Monet. Degas. Renoir. If those names sound familiar, it's because they're some of the most renowned and revolutionary artists of the impressionist movement. Now, their masterworks will make a grand entrance in Melbourne, and it'll be sure to draw the crowds. The NGV's Winter Masterpieces® series is known for bringing blockbuster exhibitions to Melbourne, and this year is no exception. The French Impressionism collection opens Friday, June 6, and brings over 100 works from the Museum of Fine Arts in Boston to the National Gallery of Victoria for a rare glimpse into one of art's most influential movements. Expect hazy sunrises, countryside hills, dancers in motion and gardens drenched in light by Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, Édouard Manet and more. But while the paintings are the headline act, the city more than lives up to the hype. From cosy dinners and cinematic nights out, to garden trails lit up after dark, this is the perfect opportunity to see Melbourne really come alive. Planning a visit to see the NGV's Winter Masterpieces®? Don't stop at the exhibition. Here's how to turn a few hours of Impressionism into a totally unforgettable weekend. [caption id="attachment_1004664" align="alignnone" width="1920"] Michael Pham[/caption] NGV Friday Nights Every Friday during the exhibition, the NGV stays open late for NGV Friday Nights. Your ticket includes after-dark access to French Impressionism between 6pm and 10pm, as well as live music, food and drinks in the Great Hall. Catch performances from artists like Mindy Meng Wang王萌 and Tim Shiel, whose collaborative project blends electronica, pop and classical Chinese traditions into something entirely new. Wander the exhibition with a glass of bubbles in hand, sample a wine flight from Yering Station, or grab some French-inspired dinner. It's everything Melbourne does best: art, music, food and a good excuse to stay up after the sun has gone down. Dame Exploring the gallery during the day? It's worth breaking things up with a long lunch at Dame Melbourne, just a few blocks away from the NGV. Set in what's colloquially known as the 'Paris-end' of Collins Street, this elegant venue features high ceilings, beautiful brunch plates, and the perfect opportunity for people watching as the afternoon drifts by. [caption id="attachment_1003425" align="alignnone" width="1920"] Alex Drewniak[/caption] Maison Bâtard Within walking distance from the NGV, Maison Bâtard puts a modern spin on the classic French bistro. From restaurateur Chris Lucas, it's the kind of place that doesn't take itself too seriously but still delivers when it comes to top notch food and wine, with multiple levels of sophisticated dining rooms. On Thursday to Saturday, descend downstairs into 'Le Club', for (very) late-night supper, cocktails and shows. [caption id="attachment_1003195" align="aligncenter" width="1920"] Jana Langhorst[/caption] Elio's Place If you're looking for something more low-key, Elio's Place on Flinders Lane is a European-inspired bistro that delivers comforting, crowd-pleasing favourites from 8am until late every day. The menu changes regularly and you'll always get a warm welcome as you walk in. It's the sort of spot where you can show up spontaneously, skip the fuss and focus on good food and good company. Lightscape After dinner, swap the gallery walls for open skies. This year, award-winning immersive light experience Lightscape is once again transforming the Royal Botanic Gardens into a glowing, dreamlike trail of illuminated tunnels, giant floral sculptures and projections. It's immersive, surreal, and very Melbourne. Running from Friday, June 20 to Sunday, August 10, this is a must for anyone who believes art doesn't have to stay inside galleries. Open House Melbourne If you're in Melbourne at the end of July, Open House Melbourne is worth lining up. Across one weekend (Saturday, July 26 - Sunday, July 27), dozens of the city's most fascinating buildings are opening their doors for public tours. From historic theatres and hidden rooftop gardens to incredible private homes, it's a rare chance to step inside some of Melbourne's most interesting spaces and see the city from the inside out. Melbourne International Film Festival Looking ahead, August brings the Melbourne International Film Festival, a citywide celebration of independent cinema from Australia and around the world. If your idea of a perfect winter night is catching a world premiere with a glass of red in hand, MIFF is your festival. It turns the entire CBD into a buzzing hub of late-night screenings, director talks and film club energy. In their day, the French Impressionists changed the way the world saw beauty. In Melbourne this winter, you can follow their lead: wandering through galleries by day, neon gardens by night, and cosy dining rooms in between. Head to visitmelbourne.com.au to discover more of what makes Melbourne every bit different. Images courtesy of Visit Melbourne By Jacque Kennedy
The foundations of wine are relatively simple — find a fertile patch of land, plant extraordinary grapes, and make the best wine you possibly can. In Australia, we grow more than 100 different grape varieties scattered across the country, in 65 distinct wine regions, and in each region we celebrate our unique climate and landscape by crafting some of the most exceptional wines in the world. Knowing the differences between them all is not so simple, which is why we've pinned down the six varieties you should get to know better — from dry, crisp rieslings to that spicy shiraz you like to crack open at a summer barbie. Winemakers, grape growers and viticulturists all work with Australia's varied climates and our ancient soils to plant classics like riesling, chardonnay, pinot noir and shiraz alongside newer varieties like vermentino, fiano, nebbiolo and sangiovese. Unlike other winemaking countries in Europe, Australia's not beholden to any rules or boundaries, which means we've fostered a creative and innovative wine scene. Our winemakers are pushing boundaries by not only experimenting with new grape varieties and unusual blends but also by toying with new winemaking techniques, such as partial berry ferments, carbonic maceration and skin-contact wines. Start taste testing the classics and progress from there. [caption id="attachment_673382" align="alignnone" width="1920"] Manly Wine[/caption] RIESLING Riesling is one of the most exciting and elegant dry white wines in the world. The grapes produce aromatic light- to medium-bodied wines with high acid presence and Australian rieslings tend to lean on the drier, crisp end of the spectrum. They are generally unoaked to highlight the wines zippy, acid lines, and while it's drinkable when it's very young, some wines can mature for decades. Where it's grown: Clare Valley, Eden Valley, Tasmania, Great Southern (WA) and Canberra District. What it tastes like: It's got so many expressions: jasmine florals overlaid by lime cordial and lemon meringue pie with a backbone of acidity and structure that will complement dishes like pork dumplings or sweet-and-sour chicken. SAUVIGNON BLANC Even though it's a white varietal, sauvignon blanc is the parent grape to red grape cabernet sauvignon. Hailing from France's Loire Valley, the grape was first grown in Australia in the 1800s but didn't become popular until 160 years later when our friends across the ditch started generating buzz about this little aromatic variety from the Marlborough region. Sauvignon blanc suits a more 'hands-off' approach; it's often picked when ripe and then fermented in stainless steel tanks to maintain freshness and vibrancy. Where it's grown: Adelaide Hills, Margaret River, Tasmania and Orange. What it tastes like: Australian Savvy Bs tend to take on a more tropical fruit expression — think pineapple, mandarin and guava — with bright citrus notes that scream for a bucket of prawns or fish and chips by the beach. CHARDONNAY Chardonnay is an excellent representation of the vineyard in which its fruit was grown, and it allows for experimentation — winemakers can choose what barrel it's fermented in, for example. Australia makes lean and light-bodied wines in cooler climates up to fuller-bodied, rich and ripe versions in our warm climates. Where it's grown: Adelaide Hills, Yarra Valley, Tasmania, Margaret River, Hunter Valley and Mornington Peninsula. What it tastes like: Ripe stone fruits like white peach, balanced with fruits like pink grapefruit or apples and pears, rounded out with vanilla notes (from the oak it's fermented in). ROSÉ There are a few different ways to make rosé, but the most common is the practice of 'free run' juice. The grapes are crushed and all the liquid freely drains from the skins to the tank before the squeezing process begins. This process produces wines that are balanced in acidity and display high levels of purity in fruit aroma and flavour. Where it's grown: Yarra Valley, Tasmania, Langhorne Creek, plus most other wine regions. What it tastes like: Depending on the style of rosé, you could have florals, pomegranate and wild strawberry characters with fleshy savoury flavours (like dried herbs) on the other end of the spectrum. Dunk one in an ice bucket and enjoy with an antipasti platter for summer grazing. [caption id="attachment_731347" align="alignnone" width="1920"] Steven Woodburn[/caption] PINOT NOIR All over the world pinot noir is regarded as one of the hardest grapes to grow and requires extra attention in every step of its development. A common winemaking strategy when handling pinot noir is to do an 'early press'. Pressing is the process that separates the red juice from its skins. Flavour and structure are extracted during this process by pressing early, before fermentation is completed. Where it's grown: Adelaide Hills, Yarra Valley, Tasmania, Mornington Peninsula, Gippsland, Geelong and Macedon Ranges. What it tastes like: It runs the full gamut of flavours from raspberry and crushed blueberries to savoury expressions like hints of clove, cinnamon bark and wet earth. With its complexity and versatility, pinot noir is the ultimate team player — an all-rounder that can fit into any culinary occasion. SHIRAZ Shiraz thrives in the heat and requires a warm growing season (something we're not short on here in Australia). However, the most aromatic, elegant styles of shiraz are grown in regions with high diurnal temperature ranges (warm days/cool nights). In more temperate areas, shiraz shows jammy, dark berry and plummy fruit characters and less of the delicate aromas. Where it's grown will affect how shiraz is processed and fermented, allowing the winemaker to create a particular style and to build character and complexity into the wine. Where it's grown: Barossa, McLaren Vale, Langhorne Creek, Heathcote, Hunter Valley, Canberra District, McLaren Vale, Eden Valley and Mount Barker. What it tastes like: Punnets of berries dusted with black and green peppercorns, usually medium-bodied in style with drying tannins that call for barbecued meats. WHO'S DOING THINGS DIFFERENTLY? Australia's winemakers are always looking for new ways to develop, and even our more established wineries are open to experimentation in crafting new and exciting wines. The Wolf Blass Makers' Project range is all about celebrating the artistry of winemaking and showcasing the unique properties of each grape variety grown at a particular site. Experimental wines, like this range, are a way of developing and fostering new talent too, as the opportunity encourages the next generation of winemakers to think outside the box. The Wolf Blass Makers' Project wines showcase textures and freshness from the grapes to create fun and easy-to-drink styles like the pink pinot grigio, which is crafted with 'free run' juice, and the pinot noir, made using early pressing techniques to create a smooth and silky wine that's bursting with berry fruit characters. And then there's the reserve shiraz, which uses whole berry fermentation so that more full-fruit and robust flavours are extracted with gentle spicy characteristics. Explore the range that celebrates the processes of skilled winemakers, here. Love to wine and dine? Learn about your favourite flavour matches in our series Encyclopedia of Wine in collaboration with Wolf Blass. Top image: Hunter Valley, Destination NSW.
Wellington's inner heart beats with an amazing cultural offering all of its own. As New Zealand's capital, you'd be forgiven for thinking that the city is all political banter and suits. However, this microcosm of creatives is actually a place where artistry, quirkiness and creative risk taking are celebrated within one of the richest arts environs in the southern hemisphere. Best of all, you can walk anywhere in the inner city in around twenty minutes, tops. On any given night, you'll find something happening, whether it's a poetry reading, a new art showing, book launch, gig or interpretive theatre piece. If you're looking for entertaining sights during the day, you'll find Wellington's cultural identity woven along its beautiful waterfront, and tucked into its streets and laneways. Depending on the time of year, one of Wellington's many epic, internationally acclaimed arts festivals and shows might be lighting up its spaces — among them the Lit Crawl, Jazz Festival, Cubadupa, World of Wearable Arts or the New Zealand Festival (held in even years). The creatives of Wellington are wild, rigorous, obscure and genius all at once. They know how to make their own fun, and then take it to the world. Step into their home. CATCH A FLICK AT THE ICONIC EMBASSY THEATRE Wellington's Embassy Theatre is a jewel in the city's film history. The old bird has perched at the end of Courtenay Place, at the base of Mt Vic since 1924. And there's no better place to view a film in the city, whether it's a blockbuster or an arthouse piece. Maintained to the grandeur of old film theatres of yesteryear, the Embassy has hosted each world premier of Peter Jackson's Lord of the Rings and Hobbit films. Each year, the picture palace also hosts the New Zealand International Film Festival. Before or after your film, pay a visit to the old orchestra pit, which is now home to the Shelley Indyk-designed cocktail bar, The Black Sparrow. With its cocktail menu full of litterati and film references, the bar is the perfect spot for a tipple while you wait for your film upstairs to start, or a post-picture nightcap. [caption id="attachment_636658" align="alignnone" width="1920"] Te Papa.[/caption] BROWSE THE LATEST EXHIBITION AT TE PAPA Should you run into inclement weather during your Wellington stay, look to Te Papa Tongarewa, the national museum of New Zealand. An excellent spot to sink a few hours, its floors of world-standard exhibitions and history are truly fascinating. Learn a bit about New Zealand itself in the permanent exhibitions, and venture to Nga Toi on level five for a revolving glimpse into Te Papa's extensive art collections — you could see anything from an early Picasso sketch to a Venice Biennale entrant. When it comes to exhibitions, the large spaces in the museum have hosted everything from gargantuan bugs to Monets and Warhols, making it a true lucky dip experience. [caption id="attachment_636607" align="aligncenter" width="1920"] Stars Are Underground via Flickr[/caption] SEE A GIG AT ONE OF THE CITY'S MANY MUSIC VENUES If ever there was a place where you can find consistently good acts from Wellington and beyond, it's in the underground gig venues of the city — well not really underground, they're pretty well signposted. They're the home turf of a whole heap of great local bands — Fazerdaze, Mermaidens and Flight of the Conchords, for example — and they've all started out with Friday and Saturday gigs at either Meow, San Fran or MOON. This is where set lists are refined, live performances honed and fans made, all in intimate settings, and all with beers in hand and forgiving audiences who come out looking for a musical treat. Join them in the search for sonic gold, and you'll be rewarded. [caption id="attachment_636441" align="alignnone" width="1920"] Enjoy Public Art Gallery[/caption] VISIT THE CUBA ART QUARTER Wellington's Cuba Street is known far and wide for its offbeat inhabitants and kooky spirit. A street that was once considered shady in the '80s has come into its own with an eclectic blend of art, vintage and antiques. The best street style can be found here, while the block around Cuba and Ghuznee has some of the best art and dealers in the country. The iconic Peter McLeavey Gallery has been selling art from Cuba Street since 1968, and its neighbour, the kookier Enjoy Gallery, is famed for its non-commercial artist-run initiative MO (as well as its annual art sale). Hamish McKay, Bartley & Company and Suite Gallery up the street round out a robust, artful offering in the heart of the city. [caption id="attachment_636598" align="aligncenter" width="1920"] Tony via Flickr[/caption] TAKE A STROLL ALONG WELLINGTON WRITERS WALK Opened in 2002 during the NZ International Festival of the Arts (New Zealand Festival's previous moniker), the Wellington Writers Walk is a project of the New Zealand Society of Authors. It's a beautiful route, mapped along the waters of the Wellington Harbour, that consists of 19 text sculptures. Each work features a quotation about the city from a piece of prose or poetry, penned not only by some of the world's best writers, but by scribes who made Wellington their home at some point in their lives. Writers featured on the walk include luminaries such as Katherine Mansfield, James K. Baxter, Lauris Edmond, Fiona Kidman, Patricia Grace and Maurice Gee. Art, literature and bracing beautiful sea air — it doesn't get much more Wellington than that. You can pick up a map of the walk from the Wellington i-SITE. Maybe you've been to Auckland, maybe you've gone to the snow in Queensland, but now it's time to set your sights on Wellington. The harbourside city may be compact, but that only makes for excellent walkability from its excellent restaurants, cafes and bars to its cultural hot spots and around the great outdoors. Use our planning guide to book your trip, then sort out your Wellington hit list with our food and drink, culture and outdoor guides.
Symmetry, pastel hues and an astonishing cast: they're all now part of your 2023 plans. Two years after The French Dispatch hit cinemas, Wes Anderson is returning to the big screen with Asteroid City, his 11th feature. Even better: it's now officially on the release slate for the year, featuring a Moonrise Kingdom-esque setup and just about every well-known actor that the filmmaker has ever worked with before (and then some). First, mark midyear in your diary. Asteroid City just locked in a US release date of June 16, 2023, and hopefully it'll reach cinemas Down Under not too long afterwards. That timing makes it an obvious choice to play at the 2023 Cannes Film Festival, where The French Dispatch and Moonrise Kingdom also premiered, and then possibly hit the Sydney Film Festival, Melbourne International Film Festival and New Zealand International Film Festival in this part of the world. Next, the premise. Those Moonrise Kingdom vibes spring from Asteroid City's plot, with the film following a Junior Stargazer/Space Cadet convention in the titular — and fictional — American desert town. Students and their parents descend on the contest from around the country, all in the name of scholarly competition; however, then world-changing events shake things up. Anderson penned the script alongside his frequent writing partner Roman Coppola, who also co-wrote Moonrise Kingdom and The Darjeeling Limited, and has a story credit on Isle of Dogs and The French Dispatch. [caption id="attachment_881607" align="alignnone" width="1920"] Raffi Asdourian via Flickr[/caption] Helping bring the story to life on-screen is everyone from Jason Schwartzman (I Love That for You), Scarlett Johansson (Black Widow), Jeffrey Wright (The Batman), Tilda Swinton (Guillermo del Toro's Pinocchio) and Ed Norton (Glass Onion: A Knives Out Mystery) to Adrien Brody (See How They Run), Liev Schreiber (Ray Donovan), Willem Dafoe (The Northman), Tony Revolori (Servant), Stephen Park (Warrior) and Bryan Cranston (Better Call Saul) — and, of course, Jeff Goldblum (Jurassic World Dominion) — all of whom are Anderson regulars. They'll be joined by Tom Hanks (Elvis), Margot Robbie (Amsterdam), Steve Carell (The Patient), Matt Dillon (Proxima), Hong Chau (The Menu), Hope Davis (Succession), Rupert Friend (Obi-Wan Kenobi), Maya Hawke (Stranger Things), Jake Ryan (Uncut Gems), Grace Edwards (Call Jane), Aristou Meehan (The Contractor), Sophia Lillis (IT: Chapter Two), Ethan Lee (Mr Robinson) and Rita Wilson (Kimi). We told you that the cast list was hefty. It's too early yet for a glimpse at Asteroid City, but you can check out the trailer for Moonrise Kingdom below in the interim: Asteroid City will release in the US on June 16, 2023, with exact dates Down Under yet to be confirmed — we'll update you when the local release date is locked in. Top image: Moonrise Kingdom.
Welcome to… your new favourite musical. Crooning tunes and showing off fancy footwork is all the rage again thanks to La La Land, its rumoured stage version, and the fact that every other film you can think of is being turned into a musical (Amélie, Moulin Rouge!, The Bodyguard, Groundhog Day, Matilda, Singin' in the Rain, Heathers and Carrie, to name a few) — but they've all got nothing on singing and dancing dinosaurs, really. Here, something other than life will find a way: entertainment, a parody of one of the biggest films in the last three decades that you didn't know you needed, door-opening velociraptors, and impressions of Jeff Goldblum (we're assuming) among them. Sure, you already know the story of Dr Alan Grant, Dr Ian Malcolm, Dr Ellie Sattler and the kids that get more than they bargained for during their trip to a different kind of amusement park. What you don't already know, however, is just how that tale plays out in song. The first, brief run of Brisbane Arts Theatre's Jurassic Park the Musical was such a hit that coming back for a second, longer season was about as obvious — as obvious as knowing that an angry Tyrannosaurus Rex isn't a good thing, in fact. The production will be staged on Sunday and Monday evenings from January 29 to April 24. Pretend that there's a pack of prehistoric creatures on your tail, get in your jeep and hurry.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=mwk9DsB2JAM IRRESISTIBLE Late in Irresistible, a penny drops — figuratively, of course. Much that has seemed overtly clumsy and broad prior to this moment is given some bite and sting thanks to a crucial plot development, and the political comedy finally seems like something that its writer/director Jon Stewart would conjure up. It's a great moment, but it's sadly also a case of too little, too late. Equally skewering and unpacking the polarised state of America today, especially where politics, elections, campaign finance and escalating culture wars are concerned, Irresistible is far too happy to coast on stereotypes of supposed Democratic and Republican party supporter traits, and for far too long. As he did for on The Daily Show, Stewart has set himself the important task of pointing out just how broken US politics is at present (or, realistically, just how broken it continues to be), but this is one of the great comedian and commentator's lesser efforts. It's also inescapably, unshakeably obvious, even as a moral comedy that endeavours to pair its laughs and observations with a few lessons. After being humiliated by Hillary Clinton's defeat in the 2016 election, Democratic strategist Gary Zimmer (Steve Carell) is re-energised about his job when he's shown a YouTube video from the small town of Deerlaken, Wisconsin. In it, Marine Colonel Jack Hastings (Chris Cooper) makes an impassioned speech supporting undocumented immigrants, and Gary instantly sees a potential Democratic mayoral candidate who'll actually appeal to voters in the Republican heartland. On the ground, little goes smoothly. When Gary's long-time rival, his Republican counterpart Faith Brewster (Rose Byrne), arrives to support the incumbent mayor, Deerlaken suddenly becomes the centre of national attention — and a drawcard for hefty political donations. While Byrne is a fantastic comedic actress in general, it's telling that her presence, expressions and line readings ensure that she steals absolutely every scene she's in, including opposite Carell. Everyone from Russian Doll's Natasha Lyonne to That '70s Show's Topher Grace also pops up, but Irresistible's other standout performance comes from an underused Mackenzie Davis (Terminator: Dark Fate) as the Colonel's resourceful daughter. https://www.youtube.com/watch?v=Mwk10YGPFiM I AM GRETA If a single image can sum up the current crucial battle against climate change, it's a picture — any picture — of Greta Thunberg. Since deciding to skip school to protest outside Sweden's parliament back in August 2018, the braid-wearing teen has become the face of a movement. She isn't the first person to sound an alarm about the dire state of the planet, to vehemently speak truth to power or to gain widespread attention, but her determined, no-nonsense approach really isn't easily forgotten. Sometimes, it's directed at ordinary Stockholm residents going about their days while she strikes. As she has garnered increasing attention, Thunberg has trained her stare on crowded United Nations' conferences, too, and at attendees with the power but not necessarily the inclination to make a difference. She has also met face to face with world leaders, but she knows that politicians usually only share her gaze for a photo opportunity. Demonstrating patiently, speaking passionately, shaking hands for the cameras: all of these moments are captured by documentary I Am Greta, which surveys Thunberg's ascension from everyday Swedish 15-year-old to one of the best-known figures fighting to save the earth. The film acts as a chronicle, starting with her activism on her home soil, following her efforts as she's thrust to fame, and culminating in her trip across the Atlantic Ocean via yacht to present at 2019's UN Climate Action Summit, where she gave her iconic "how dare you" speech. But as the title indicates, this doco is just as concerned with Thunberg's home life as her public impact. Accordingly, while filmmaker Nathan Grossman has an array of recognisable footage at his disposal in this slickly packaged affair, he interweaves it with quieter, intimate and unguarded moments. These snippets help paint a picture of the teenager behind the activism, and much of it is highly relatable. Also cutting through astutely is Thunberg's continued recognition of how, as her fame increases, the global response by naysayers encapsulates so much about the status quo and the lack of government action. And, similarly leaving a mark is the documentary's dedication to show Thunberg's work to effect change in action, and to let that speak volumes. Indeed, what echoes here is that simply doing the right thing is essential regardless of any obstacles and opposition, whether urged by Al Gore, David Attenborough, Aussie doco 2040, your best mate, your neighbour, a stranger or Thunberg. Read our full review. https://www.youtube.com/watch?v=LFVhB54UqvQ REBECCA In the pages of Daphne du Maurier's 1938 novel, and on the big and small screens several times since, Rebecca tells the tale of a young woman caught in the shadow of her wealthy new husband's late previous wife. So it's noticeable and perhaps fitting that the new 2020 movie adaptation mimics that sensation, with Ben Wheatley's film forever destined to be compared to Alfred Hitchcock's Oscar Best Picture-winning 1940 adaptation of the beloved book. Wheatley is a stellar filmmaker, and has a resume filled with everything from Down Terrace, Kill List and Sightseers to High-Rise, Free Fire and Happy New Year, Colin Burstead to prove it. Here, in his most mainstream, least boundary-pushing effort to date — and his most visually lavish, too — he has crafted a moody and brooding, elegant and often overtly gorgeous film that doesn't do its source material or the gothic genre a disservice. But it still always feels as if it is following in Hitch's footsteps, even when it deviates from that version's famed changes under Hollywood's strict production code at the time. As the book does, this iteration of Rebecca starts an evocative line: "last night I dreamt I went to Manderley again". It's uttered in voiceover by a young woman who is never known as anything but Mrs de Winter (Lily James), and who viewers first meet as a paid companion to an acid-tongued socialite (The Handmaids' Tale's Ann Dowd) during a trip to the French Riviera. During the picturesque getaway, the unnamed heroine crosses paths with widower Maxim de Winter (Armie Hammer). Romance quickly blooms, setting them en route to his sprawling family estate. Back at Manderley, however, the new bride can't escape the lingering presence of the movie's titular figure, the menace directed her way by housekeeper Mrs Danvers (Kristin Scott Thomas) and the sensation that much is awry about her current situation. Those unacquainted with Rebecca's twists should keep it that way going in, with Wheatley patiently teasing out its ample psychological thrills. Still, as luxe as it looks, as capably as it handles the iconic narrative and as memorable as Scott Thomas is — with James and Hammer always hitting their marks, but doing little more — this is a movie that exists, engages enough, but rarely has a strong lasting impact. Read our full review. https://www.youtube.com/watch?v=rTxobgjD3hE CITY OF LIES It has been almost a quarter-century since Tupac Shakur and Christopher Wallace (aka the Notorious BIG/Biggie Smalls) were gunned down in separate incidents within six months of each other — and, over that time, fewer films about either or both have reached screens than one might expect. Known not only for their music but for being the focal points of the supposed East Coast-West Coast hip hop feud, the pair's plights have inspired exactly zero worthwhile movies, though, and that includes the long-delayed City of Lies. Based on the non-fiction book LAbyrinth by Randall Sullivan, this conspiracy thriller views the deaths of two of the 90s' biggest stars through the efforts of LAPD detective Russell Poole. There is real-life grounds for that angle, and the on-screen Poole (Johnny Depp) is constantly noting and fighting against the racial prejudice that existed in the Los Angeles police department at a time just after the Rodney King assault, trial and riots, as well as the OJ Simpson case. But there's no escaping the fact that the film approaches some of the most momentous events in rap history through a white cop. In 1997, Poole is assigned to another shooting — of a black officer by a white officer — just days after Notorious BIG's death. Soon, however, his investigation of the former leads him to the latter, and to the conclusion that the LA police were involved in killing Biggie, all as his superiors demand he ignore the evidence. Decades later, long after he has resigned from being a cop, a journalist (Forest Whitaker) wanders into Poole's apartment for a 20-year piece on the rapper's murder — and the writer might've been accused of dredging up the past if Poole's walls weren't covered in case details and materials. Where director Brad Furman turned legal thriller The Lincoln Lawyer into a slick and entertaining affair, almost everything about City of Lies is misjudged, and it drags on rather than drawing viewers into its theories or even the cases it covers. Depp plays crusading but hard done by with little discernible effort, and the decision to film the movie's 90s scenes with the same type of hues and lighting usually reserved for 70s-set features smacks of the same. And while Whitaker is the best thing about City of Lies, his determined performance isn't enough to salvage the film. https://www.youtube.com/watch?v=w9Vm7cpQX80 HOPE GAP If you're going to watch a couple navigate the waning days of their decades-long marriage, and watch as their adult son tries to cope with the fallout, too, then you might as well be directing your eyeballs at Annette Bening, Bill Nighy, and God's Own Country and The Crown star Josh O'Connor. They play Grace, Edward and Jamie, respectively, with their family rocked by the revelation that mild-mannered, history-obsessed teacher Edward is leaving after 29 years because he's fallen in love with another woman. Usually the shining light and driving force in their modest house in a seaside town, Grace doesn't take the news well. Jamie, who lives in the city and doesn't generally come home as often as anyone would like, swiftly becomes his mother's main source of a support and a go-between with his father. As written and directed by second-time filmmaker William Nicholson (1997 feature Firelight) based on his 1999 play The Retreat from Moscow, little in Hope Gap's narrative offers surprises — especially if you've seen other movies about marital breakdowns, such as 2019's far meatier Marriage Story — but the British drama benefits considerably from its central trio of talent and their performances. While the plot plays out as anticipated, one aspect of Hope Gap does veer from the expected formula — and that'd be O'Connor. That he's an exceptional actor isn't new news, but he's firmly the heart of this wordy drama about the yearning and breaking hearts of his character's parents. He's also the most soulful part of the film; however, that isn't a criticism of Bening and Nighy. In spiky but still vulnerable mode, Bening may struggle with an unconvincing English accent, but she cuts to the core of Grace's bravado and pain. Nighy plays his part in a far softer, gentler, more nervous register, and helps make it plain just how Grace and Edward's marriage has gotten to this fracturing point. In a handsomely shot movie that intertwines picturesque glimpses of the coast with tense domestic scenes — and uses poetry verses to help convey emotion as well — they all demand the viewers' attention. But without the especially tender and thoughtful O'Connor, Hope Gap would've felt like just another average portrait of a longstanding relationship imploding, even with Bening and Nigh's impressive work. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; and October 1 and October 8. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle. The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth and Savage. Top image: Rebecca, Kerry Brown / Netflix.
Despite Australian supermarkets' current two-item limits, trying to get your hands on — and covered in — sanitiser is much harder than it should be at present. The liquid disinfectant is on everyone's must-buy list, leaving empty supermarket shelves seemingly everywhere. Luckily, a bunch of Australian distilleries are using their booze to make the now-essential product. It makes sense, because alcohol is a crucial ingredient in sanitiser — especially ones that are effective against COVID-19. So, next time you slather your hands with sanitiser, you could be covering them with your favourite booze, too. Meaning there's now no excuse not to clean your hands, you detty pigs. 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. MANLY SPIRITS CO Normally, north Sydney's Manly Spirits Co makes gin, vodka, whisky and liqueurs. Of course, these aren't normal times, so it's using its high-grade gin to whip up its own sanitiser. So, if you're wanting to disinfect your hands and smell like botanicals, now you can. Understandably, that's likely to make you thirsty, so the company is making 50 millilitre bottles available for free with every Manly Spirits Co bottle of spirits purchased, which can be ordered here. To discourage stockpiling, however, there is a limit of one free sanitiser per person. Plus, it's supplying its Manly Spirits Hand Sanitiser with Gin Aroma to local community groups, charities and organisations in larger five-litre sizes, to assist with their crucial operations. MR BLACK COFFEE LIQUEUR Fans of caffeinated booze can look forward to freshening their fingers with their preferred tipple thanks to Mr Black's new hand sanitiser. The distillery has made thousands of bottles and you can grab a maximum of two 500 millilitre bottles, for $19.95 each, plus a $10 flat-rate national shipping fee. It's also donated bottles of its A-class sani to a bunch of charities, medical centres and COVID-19 testing clinics. The hand sanitiser is made using a World Health Organisation recipe with 80 percent ethanol, and as bottles don't come with a pump they're designed to be used as refills. While currently out of stock, Mr Black will be adding more early next week and you can join a waitlist over here. And if you decide to invest in some actual coffee liqueur while you're on the site — the OG ($60), single-origin ($75) and amaro ($80) versions are all for sale, as is the most adorable 50-millilitre bottle ($5.99) — or some sweet merch, and spend over $80, you'll get free shipping. BRIX DISTILLERS Sydney's only rum distillery has also jumped on the sanitiser wagon — and selling twin-packs of 300-millilitre bottles for $34. While you're on the site, you can nab a bottle of white, gold or spiced rum; a mix-your-own espresso martini pack; or barrel-aged rum negroni from these guys, too. Plus, Brix is offering $10 off and free shipping on its core range of rums. Nab your booze and sani over here. CAPE BYRON DISTILLERY Premium spirits slinger Cape Byron Distillery is turning its awarded Brookie's Byron Gin into a natural hand and surface sanitiser. Made with 70 percent ethanol, gin byproducts, filtered spring water, aloe vera and citrus, this hand cleaner is also scented with lime and gin botanicals, so your hands will smell like a G&T. As well as supplying large containers of the stuff to local medical centres, doctors, hospitals and care workers, 500-millilitre bottles are also available for purchase via Cape Byron's website for a reasonable $14.99. ARCHIE ROSE The much-loved Rosebery distillery has reallocated its spirits production capacity to hand sanitiser. And in doing so, it's been able to keep majority of its staff in a job. Unsurprisingly, Archie Rose's sanitiser sold out in an instant, but you can pre-order a 500-millilitre bottle via the website. The latest release will leave Archie Rose's facilities the week of April 27, so hopefully you have some in the cupboard for the meantime. ANIMUS DISTILLERY Located in Victoria's Macedon Ranges, Animus is known for its small-batch gins and is using its distillery to now make sanitiser. A 100-millilitre bottle will only cost you $10 and is available for purchase online or pick up in person at the distillery. To discourage hoarding, there's a six-bottle limit per person. You can feel good about buying it, too, with 50 percent of all profits being used to subsidise access to sanitiser for those in need. POOR TOMS GIN Need to restock your gin supply? Poor Toms is still delivering its goods — and it's throwing in a free bottle of its hand sani with any gin purchase. But only for a limited time, so best be quick. As the distillery is supplying frontline healthcare professionals, the botanical-scented sanitiser is not available for retail sale. So, nab yourself some of its classic, strawberry-infused or Fool's Cut gin and maybe throw in a bottle of its amaro, too, and you'll receive 200 millilitres of high-grade, limited-edition sanitiser. It's only $10 shipping across Australia. Available online.
Usually, IKEA's food game is as unmistakably Scandinavian as its furniture names — headlined, of course, by those iconic Swedish meatballs. But come Friday, January 20 in Logan, the retailer is shaking things up and taking a jaunt to the other side of the globe, dishing up an Asian-inspired feast in celebration of the Lunar New Year. The dinner is set to run from 5.30pm — and arriving hungry is recommended. On the menu, you'll find classic dishes like pork and chive dumplings, spring rolls and vegetable gyoza. There's both tofu and vegetarian hot pot, Cantonese-style chicken wings and Singapore noodles, and even sweet offerings like fruit plates and matcha panna cotta. Adult tickets to the buffet feast are $30, though IKEA Family members can nab theirs for just $25. And, you could even squeeze in a spot of pre- or post-dinner flatpack shopping while you're there. IKEA has a new range of Lunar New Year wares, too, such as LED lanterns, red serving containers, rabbit cushions and more. [caption id="attachment_757260" align="aligncenter" width="1920"] Maksym Kozlenko via Wikimedia Commons[/caption] Images: Maksym Kozlenko via Wikimedia Commons.
Start a visit to Ipswich with a stroll around Queens Park, which is home to a Nature Centre packed with native Aussie animals, including wombats, wallabies and bilbies. Yes, they're adorable. And yes, you will squee. Also in the park is Nerima Gardens, a Japanese retreat devised in close consultation with Ipswich's eponymous Japanese sister city. Soak up all the serenity as you meander around these picture-perfect grounds.
Come Friday, March 22, it's time for a night at the museum — but you won't find Ben Stiller roaming the halls here. Rather, given what'll be on display at Queensland Museum at the time, the revelry will feel a little out of this world. Walking, talking, drinking and partying like you're on the moon is on the agenda at QM's latest After Dark shindig, which is all about soaring beyond the earth as part of the museum's NASA — A Human Adventure showcase. There'll be music, drinks and demonstrations — plus attendees will get free reign, peering not only at the a whole host of exhibits about space featuring more than 250 items, including pieces that have actually been to space, but also feasting your eyes on the rest of the joint's displays. You'll be knocking back beverages; examining rocket engines, space food, space suits, lunar cameras and moon boots; and pondering life beyond our pale blue dot — and the fun coincides with this year's World Science Festival Brisbane, so there'll be plenty of science (yeah!) coming your way. A word of warning: these shindigs often sell out so you'll want to nab a ticket quickly.
It's hard to look past the historically bright personality and sticky pub floors of Oxford Street when passing through Paddington, but the beating heart of Sydney's eastern suburbs has spent the last few years undergoing a facelift amid the challenges of lockouts and lockdowns. Paddington has one of the most tightly-knit communities of the city, with a shared pride in both its history and present-day diversity of venues and businesses. Here, we've distilled a taste of it in partnership with Paddo Collective the locals who know it best. Read on to discover some of our favourite spots to visit in the daytime, then flick the switch above and we'll dim the lights to show your favourite things to do once the sun goes down.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. C'MON C'MON The last time that Joaquin Phoenix appeared in cinemas, he played an overlooked and unheard man. "You don't listen, do you?" Arthur Fleck asked his social worker, and the entirety of Joker — and of Phoenix's magnetic Oscar-winning performance as the Batman foe in the 2019 film, too — provided the obvious answer. Returning to the big screen in a feature that couldn't be more different to his last, Phoenix now plays a professional listener. A radio journalist and podcaster who'd slide in seamlessly alongside Ira Glass on America's NPR, Johnny's niche is chatting with children. Travelling around the country from his New York base, C'mon C'mon's protagonist seeks thoughts about life, hopes, dreams, the future and the world in general, but never in a Kids Say the Darndest Things-type fashion. As Phoenix's sensitive, pensive gaze conveys under the tender guidance of Beginners and 20th Century Women filmmaker Mike Mills, Johnny truly and gratefully hears what his young interviewees utter. Phoenix is all gentle care, quiet understanding and rippling melancholy as Johnny. All naturalism and attentiveness as well, he's also firmly at his best, no matter what's inscribed on his Academy Award. Here, Phoenix is as phenomenal as he was in his career highlight to-date, aka the exceptional You Were Never Really Here, in a part that again has his character pushed out of his comfort zone by a child. C'mon C'mon's Johnny spends his days talking with kids, but that doesn't mean he's equipped to look after his nine-year-old nephew Jesse (Woody Norman, The War of the Worlds) in Los Angeles when his sister Viv (Gaby Hoffmann, Transparent) needs to assist her husband Paul (Scoot McNairy, A Quiet Place Part II) with his mental health. Johnny and Viv haven't spoken since their mother died a year earlier, and Johnny has previously overstepped when it comes to Paul — with the siblings' relationship so precarious that he barely knows Jesse — but volunteering to help is his immediate reflex. As captured in soft, luxe, nostalgic shades of greyscale by always-remarkable cinematographer Robbie Ryan (see also: I, Daniel Blake, American Honey, The Favourite and Marriage Story), Johnny takes to his time with Jesse as any uncle suddenly thrust into a 24/7 caregiving role that doesn't exactly come naturally would. Jesse also reacts as expected, handling the situation as any bright and curious kid whose world swiftly changes, and who finds himself with a new and different role model, is going to. But C'mon C'mon is extraordinary not because its instantly familiar narrative sees Johnny and Jesse learn life lessons from each other, and their bond grow stronger the longer they spend in each other's company — but because this tremendously moving movie repeatedly surprises with its depth, insights, and lively sparks of both adult and childhood life. It's styled to look like a memory, and appreciates how desperately parents and guardians want to create such happy recollections for kids, but C'mon C'mon feels unshakeably lived-in rather than wistful. It doesn't pine for times gone by; instead, the film recognises the moments that linger in the now. It spies how the collection of ordinary, everyday experiences that Johnny and Jesse cycle through all add up to something that's equally commonplace, universally relatable and special, too. Conveying that sentiment, but never by being sentimental, has long been one of Mills' great powers as a filmmaker. He makes pictures so alive with real emotion that they clearly belong to someone, and yet also resonate with everyone all at once. With C'mon C'mon, the writer/director draws upon his own time as a parent, after taking inspiration from his relationship with his father in Beginners, and from his connection to his mother and his own upbringing in 20th Century Women. Read our full review. FLEE When Flee won the World Cinema Documentary Grand Jury Prize at the 2021 Sundance Film Festival, it collected its first accolade. The wrenchingly affecting animated documentary hasn't stopped notching up deserving acclaim since. A spate of other gongs have come its way, in fact, including a history-making trifecta of nominations for Best International Feature, Best Documentary and Best Animated Feature at this year's Oscars, becoming the first picture to ever earn nods in all three categories at once. Mere minutes into watching, it's easy to glean why this moving and compassionate movie keeps garnering awards and attention. Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen (What He Did) has created one of the best instances of the combination yet — a feature that could only have the impact it does by spilling its contents in such a way, like Ari Folman's Waltz with Bashir before it — however, it's the tale he shares and the care with which he tells it that makes this something unshakeably exceptional. Rasmussen's subject is Amin Nawabi, an Afghan refugee using a pseudonym. As his story fills Flee's frames, it's also plain to see why it can only be told through animation. Indeed, the film doesn't cover an easy plight — or a unique one, sadly — but Rasmussen renders every detail not just with eye-catching imagery, but with visuals that flow with empathy at every moment. The filmmaker's protagonist is a friend of his and has been for decades, and yet no one, not even the director himself, had ever previously heard him step through the events that the movie chronicles. Amin is now in his 40s, but he was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen. His life to-date has cast him in other roles in other countries, too, on his journey to house-hunting with his boyfriend as he chats through the ups and downs for his pal. That path — via Russia and Sweden — is one of struggle and acceptance. It's a chronicle of displacement, losing one's foundations and searching for a space to be free. It's also an account of identities fractured and formed anew, and of grasping hold of one's culture and sexuality as well. Flee explores how global events and battling ideologies have a very real and tangible impact on those caught in their midst, a truth that the feature's hand-drawn look underscores at every turn. And, it's about trying to work out who you are when the building blocks of your life are so tenuous, and when being cast adrift from your family and traditions is your status quo. It's also an intimate portrait of how a past that's so intertwined with international politics, and with the Afghan civil war between US-backed rebels and the nation's Soviet-armed government, keeps leaving ripples. Plus, Flee examines how someone in its complicated situation endures without having a firm sense of home, including when acknowledging he's gay after growing up in a place where that wasn't even an option. Clearly, Flee is many vivid, touching, devastating things, and it finds an immense wealth of power in its expressive and humanistic approach. There's a hyperreality to the film's animation, honing in on precisely the specifics it needs to within each image and discarding anything superfluous. When a poster for Jean-Claude Van Damme's Bloodsport can be spied on Amin's 80s-era Kabul bedroom, for instance, Rasmussen draws viewers' eyes there with exacting purpose. There's impressionistic flair to Flee's adaptive style as well, with the movie firmly concerned with selecting the best way to visually represent how each remembered instance felt to Amin. A scene set to A-ha's 'Take on Me' presents a fantastic example, especially given that the Norwegian group's pop hit is famed for its animated music video — something that Rasmussen happily toys with. Read our full review. QUO VADIS, AIDA? Films about war are films about wide-ranging terror and horror: battles that changed lives, deaths that reshaped nations, political fights that altered the course of history and the like. But they're also movies about people first, foremost and forever: folks whose everyday existence was perpetually shattered, including those lost and others left to endure when hostilities cease. Quo Vadis, Aida? is firmly a feature about both aspects of war. It homes in on one town, Srebrenica, in July 1995 during the 1992–95 Bosnian War, but it sees devastation and a human toll so intimate and vast in tandem that heartbreak is the only natural response. A survivor of the war herself, writer/director Jasmila Žbanić (Love Island, For Those Who Can Tell No Tales) knows that combat and conflict happens to ordinary men and women, that each casualty is a life cut short and that every grief-stricken relative who remains will never forget their magic ordeal — and she ensures that no one who watches Quo Vadis, Aida? can forget the Srebrenica massacre, or the fact that 8372 civilians were killed, either. A teacher-turned-interpreter, the eponymous Aida Selmanagic (Jasna Đuričić, My Morning Laughter) is Žbanić's eyes and ears within the demilitarised safe zone established by Dutch UN peacekeepers. The film doesn't adopt her exact point of view aesthetically — we see Aida, and plenty; Quo Vadis, Aida? wouldn't be the same without the tenacity and insistence that radiates from her posture and gaze — but it lives, breathes, feels, roves and yearns as she does. What she translates and for who around the UN base varies but, as she roves, she's primarily a channel between innocents scared for their lives and the bureaucracy endeavouring to keep the Bosnian Serb Army away. She visibly feels the weight of that task, whether speaking for the injured, scared and hungry all crammed into the facility or passing on instructions from her superiors. Aida has a mother's and wife's motivations, however: above all else, she wants her husband Nihad (Izudin Barjović, Father), a school principal, to be with her and to be safe — and the same for their sons Hamdija (Boris Ler, Full Moon) and Sejo (Dino Barjović, Sin), obviously. It's a mission to even get them in the base, with Colonel Karremans (Johan Heldenbergh, The Hummingbird Project) and his offsider Major Franken (Raymond Thiry, The Conductor) determined to not show any appearances of favouritism, especially with so many other refugees pleading to be allowed in outside. But Aida hustles, including getting Nihad sent to negotiations with Serbian General Ratko Mladić (Boris Isaković, Last Christmas) as a town representative. And as the General's brash, cocky, swaggering troops start escorting out the base's inhabitants and putting them onto buses depending upon their gender following those talks, Aida makes every desperate move she can to save her family. Quo Vadis, Aida? equally chronicles and shares Aida's reaction to the chaos and trauma around her. With Nihad, Hamdija and Sejo's lives at stake, the peacekeepers that Aida is helping refusing to assist by expanding the protections she enjoys to her loved ones, and the UN making moves that bow to Mladić — refusing to act otherwise, more accurately — Žbanić's film was always going to bustle forward in lockstep with its protagonist's emotional rollercoaster ride. That said Quo Vadis, Aida? is also an exacting movie in laying bare the complexities bubbling within the base, and the broader scenario. Unflinchingly, it sees how ineffective the UN's actions are, as ordered from far away with no sense of the reality on the ground. It recognises how outnumbered the peace effort is in Srebrenica, too. It spies the ruthlessness of the General and his forces, as was destined to happen when given even the slightest leeway. And it also spots how determined Aida is to safeguard her family, all while hurrying around thousands of others in the same precarious circumstances but without the possibility of anyone even trying to pull strings in their favour. Read our full review. UNCHARTED Some movies sport monikers so out of sync with their contents that someone really should've had a rethink before they reached screens. Uncharted is one of them, but it was never going to switch its name. The action-adventure flick comes to cinemas following a decade and a half of trying, after the first Uncharted video game reached consoles in 2007 and the journey to turning it into a movie began the year after. Accordingly, this Tom Holland (Spider-Man: No Way Home)- and Mark Wahlberg (Joe Bell)-starring film was fated to keep its franchise's title, which references its globe-trotting, treasure hunting, dark passageway-crawling, dusty map-coveting storyline. But unexplored, unfamiliar and undiscovered, this terrain definitely isn't — as four Indiana Jones films to-date, two National Treasure flicks, three Tomb Raider movies, 80s duo Romancing the Stone and The Jewel of the Nile, and theme park ride-to-screen adaptation Jungle Cruise have already demonstrated. Uncharted mightn't live up to its label, but it is something perhaps unanticipated given its lengthy production history — a past that's seen six other filmmakers set to direct it before the Zombieland movies' Ruben Fleischer actually did the honours, plenty of screenwriters come and go, and Wahlberg once floated to play the saga's hero Nathan Drake rather than the mentor role of Victor Sullivan he has now. That surprise? Uncharted is fine enough, which might be the best likely possible outcome that anyone involved could've hoped for. It's almost ridiculously generic, and it sails in the Pirates of the Caribbean flicks' slipstream as well, while also cribbing from The Mummy, Jumanji and even the Ocean's films. Indeed, it borrows from other movies as liberally as most of its characters pilfer in their daily lives, even nodding towards all things Fast and Furious. It's no worse than the most generic of its predecessors, though — which isn't the same as striking big-screen gold, but is still passable. The reasons that Uncharted just hits the barest of marks it needs to are simple and straightforward: it benefits from Holland's charms, its climax is a glorious action-film spectacle, and it doesn't ever attempt to be anything it's not (although reading a statement of intent into the latter would be being too generous). It also zips through its 116-minute running time, knowing that lingering too long in any one spot wouldn't serve it well — and it's as good as it was going to be given the evident lack of effort to be something more. While you can't make a great movie out of these very minor wins, they're all still noticeable pointers in an okay-enough direction. Getting audiences puzzling along with it, delivering narrative surprises even to viewers wholly unfamiliar with the games, asking Wahlberg to do anything more than his familiar tough-guy schtick, making the most of the bulk of its setpieces, providing the product of more than just-competent direction: alas, none of these turn out. In a film that acts as a prequel to its button-mashing counterparts, Holland plays Drake as a 20-something with brother issues, a vast knowledge of cocktail histories that's handy for his bartending gig, an obsession with 16th-century Portuguese explorer Ferdinand Magellan and the gold he might've hidden, and very light fingers. Nate's elder sibling dipped out of his life after the pair were caught trying to steal a Magellan map as orphanage-dwelling kids, in fact, which Sully uses to his advantage when he first crosses his path in a New York bar — and, after some convincing, Nate has soon signed up to finish the quest he's been dreaming about since childhood. Naturally, this newly formed duo aren't the only ones on the Magellan treasure's trail. The wealthy Santiago Moncada (Antonio Banderas, The Hitman's Wife's Bodyguard) is descended from the explorer's original financiers and boasts a hefty sense of entitlement, while knife-wielding mercenary Jo Braddock (Tati Gabrielle, You) and enterprising fortune-hunter Chloe Frazer (Sophia Ali, India Sweets and Spices) are each chasing a windfall. Read our full review. ALINE In a 1997 ballad that'll forever linked with the on-screen sinking of the world's most famous ship, Celine Dion told us that her heart would go on. Whether the Canadian singer's ticker will physically defy mortality is yet to be seen, but Aline, the fictionalised biography based on her rollercoaster ride of a life, certainly takes the idea to heart by overextending its running time. It's easy to see why the 'Because You Loved Me', 'The Power of Love' and 'Think Twice' crooner demands a lengthy feature. Also, compared to the big-budget superhero blockbuster standard, Aline's 128 minutes is positively concise. At every moment, however, this Valérie Lemercier (50 Is the New 30)-directed, -co-written and -starring film feels like it's going on and on and on. Near, far, wherever you are, it limps along despite packing plenty of ups and downs into its frames. A key reason: it primarily plays like the result of Lemercier simply opening up that door to Dion's Wikipedia page. Dion's story has everything from childhood fame and enormous career achievements to relationship scandals and personal tragedies, and Lemercier and her co-scribe Brigitte Buc (who also co-penned the filmmaker's 2005 featured Palais royal!) don't overlook any of it. But Dion's immense success doesn't necessarily make her overly fascinating, and nor do the many twists and turns her path has taken since she was born into a large Quebec family — arriving as the youngest of 14 children — and then found fame as a teen. Or, in her defence, they don't make her particularly interesting in a movie that's content to tick through everything that life has thrown her way like it's marking off a checklist rather than fleshing her out as a person. Viewers glean all of the necessary biographical details from Aline, but little sense of its subject, especially buried under Lemercier's unconvincing blend of soapy comedy and loving affection. The name Celine is mentioned in the film, as one of the script's gags — and Aline Dieu (Lemercier) is quick to correct the record. But before anyone is calling her anything much, she's a gifted singer crooning at her family's bar and proving in big demand locally, which sparks one of her brothers to record a demo. The tape's recipient, manager Guy-Claude Kamar (Sylvain Marcel, Les Honorables), can't quite believe that the slender girl in front of him comes with such a voice, and soon helps guide her career from strength to strength. Pitstops along the way include a pause so Aline can enjoy being a teenager, her mother Sylvette's (Danielle Fichaud, District 31) dismay when she falls for the much-older Guy-Claude, vocal troubles that require a three-month break from even speaking and the struggle to get pregnant. Among the highlights: winning a singing contest in Dublin, a big Hollywood awards ceremony, a lengthy US residency and all that chart-topping. Eurovision isn't mentioned by name in Aline, and nor is Titanic or the Oscars, mirroring the change to Dion's moniker (and those of her loved ones and key figures in her life). But the film does weave in the star's own songs, which makes its altered details elsewhere feel uncanny, and like the movie is caught between a parody and a love letter. The montage-esque handling of big and small moments alike doesn't help, cramming in minutiae from Dion's real-life tale but never giving anything room to resonate. Neither does the perfunctory direction and by-the-numbers dialogue, which can't elevate the film beyond Behind the Music-style recreations. Lemercier's choices, including playing Aline at all ages — from childhood through to now — could've resulted in goofy inspiration. Perhaps that's what, every night in her dreams, she saw and felt. But while happily absurd, the movie that results is an over-packed jumble and drag, like getting 'My Heart Will Go On' stuck in your head for head for a quarter-century. A STITCH IN TIME When A Stitch in Time begins, it's with weary veteran musician Duncan (real-life veteran musician Glen Shorrock) playing his weekly gig at a Sydney RSL. But the crowd is sparse, inspiring the venue's newly installed manager to proclaim that it's time for a change to draw in a bigger and younger audience. The silver-haired Liebe (Maggie Blinco, The Nightingale), Duncan's long-standing partner, is singled out as the type of patron that the bar wants to move past — an observation that's rightfully and instantly met with anger. But when they're alone, Duncan's demeanour towards the woman that's been by his side for decades through jousts at fame and a lifetime of dealing with unrealised dreams is hardly affectionate. He wants acclaim and praise, and still to make the record he's always fantasised about, all while Liebe simply keeps quiet and cooks bacon for breakfast. A Stitch in Time tells Liebe's story as she finally finds the courage to step away from the toxic relationship that's defined her life, all thanks to a trip to a local market and the resulting encouragement from up-and-coming Chinese Australian designer Hamish (Hoa Xuande, Cowboy Bebop). A skilled dressmaker, she once had her own dreams of success, but let them slip aside to support Duncan. Now, his utter contempt for her renewed interest in rekindling her fashion prowess is the push she needs to seek a change after all these years. In first-time feature writer/director/producer/editor Sasha Hadden's hands, Liebe's path from there charts both an expected and a bleakly complex path — stitching together setbacks, roadblocks and miseries as part of a pattern for a brighter future and a predictably feel-good ending. One part schmaltz, one part domestic grit: that's the combination at the heart of the nonetheless sunnily hot A Stitch in Time, with the film teetering between the two accordingly. It's an awkward mix, despite the movie's efforts to lay bare the reality facing Liebe in trying to start again after living the bulk of her life — attitudes faced, financial difficulties and internal struggles among them — and its mission to spin a heartwarming story about a character and demographic often relegated to the big-screen sidelines. Again and again, the feature's script layers heartstring-pulling complications on top of each other, such as Liebe's childhood escape from Nazi Germany and her health woes after moving into a sharehouse with Chinese university students. It similarly adores saccharine moments, and uses the gimmick of going viral not once but twice. Thankfully, A Stitch in Time pays far more respect to its ageing protagonist than its recent equivalents (see: Queen Bees, Never Too Late, Poms, Dirty Grandpa and The War with Grandpa). That said, it still doesn't trust that viewers would feel for Liebe and her plight without either the laundry list of traumas thrust her way or the cheesy twists of fate that arrive to save her. The roster of talent that Hadden has amassed both on- and off-screen do their best to lift the material, however. That includes via spirited performances from not just Blinco but also Belinda Giblin (Home and Away) as Liebe's long-estranged pal Christine, plus the warm rapport between Blinco and Xuande — and also crisp lensing from legendary Australian cinematographer Don McAlpine (an Oscar nominee for Moulin Rouge!). THE LAST MOUNTAIN In films about humanity's undying yearning to conquer the planet's towering heights, what goes up doesn't always come down — to tragic results. But the quickly growing genre of documentaries that's sprung up around scaling mountains, or trying to, does traverse both the highs and the lows. It spans tales of life-altering success against the odds, chronicling all the hard work and near-fatal slips along the way, as seen in Oscar-winner Free Solo and the similarly uplifting The Dawn Wall. It also includes clear-eyed accounts of disaster, with the phenomenal Sherpa easily at the peak. And, it covers accounts of mountaineers who strived to climb lofty peaks and their own dreams, but ultimately saw their lives cut short doing what they love, such as The Alpinist. The Last Mountain falls into the latter camp and twice over, stepping into the stories of British mother-and-son duo Alison Hargreaves and Tom Ballard. In 1995, 33-year-old Hargreaves aimed to scale the three highest mountains on the globe: Everest, K2 and Kangchenjunga, all without the help of bottled oxygen or Sherpas to transport her gear. She achieved the first in May, becoming the first woman to do so. Next, she attempted the second in August, but died on the descent. In the aftermath, to help process their grief, Hargreaves' husband Jim Ballard, seven-year-old son Tom and four-year-old daughter Kate made a pilgrimage to K2, a trip that unsurprisingly left an enormous imprint upon her children. Tom was in his mother's womb when she climbed the north face of the Eiger in Switzerland, so he was perhaps fated to love the pastime with the same passion. He became an acclaimed alpinist himself, until a February 2019 trip to Pakistan's Nanga Parbat, at the age of 30, to attempt the never-before-completed Mummery Spur. Twenty-four years elapsed between Hargreaves and Ballard's final climbs, at mountains that sit less than 200 kilometres apart — and the symmetry in their lives, loves, passion for alpinism, untimely demises and final resting places is nothing short of haunting. That's how it feels to watch The Last Mountain, all the more so because the documentary devotes much of its running time to unpacking how haunted his sister Kate, also an avid rock-climber, feels after the deaths of both her mother and brother to doing what they adored. With filmmaker Christopher Terrill (Britain's Biggest Warship) along for the trip, she once again heads to Pakistan and Kashmir, this time to get as close as is safely possible to where Tom met his end. Symmetry abounds here as well, including in a tearful reunion with Big Ibrahim, the local guide who carried her on his back for the trek the first time around. The Last Mountain doesn't simply rely upon its heartbreaking echoes, or the Hargreaves–Ballard family's personal plight, as bolstered with archival material and interviews both of Alison and Tom. (Given the passage of years and the change in technology since, there's more and better footage of Tom in action, and it's a spectacular sight to behold.) A lesser film would've been happy with all of the above and still proven gripping; however, Terrill also unpacks the intricacies around celebrating extreme alpine and rock-climbing feats, then looking for someone to blame when treks finish badly — even without examining how the media backlash that swelled around Alison for dying and leaving her kids behind more than a quarter-century ago. Indeed, the back and forth that steps through the events leading to Tom's death, after uncharacteristically taking on a climbing partner in Italian Mummery Spur fanatic Daniele Nardi, is as complicated as the emotions that visibly course through Kate every time that she's in front of the camera. The Last Mountain is a clear tribute, and another ode to humanity's pull to the mountains, but it's also willing to be as thematically complicated as the terrain that looms so large within its frames. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3 and February 10. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car and Death on the Nile.
Heading to Given Terrace staple Darling & Co is firmly about hangs in the venue's breezy space, but we all know that a weekend party isn't complete without a little (or a lot of) bubbly. Happy to oblige, the Paddington spot has launched bottomless prosecco and spritz brunches, which are now on offer every Sunday. The restaurant isn't simply offering the standard two hours of bottomless booze, however. Instead, those tipples will come via a fountain. In fact, your bubbly and spritzes will come from its taps throughout the two hours, all while you enjoy an extensive spread. Find a comfy spot while tucking into an antipasto platter stacked with marinated olives, roasted peppers, bocconcini and watermelon wrapped in prosciutto, your choice of three pizzas, and a side salad. Although your $69 ticket gets you all of the above food and all the drinks for the fountain you like for two hours, the weekly event runs from 12–4pm, so you've got some options in terms of time slots.
There's a difference between passion and talent, though few people dare to explain that to Marguerite Dumont (Catherine Frot). The fictional character, inspired by a real-life New York socialite, lives for music. Unfortunately, as much as she loves belting out a song, she can't hold a tune to save her life. "Does she always sing like this?" asks young critic Lucien Beaumont (Sylvain Dieuaide) when he first hears her voice at one of her frequent soirees. He's as shocked by the response as he is at the sound ringing in his ears; "No. She's come a long way," he's told. Marguerite tells her tale, transporting the story to 1920s France to avoid conflicting with another film about its obvious source of inspiration, the forthcoming Florence Foster Jenkins. If you think a narrative about a wealthy woman's repeated attempts to sing in public would be riddled with both tragedy and comedy, you'd be right. However writer-director Xavier Giannoli (Superstar) struggles to find the ideal balance between the two. It's not just many of the characters that are outwardly laughing at, not with, the aspiring opera star. Always trying to find humour in the situation, the movie itself seems to be trying to inspire the same reaction. Indeed, the film's depiction of the behaviour of those closest to her demonstrates this approach. Marguerite's husband (André Marcon) belittles her to anyone who'll listen, while her loyal butler (Denis Mpunga) hopes to profit from his photographs of her outlandish behaviour. When Lucien befriends the wannabe soprano after reviewing her concert, he's clearly secretly joking at his new pal's expense. The feature stresses again and again that no one wants to ruin Marguerite's fantasy of grandeur, though it also makes plain that they're enjoying watching her make a fool out of herself. Showing them as much empathy as it does its protagonist, Marguerite follows in their footsteps. Accordingly, any kindness in the movie is tinged with unmistakable cruelty — and it's an uncomfortable mix to say the least. Frot's performance won a Caesar award, and proves the most nuanced and convincing element of the film. Sadly, she's left languishing in an effort that treats her character in a cartoonish manner. Any intended satire about the falseness of upper-class society fails to hit the mark. While Marguerite's tone proves awkward, it's technical artistry is never in doubt. Giannoli's skills as a filmmaker are best evidenced in the sumptuous imagery he brings to the screen, which shows levels of texture and intricacy his script does not. In fact, the movie's detailed production design and lingering cinematography often sit at odds with its comical treatment of its central figure. If only the care and affection of the former could've extended to the latter.
When historians in some far-flung future crack the books on 2023, one thing that will be immediately apparent is that it was an absolute red letter year for video games. Legend of Zelda: Tears of the Kingdom, Baldur's Gate 3, Alan Wake 2, Super Mario Wonder, Diablo IV, Armored Core IV — the list of bangers goes on and on. But it wasn't just big games that shone – indie developers also had a cracker 12 months and that's what we're here to celebrate. Here, in no particular order (and, as a person with a full time job and a child, by no means exhaustive), are the best ten smaller games the year blessed us with. [embed]https://www.youtube.com/watch?v=vnClIPdnXUs[/embed] Storyteller There's no better example of a passion project on this list than Storyteller. Created by Argentinian solo developer Daniel Benmergui, it's been a labour of love that has lasted almost 14 years since he first started work. Thank goodness he stuck with it. This puzzle game plays on the concept of narrative familiarity. Each level presents you with a title — for instance 'Seeing The Ghost Of A Lover', or 'Witch Becomes The Mirror's Favourite' – and tasks you with arranging a choice of characters and scenes in a visual setup not dissimilar to comic panels to build a suitable story. Your solutions update in real time as you move elements around, allowing for rapid-fire experimentation when the stories start to get tricky. The art style could be described paradoxically as 'restrained cartoony', but it works so well, imbuing each of the characters with enough personality to give you a sense of how they operate when deployed. Perhaps its greatest strength is how approachable it is. The gameplay is so simple that you could hand it to a 90-year old who has never touched a controller and they'll be up and running in no time, particularly when using touchscreen controls on a phone, tablet or Switch. Take that, generational gap. Available on: PC/Mac, Nintendo Switch, iOS, Android [embed]https://www.youtube.com/watch?v=qrhivCSKZxk[/embed] Fading Afternoon 'Auteur' is not a word thrown around often in gaming, but it's not without merit to apply it to Russian-based developer Yeo. His latest, Fading Afternoon, is a rumination on the tension between the past, the present and the future. Step into the shoes of Seiji Maruyama, a legendary Yakuza enforcer who starts the game at the end of a stint in prison. His old crime family welcomes him back, but with advancing age and a cough that won't go away, is it really the life he wants? That's up to you to decide, with player agency forming the core of the storytelling, allowing you to fight for former glory, betray colleagues, dive into degeneracy or simply spend your hours fishing. It's got surprisingly deep combat mechanics – side note: breaking an enemy's arm and taking their weapon never stops being cool as hell – and a finely curated soundtrack that matches the various moods of the game perfectly. Plus there are controls that allow you to remove your character's jacket and sling it over your shoulder, put sunglasses on, comb your hair, light up a cigarette and more, turning something as simple as walking down the street into a moment. Fading Afternoon is not a game that holds your hand, which some may find frustrating, but approach it with an open mind and you'll encounter numerous 'wow, I didn't know I could do that' moments that are as rewarding as they are surprising. Available on: PC [embed]https://www.youtube.com/watch?v=p85VHMpE0to[/embed] Dave The Diver The game that launched a thousand online threads about what truly constitutes an 'indie', it's being included in this list because it's too damn good not to talk about. You play the portly title character as he joins an old crony on a new venture: to establish a sushi joint next to a mysterious blue hole in the ocean that teems with sea life from around the world. Spend your days exploring this marine miracle rendered in stunning pixel art and catching its inhabitants, and your nights running the restaurant, both of which present gameplay challenges that are a joy to master. It's honestly unbelievable how much South Korean developer MINTROCKET managed to cram into the game. There's a wide cast of characters; a variety of different narratives involving merpeople, shady eco-warriors, and snooty food critics; boss battles; a whole farm management element; vast amounts of upgrades for your equipment, your staff and your dishes, and a whole lot more. What's most amazing is how balanced all these elements are, allowing you to choose where to focus at any given time without feeling overwhelmed. Be warned, it is addictive and you'll find yourself wondering if you can fit in another dive when the clock says 2AM on more than one occasion. Available on: PC/Mac, Nintendo Switch [embed]https://www.youtube.com/watch?v=aOD6tKr3dHE[/embed] El Paso, Elsewhere Some breakups are amicable. Some are bad. Some lead to the apocalypse. That's just the way love goes. El Paso, Elsewhere, developed by Strange Scaffold, sees you dealing with the third type of end to a relationship. You're James Savage, a folklore researcher with a pill problem and a score to settle with your ex-girlfriend Draculae, a powerful vampire who is bringing about the end of the world from an extra-dimensional space underneath a roadside motel in El Paso, Texas. Gameplay-wise, it's an unashamed love letter to the Max Payne series, with satisfyingly chunky gunplay augmented by slo-mo dives that are as cinematic as they are tactical. In your journey through the increasingly surreal sub-floors of the motel, you'll face off against werewolves, biblically accurate angels, living suits of armour and more, each requiring you to switch up your approach which keeps the combat interesting, particularly when crowds of enemies start testing your ammo reserves. Where this game really shines is just how fucking cool it is. The script is so hard-boiled it wouldn't be out of place in a Caesar salad. Savage is pitch-perfectly voiced by Strange Scaffold's creative director Xalavier Nelson Jr., and each cutscene in between levels is a welcome narrative reward for the chaos you've navigated. It's a journey into addiction and heartbreak that will stick with you long after the credits roll. Available on: PC, Xbox One/S/X [embed]https://www.youtube.com/watch?v=00B3pbxoFvI[/embed] Blasphemous 2 There's no rest for the penitent. Spanish outfit The Game Kitchen brought us back to the grim, guilt-soaked lands of Custodia for another pilgrimage of exploration and gory combat in Blasphemous 2. The sequel leans more heavily into its metroidvania roots than its predecessor, adding in classic elements like double jumping and air dashing that give more options for both combat and traversal. There's also the expanded range of weaponry the Penitent One can wield, each with its own skill tree and strengths, meaning you'll be hot swapping up a slaughter during your journey. With its dense, lore-heavy plot that evokes shades of Dark Souls and Elden Ring, Blasphemous 2 goes beyond the usual fantasy fare into something that is more memorable (and occasionally bleak). And the world is huge, with plenty of nooks and crannies to explore whenever you unlock new abilities. Special mention should be made of the boss battles as well, with excellent character design and confrontations that induce just enough frustration to leave you fist-pumping when you finally triumph. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5 [embed]https://www.youtube.com/watch?v=XHfzY-nIQxw[/embed] Cocoon The true measure of any puzzle game is the sense of achievement you feel when you finally crack a solution. Cocoon, the first release by Danish studio Geometric Interactive (founded by former employees of Playdead, developers of Limbo and Inside, which is an immense pedigree), is a symphony of such 'Aha!' moments. It's a game about orbs. As a small winged figure, you traverse a variety of biomes that blend the biological and mechanical, discovering these various pearls along the way. Bring them to specific machinery and you can dive into them, opening up new worlds to explore. The kicker? You can carry worlds into worlds, leading to some truly matryoshka-esque puzzles that can tax your brain to the limit. These conundrums are never unfair, though. The overarching game design is beautifully done, with each mechanic introduced and explored until familiar before the next one comes along. There's no backtracking, no missed items, no external information needed – everything you need to arrive at a solution is right in front of you in that particular moment of gameplay. You only need to think. Narrative fans be warned, it's vastly more weighted to exploration than exposition, but there is a plot at play here that crescendos in a cosmic fashion. But the real story is that warm glow you get throughout as you overcome obstacles and realise hey, I am smart! Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5 [embed]https://www.youtube.com/watch?v=s3ws82dj_fA[/embed] Dredge Who would've guessed that adding a handful of horror to a fishing game would be such a good recipe? New Zealand developers Black Salt Games, that's who. Leaning into the cold hard fact that the ocean is a terrifying place full of nightmares, Dredge puts you behind the wheel of a small fishing vessel as a captain whose memory was taken by a shipwreck. You'll earn your keep by pulling fish out of the ocean through a variety of methods, each with their own minigame that keeps the gameplay fresh. Some of these fish, however, are… wrong, which speaks to the wider tension of the game. There's something sinister afoot in the various archipelagos you visit, from eldritch cults to abyssal monsters, and while you're never tasked with finding a solution to these problems, investigating them is chilling fun nonetheless. Supporting the eerie atmosphere that pervades the game are some excellent decisions around gameplay mechanics. Your ship has an upgrade tree that gives pleasantly concrete results in game. The aforementioned minigames are coupled with a Tetris-style mechanic of arranging your catch in your hold, leading to some hard decisions about what to keep and to jettison when you hit the space limit. Throw in an encyclopedia that tracks all the species you catch, and you've got a range of addictive gameplay loops that'll keep you heading out to sea. Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=GXgktRWrHaI[/embed] Thirsty Suitors If you've ever been in public, caught sight of a former romantic partner and felt a wave of panic engulf you, then have we got a game recommendation for you. Thirsty Suitors is the product of Outerloop Games, a studio in Seattle with a penchant for exploring underrepresented cultures and themes. You play as Jala, a second generation Indian immigrant and young LGBTQIA+ woman who is back in her Pacific Northwest hometown of Timber Falls for her sister's wedding. Only thing is, dear sister is not talking to you and there are a slew of ex-romantic partners who are eager for a reckoning due to your past problematic behaviour. While topics like this could be approached in a heavy-handed manner, Thirsty Suitors instead takes an over-the-top path that is as entertaining as it is sensitive. Each ex gets a showdown that plays out through turn-based combat, combining wildly imaginative battlefields and moves with conversational back-and-forths that tackle codependency, betrayal, the expectations of South Asian parents, navigating life out of the closet and more. Better yet, victory is not about domination but understanding, giving each battle a far more satisfying denouement. Throw in a deep and humorously acrobatic cooking minigame, Tony Hawk Pro Skater-style traversal and maybe one of the best video game fathers ever, and it's a truly unique experience with emotional enlightenment at its centre. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5 [embed]https://www.youtube.com/watch?v=sKDwnRWroto[/embed] Sludge Life 2 It's time to go back to the sludge, baby! The crassest, coolest vandalism simulator made a return this year, shepherded into existence by developer Terri Vellman and musician DOSEONE. You're back as Ghost, an elite tagger turned artist manager responsible for the rapper Big Mud. He's got a gig to play, but after a night of epic partying with his Click Sick crew he's nowhere to be found. Time to leave your trashed hotel room and track him down. Sludge Life 2 builds on its predecessor in the simplest way: by being bigger across the board. There's more world to explore, more NPCs to engage with and more tools to help you get around, from sneakers that allow double-jumping to a portable launcher that throws you high into the air, helping you to reach the 100 tagging spots scattered around the city - some obvious, some fiendishly hidden. There's also a higher level of cheerful cynicism present. The world has evolved since the first game, with the corporate presence of the Ciggy Cig company now dominating the map with their efforts to get children puffing their wares (now with vitamins!). As you make your way around and talk to the inhabitants, you'll uncover a revolution brewing, which you can wind up playing your own part in. Also, the cat with two buttholes is back. Really, it's a game with something for everyone. Available on: PC [embed]https://www.youtube.com/watch?v=__hzPH3tcvA[/embed] Chants of Senaar Chants of Senaar, developed by French team Rundisc, is the answer to the question 'what if the Tower of Babel and the Rosetta Stone had a baby that was a puzzle game?' The game sees you exploring a mystical tower divided into levels populated by groups organised around castes, each of whom has a unique language consisting of logograms (or symbols that represent words, for those who haven't studied linguistics too deeply). To progress, you need to decipher these languages using a variety of context clues, interactions and signs scattered throughout the environments. Your efforts are tracked in a notebook, where you can record what you think various symbols mean and confirm them in sets once you've discovered enough of them, a mechanic that helps to defeat a brute force approach. Eventually, grammar is layered in as another aspect to consider, testing your skills even more. The tower itself is a joy to explore, with distinct colour palettes and architectural styles for each of the levels and a great use of light and shadow throughout. Breaking up the language puzzles are the occasional stealth sections, giving a welcome variety to the gameplay. As mentioned earlier, puzzle games can be measured by the sense of achievement you feel, and watching the world around you gradually become more intelligible, not to mention helping the different castes actually communicate, well, it doesn't get more satisfying than that. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5
If we were to show a child from Victorian-era England what a burger is, they might pass out from the sheer mental load of processing it. In a few decades of burger popularity, we've taken the simple concept of meat, cheese and some flavoursome vegetables between bread and really amplified it into a culinary art form. That's what the team at Hashtag Burgers and Waffles is aiming for. The team here prides itself on unique takes on this modern classic dish, as well as championing ethical practices and a focus on "being good humans". These good humans currently have stores in Fortitude Valley and Capalaba, with a third store opening in Ashgrove on Saturday, September 2. The opening ceremony will have free burgers available hourly, plus voucher and merch giveaways, some banger vibes and good times aplenty. When it comes to the menu, prepare for hearty burgers like Such a Classic (beef patty, cheese, onions, tomato, lettuce and pickled mayo) or the unique additions like Mack Me Daddy (beef patty, macaroni patty, bacon, pickles, chilli jam and mayo) and Crazy Jane (mac and cheese patty, lettuce, onion, mayo and ketchup). And that's just the fillings, each burger can be made with potato, cheesy toast or waffle buns. And we haven't even mentioned the sides, desserts or drinks, we're already too hungry. The grand opening of Hashtag Burgers and Waffles Ashgrove is on Saturday, September 2. The store will be open seven days a week from then. For more information, visit the website.
Locals and holidaygoers alike have long been loyal to Broadbeach favourite Mamasan. Now, on its tenth anniversary, Mamamsan reopens, unveiling a striking new design and an exciting new menu. Mamasan Co-founder Lauren Duitsch says, "Reaching our ten-year anniversary gave us the opportunity to reimagine every detail of Mamasan. The new design allows for more experiences and memories to be made and a stronger connection between our spaces." The major transformation has introduced new dining spaces to the venue, including a sun-drenched al fresco area and a new private dining room. The private sanctuary is enclosed in Japanese charred timber panelling and centred around a large round table, perfect for corporate gatherings or private celebrations. Co-founder of Zero 9 Constructions, Ryan McAlpin, who undertook the project with Space Cubed Design Studio, says, "Zero 9 are honoured to be entrusted with the renovation of the iconic Mamasam restaurant. It was a privilege to help preserve its legacy while bringing new life to such a beloved [Gold Coast] landmark." Executive Chef Tan has developed a menu that includes classic Mamasan dishes and many intriguing new additions. The menu is extensive, and it won't be easy to narrow down what you want to order. Perhaps you'll start with shallot focaccia with house butter, a tuna taco with ginger ponzu, Korean fried chicken ribs with gochujang, and a wagyu katsu sando. Next, consider the spanner crab tortellini or cod and cuttlefish wontons with chilli oil. The menu's chargrill section includes whole tiger prawns with shellfish kombu butter, bone marrow with butter curry, and lamb ribs with fennel and cumin salt. If you've still got stomach space, share a few main plates among the table, such as the hot and sour crispy eggplant, a 12-hour braised pork belly or a satay crispy half chicken. The kitchen's specialities — perfect for milestone celebrations — include a three-day dry-aged whole duck served with pancakes, cucumber and scallions, Eastern lobster with Hong Kong 'typhoon shelter' chilli garlic crumb, and an MB9+ wagyu striploin. Co-founder JP Duitsch notes, "The renovation creates new possibilities for the venue while preserving the sophisticated yet welcoming atmosphere that has made it a destination for our loyal regulars and new diners." Images: Supplied.
If you haven't eaten a plate of pasta over a glass of wine while sat in the Queen Street Mall — or hit up the mid-mall English pub, too — have you really been in Brisbane? Likely no. But in the future, both Milano's and the Pig 'N' Whistle might not be part of the CBD precinct, with Brisbane City Council announcing plans to tear them down to make the mall more open. Lord Mayor Adrian Schrinner has unveiled the council's new City to South Bank Vision, which details how it's intending to revamp the popular stretch of inner-city pavement. Milano's at the George Street end of the mall is definitely earmarked for removal, while the council has committed to investigate scrapping Pig 'N' Whistle at the Edward Street end. In their place, the precinct will gain new shade and seating. The news comes as both Milano's and Pig 'N' Whistle will stop operating at the end of June. Milano's has been part of the Queen Street Mall's since the latter opened back in 1982, while the Pig's QSM location has also been around for a couple of decades. "The mall has always evolved with the times. That's why it continues to be Queensland's premier shopping precinct," said Brisbane's Deputy Mayor Krista Adams. "Removing potentially both venues at either end of the mall will allow us to incorporate more trees and seating, enhancing the mall's sub-tropical feel." As well as more places to sit — and protection from the sun while you do so — the council is also considering turning the Pig 'N' Whistle's current Queen Street Mall space into an area specifically for licensed pop-ups. So, that might mean a gin bar pouring juniper drinks one week, then a brewery doing tastings the next. Food trucks could also drive into the space, serving up an array of bites to eat. Also in the mall, the City to South Bank Vision covers potentially relocating or revitalising the stage area to help it get more frequent use. And, of course, Queen Street Mall is set to lose the Myer Centre — well, the building's name, with Myer moving out — in what's proving quite the time of transformation in the CBD. Just across George Street, Reddacliff Place outside Brisbane Square Library and the Treasury Casino is set for a change, too. It's being purchased by the council to ensure that it's always available as a permanent public space for markets, events and art installations. "While Reddacliff Place is much-loved by residents and provides an incredible vista between the city and South Brisbane, it is currently privately owned," said the Lord Mayor. "Our purchase of this site will preserve it as a public open space, ensuring the weekly markets continue and allowing us to activate it day and night." For more information about Brisbane City Council's City to South Bank Vision, head to Councillor Vicki Howard's website.
As we inch closer and closer to Christmas, it not only means that work is nearly out for the year, but also that the summer festival season is about to begin. After a short hiatus in 2024, Spilt Milk is back and better than ever this year. The lineup is positively jam-packed and there's a whole lot of fun pop-ups, giveaways and bars setting up for each leg of the festival. The festival has a legacy of kicking off Australia's summer with huge lineups, large-scale art exhibitions, and a slick lineup of food and boutique bar experiences. As usual, Jim Beam will be back at Spilt Milk helping to make sure you and your mates have this year's best festival experience. To make sure you don't miss a second of fun, we've teamed up with Jim Beam to pull together absolutely everything you need to know about Spilt Milk 2025. [caption id="attachment_1008775" align="alignnone" width="1920"] Gregory Shamus via Getty Images[/caption] Who's Headlining Spilt Milk 2025? This year's lineup is one for the ages. On the bill, you've got Kendrick Lamar, Doechii, Sara Landry, and Dominic Fike headlining. You can also catch ScHoolboy Q, Nessa Barrett, Skin on Skin, Sombr, Rebecca Black, The Dreggs and more. Kendrick's last tour of Australia was in 2022, and, if his now iconic Super Bowl performance is anything to go by, his set simply can't be missed. Expect bell-bottoms and a bunch of shade thrown Drake's way. Fresh off her Grammy win for Best Rap Album this year, Doechii is another headliner we can't wait to see live. If her hit 'Anxiety' hasn't been in your head all year, it will be now. ARIA Award-winning Aussie Genesis Owusu has also just been added to the lineup. Owusu brings his unique blend of hip hop, funk, punk, and soul to the already stacked event. His track 'PIRATE RADIO' took over our playlists at the top of the year and even earned triple j's most played for back-to-back days. [caption id="attachment_1002003" align="alignnone" width="1920"] Supplied[/caption] What Are the Set Times for Spilt Milk 2025? With a lineup this good, you can't just show up and hope for the best. You really need to map out your plan for the day. We've done the hard work and collated all of the set times for you so you can plan when to drop by the Jim Beam Container Bar to slip into their Confessional Booth, snag some prizes, and still have enough time to make it to Kendrick. Of the headliners, Kendrick will take the stage at 9:35pm, Sara Landry at 8:35pm, Doechii at 8:05pm, Dominic Fike at 6:50pm all on the Angove Stage. You can catch the full list of set times in the Spilt Milk app. [caption id="attachment_1040567" align="alignnone" width="1920"] Supplied[/caption] Where's the Best Place to Hang Out Between Sets? Alongside one of the best festival lineups, the on-ground experiences at Spilt Milk are shaping up to be this summer's moment. Expect the kind of music, vibes, and memories that will define the year for you and your mates. Head to the Jim Beam Container Bar between sets or to kick off your day at Spilt Milk Ballarat and Canberra. Of course, you'll find a bar stocked with ice-cold Jim Beam drinks, like Ginger Beer, limited edition Vanilla Cola, and the classic Jim Beam & Cola. But, beyond just icy drinks, you'll find the best place to hang out and seek shade during the festival. This year, the Jim Beam setup will feature a container bar area, plenty of shade, and huge loungers to cool off on with your mates. Plus, there's a rooftop bar section atop the container with a view out across the whole festival. [caption id="attachment_1001754" align="aligncenter" width="1920"] Billy Zammit[/caption] To free you from the guilt of past flaky friend discretion, you can step into the confession booth hosted by Will Gibb. Simply drop the lore of the most diabolical reason you have ever flaked on your mates, Will will hear you out and then determine what prize you're up for. It could be VIP upgrades for you and your mates' tickets, Jim Beam merch like a slick new cap, or even a disposable film camera to capture your day. The Jim Beam Mates Confessional will be open from 2–5pm in Canberra and Ballarat. That means you'll have plenty of time to confess your sins, nab a prize, and still catch the headliners. But, it's not just partying, you'll also find art exhibitions curated in collaboration with socially conscious art studios. This year, Spilt Milk has collaborated with Studio A, an art studio focused on empowering artists with disability, and Victoria Park Art's initiative that supports the same cause, for outdoor exhibitions you can peruse between sets. Best enjoyed together, visit Jim Beam's website for more information.
True Detective started with Matthew McConaughey (The Rivals of Amziah King) and Woody Harrelson (Last Breath) as its leads. Next came Taylor Kitsch (American Primeval), Colin Farrell (The Penguin) and Rachel McAdams (Are You There God? It's Me, Margaret). Mahershala Ali (Jurassic World Rebirth) and Stephen Dorff (Bride Hard) did the honours, too, followed by Jodie Foster (Nyad) and Kali Reis (Rebuilding). And if the world is lucky, Nicolas Cage (The Surfer) could join that list. Variety is reporting that Cage is in talks to star in True Detective's fifth season — which The Hollywood Reporter notes is expected to arrive in 2027. So far, the only details confirmed include that the new episodes will be set in New York's Jamaica Bay area, and that Tigers Are Not Afraid filmmaker Issa López, who wrote and directed every one episode of True Detective: Night Country, is due to return. [caption id="attachment_793116" align="alignnone" width="1920"] Jim Bridges/HBO[/caption] Cage can and has played everyone from Dracula, a man who thinks he's a vampire, himself, a heartbroken lumberjack and an alpaca-milking dad to black-and-white film noir-style Spider-Man, twins, an Elvis obsessive, a terrorist switching faces with an FBI agent, a man everyone dreams about, a serial killer and an Aussie expat who just wants to hit the waves at his childhood beach (and much, much more). A cop on the case in True Detective? It'd be dream casting. The series was renewed for season five after its fourth season dropped in January 2024 and became the most-watched season of the show ever. Across the show's run, it's always been a case of new batch of episodes, new police officers, new case, as the series has been delivering since 2014. "Issa Lopez is that one-of-a-kind, rare talent that speaks directly to HBO's creative spirit. She helmed True Detective: Night Country from start to finish, never once faltering from her own commendable vision, and inspiring us with her resilience both on the page and behind the camera," said Francesca Orsi, Executive Vice President, HBO Programming, Head of HBO Drama Series and Films, back when season five was revealed. "From conception to release, Night Country has been the most beautiful collaboration and adventure of my entire creative life. HBO trusted my vision all the way, and the idea of bringing to life a new incarnation of True Detective with Casey, Francesca and the whole team is a dream come true. I can't wait to go again," added Lopez. There's obviously no trailer yet for True Detective season five, but check out the full trailer for True Detective: Night Country below: Season five of True Detective doesn't yet have a release date, but we'll update you when more details are announced. True Detective: Night Country streams via Max in Australia and Neon in New Zealand. Read our review. Via Variety/The Hollywood Reporter. Top image: Jason Bollenbacher/SXSW Conference & Festivals via Getty Images.
Does the thought of ribs make you instantly lick your lips? If doesn't already, it will soon. In fact, getting the citizens of Brisbane to go weak at the knees for grilled meat products seems to be Barbecue Mafia's main aim — and their latest event is certain to achieve that outcome. Rack City might seem simple; however the response it is sure to inspire will be anything but. If you're not overcome with a wave of complicated sensations when you tuck into half a rack of cherry wood-smoked pork ribs, as well as maple bacon potato salad, herbed slaw and a whole pickle, well, you're just not doing it right. To celebrate Barbecue Mafia's top ten finish at the Australian BBQ Wars, that's exactly what's on offer at Republic Coffee Traders from 5pm on Saturday April 23 — and all for just $25 per person. You'll think you've died and gone to barbecue rib heaven, but only if you get in quick. Pre-ordering online is recommended, because this meaty feast is sure to sell out.
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
Saying that anything to do with The Handmaid's Tale is stressful is like saying that Gilead looks like a terrible place to live: blessed be the obvious. Still, tense is definitely the word for the dystopian hit's first sneak peek at its upcoming fifth season, with all signs pointing towards a big showdown between June (Elisabeth Moss, Shining Girls) and Serena (Yvonne Strahovski, Stateless). If you're up to date on the series — which was renewed for this fifth season before the fourth even hit — you'll know why. You'll also be well aware of the reasons behind Serena's in-mourning getup, too. The end of the last batch of episodes was always going to change the already-complicated relationship between The Handmaid's Tale's two key women, and now the next run of instalments will chart the fallout. Get ready to see June navigate more than a few consequences, and also try to work out who she now is and what's driving her. She's still fighting Gilead from afar, though, with Luke (O-T Fagbenle, Black Widow) and Moira (Samira Wiley, Breaking News in Yuba County). As for Serena, she's in profile-raising mode in Toronto, as Gilead's influence creeps into Canada — and Commander Lawrence (Bradley Whitford, Tick, Tick... Boom!) and Aunt Lydia (Ann Dowd, Rebecca) are endeavour to reform Gilead. Also returning among the cast: Max Minghella (Spiral: From the Book of Saw), Madeline Brewer (Hustlers), Amanda Brugel (Snowpiercer) and Sam Jaeger (The Eyes of Tammy Faye). With all of the above, blessed be the bleak dramas, too, which is exactly what The Handmaid's Tale has been serving up since 2017 now. Of course, on the page, this grim look at a potential oppressive existence has been drawing in fans since the 1985, when Margaret Atwood's book first hit shelves. A film followed in 1990, and opera in 2000 — plus a sequel novel in 2019. Yes, there have been many ways to dive into The Handmaid's Tale over the years, but only one keeps winning small-screen awards and stars a phenomenal Moss. Thankfully, the wait between the show's fourth and fifth seasons is shorter than the gap between its third and fourth — a year rather than two. The date to mark in your diary: September 15, given that the show will return in the US on September 14. Down Under, episodes air weekly on SBS in Australia, and stream via SBS On Demand — and hit Neon in New Zealand — at the same time as in America. Check out the trailer for The Handmaid's Tale season five below: The fifth season of The Handmaid's Tale will hit start airing in Australia and New Zealand from September 15 — on SBS TV, and to stream via SBS On Demand and Neon, with new episodes arriving weekly.
Have you heard of competitive endurance tickling? Neither had David Farrier. The New Zealand journalist came across videos of Adidas-clad men participating in the activity online quite by accident, and was (understandably) fascinated. We've all been sucked in by strange subjects before, but very few internet obsessions turn out like this. Indeed, there's a reason that Farrier decided to pick up a camera and trek from Auckland to Los Angeles with co-director Dylan Reeve to make a doco about the bizarre world he had uncovered. The result is Tickled, the kind of stranger-than-fiction film best enjoyed by those with as little pre-existing knowledge as possible. That said, because it's also a feature that has to be seen to be believed, it's guaranteed to cause a reaction regardless of how much of the story you've already heard. In fact, part of the documentary's success stems from how it balances the laughs with the cringes, making audiences feel incredulous and infuriated all at once. As someone who has, in his own words, made a career out of reporting on "the weird and bizarre part of life", Farrier started his investigation by firing off a few emails asking questions about a barely publicised but well-paying tickling contest. After a couple of responses, each one more hostile and homophobic than the last, the journo realised he had become immersed in a strange world in more ways than one. If you thought the idea of pro-tickling was unusual, just wait until you discover the alarming reality behind it. Bullying, exploitation, intimidation, fetishes and fake personas are just the beginning. In truth, Tickled is about a lot more than its title suggests. In addition to investigating the mysterious company behind the competition and exploring the experiences of others who've turned the touch of a feather duster into something lucrative, the film also serves as a reminder about the unseemly side of our interconnected existence. In that way, it sits alongside the 2010 documentary Catfish, posing queries about modern interactions and examining the ways in which technology can both bring people together and tear lives apart. Farrier himself proves a vital central figure. Whether he's on-screen guiding what becomes a race for answers, or off-screen narrating his exploits over recreated footage, the journalist manages to maintain a sense of urgency while at the same time keeping things intimate and personal. And it is personal, as anyone who has been keeping up with movie news of late will be aware. Farrier and Reeve are still receiving legal threats from the film's subjects, who have also taken to showing up to screenings unannounced. Astonishingly, that's one of the most straightforward aspects of this compelling and confounding film.
Every year is a big year for movies, but 2023 is set to be downright explosive, all thanks to one of the most-anticipated films of the year. That feature: Christopher Nolan's latest, and his first flick since Tenet. It just explores a little thing called the atomic bomb, focusing on J Robert Oppenheimer. "They won't fear it until they understand it. And they won't understand it until they've used it," says the titular figure in the just-dropped full Oppenheimer trailer. Played by Nolan regular Cillian Murphy (see also: The Dark Knight, Inception, The Dark Knight Rises and Dunkirk), the "father of the atomic bomb" narrates the new sneak peek with plenty of such telling comments. Here's another: "I don't know if we can be trusted with such a weapon, but we have no choice". Yes, Nolan is going back to the Second World War again, focusing on the eponymous American physicist, aka the man who helped develop the first nuclear weapons as part of the Manhattan Project. Also earning the director's attention: the fact that Oppenheimer needed to risk destroying the world to save it. Charting his life, his part in birthing the atomic bomb and how it changed the world — and the fallout — should make for gripping viewing, although viewers will need to wait until July 20, 2023 Down Under to find out. The new trailer follows a brief teaser in mid-2022, and provides a bigger glimpse of what's in store. Oppenheimer's story also includes heading up Los Alamos Laboratory — and observing the Trinity Test, the first successful atomic bomb detonation in New Mexico on July 16, 1945 — as this latest bit of footage shows. Nolan is always in serious mode, but this is a solemn affair even by the Memento, Interstellar and Dark Knight trilogy filmmaker's standards. And, it looks like a spectacle, in no small part thanks to being shot in IMAX 65mm and 65mm large-format film photography, including sections in IMAX black and white analogue photography for the first time ever. Based on Kai Bird and Martin J Sherwin's Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, the film boasts an all-star cast, including Emily Blunt as the physicist's wife, biologist and botanist Kitty (reteaming Blunt with Murphy after A Quiet Place Part II) — plus Matt Damon (The Last Duel) as General Leslie Groves Jr, director of the Manhattan Project; Robert Downey Jr (Dolittle) as Lewis Strauss, a founding commissioner of the US Atomic Energy Commission; and Florence Pugh (The Wonder) as psychiatrist Jean Tatlock. Also set to pop up: Josh Hartnett (Wrath of Man), Michael Angarano (Minx), Benny Safdie (Stars at Noon), Jack Quaid (The Boys), Rami Malek (No Time to Die) and Kenneth Branagh (Death on the Nile). Oh, and there's Dane DeHaan (The Staircase), Jason Clarke (Winning Time: The Rise of the Lakers Dynasty), Olivia Thirlby (Y: The Last Man), Alden Ehrenreich (Solo: A Star Wars Story) and Matthew Modine (Stranger Things) as well. Check out the full trailer for Oppenheimer below: Oppenheimer will release in cinemas Down Under on July 20, 2023. Images: © 2022 Universal Studios. All Rights Reserved.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. TITANE Eye roll-inducingly terrible bumper stickers be damned; no one honks if they're horny in Titane. Revving when aroused is more this petrol-doused body-horror film's style, spanning characters both flesh and chrome. When she's seen writhing in fishnets atop a flame-adorned vintage Cadillac, the stony-gazed Alexia (debutant Agathe Rousselle) is working. She's titillating a Fast and Furious-style car crowd with her sexed-up display, but the car model still seems to hum with every gyration. After wrapping up, murdering a grab-happy fan with the metal chopstick keeping her hair up and then showering off the gooey, gory evidence, she's soon purring rhythmically inside that gleaming vehicle. Yes, in a plot detail that spilled the instant Titane premiered at this year's Cannes Film Festival, where it won the prestigious Palme d'Or, this is the French car sex flick. How does someone fornicate with an automobile? Not inside or on the waxed hood, but copulating with the vehicle itself? That's one of this pumping piston of a movie's least interesting questions, although Titane does go there. In her sophomore effort after the also-phenomenal teen cannibal film Raw, writer/director Julia Ducournau isn't too interested in those specifics. She splashes the bouncy sex scene across the screen with lights flashing, human and motor pulsating as one, and pleasure seeping like exhaust fumes, but it's hardly the picture's only point of interest. Titane isn't the first feature to flirt with carnality and cars — Ridley Scott's The Counsellor had a gas-fuelled rendezvous less than a decade ago; Crash, from body-horror godfather David Cronenberg, is also steeped in automotive eroticism. But Ducournau's addition to the parking lot shrewdly links mechanophilia with agency and control, particularly over one's feelings and body. First, before cylinders start lustily thrusting, Titane finds the initial growls of Alexia's four-wheeled fascination via a quick race through her childhood. As a seven-year-old (fellow first-timer Adèle Guigue), she enjoys audibly rumbling along with the engine. She also likes kicking the chair in front of her, exasperating her dad (French filmmaker Bertrand Bonello, director of Nocturama and Zombi Child) into an accident. For her troubles, she gets a plate of the titular element inserted in her cracked skull. That steely stare matches the alloy in her head even then. From the outset, Ducournau pairs blood and metal, reshaping her central figure while laying bare her vulnerabilities. She kicks her film into a gear it'll keep shifting into again and again, too, because this is a movie about modifications: physically, emotionally and while trying to claim one's own sense of self. Titane isn't just the French car sex film, clearly. It isn't merely a car sex movie about a woman partly forged from titanium, and with a penchant for piercing her way through those who block her road. Nor is it simply the French car pregnancy flick, with Alexia and the Caddy's tryst bearing fruit — a condition she tries to conceal, especially after more deaths lead her to Vincent (Vincent Lindon, At War), a fire chief who takes her in as his long-missing son. If Ducournau had made her script out of metal, she'd be moulding it in its molten form. She'd be letting it bubble; key to Titane's blistering appeal is its eagerness to let things boil, then brim over, because the feelings and ideas it works with are that scorching. If her feature was a car instead, it'd be that libidinous, fire-emblazoned Cadillac, which arrives with a bang, lures Alexia in and then lets loose. Read our full review. VENOM: LET THERE BE CARNAGE What's more ludicrous in Venom: Let There Be Carnage: an alien invasion of one man's body that turns into a parasite-host odd-couple show, or a prologue that thinks Woody Harrelson could've been a 90s teen? Kudos to this sequel to 2018's Venom for starting how it means to go on, at least. With its opening, set in 1996 in a home for unwanted children, the film doubles down on silliness, overblown theatrics and packaging itself as a cartoonish lark. The goofiness of the original box-office hit was among its best traits, and worked because that ridiculousness rattled against the movie's gritty superhero setup. Venom adopted all the stylistic markers that've become the serious-minded caped-crusader formula, then let Tom Hardy bounce around like he was in a comedy. But this time, everyone's gone more than a little vaudeville, as has the movie — and the outcome is right there in the title. Carnage isn't just an apt term to describe the film, which has actor-turned-director Andy Serkis (Mowgli: Legend of the Jungle) behind the lens; it's also the name of its second symbiote, aka a flesh-munching extra-terrestrial who inhabits a bag of bones, then brings out its basest urges. Mercifully, Let There Be Carnage isn't big on rehashing the mechanics established in the initial flick, but Venom fits the bill, too, after the creature took up residence inside San Francisco journalist Eddie Brock (Hardy, Capone), then unleashed the franchise's one-body, two-personality double act. Carnage, the red-hued parasite, is the spawn of Venom, albeit bursting forth from condemned serial killer Cletus Kasady (Harrelson, Zombieland: Double Tap) after a scuffle with Brock. And yes, this is the kind of feature that has the scenery-chewing Harrelson proclaim its subtitle with glee. He bellows "let there be carnage!" with winking jokiness, but resembles a ringmaster announcing the next act in a big top. Scripted by returning scribe Kelly Marcel, who also mined Fifty Shades of Grey for all the humour she could — and using a story co-credited to Hardy, who clearly has an attachment to his Marvel-but-not-Marvel Cinematic Universe character — Let There Be Carnage isn't burdened with much plot. After getting murderous following his separation from girlfriend Frances Barrison (Naomie Harris, No Time to Die) in their youth, Kasady will only tell his tale to Brock before he's executed. The latter goes awry due to Carnage's arrival, and a deal. The new symbiote will reunite Kasady with Barrison, whose ability to manipulate sound has seen her locked in an asylum, if the sadistic criminal assists his havoc-wreaking passenger to dispense with Brock and Venom. Cue the obvious — yes, carnage — and an inevitable showdown. Harrelson wasn't an adolescent in the 90s, but his performance nods to that decade, back when his resume spanned White Men Can't Jump, Natural Born Killers, The People vs Larry Flynt, EDtv and the like. That isn't a compliment; he's simply summoning-slash-parodying that heyday, and he's in a film that wishes it released then. Indeed, Let There Be Carnage could've been the hit of 1993, 1999 or any other year before Christopher Nolan's Batman trilogy reshaped the genre, the MCU turned it into one of the predominant forms of big-screen entertainment (and now small screen, too), and superhero flicks began arriving every few weeks. Really, Harrelson's work here feels like a chaotic distraction rather than a throwback nudge, because there's only one great thing about Let There Be Carnage: Tom Hardy arguing with himself Read our full review. BAD LUCK BANGING OR LOONY PORN Banging is the certainly word for it; when Bad Luck Banging or Loony Porn begins, it's with high school teacher Emi (Katia Pascariu, Beyond the Hills) and her camera-wielding husband Eugen (first-timer Stefan Steel) having loud, enthusiastic, pink wig-wearing sex — and filming it. Romanian writer/ director Radu Jude (I Do Not Care If We Go Down in History as Barbarians) shows the explicit three-minute snippet of footage as others will see it, because others will indeed see it: the students at Emi's school, their parents and her fellow teachers among them. 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 bold and firm statement. So many people within the film's frames will take issue with it as vocally as Emi and her partner are enjoying themselves — and they're unmistakably enjoying themselves — but Jude definitely isn't one of them. 2021's Berlinale Golden Bear-winner, Bad Luck Banging or Loony Porn also starts with a gleeful provocation — not just to those seeing Emi and Eugen's home video within the movie, but to Jude's viewers. It's a jolting opening that's exactingly orchestrated to make audiences react, then unpack their own instant reflexes in tandem with the rude on-screen posse that may as well be waving pitchforks. The underlying question: to those who object, what makes this raunchy romp between two consenting adults so shocking? Worse exists on the internet en masse all the time, so is it its unexpected arrival? Within the picture, is it the fact that Emi is a teacher, a woman or that she's unapologetic, too? Both queries speak to ideas long internalised about what we see where, who we allow to do what, and the power that comes from enforcing arbitrary and hypocritical judgements about supposed immorality and obscenity. Indeed, loving, animated, costumed and sex toy-aided intercourse between a married couple in the privacy of their own home is the nicest thing that graces Bad Luck Banging or Loony Porn — until the feature's glorious climax, that is. What follows the intimate clip is a razor-sharp satire of a world that's so indifferent to so much ghastliness and so often, yet remains so unaccepting of carnality and so quick to use it as a reason to unbridle our worst sniping impulses. The film wields that notion as a weapon, all as Emi and Bucharest's other residents also navigate the pandemic. Jude could've set his scorching feature at any time, but overtly drawing attention to the daily behaviour that's been accepted while the globe battles a decimating virus — and the fact that some here would rather fixate on a different and trivial kind of viral spread — makes a blunt but perceptive point. Accordingly, in the cinema verite-style first section, Emi rushes around the city on foot, going about an ordinary day that morphs into anything but. Actually, given that she learns of the sex tape backlash while surrounded by everyday hostilities and vulgarities, this chapter reinforces an ugly truth: that the performatively horrified responses from the parents of Emi's students are all too routine. Then, Bad Luck Banging or Loony Porn's second act unleashes scathing and playful cine-essay snippets about the country's past, the planet's present, human behaviour — often at its most atrocious — and how porn is used as both a scapegoat and an anaesthetic. Lastly, a mask-wearing Emi is interrogated and publicly humiliated by parents and teachers, their punitive savagery and blatant sanctimoniousness on full display. Read our full review. THE UNFORGIVABLE There's a sense of symmetry to the fact that Netflix drama The Unforgivable marks Sandra Bullock's first movie in three years — since she last graced the big screen in Ocean's 8 and also starred in the streaming platform's hit Bird Box, both in 2018. After winning her Best Actress Oscar back in 2009 for The Blind Side, Bullock has appeared on-screen sparingly, featuring in just seven films over that period; however, when she puts in a phenomenal performance, she's as excellent as ever. In The Unforgivable, she does haunted, dead-eyed and determined like it's second nature, playing against-type as a woman just released from prison after a 20-year stint for murder. That said, she's also one of the best things about a movie that's almost everything else enough — serviceable-enough, watchable-enough, engaging-enough, compelling-enough — as it tracks an overstuffed redemption quest. Bullock's Ruth Slater has had two decades to stew on the incident that sent her to prison: the killing of a sheriff (W Earl Brown, No Man of God) who was trying to evict her and her then five-year-old sister Katie (Neli Kastrinos, Yellowjackets) from their family's farmhouse following their father's suicide. Upon getting out, she's warned by her parole officer (Rob Morgan, The United States vs Billie Holiday) about the difficulties of reintegrating back into normality, but finding her sibling (Aisling Franciosi, The Nightingale) is the sole thing on her mind. That's complicated by Katherine's lack of memory of anything before her adoption, and her protective new parents (Succession's Linda Emond and The Comey Rule's Richard Thomas). And, while there's enough meat in that family reunion saga for the film's plot, that's only one of its threads. Screenwriters Peter Craig (Bad Boys for Life), Hillary Seitz (Eagle Eye) and Courtenay Miles (Mindhunter) have adapted The Unforgivable from three-part 2009 UK TV series Unforgiven; hence the jam-packed storyline that feels as if it's unwilling to trust that just one or two of its subplots could garner an emotional response. Also included: the stigma of life as a convicted cop-killer, a label that follows Ruth's every move; the sheriff's now-grown sons (Wonder Wheel's Tom Guiry and Dickinson's Will Pullen) and their revenge plans; a tentative connection with a colleague (Jon Bernthal, The Many Saints of Newark) at the fish factory where she works nights; the couple of well-off lawyers (The Suicide Squad's Viola Davis and Godfather of Harlem's Vincent D'Onofrio) who now live in the Snohomish County home that started all her trouble; and a secret that Ruth's been carrying for years. Davis is sorely underused, but also exceptional in her few scenes, carving out as much space as she can in a film that always seems hurried. There should be urgency to The Unforgivable, of course, given Ruth's desperate focus on reconnecting with her sister, but there's a sensation of rushing rather than immediacy. Still, thanks to her two biggest female names — with one yearning yet closed off, and the other segueing from affronted to understanding, Bullock and Davis' scenes together are repeated highlights — filmmaker Nora Fingscheidt (System Crasher) ensures that neither tension nor intensity is lacking in her English-language debut. With cinematographer Guillermo Navarro (Dolittle), she also smartly mines the parallels between Seattle's grey climes and the many shades in Ruth's restarted life, but The Unforgivable still never manages to quite match its best elements. BEST SELLERS Best Sellers is the latest case of casting-by-internet, or so it seems, at least: pairing up Aubrey Plaza and Michael Caine smacks of a feverish film Twitter dream. They both turn in fine performances, too, with the former coming off career-best work in Black Bear to play independent publishing house editorial director Lucy Stanbridge, and the latter getting a meatier role than his last Christopher Nolan-directed bit-part (that'd be Tenet) as cantankerous writer Harris Shaw. Lucy needs a big bestseller to save the business, which she took over from her father. Harris has been typing out manuscripts for the five decades since his sole success, which made the elder Stanbridge, but hasn't submitted the one he's under contract for to the company. Enter Lucy's solution to her pressing problem, and one that the reclusive Harris only goes along with because he's short on cash. Knowing how Best Sellers will turn out is as easy as knowing which marks the always-likeable Plaza and Caine usually hit. Indeed, it's knowing why their team-up instantly sounds like a winner on paper — she's acerbic, albeit in a slightly lighter mode than seen in her breakthrough Parks and Recreation role, while he relishes being a curmudgeonly, outdated drunk who yells "bullshite!" so much that it's soon a viral catchphrase. There's plenty to like about their scenes together, especially when sweetness seeps into the surrogate grandfather-granddaughter bond that develops while Lucy and Harris are on tour spruiking his new book anywhere and everywhere they can. In their solo moments, they both find rich notes of yearning and melancholy in their unlikely duo, too, cementing the film's tender but comic look at odd-couple kindred spirits. Nevertheless, while boasting its own shelf of charms, Best Sellers is more standard than stellar. Mostly, actor-turned-directing first-timer Lina Roessler and screenwriter Anthony Grieco, a fellow thespian-turned-debutant, remain happy doing the minimum — which is understandable when you have Plaza and Caine leading the show, but keeps the film from cutting as deeply as it could. There's hints of savvy savageness in Harris' rallying against the literary world, the commerce of publishing and everything that comes with being a celebrity, although it always sticks to the expected. The same applies in Lucy's willingness to rethink the usual relationship between art and money in order to get the new book, The Future Is X-Rated, to strike a chord with readers as the pair make dive bars their offices on their cross-country road trip. A movie can be nice and neat at once, and for one to be a pro while the other proves a con — and this is one of those movies. Even though it could've been so much more, Roessler's feature is an easy, undemanding and cosy watch, and its soft hues ensure that feeling remains as plain as an all-caps book cover. Best Sellers is also far too eager to stick to cliches, including that aforementioned gentle visual approach, which feels bluntly tailored to the weekday matinee crowd. Time might be against them — he's 88 now, and made it sound as if he might be done with acting while doing real-life promotional duties for Best Sellers, although he then walked that back — but here's hoping that Plaza and Caine get a second on-screen chance. Their first collaboration definitely whets the appetite for more; in fact, that's the firmest imprint it leaves. STRAY In gorgeous and glorious 2016 documentary Kedi, Istanbul's stray cats received their moment in the cinematic spotlight, and also expressed much about the Turkish city and its human inhabitants in the process. The result was perfect — purrfect, even — regardless of whether you're normally a feline fan. Indeed, it's the defining movie about mousers, and also about their relationship with both places and people (even trying to put the likes of Garfield, Cats, A Street Cat Named Bob and its sequel A Christmas Gift from Bob, some of cinema's other go-to kitties, in the same company is thoroughly pointless). With Stray, it's now their canine counterparts' time to shine, so animal-adoring film lovers can spread their love between cats and dogs equally. Where Kedi elicited purrs of elation, this dog-centric delight is a piece of tail-waggingly tender and thoughtful cinema, too. Istanbul isn't just an arbitrary choice of setting for this compassionate film; it has a 'no kill, no capture' law when it comes to the dogs roaming its streets, which is why there's more than 100,000 of them scampering around. That leaves documentarian Elizabeth Lo spoiled for choice, but she only spends time with a few of those woofers. They span street veterans Zeytin and Nazar, both of whom prowl the pavement as comfortably as they would someone's home, as well as puppy Kartal. As they sniff and scurry their way through their days, Lo stitches together a perceptive and textured portrait of their lives, of the city around them, and of the people who help and are helped by them — and, just like in Kedi (which she wasn't affiliated with at all), there's plenty of two-legged Istanbulites who prove forever changed by these canines' presence. Here, there's a group of young street-dwelling Syrian refugees that are especially touched by Zeytin, Nazar and Kartal as well. Making her first full-length film after a background in doco shorts, the director/cinematographer/editor lets her four-legged subjects be the stars, even though humans are an inescapable part of their existence. Lo is also happy to let her audience observe her furry heroes. More than that, she frequently places the camera at canine height so that viewers feel as if they're seeing the world through a dog's eyes, or getting as close as they can (far closer than simply watching your own pet on a home video, for instance). Forget saccharine Hollywood flicks that use that idea as a gimmick (see: A Dog's Purpose and A Dog's Journey — or, better yet, don't see them because they're terrible). In Stray, immersion and insight are the key aims. And, they're feats that the soulful and contemplative movie repeatedly, patiently and ruminatively delivers. The result is a doggie treat of a crisply lensed doco, and one of the biggest joys of both Kedi and Stray alike is the sensory experience that comes with their on-the-ground approach. Neither movie merely wants to just show audiences how their chosen animals live, but to convey as much detail as possible — which is where that canny camerawork, and also the feature's naturalistic soundscape, barks loudest. Some elements of Stray do strive a little too hard to resonate, though, such as its philosophical quotes about dogs and composer Ali Helnwein's score. But just as it's impossible to begrudge a pooch for being too energetic, it's difficult to fault a film this shrewd, earnest and heartfelt about the crucial role that canines inhabit in human civilisation, the many ways we benefit, and the sheer magic of a pure pupper-people connection. CRY MACHO Clint Eastwood has already had his animal phase, thanks to 1978's Every Which Way but Loose and 1980's Any Which Way You Can. At the age of 91, he's already had almost every phase in his career he's going to both in front of and behind the lens. Still, with Cry Macho, he takes the road already well-travelled by seemingly every other on-screen action star and tough guy. Eastwood has been far more than that across his filmography, but he's now buddying up with a child as everyone from Arnold Schwarzenegger and Vin Diesel to Dwayne Johnson and Liam Neeson have before him. Indeed, Cry Macho overtly resembles one of the latter's most recent movies, The Marksman, which only hit cinemas earlier in 2021. It stemmed from a former Eastwood collaborator, in fact, and felt like it should've starred him — which leaves his latest following in its footsteps. They aren't impressive footsteps to retread, although Eastwood and screenwriter Nick Schenk (a veteran of the actor/director's Gran Torino and The Mule) help imbue their feature with more depth than its predecessor. Their approach is straightforward and easy, yet it works, in no small part because seeing Eastwood stride across the frame always brings his wealth of prior roles to mind. Cry Macho leans into and toys with that past. That's an apt move in another way, given that this film could've been made with this star/helmer in the 80s, but he passed on it. Schwarzenegger also cycled in and out of the project a decade ago, but it seems this movie needed to wait for Eastwood. The throwback vibe it sports — that comes as much from it being penned by N Richard Nash in the 70s, rejected as a screenplay, then turned into a novel, as from being set in 1979 and 1980. A rodeo star whose life changed via injury (his own) and tragedy (losing his wife and son), Mike Milo (Eastwood) is content enough with his quiet twilight years. Alas, his old boss Howard (country singer Dwight Yoakam) now says that the cowboy owes him a favour. The rancher's teenage son Rafo (Eduardo Minett, La rosa de Guadalupe) apparently needs rescuing from his mother (Fernanda Urrejola, Party of Five), and Mike is the man reluctantly tasked with travelling to Mexico City to carry out the job. Unsurprisingly, the situation isn't as clearcut as Howard contends, with corrupt Federales, car thieves and other unhappy strangers on their path all muddying the road home even further. But a forced stopover in a small town, where cantina owner Marta (Natalia Traven, Soulmates) becomes the new female influence in their lives, helps forge a rapport. There's also a rooster called Macho, which is Rafo's best friend and his source of income via cockfighting — and the reason that Eastwood growls out the line "if a guy wants to name his cock Macho, that's fine with me". Mike doesn't take to the fowl at first but, of course, his way with animals is one of his defining traits. Cry Macho's chief struggle — its balance of what gleams and what's trite — shines through in this rooster relationship. There's something moving in the bond that obviously forms between Mike and Macho, as it does between Mike and Rafo, but it's also happy to be overly mawkish. The film looks the sun-drenched western part, and Eastwood plays his own part with grizzled grace; however, those uneasy balancing acts just keep popping up. Here, reflecting on what it really means to be macho and a hero goes hand in hand with writing off sexually confident women and having the movie's two primary female characters basically throw themselves at Eastwood, for instance. PALAZZO DI COZZO If Franco Cozzo was to spruik Palazzo Di Cozzo the same way he's promoted his baroque furniture business over the decades, he'd likely repeat one phrase: "grand documentary, grand documentary, grand documentary." He'd do so because that's what he's known for, and because his ads peppered with "grand sale, grand sale, grand sale" are a part of Melbourne's history, even inspiring a single that hit the charts. On the city's TV screens, Cozzo has been the face of his eponymous homewares store, so much so that he's a local celebrity. His lively exclamations fill much of this doco, too, through archival clips, observational footage of him at work and a to-camera interview. In the latter chat, he sits on one of the ornate chairs he's made a fortune selling, and answers interview questions like he's holding court — and for Melburnians familiar with his name and citywide fame, and for the uninitiated elsewhere, Palazzo Di Cozzo explains both the reason he's regarded as such a prominent personality. Written and directed by feature-length first-timer Madeleine Martiniello (The Unmissables), the result is a film about the hardworking jump its subject took from arriving in Australia from Sicily in 1956 to becoming part of the cultural fabric of his new home. Speaking about the mural painted of Cozzo in Footscray, graffiti artist Heesco notes that his tale is "the migrant dream"; however, while this affectionate film happily stresses that point, it also blissfully takes the easiest route. As a straightforward chronicle that covers the basics — who Cozzo is, what he's done, and also where, when, why and how — Palazzo Di Cozzo ticks the expected boxes in an informative and engaging-enough fashion. It tracks his story from making the move to Melbourne by boat and starting out as a door-to-door salesman, through to his 70s and 80s heyday, his frequent media presence, and his standing today. It lets his personality lead the way, too. And, the film also spends some of its early moments chatting to people who've decked out their houses with his wares, or watched their parents to do the same, to underscore what the rococo aesthetic has meant to Italian expats as an opulent slice of home. But even when one interviewee is in tears recounting how hard her mum and dad must've worked to spend $17,000 on Cozzo furniture in the 70s, there's always a sense that Palazzo Di Cozzo isn't scratching as deep as it should. The documentary doesn't avoid moments that Cozzo would rather forget, and even shows him getting irate when questioning heads in a direction he doesn't like; however, it also indulges rather than interrogates the persona that's leapt up around him over the years. Cue too many instances of people parroting his style of English back to him, and indulging a cartoonish stereotype — and very little effort to understand why that's the image Cozzo chose, what his popularity for playing that part says about Australia and its attitudes towards migrants, and also what the nostalgia afforded his way now says as well. Palazzo Di Cozzo is now screening in Sydney and Melbourne after opening in Brisbane earlier in the year when New South Wales and Victoria were in lockdown. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; and November 4, November 11 and November 18. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou and The Rescue.
When you're looking for a change of pace, Queensland's outback reaches might just be the perfect place to take some time out and get into the wild. But where should you start exploring the seemingly endless expanse of red dirt and rolling hills? Located about 800 kilometres west of Brisbane, the charming community of Cunnamulla fits the bill. Boundless opportunities await for you and your travelling buddies to embrace this rural heartbeat of Australia, thanks to its enchanting river systems, soaring sand dunes and historic outback stations. Meanwhile, Cunnamulla also has just enough creature comforts to ensure a relaxing stay. In partnership with Wild Turkey, we've picked out seven ways to experience this fascinating rural region. [caption id="attachment_841312" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] VISIT A TRADITIONAL OUTBACK STATION AND EXPERIENCE LIFE ON THE LAND Whether you're a city slicker or certified survivalist, enjoying life on an outback station is an unforgettable experience. Fortunately, the areas surrounding Cunnamulla are home to a number of historic farmlands that welcome visitors for outdoor adventures and backcountry camping. One such example is Franc Villers Station, which features serene unpowered camping sites alongside a picturesque dam. Here, you're welcome to fish, swim or just relax in the country air. Meanwhile, Nulla Station offers camping along the Warrego River right beside a wildlife reserve, with a network of tributaries and rocky outcrops offering self-guided explorations. [caption id="attachment_841313" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] KAYAK, FISH OR SWIM IN THE MIGHTY WARREGO RIVER The Warrego River gives life to this dusty part of the country, stretching for more than 1000 kilometres and supporting the region's remarkable flora and fauna. Running through central northern New South Wales and southwest Queensland, this alluring intermittent river system is best experienced up close — and Cunnamulla is one of the best spots from which to do just that. Bringing along a kayak or canoe ensures you catch a glimpse of the shifting landscape, which traverses through wide-open plains and dense timber forests. The Warrego is also great for fishing, with freshwater species like silver perch and Murray cod known to inhabit the biodiverse waterways. [caption id="attachment_844554" align="alignnone" width="1920"] Elliott Kramer[/caption] GO SANDBOARDING ON NATURAL RED SANDHILLS Cunnamulla might be 850 kilometres from the nearest beach, but that doesn't mean you can't enjoy some of the country's best sandboarding adventures in the heart of the outback. While the climb to the top of these natural lofty dunes is a little tough, your efforts will be well rewarded with a thrilling ride down the slopes. A selection of local tour companies transport travellers to and from the nearby sand dunes, and also provide all the gear you need to surf these granular waves. Plus, the dunes offer awesome views of the surrounding landscape, ensuring you can fully appreciate the scale of the outback. TEE OFF AT THE CUNNAMULLA GOLF CLUB If you're planning to head to Cunnamulla, you don't have to leave your favourite set of clubs behind. The Cunnamulla Golf Club offers 18 challenging holes that ensure you practice your game overlooking the great outback expanse. However, don't expect the Augusta National when you arrive. This remote golf course is landscaped using dirt fairways and sandy 'greens', meaning you might have to give your swing some extra oomph. Sections of the course are lined with river gums and coolabah trees, so keep an eye out for local wildlife using the course as a thoroughfare from the nearby Warrego River. [caption id="attachment_844043" align="alignnone" width="1920"] Mark Gillow (Flickr)[/caption] TAKE A STROLL AND GO WILDLIFE SPOTTING AT THE CUNNAMULLA BUSHLANDS The Cunnamulla Bushlands are perfect for a relaxed wander that puts you amongst the region's incredible natural beauty. This site is divided into ten ecological sections, with a charming one-kilometre walk that ensures you experience each one. Right at the end, you're rewarded with a peaceful place to sit in the wetlands. Here, striking native animals also run wild. You won't have any problem finding kangaroos with Cunnamulla recognised as having one of the largest populations in Queensland. Plus, the area is also known as a great place to see emus taking a stroll. [caption id="attachment_841311" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] TAKE IN HISTORY AND CULTURE ON THE CUNNAMULLA HERITAGE TRAIL Cunnamulla and the surrounding Shire of Paroo are steeped in history with the land occupied by the Gunya people long before the township's foundation. Nowadays, you can explore this history through the Cunnamulla Heritage Trail, which documents tales about the characters and buildings that forged this captivating outback community. There's great insight into the town's folklore throughout the trail. For instance, the Robber's Tree was climbed by wannabe bandit Joseph Wells as he tried to escape the police after he attempted to pillage the Queensland National Bank in 1880. Meanwhile, the towering bronze figure of the Cunnamulla Fella captures the spirit of 1950s bush characters recounted in Slim Dusty's namesake tune. [caption id="attachment_841310" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] CAMP OUT AT CHARLOTTE PLAINS STATION AND COOL OFF IN ITS ARTESIAN SPRINGS Cunnamulla offers visitors a range of comfortable accommodation options. But if you're looking for a unique outback stay, resting up at Charlotte Plains Station will deliver something special. Spanning a mind-boggling 70,000 acres, this massive property offers endless ways to reconnect with nature. While hundreds of working sheep and cattle are dotted across the farm, parts of the property have been transformed into idyllic countryside retreats, with powered camping sites, bungalows and more. With guests invited to shear sheep, search for stunning wildlife and bathe overlooking an ancient bore, this outback experience is like no other. Top image: Tourism and Events Queensland
In spots dotted across the globe, including in New York, Tokyo, Berlin, Paris and Sydney, the best way for tourists to get a full glimpse of bustling cities is to head up. We've all seen the photos. If you've ever been to one such destination, you've likely taken more than a few. Now, you can enjoy a killer view — and an excellent place to take sky-high snaps — in Brisbane as well. Over the past decade or so, rooftop hangouts have joined the River City by the dozens. But only Cicada Blu and Babblers since late August 2024 — plus Aloria from October — are part of Brisbane's new Sky Deck. The towering attraction on level 23 at the Queensland capital's just-launched $3.6-billion Queen's Wharf precinct, the viewing platform sits 100 metres above the Brisbane CBD. Cicada Blu is its resident openair bar and Babblers is its all-day dining haven, while Aloria will give Sky Deck its signature restaurant. Unsurprisingly, Cicada Blu takes centre stage on the lofty deck, in prime position for cocktails with a stunning vista from 3pm Wednesday–Thursday and midday Friday–Sunday. The menu here focuses on drinks with botanical infusions, which can be paired with an array of bar snacks. As the sun sets, live tunes also help set the mood. While gazing outwards is the drawcard across Sky Deck, Cicada Blu wants patrons to notice more than the vantage. It sports a lighting installation to give the bar even more of a glow than its sun- and star-lit perch is already does, with the luminous setup taking its cues from cloud formations and summer storms.
Some festivals stick firmly to their set dates, making you cram your fun within a set tight timeframe. Others let parts of their program flow on for longer, spreading and sharing the love for longer. At the 2022 BrisAsia Festival, exhibition In Transit falls into the latter category, filling the Museum of Brisbane from Monday, January 31–Sunday, August 7. Across its three-month-long stay, this immersive installation explores growth and healing, all through works about intersectionality, language, displacement and reclaiming history. To be specific, it's all about how that latter list can help growth and healing, with Filipino-Australian artist Rhanjell Villanueva and MoB's new Artist in Residence Naavikaran creating pieces and experiences to sit on City Hall's third level. From Villanueva, visitors will spy an eye-catching entranceway, which mixes queer-coded digital imagery and video, as well as work that dives into pre-colonial history in the Philippines. From Naavikaran, expect performance-based responses that'll activate the space, as well as events and workshops — starting with poetry sessions on Saturday, February 5. Top image: Rhanjell Villanueva. Halo Halo 2020. Courtesy the artist. Updated June 17.
UPDATE, February 16, 2022: Ginuary has changed venues and will now take place at Covent Garden rather than X Cargo. This article has been updated to reflect that change. UPDATE, January 18, 2022: Ginuary has moved from January 30 to February 27 due to Brisbane's current COVID-19 situation. This article has been updated to reflect that change. All day, every day that it's open, West End's Covent Garden is firmly in the gin game. Gin and tonics, gin cocktails, gin shots — if you like your alcoholic beverages made from juniper spirits, that's what you'll find here. And, that isn't changing in 2022, with the venue once again hosting one of its big gin-fuelled events: Ginuary. As always, we recommend that you arrive thirsty on Sunday, February 27. The shindig will go gin crazy as always, and involve eight gin degustation stations in a gin alley. There'll also be multiple gin bars, plus canapes. Also, you have options ticket-wise. A silver pass starts from $39 and will get you access to the gin stations — and their tastings — as well as those roaming bites to eat. Or, go gold from $145 to get four hours of unlimited drinks, spanning 30 Australian gins from 2020's Hottest 100 Gins countdown. There's also a platinum option from $179 that throws in gin masterclasses, too, and a VIP area. Whichever ticket you go for, you'll still get to enjoy Covent Garden's Hottest 100 Gins countdown for 2021, running through the best Australian and New Zealand tipples,. You can vote online in advance, then revel in the results live on the day. Top image: Atlanta Bell.
What better way to celebrate all that Brisbane has to offer than to offer simply the best? To coincide with the G20 Summit and its accompanying public cultural celebrations, our fair city is offering 24 days of free live music. Artists from the far reaches of Queensland are going to descend on Brisbane to show off their talents, taking to stages across the inner city suburbs to perform one-off treats. Some will be indulging in unforeseen collaborations and special performances. Artists on the bill include Emma Louise, The Medics, Velociraptor and We All Want To, to name a few. Head to the website to check out the full program. As this does take place in conjunction with the Summit, it’s been advised that attendees catch public transport to save themselves the headache of blocked traffic areas.
Everyone has heard of the term 'strong female character' — or seen it, if Netflix suggests the same weird and wonderful categories for you as it does for us. It's a problematic description because, while the film and television industry should be championing more depictions of empowered women, the version that many movies and shows offer up is far from realistic. In most cases, one ideal vision of femininity it simply swapped for another, which is something Rowena Hutson wants to fight against. In her all-singing, all-dancing, Melbourne Fringe Festival-winning physical comedy about action heroes, she breaks down caricatures, shares tales about the origins of her own feminist leanings, and — as unexpected as it might seem — even serves up Bruce Willis impressions. The show is part of the 2016 Brisbane Comedy Festival. Rowena Hutson is one of our top ten picks to see at the Brisbane Comedy Festival.
When you live in a river city as pretty as ours, particularly by night, then you want to work the local sights into every occasion. No, we're not suggesting you spend New Year's Eve near a Doughnut Time — spend it drinking cocktails by the water in the heart of the city. At Customs House's Sunset Spritz Cocktail Party, you'll sip Aperol Spritzes, Negronis, Prosecco and Peronis, you'll devour cocktail food, and you'll listen to the acoustic stylings of Oscar Richardson. You'll also gaze out over the CBD reach of the river, with the Storey Bridge towering over you. Are you thinking what we're thinking? Expect fireworks and more.
When winter blows her icy breath on our pale, dressing-gown-clad bodies, it can be all too tempting to stay indoors on the couch with a cup of tea and some mindless TV. Put down your Earl Grey because getaway experts Mr & Mrs Smith want you to embrace the chill and explore your own extended backyard with these ten deals and one killer competition celebrating Victoria's hidden charms. Whether you're keen to wander the countryside or draw near to the beating heart of the city, Mr & Mrs Smith will get you out of your Ugg boots and knee-deep into Victoria. As the frost sets in, Melbourne comes into its own, enchanting you with an abundance of cosy cafes and busy bars nestled in cool hidden laneways. Get your warm winter wardrobe at the unique boutiques and fashion strips on Chapel Street or get a healthy dose of culture at the many art, music and theatre shows on offer. Venture just an hour or two out of the city and you'll be swept away in the beauty of the Victorian countryside. Sip a batch of the freshest cider from the Yarra Valley and go on a tasting trail on your bike of locally grown wine and produce. Explore the natural beauty as you hike through the Grampians. Get your wetsuit on and forget about your goosebumps as you surf some world-famous beaches along the Great Ocean Road or be treated like royalty in the luxurious hotels of Daylesford. Mr & Mrs Smith have selected only the most standout boutique hotels and smart self-catering stays to tempt you off your couch and get you ensconced in a Victorian winter getaway. Win the Ultimate Victorian Adventure Mr & Mrs Smith are offering a chance to win the ultimate Victorian winter wonderland holiday for two. You'll be spoiled in the city with two nights at the Prince in St Kilda, where you can treat yourself to dinner at the top-rated Circa restaurant. Then head to Daylesford, spending two nights in the luxurious spa at the Lake House. Finish your trip off with two nights at the Mornington Pensinula’s beachside Big Blue Backyard and get the blood pumping with a dip in the ocean. You'll feel like a rockstar with a BMW X Series car ride to get up close and personal with the sights of Victoria. Return Qantas flights for two will get you to Melbourne from your closest Australian capital city. Enter the competition via their website. Exclusive Offers from Mr & Mrs Smith Can't wait? Check out all of Mr & Mrs Smith’s exclusive offers for Concrete Playground readers. 1. Big Blue Backyard, St. Andrews Beach Exclusive to Mr & Mrs Smith and Visit Victoria travellers; Stay three nights but only pay for two on the beautiful Mornington Peninsula. 2. The Cullen, Melbourne Exclusive to Mr & Mrs Smith and Visit Victoria travellers; save 20 per cent on Studio Suites and experience all the sights of trendy Prahran and Chapel Street. 3. Lake House, Daylesford Exclusive to Mr & Mrs Smith and Visit Victoria travellers; stay three nights but only pay for two and soak up Daylesford and the spectacular spa country. 4. Lyall Hotel and Spa, Melbourne Exclusive to Mr & Mrs Smith and Visit Victoria travellers; discover the secrets of South Yarra and the sights and delights of Chapel Street and save 20% off the usual rates. 5. Mansion Hotel & Spa, Melbourne Exclusive to Mr & Mrs Smith and Visit Victoria travellers; savour the historic surrounds, wine delights and zoo experience all within reach of this iconic hotel and save 20% off the usual rate. 6. Mollisons, Kyneton Exclusive to Mr & Mrs Smith and Visit Victoria travellers; stay three nights but only pay for two and experience historic Kyneton and surrounds. 7. Mt Sturgeon, The Grampians Exclusive to Mr & Mrs Smith and Visit Victoria travellers; stay three nights but only pay for two in the beautiful Grampians. 8. Ovolo Hotel Melbourne Exclusive to Mr & Mrs Smith and Visit Victoria travellers; visit Melbourne during winter and save 20% off rates. 9. The Prince, Melbourne Exclusive to Mr & Mrs Smith and Visit Victoria travellers; trendy St Kilda is yours to explore on this special winter offer and save 20% off the usual rates. 10. Royal Mail Hotel, The Grampians Exclusive to Mr & Mrs Smith and Visit Victoria travellers; stay three nights but only pay for two in the beautiful Grampians. To take advantage of these exclusive offers, book through the Mr & Mrs Smith website. Top image courtesty of Mr and Mrs Smith. Other images courtesy of Tourism Victoria.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from May's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in ahistorical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. IN LIMBO Not to be confused with the just-released Australian film Limbo, new six-part Aussie dramedy In Limbo not only takes its title to heart, but also uses the idea as fuel for a supernatural buddy comedy. Indeed, before the first episode is out, Nate (Bob Morley, Love Me) is palling around with his lifelong best friend Charlie (Ryan Corr, House of the Dragon) from the afterlife. The former doesn't know why he's still a presence. The latter is understandably reeling from the tragedy, and initially thinks that spying Nate is just a drunken hallucination. No one else, not Nate's wife Freya (Emma Harvie, Colin From Accounts), eight-year-old daughter Annabel (Kamillia Rihani, The Twelve), supremely very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent), can see their dearly-departed loved one as a ghost. It's Christmas, too, in this Brisbane-shot and -set series, and facing the festivities after such a shock is far from easy. While heartily deploying Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it thoughtfully does. Tackling grief, mental health and suicide is never simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up in Australian fare of late (see also: Totally Completely Fine). In Limbo is clearly made with care, empathy and understanding — and, crucially, doesn't attempt to offer any firm answers, instead acting as a conversation starter. At its core, the always-excellent Corr plays a complicated role with charm. That's no surprise given his resume, and he couldn't be better cast. Corr's likeable performance always dives deep into the about-to-get-divorced Charlie's struggle without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and never brushes past the character's flaws. And, just as importantly as the show's focus on 21st-century masculinity and friendship, Corr makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. In Limbo streams via ABC iView. CONFESS, FLETCH Since Mad Men had Don Draper want to buy the world a Coke to end its seven-season run back in 2015, comedy has been Jon Hamm's friend. He's the ultimate TV guest star, building upon stints in 30 Rock and Parks and Recreation while Mad Men was still airing with Toast of London, Unbreakable Kimmy Schmidt and Curb Your Enthusiasm, on a resume that also includes The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth and Wet Hot American Summer: First Day of Camp as well. So, casting him as the new Irwin Maurice 'Fletch' Fletcher couldn't be an easier move. Having fellow Mad Men standout John Slattery (The Good Fight) also appear in the latest flick about the investigative reporter, and the first since the Chevy Chase-led movies in the 80s, is another winning touch. Even if that reunion wasn't part of the film, Hamm is so entertaining that he makes a killer case for a whole new Fletch franchise — on whatever screen the powers-that-be like — with him at its centre. Hamm clearly understands how well he suits this type of character, and the genre; he's a comic delight, and he's also one of Confess, Fletch's producers. Superbad and Adventureland's Greg Mottola directs and co-writes, scripting with Outer Range's Zev Borow — and ensuring that Hamm and Slattery aren't the only acting highlights. Working through a plot that sees Fletch chasing a stolen artwork, discovering a dead body, and both looking into the crime and considered a suspect himself, the film also features engaging turns by always-welcome Twin Peaks great Kyle MacLachlan and Barb and Star Go to Vista Del Mar gem Annie Mumolo. There have been several attempts to revive Fletch over the past three decades, including separate projects with Ted Lasso duo Bill Lawrence and Jason Sudeikis — on the page, the character spans nine novels — but viewers should be thankful that this is the action-comedy that came to fruition, even if it skipped cinemas everywhere but the US. Confess, Fletch streams via Paramount+ and Binge. BUPKIS In its opening moments, Bupkis unloads — twice, in completely different ways, while ensuring there's zero doubt that this is a series about Pete Davidson starring Pete Davidson as Pete Davidson. First, the former Saturday Night Live comedian gets Googling while alone in the basement of the Staten Island home he shares with his mother Amy (Edie Falco, Avatar: The Way of Water). The results about Ariana Grande, Kate Beckinsale and Kim Kardashian's ex aren't positive; so, to shake off the unpleasantness of reading '12 Things Horribly Wrong with Pete Davidson', he switches from "scumbro" with "butthole eyes" comments to porn. He's wearing a VR headset, and he's soon deep in self-love. Then his mum walks in. Bupkis clearly isn't wary about getting crude. It isn't concerned about satirising its central figure, either. Instead, this semi-autobiographical dramedy relishes the parody. At the age of 29, Davidson has reached the "you may as well laugh" point in his career, which is hardly surprising given he's spent the past decade swinging his big chaotic energy around. Partway through the eight-episode series, while keen to claim some perks for being Davidson's mother — other than doting on her son, that is — Amy shouts at wait staff that "Marisa Tomei played me!". Add that to Bupkis' gleeful, playful nods to reality. An opening statement before each instalment stresses the difference between fact and fiction, and why the show has the moniker it has, but art keeps imitating life everywhere. There's no switching names, however. Davidson is indeed Davidson, his IRL mum is called Amy and his sister is Casey (Oona Roche, The Morning Show). As in The King of Staten Island, they've been a trio since 9/11, and dealing with losing his New York City firefighter dad still isn't easy. Off-screen, however, Davidson must be a fan of My Cousin Vinny, plus the gangster genre. Hailing from the former as Tomei does, and famed for his performances in the latter like The Sopranos star Falco, Goodfellas, Casino and The Irishman alum Joe Pesci is a pivotal part of Bupkis as Davidson's grandfather Joe — a hilarious and delightful part, unsurprisingly. Bupkis streams via Binge. Read our full review. VENGEANCE When Vengeance begins with a New Yorker journalist who's desperate to start his own podcast, Soho House hangouts and relationship advice from John Mayer as himself, it begins with rich and savvy character details. Writing, starring and making his feature directorial debut after helming episodes of The Office and The Mindy Project, BJ Novak instantly establishes the kind of person that Ben Manalowitz is. He shows the East Coast world that his protagonist inhabits, too — and, by focusing on the only guy in NYC without their own audio outlet, or so it seems, plus that romantic guidance, it splashes around its sense of humour. This is a sharply amusing mystery-comedy, and a highlight on Novak's resume in all three of his guises. It's also about subverting expectations, and lampooning the first impressions and broad stereotypes that are too often — and too easily — clung to. Indeed, Vengeance bakes in that idea as many ways as it can as Ben (Novak) does the most obvious thing he can to convince his producer (Issa Rae, Insecure) that his voice is worth hearing: bursts his Big Apple bubble. The Mayer bit isn't just a gag; it helps set up Ben as the kind of person who is dating so many women that he doesn't know which one has died after he gets a bereaved phone call from Texas in the middle of the night. On the other end is Ty Shaw (Boyd Holbrook, The Sandman), brother to Abilene (Lio Tipton, Why Women Kill), who insists that Ben head southwest immediately to attend her funeral — she claimed that they were serious enough that she's his girlfriend, after all. Upon arrival, the out-of-towner initially regards his hosts as jokes, and their lives and Abilene's death as content. Ty thinks she was murdered, and Ben couldn't be giddier about getting it all on tape and calling the series Dead White Girl. The journo's self-interest is up there with his obliviousness about anything that doesn't fit into his NYC orbit; however, this isn't a culture-clash comedy — thankfully — but a clever, self-aware and ambitious satire. It's also strikingly shot and features a standout performance by Ashton Kutcher (That '90s Show) as a suave record producer. Vengeance streams via Netflix and Binge. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it's also been going hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider have been giving the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek are happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they're equally thrilled for her. But ChaseDreams, their little brother's stage name, has always been a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke have never been above getting petty and messy about being the titular pair. In season three, however, they aren't just hanging around with stars in their eyes and resentment in their hearts. How do they cope? They've spent the past few years constantly comparing themselves to Chase, then to Pat, but now they're successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they're faking it or making it, nothing is ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wonders whether her dream manager gig is trivial after living through a pandemic, she starts contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he gets envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. THE CLEARING They're called The Kindred, not The Family. Adrienne Beaufort is their leader, not Anne Hamilton-Byrne. But there's no mistaking the inspiration for JP Pomare's book In the Clearing and its new eight-part adaptation The Clearing. Exploring the inner workings of an Australian cult based in rural Victoria, spouting New Age sentiments mixed with doomsday thinking, fixated upon blonde-haired children and led by a charismatic woman — a rare female cult leader — this tale fictionalises the real-life details documented in countless newspaper headlines since the 80s, and also in Rosie Jones' 2016 documentary The Family and 2019 series The Cult of the Family. Amid their so-wild-they-can-only-be-true stories, both of those projects showed viewers the eerie image of children with platinum locks in severe bobs and dressed in matching blue attire. That distinctive look is similarly at the heart of Disney+'s first original scripted Aussie drama. In the earlier of its two timelines, Amy (Julia Savage, Blaze) dons the tresses and uniform as one of the older children at Adrienne's (Miranda Otto, Wellmania) Blackmarsh bush compound — one being prepared to be her heir, and made an accomplice in the group's quest to add more kids to its ranks. Initially dutiful, the teenager is soon questioning the only existence she's ever known, with its harsh rules, strict aunties keeping everyone in line between Adrienne's sporadic visits, weekend services attended by well-to-do acolytes and, sharing the show's title, its LSD-fuelled confessional sessions. When The Clearing dwells in the now, still in Victoria at its leafiest, the smear of heartbreak and damage is ever-present. Indeed, when single mother Freya Heywood (Teresa Palmer, Ride Like a Girl) hears about a girl being abducted, she can't shake the feeling that history is repeating. She dotes over her primary school-aged son Billy (debutant Flynn Wandin), but she's also visibly nervous and anxious. When she keeps spotting a white van, she's a portrait of panic. The Clearing streams via Disney+. Read our full review. HIGH DESERT In High Desert, the always-excellent Patricia Arquette (Severance) leads a private investigator comedy that dapples its jam-packed chaos under California's golden sun, against the parched Yucca Valley landscape and with an anything-goes philosophy — not to mention a more-mayhem-the-merrier tone. She plays Peggy Newman, who isn't letting her age get in the way of perennially struggling to pull her life together. That said, when the eight-part series begins, it's Thanksgiving 2013 and she's living an upscale existence in Palm Springs, with gleaming surfaces abounding in her expansive (and visibly expensive) home. Then, as her husband Denny (Matt Dillon, Proxima) jokes around with her mother Roslyn (Bernadette Peters, Mozart in the Jungle), and her younger siblings Dianne (Christine Taylor, Search Party) and Stewart (Keir O'Donnell, The Dry) lap up the lavish festivities, DEA agents swarm outside. Cue weed, hash and cash stashes being flushed and trashed, but not quickly enough to avoid splashing around serious repercussions. A decade later, High Desert's protagonist has been sharing Roslyn's house and trying to kick her addictions while working at Pioneertown, a historical attraction that gives tourists a dusty, gun-toting taste of frontier life. Peggy would love to step back in time herself when she's not pretending to be a saloon barmaid — to when her recently deceased mother was still alive, however, rather than to her glitzy post-arrest shindigs. Still angry about being caught up in a drug bust, Dianne and Stewart have zero time for her nostalgia and a lack of patience left for her troubles. Their plan: to sell Roslyn's abode with no worries about where Peggy might end up. Her counter: doing everything she can to stop that from happening. High Desert doesn't just embrace the fact that living and breathing is merely weathering whatever weird, wild and sometimes-wonderful shambles fate throws your way; in a show created and written by Nurse Jackie and Damages alumni Jennifer Hoppe and Nancy Fichman, plus Miss Congeniality and Desperate Housewives' Katie Ford, that idea dictates the busy plot, too. High Desert streams via Apple TV+. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March and April this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Thinking of downsizing? Are you aware that you could be part of a movement? The tiny house movement, to be exact. Unenthused by mortgages, mopping and mountains of stuff, more and more people are shifting into Snugglepot-sized spaces. We're about to take a journey through some of the teeniest-tiniest houses in the whole world. Not only do they make you wish you could climb into a J.R.R. Tolkien novel, they're also the environment's new best friend. OTIS (Optimal Travelling Independent Space) Move over, Winnebago. This pod-on-wheels is the creation of a bunch of American REED (Renewable Energy and Ecological Design) students from Green Mountain College, Vermont. Not only is it mobile and ridiculously cute, it's also self-sufficient. A 300-watt solar powered system delivers electricity, a rain collection facility supplies water and the toilet is of the composting variety. Nearly all the construction materials are recycled. At just 2.4 x 3.6m, the OTIS can be easily towed via trailer. The Tiny Project American web designer Alek Lisefski and his partner Anjali were tired of paying through-the-roof rent. At the same time, though, they wanted a place to call home. So Lisefski took matters into his own hands by designing and building a portable miniature house. It's known as The Tiny Project and its motto is "Less House. More Life". Built-in, foldable furniture maximises the 2.4 x 6m of interior floor space. An elevated loft serves as a bedroom and there's even a 2.2 square metre outdoor verandah. "While living in such a small house, my space, and in turn each area of my life, will be simpler, less chaotic, and free from all but what is essential," Lisefski told Gizmag. APH80 Rome might not have been built in a day, but the APH80 can be. Created by Spanish design studio ABATON, it's an impeccably designed, portable micro-home. A double bedroom, lounge-kitchen and bedroom make up its 27 square metres, with a 3.5m gabled roof providing an airy, spacious feel. Sustainably sourced timber is used throughout. If there's no water between your place and Spain, have your very own APH80 delivered for US$42,000. Chico Tiny House A husband and wife team based in Chico, California, designed this 11.1 square metre home. On their Facebook page, Palm to Palm, they describe themselves as "dreamers ... who are holding the vision of bringing a community based sustainable into existence, one alternative dwelling at a time". They built the Chico Tiny House on a tight budget without any construction experience. Now, aspiring micro-dwelling owners are begging for a copy of the plans, soon to be made open source. The sustainable design includes south-facing windows, polyiso insulation, solar-powered hot water and a green house, where grey water can be recycled. The Hobbit Hutch No tiny house list would be complete without the mention of at least one gypsy caravan. This Texas-based, 5.2 square metre Hobbit Hutch features all the mod cons, including a faux wood stove, air-conditioning, coffee machine, chandelier, foldable dining table and bed. There's also a 1.8 square metre verandah. The owners — writers and artists by the names of James and Sidney Mangum — have plans to build an outdoor toilet and shower, to be stored inside a plywood cube and surrounded with curtains for privacy.
Which film can boast besting a Yorgos Lanthimos and Emma Stone collaboration, a Silver Bear-winner at Berlinale, and the 2023-defining duo of Barbie and Oppenheimer? Only one: Italy's There's Still Tomorrow. First, the melodrama defied the Barbenheimer phenomenon to top the box office in its homeland last year. Now, the hit flick has beaten Kinds of Kindness — aka Lanthimos and Stone getting weird again after The Favourite and Poor Things — and ten other movies for 2024's coveted Sydney Film Festival Prize. Actor Paola Cortellesi (Petra, Don't Stop Me Now) both stars and makes her directorial debut with SFF's cream of the crop for 2024, earning the event's $60,000 cash prize for her efforts. Set in post-Second World War Rome, There's Still Tomorrow follows a wife and mother who dreams of a different future, with the feature no stranger to accolades. At the David di Donatello Awards, Italy's equivalent of the Oscars, it took home six gongs in May. (And if you missed it during's SFF official dates, it's among the fest's encore screenings between Monday, June 17–Thursday, June 20.) Tasked with rewarding "audacious, cutting-edge and courageous" filmmaking, the 2024 jury comprised of Bosnian writer and director Danis Tanović (The Hollow), Indonesian director Kamila Andini (Before, Now and Then), US producer Jay Van Hoy (The Lighthouse), Australian producer Sheila Jayadev (Here Out West) and Aussie director Tony Krawitz (Significant Others) picked There's Still Tomorrow for welcoming "audiences into one of the historic cradles of cinema". "Set in post-war Italy, Paola Cortellesi's debut feature C'è ancora domani (There's Still Tomorrow) feels intensely relevant today. We relive every woman's struggle for equality through Cortellesi's Delia, we face the brutal cycles of domestic violence with an immense empathy that ultimately proclaims and affirms the virtues of democracy," they continued in a statement. "C'è ancora domani deftly weaves humour, style and pop music into a dazzling black-and-white cinematic event, then it delivers an ending that will take your breath away." There's Still Tomorrow joins an impressive list of past SFF Prize-winners, including Moroccan documentary The Mother of All Lies in 2023, Lukas Dhont's Close in 2022, Mohammad Rasoulof's There Is No Evil in 2021 and Bong Joon-ho's Parasite in 2019. Before that, The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008) have all taken out the accolade since its inception. 2024's recipient was announced at this year's closing event, where body-horror The Substance made its Australian premiere and the rest of the film festival's annual prizes were handed out. Another big winner: 11-minute short film First Horse. Hailing from New Zealand filmmaker Awanui Simich-Pene, it received SFF's first-ever $35,0000 First Nations Award. "Members of the jury were thrilled with the quality and variety of the works programmed for the inaugural First Nations Competition, noting the power and beauty in the collection of these storytellers' films which represent all types of cinematic art. The jurors also celebrate the launch of this meaningful prize and congratulate the Festival for making it a reality," said producer and programmer Jason Ryle (Amplify), Australian First Nations producer Erica Glynn (True Colours) and Aussie producer Kath Shelper (The New Boy). "In awarding the winning work, the jury recognises its originality, elegance, and cinematic achievement in story and form. In a few short minutes, the talented creative team has crafted a deeply impactful film with a resonant emotional punch." The fest's annual shower of love also covers films focused on sustainability, Australian documentaries and shorts. SFF's fourth-ever Sustainable Future Award, which now hands out $40,000, went to documentary Black Snow about the Siberian eco-activist who has earned the nickname the "Erin Brockovich of Russia". The Feast and Wilding received high commendations. Welcome to Babel, which puts Chinese Australian artist Jiawei Shen at its centre, took out the $20,000 Documentary Australia Foundation Award for Australian Documentary. In the Dendy Short Film Awards, Die Bully Die won Best Australian Live Action, while the Yoram Gross Animation Award for Best Australian Animation went to Darwin Story. Say picked up two prizes, the AFTRS Craft Award for Best Practitioner for screenwriter Chloe Kemp and the Event Cinemas Rising Talent Award for lead actor Bridget Morrison. And the Rouben Mamoulian Award for Best Director went to Pernell Marsden for The Meaningless Daydreams of Augie & Celeste. The 2024 Sydney Film Festival ran from Wednesday, June 5–Sunday, June 16, with the festival screening four days of encores until Thursday, June 20.
After putting on everything from margarita weeks and gin and tonic festivals through to Easter celebrations and music trails, Howard Smith Wharves is adding a new event to its calendar: FESTA ITALIANA, the Brisbane CBD precinct's first-ever Italian food market. And, it isn't any old celebration of Italian cuisine and beverages. This one boasts a guest of honour: chef Orazio D'Elia of Bondi Beach's Da Orazio in Sydney. The Naples-born and -raised, Sydney-based D'Elia is also one of the driving forces behind FESTA ITALIANA alongside HSW. He heads to Brisbane with quite the reputation, including a stint as Head Chef at Sydney's iconic Icebergs Dining Room and Bar alongside Maurice Terzini, then keeping that collaboration going by opening Da Orazio Pizza + Porchetta. "It's an honour to have guest Chef Orazio D'Elia join us in Brisbane over two weekends to share his culinary skills, passion for delicious flavours and cultural background," said Howard Smith Wharves CEO Luke Fraser, announcing FESTA ITALIANA. The event will arrive to see out autumn and welcome in winter, settling into its riverside home to showcase Italian bites and sips with a live music soundtrack, and spreading the festival across HSW's main lawn in the process. The market-slash-festival is also stretching its Italian-themed fun out over two weekends, running from Friday, May 26–Sunday, May 28 and Friday, June 2–Sunday, June 4. Thanks to Orazio's involvement, several of his well-known dishes will be on offer, including vodka rigatoni (made with tomato and vodka sauce) and focaccia con porchetta (with the meat fresh from the rotisserie, and paired with chilli-marinated grilled eggplant, cos lettuce and mayonnaise on schiacciatina bread). The food range extends to woodfired bread, fritto misto and gelato, plus a live pasta station making fresh pasta onsite. And drinks-wise, fans of Italian beverage can expect a heavy focus on Aperol spritzes and peach bellinis. Entry is free, with everything you're keen to eat and drink purchased as you go. And like all events on HSW's main lawn, this one is pet-friendly, should you have a very good pup who enjoys hanging out by the river while you tuck into an Italian feast. [caption id="attachment_893402" align="alignnone" width="1920"] Reuben Nutt[/caption] FESTA ITALIANA takes place at Howard Smith Wharves in the Brisbane CBD from Friday, May 26–Sunday, May 28 and Friday, June 2–Sunday, June 4. Head to the precinct's website for further details.
Take advantage of the Labour Day holiday and get out of town. Dance the night away and recover in style at Establishment Hotel, indulge in award-winning food at Lake House or sample the best wine the Margaret River has to offer at Empire Retreat and Spa. Whether you go bush at Arkaba Station, swim with the manta rays at Pinctada Cable Beach or pamper yourself at Lyall Hotel and Spa, it will be a weekend well spent. Establishment Hotel, Sydney The building that holds the decadent Establishment Hotel is an all-in-one affair, with a two-hatted restaurant, nightclub, speakeasy and exclusive cocktail bar at your fingertips. For the ultimate opulent experience, book the top-floor Loft Penthouse or huge two-level Duplex Penthouse. Either way, you’ll want a room on the higher levels; the all-inclusive set-up means noise from the revellers downstairs is unavoidable. Head to .est on level one for a fine dining experience like no other, and continue the party with drinks at Hemmesphere, the luxurious cocktail lounge on level four. When the music calls, venture downstairs to Establishment Main Bar to dance until the early hours. Step outside the door to be in the heart of the city — the Harbour Bridge and Opera House are literally a hop, skip and a jump away. Smith Extra: VIP access to Establishment’s lounge bar Hemmesphere, nightclub Ivy and Pool Club, and a bottle of sparkling wine. QT Port Douglas, Qld Soak up the spring sun at QT Port Douglas, the tropical getaway tucked away from the bustle of the main town. Lounge by the lagoon-shaped pool with a good book; the island deck will ensure you’re the centre of attention. Use the free guest bikes to explore the town or take the path down to Four Mile Beach for a leisurely ocean swim. Recover with a luxurious treatment at spaQ before spying on the shenanigans by the pool’s swim-up bar from the balcony of your One-Bedroom Pool View Villa. In winter and spring, QT also hosts Moonlight Cinema — enjoy a delicious snack while watching a classic or latest release on a state-of-the-art outdoor screen. Indulge with a meal at Bazaar, the resort’s main restaurant. The glass fridges hold fabulous produce that the chefs cook to order. Start with salad and seafood, before moving onto dishes from around the world (just make sure to leave room for dessert). Smith Extra: A bottle of bubbly plus late check-out (12 noon). Arkaba Station and Walk, Flinders Ranges Find your inner farmer at Arkaba Station and Walk, a 60,000-acre homestead and sheep station. Nature is king here; watch for kangaroos and emus or listen for the pink-hued galahs flocking the trees around the property. The exclusive homestead has five rooms, meaning you can bring friends along for an adventure. Each room brings a little of the outdoors inside, with cowhide rugs and wool-sack-wrapped bedside tables. Escape the spring heat with a dip in the outdoor pool, admiring the view of Arkaba Creek, hills and bush. The more adventurous can book a three-night guided walk, sleeping in comfy campsite swag beds for two nights before a night at the station. Eat food made over the fire, have an alfresco bush shower and fall asleep with a sheepskin hot-water bottle keeping you warm. Smith Extra: An assortment of Australian bush spices. Pinctada Cable Beach, Broome Perched between one of Australia’s most iconic beaches and the vast Kimberley, Pinctada Cable Beach delivers both beachside relaxation and rugged desert adventures. Rooms reference the town’s Asian heritage: the Honjin (meaning ‘most honoured guest’ in Japanese) Courtyard Suites share a serene courtyard and a plunge pool between four. Ocean adventurers can go swimming with manta rays on Cable Beach or take a camel ride along the white sand. Meanwhile, guests in search of rejuvenation can be pampered with an Aboriginal-influenced treatment at Pinctada Spa, which champions Li’Tya products and local plants and spices. Finish the day at Selene Brassiere, where the menu blends North African, Middle Eastern and Mediterranean flavours with a taste of the Kimberley. Pair your meal with an excellent selection of Australian wines. Smith Extra: A bottle of wine and canapes. Lake House, Daylesford The runner-up for Best Hotel Restaurant in the Smith Hotel Awards 2013, Lake House boasts an award-winning restaurant, rural lodge and a state-of-the-art spa just outside the rustic town of Daylesford. Indulge in a signature Salus Bliss treatment at the Salus Spa, or unwind in the hot mineral-water tubs looking over the lake. For a private experience, try the Spa Villa, which boasts a courtyard with a sunken hot tub and direct access to the lake. Sample the local produce at chef Alla Wolf-Tasker’s destination restaurant — almost everything on the menu is grown in the kitchen garden or in the region. Alla’s husband Allan is responsible for the paintings that adorn the interiors, adding a splash of exuberance to an otherwise tranquil space. Smith Extra: Elemis spa products presented in a satin travel pouch. Lyall Hotel and Spa, Melbourne For a stylish mini-break with designer shopping on your doorstep, look no further than Lyall Hotel and Spa. The spacious one-bedroom suites are a sleek affair, resembling deluxe city apartments. For extra room, try the Platinum Suite — it comes with a living room, ensuite bathroom, double spa bath and full kitchen. You’ll find the space filling up after an afternoon in the boutiques of South Yarra; the credit card — and your legs — will be given a proper workout. Comfort your weary pins with a signature treatment at the hotel’s destination day spa, a three-storey space perfumed with mandarin and ylang-ylang. Unwind in one of two steam rooms or just relax in the indoor-outdoor area. Wear your latest purchase to the sexy Lyall Champagne Bar, an intimate space with a soundtrack of easy listening tunes. Choose between an apple crumble martini and a selection of champagne by the glass. Smith Extra: A bottle of Chandon NV on arrival. Empire Retreat and Spa, Margaret River While the weekend away at the slick Empire Retreat and Spa, smack-bang in the centre of Margaret River wine country. Tour the onsite vineyard and sample the estate’s chardonnay and cabernet sauvignon, the region’s dominant varieties. Sip a glass in front of the open fireplace in a Luxury Villa or have a shower in your private courtyard. There’s no pool, but a secluded Jacuzzi should satisfy your watery whims. Achieve full relaxation with a treatment at Empire Spa — the three-hour Opulence session lives up to its name with an exfoliation, wrap, massage, bath and facial. There’s no restaurant, but the communal kitchen in the heart of the property is open to guests, meaning you can whip up a meal to match your wine. You can find excellent examples of the local offerings at Moss Wood, Cullen Wines and Leeuwin Estate. Smith Extra: A bottle of Empire Estate wine and a cheese plate. Saffire, Tas Just minutes from the azure water and white sand of Wineglass Bay, Saffire goes back to nature with a blend of stone and timber, beach views and locally sourced food and wine. For the ultimate in private comfort, book one of four Private Pavilions — they each have their own courtyard plunge pool, spacious living and bedroom areas, a front deck and a kitchen where a hotel chef can rustle something up for you. Room rates also include a treatment at Spa Saffire, so you’d be silly not to visit. The facials in the Jewel Collection are particularly special — all of the therapists have been trained by celebrity facialist Marionne De Candia. Other free activities include exploring the secret life of oysters at Freycinet Marine Farm, learning about the local produce with the hotel’s award-winning chef or quad biking around the wetlands. Smith Extra: A bottle of champagne. The Australasian Circa 1858, Fleurieu Peninsula With the facade of a heritage pub and graced with light, Asian-inspired interiors, The Australasian Circa 1858 offers the weariest of weekenders an intimate and stylish retreat from reality. The Parlour Room whispers extravagance with a huge tub in a step-up area of the bedroom, perfect for a spot of reading and relaxing. This adults-only sanctuary specialises in fine dining, with co-owner and head chef Juliet Mitchell preparing meals with an Asian theme. The restaurant is only open to guests (except Saturday night), but for extra privacy, dine in your room. The hotel is only open from Wednesday to Sunday each week, but its location makes it a perfect stopover before continuing onto Kangaroo Island — only a 45-minute ferry ride away. Smith Extra: A tasting selection of ales from the Steam Exchange Brewery at Goolwa Wharf Kingsford Homestead, Barossa Valley, SA Put your station-owner hat on at Kingsford Homestead, an historic estate with an impressive cellar in the Barossa Valley. The rooms are named after the former owners of the property — the Kerry Packer suite catches the afternoon sunshine and has a gorgeous claw-foot bath tub, and the Stephen King suite (named after the founder, not the famous author) is perfect for families as it connects to the John Angas Suite. There’s no pool, but the alfresco bush bath, located in a secluded corner of the grounds, is big enough for two. Follow up with an in-room massage or facial — but be sure to book in advance. Local produce dominates the menu here; chef Stuart Oldfield has developed strong relationships with local farmers. The menu changes by the season, but the wine will always be Barossa. Enjoy drinks and canapes on the veranda while watching the resident kangaroos have their dinner. Smith Extra: A picnic hamper. Browse other long weekend stays, or contact Smith’s expert Travel Team on 1300 896 627.
Take a deep dive into the wondrous cinematic worlds of Wes Anderson — symmetry, quirkiness, pastel cinematography and all. From October 17 through until December 5, Palace James Street is dedicating every Thursday night to the acclaimed director's work. Film buffs can enjoy a weekly serve of Anderson's distinctive visual stylings, compelling soundtracks and all-star casts, with the Fortitude Valley venue playing a different flick each week. First up, catch 1996 crime-comedy Bottle Rocket, followed by the Jason Schwartzman-led hit Rushmore on October 24, and October 31's non-spooky showing of The Royal Tenenbaums. This is a near-complete retrospective, so most of Anderson's iconic movies are hitting the big screen — including The Life Aquatic With Steve Zissou (November 7), The Darjeeling Limited (November 14), Fantastic Mr Fox (November 21), The Grand Budapest Hotel (November 28) and Isle of Dogs (December 5).
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=1SEoi8r1Z4Y SUPERNOVA Stanley Tucci and Colin Firth aren't lazy, bad or bland actors. The former has an Oscar nomination for The Lovely Bones, the latter won for The King's Speech, and neither can be accused of merely playing the same character again and again. And yet, whenever either pops up on-screen, they bring a set of expectations with them — or, perhaps more accurately, they each instantly remind viewers of the traits that have served them so well over their respective four-decade careers. In features as diverse as The Devil Wears Prada and the Hunger Games films, Tucci has given a distinctive sense of flair and presence to his many parts, as well as his innate ability to appear bemused and sarcastic about life in general. Whether as Mr Darcy in Pride and Prejudice or as Mark Darcy in the Bridget Jones movies, Firth has enjoyed immense success playing reserved, introverted, dry-witted men who are more likely to ruminate stoically than to outwardly show much emotion. Teaming up in Supernova, both talents draw upon these characteristics once more, as writer/director Harry Macqueen (Hinterland) wants them to. But here's the thing about this pair of stars, who shine particularly bright in this affecting drama: far from ever settling into their own comfortable niches, they're frequently delving deeper, twisting in different directions and offering up untold surprises. A famed novelist less interested in putting pen to paper than in peering up at the stars, Tucci's Tusker knows how to defuse any scenario with his charm in Supernova, but it's apparent that he often uses that canny ability to avoid facing a number of difficulties. An acclaimed musician with an eagerly anticipated concert in the works, Firth's Sam often says little; however, the fact that he's grappling internally with feelings he can't quite do justice to in words always remains evident. Travelling around England's Lakes District, they're not just on an ordinary campervan holiday. Neither man has simply been whiling away their time before their long-awaited returns to performing and writing, either. With stops to see Sam's sister (Pippa Haywood, Four Kids and It) and her family, and to reunite with old friends, the couple are making the most of what time they have left together. Tusker is unwell, with early-onset dementia increasingly having an impact on not only his everyday life, but upon the shared existence they've treasured for decades. Read our full review. https://www.youtube.com/watch?v=ilNHPfOOeIs GUNDA Move over Babe, Piglet, Porky and Peppa. Thanks to monochrome-hued documentary Gunda, cinema has a brand new porcine star. Or several, to be exact; however, other than the eponymous sow, none of the attention-grabbing pigs in this movie are given names. If that feels jarring, that's because it breaks from film and television's usual treatment of animals. Typically on-screen, we see and understand the zoological beings we share this planet with as only humans can, filtering them through our own experience, perception and needs. We regard them as companions who become our trustiest and most reliable friends; as creatures who play important roles in our lives emotionally, physically and functionally; as anthropomorphised critters with feelings and traits so much like ours that it seems uncanny; and as worthy targets of deep observation or study. We almost never just let them be, though. Whether they're four-legged, furry, feathered or scaly, animals that grace screens big and small rarely allowed to exist free from our two-legged interference — or from our emotions, expectations or gaze. Gunda isn't like any other movie you've seen about all creatures great and small, but it can't ignore the shadow that humanity casts over its titular figure, her piglets, and the one-legged chicken and paired-off cows it also watches, either. It's shot on working farms, so it really doesn't have that luxury. Still, surveying these critters and their lives without narration or explanation, this quickly involving, supremely moving and deeply haunting feature is happy to let the minutiae of these creatures' existence say everything that it needs to. The delights and devastation alike are in the details, and the entire movie is filled with both. Filmmaker Victor Kossakovsky (Aquarela) looks on as Gunda's namesake gives birth, and as her offspring crawl hungrily towards her before they've even properly realised that they're now breathing. His film keeps peering their way as they squeal, explore and grow, and as they display their inquisitive, curious and sometimes mischievous personalities, too. Sometimes, this little family rolls around in the mud. At other times, they simply sleep, or Gunda takes the opportunity to enjoy some shut-eye while her piglets play. Whatever they're doing, and whenever and where, these pigs just going about their business, which the feature takes in frame by frame. In one of the documentary's interludes away from its porcine points of focus, the aforementioned chook hops about. Whether logs or twigs are involved, it too is just navigating its ordinary days. In the second of the movie's glimpses elsewhere, cattle trot and stand, and their routine couldn't seem more commonplace as well. Read our full review. https://www.youtube.com/watch?v=hbn8-Tpa3no AALTO Sometimes, a documentary doesn't need words, as Gunda wholeheartedly demonstrates. Aalto features plenty, all spoken as voiceover and delving into the life of great Finnish modernist architects Alvar and Aino Aalto; however, the film's visuals would've still kept viewers glued to the screen if not even a single syllable was uttered. For the bulk of the doco's duration, savvy director Virpi Suutari (Entrepreneur) fills the screen with the couple's handiwork. Furniture from the 1930s onwards and buildings up until the 1970s are seen in loving detail, with the feature's imagery zooming in on the former and walking through and soaring above the latter. Some might be familiar, especially on the homewares side — IKEA has taken a few cues from some of their designs over the years — but viewers new and well-acquainted alike will find much to catch their eye. With its smooth bends and sculptural look, the bentwood Paimio Chair is a thing of unshakeable beauty. The unpredictable curves in the pair's various wavy vases are just as vivid to behold. Combining an undulating appearance with rough bricks that Alvar complimented as "the lousiest in the world", Baker House at the Massachusetts Institute of Technology is far more striking than any other college dormitory. And there's minimalistic grace in the buildings at the University of Jyväskylä, which are among the few sites seen in the feature with people in them. To see these pieces and places, and others like them, is to be submerged into the Aaltos' way of viewing the world. Aalto doesn't just stare at the marvellous items designed by its namesakes, though. Suutari also draws upon home videos to tell their story, uses multiple unseen narrators to unfurl and comment upon their tale, and gives voice to letters penned between the pair whenever one travelled away from the other. Indeed, this isn't just a professional portrait, but a personal one, too — and a film made with admiration but not devotion. While Alvar became a world-renowned star, he isn't the sole reason that Aalto remains a famous design name. He also wasn't without his flaws. Accordingly, Aalto doesn't blindly sing his praises, peddle stock-standard male genius tropes or solely peer his way. Yes, the documentary's title mirrors its focus. Aino was a pivotal part of his architectural practice; "regardless of how the drawings are signed, they clearly worked as a team," the film's narration offers. After Aino's death, Alvar's second wife Elissa, another architect, also proved just as crucial. It would've been easy to simply worship Alvar, but Suutari cannily broadens the story around his work — and makes a better, and more interesting and engaging doco as a result. https://www.youtube.com/watch?v=VzvwJiBFhSg CREATION STORIES Whenever someone gets 'Wonderwall' stuck in their head, they partly have Alan McGee to thank. The Scottish music industry executive and Creation Records co-founder happened to be at the same Glasgow bar as Oasis in 1993, and saw the band being turned away by management despite their claim that they were booked to play a gig. When the Manchester-based group was eventually allowed in, McGee checked out their set. He quickly offered them a recording contract and, yes, history was made. His impact upon the music world doesn't end there, either, with McGee managing The Jesus and Mary Chain, putting out records by Primal Scream and My Bloody Valentine, and getting involved in the acid house scene as well. That means that Creation Stories has much to cover. The lively biopic initially frames its episodic jumps through McGee's life via a chat between the exec (Ewen Bremner, T2: Trainspotting) and a journalist (Suki Waterhouse, The Broken Hearts Gallery), but that's just an excuse to leap back into his memories. From there, the film pinballs from his unhappy teenage years with his doting mother (Siobhan Redmond, Alice Through the Looking Glass) and stern father (Richard Jobson, Tube Tales), and his early attempts to soar to music stardom in London, to Creation's many financial ups and downs and his involvement in politics. Creation Stories is adapted from McGee's autobiography of the same name, with Trainspotting author Irvine Welsh and playwright Dean Cavanagh penning the script; however, it often feels as if McGee himself saw Rocketman and asked for his own version. That sensation comes through stylistically, thanks to the frenetic pace, vibrant splashes of colour and ample scenes of drug-fuelled partying. It's also evident in the impressionistic approach applied to McGee's life, telling a tale that mightn't always be 100-percent accurate in every minute detail but is wholly designed to capture the wild mood and vibe perfectly. Both movies boast Lock, Stock and Two Smoking Barrel stars as their directors, too, with Nick Moran (The Kid) jumping behind the lens here. And, the two films also benefit from standout lead performances, with Bremner as stellar as he's ever been on-screen. Indeed, the actor best known as hapless heroin addict Spud couldn't be more important in Creation Stories. So much of the film's chaotic ride through McGee's highlights and lowlights rests upon Bremner's larger-than-life portrayal, peppy presence, mile-a-minute gift of the gab and deceptive charisma, so its central talent was always going to make or break the film. There's no shaking its general adherence to the rock biopic genre, though, but there's also no doubting its alluring energy. https://www.youtube.com/watch?v=LLg86R4Ay-Y THE UNHOLY The Exorcist was not an easy movie to make, as exceptional documentary Leap of Faith: William Friedkin on The Exorcist made clear. But over the past four decades, the horror masterpiece has proven a very easy film to emulate again and again — or, to try to ape in anything that pairs religion and scares, at least. Copying it is nowhere near the same as matching it, of course. That's especially the case when most one-note flicks that attempt the feat simply think that crosses, creepy females and stilted, unnatural body movements are all that it takes. The Unholy is the latest example, to uninspired, unengaging, unoriginal, unconvincing and thoroughly unsurprising results. Adapted from the 1983 James Herbert novel Shrine by seasoned screenwriter turned first-time feature director Evan Spiliotopoulos (Charlie's Angels, Beauty and the Beast, The Huntsman: Winter's War), the movie's premise has promise: what if a site of a supposed vision of the Virgin Mary and subsequent claimed miracles, such as Lourdes in France and Fatima in Portugal, was targeted by a sinister spirit instead? But, despite also boasting the always-charismatic Jeffrey Dean Morgan (The Walking Dead) as its lead, all that eventuates here is a dull, derivative and not even remotely unsettling shocker of a horror flick. The fact that The Evil Dead and Drag Me to Hell's Sam Raimi is one of its producers delivers The Unholy's biggest scare. Looking constantly perplexed but still proving one of the best things about the film, Morgan plays disgraced journalist Gerry Fenn. After losing his fame and acclaim when he was caught fabricating stories, he now makes $150 per assignment chasing the slightest of flimsy supernatural leads. His current line of work brings him to the small Massachusetts town inhabited by Father Hagan (William Sadler, Bill & Ted Face the Music) and his niece Alice (Cricket Brown, Dukeland), the latter of whom is deaf. Thanks to a barren tree, a creepy doll, an eerie chapter of history and a strange run-in with Gerry, however, she can soon suddenly hear and speak. She says that can see the Virgin Mary, too. Swiftly, word about her story catches the church, media and public's attention. Even if Spiliotopoulos had kept the novel's title, it'd remain obvious that all isn't what it seems — the film starts nearly two centuries ago with a woman being burned alive at the aforementioned tree, so nothing here is subtle. But instead of pairing an exploration of the dangers of having faith without question with demonic bumps and jumps, The Unholy embraces cliches with the same passion that satan stereotypically has for fire. The cheap-looking visuals, Cary Elwes' (Black Christmas) wavering accent and the bored look on co-star Katie Aselton's (Synchronic) face hardly help, either. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11, March 18 and March 25; and April 1 and April 8. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective and Voyagers.
Could 2011 be the year of the infographic? They're all over the internet: eye-popping visuals which make sense of complex data sets through bright colours and great typography choices. In a world where information bombardment is enough to make your head spin, infographics are bringing order to the chaos of endless facts and figures. Perhaps the logic of the infographic could be applied to the design of nutrition labels, another daily dose of confusing percentages, milligrams, serving sizes and calorie counters. US magazine Good has teamed up with the University of California Berkeley Graduate School of Journalism's News21 project, inviting designers to rethink food labelling. Their instructions? "Redesign the food label. Incorporate the existing nutrition facts and calorie counts. Or reimagine a label entirely based on food quality, food justice, or lesser-known chemosensory characteristics. Consider a food's carbon footprint or its cultural significance. Above all, make the redesigned label informative, instructive, and memorable." Enter the competition before July 1 and use your design skills to inspire better food and nutrition literacy. [Via Good]
They're red, sweet and juicy — and they're everyone's favourite fruit. They're also grown in abundance around Queensland. Did you know that 40 percent of the state's strawberries come from the Moreton Bay region? Well, you do now, and you might just want to celebrate that fact. All you need to do is head on over to Bribie Island on Saturday, August 18 for Sandstone Point Hotel's fourth annual Strawberry Festival, and you can do just that. Because you can never have too much of a good thing, the event will paint the pub pink with farm-fresh strawberries, strawberry milkshakes, strawberry ice cream, scones with strawberry jam, and chocolate-coated strawberries. If you're still hungry for more, a strawberry-eating competition is also on the agenda. Then, wash it all down at The Strawberry Patch Bar, the fest's onsite watering hole that only serves strawberry-flavoured beverages.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. ETERNALS It's the only Marvel movie by an Oscar-winning director. Focusing on a superhero squad isn't new, even if everyone here is a Marvel Cinematic Universe newcomer, but it's the lone instalment in the franchise that's about a team led by women of colour. It's home to the MCU's only caped crusader who is deaf, and its first openly gay superhero — and it doesn't just mention his sexuality, but also shows his relationship. It happens to be the first Marvel flick with a sex scene, too. Eternals is also the only film in the hefty saga with a title describing how long the series will probably continue. And, it's the sole MCU entry that features two ex-Game of Thrones stars — Kit Harington and Richard Madden, two of the show's Winterfell-dwelling brothers — and tasks them both with loving a woman called Sersi. (The name isn't spelled the same way, but it'll still recalls Westeros.) When you're 26 movies into a franchise, as the MCU now is, each new film is a case of spotting differences. All the above traits aid Eternals in standing out, especially the empathetic, naturalistic touch that Chloé Zhao brings to her first blockbuster (and first film since Nomadland and its historic Academy Award wins). There's a sense of beauty and weight rippling through almost every frame, as well as an appreciation for life's struggles. Its namesakes are immortal aliens sent to earth 7000 years ago to battle intergalactic beasts, and yet Eternals shows more affinity for everyday folks who don't don spandex or have superpowers than any Marvel flick yet. It's also largely gorgeous, due to its use of location shoots rather than constantly stacking CGI on CGI. But everything that sets the film apart from the rest of Marvel's saga remains perched atop a familiar formula. Perhaps that's fitting; thematically, Eternals spends much of its lengthy 157 minutes contemplating set roles and expectations, and whether anyone can ever truly break free of either. Spying an overt statement in these parallels — between the movie's general adherence to the MCU template and the ideas bubbling within it — might be a little generous, though. Of late, Marvel likes giving its new instalments their own packaging, while keeping many of the same gears whirring inside. That's part of the comic book company-turned-filmmaking behemoth's current pattern, in fact. Still, even after Thor: Ragnarok, Black Panther and Shang-Chi and the Legend of the Ten Rings, Eternals finds its own niche. It both intrigues and entertains, and it's ambitious — and it's often more than the sum of all those MCU firsts and onlys it's claimed. As opening text explains, Eternals' central group were dispatched by a Celestial — a space god, really — called Arishem. With the monstrous Deviants, another alien race, wreaking havoc, the Eternals were tasked with fighting the good fight — and were forbidden to interfere otherwise, which is why they've been absent in the last 25 movies. But now, a new Deviant attacks Sersi (Gemma Chan, Raya and the Last Dragon), her human boyfriend Dane Whitman (Harington) and fellow Eternal Sprite (Lia McHugh, The Lodge). That gets the gang back together swiftly, including the flying, laser-eyed Ikaris (Madden), the maternal Ajak (Salma Hayek, The Hitman's Wife's Bodyguard), Bollywood star Kingo (Kumail Nanjiani, The Lovebirds), the super-strong Gilgamesh (Don Lee, Ashfall), warrior Thena (Angelia Jolie, Those Who Wish Me Dead), the super-speedy Makkari (Lauren Ridloff, Sound of Metal), tech wiz Phastos (Brian Tyree Henry, Godzilla vs Kong) and the mind-manipulating Druig (Barry Keoghan, The Green Knight). Read our full review. THE MANY SAINTS OF NEWARK So much about The Many Saints of Newark is a matter of when, not if: when familiar characters will show up looking younger, when well-known New Jersey locations will be sighted and when someone will eat ziti. This all occurs because it must; it wouldn't be a prequel to The Sopranos otherwise. Servicing fans is a key reason the movie exists, and it's far more resonant if you've already spent 86 episodes with Tony Soprano and his mafia and blood families while watching one of the best TV shows ever made. This is a film with a potent air of inevitability, clearly. Thankfully, that feeling reaches beyond all the obligatory nods and winks. That some things are unavoidable — that giving people what they want doesn't always turn out as planned, and that constantly seeking more will never fix all of life's woes, too — pulsates through this origin story like a thumping bass line. And yes, on that topic, Alabama 3's 'Woke Up This Morning' obviously gets a spin. Penned by The Sopranos' creator David Chase and series alum Lawrence Konner, and helmed by veteran show director Alan Taylor, The Many Saints of Newark doesn't merely preach to existing devotees, even if they're the film's main audience. Marking the last of the big three 00s-era prestige US cable dramas to earn a movie spinoff — following El Camino: A Breaking Bad Movie and Deadwood: The Movie — the feature is aware of its own genesis and of gangster genre staples in tandem. Casting Ray Liotta, who'll forever be associated with Martin Scorsese's Goodfellas, was always going to show that. Travelling back to the 70s, when The Godfather franchise electrified cinema, does also. Indeed, The Many Saints of Newark plays like a hybrid of pop culture's three most influential and essential mob stories. A bold move, it also explains what works and what falters in a film that's powerful and engaging but firmly baked in a well-used oven. The first detail that Sopranos fans should've picked up when this flick first got a title: in Italian, many saints translates as moltisanti. While The Many Saints of Newark spends time with young Tony as a pre-teen in the late 60s (played by feature first-timer William Ludwig) and a teen in the early 70s (when The Deuce's Michael Gandolfini, son of the late, great James Gandolfini, steps into the character's shoes), its protagonist is Dickie Moltisanti (Alessandro Nivola, The Art of Self-Defense). He's seen as an uncle and mentor by Tony, who'll eventually hold the same roles for Dickie's son. The Sopranos mainstay Christopher Moltisanti (Michael Imperioli, One Night in Miami) turns narrator here, in fact, offering knowing voiceover that occasionally channels the show's dark humour — calling out Christopher's death at Tony's hands, for instance. Dickie was recalled with reverence in the series, yet threw a shadow over Tony's middle-aged mob-boss malaise — as seen in his duck obsession, panic attacks and reluctant chats with a psychiatrist. Here, Dickie falls into a similar pattern with his dad 'Hollywood' Dick (Liotta, No Sudden Move), who returns from Italy to subject his new, much-younger bride Giuseppina (Michela De Rossi, The Rats) to domestic violence. One of The Many Saints of Newark's finest traits is its layering, honing in on cycles that keep echoing through generations as it examines Dickie's role in turning Tony into the man viewers watched from 1999–2007. Its greatest stroke of casting plays with the same notion as well, and the younger Gandolfini is a soulful yet primal revelation. To call his performance lived-in is the epitome of an understatement, and it's never a gimmick. Read our full review. JULIA Call it the SNL effect: in two of their past three films, Julie Cohen and Betsy West have celebrated pioneering women who've been parodied on Saturday Night Live. They've referenced those famous skits in RBG and now Julia, in fact, including their subjects' reactions; Ruth Bader Ginsburg was seen howling with laughter when she first saw Kate McKinnon slip into her robes, and Julia Child reportedly played Dan Aykroyd's blood-soaked 1978 impersonation to friends at parties. Cohen and West clearly aren't basing their documentaries on their own sketch-comedy viewing, though. Instead, they've been eagerly unpacking exactly why a US Supreme Court Justice and a French cuisine-loving TV chef made such a strong impact, and not only in their own fields. Julia makes an exceptional companion piece with the Oscar-nominated RBG, unsurprisingly; call it a great doco double helping. Julia arrives nearly two decades after its namesake's passing, and 12 years since Meryl Streep earned an Oscar nomination for mimicking Julia in Julie & Julia. If you've seen the latter but still wondered why Julie Powell (played by The Woman in the Window's Amy Adams) was so determined to work her way through Julia's most famous cookbook — first published in 1961, Mastering the Art of French Cooking completely changed America's perception of printed recipe collections — let this easy-to-consume doco fill in the gaps when it comes to the culinary wiz's mastery and achievements. Let it spark two instinctual, inescapable and overwhelming reactions, too: hunger, due to all the clips of Julia cooking and other lingering shots of food; and inspiration, because wanting to whip up the same dishes afterwards is equally understandable. In their second film of 2021 — after My Name Is Pauli Murray, another portrait of a woman thoroughly deserving the spotlight — Cohen and West take a chronological approach to Julia's life. The two filmmakers like borrowing cues from their subjects, so here they go with a classic recipe that's been given slight tweaks, but always appreciates that magic can be made if you pair a tried-and-tested formula with outstanding technique. Julia's entire cooking career, including her leap to television in her 50s, stirred up the same idea. Her take on French dining was all about making delectable meals by sticking to the right steps, even while using supermarket-variety ingredients, after all. Julia boasts a delightful serving of archival footage, as well as lingering new food porn-esque sequences that double as how-tos (as deliciously lensed by cinematographer and fellow RBG alum Claudia Raschke), but it still embodies the same ethos. Born to a well-off Pasadena family in 1912, Julia's early relationship with food is painted as functional: the household's cooks prepared the meals, and wanting to step into the kitchen herself was hardly a dream. In pre-World War II America, the expectation was that she'd simply marry and become a housewife, however, but a hunger for more out of life first took her to the Office of Strategic Services — the US organisation that gave way to the CIA — and overseas postings. While stationed in the Far East, she met State Department official Paul Child. After a berth in China, he was sent to France, where the acclaimed Cordon Bleu culinary school eventually beckoned for Julia. From there, she started her own cooking classes in Paris, co-penned the book that made her famous, turned a TV interview into a pitch for her own show and became an icon. Read our full review. RED NOTICE When Interpol hunts down the world's most wanted international criminals, it issues red notices — and for anyone who isn't already aware of that fact, Red Notice starts by spelling out the details. If the film world circulated the same kinds of warnings about bland, cliched, charmless and tedious movies, this Dwayne Johnson, Ryan Reynolds and Gal Gadot-starring supposed action-comedy would earn several. That it bears far too much in common at times with two of its stars' most recent features — Johnson's likeable-enough Jungle Cruise and Reynolds' excruciatingly terrible The Hitman's Wife's Bodyguard — says plenty about this by-the-numbers affair. If only they were the sole instances that it conjured up other movies; Reynolds does a Borat impression, whistles the Indiana Jones tune and verbally references Jurassic Park, and it's all as dated as it sounds. Also tired and trying: Reynolds' performance in general, which is permanently stuck on the same kind of schtick at the heart of both Deadpool and Free Guy. This time, however, he's playing the globe's second-best art thief — and his character, Nolan Booth, desperately wants the top spot. But a couple of people stand in his way, which is where Red Notice's other big names come in. Firstly, FBI profiler John Hartley (Johnson) interrupts Booth's latest heist, which involves tracking down three golden eggs that were once owned by Cleopatra (the third of which has never been found before). Secondly, the planet's number one art thief, The Bishop (Gadot, Wonder Woman 1984), is on the same hunt for the same $30 million payday. She's also constantly one step ahead of not just her professional competitor, but also the man pursuing both criminals. Red Notice plays like the result of watching 80s and 90s hits, its three leads' filmographies and the National Treasure flicks, then throwing their basic ideas into a blender and pouring the jumbled mess onto the screen. It's Netflix's most expensive movie yet, and it's also shiny-coated garbage. That its opening scene involves a decoy egg doused in Coca-Cola to reveal an empty shell inside is far more telling than it's meant to be. Also landing with a thud: a dance between Hartley and The Bishop at an Eyes Wide Shut-styled party that's supposed to herald this as the next True Lies, but just makes viewers wish they were watching that instead. That's the thing with shovelling in reference after reference instead of penning a decent and coherent script, even when around half of those winks are done with writer/director Rawson Marshall Thurber's (Central Intelligence, Skyscraper) tongue firmly in his cheek: constantly calling attention to better movies but failing to live up to them is like punching yourself the face. They're three of the highest-profile names in blockbuster cinema, but Johnson, Reynolds and Gadot all sleepwalk through their parts here — not that the screenplay asks much more. Not a single gag lands, either, and neither does any tension, chemistry, timing or reason to care about its lead trio, their characters' globe-hopping quest and all the chaos they leave in their wake. Of course Nazis are involved, even though it's now 2021 and not 1981 when Raiders of the Lost Ark did the exact same thing. Of course the whole film looks like the dullest kind of CGI onslaught, with green screens standing in for Rome, Russia, London, Egypt and more. Of course it also plays like something an algorithm would spit out — and one that thinks Ed Sheeran is the height of stunt cameo casting after Game of Thrones already proved that idea oh-so wrong four years ago. Red Notice screens in select Australian cinemas from Thursday, November 4, and streams via Netflix from Friday, November 12. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; and October 7, October 14, October 21 and October 28. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills and Passing. Top image: Photo courtesy of Marvel Studios. ©Marvel Studios 2021. All Rights Reserved.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Reality is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE There's nothing small about Hollywood's superhero obsession, with its 30-movies-deep-and-counting cinematic universes, competing caped-crusader realms, ever-growing spread across screens big and small, and determination to enlist every actor ever (and some actors more than once). That decades have passed, many spandex-clad characters have cycled through a few faces now, and reuniting past and present versions of beloved crime-fighters is the current trend: none are minor matters, either. And yet, when 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made those flesh-and-blood flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. Five years later, the first sequel to the deservedly Academy Award-winning masterpiece plasters around the same sensation like a Spidey shooting its silk. Give this latest take on Stan Lee and Steve Ditko's iconic character by directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer) 2024's Best Animated Feature Oscar immediately. All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so astonishing and exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because as the Spider-Verse movies tell of Miles Morales (Shameik Moore, Wu-Tang: An American Saga), Spider-Gwen (Hailee Steinfeld, Hawkeye), Peter B Parker (Jake Johnson, Minx), Miguel O'Hara/Spider-Man 2099 (Oscar Isaac, Moon Knight) and more, they truly do whatever a Spider-Man movie can. Spider-Man: Across the Spider-Verse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOY RIDE Before it busts out licking lucky cats, K-pop-style Cardi B covers, cocaine enemas, threesome injuries and intimate tattoos, Joy Ride begins with a punch. For most of the movie, Audrey Sullivan (Ashley Park, Beef) and Lolo Chen (Sherry Cola, Good Trouble) are nearing 30, travelling in China and going on a wild journey in a gleefully raucous comedy. In the 1998-set prologue in White Falls, Washington, though, they're five-year-olds (debutants Lennon Yee and Milana Wan) first meeting, being taunted by a racist playground bully and responding with the outgoing Lolo's fist. Crazy Rich Asians and Raya and the Last Dragon screenwriter Adele Lim uses her directorial debut's opening scene not just to start a fast and firm friendship, but to establish the film's tone, sense of humour and, crucially, its willingness to fight. Joy Ride will ultimately get sentimental; however, this is a movie that beats up cultural prejudices and stereotypes by letting its four main female and non-binary Asian American characters grapple with them while being complicated and chaotic. Hollywood should be well past representation being such a noteworthy factor. That should've happened long before Bridesmaids and Bachelorette gave The Hangover's template a ladies-led spin more than a decade ago, and prior to Girls Trip spending time four Black women on a raucous weekend away six years back. Reality proves otherwise, sadly, so Joy Ride openly addresses the discrimination and pigeonholing slung Audrey, Lolo, and their pals Kat (Everything Everywhere All At Once Oscar-nominee Stephanie Hsu) and Deadeye's (comedian and movie first-timer Sabrina Wu) ways — and in Audrey's case, after being adopted as a baby by the white Sullivans (The Recruit's David Denman and Bridesmaids' co-writer Annie Mumolo), internalised. With its booze- and sex-fuelled antics, Lim's film could've simply been formulaically entertaining, just with Asian American characters in Asia. It certainly doesn't hold back with its raunchy setpieces. But it's a better and more thoughtful feature because it engages with the diasporic experience; "I'm just a garbage American who only speaks English," Audrey chides herself, which the picture she's in unpacks. Joy Ride is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO HARD FEELINGS Has Jennifer Lawrence entered her Jennifer Coolidge era? With the spirit of American Pie lingering over No Hard Feelings like unpaid property taxes — a pivotal part of the movie's plot — the Silver Linings Playbook Oscar-winner and Winter's Bone, Hunger Games, X-Men and mother! star is flirting with that direction and loving it. No one sticks their genitalia in a warm home-baked dessert or talks about band camp in Lawrence's latest film, but it is a sex comedy about an inexperienced teenager that includes parents giving clumsy advice. It also involves getting lucky with an older woman; while Lawrence is only 32 and plays it here, an age gap — as well as the chasms between millennials and zoomers, and with the generations prior — is essential to the narrative. The spirit of Coolidge, a game Lawrence, gags about Hall & Oates' 1982 earworm 'Maneater' — a storyline that somewhat riffs on its lyrics, in fact — and battles over class, generational differences and gentrification: that's No Hard Feelings. Based on a real-life Craigslist ad, it's also the next movie from filmmaker Gene Stupnitsky, who penned Bad Teacher and made his feature directorial debut with Good Boys. Where the latter took a Superbad-esque setup but swapped 17-year-olds out for sixth graders, his second flick as a helmer tells a coming-of-age tale on two levels. Percy Becker (Andrew Barth Feldman, White Noise) is the introverted brainiac whose helicopter parents (Daybreak's Matthew Broderick and Life & Beth's Laura Benanti) want to live a little before he hits Princeton University, while Maddie Barker (Lawrence, Causeway) is the bartender and Uber driver who's been in a state of arrested development ever since giving up her plans to surf California's beaches when her mother got sick. No Hard Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ELEMENTAL When Pixar is at its best and brightest, the animation house's gorgeous and heartfelt films flow across the silver screen. They glow with colour, creativity, sincerity and emotion. In movies such as WALL-E, Inside Out, Soul, Toy Story 4, Up and Ratatouille, the Disney-owned company's work floats beyond the ordinary as it flickers — and yet, it's also grounded in genuine feelings and insights, even while embracing the now Pixar-standard "what if robots, playthings, rats and the like had feelings?" setup over and over. Accordingly, it makes sense that the studio's Elemental draws upon the sensations that its features usually inspire. It seems like something that was always destined to happen, in fact. And, it's hardly surprising that its latest picture anthropomorphises fire, water, air and earth, and ponders these aspects of nature having emotions. What's less expected is how routine this just-likeable and sweet-enough film is, with the Pixar template lukewarm instead of an inferno and hovering rather than soaring. Elemental also treads water, despite vivid animation, plus the noblest of aims to survey the immigrant experience, opposites attracting, breaking down cultural stereotypes and borders, and complicated parent-child relationships. The Captain Planet-meets-Romeo and Juliet vibe that glinted through the movie's trailers proves accurate, and also something that the feature is happy sticking with exactly as that formula sounds. Although filmmaker Pete Sohn (The Good Dinosaur) draws upon his own upbringing as the son of Korean expats growing up in New York City and its distinctive neighbourhoods — that his family ran a grocery store is worked in as well — and his own marriage, his second stint as a director is too by-the-numbers, easy and timid. Elemental looks like a Pixar film, albeit taking a few visual cues from Studio Ghibli in some character-design details (its bulbous grassy creatures noticeably resemble Totoro), but it largely comes across like a copy or a wannabe. Elemental is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LITTLE MERMAID For anyone without a scaly tail, communing with the ocean can be a routine dip, a refreshing splash or a sail into choppy waters. In Disney's latest dance with merpeople and the humans that its main mythical sea creature yearns for (and desperately wants to learn more about), all three prove true. The next in the Mouse House's long line of live-action remakes — albeit with ample CGI helping to bring its sea-dwelling characters to life, but no hand-drawn animation — the new The Little Mermaid from director Rob Marshall (Mary Poppins Returns) is often content to wade where its beloved 1989 predecessor went before. That's the Disney do-over standard. Sometimes, though, this new effort is its own delightful paddle; when 'Under the Sea' echoes against a literal sea of colour, movement, creatures and energy, it's a dazzling Golden Age Hollywood-esque spectacular. There's no escaping the movie's bloat when it's not merrily floating, however, due in no small part to inflating the storyline from the original's 83 minutes to a hefty 135 minutes. This day at the cinematic beach — glowing highs and waterlogged lows included — keeps the same basic narrative that viewers loved 34 years ago, as loosely inspired by Hans Christian Andersen's 19th-century fairy tale of the same name. A quote from that text opens the film as Alan Menken's revisited Oscar-winning score starts to swell, advising "but a mermaid has no tears, and therefore she suffers so much more". The curious and adventurous Princess Ariel (Halle Bailey, Grown-ish) cries through her siren's song instead, lamenting the strict no-humans rule enforced by her father King Triton (Javier Bardem, Lyle, Lyle Crocodile). And, in rebellious teen-style, she acts out by sneaking off to scour the ocean floor's shipwrecks with her fish best friend Flounder (voiced by Jacob Tremblay, Luca), even when Sebastian the crab (Daveed Diggs, Snowpiercer) is tracking her every move, and stashing trinkets from the world on land in a secret cave. The Little Mermaid is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOHN FARNHAM: FINDING THE VOICE There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. John Farnham: Finding the Voice is available to stream via 7plus, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INSIDIOUS: THE RED DOOR Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Insidious: The Red Door is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. TRANSFORMERS: RISE OF THE BEASTS In the breakout movie of 2022, Michelle Yeoh was everything and everywhere. Multiverses are like that. Now, the Oscar-winner voices a space-robot peregrine falcon in Transformers: Rise of the Beasts, and viewers should wish that this only existed in Everything Everywhere All At Once's kaleidoscope of realities. Alas, in this very realm, the newest Transformers film is indeed flickering through projectors. The toy-to-screen series it belongs to is now seven live-action entries in and — apart from 2018 spinoff-slash-prequel Bumblebee — largely still as dull as a smashed headlight. Set in 1994, the current instalment is a sequel to the last 1987-anchored franchise flick, which focused on the yellow-hued mechanised alien that can morph into a car, and also a prequel to 2007's saga-spawning Transformers. It draws upon the Transformers: Beast Wars animation, comics and video games, too, and feels in every frame like a picture that purely exists to service intellectual property that does big box-office business (2011's Transformers: Dark of the Moon and 2014's Transformers: Age of Extinction each made over a billion dollars). Michael Bay, Hollywood's go-to director for maximalist action carnage, might've been enthusiastic about Transformers when he started the silver-screen series nearly two decades back — the Ambulance filmmaker was definitely devoted to crashing together pixels replicating chrome in all five titles he helmed, including 2017's Transformers: The Last Knight — but these movies can't be anyone's passion projects. They show zero feeling, and seem to keep rolling out because the saga assembly line has already been established. New faces and a new guiding force behind the lens (director Steven Caple Jr, Creed II) can't dislodge that sensation with Transformers: Rise of the Beasts. The five-person team responsible for the script give no signal that they even wanted to. The feature's latest two leads (In the Heights' Anthony Ramos and Swarm's Dominique Fishback) do resemble people better than most flesh-and-blood characters in the Transformers world, welcomely, although one gets a sick-kid backstory and another a bad boss. Were the Transformers themselves asked to write the most cliched screenplay they could? Transformers: Rise of the Beasts is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June and July, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
After nearly a decade of Westerosi power struggles, obsessed fans and soaring ratings, HBO found itself with a Game of Thrones-sized gap to fill last year. The network isn't completely saying goodbye to the world created by George RR Martin, with at least one spinoff in the works — but it's also eager for something else to help pick up where GoT left off, fantasy-wise. First debuting late in 2019, and due to return for a second season in the next few months. His Dark Materials is one of the US network's prime candidates. It's based on Philip Pullman's award-winning young adult trilogy of books of the same name: The Golden Compass, The Subtle Knife and The Amber Spyglass. And if it sounds familiar — and not just because you watched the initial batch of episodes — that's because one of the tomes, The Golden Compass, was already turned into a movie back in 2007. HBO is keeping things simple with their adaptation by sticking with the franchise name, other than individual book monikers — hence the His Dark Materials title. They've also bet big on star power, with the series boasting a hefty cast. James McAvoy, Ruth Wilson, Hamilton's Lin-Manuel Miranda, Da 5 Bloods' Clarke Peters and Logan's Dafne Keen all star, while Fleabag's Andrew Scott and Phoebe Waller-Bridge will also pop up in the second season. Yes, it'll be a reunion for the two series newcomers, although you'll be seeing Scott on-screen as Colonel John Parry and hearing Waller-Bridge's voice as Parry's daemon. What's a daemon? It's one of the key parts of His Dark Materials. Here, Keen plays an orphan by the name of Lyra Belacqua — who seems just like everyone else, but hails from an alternate universe where a person's soul manifests as a shape-shifting animal called a daemon. In the show's first season, as Lyra looks for a kidnapped friend in the Arctic, she discovers a church-run stolen children ring, learns about mysterious particles known as Dust and ventures through different worlds, including the one we all know. McAvoy pops up as a powerful aristocrat, Wilson is his ex, and Miranda plays a balloonist and adventurer. If you're eager for the next season, HBO has just dropped the first sneak peek, releasing a trailer as part of this year's Comic-Con at Home. An exact release date for the season hasn't been revealed yet, but it'll hit the US in the country's autumn — so spring Down Under, where it airs in Australia on Foxtel. Check out the full trailer below: https://www.youtube.com/watch?v=FnFsU7SY0Gk His Dark Materials' second season will arrive sometime later in 2020 — we'll update you with an exact date when it is announced. Images: Simon Ridgway/HBO.
So if you're lonely, Franz Ferdinand will be here waiting for you across Australia before 2025 is out. Fresh from releasing their sixth album in January, the Scottish band have announced a visit Down Under in November and December, with five gigs on the itinerary. Their stops: Perth, Brisbane, Melbourne, Thirroul and Sydney. It's been more than two decades since the Alex Kapranos-led group made a helluva splash with the catchy second single from their self-titled debuted album. Even just reading the name 'Take Me Out' is enough to get the number-one tune in Triple J's 2004 Hottest 100 stuck in your head. The song was also nominated for two Grammys, while the record that it springs from won the Mercury Prize. Franz Ferdinand's latest trip to Australia kicks off in Perth at Red Hill Auditorium on Wednesday, November 26, before heading across the country to Brisbane's Riverstage on Saturday, November 29. Next destination: Melbourne, playing Live at the Gardens at the Royal Botanic Gardens on Friday, November 28. Then comes a Tuesday, December 2 date with Anita's Theatre in Thirroul in New South Wales, before wrapping up on Wednesday, December 3 at On the Steps at the Sydney Opera House Forecourt. On every stop, Melbourne's Delivery will be in support — and everywhere except Thirroul, so will the Mornington Peninsula-born Teenage Dads. Since the huge success of 'Take Me Out' and their 2004 Franz Ferdinand album, the band have dropped records in 2005 (You Could Have It So Much Better), 2009 (Tonight: Franz Ferdinand), 2013 (Right Thoughts, Right Words, Right Action), 2018 (Always Ascending) and this year (The Human Fear). Touring-wise, their past Aussie trips have included sets at Big Day Out, Splendour in the Grass and Falls Festival. Franz Ferdinand's 2025 Aussie visit comes just a few months after Bloc Party, who benefited from Kapranos' approval when they were starting out, do the same in August. Franz Ferdinand Australian Tour 2025 Wednesday, November 26 — Red Hill Auditorium, Perth Saturday, November 29 — Riverstage, Brisbane Friday, November 28 — Live at the Gardens, Royal Botanic Gardens, Melbourne Tuesday, December 2 — Anita's Theatre, Thirroul Wednesday, December 3 — On the Steps, Sydney Opera House Forecourt, Sydney Franz Ferdinand are touring Australia in November and December 2025, with ticket presales from 10am local time on Monday, May 12 and general sales from the same time on Wednesday, May 14. Head to the tour website for more details. Select images: Raph PH via Flickr.
What's the deal with trivia nights based on pop culture commodities? They're awesome, that's what — and they're here to stay. This week, it's Seinfeld's turn. The show about nothing has inspired an evening about everything that made its nine-season, 180-episode run so great. The fun unravels at the Electric Avenue from 7pm on November 20, with entry free (just as George Costanza would like it). And, given the timing, think of it as Festivus coming early for those who think they know every conceivable detail about the hit '90s sitcom — and about Jerry, George, Kramer and Elaine. The gang at Man vs Bear trivia will put your affection to the test, potentially covering everything from soup to sponges, puffy shirts to Pez dispensers, and even the parade of famous faces that played Jerry's girlfriends. Yada, yada, yada — you get the picture. Of course, the bar will also be serving their usual array of drinks, in case those pretzels make you thirsty.
