franchise means robbing the wrestler-turned-actor himself of any on-screen personality. Glowering and gloomy is a personality, for sure, but it's not what's made The Rock such a box office drawcard — and, rather than branching out, breaking the mould or suiting the character, he just appears to be pouting and coasting. He looks the physical part, of course, as he needs to playing a slave-turned-champion who now can't be killed or hurt. It's hard not to wish that the Fast and Furious franchise's humour seeped into his performance, however, or even the goofy corniness of Jungle Cruise, Johnson's last collaboration with filmmaker Jaume Collet-Serra. The latter has template-esque action flicks Unknown, Non-Stop, Run All Night and The Commuter on his resume before that, and helms his current star here like he'd rather still directing Liam Neeson. That said, Black Adam, the character, has much to scowl about — and scowl he does. Black Adam, the film, has much backstory to lay out, with exposition slathered on thick during the opening ten minutes. As a mere human in 2600 BCE in the fictional Middle Eastern country of Kahndaq, its namesake was among an entire populace caught under a cruel ruler hungry for power, and for a powerful supernatural crown fashioned out a mineral called 'eternium' that said subjects were forced to mine. Now, 5000 years later, Black Adam is a just-awakened mortal-turned-god who isn't too thrilled about the modern world, or being in it. Bridging the gap: the fact that back in the day, one boy was anointed with magic by ancient wizards to defend Kahndaq's people (the word "shazam!" gets uttered, because Black Adam dwells in the same part of the DCEU as 2019's Shazam! and its upcoming sequel), but misusing those skills ended in entombment until modern-day resistance fighters interfere. The above really is just the preamble. Black Adam is freed by widowed professor Adrianna (Sarah Shahi, Sex/Life), who is trying to fight the Intergang, the mercenaries who've been Kahndaq's new oppressors for decades — and, yes, Black Adam gets caught up in that battle. But being out and about, instead of interred in a cave, gets the attention of the Justice Society. The DCEU already has the Justice League and the Suicide Squad, but it apparently still needs another super-powered crew. Indeed, Suicide Squad and The Suicide Squad's Amanda Waller (Viola Davis, The First Lady) even shows up to help put this new gang together. That's how Hawkman (Aldis Hodge, One Night in Miami), Doctor Fate (Pierce Brosnan, The Misfits), Cyclone (Quintessa Swindell, Voyagers) and Atom Smasher (Noah Centineo, the To All the Boys movies) don their caped-crusader getup and try to stop Black Adam, or convince him to stop himself. Another blatant act of kneeling on this film's part: its new team. The Justice Society isn't new on the page, and some of its number pre-date their patent Marvel counterparts — but reaching the screen now, after the MCU and the X-Men movies, makes this bunch seem like a rehash. Wings like the Falcon, seeing the future like Dr Strange, controlling the weather like Cyclone, changing size like Ant-Man: that's all covered here, and it's impossible not to make comparisons. That Hawkman, Doctor Fate, Cyclone and Atom Smasher are also given little personality doesn't help. The cast behind them visibly commit, and there's a better flick to be made with far more Brosnan waving around a golden helmet in it (a welcomely sillier one, too), but character development clearly wasn't high among screenwriters Adam Sztykiel (Scoob!), Rory Haines (The Mauritanian) and Sohrab Noshirvani's (also The Mauritanian) priorities. As often proves the case in this genre, because superhero movies have been their own genre for years, the main aim of Black Adam is laying the groundwork for more to come. The titular figure gets an origin story, then an entryway into the broader DCEU, then sets up future franchise appearances, then teases the next step via the obligatory post-credits sting — stop us when this doesn't sound familiar. It's little wonder, then, that everyone around Black Adam feels like filler, including Adrianna's son Amon (Bodhi Sabongui, The Baby-Sitters Club), as well as the villain of the piece. And it's hardly surprising that any attempts at thematic relevance or resonance are thinner than Black Adam's smile. This tries to be a picture about the great responsibility that comes with great power (yep, again), choosing to do the right thing, and the thorniness of being an anti-hero, and also about the merits (or not) of throwing American force around (or not) in other countries; 'tries' is the key word. Collet-Serra does give Sabongui the best action sequences, though, all involving sneaking out of, skateboarding around and skirting attacks in his apartment/building. There's a tactile sense to these moments — as lively and as lived-in as the film gets, too — that's thoroughly absent in the bland, generic look and feel elsewhere. That Black Adam kneels before and could simply be mashing up parts of 300, Clash of the Titans and Tomb Raider for much of its running time, especially visually, just makes a dull movie duller (the DCEU really can't move on from Man of Steel, Batman v Superman: Dawn of Justice and Justice League director Zack Snyder, so it seems). When the feature busts out The Rolling Stones' 'Paint It Black', because of course it does, it's both as obvious a choice as there is and a rare dose of energy. And when it shows iconic spaghetti western The Good, the Bad and the Ugly on a TV screen, wishing you were watching that instead comes swiftly — or watching Aquaman's gleeful ridiculousness, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)'s rampant flair, or the non-DCEU weightiness of Joker or The Batman, actually.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from July's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE BEAR The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate on-screen for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues — aka sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson), baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), resident Mr Fixit Neil Fak (IRL chef Matty Matheson), and family pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings). For viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. The Bear serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling second season. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and Sydney endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. Episodes that send Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3), get Richie spending a week learning the upscale ropes at one of Chicago's best restaurants and jump back to the past, demonstrating how chaos would've been in Carmy's blood regardless of if he became a chef, are particularly stunning. The Bear season two streams via Disney+. Read our full review. THEY CLONED TYRONE Jordan Peele's Get Out and Us would already make a killer triple feature with Boots Riley's Sorry to Bother You. For a smart and savvy marathon of science fiction-leaning films about race in America by Black filmmakers, now add Juel Taylor's They Cloned Tyrone. The Creed II screenwriter turns first-time feature director with this dystopian movie that slides in alongside Groundhog Day, Moon, The Cabin in the Woods, A Clockwork Orange, Invasion of the Body Snatchers and They Live, too — but is never derivative, not for a second, including in its 70s-style Blaxploitation-esque aesthetic that nods to Shaft and Superfly as well. Exactly what drug dealer Fontaine (John Boyega, The Woman King), pimp Slick Charles (Jamie Foxx, Spider-Man: No Way Home) and sex worker Yo-Yo (Teyonah Parris, Candyman) find in their neighbourhood is right there in the film's name. The how, the why, the specifics around both, the sense of humour that goes with all of the above, the savage satire: Taylor and co-writer Tony Rettenmaier perfect the details. Ignore the fact that they both collaborated on the script for the awful Space Jam: A New Legacy, other than considering the excellent They Cloned Tyrone as a far smarter, darker and deeper exploration of exploitation when the powers that be see other people as merely a means to an end. On an ordinary day — and amid vintage-looking threads and hairstyles, and also thoroughly modern shoutouts to SpongeBob SquarePants, Kevin Bacon, Barack Obama, Nancy Drew and bitcoin — Fontaine wakes up, has little cash and doesn't win on an instant scratch-it. He chats to his mother through her bedroom door, tries to collect a debt from Slick Charles and, as Yo-Yo witnesses, is shot. Then he's back in his bed, none the wiser about what just happened, zero wounds to be seen, and going through the same cycle again. When the trio realise that coming back from the dead isn't just a case of déjà vu, they team up to investigate, discovering one helluva conspiracy that helps Taylor's film make a powerful statement. They Cloned Tyrone's lead trio amply assists, too, especially the ever-ace Boyega. Like Sorry to Bother You especially, this is a comedy set within a nightmarish scenario, and the Attack the Block, Star Wars and Small Axe alum perfects both the humour and the horror. One plucky and persistent, the other oozing charm and rocking fur-heavy coats, Parris and Foxx lean into the hijinks as the central threesome go all Scooby-Doo. There isn't just a man in a mask here, however, in this astute and inventive standout. They Cloned Tyrone streams via Netflix. GOOD OMENS Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. So, also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In this long-awaited return, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. Season one saw them face their biggest test yet after they started observing humans since biblical times — the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again — and saving the world wasn't what their leaders wanted. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, Aziraphale nor Crowley have each carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is the archangel Gabriel (Jon Hamm, Confess, Fletch). He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him — which is just the beginning of season two's delightful chaos. Good Omens streams via Prime Video. Read our full review. FULL CIRCLE Whether on screens big and small, when an audience watches a Steven Soderbergh project, they're watching one of America's great current directors ply his full range of filmmaking skills. Usually, he doesn't just helm. Going by Peter Andrews and Mary Ann Bernard — aliases from his parents' names — he shoots and edits as well. And he's prolific: since advising that he'd retire from making features after Side Effects, he's directed, lensed and spliced nine more, plus three TV shows. Among those titles sit movies such as Logan Lucky, Unsane, Kimi and Magic Mike's Last Dance; the exceptional two seasons of turn-of-the-20th-century medical drama The Knick; and now New York-set kidnapping miniseries Full Circle. The filmmaker who won Cannes Film Festival's Palme d'Or at 26 for Sex, Lies and Videotape, earned two Best Director Oscars in one year for Traffic and Erin Brockovich, brought the Ocean's franchise back to cinemas in 2001, and eerily predicted the COVID-19 pandemic with 2011's Contagion is in his element with his latest work. Six-part noir-influenced thriller Full Circle reunites Soderbergh with Mosaic and No Sudden Move screenwriter Ed Solomon, boasts a starry cast, involves money and secrets and deception, and proves a twisty and layered crime tale from the get-go. Full Circle starts with a murder, then a revenge plot, then a missing smartphone. These early inclusions all tie into an intricate narrative that will indeed demonstrate inevitability, cause and effect, the repercussions of our actions, and decisions looping back around. The pivotal death forms part of a turf war, sparking a campaign of retaliation by Queens-based Guyanese community leader and insurance scammer Savitri Mahabir (CCH Pounder, Avatar: The Way of Water). She enlists freshly arrived teens Xavier (Sheyi Cole, Atlanta) and Louis (Gerald Jones, Armageddon Time) to do the seizing under her nephew Aked's (Jharrel Jerome, I'm a Virgo) supervision; one of the newcomers is the brother of the latter's fiancée Natalia (Adia, The Midnight Club), who is also Savitri's masseuse. The target: Manhattan high-schooler Jared (Ethan Stoddard, Mysteries at the Museum), son of the wealthy and privileged Sam (Claire Danes, Fleishman Is in Trouble) and Derek Browne (Timothy Olyphant, Daisy Jones & The Six), and grandson through Sam to ponytailed celebrity chef Jeff McCusker (Dennis Quaid, Strange World). Savitri is convinced that this is the only way to stave off the curse she's certain is hanging over her business — a "broken circle", in fact. But, much to the frustration of the US Postal Inspection Service's Manny Broward (Jim Gaffigan, Peter Pan & Wendy), his go-for-broke agent Melody Harmony (Zazie Beetz, Black Mirror) is already investigating before the abduction. Full Circle streams via Binge. Read our full review. WHAM! "If you're gonna do it, do it right," sang Wham! on their 1985 single 'I'm Your Man'. When it comes to living the dream of becoming international pop sensations in your twenties, and with your childhood best friend by your side, George Michael and Andrew Ridgeley took those lyrics to heart. Wham!'s rise wasn't perfect, as the documentary that shares the group's name surveys, but the group's brief existence in the 80s saw them make their mark on history — and release quite the array of earworms. The songs, the ska band that Michael and Ridgeley formed first, the doubts, the struggles: documentarian Chris Smith (Fyre: The Greatest Party That Never Happened, Operation Varsity Blues: The College Admissions Scandal) steps through it all, including Michael's difficult decision to keep his sexuality closeted. The early club gigs to drum up a fandom, the big-break Top of the Pops appearance, catapulting to fame, becoming the first Western pop group to play China: that's all featured as well. And shorts — so, so, many shorts donned by both the man who'd become a massive solo star once Wham! split and the pal who volunteered to show him around on his first day at Bushey Meads School long before their Wham! success. Smith crafts an affectionate and insightful film that's unashamedly a tribute, celebrates all things 80s from the hair and the outfits to the aura of excess, but makes clear that the band was never just Michael's launching pad — even if it did cement his talents not just as a singer, but also as a writer and producer. A fast-paced array of archival footage tells the tale visually, aided by scrapbooks kept by Ridgeley's mother that chart their careers; candid interviews with Michael before his death and Ridgeley now fill in the details. Also echoing: Wham!'s hits from 'Wham Rap!' and 'Young Guns' to 'Club Tropicana' and 'Wake Me Up Before You Go-Go'. Each gets their engaging origin story, although none more so than the still-astonishing 'Careless Whisper', which record executives dismissed when they ignored the group's very first demo four decades ago. The behind-the-scenes material is relaxed and intimate, the live clips electrifying, and the joy on Michael's face while playing Live Aid with the likes of Freddie Mercury and David Bowie is genuine (even as he talks of his fears that he didn't belong in their company). Watching means getting Wham!'s catalogue stuck in your head, of course — yes, 'Last Christmas' as well. Wham! streams via Netflix. THE HORROR OF DOLORES ROACH It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in, The Horror of Dolores Roach's namesake refused to snitch and lost 16 years of her life. When she's released, gentrification has changed the neighbourhood and her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her, still in the empanada joint, and he couldn't be keener on letting her stay with him in his basement apartment below the store. The Horror of Dolores Roach streams via Prime Video. Read our full review. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. NIMONA Bounding from the page to the screen — well, from pixels first, initially leaping from the web to print — graphic novel-to-film adaptation Nimona goes all in on belonging. Ballister Boldheart (Riz Ahmed, Sound of Metal) wants to fit in desperately, and is willing to do whatever it takes to achieve it. In this animated movie's medieval-yet-futuristic world, there's nothing more important and acclaimed than being part of the Institute for Elite Knights, so that's his aim. Slipping into armour usually isn't possible for someone who grew up on the wrong side of this realm's tracks, as he did, but Ballister has been given a chance by Queen Valerin (Lorraine Toussaint, The Equalizer), who says that anyone can now be a hero. Alas, just as he's about to have his sword placed upon his shoulder with all the world watching, tragedy strikes, then prejudice sets in. Even his fellow knight-in-training and boyfriend Ambrosius Goldenloin (Eugene Lee Yang, Star Wars: Visions), who boasts family ties to legendary monster-slaying heroine Gloreth (Karen Ryan, Under the Banner of Heaven), believes that Ballister is responsible. His only ally? Nimona's namesake (Chloë Grace Moretz, The Peripheral), a shapeshifter who offers to be his sidekick regardless of his innocence or guilt. Nimona usually appears as a human girl, but can change into anything. The shapeshifter also wants to belong — but only by being accepted as she is. Unlike Ballister's feelings of inferiority about being a commoner, Nimona is happy with morphing from a kid to a rhinoceros, a whale to a shark, then between anything else that she can think of, and wouldn't give it up for anyone. Indeed, when Ballister keeps pestering her for reasons to explain why she is like she is, and asking her to remain as a girl, she's adamant. She already is normal, and she rightly won't budge from that belief. Animated with lively and colour animation that sometimes resembles Cartoon Saloon's Song of the Sea and Wolfwalkers, Nimona is a family-friendly adventure and, as penned as a comic by ND Stevenson (She-Ra and the Princesses of Power), also a clear, impassioned and sincere allegory for being true to yourself. As a film, directors Nick Bruno and Troy Quane (who also teamed up on Spies in Disguise) and screenwriters Robert L Baird (Big Hero 6) and Lloyd Taylor (another Spies in Disguise alum) ensure that it remains a thoughtful delight. Nimona streams via Netflix. RETURNING FAVOURITES TO CHECK OUT WEEK BY WEEK FUTURAMA Good news, everyone: Futurama keeps getting thawed out. The small screen's powers that be love defrosting the animated sci-fi series, and viewers should love watching the always-funny results. Not once but twice in the past quarter-century, Matt Groening's other big sitcom has been cancelled then respawned years later. It was true back in 2007 when the show was first reanimated, and it's true again now: whenever Futurama flies across the screen after a stint in stasis, it feels like no time has passed. Groening first spread his talents beyond The Simpsons back in 1999, riffing on Y2K excitement and apprehension, and also leaping forward in time. Futurama's 20th-century pizza delivery guy Philip J Fry (voiced by Billy West, Spitting Image) didn't welcome the 21st century, however; he stumbled into a cryogenic chamber, then awoke to greet the 31st. After tracking down Professor Hubert J Farnsworth (also West), his only living relative, he was soon in the delivery game again — but for intergalactic cargo company Planet Express, in a show that that satirises every vision of the future previously committed to fiction, and with one-eyed ship captain Turanga Leela (Katey Sagal, Dead to Me) and shiny-metal-assed robot Bender Bending Rodríguez (John DiMaggio, Transformers: Rise of the Beasts) by his side. Futurama's initial run lasted four seasons, four years and 78 episodes. Then, the show reappeared in 2007 as a direct-to-DVD movie, followed by three more, which were then turned into episodes for the show's fifth season. Alas, another trio of seasons later, Futurama said goodbye again. Thankfully, when a series not only peers at and parodies the next millennia, but takes an anything-goes approach that's brought everything from robot Santas and soap operas to human-hating alien news anchors and talking celebrity heads in jars, there's always room for a new spin. Still, getting the Planet Express soaring yet again does pose one difficulty: how do you undo a perfect finale? When the prior season ended in 2013, it wrapped up Fry and Leela's on-again, off-again romance in a smart, sweet and widely loved bow. The new instalments pick up exactly where that swansong left off, then unleash a "massive disruption in the flow of time" to move everyone to 3023, then restore the usual status quo. So, Fry, Leela, Bender, the Professor, Jamaican accountant Hermes Conrad (Phil LaMarr, Craig of the Creek), Martian intern Amy Wong (Lauren Tom, Dragons: The Nine Realms) and lobster-esque alien doctor Zoidberg (also West) resume their workplace sitcom antics — in vintage form. Futurama streams Disney+. Read our full review. WHAT WE DO IN THE SHADOWS Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now in its fifth season. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who share an abode and the afterlife in Staten Island. In cinemas, the film already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been illustrating that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates via everything from mall trips, political campaigns, pride parades and speed dating to trying to discover why Nandor's long-suffering and ever-dutiful familiar Guillermo (Harvey Guillén, Werewolves Within) hasn't quite started chomping on necks despite being bitten himself. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. What We Do in the Shadows streams via Binge. Read our full review. THE AFTERPARTY When The Afterparty arrived on Apple TV+ in 2022, riding a wave of revived murder-mystery comedy love that Knives Out and Only Murders in the Building had helped wash over screens big and small, it made one big risky move. Throwing a motley crew of characters together, then offing one? Tried, tested and a favourite for a reason. The ensemble cast attempting to sleuth its way through a shock death? Flawless. The genre-bending setup that saw each episode in the season parody a different style of filmmaking? Perfectly executed. Having the words "how great is this party?" uttered over and over again? That's what could've proven dicey if The Afterparty wasn't in fact great; thankfully, it very much was. There's a reason that phrase kept being uttered, because superfluous detail isn't this show's style: as in all great whodunnits, everything happens, is mentioned or can be spotted with cause. Creator Christopher Miller and his fellow executive producer Phil Lord, a duo with Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie on their resumes as co-directors, know the format they're working with. Crucially, they know how carefully their audience will scrutinise every clue and element. And, in the show's first season and now the second season — they also know how to equally honour and spoof. Fittingly, The Afterparty feels like a murder-mystery comedy party as a result. Adoring, irreverent, willing to get loose and shake things up: that's the vibe and approach. In season one, the series' title was literal thanks to a high-school reunion with fateful post-soiree hijinks. In season two, a wedding brings a disparate group together — and, following the nuptials and reception, The Afterparty's moniker comes into play again. To the horror of the returning Aniq Adjaye (Sam Richardson, I Think You Should Leave with Tim Robinson) and his ex-classmate, now-girlfriend Zoe Zhu (Zoe Chao, Party Down), another body then puts a dampener on the festivities; however, this second go-around doesn't get a-solving just in one night. Aniq and Zoe have recovered from their last confrontation with a killing at a celebration by diving into their romance, but it's the latter's younger sister Grace (Poppy Liu, Dead Ringers) who's getting hitched. Her groom Edgar (Zach Woods, Avenue 5) sports both family money and a cryptocurrency-aided bank-balance boost, he's an all-work-no-play socially awkward type as a result and, when he's alive, he's more fond of his pet lizard than most humans. Then he's found face down after the afterparty, déjà vu arrives and so does the also-returning Danner (Tiffany Haddish, The Card Counter) to sift through the suspects. The Afterparty streams via Apple TV+. Read our full review, and our interview with Sam Richardson. MINX A full-frontal embrace of feminism, penises and 70s porn for women greeted audiences when Minx instantly cemented itself among 2022's best new TV shows. The setup: Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying) makes her dream of starting her own magazine come true, but for pornography publisher Doug Renetti (Jake Johnson, Spider-Man: Across the Spider-Verse). Created by Ellen Rapoport (Clifford the Big Red Dog) and executive produced by Paul Feig (Last Christmas), the show wasn't shy about the industry it dived into, even if its protagonist initially was. It wasn't afraid to push the strait-laced Joyce out of her comfort zone, see the empowering side of erotica for the fairer sex and champion the female gaze, either. The end result: a savvy, smart and breezy series that was as layered as it was astute and funny — and, yes, one that happily filled its frames with male genitalia. The show was quickly renewed, but also then cancelled in December 2022 during production as part of David Zaslav's cost-cutting measures at Warner Bros Discovery. Then, fellow American network Starz stepped in to save it. Watching Minx's bigger, richer and deeper second season, it's mindboggling to think that it almost didn't make it to screens. "Minx is back and better than ever," announces Doug with his usual shambling brand of swagger — the kind that Johnson long-perfected in New Girl, and also in film roles in Drinking Buddies and Win It All — and he isn't wrong. Of course, he's talking about the series' eponymous erotic mag, not the series itself, but he's on the money. First, though, the again vibrantly shot, styled and costumed show has season-one finale fallout to deal with, after Joyce and Doug ended their tumultuous working relationship. The former goes looking for a new publisher, with boardrooms overflowing with men dropping compliments and promising money awaiting. Then billionaire and ex-shipping industry titan Constance Papadopoulos (Elizabeth Perkins, The Afterparty) shows an interest in the magazine, in supporting and mentoring Joyce, and in having Doug involved — and the Minx gang, including former model Bambi (Jessica Lowe, Miracle Workers), photographer Richie (Oscar Montoya, Final Space), Doug's girlfriend and ex-secretary Tina (Idara Victor, Shameless), and Joyce's sister Shelly (Lennon Parham, Veep), are back together. Minx streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too. Top image: Parrish Lewis/Netflix.
A smokejumper stationed to a Montana watchtower, plagued by past traumas and forced to help a teenage boy evade hired killers, Those Who Wish Me Dead's Hannah Faber actually first debuted on the page. Watching Angelina Jolie bring the whisky-swilling, no-nonsense, one of the boys-type figure to the screen, it's easy to assume otherwise. The part doesn't quite feel as if it was written specifically for the smouldering movie star, though. Rather, it seems like the kind of role that might've been penned with Liam Neeson or Denzel Washington in mind — see: this year's The Marksman for the former, and 2004's Man on Fire for the latter — then flipped, gender-wise, to gift Jolie a new star vehicle. On the one hand, let's be thankful that that's not how this character came about. Kudos to author Michael Koryta, who also co-writes the screenplay here based on his 2016 novel, for conjuring up Hannah to begin with. But on the other hand, it's never a great sign when a female protagonist plays like a grab bag of stock-standard macho hero traits, just dressed up in a shapelier guise. It has been six years since Jolie has stepped into a mere mortal's shoes — since 2015's By the Sea, which she wrote and directed — and she leaves no doubt that Hannah is flesh and blood. There's still an iciness to the firefighter, and she still has the actor's cheekbones and pout, but Maleficent, she isn't. She's bruised, internally, by a fire that got away and left a body count. After hanging out with her colleagues, parachuting out of cars and brooding in her tower, she's soon physically in harm's way as well. As Those Who Wish Me Dead's plot gets her to this juncture, it also cuts back and forth between forensic accountant Owen Casserly (Jake Weber, Midway) and his son Connor (Finn Little, Angel of Mine), plus assassins Patrick and Jack (The Great's Nicholas Hoult and Game of Thrones' Aiden Gillen). Thanks to a treasure trove of incriminating evidence against important people that no one was ever supposed to find, these two duos are on a collision course. When they do cross paths — while Owen is trying to take Connor to stay with Ethan (Jon Bernthal, The Peanut Butter Falcon), his brother-in-law, a sheriff's deputy and one of Hannah's colleagues — it also nudges the boy into the smokejumper's orbit. As he demonstrated with his scripts for Sicario, Hell or High Water and Wind River, actor-turned-writer/director Taylor Sheridan (12 Strong) favours a patient approach. His narratives frequently boast an entire forest's worth of moving parts, and he's never in much of a rush to piece them all together. Accordingly, he takes his time bringing Hannah and Connor into each other's lives, and unfurls their ordeal from there with the same unhurried air. Those Who Wish Me Dead isn't interested in fleshing out its characters any more than the plot demands, however. The audience spends ample time with the film's central duo, yet can't claim to really get to know them. They're both haunted by what they've seen and lost, and neither is keen to spill too many words talking it through — but, although both Jolie and her young Australian co-star Little do exactly what they're asked, and even impart as much soulfulness as they each can on top, these characters could've been shaken out of any western-leaning, action-infused crime-thriller. They could equally walk right out of this flick and into the next formulaic entry in the genre. Also just as familiar: the cat-and-mouse games that ensue as Hannah and Connor try to reach the authorities, Patrick and Jack attempt to track their every move, and Ethan and his pregnant wife Allison (Medina Senghore, Happy!) become entangled in the drama. Naturally, an encroaching blaze fuels a significant part of the narrative — which proves inevitable from the very first frame, but does at least give Sheridan and cinematographer Ben Richardson (Mare of Easttown) a smokier visual palette. As its score keeps stressing, this is meant to be a tense film. It isn't; ticking boxes so dutifully is rarely suspenseful, as the otherwise vastly dissimilar Spiral: From the Book of Saw has also demonstrated recently. Still, Those Who Wish Me Dead does possess its own distinctive look. While texture and urgency are largely absent from the story, all those leaves and flames do their best to approximate the same sensations. Your eyes will register the difference, but your blood pressure will remain undisturbed. Occasionally — not enough, but occasionally nonetheless — Sheridan, Koryta and co-writer Charles Leavitt (Warcraft: The Beginning) don't make the obvious choice. When the feature allows Hannah and Connor's melancholy moods to linger, or does the same with a shot that doesn't immediately thrust the plot forward, it toys with being a more interesting film. The same applies to the way that it lets Allison play the hero, albeit after first putting her through a violent ordeal while she's literally barefoot and pregnant. Patrick and Jack are also curious inclusions. They're so one-note, it's hard to see what actors of Hoult and Gillen's calibre saw in the parts, but they'd also likely make a great double act in an In Bruges-esque Martin McDonagh flick. Jolie is tasked with anchoring this melange of elements, which she does; however, this isn't a feature that star power can bolster. Instead, Those Who Wish Me Dead is a generic movie that flirts with more, led by an impressive lead who's capable of more. It wants to burn bright, but usually only flickers. https://www.youtube.com/watch?v=sV6VNNjBkcE
If you had only ever watched five horror movies in your life, odds are that one would've covered being careful what you wish for, and another would've focused on not messing with nature. It's equally likely that growing up being hell, motherhood being even more nightmarish and grappling with the terrors of the human body would've popped up as well. These all rank among the genre's favourite concepts, alongside haunted houses, murderous forces, demonic influences and the undead — and, making her feature filmmaking debut with the savvily sinister-meets-satirical blend that is Hatching, Finnish writer/director Hanna Bergholm knows this. She's also innately aware that something unique, distinctive and unnerving can still spring from stitching together well-used notions and now-familiar parts, which, on- and off-screen, is her bold and memorable body-horror, twisted fairy tale and dark coming-of-age thriller in an eggshell. Hatching begins by unpacking a fallacy as fractured as Humpty Dumpty after the nursery-rhyme character's fall — and that still keeps being lapped up anyway. In suburban Finland, among homes so identical that the song 'Little Boxes' instantly pops into your head, 12-year-old gymnast Tinja (debutant Siiri Solalinna), her younger brother Matias (fellow first-timer Oiva Ollila), and their mother (Sophia Heikkilä, Dual) and father Jani Volanen, Dogs Don't Wear Pants) are living their best lives. More than that, as the soft lensing and music that helps open the movie establishes, they're also beaming that picture of pink, white and pastel-hued domestic perfection to the world. Tinja's unnamed mum is a vlogger, and these scenes are being captured for her cloyingly named blog Lovely Everyday Life. Naturally, showing that this family of four's daily existence is anything but enchanting is one of Bergholm's first aims. The initial crack comes from outside, crashing through the window to ruin a posed shot alight with fake smiles and, of course, being filmed with a selfie stick. Soon, broken glass, vases and lamps are strewn throughout a lounge room so immaculately arranged that it looks straight out of a supermarket-shelf home-and-garden magazine — and the crowning glory, the chandelier, has descended from a luminous pièce de résistance to a shattered mess. A garden-variety crow is the culprit, which Tinja carefully captures. She hands it to her mother, thinking that they'll then release it outside. But her mum, placid but seething that anything could disrupt her manufactured picture of bliss, ignores that idea with a cruel snap and instructions to dispose of the animal in the organic waste. Watching the source of her own life snuff out a bird's because it temporarily disturbed the faux, performative idyll is understandably a formative moment for Tinja, and one of several early splinters. The girl is clearly nowhere near as enthused about gymnastics as her mum is about having a star gymnast for a daughter, even before Tinja is forced to train until her palms are torn and bloody. She's also unsettled when she sees her mother kissing handyman Tero (Reino Nordin, Deadwind), then justifies having a "special friend" because he satisfies her in ways Tinja's dutiful dad doesn't. So when Tinja finds the crow's egg in a nest outside, she's quick to take it into her care — both because of and despite her mum. She nurtures it tenderly, placing it inside a teddy bear for safe keeping. She gains her own little universe to dote over. Then the egg keeps growing, and a human-sized chick emerges. Hatching is economical, running for a mere 86 minutes. It also unfurls that above setup in its first third. From there, screenwriter Ilja Rautsi (Spandex Sapiens) — working with a story co-credited to Bergholm — spins a narrative that's part creature feature, too, but wholly steeped in Tinja's experiences encroaching womanhood and tackling her own form of motherhood under the wing of someone who always puts appearances first. The grin-and-bear-it attitude that's imparted to adolescent girls to deal with bullying; the pressure to be perfect physically, emotionally and mentally, no matter the cost; the stigma around body image; the force exerted by caregivers and society alike around bodily agency; the urges and desires that comes with bubbling hormones: they're all weaved into Hatching's smart script. So too is the reality that, for girls, farewelling childhood doesn't just mean menstruation and other physical changes, but the potential to get pregnant, become a mother and have your existence forever tied to your offspring. If Rosemary's Baby springs to mind in Hatching's repeated lullaby-like refrain, plus the Alien franchise in its visceral depiction of twisted maternity, that's understandable. If there's a touch of E.T. the Extra-Terrestrial to the relationship between Tinja and the creature, but filtered through Black Swan and Us, that is as well. 2021's similar blend of folklore and parenthood, Lamb, also flaps gently — and the mother of all tales about sparking life, Mary Shelley's Frankenstein, too. One visual touch nods so overtly to David Lynch's Twin Peaks that you expect someone to mention damn fine coffee, while Blue Velvet's peeling back of suburban facades weighs heavily. The body-horror work of that other iconic filmmaking David, The Brood, Scanners and The Fly's Cronenberg, also flutters underneath as a clear influence. But Bergholm has incubated a rare movie that both makes its sources of inspiration blatant and feels like its own beast sprung from their combined DNA. One of the film's most striking moves hails from its twinning not just of Tinja and her surrogate offspring (via a supremely disturbing animatronic puppet to begin with, and evolving from there), but of two ways of soaring through the world. When cinematographer Jarkko T Laine (Finnish TV's Cargo) isn't lensing Päivi Kettunen's (Hotel Swan Helsinki) exacting production design, which weaponises floral wallpaper to a chilling degree, like an influencer's Instagram story — or peering into shadowy wardrobes and under beds — he's connecting the visual dots between flying birds and gymnastic acrobatics. For Tinja, though, the latter hasn't ever meant freedom. As so astonishing portrayed by Solalinna in a complicated part, and against such an entertainingly monstrous turn by Heikkilä, she's always felt trapped and henpecked in the nest. Hatching splits open that coop, its artifice and all the lies that reside within it — and, while happily obvious at times, makes for a crackingly clever, grotesque and canny watch.
On the small screen, 2023 started by showing the world exactly how a beloved video game should be turned into a television series. By the time the year had reached its midpoint, it had delivered one of the best TV murder-mysteries ever — from Australia, too, and also a smart and savvy comedy. Now that 2024 is almost upon us, a cringe-inducing parody of reality home-improvement programs, among a wealth of other targets, has proven a late-in-the-year stunner. So, as the best new TV shows of 2023 illustrate, no one can say that there hasn't been anything new to watch over the past 12 months. This year's television slate also gave viewers a subversive social satire, a David Cronenberg body-horror masterpiece turned into TV and a calming show about friendship in Japan. They're all among the best of the top brand-new arrivals, as are an eat-the-rich horror gem, a telemarketing true tale that has to be seen to be believed and a side-splitting history-of-the-world mockumentary. Here's an even better piece of news: not only has the past year been exceptional for television, but summer is a glorious time to reflect, revisit and, if you need to, work through your catch-up list. After filling 2023 viewing and rounding up TV highlights — and first selecting the must-sees midyear — we've now whittled down the results of all that couch time to the 15 best small-screen newcomers. THE CURSE It has always been impossible to watch TV shows by Nathan Fielder, including Nathan for You and The Rehearsal, without feeling awkwardness gushing from the screen. The films of Josh and Benny Safdie, such as Good Time and Uncut Gems, are such masterclasses in anxiety and chaos that viewers can be forgiven for thinking that their chairs are jittering along with them. From Easy A, La La Land and Maniac to The Favourite and Poor Things, Emma Stone keeps proving an inimitable acting force. Combine Fielder, the Safdies and Stone on one series, then, and whatever sprang was always going to be a must-see. Dark satire The Curse is also as extraordinary in its brilliance as it is excruciating in its discomfort. As well as co-creating the ten-part series, Fielder and Benny Safdie co-star, co-write and co-direct. Stone joins them on-screen and as an executive producer, with Benny's brother Josh doing the latter as well. And the Safdies' regular collaborator Oneohtrix Point Never, aka Daniel Lopatin, gets the show buzzing with atmospheric agitation in one of his best scores yet. Yes, The Curse is everything that the sum of these parts promises. It flows with disquiet like a burst hydrant. It fills each almost hour-long episode with a lifetime's worth of cringe. It's relentless in its unease, and also a marvellous, intense and hilarious black comedy that apes the metal Doug Aitken-esque houses that Stone and Fielder's Whitney and Asher Siegel like to build, reflecting oh-so-much about the world around it. The Curse takes the show-within-a-show route, with the Siegels eager to grace the world's screens as reality TV hosts spruiking environmentally sustainable passive homes in New Mexico's Española. The newly married pair have American pay TV network Home & Garden Television interested in Fliplanthropy, as well as their efforts to green up the community, create jobs for locals, and revitalise a place otherwise equated with struggling and crime stats. Lurking between the couple and HGTV is producer Dougie Schecter (Safdie, Oppenheimer), Asher's childhood friend with a nose for sensationalism — particularly as disharmony lingers among his stars as they try to start a family, get their show on the air, build their gleaming houses, find ideal buyers, honour the area's Indigenous history and overcome The Curse's title. The Curse streams via Paramount+. Read our full review. DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series that ranks among The Kates' best work in almost every way. The only time that it doesn't? Not putting the tremendous pair on-screen themselves. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The Tasmanian spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and, as Box's by-the-book Senior Sergeant Dulcie Collins and Sami's loose and chaotic Darwin blow-in Eddie Redcliffe are forced to team up, it's also one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review, and our interview with Kate McCartney and Kate McLennan. I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was the last time that Riley was behind the lens, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. An exquisite eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping series (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review, and our interview with Melanie Lynskey. THE MAKANAI: COOKING FOR THE MAIKO HOUSE At the beginning of The Makanai: Cooking for the Maiko House, 16-year-old best friends Kiyo (Nana Mori, Liar x Liar) and Sumire (Natsuki Deguchi, Silent Parade) leave home for the first time with smiles as wide as their hearts are open. Departing the rural Aomari for Kyoto in the thick of winter, they have internships as maiko lined up — apprentice geiko, as geishas are called in the Kyoto dialect. Their path to their dearest wishes isn't all sunshine and cherry blossoms from there, of course, but this is a series that lingers on the details, on slices of life, and on everyday events rather than big dramatic developments. Watch, for instance, how lovingly Kiyo and Sumire's last meal is lensed before they set out for their new future, and how devotedly the camera surveys the humble act of sitting down to share a dumpling soup, legs tucked beneath blankets under the table, while having an ordinary conversation. Soothing, tender, compassionate, bubbling with warmth: that's The Makanai: Cooking for the Maiko House from the outset. There's a key reason that this cosy and comforting new treasure overflows with such affection and understanding — for its characters, their lives and just the act of living. Prolific writer/director Hirokazu Kore-eda simply isn't capable of anything else. Yes, Netflix has been in the auteur game of late, and The Makanai: Cooking for the Maiko House is unmistakably the work of its rightly applauded creative force. One of the biggest names in Japanese cinema today, and the winner of the received Cannes Film Festival's Palme d'Or back in 2018 for the sublime Shoplifters, Kore-eda makes empathetic, rich and deeply emotional works. His movies, including the France-set The Truth and South Korea-set Broker, truly see the people within their frames. On the small screen, and hailing from manga, the nine-episode The Makanai is no different. It's also as calming as a show about friendships, chasing dreams and devouring ample dumplings can and should be. The Makanai: Cooking for the Maiko House streams via Netflix. FULL CIRCLE Whether on screens big and small, when an audience watches a Steven Soderbergh project, they're watching one of America's great current directors ply his full range of filmmaking skills. Usually, he doesn't just helm. Going by Peter Andrews and Mary Ann Bernard — aliases from his parents' names — he shoots and edits as well. And he's prolific: since advising that he'd retire from making features after Side Effects, he's directed, lensed and spliced nine more, plus three TV shows. Among those titles sit movies such as Logan Lucky, Unsane, Kimi and Magic Mike's Last Dance; the exceptional two seasons of turn-of-the-20th-century medical drama The Knick; and now New York-set kidnapping miniseries Full Circle. The filmmaker who won Cannes Film Festival's Palme d'Or at 26 for Sex, Lies and Videotape, earned two Best Director Oscars in one year for Traffic and Erin Brockovich, brought the Ocean's franchise back to cinemas in 2001, and eerily predicted the COVID-19 pandemic with 2011's Contagion is in his element with his latest work. Six-part noir-influenced thriller Full Circle reunites Soderbergh with Mosaic and No Sudden Move screenwriter Ed Solomon, boasts a starry cast, involves money and secrets and deception, and proves a twisty and layered crime tale from the get-go. Full Circle starts with a murder, then a revenge plot, then a missing smartphone. These early inclusions all tie into an intricate narrative that will indeed demonstrate inevitability, cause and effect, the repercussions of our actions, and decisions looping back around. The pivotal death forms part of a turf war, sparking a campaign of retaliation by Queens-based Guyanese community leader and insurance scammer Savitri Mahabir (CCH Pounder, Avatar: The Way of Water). She enlists freshly arrived teens Xavier (Sheyi Cole, Atlanta) and Louis (Gerald Jones, Armageddon Time) to do the seizing under her nephew Aked's (Jharrel Jerome, I'm a Virgo) supervision; one of the newcomers is the brother of the latter's fiancée Natalia (Adia, The Midnight Club), who is also Savitri's masseuse. The target: Manhattan high-schooler Jared (Ethan Stoddard, Mysteries at the Museum), son of the wealthy and privileged Sam (Claire Danes, Fleishman Is in Trouble) and Derek Browne (Timothy Olyphant, Daisy Jones & The Six), and grandson through Sam to ponytailed celebrity chef Jeff McCusker (Dennis Quaid, Strange World). Savitri is convinced that this is the only way to stave off the curse she's certain is hanging over her business — a "broken circle", in fact. But, much to the frustration of the US Postal Inspection Service's Manny Broward (Jim Gaffigan, Peter Pan & Wendy), his go-for-broke agent Melody Harmony (Zazie Beetz, Black Mirror) is already investigating before the abduction. Full Circle streams via Binge. Read our full review. RAIN DOGS In 2019's Skint Estate, Cash Carraway told all; A memoir of poverty, motherhood and survival completes the book's full title. Penned about working-class Britain from within working-class Britain, Carraway's written jaunt through her own life steps through the reality of being a single mum without a permanent place to live, of struggling to get by at every second, and of being around the system since she was a teenager. It examines alcoholism, loneliness, mental illness and domestic violence, too, plus refuges, working at peep shows, getting groceries from food banks and hopping between whatever temporary accommodation is available. Rain Dogs isn't a direct adaptation. It doesn't purport to bring Carraway's experiences to the screen exactly as they happened, or with slavish fidelity to the specific details. But this HBO and BBC eight-parter remains not only raw, rich, honest and authentic but lived in, as it tells the same story with candour, humour, warmth and poignancy. Slipping into Carraway's fictionalised shoes is Daisy May Cooper — and she's outstanding. Her on-screen resume includes Avenue 5 and Am I Being Unreasonable?, as well as being a team captain on the latest iteration of Britain's Spicks and Specks-inspiring Never Mind the Buzzcocks, but she's a force to be reckoned with as aspiring writer and mum (to Iris, played by debutant Fleur Tashjian) Costello Jones. When Rain Dogs begins, it's with an eviction. Cooper lives and breathes determination as Costello then scrambles to find somewhere for her and Iris to stay next. But this isn't just their tale, with the pair's lives intersecting with the privileged but self-destructive Selby (Jack Farthing, Spencer), who completes their unconventional and dysfunctional family but tussles with his mental health. Including Costello's best friend Gloria (Ronke Adekoluejo, Alex Rider), plus ailing artist Lenny (The Young Ones legend Adrian Edmondson), this is a clear-eyed look at chasing a place to belong — and it's remarkable. Rain Dogs streams via Binge. Read our full review. SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. BEEF As plenty does, Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. THE FALL OF THE HOUSE OF USHER Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this absorbing, visually ravishing and narratively riveting eight-parter. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children (including Pet Sematary: Bloodlines' Henry Thomas, Minx's Samantha Sloyan, The Peripheral's T'Nia Miller, iZombie's Rahul Kohli, The Wrath of Becky's Kate Siegel and The Midnight Club's Sauriyan Sapkota) came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation, even as it bubbles with greed, violence and paranoia (plus death, loss, decay and the deceased haunting the livin)g. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Fall of the House of Usher streams via Netflix. Read our full review. POKER FACE Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and a gleaming streaming ace. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her recognisable locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives, though. Here, she's Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, Charlie is a human lie detector. She can always tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face streams via Stan. Read our full review. TELEMARKETERS No one likes it when their phone rings from an unknown number, whether "no caller ID" or digits that you don't recognise flash up on your mobile's screen. Telemarketers isn't going to change that response. It won't dampen the collective ire that the world holds towards the pushy people on the other end of the line, either. HBO's thrilling three-part docuseries doesn't just reinforce what viewers already feel about the nuisance industry that thinks it can interrupt your day and life with a spiel that no one wants, and impact your bank balance in the process. In addition, it spins a true tale that demonstrates why a deep-seated dislike of telemarketing is so well-founded, and also why cold-calling operations can be so insidious. This true-crime story about the New Jersey-based Civic Development Group surpasses even the most call centre-despising audience member's low expectations of the field — and it's gripping, can't-look-away, has-to-be-seen-to-be-believed stuff. In fact, it's also an account of a tenacious duo revealing a billion-dollar fraud, and bringing this staggering whistleblower documentary to the masses. "Every other telemarketer who drives you crazy in the whole world is because of CDG," advises one of the series' interviewees. That might seem like a big claim, but co-directors Sam Lipman-Stern (Live From the Streets) and Adam Bhala Lough (The New Radical) step through its truth. The former knows the outfit's approach from experience, working there for seven years from the age of 14 after dropping out of high school, while the latter is the filmmaker cousin he wasn't aware of. Lipman-Stern is Telemarketers' on-screen guiding hand, too, but his ex-colleague Patrick J Pespas is its heart and soul. As seen early, Pespas is called a "telemarketing legend". Although he's happy snorting heroin on-camera in 2000s-era footage, he's switched on to CDG's shonkiness; more than that, he's determined to expose it even if it takes two decades. Everywhere that Lipman-Stern and Pespas look from there, this tale gets worse. It's no wonder that Uncut Gems and Good Time filmmakers Benny and Josh Safdie are among Telemarketers' executive producers, plus Eastbound & Down's Danny McBride, Jody Hill and David Gordon Green. Telemarketers streams via Binge. Read our full review. SWARM Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode. From there, it dives into Dre's journey as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm streams via Prime Video. Read our full review. CUNK ON EARTH If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to hit Australia in 2023. This series is a comedy masterclass, in fact, featuring everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. It's flat-out masterful, too, and tremendously funny. This sometimes Technotronic-soundtracked five-part show's beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has also brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. After you're done with the character's latest spin, you'll want to devour the rest ASAP. Cunk on Earth streams via Netflix. Read our full review, and our interview with Charlie Brooker. Looking for more viewing highlights? We also rounded up the 15 best returning TV series of 2023, as well as 15 excellent new TV shows of 2023 that you might've missed — plus the 15 top films, another 15 exceptional flicks that hardly anyone saw in cinemas this year and the 15 best straight-to-streaming movies of the year as well. And, we've kept a running list of must-stream TV from across the year, complete with full reviews. Also, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.
