First announced in 2015, Brisbane's second Art Series Hotel is getting closer to opening its doors — and when it launches in March 2019, it'll pay tribute to world-renowned Australian painter and photographer Vincent Fantauzzo. Each of the brand's hotels takes inspiration from a different artistic great, and Fantauzzo is in the spotlight at the new Howard Smith Wharves hotel, which will be known as The Fantauzzo. A winner of plenty of weighty prizes — the Doug Moran National Portrait Prize, the Archibald Packing Room Prize, and the Archibald People's Choice Award a whopping four times — Fantauzzo has committed everyone from Heath Ledger and Matt Moran to Brandon Walters and Julia Gillard to his canvas. Prepare to feast your eyes on 500 of his most recognised pieces, with reproductions set to grace The Fantauzzo's walls — but that's not the hotel's only stunning sight. Built into the cliff underneath the Story Bridge, the $100 million site will boast one mighty fine view of the city and the Brisbane river, plus custom furniture and original artworks. Across six levels, it'll also include 166 guest rooms, four spots to eat and drink, a hotel bar, a gym and three conference rooms. Like Brisbane's only other Art Series Hotel, The Johnson in Spring Hill, its pool will be a highlight. Here, guests will be able to splash around on the rooftop while gazing out over the CBD. The Fantauzzo marks the eighth Art Series Hotel across the country, with five in Melbourne and one in South Australia. If you're keen to make a staycation date with the brand's newbie, it'll start taking reservations from Friday, November 30 for stays from March 2019 onwards. And, of course, given the Howard Smith Wharves location, you'll be right on the doorstep of Brisbane's newest precinct. It already has its own riverside brewery, will welcome an overwater bar this week, and will later include a Greek taverna, a two-level Asian fusion joint, Brisbane's first Toko restaurant, indoor entertainment spaces, outdoor multi-use areas and entertainment stages, and a whole heap more. Find The Fantauzzo at Howard Smith Wharves, 5 Boundary Street, Brisbane from March 2019. Visit the hotel website for further details and to make a booking.
In 2015, Brisbane Powerhouse ushered a new festival onto Brisbane's events calendar. MELT showered the city with the best in queer arts and culture, and became Queensland's rival to the Sydney's Mardi Gras and Melbourne's Midsumma in the process. Of course it received a rather warm welcome, so it's not surprising that it's back this year with another bustling lineup of shows and performances to flock to. Brimming with variety, the 2016 program includes a missing appendage, a southern songstress, a queen of the Cross and a portrait prize, plus much, much more. For more MELT, check out our top ten events at this year's festival. Image: Gerwyn Davies.
If there's one thing that a film about Adam Driver fighting dinosaurs shouldn't be, it's average. Only ridiculously entertaining or ridiculously terrible will do, and those two outcomes needn't be mutually exclusive. The appeal of 65 is right there in that four-word premise, as it was always going to be, because getting the intense White Noise, House of Gucci, Annette and Star Wars actor (and BlacKkKlansman and Marriage Story Oscar-nominee) battling prehistoric creatures is that roaringly ace an idea. He should brood, and his dino foes should stalk, snap and snarl. That is indeed what happens thanks to writer/directors Scott Beck and Bryan Woods, who penned the first A Quiet Place, plus have horror movies Nightlight and Haunt on their past helming resumes. But for a flick that isn't required to offer anything else and knows it — well, other than laser guns to shoot at said dinosaurs, because not even the man who plays Kylo Ren can confront a Tyrannosaurus rex or pack of raptors barehanded — 65 doesn't possess enough B-movie energy. Beck and Woods have taken the very B-movie path story-wise, though. As 65's trailer made plain, this is a Frankenstein's monster of a film mashup, stitching together limbs from a stacked pile of other sources to fuel its narrative. The Jurassic Park and Jurassic World franchise, the Predator series, the Alien and Prometheus saga, Logan, The Last of Us, The Man Who Fell to Earth and, yes, A Quiet Place: they each earn more than a few nods, and never with subtlety. So too does Planet of the Apes, but the fact that 65 is set on earth all along isn't a late-picture twist. What else would the title refer to? That said, Beck and Woods begin their movie elsewhere, taking time-travel 65 million years backward out of the equation. Instead, Driver's pilot Mills ends up on our pale blue dot from a civilisation out there in space, and one more advanced during earth's Cretaceous period than humankind is today. Again, these aren't surprises. Text on-screen points all of this out from the get-go or close enough. When the title card arrives bearing the number-slash-moniker 65, that the film takes place all those years ago, and that Mills is now on the third rock from the Milky Way's sun, is written out on-screen as well. Kudos to the filmmakers for not focusing their movie on the tease; a lesser flick, and not in the so-bad-it's-good way, would've been fine with wholesale ripping off Planet of the Apes but just journeying in the opposite temporal direction. Rather, even with the Rod Serling-esque concept — The Twilight Zone creator and presenter also penned the OG Apes' screenplay, as loosely adapted from the page — 65 is about what happens next with full knowledge of where it's set. The narrative from there is obvious, with or without any other context. Whatever you think will happen in 65 sight unseen, or from the trailer, does. Mills tries three things: to survive, to fend off those pesky dinosaurs and to get home. But, he isn't alone. He's transporting others as part of a long-range mission when his ship crashes on what's to him an unknown planet, and young Koa (Ariana Greenblatt, In the Heights) also lives post-impact — after their vessel is hit by an undocumented asteroid, sending them plummeting in the first place, and then after it smashes into earth, tearing apart and scattering its two halves 12 kilometres apart. The piece that Mills and Koa are in can't blast off, of course, and the planet's most frightening-ever residents are keen on a meal as the duo of interlopers attempt to use their wits and weaponry while walking from one section to the other. If you know earth's basic history and how things turned out for the dinosaurs, as we all do, there's no prizes for guessing what else occurs in 65. With startling its audience off the cards, ample pressure falls on the film's ability to engage through character, chaos or both — too much pressure, it proves. Everything is passable. Everything is firmly by the numbers. Nothing is wild, weird or wonderful. That applies to the family thread that runs through the film, after Beck and Woods showed their fondness for the ties of blood, monsters and the end of the world with A Quiet Place. Mills' well-paying gigs have long spirited him away from his wife (Nika King, Euphoria) and daughter (Chloe Coleman, Avatar: The Way of Water), the latter of whom has serious health conditions, making 65's protagonist a Star Wars-esque absent dad. So, when he's tasked with caring for Koa out of proximity and necessity, that job sparks an emotional reaction and connection. Movies about crashing somewhere strange and scary, being ushered into new worlds filled with threats and endeavouring to adapt all work as birth metaphors — we've all been there — an idea that lingers in 65's quiet moments. What does it mean to be thrust into an unfamiliar realm, learn of its ever-present perils and try to endure? How do we learn resilience, resourcefulness, who we are and what's truly important? These questions aren't unrelated, and they're also at the core of this feature. 65 doesn't dig fossil-level deep, however. It's always a dinos-versus-people sci-fi thriller. Actually, make that dinos-versus-humanoid aliens, given that Mills and Koa hark from a long time ago in a galaxy far, far away (no, not the George Lucas-started ones) as they're grappling with beasts brought to the screen with standard-at-best (and never Prehistoric Planet-standard) CGI. 65 would be a far worse film without Driver; switching out its star wouldn't make it an extinction-level event, but the whole 'Adam Driver fights dinosaurs' concept is alluring for a reason. Since singing "please don't shoot me into outer space" in Inside Llewyn Davis, he keeps being shot there, or from there, on-screen — and approaches each instance, as he has everything from Girls and Frances Ha to Paterson and The Last Duel, with blistering commitment. If this was a grander, gorier or sillier movie with Driver's performance at its centre, it might've been something special. There's glimmers here, glistening like a dinosaur's teeth. The version that treads forth is watchable, but also the most basic version of what it is, what viewers want and why it exists: yes, Adam Driver fighting dinosaurs.
'Big call' we hear you scoff. Well, yes, it seems like every Brisbanite has a ride-or-die sushi joint they are loyal to. But hear us out: Sushi Kotobuki has got some serious game. What started as a tiny East Brisbane standalone has expanded to include a sparkly new sister venue in the CBD. But hey — you are a discerning sushi connoisseur! You aren't easily swayed by shiny new things! Fair call, but we challenge you to try the cream cheese chicken roll and not be impressed. It's that darn good. Takeaway Tuesday be damned — this food deserves to be enjoyed on a plate, not in plastic.
As ballet fans are well-aware, heading to the Thomas Dixon Centre in West End usually means seeing a show. Soon, visitors will be able to drop by just for a meal, too. The Montague Road precinct is set to unveil not one but two new eateries: Layla, Shane Delia's first-ever Queensland restaurant, plus just-announced daytime cafe Tom's Kitchen. News about Delia's addition to Queensland Ballet's home first arrived in 2024, with the venue's name then announced at the end of February. Now comes the lowdown on Tom's Kitchen, which is set to launch first. While you'll be able to hit up Layla from Friday, March 28, Tom's Kitchen will welcome in patrons from Wednesday, March 12. Operating from 6.30am–4pm daily, Tom's Kitchen will have a clear focus: local ingredients, seasonal menus and a produce-driven range. The aim is to give the precinct the type of place that serves up meals and bites — so leisurely and quick options alike, including at brunch — and sees West End residents, dancers, visitors to the precinct and more stop by. "Tom's Kitchen is a place where people can connect over great coffee and fresh, approachable food, while the premium dining restaurant — launching later this month — will offer a more refined experience, bringing a different expression of culinary excellence to Brisbane," explains Lisa Summer-Hayes, Director of Customer Experience at Thomas Dixon Centre. "We like to think of Tom's Kitchen as a place that will fuel creativity, community and conversation," added Daryl Kerry, CEO of VenuesLive, the precinct's hospitality partner. [caption id="attachment_993450" align="alignnone" width="1920"] Angharad Gladding[/caption] Patrons can expect Sprout Bakery's bread and ST ALi coffee on the menu at Tom's Kitchen — and dishes such as market mushrooms, 'nduja, salted ricotta and a poached egg atop sourdough; a cheeseburger made with smashed beef patties, provolone and pickles, then paired with house fries; and a potato hash plate featuring smoked salmon and tomato béarnaise. As for Delia's Layla, the new venture from the Melbourne-based chef and restaurateur will continue his focus on Middle Eastern flavours and rich, bold, spice-fuelled dishes. The restaurant is a partnership with Queensland Ballet, with Delia Group teaming up with VenuesLive. [caption id="attachment_979995" align="alignnone" width="1920"] Angharad Gladding[/caption] Tom's Kitchen will open at the Thomas Dixon Centre, 406 Montague Road, West End on Wednesday, March 12, 2025. Head to the precinct's website for more details.
Prepare to spend more time scrolling through streaming queues — Apple is following in Netflix's and Disney's footsteps and releasing its own streaming platform. Called Apple TV+ and set to launch in spring this year — in the southern hemisphere — the new subscription service will feature a heap of new original television shows, movies and documentaries. They'll all be available ad-free and on demand, with access via the company's existing Apple TV app. While the platform's exact release date hasn't been announced, nor has pricing or the regions that it'll be available in, the company has revealed a sizeable lineup of new series it hopes will attract your TV-loving eyeballs. Fancy watching Reese Witherspoon, Jennifer Aniston and Steve Carell navigate the world of morning television in the appropriately titled drama series The Morning Show? Jason Momoa in a new sci-fi show called See, which is set in a world where humans are born blind? A revival of Steven Spielberg's Amazing Stories anthology series? A new docu-series from Oprah — and the return of her book club? They're all on the way. So is Are You Sleeping?, which is based on a novel about true crime podcasts and featuring Octavia Spencer and Aaron Paul; crime thriller Defending Jacob, starring Chris Evans; and a TV remake of Terry Gilliam's film Time Bandits, with a pilot directed by Taika Waititi. The list goes on, and includes a comedy set in a video game development studio from the folks behind It's Always Sunny in Philadelphia, a yet-to-be-named CIA undercover agent series starring Brie Larson, and new shows from both M. Night Shyamalan and La La Land director Damien Chazelle (separately, not together — although a collaboration between the two would certainly be interesting). In preparation for its new streaming service, Apple also announced an update to its existing Apple TV app, which'll be available from May. The app will also become available on Samsung Smart TVs in the second half of the year, and via Amazon Fire TV, LG, Roku, Sony and VIZIO platforms sometime in the future — meaning that you won't need an Apple device to watch Apple TV+. https://www.youtube.com/watch?time_continue=15&v=Bt5k5Ix_wS8 Also on the cards: Apple Arcade, a paid gaming subscription service that'll feature more than 100 new and exclusive games on an all-you-can-play, ad-free basis — and, crucially, with no additional in-game purchases required. It's due to release in more than 150 countries around the same time as Apple TV+, and will be accessible via a new tab in the App Store. For news junkies, the company also launched Apple News+. Available now in the US and Canada, but not coming to Australia until later this year, it offers access to more than 300 magazines, newspapers and digital publishers in one spot. Titles included range from Vogue to National Geographic Magazine to The Wall Street Journal, for the US price of $9.99 per month. Apple TV+ is set to launch in spring 2019, Australian and New Zealand time. We'll keep you updated with further details when we have them.
With Game of Thrones finishing its run a few months back, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show is set to go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender arrives this month, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel, which launched back in August, it'll soon drop new series The Witcher as well. In fact, the Henry Cavill-starring show will arrive on Friday, December 20, just in time for some Christmas break binge-viewing. As seen in both the initial trailer and the just-released new sneak peek, the witcher of the title is Geralt of Rivia (Cavill, sporting long blonde locks), a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. As well as Chalotra and Allan, it also features Jodhi May (Game of Thrones), MyAnna Buring (Kill List), Lars Mikkelsen (House of Cards) and Australian actor Eamon Farren (Twin Peaks). Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the latest trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=ndl1W4ltcmg The Witcher will hit Netflix on Friday, December 20. Image: Katalin Vermes.
"Goodbye Christopher Robin," announces the title of this treacly biopic. Goodbye subtlety and and emotional nuance, too. A true tale about Winnie-the-Pooh author AA Milne, his son, and the loveable bear that made them both famous, this is a movie that doesn't trust its audience to laugh or cry without being told when and how much. Eeyore's constant moping and Tigger's bouncy zest seem almost restrained in comparison. The handsomely staged effort sets its sights on a shell-shocked Milne (Domhnall Gleeson) in the wake of the First World War. He's rattled by London life following his experiences on the battlefield, much to the dismay of his socialite wife Daphne (Margot Robbie). A move to the country doesn't seem to help matters either — or at least it doesn't until a stint in the surrounding forest without Daphne or live-in nanny Olive (Kelly Macdonald), when the writer and his eight-year-old son Christopher Robin (Will Tilston) imagine a whole new world with the help of some stuffed toys. If it worked for Peter Pan and Mary Poppins, then it can work for Winnie-the-Pooh. Or at least, that's what director Simon Curtis (Woman in Gold) appears to think. Indeed, as Finding Neverland and Saving Mr. Banks did before it, Goodbye Christopher Robin presents itself as a behind-the-scenes origin story, but soon proves more interested in riding an easy wave of affection. Given that everyone's favourite fictional bear is involved, there's ample love flowing, of course. Alas, though the movie's approach is well-intentioned, the end result remains noticeably heavy-handed. An overwrought score, uninspired cinematography and pacing that pauses for impact every time something notable happens are just a few of the film's particularly grating elements — although arguably the biggest problem is the mismatch between the script and the way it's been executed. Screenwriters Frank Cottrell-Boyce (The Railway Man) and Simon Vaughan aren't afraid to take the narrative to darker corners, touching on the trauma of war, the difficulties of marriage and motherhood, the struggle of having your childhood suddenly opened to the public, and the distance that can grow between a father and a son. Sadly, Curtis would rather skip nostalgically past the bleaker material, or wring it to inspire easy waterworks. Filmmakers underestimating their viewers isn't new. Nor is spoon-feeding plot developments and signposting sentiment, pairing a cute kid with a grumpy adult, or leaning on pop culture commodities. Goodbye Christopher Robin is guilty of all of the above — but, more than that, it's guilty of squandering its potential. As the great performances from young Tilston and the suitably conflicted Gleeson both show, there's plenty of emotion and drama to be found in the Milnes' story without smothering it in honey. As Winnie himself would say: "oh bother." https://www.youtube.com/watch?v=jb6gC-G2-6c
After introducing its cookie pies to the world last month, followed by serving up an OTT red velvet one, Gelato Messina is bringing the decadent dessert back again. This time, though, it's filled with a gooey choc-hazelnut spread the gelato chain calls Messinatella. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two–six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. These pies are available for preorder from Monday, June 8 — so if you missed out last time, here's your chance to get yourself a piece of the pie. On its own, the indulgent choc chip pie will cost $20. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. You can add on a 500-millilitre tub for $28, a one-litre tub for $34 or a 1.5-litre tub for $39. To get your pie to your oven, you will have to peel yourself off the couch and head to your local Messina store between Thursday, June 11 and Sunday, June 14 to pick it up. Once you've got the pie safely home, you just need to whack it in the oven for 10-15 minutes and voila. You can preorder a Messina cookie pie from Monday, June 8 to pick up from all NSW, Vic and Queensland Gelato Messina stores (except The Star and Coolangatta) from June 11–14.
Brisbane Festival is gearing up to be a big one this year, with over 1000 events taking place across the city in September. One of the key venues and major partners of the annual event, for the third year running, is Northshore Brisbane — Queensland's largest urban renewal precinct. The riverfront hub will play host to the world premiere of Salamander and the heart-pumping Erth's Shark Dive. In Salamander, a brand new dance-theatre spectacle, L Shed at Northshore will be transformed into a flooded, climate-fiction world through a mix of light, sound, movement and design installations. The show features spellbinding choreography by Maxine Doyle and an ensemble of dancers, set to evocative music by Australian composer Rachael Dease and performed amongst sculptures by prominent artist Es Devlin. [caption id="attachment_913329" align="alignnone" width="1920"] Image: Damien Bredburg[/caption] For fun with the whole family, innovative puppeteers Erth will be bringing their large-scale creations to Northshore from Sunday, September 17 to Friday, September 29. In Erth's Shark Dive, kids can choose to have a thrilling adventure or an awe-inspiring interaction with their choice of soundtrack. Music-lovers can look forward to Sweet Relief! festival at Maritime Green on Saturday, September 16, and The Australian Voices choir is also putting on a free concert there on Saturday, September 2. While you're there, be sure to make the most of your time at Northshore with uninterrupted views of the Brisbane River from The River Room cafe, a meal at Gusto Da Gianni or a sunset drink at Byblos Bar and Restaurant. Street food festival Eat Street will be running every Friday, Saturday and Sunday with over 70 food and drink vendors, along with live music. Book tickets for Salamander from $74 at the website. Tickets for Erth's Shark Dive are $29 and are also available to book at the website. For more information and help on getting to the venue. head to the Northshore website.
If you know your Studio Ghibli from your Sion Sono, and your vintage monster movies from your J-horror, then you’re probably going to want to head to GOMA’s next film program. And if you don’t, well, you’re definitely going to want to head along. Just prepare to have your eyes opened. From July until September, the Gallery of Modern Art’s Australian Cinematheque is paying tribute to everything that makes Japanese filmmaking great. Okay, maybe not everything. With a lineup that flits from creature feature The War of the Gargantuas to the cult craziness of RoboGeisha, and between the witchy delights of Kiki's Delivery Service and the violent mayhem of Why Don't You Play in Hell?, it’s the nation's strange, outrageous and eclectic stuff that’s in the spotlight. The two-month-long showcase is called Cult Japan after all — and there’s a reason why the release of each GOMA film schedule is one of Brisbane’s most anticipated cinema announcements. It’s a good thing that the gallery’s main movie theatre has the comfiest seats in town, outside of gold class, because every cinephile is going to be spending a lot of time there.
UPDATE: May 1, 2020: Ad Astra is available to stream via Google Play, YouTube and iTunes. When humanity soars into space, what do we hope to find? Every mission beyond the earth has considered this question, as has almost every movie on the subject. Now, it bubbles inside James Gray's Ad Astra. Initially in this thoughtful and thrilling near-future set film, the answer seems simple. A dedicated astronaut whose calm nature earns him ample praise, Major Roy McBride (Brad Pitt) has been tasked with literally following in his long-lost father's (Tommy Lee Jones) footsteps. But this quest couldn't be more complicated, with Roy trying to stop a threatening series of interstellar power surges, working through his issues with the assumed-dead dad he's always tried to emulate, and grappling with his place in a mysterious, expansive universe. In his earthbound but also stellar 2016 film The Lost City of Z, Gray contemplated a comparable conundrum, telling the true tale of British explorer Percy Fawcett's trek through the South American jungle. Focusing on another adventurer on both an external and internal journey, it couldn't have been a better precursor to Ad Astra, with the two movies sharing aching parallels. Wherever humankind is stranded, we're just trying to make sense of it all, the filmmaker posits — and whether we're stuck in lush tropics or desolate space, we're holding a mirror up to our souls. Seemingly sparse yet filled with endless intricacies, space suits Ad Astra's protagonist. While Pitt's measured narration gifts viewers a window into his character's head, Roy isn't forthcoming about his feelings otherwise. Again and again, he takes mandatory psychological evaluations, utters what he knows he's supposed to and passes with flying colours. In flashbacks, he's distant with his wife (Liv Tyler), and when he's joined on his new mission by one of his father's old friends (Donald Sutherland), he's unfazed. That said, Roy is unsurprisingly unsettled to learn that his dad might still be out there, and still trying to find extraterrestrial life instead of reclaiming the life he left behind. The fate of the world may be at stake, but a sea of internal turmoil accompanies his venture via the moon to Mars, all to beam his father a government-approved message. Co-writing Ad Astra's script with Ethan Gross (TV's Fringe), Gray paints Roy as someone equally fixated and haunted. Conflict rages both around and within him, as a man so accustomed to control faces existence's many uncertainties. Sometimes, the film launches physical obstacles into his path, as seen in expertly staged scenes involving rampaging moon pirates and savage space travellers. Often, of course, the hurdles are intellectual, psychological, ideological and emotional. Forty years ago, Apocalypse Now depicted a similar struggle, which won't be lost on Ad Astra's audience — but as exceptional as Francis Ford Coppola's war epic is, the comparison doesn't quite do Gray's feature justice. Ad Astra also shows signs of 2001: A Space Odyssey's influence, as all sci-fi flicks have for the past half-century; however its vision of space — complete with rampant capitalism and ol' fashioned human ruthlessness — is definitely its own. The movie also possesses its own weight and texture, as firmly entwined with its leading man. Turning in sublime performances in consecutive films, the Once Upon a Time in Hollywood actor (and also one of Ad Astra's producers) proves a commanding choice to navigate Roy's journey. Pitt's ability to simultaneously eat and emote has long been noted but, here, it's his talent for conveying so much through a silent, searching stare that ripples across the galaxy. Enlisting the ever-excellent talents of Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk), Gray gives viewers plenty of time to gaze at Pitt's increasingly weary face and its quiet depths. Always a detail-oriented director, he peers just as intently at distant planets, gleaming spaceships and empty nothingness, these entrancing visions speaking volumes as well. Indeed, Ad Astra is a patient and exacting movie. It never lets a moment — or a frame or a plot development — go to waste. When it sends Roy hurtling from a towering space antenna early in the piece, for example, the sequence serves multiple purposes. As well as showing the astronaut's immense grace under pressure, it astutely illuminates the tenuous nature of his and all existence. Breathtaking, tense and gripping, the huge plummet couldn't better encapsulate this mesmerising and moving film, too — a movie that reaches for the stars, grasps them, but knows that every leap comes with a fall. https://www.youtube.com/watch?v=BsCNKuB93BA
Whether or not Noora Niasari was ever explicitly told to write what she knew, the Iranian Australian filmmaker has taken that advice to heart. Her mother listened to the same guidance first, even if it was never spoken to her, either. The latter penned a memoir that has gone unpublished, but helped form the basis of the powerful and affecting Shayda. This account of a mum and her daughter attempting to start anew in a women's shelter doesn't entirely stick to the facts that writer/director Niasari and her mother lived through. The Sundance-premiering, Melbourne International Film Festival-opening, Oscar-contending feature — it's Australia's entry for Best International Feature Film at the 2024 Academy Awards — isn't afraid to fictionalise details in search of the best screen story. Still, the tale that's told of courage, resilience, rebuilding lives and finding a new community is deeply and patently personal. Perhaps even better, it's inescapably authentic. Add Shayda to the list of recent features that couldn't be more moving while flickering across the screen like they're projections of a memory. Aftersun, Past Lives and now this Melbourne-shot and -based effort sport not only that sensation but also that look. None closely visually resemble any of the others, and yet each plays like a window into their directors' histories. What a glorious trend that cinema is enjoying right now: films made by helmers grappling with and sharing their own stories, all crafted by feature first-timers and each hailing from female directors as well. A fourth movie bonded by the same elements is on its way in How to Have Sex, and may more follow. Also magnificent: how so much connects Aftersun, Past Lives, How to Have Sex and Shayda in spirit and origin, and yet each is its own exceptional film. In Shayda's case, Niasari peers back at being barely of primary-school age and making a new home. Fleeing to a women's shelter is the only option that the film's eponymous figure (Zar Amir Ebrahimi, 2022's Cannes Best Actress-winner for Holy Spider) has to get away from the abusive Hossein (Osamah Sami, Savage River), whose controlling nature is matched by that of their patriarchal culture. So, Shayda leaves with six-year-old Mona (debutant Selina Zahednia). As she waits for her divorce proceedings to go through — a complicated task under Iranian law and customs — she seeks refuge at a secret site overseen by the caring Joyce (Leah Purcell, The Lost Flowers of Alice Hart). Even surrounded by kindness and filled with desperation for a better future, every iota of Shayda's decision is fraught and tense; Niasari starts the film with Mona at an airport being told what to do if she's ever there with her father, should he try to take her not only away from her mum but also back to Iran. Exceptional French domestic thriller Custody also chronicled the difficulties faced by a woman striving to break free from a dissolving and dysfunctional marriage, including for her safety and that of her children. The setting varied, as did the cultural context. It wasn't additionally a picture about displacement, as Shayda is; however, it too rippled with anxiety and intensity that dripped from the screen. Niasari's film sees the terror and the trauma, as well as the infuriating bureaucracy that makes an already-distressing situation even more upsetting. It shreds nerves as Hossein receives unsupervised visitations with Mona, and simply as its namesake literally makes her way through the world with the fear of her husband's threatening presence always lurking over her shoulder. Again, this is a feature packed with been-there-seen-that minutiae, and made to echo from the screen with that very air. Shayda spies hope just as clearly, though. Someone endeavouring to spark a new existence half a world away from everything they've ever known has to possess that feeling, which the movie never loses sight of. Neither does cinematographer Sherwin Akbarzadeh (The Giants), who lenses a lived-in, closed-in but also visibly warm film — plus a fluidly shot feature, and yet one that knows how meaningful it is to sit in the moment. Accordingly, hope keeps lingering as Niasari's on-screen surrogate for her mum makes the utmost that she can of living with Joyce and fellow women needing a safe space, and as she fights for Mona, battles for independence and reclaims her agency, too. It's there as she still ensures that Farsi, Persian dance and celebrating Nowruz, or Persian New Year, remain entwined in her daughter's upbringing. Shayda isn't merely hoping for a brand-new way forward; she's doing everything that she can to be herself again, which still means cherishing her background and passing on its traditions. Among the talented women attached to this Sundance Audience Award recipient — emerging victorious in 2023's festival's World Cinema — Dramatic competition — Cate Blanchett is the best globally known name. The Tár and The New Boy actor executive produces, lending the kind of attention that her involvement can give a debut feature, but Shayda belongs to filmmaking star-on-the-rise Niasari, plus the always-wonderful Ebrahimi and fresh discovery Zahednia. With the film arriving so closely with Aftersun, Past Lives and How to Have Sex, it might seem as if making a movie that's so ripped from the heart and soul is easy, although that's unquestionably not true. Another thing that all four features have in common: they feel effortless to watch, but also like the product of hard, meticulous, all-in work. Here's one more: they also make something so personal resonate universally. With Shayda, conveying the fact that Shayda and Mona's plight sadly isn't unique is a clear but never heartstring-tugging aim. That Ebrahimi plays Niasari's lead so soon after winning Cannes' top acting prize is a pure stroke of lucky timing, with casting happening before that accolade. She would've been marvellous without the gong on her mantle already, of course — and marvellous she is. Quiet power shimmers in Shayda's strongest moments. Determination simmers silently even when the character is at her most fragile. Being resolute and being vulnerable aren't positioned as opposites in her devastatingly multi-layered performance. First-timer Zahednia is a find and also just as understated as Ebrahimi; their pairing as mother and daughter is a dream. Not that Shayda skimps on dialogue, but words aren't often needed thanks to their potent portrayals, including to see the world through Shayda and Mona's eyes.
When The OA arrived on Netflix in December 2016, inspiring many a binge-watch and just as many conversations, four words came to mind: like story, like show. In the sci-fi mystery series, an enigmatic young woman told a strange, sometimes creepy tale to a willing audience, demanding their faith and trust in return — and the eight-episode first season did exactly the same with streaming viewers. Now the show is back, with The OA: Part II due to arrive on March 22. Across another eight installments, the series will once again delve into the plight of Prairie Johnson (Brit Marling), a blind woman who went missing for seven years, returned suddenly with restored sight, and started calling herself The OA. In the first season, she would only relay the details to a group of followers — and both her story and its retelling featured near-death experiences, Russian oligarchs, tinkering with space and time, and interpretative dance moves. In the second season, The OA finds herself in an alternative dimension where Barack Obama has never been president. Meanwhile, a private detective tries to track down a missing teen and The OA's original pals once again try to work out what's going on. Marling created the series with director Zal Batmanglij, with both co-writing several episodes as well — and their pre-The OA filmography gives an idea of the kind of space the pair likes to play in. Festival circuit flicks Sound of My Voice and The East each delved into close-knit groups with charismatic leaders and murky conspiracies, the former in a cult with a ringleader who claims to be from the future, and the latter in an eco-activist group. Whatever The OA: Part II has up its sleeves, it won't be straightforward, but it'll likely inspire plenty of out-there sci-fi theories. Check out the trailer below — and start pondering just what's going on in the show's weird vision. https://www.youtube.com/watch?v=WlSXDaRR2bw The OA: Part II hits Netflix worldwide on Friday, March 22.
Australia has a long and illustrious history of banning, restricting or causing an almighty fuss over perfectly reasonable things. The newest incident is the banning of American director Travis Mathews' film I Want Your Love, which was brought to national attention this week when James Franco filmed himself sitting on a sofa in a Hawaiian shirt, declared the banning as "really silly" and posted it to YouTube. I Want Your Love, which was due to screen at both Brisbane and Melbourne's Queer Film Festivals was rubber stamped with the letters RC — Refused Classification — by the Australian Classification Board. The reasons for the board's decision were the film's depictions of explicit gay male sex. But the film is not pornographic, or extreme. Mathews explains that he "sought to capture honest and intimate depictions of modern gay life with everyday men". A film gets given an RC rating if it depicts scenes "in such a way that they offend against the standards of morality, decency and propriety generally accepted by reasonable adults". Yet the Australian Classification Board can be wildly inconsistent in what they see as morally offensive. Last year, a documentary called Donkey Love screened at Sydney and Melbourne's Underground Film Festivals about the special love between Colombian men and their donkeys. Within the first five minutes, a man was having sex with a donkey. It wasn't refused classification. The board maintains that they don't censor, they classify. While this is true, it remains a fact that when the board gives a film, publication, or game an RC rating it cannot be distributed in Australia, effectively censoring it. In what follows, we walk you through some of the most infamous incidences of head-shaking and pearl-clutching in Australia's censorship history. Ern Malley In the 1940s, Sydney poets James McAuley and Harold Stewart wrote a series of poems and submitted them to the journal Angry Penguins under the name Ern Malley. The poems were written to embarrass the journal and 'prove' that modernist poetry was nonsensical. But in the meantime, the police had impounded editions of Angry Penguins and the poems, on the grounds that they were obscene. So commenced the most ridiculous obscenity trials Australia has ever seen. The police took issue with the poem Night Piece, for instance, because "apparently someone is shining a torch in the dark, visiting through the park gates. To my mind they were going there for some disapproved motive ... I have found that people who go into parks at night go there for immoral purposes." Lady Chatterley's Lover Many of the best pieces of 20th-century literature were banned in Australia, including — but by no means limited to — Ulysses, Portnoy's Complaint, Lolita, and everything ever written by Henry Miller, Jean Genet, and William S. Burroughs. One of the most infamous banned books was D.H. Lawrence's Lady Chatterley's Lover, which describes scenes of explicit sex and delights in its use of the word 'cunt', seen as likely to cause the good ladies of Mosman and Toorak to collapse in a faint. In fact, not only was Lady Chatterley's Lover banned, but the book about censoring the book, The Trial of Lady Chatterley's Lover, was also banned. Salò, or The 120 Days of Sodom In 1975 Italian filmmaker Pier Paolo Pasolini released Salò, a film inspired by the Marquis de Sade. Due to scenes of extreme sexual violence and sadism, the film was immediately banned in Australia, as well as many other countries. The cult arthouse film became a cause celebre for Australia's anti-censorship campaigners and was eventually deemed suitable for screening in 1993. Then, five years later, in the early years of the Howard government, the ban was reinstituted. It was only in 2010 that Salòwas given an R18+ classification and made available on DVD. Grand Theft Auto It was only at the start of 2013 that video games could be given an R18+ classification in Australia. Before, anything that exceeded MA15+ was automatically banned. Grand Theft Auto was continually subject to this problem. In 2002, Grand Theft Auto III was withdrawn because it allowed players to have virtual sex with virtual prostitutes, and then violently murder them. It was re-released when the ability to solicit sex was removed, but players were still perfectly free to violently murder prostitutes if they so wished. Explicit sex also caused the Vice City and San Andreas editions of the series to be withdrawn. Ken Park In 2003, Ken Park, an American arthouse film, was refused classification by the board. The film, which had been due to screen at that year's Sydney Film Festival, was banned because it portrayed real-life sex scenes involving characters that were supposed to be minors (the actors weren't actually minors). In defiance of the ban, Ken Park was given a public screening at Balmain Town Hall, but it was shut down by the police. Among those arrested was Margaret Pomeranz. They arrested Margaret Pomeranz. Need anything more be said? The Peaceful Pill Handbook In 2007 pro-euthanasia campaigners Philip Nitschke and Fiona Stewart published The Peaceful Pill Handbook, intended to give the elderly and seriously ill information about the legal and moral aspects of suicide as well as how-to instructions for painless and non-violent suicide methods. After an appeal by Right to Life, the book was pulled from the shelves. While The Peaceful Pill Handbook is available in other countries, there remains a ban on both importing and distributing the book in Australia. Bill Henson While Bill Henson's photography wasn't banned, the mainstream media gave it a red-hot go in 2008. The scandal occurred when the police shut down an exhibition at Sydney's Roslyn Oxley9 gallery after accusations that the images of young girls displayed in the exhibit were pornographic. Henson was cast as a paedophile by the likes of Miranda Devine and had Kevin Rudd declare the photographs "absolutely revolting". Despite the uproar, the Department of Public Prosecutions dropped the case after Henson's images were declared "mild and justified" and given a PG rating by the board, in one of the most sensible decisions they ever made. https://youtube.com/watch?v=-3rbDIsT4f0
Remember the name Rasmus King. Based on 2022's slate of Australian films and television shows, that shouldn't be hard. The Byron Bay-born newcomer hadn't graced a screen, large or small, before this year — and now he has no fewer than four projects pushing him into the spotlight before 2023 arrives. Most, including surfing TV drama Barons, capitalise upon the fact that he's a pro on the waves IRL. Two, 6 Festivals and the upcoming sci-fi featurette What If The Future Never Happened?, get his long blonde locks whipping through the Australian music scene. The latter is based on Daniel Johns' teenage years, actually, and has King playing that pivotal part. If he's half as impressive in the role as he is in father-son drama Bosch & Rockit, Silverchair fans will have plenty to look to forward to. When writer/director Tyler Atkins opens his debut feature, it's in the late 90s, along Australia's east coast, and with King as eager surfer Rockit — son to weed farmer Bosch (Luke Hemsworth, Westworld). Sometimes, the titular pair hit the surf together, which sees Rockit's eyes light up; however, Bosch is usually happy tending to his illicit business, making questionable decisions, and coping with splitting from his son's mother Elizabeth (Leeanna Walsman, Eden) with the help of other women. Then a couple of unfortunate twists of fate upend Rockit's existence, all stemming from his father. Begrudgingly, Bosch is pushed into stepping outside his drug-growing comfort zone by an old friend-turned-cop (Michael Sheasby, The Nightingale) and his corrupt partner (Martin Sacks, Buckley's Chance). When a bushfire sweeps through the region shortly afterwards, he's forced to go on the run to stay alive. Bosch & Rockit approaches Bosch's absconding from Rockit's perspective, adopting the line that the former gives his boy: that they're going to Byron for an extended holiday. Atkins doesn't feed the same idea to its audience, but ensures that viewers understand why a bright-eyed teenager would take his dad at his word — not just because he doesn't know what Bosch does for a living, which he doesn't; or he's naïve, which he is; but also because he's eager to hang onto his biggest dream. There's sorrow in King's spirited performance, with Rockit more affected by his parents' split, bullying at school and the isolation that comes with finding solace in the sea, usually alone, than Bosch has the shrewdness to spot. There's earnestness as well, because what struggling kid who's desperate for the kind of love that genuine attention signifies, as Rockit visibly is, won't blindly believe whatever fantasy their dad or mum sells them for as long as possible? King does a magnetic job of conveying Rockit's inner turmoil, and expressing his uncertainty, too. There's an effortlessness to his portrayal, whether Rockit is lapping up Bosch's presence like a plant swaying towards the sunlight, listlessly left to his own devices when his dad decides he'd rather chase Byron local Deb (Isabel Lucas, That's Not Me), or finding a kindred spirit in Ash (Savannah La Rain, Surviving Summer), another restless and yearning teen vacationing under less-than-ideal circumstances and feeling like she's alone in the world. Avoiding formulaic plotting isn't Bosch & Rockit's strong suit, however, as the film makes plain at every turn. That's evident in both of its namesakes' trajectories, for starters — with Bosch a small-time crim falling afoul of the wrong people, with help from bad luck, then trying to start anew; and Rockit an innocent kid stuck with subpar parents, forced to grow up faster than he should, but hanging onto whatever he can. When a wave tumbles over a surfer's head, crashing towards the shore, it's both a new revelation and a routine occurrence every single time — and, as well as showing that sight whenever Rockit takes to the ocean, aka frequently, that's also how Bosch & Rockit feels. The depths in its two central performances, Hemsworth's included, can't completely sweep aside the film's well-worn storyline, but the feature's sincerity goes a long way. A movie can be sentimental and still ring true, too, which this repeatedly does. Knowing that you're having your heartstrings pulled isn't just blatant, but almost instantaneous, and yet this tender tale is still easy to drift along with. While King proves Bosch & Rockit's biggest asset, Hemsworth's impact can't be underestimated — and shows why he has never just been "the other Hemsworth". Like his brothers, his early career weaved through local soaps (Neighbours in his case, which Chris and Liam also popped up on), plus other Aussie TV series (including Blue Heelers, All Saints and Tangle). As his siblings are, he's now best-known for his overseas success, with Westworld forever altering his resume as the Thor franchise has for Chris and The Hunger Games did for Liam. Here, there's a weight and texture to Luke's empathetic work as the well-meaning, perennially hapless Bosch that ranks it among his best, and is crucial to the film. Atkins also ensures that his audience understands why Rockit wants to be with his charismatic yet careening dad, even when he does know better. Indeed, scenes where Hemsworth and King banter, whether slinging the most Aussie curse-filled exchanges each other's way or bickering in public, are among Bosch & Rockit's standouts. It's lucky that its key duo bring so much to their portrayals; elsewhere, Bosch & Rockit is undeniably scenic, but never surprising. Often, Ben Nott's (How to Please a Woman) cinematography looks like a postcard — especially when the picture lingers on the obvious shots, such as the famous Cape Byron Lighthouse, or loiters on dolphins and whales while its characters frolic along the coast. Of course, those pieces of card sent from holiday spots usually come bearing heartfelt statements behind the eye-catching gloss, a trait that Bosch & Rockit also shares. Little about growing up is simple, nothing about parenting is, and love and hope can't help anyone escape either reality — all notions that resonate from this straightforward, always-familiar but also evocative film.
The world is grey and there are few absolutes. That slavery is abhorrent, however, is not a matter for debate. It is a black and white issue based on the black and white issue that ought never have been an issue in the first place. For some reason, though, cinema — so often the most effective form of public debate — has either largely steered clear of it or, at best, touched upon it with altogether reckless abandon (Django Unchained). Not so, 12 Years A Slave. In its own right, Steve McQueen's new movie is an extraordinarily accomplished and captivating piece, yet in the wider context of American history, both literary and filmic, it is nothing short of revelatory. Adapted from the 1853 memoir of the same name, it chronicles with undaunting authenticity the story of Solomon Northup, a free man of the north who was abducted under the pretence of observing the Fugitive Slave Act, then secreted across the Mason-Dixie line where he was sold into slavery for the next 12 years. Playing Northup is British actor Chiwetel Ejiofor in an assured and career-defining role. Subjected to countless closeups by McQueen, Ejiofor's every expression speaks volumes, with his near-impercetible parting of lips or minisucle tilt of his shoulders marking the difference between irrepressible joy and despairing submission into subservience. There are no weak links in the packed cast that also boasts Michael Fassbender, Paul Giamatti, Benedict Cumberbatch, Paul Dano and Brad Pitt (who produced the film); however, it is newcomer Lupita Nyong'o who best supports Eijofor as 'Patsey' — his fellow slave and the subject of a violent, destructive infatuation by their master, Epps (Fassbender). This is an unquestionably difficult film to watch; uncomfortable and unsettling for reasons that extend far beyond what transpires on screen. The enslavement of Northup — an educated, respectful and respected family man — feels an affront at every stage: he is conned, drugged, kidnapped, blackmailed, transported in secret, beaten and betrayed — even by those who were smart enough to recognise he was clearly never meant to be there. And therein lies perhaps the most discomforting layer of all, because, of course, no one was meant to be there. Slavery was the affront, and the realisation that Northup's tragedy feels somehow more unjust than (for want of a less despicable expression) those of the 'normal slaves', is at once confronting and embarrassing. This imagined distinction between 'slavery' and 'unfair slavery' is as redundant as Todd Aiken's 2012 reference to 'legitimate rape', yet in 12 Years a Slave the sense that gradations of cruelty exist visits you repeatedly. There are good slavers and bad, you feel; cruel overseers and kinder ones, despicable racists and the just mostly despicable. In his short carrer McQueen has already established himself as a director both prepared and determined to capture honest and unflinching representations of life, no matter how unattractive. Both Shame and Hunger cast their lights upon dark areas of the human condition, yet in 12 Years A Slave McQueen somehow goes even further. One extended scene, for example, involves an uninterrupted and excrutiatingly graphic lashing that was so horrific it momentarily warranted turning away from the screen. As my eyes met those of my neighbour, it was clear we were far from alone in doing so, yet our temporary retreat from the film was in no way an indictment upon it. It should be unbearable to watch, and it is, but you must persist, because in 12 Years A Slave McQueen has crafted an enthralling, thoughtful and necessary modern classic. https://youtube.com/watch?v=z02Ie8wKKRg
UPDATE, March 8, 2023: The Banshees of Inisherin is now available to stream via Disney+, Google Play, YouTube Movies and Prime Video. In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. There's no doubting who's behind the camera of The Banshees of Inisherin from the get-go, with McDonagh speedy and concise in setting his scene, and showing his knack for witty dialogue and clever character-building in the process. The year is 1923, and the time — at first — is 2pm on an ordinary day. Except, after Pádraic calls on Colm's fisherman's cottage for their usual bar jaunt and gets no answer, nothing about it plays out as it typically would for the film's two main figures. Pádraic can see Colm sitting inside, in fact, smoking but not opening his door. He tries to talk it through with publican Jonjo (Pat Shortt, Pixie) after heading for a drink anyway, and with his sister Siobhán (Kerry Condon, Better Call Saul) later at home. It's the next day when Pádraic gets the response no one wants to hear from the man he thought was his best friend, but that's hardly the end of their rift. A tragicomedy that lives up to both halves of that term without a whiff of formula, The Banshees of Inisherin twists Pádraic and Colm's hostilities in circles — not to be repetitive or due to any lack of plot, but because life's cycles keep spinning both within the duo's fractured bond and around them. Endings are never easy but neither is life, McDonagh has his film contend, doing so with intelligence, humour and an unshakeable unwillingness to shy away from bleakness. Take the inclusion of village oddball Dominic (Barry Keoghan, The Batman), for example. He buzzes around the movie's central quarrel, endeavouring to use it to become Pádraic's BFF and make his romantic intentions for the single Siobhán known, and he's frequently a source of overt laughs. And yet, as his backstory with his drunk cop dad Peadar (Gary Lydon, Brooklyn) is fleshed out, he proves as sorrowful a resident as Inisherin has, in a feature that sees life's small joys and heartbreaking woes alike with clear eyes. McDonagh is a master at packaging the grim with the chucklesome, however, as Pádraic's attempts to cope with his rejection convey. The writer/director has his dejected protagonist go through several stages of grief — but once he's done being shocked, denying his friend's rebuffs, getting angry, trying to bargain his way to a new outcome, feeling depressed and hoping Colm will change his mind, seeking revenge becomes his baseline. The alternative: feeling uncomfortable at the pub and in general; and badgering the protective Siobhán to spend more time with him, ignorant to her yearning to leave an island that embodies everything to most of its inhabitants but offers far too little for her. Or, Pádraic can accept his beloved miniature donkey Jenny and the ever-present Dominic as his new chief sources of company. Simply watching Farrell's eyebrows as Pádraic faces his changing circumstances is entertaining, emotional and evocative; the depths and shades he can relay with a twitch, many actors can't muster with their entire bodies. Watching Gleeson's exhaustion and despair is equally revelatory — indeed, while Farrell plays Pádraic as constantly searching for a silver lining and eagerly proud of being the village nice guy, his co-star conjures up a man who doesn't expect to find anything much to smile about even after making drastic choices. In Bruges sparked it and now The Banshees of Inisherin cements it: Farrell and Gleeson are one of cinema's very-best pairs, and they're mesmerising to an awards-worthy degree here. Also exceptional is Condon as the kind but frustrated woman who can see both sides. "He's always been dull; what's changed?" she replies to Colm when he admits his boredom with Pádraic. Amid the grand performances, scenery, cinematography (by The King's Man's Ben Davis) and score (from Catherine Called Birdy's Carter Burwell), McDonagh hasn't anchored this griping, one-upping, apologising, pleading and vengeance-seeking a century ago for fun. He hasn't made the move to avoid technology, either, although this'd be a lesser movie with phones and apps fuelling fires and gossip. As poignant and resonant as it is amusing — and sometimes horrifying — The Banshees of Inisherin works sparklingly as an odd-couple decoupling comedy, a slice of insular small-town life, a bittersweet musing on mortality and an interrogation of masculinity, but it's also firmly a product of its homeland. Despite being Irish, this is McDonagh's first film set in the country, and harks back to the 1920s Civil War. The conflict rages across the bay from Inisherin without disrupting the isle's daily life, but Pádraic shouts tellingly at its gunshots: "good luck to you, whatever it is you're fighting about".
He's directed a mockumentary about sharehouse-dwelling vampires in Wellington, one of the most offbeat and adorable fugitive films there is, and the best big-budget blockbuster about a certain cape-wearing, hammer-wielding Norse god- turned-superhero that's reached screens so far. Now, after winning hearts and laughs with not only What We Do in the Shadows, Hunt for the Wilderpeople and Thor: Ragnarok, but New Zealand comedies Eagle vs Shark and Boy too, Taika Waititi has turned his attention to making fun of Hitler. His latest movie is called Jojo Rabbit, with the beloved filmmaker not only writing and directing, but starring as the Nazi. It's a satire, obviously, following a bullied but nationalistic young German boy called Jojo (newcomer Roman Griffin Davis) who discovers that his mother (Scarlett Johansson) is hiding a Jewish girl (Thomasin McKenzie, Leave No Trace) in their attic. He doesn't quite know what to do, so he asks the obvious person for help: his imaginary friend Adolf Hitler. World War II-set films are a very common sight on the big screen, so if you feel like you've seen every possible take on that period of history, Jojo Rabbit is here to change your mind. As the movie's initial teaser and its just-released full trailer both show, this isn't your usual grim, serious war flick. Premiering at the Toronto International Film Festival this month, and based on the book Caging Skies by Christine Leunens, it's being badged as an "anti-hate" comedy, should you need more of an idea of the tone that Waititi is going for. As well as the writer/director himself, the film co-stars the high-profile likes of Sam Rockwell, Rebel Wilson, Stephen Merchant and Alfie Allen. It's not the only project that Waititi has in the works — it was just announced last week that he'll be directing the next Thor film, Thor: Love and Thunder — but it is the only one where he gets Hitler to call himself a lunatic and a psycho. Check out the new trailer below: https://www.youtube.com/watch?v=tL4McUzXfFI Jojo Rabbit releases on December 26 in Australia.
With every Australian state and territory doing its own thing regarding borders during the COVID-19 pandemic, travelling around the country isn't a simple feat in 2020. But, if you're planning ahead, you might want to add Western Australia's Kalbarri National Park to your must-visit list — especially given that it has just opened a 100-metre-high skywalk perched atop Murchison Gorge, complete with mighty impressive views. Welcoming the public since mid-June this year — just WA residents so far, with the state's border currently closed to residents of the rest of Australia — the Kalbarri Skywalk features two cantilevered platforms over the 80-kilometre-long gorge. When you're standing on either of the two lookouts, you'll also be located 100 metres above the ground, with cliffs falling beneath you. The pair of platforms are within easy walking distance of each other, too, with one jutting out 17 metres from the cliffside and the other reaching out 25 metres. Built as part of a $24 million project, the Kalbarri Skywalk is also accompanied by an environmentally friendly kiosk that's designed to operate off the grid on low to no emissions, shade shelters, toilets and parking, as well as 22 kilometres of park roads, plus upgrades to existing tourist sites at Meanarra Hill and Z Bend. Also onsite: recognition of the region's Nanda Traditional Owners, their culture and stories, including via an entry sign emblazoned with 'kaju yatka' — the Nanda words for 'sky' and 'to walk' — and other artistic elements. https://www.youtube.com/watch?v=aZK7MtyuZNs&feature=emb_logo Located 150 kilometres north of Geraldton and almost 600 kilometres north of Perth, Kalbarri National Park welcomed more than 450,000 visitors in 2019 — so, when the rest of the country is permitted to enter WA again, expect to have company. If you're wondering about finding your way around the park, the WA Parks Foundation has just added Kalbarri National Park to its Smart Park mapping program, too, which allows you to download a park map, then navigate through the area offline and in real time. Find the Kalbarri Skywalk in the Kalbarri National Park, Kalbarri, in Western Australia's mid-west region. For further details, visit the park's website. Top image: Shem Bisluck/Department of Biodiversity, Conservation and Attractions.
Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Lucas didn't come up with the story for Indiana Jones and the Dial of Destiny, though, in a first for the saga that he conjured up as a new version of 30s and 40s movie serials. Steven Spielberg (The Fabelmans) similarly steps away from directing, which is also uncharted Indy territory. But Logan and Ford v Ferrari filmmaker James Mangold knows the drill, as do his co-screenwriters Jez Butterworth and John-Henry Butterworth (both alumni of the helmer's latter title), plus David Koepp (Kimi). To be fair, everyone knows the drill: see above. It isn't hard, then, for Indiana Jones and the Dial of Destiny to surpass the woeful Indiana Jones and the Kingdom of the Crystal Skull, which it does. Still, it isn't easy for it avoid playing like a copy of Lucas and Spielberg at their much-earlier Indy best, something that it can't manage. Mangold and company's initial step is to start by pretending that they're making an Indy flick decades back with a younger Ford. Hollywood's digital de-aging technology gets its latest workout in Indiana Jones and the Dial of Destiny's opening sequence — and a more-than-passable one — where it's 1944 and Nazis lurk. World War II is waning. Hitler is in his bunker. His underlings are scrounging up all the antiquities they can. Enter Indy spying with his British friend Basil Shaw (Toby Jones, Tetris); physicist Jürgen Voller (Mads Mikkelsen, Fantastic Beasts: The Secrets of Dumbledore) being certain that he's found part of the Archimedes Dial, aka the Antikythera; and showdowns on a loot-filled train to get the titular object away from the Third Reich. From there, Indiana Jones and the Dial of Destiny's bulk takes place in 1969. The film reteams with Indy as a moon-landing party wakes up the about-to-retire professor from a whisky-ushered, underwear-clad slumber in his armchair — and he isn't happy. Ford in cranky and cantankerous mode, but with tenderness inside, remains a gem to watch. It worked in TV series Shrinking earlier in 2023 (one of his two recent TV roles, alongside Yellowstone prequel 1923), and it would've been the heftiest surprise that the Indy movies have delivered if it didn't also shine in his current big-screen franchise revival of late (after Blade Runner and Star Wars, obviously). Ford bickering gruffly is equally gleaming, which is where Waller-Bridge fits in as Helena Shaw, Basil's daughter and Indy's goddaughter, who wisecracks back, can hold her own in a fray and car, and says she wants help locating the entire Antikythera. If everyone could be taken at their word, this wouldn't be an Indy entry, just like if the MacGuffin was simple to source and protect, travelling by map didn't feature and, since Raiders of the Lost Ark, well-loved faces stopped resurfacing. Indiana Jones and the Dial of Destiny ticks all those boxes and always feels as if it's making a show of ticking them — regularly, gleefully, less gracefully and convincingly digging into the franchise's past Star Wars: Episode VII — The Force Awakens nod-and-reuse style. There's the old hat again, no matter what's atop Ford's head. Lacking Spielberg's knack for memorable action, many of the chases and puzzles have an urgent, immediate yet been-there-done-that air (and the setpieces keep coming, involving horse-and-motorcycle pursuits, subway tunnels, tuk tuks, underwater jaunts, eels, tombs and more). Mangold tries to patch over the boilerplate plot, but those efforts are as flimsy as anything that's ever threatened Indy's world-saving goals. Indiana Jones and the Dial of Destiny didn't need to stretch out this latest go-around to the series' longest running time yet — 154 minutes — but with Ford and Waller-Bridge at the movie's core, understanding that choice isn't difficult. Although they're better than the material again and again, as is Short Round replacement Teddy (Ethann Isidore, Mortel), it's entertaining to bask in the pair's back-and-forth as Indy and Helena zip through the franchise-standard challenges. There's the new whip, because Ford and Waller-Bridge are that crucial to giving Indiana Jones and the Dial of Destiny any spark and charge. While the five-film promise is now fulfilled and this has been dubbed the saga's star's last ride, a tighter and bolder follow-up with them at the centre wouldn't be unwelcome if there have to be more Indy movies, which money dictates there'll have to be. And if not, passing the satchel and leather jacket to Everything Everywhere All At Once Oscar-winner Ke Huy Quan, marking his return after making his acting debut in Indiana Jones and the Temple of Doom, would be one of the Indy franchise's most cracking moves.
For the past few years, the One Day crew has been hitting the road, bringing its famous daytime block parties to live music venues around Australia. Now it's time for another round, with DJs from the beloved Sydney hip hop collective bouncing back to Brisbane for a One Day Sundays session on December 8. Taking place at — and taking over — X Cargo, One Day Sundays will see the One Day crew team up with local DJs and artists as they roll through the Fortitude Valley shipping container hangout. Expect food, booze, live graffiti and a whole bunch of hip hop, with Nerve, Jesswar, Creed Tha Kid and Iiiconic all playing live, plus Sir Likwish, Cheq and Y2X on the DJ bill. Tickets go sale at 10am on Friday, October 18, starting at $15. That's a cheap day out — and bring your wallet to grab a few drinks, as well as a bite to eat. Making shapes is hungry and thirsty work, after all.
There's never a bad time to be in Brisbane. Year-round sunshine, a booming cultural scene and plenty of excellent things to eat, drink, see and do make the river city one of the most exciting places in the country. We've teamed up with Hennessy and the W Hotel to give you the perfect reason to head there — or, if you're a Brisbane local, the perfect excuse for a staycation. You and a lucky plus one can escape to the sunny state with an overnight stay in a Marvellous Suite at the five-star W Brisbane. Set in the heart of the city on the banks of the Brisbane River, it's the perfect spot to soak up the best of the city thanks in no small part to the incredible views you'll get from your room. [caption id="attachment_831071" align="alignnone" width="1920"] Marriott International Hotel[/caption] Wake up in the laps of luxury and indulge in breakfast for two in the hotel's signature restaurant, Three Blue Ducks, before spending the day chilling out on the jazzy pool deck. Later, you can glam it up for an evening with Hennessy cocktails in the Living Room Bar (pictured above). That's a $1000 stay – and you won't have to pay a cent. To be in the running, enter your details below. [competition]831077[/competition]
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. One of everyone's favourite friendly neighbourhood web-slinger's antagonists on the page, Venom might've first hit cinemas in the misfire that was Spider-Man 3, but the strongest aspect of his recent films is that self-banter. Plenty can be read into the back-and-forth, all voiced with gusto by Hardy: Venom is the literal growling voice inside Brock's head; a fight with conflicting impulses; the side of our identities we aren't comfortable revealing; and, here, the friend we need to be to ourselves in the name of self-care. In fact, Let There Be Carnage is a bromance as Brock and Venom try to live in harmony. That their disputes mimic domestic feuds isn't accidental. That said, endeavouring to layer in queer subtext — including comments about Venom coming out of Eddie's closet — falls flat. So do mentions of stopping cruelty to aliens, with the film merely paying lip service to deeper ideas, rather than even pretending to give them substance. There's always more CGI mayhem to come, after all, and more Brock-symbiote fights about eating chickens and chocolate instead of brains. Hardy makes all that bickering the most entertaining element of the film, though, almost purely through his sheer physical — and vocal —commitment. In 2013's Locke, he proved he could make talking the most riveting thing in the world, a notion the Venom franchise happily attempts to steal. Hardy is having the same great time he did in the initial flick, and trying to have even more. But, while often amusing to watch, it isn't infectious. Let There Be Carnage is nowhere near as fun as witnessing Hardy quarrel with himself should be, and gets routine and repetitive fast. Understandably, that doesn't bode well for the film's other performances; hopefully Michelle Williams (After the Wedding) was paid handsomely to reprise her thankless role as Brock's ex-fiancée Anne Weying, and the similarly underused Harris as Barrison/Shriek as well. It's knowingly absurd, boasts a self-aware lead and moves quickly — when the climax hits, it feels like everything before it breezed by — but Let There Be Carnage remains a slog. Most of its gags land with a thud, and Serkis mistakes pace for personality while going for a monotonous same-is-same approach that largely takes Venom's successes, spreads them over the entire movie, dials up the anarchic vibe and uses messiness as a visual template. Although it falls within Sony's Spider-Man Universe, which differs to the MCU but also includes the same version of the web-slinger, this symbiote sequel has pilfered one of Marvel's worst tendencies, too. Spider-Man: No Way Home reaches cinemas in weeks, the Jared Leto-starring Morbius follows the next month and, as the obligatory post-credits sting teases, Let There Be Carnage mainly exists to keep stitching this on-screen universe together and lay foundations for more to come in yet another sprawling comic book-inspired movie realm. Try as he visibly and energetically does, Hardy shouting at himself can't fix that either.
Just over 12 months ago, in January 2023, Danny and Michael Philippou's Talk to Me screened at the Sundance Film Festival. From there, it was picked up by A24, released to hefty crowds and fanfare midyear, and collected 11 nominations from the Australian Academy of Cinema and Television Arts Awards. Now, at the Aussie organisation's night of nights, the homegrown horror hit has won eight accolades, the most of any movie — including Best Film of 2023, plus Best Director for the RackaRacka YouTubers-turned-filmmakers. It's official: Talk to Me is the top Australian flick of the past year, a huge feat not only for a horror movie but for the Philippou brothers' first feature. In the film categories, it had company from Warwick Thornton's The New Boy, which picked up four awards from 12 nominations. A heap of other pictures collected a prize each: Noora Niasari's Shayda, with one win from nine nods; The Rooster, with one from four; Ivan Sen's Limbo, Carmen and John Farnham: Finding the Voice, each with one from three; and Ego: The Michael Gudinski Story and The Giants, with one from two apiece. That's an impressive spread, including the Best Actress accolade going to Talk to Me's Sophie Wilde, Best Actor to The New Boy's Aswan Reid, Best Supporting Actress to Deborah Mailman for the latter film and Best Supporting Actor to The Rooster's Hugo Weaving. The AACTAs aren't just about the big screen, however, also rewarding the year's best TV efforts. There, The Newsreader and Deadloch each picked up five awards — including Kate McCartney and Kate McLennan nabbing Best Screenplay in Television for writing Deadloch. Across the small-screen fields, they were joined by fellow big winners Colin From Accounts, The Lost Flowers of Alice Hart and Love Me. The hefty affair, which was held on Saturday, February 10 on the Gold Coast for the first time amid a four-day AACTA Festival, also found more than one way to give Margot Robbie and Barbie some love. Cue Robbie receiving the annual Trailblazer Award, plus the Audience Choice Award for Favourite Actress. Also among the public's picks was Barbie for Favourite Film. And, the list of gongs goes on — for Robbie and Barbie, and in general, with International Awards also handed out. Succession, The Bear, Oppenheimer, Poor Things: they all earned a shiny trophy or two as well. Here's the full rundown: AACTA Nominees and Winners 2024: Film Awards: Best Film Of an Age Shayda Sweet As Talk to Me — WINNER The New Boy The Royal Hotel Best Indie Film A Savage Christmas Limbo — WINNER Monolith Streets of Colour The Rooster The Survival of Kindness Best Direction Jub Clerc, Sweet As Kitty Green, The Royal Hotel Noora Niasari, Shayda, Danny Philippou, Michael Philippou, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Lead Actress Zar Amir Ebrahimi, Shayda Shantae Barnes-Cowan, Sweet As Cate Blanchett, The New Boy Julia Garner, The Royal Hotel Sarah Snook, Run Rabbit Run Sophie Wilde, Talk to Me — WINNER Best Lead Actor Elias Anton, Of an Age Simon Baker, Limbo Thom Green, Of an Age Phoenix Raei, The Rooster Aswan Reid, The New Boy — WINNER Osamah Sami, Shayda Best Supporting Actress Alex Jensen, Talk to Me Deborah Mailman, The New Boy — WINNER Tasma Walton, Sweet As Mia Wasikowska, Blueback Ursula Yovich, The Royal Hotel Selina Zahednia, Shayda Best Supporting Actor Mojean Aria, Shayda Eric Bana, Blueback Wayne Blair, The New Boy Rob Collins, Limbo Zoe Terakes, Talk to Me Hugo Weaving, The Rooster — WINNER Best Screenplay Kitty Green, Oscar Redding, The Royal Hotel Noora Niasari, Shayda Danny Philippou, Bill Hinzman, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Cinematography Carl Allison, Godless: The Eastfield Exorcism Sherwin Akbarzadeh, Shayda Aaron McLisky, Talk to Me Katie Milwright, Sweet As Warwick Thornton, The New Boy — WINNER Best Editing Dany Cooper, Carmen Katie Flaxman, Sweet As Geoff Lamb, Talk to Me — WINNER Michelle McGilvray, Matt Villa, Courtney Teixera, Scarygirl Nick Meyers, The New Boy Best Casting in Film Run Rabbit Run Shayda — WINNER Sweet As The New Boy The Royal Hotel Best Costume Design Blueback Carmen — WINNER Seriously Red The New Boy The Rooster Best Original Score Blueback Godless: The Eastfield Exorcism Suka Talk to Me — WINNER The Big Dog Best Production Design Carmen Scarygirl The New Boy — WINNER The Portable Door True Spirit Best Sound Godless: The Eastfield Exorcism Scarygirl Seriously Red Talk to Me — WINNER Three Chords and the Truth Best Short Film An Ostrich Told Me the World is Fake and I Think I Believe It Ashes Finding Addison — WINNER Jia Mud Crab Not Dark Yet Documentary Awards: Best Documentary Ego: The Michael Gudinski Story Harley & Katya John Farnham: Finding the Voice — WINNER The Dark Emu Story The Giants The Last Daughter This Is Going to Be Big To Never Forget Best Cinematography in a Documentary Australia's Wild Odyssey Shackleton: The Greatest Story of Survival The Dark Emu Story The Giants — WINNER This Is Going To Be Big Best Editing in a Documentary Because We Have Each Other Folau Harley & Katya Queerstralia The Australian Wars — WINNER Best Original Score in a Documentary John Farnham: Finding The Voice Kindred Splice Here: A Projected Odyssey The Dark Emu Story — WINNER Under Cover Best Sound in a Documentary Ego: The Michael Gudinski Story — WINNER John Farnham: Finding The Voice Kindred Memory Film — A Filmmaker's Diary The Dark Emu Story Television Awards: Best Drama Series Bay of Fires Black Snow Bump Erotic Stories Love Me The Newsreader — WINNER Best Narrative Comedy Colin From Accounts — WINNER Deadloch Fisk Gold Diggers Upright Utopia Best Miniseries Bad Behaviour In Our Blood Safe Home The Clearing The Lost Flowers of Alice Hart — WINNER While The Men Are Away Best Lead Actor in a Television Drama Tim Draxl, In Our Blood Travis Fimmel, Black Snow Joel Lago, Erotic Stories Sam Reid, The Newsreader Richard Roxburgh, Bali 2002 Hugo Weaving, Love Me — WINNER Best Lead Actress in a Television Drama Kate Box, Erotic Stories Aisha Dee, Safe Home Bojana Novakovic, Love Me Teresa Palmer, The Clearing Anna Torv, The Newsreader — WINNER Sigourney Weaver, The Lost Flowers of Alice Hart Best Acting in a Comedy Celeste Barber, Wellmania Kate Box, Deadloch — WINNER Patrick Brammall, Colin From Accounts Harriet Dyer, Colin From Accounts Kitty Flanagan, Fisk Nina Oyama, Deadloch Helen Thomson, Colin From Accounts Julia Zemiro, Fisk Best Comedy Performer Tom Gleeson, Hard Quiz Jim Jefferies, The 1% Club Luke McGregor, Taskmaster Australia Rhys Nicholson, RuPaul's Drag Race Down Under Nina Oyama, Taskmaster Australia Charlie Pickering, The Weekly with Charlie Pickering Natalie Tran, The Great Australian Bake Off Cal Wilson, The Great Australian Bake Off — WINNER Best Supporting Actress in a Television Drama Alycia Debnam-Carey, The Lost Flowers of Alice Hart Marg Downey, The Newsreader Michelle Lim Davidson, The Newsreader Heather Mitchell, Love Me — WINNER Leah Purcell, The Lost Flowers of Alice Hart Brooke Satchwell, Black Snow Best Supporting Actor in a Television Drama Tim Draxl, Erotic Stories Alexander England, Black Snow William McInnes, The Newsreader Bob Morley, Love Me Hunter Page-Lochard, The Newsreader — WINNER Guy Pearce, The Clearing Best Direction in a Drama or Comedy Ben Chessell, Deadloch (episode one) Emma Freeman, The Newsreader (episode four) — WINNER Glendyn Ivin, The Lost Flowers of Alice Hart (episode one) Matt Moore, Colin From Accounts (episode six) Trent O'Donnell, Colin From Accounts (episode three) Best Direction in Non-Fiction Television Katie Bender Wynn, Matildas: The World at Our Feet (episode two) Stamatia Maroupas, Queerstralia (episode one) Josh Martin, Adam and Poh's Great Australian Bites (episode one) Rachel Perkins, Dylan River, Tov Belling, The Australian Wars (episode one) — WINNER Henry Stone, Aaron Chen: If Weren't Filmed, Nobody Would Believe Best Screenplay in Television Patrick Brammall, Colin From Accounts (episode six) Harriet Dyer, Colin From Accounts (episode three) Kate McCartney, Kate McLennan, Deadloch (episode one) — WINNER Adrian Russell Wills, The Newsreader (episode four) Lucas Taylor, Black Snow (episode one) Best Cinematography in Television Sam Chiplin, The Lost Flowers of Alice Hart (episode one) — WINNER Earle Dresner, The Newsreader (episode four) Aaron Farrugia, Aunty Donna's Coffee Cafe (episode one) Tania Lambert, Erotic Stories (episode two) Katie Milwright, Deadloch (episode one) Best Editing in Television Peter Bennett, Aunty Donna's Coffee Cafe (episode one) Danielle Boesenberg, Colin From Accounts (episode three) Angie Higgins, Deadloch (episode one) — WINNER Angie Higgins, The Newsreader (episode four) Deborah Peart, The Lost Flowers of Alice Hart (episode one) Deborah Peart, Dany Cooper, The Lost Flowers of Alice Hart (episode six) Best Entertainment Program Dancing with the Stars Eurovision Song Contest 2023 — WINNER Lego Masters: Grand Masters Mastermind The 1% Club The Amazing Race Australia: Celebrity Edition Best Comedy Entertainment Program Hard Quiz — WINNER RocKwiz Taskmaster Australia Thank God You're Here The Cheap Seats The Weekly with Charlie Pickering Best Factual Entertainment Program Alone Australia Gogglebox Australia Kitchen Cabinet Old People's Home for Teenagers — WINNER Take 5 with Zan Rowe Who The Bloody Hell Are We? Best Documentary or Factual Program Matildas: The World at Our Feet Ningaloo Nyinggulu Queerstralia The Australian Wars — WINNER War on Waste Who Do You Think You Are Best Children's Program Barrumbi Kids Beep and Mort Bluey — WINNER Crazy Fun Park The PM's Daughter Turn Up the Volume Best Standup Special Aaron Chen: If Weren't Filmed, Nobody Would Believe Celeste Barber: Fine, thanks Hannah Gadsby: Something Special — WINNER Jim Jefferies: High & Dry Lizzy Hoo: Hoo Cares!? Rhys Nicholson's Big Queer Comedy Concert Best Lifestyle Program Adam and Poh's Great Australian Bites Gardening Australia — WINNER Grand Designs Australia Love It or List It Australia Selling Houses Australia The Great Australian Bake Off Best Reality Program Australian Survivor: Heroes v Villains FBOY Island Australia Hunted Australia MasterChef Australia — WINNER Real Housewives of Sydney RuPaul's Drag Race Down Under Best Casting in Television Colin From Accounts Deadloch — WINNER Safe Home The Lost Flowers of Alice Hart The Newsreader Best Costume Design in Television Ten Pound Poms (episode one) The Claremont Murders (episode one) The Clearing (episode one) The Newsreader (episode four) — WINNER While the Men Are Away (episode two) Best Original Score in Television Bad Behaviour (episode one) Deadloch (episode one) — WINNER Fisk (episode four) In Limbo (episode one) RFDS (episode five) Best Production Design in Television Beep and Mort (episode two) Black Snow (episode one) Deadloch (episode one) Gold Diggers (episode three) The Lost Flowers of Alice Hart (episode one) — WINNER The Newsreader (episode four) Best Sound in Television Black Snow (episode six) Last King of the Cross (episode four) The Clearing (episode one) The Lost Flowers of Alice Hart (episode six) — WINNER The Newsreader (episode six) Best Online Drama or Comedy Appetite Latecomers — WINNER Me & Her(pes) Monologue The Disposables The Future of Everything AACTA Audience Awards: Audience Choice Award for Favourite TV Show Ginny & Georgia — WINNER My Life with the Walter Boys Outer Banks The Kardashians The Summer I Turned Pretty Young Sheldon Audience Choice Award for Favourite Film Barbie — WINNER Mean Girls Saltburn Taylor Swift: The Eras Tour The Hunger Games: The Ballad of Songbirds & Snakes Wonka Audience Choice Award for Favourite Actress Jenna Ortega Jennifer Aniston Jennifer Lawrence Margot Robbie — WINNER Millie Bobby Brown Sydney Sweeney Audience Choice Award for Favourite Actor Adam Sandler — WINNER Chris Hemsworth Jacob Elordi Ryan Gosling Timothėe Chalamet Vin Diesel Audience Choice Award for Favourite Australian Media Personality Abbie Chatfield Chloe Hayden Em Rusciano Jimmy Rees Shameless Podcast Sophie Monk — WINNER Audience Choice Award for Favourite Australian Digital Creator Anna Paul @anna..paull Bridey Drake @brideydrake Georgia Productions @georgia Indy Clinton @indyclinton Kat Clark and family @katclark — WINNER Luke and Sassy Scott @lukeandsassyscott Maddy MacRae @maddy_macrae_ Sofia Ligeros @sofialigeros Audience Choice Award for Favourite Australian Sporting Moment AFL: Carlton reach the finals AFL: Grand Final Collingwood vs Brisbane F1: Daniel Ricciardo returns to F1 Netball: Australian Diamonds win Netball World Cup NRL: Grand Final Panthers vs Broncos Soccer: Matilda's World Cup run — WINNER AACTA International Awards: AACTA International Award for Best Drama Series Beef Succession — WINNER The Crown The Last of Us Yellowjackets AACTA International Award for Best Comedy Series Only Murders in the Building Sex Education Ted Lasso The Bear — WINNER The Marvellous Mrs Maisel AACTA International Award for Best Actor in a Series Kieran Culkin, Succession Matthew Macfadyen, Succession Pedro Pascal, The Last of Us Jeremy Strong, Succession Jeremy Allen White, The Bear — WINNER AACTA International Award for Best Actress in a Series Elizabeth Debicki, The Crown Helen Mirren, 1923 Bella Ramsey, The Last of Us Sarah Snook, Succession — WINNER Ali Wong, Beef AACTA International Award for Best Film American Fiction Barbie — WINNER Killers of the Flower Moon Oppenheimer Poor Things AACTA International Award for Best Direction in Film Greta Gerwig, Barbie Martin Scorsese, Killers of the Flower Moon Bradley Cooper, Maestro Christopher Nolan, Oppenheimer — WINNER Yorgos Lanthimos, Poor Things AACTA International Award for Best Lead Actor in Film Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Cillian Murphy, Oppenheimer — WINNER Andrew Scott, All of Us Strangers Jeffrey Wright, American Fiction AACTA International Award for Best Lead Actress in Film Cate Blanchett, The New Boy Lily Gladstone, Killers of the Flower Moon Carey Mulligan, Maestro Margot Robbie, Barbie — WINNER Emma Stone, Poor Things AACTA International Award for Best Supporting Actor in Film Matt Damon, Oppenheimer Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Jacob Elordi, Saltburn Ryan Gosling, Barbie — WINNER AACTA International Award for Best Supporting Actress in Film Penélope Cruz, Ferrari Vanessa Kirby, Napoleon — WINNER Julianne Moore, May December Rosamund Pike, Saltburn Da'Vine Joy Randolph, The Holdovers AACTA International Award for Best Screenplay in Film Cord Jefferson, American Fiction Greta Gerwig and Noah Baumbach, Barbie Bradley Cooper and Josh Singer, Maestro Christopher Nolan, Oppenheimer Tony McNamara, Poor Things — WINNER The 2024 AACTA Awards were announced on Saturday, February 10. For further details, head to the awards' website.
Ahhh, the 1980s. It may have been a decade of shame for the fashion industry, but for today's TV and film producers it's a limitless goldmine of nostalgia. Red Oaks, The Americans, Deutschland 83, the 'San Junipero' episode of Black Mirror and, of course, Stranger Things, have all benefited from the public's deep-seeded yearning for the MTV-era. And that's to say nothing of the countless '80s properties that have been rebooted, reimagined or received unexpected sequels. King among the works mining '80s nostalgia is Ernest Cline's 2011 sci-fi novel Ready Player One, now adapted for the big screen by director Steven Spielberg. And it is, to put it bluntly, a nerd's wet dream writ large. Set in a densely overpopulated and largely dystopian future, the story sees the world's impoverished masses spending the majority of their time jacked into a VR universe known as The Oasis. But despite being billed as a digital paradise in which anyone can be whomever they want, the reality (both real and virtual) is far narrower. A competition drives every individual within the Oasis, promising both unimaginable riches and control of the program itself. One such desperate contestant is teenager Wade Watts (Tye Sheridan), who escapes his daily grind in the slums by assuming a virtual identity and racing his vintage DeLorean against his fellow gunters (short for "Easter egg hunters"). Together with his friends (none of whom he has ever actually met in real life), Wade works to secure victory over the thousands of professional gunters hired by IOI, a shady corporation whose malevolent CEO Nolan Sorrento (Ben Mendelsohn) wants to assume control of the Oasis and monetise its every available pixel. Given that Ready Player One is positively overflowing with pop-culture references, Spielberg should be applauded for inserting so few of his own. There's the DeLorean, of course (Spielberg produced Back To The Future), and the iconic musical cues to accompany it. But by and large his movies take a back seat to other fan favourites like Alien, The Breakfast Club and – in the film's most outstanding sequence – Stanley Kubrick's The Shining. The movie is also heavy on the video game references, from Atari originals through to Overwatch. At its best, Ready Player One uses these tips of the hat to advance its story in wildly creative ways. For the most part, however, the never-ending winks are little more than pavlovian treats. As a result, scenes often feel like cinematic fast-food: delicious at the time but lacking in substance and quickly forgotten. Spielberg has, for most of his career, been a master of crafting movies that appeal to all ages. And yet even though the majority of the references in Ready Player One are aimed at those born between 1970 and 1990, it's hard to see the film speaking to many viewers above the age of 25. While the CGI is impressive, the action is far too frenetic. The dialogue, meanwhile, is painfully hammy (the gamer jargon, in particular, feels like Spielberg was given all the parts to an IKEA wardrobe without any instructions on how to put it together). At least Sheridan and his co-stars do a solid job, and Mendelsohn is nothing if not committed to his performance – albeit in service of a role that oscillates haphazardly between a serious villain and a pantomime one. It's hard not to see a great many current or imminent real-life scenarios akin to the world of The Oasis. Which is why it's such a pity that, instead of exploring the dangers of a plugged-in existence, Ready Player One opts to keep things light, ultimately saying little more than doesn't this all look cool? And sure, Spielberg's approach makes for an entertaining blockbuster. But we can't help but wonder about the movie that might have been. https://www.youtube.com/watch?v=cSp1dM2Vj48
What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049 — and in After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. Yang is unresponsive and unable to play his usual part as the household's robotic fourth member. If Jake can't get him up and running quickly, he'll also experience the "cultural techno" version of dying, his humanoid skin even decomposing. That puts a deadline on a solution, which isn't straightforward, particularly given that Yang was bought from a now-shuttered reseller secondhand, rather than from the manufacturer anew, is one roadblock. Tinkering with the android's black box is also illegal, although Jake is convinced to anyway by a repairman (Ritchie Coster, The Flight Attendant). He acquiesces not only because it's what Mika desperately wants, but because he's told that Yang might possess spyware — aka recordings of the family — that'd otherwise become corporate property. Before all that, there's a stunning dance — a synchronised contest where families around the globe bust out smooth moves in front of their televisions, competing to emerge victorious. The dazzling scene comes during After Yang's opening credits and is a marvel to watch, with writer/director/editor Kogonada (TV series Pachinko) conveying a wealth of meaning visually, thematically, philosophically and emotionally in minutes. To look at, the sequence brings to mind Ex Machina's, aka the Oscar Isaac-led scene that launched a thousand gifs. In what it says about After Yang's vision of an unspecified but not-too-distant future, it's reminiscent of Black Mirror, with engrained surveillance technology eerily tracking participants' every move. It's here, too, amid the joy of the family progressing further than they ever have before, that the fact that Yang is malfunctioning becomes apparent, turning a techno dream in more ways than one into a potential source of heartbreak. When a feature so easily recalls other films and television shows, and so emphatically, it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The Edge of Seventeen), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. After Yang is transfixing, giving its audience plenty of opportunities to put those notions in motion themselves, all just by watching and being swept up in its gorgeously ruminative frames. It's a sci-fi film to revel in — it's cerebral, existential, meditative, hypnotic and soulful, as well as haunting and almost tangibly sensual — and, in the process, to slide onto its poignant wavelength about what truly defines life. After Yang is also tender and curious about intelligence wrought from flesh and from ones and zeros alike, digging into consciousness, memory, and both the impact of and loss of each. From all of that, it ponders the question that's as old as humanity and may even outlive us: what it genuinely means to be human, especially as AI develops, androids and other smart machinery get more immersed in our lives, and robots become inescapably intertwined with our emotional landscape (and perhaps boast their own). Her and A.I. Artificial Intelligence have also traversed somewhat similar terrain in their own ways, but After Yang remains its own film — its own take on all that it contemplates, everything it brings up but doesn't dare to try to simplify with clearcut answers, and the journey it makes through layers of recollections upon recollections. As Jake accesses Yang's memories, it reminds him of his own and reinforces a key fact: that memory is one of life's connective threads, linking our loved ones to us even when they're gone or we are. Kogonada conjures this up while evoking a captivating sense of space and framing via his interior-heavy locations, such as Jake, Kyra and Mika's home. Not since Parasite has a house been as pivotal not only as a setting, but to the atmosphere and substance of a movie. Glass and windows feature prominently, lensed lovingly but meticulously by cinematographer Benjamin Loeb (Pieces of a Woman, Mandy), and putting everyday moments in boxes to treasure. After Yang is a film to feel, to flow with, to sink into, to soak up. It codes that sensation in via Kogonada's sensitive editing, actually, which seems to intuitively mirror the leaping and lurching way the human brain thinks, and through a shifting use of aspect ratios. It's a picture that makes you want to touch it and step into it — and it's home to a masterclass of a quietly powerful portrayal by Farrell, the feature's standout among a well-deployed cast. Operating in the same subtle mode that made him astonishing in The Lobster and The Killing of a Sacred Deer, he's a piece of connective tissue, too, bonding Jake's stresses and delights with viewers' (because everything his character experiences emotionally is unshakeably relatable, even sans androids like Yang). Only an exceptional movie can equally think and feel so vastly, and pose unresolvable queries while also offering such a soothing embrace. It's something that Yang might've pined for, and that we all may have without ever realising it; to see here, it's magic.
To Valhalla, George Miller went: when Mad Max: Fury Road thundered across and shone upon the silver screen in 2015, and it did both, it gave cinema one of the greatest action movies ever made. It has taken nine years for the Australian filmmaker to back up one of the 21st century's masterpieces with another stunt-filled drive through his dystopian franchise — a realm that now dates back 45 years, with Mad Max first envisaging a hellscape Down Under in 1979 — and he's achieved the immensely enviable. Fury Road and Furiosa: A Mad Max Saga's white-hued, silver-lipped war boys pray to gain entry to a mythological dreamscape just once, but Miller keeps returning again and again (only 1985's Mad Max: Beyond Thunderdome, in a now five-film series that also includes 1981's Mad Max 2, is anything less than heavenly). "The question is: do you have what it takes to make it epic?" Miller has Chris Hemsworth (Thor: Love and Thunder) ask in Furiosa as biker-horde leader Dementus, he of the post-apocalyptic Thor-meets-Roman gladiator look and chariot-by-motorcycle mode of transport. Returning to all things Mad Max after an affecting detour to 2022's djinn fable Three Thousand Years of Longing, the writer/director might've been posing himself the same query — and he resoundingly answers in the affirmative. An origin story-spinning prequel has rarely felt as essential as this unearthing of its namesake's history, which Fury Road hinted at when it introduced Furiosa (then played by Charlize Theron, Fast X) and made her the movie's hero above and beyond Mad Max (Tom Hardy, Venom: Let There Be Carnage). Discovering the full Furiosa tale felt imperative then, too, and with good reason: Miller had already planned the figure's own film to flesh out her background before her celluloid debut, and that she existed well past her interactions with Max was always as apparent as the steely glare that said everything without words. Now with both Anya Taylor-Joy (The Super Mario Bros Movie) and Alyla Browne (The Lost Flowers of Alice Hart) playing the lead, Furiosa is an act of seeing how sands shift. Time, terrors and tragedy sweep through Furiosa's life, moulding her into Fury Road's formidable figure — and the grains blasted around by the years, and the trials and tribulations, assist with the shaping. As exceptional as Theron was, owning her time in the role and the film that she was in, Miller was smart to recast with Taylor-Joy rather than deploying digital de-ageing. His new Furiosa doesn't mimic her predecessor, but evolves into her take on the character, including via fierce and anxious eye emoting beneath slicks of grease in a frequently wordless performance. Browne is also excellent, and equally as determined. Furiosa has chosen all of its key talents wisely; in a showcase turn, Hemsworth peacocks and drips evil like he's never had so much fun on screen, while Tom Burke (Living) is commandingly stoic as Praetorian Jack, a war rig pilot and a thoughtful mentor. When Browne begins the film as Furiosa, The Green Place of Many Mothers and the Vuvalini, its matriarchal custodians, are the character's safe haven and guiding forces — blissfully so. But she's resourceful, knowing to sever the fuel line on the bike of roving scavengers to stop them from finding her home. The girl that audiences already know will become an Imperator under The Citadel warlord Immortan Joe (Three Thousand Years of Longing's Lachy Hulme, taking over from the now-late Hugh Keays-Byrne) — and will then secret away his captive wives, each treated as little more than human breeding stock — can't stop the raiders from snatching her up, however. Their hope: impressing the volatile Dementus, who rides across the desert with a teddy bear strapped to him, with living proof that more than the wasteland's dust and savagery exists. Furiosa's world-building first hour spends its time with its protagonist as a plucky pre-teen trying to escape back to her mother Mary Jabassa (Charlee Fraser, Anyone But You) — who is in swift pursuit — and then internalising the trauma of becoming her captor's adoptee as he plots dominance guided by sheer arrogance, entitlement, cruelty and buffoonery (Hemsworth wears his bluster as well as he does red capes, which he amusingly isn't done with in this move away from Marvel). She's still a girl when Dementus and his gang arrive at The Citadel, where she's traded into Immortan Joe's care. Fifteen years pass in Miller and Fury Road co-scribe Nick Lathouris' new narrative, but Taylor-Joy's step into Furiosa's shoes leaves the character no less enterprising and consumed by anger at a world where everything that she loves has been taken from her. Max Rockatansky was a vigilante, after all — and, as shot in Australia for the first time since Beyond Thunderdome, Miller is still making a vengeance story here. "We are the already dead, Little D, you and me," Dementus will tell Furiosa later. This remains a movie where speeding along dirt roads in the vehicular equivalents of Frankenstein's monster — tinkered together road trains ferrying arms from the Bullet Farm and petrol from Gas Town — is an eye-popping high-octane spectacle, but it's also one where pain, grief and, yes, fury run deep. With Aussie accents everywhere, and a sunburnt country that's inching closer to reflecting reality every day baking parched sights into the Simon Duggan (Disenchanted)-lensed frames, Furiosa doesn't forget that it's in a franchise about ecocide, what humanity robs from itself by committing it and what it takes to endure afterwards. Fury Road didn't, either, but by adding more room between the on-the-road chaos, its prequel buzzes and thrums with the urgency and immediacy of survival, and also lets the weight of Furiosa's plight land. With Oscar-winning editor Margaret Sixel (Happy Feet) and costume designer Jenny Beavan (Cruella) both back — the first working with Eliot Knapman (a second assistant editor last time) and whipping up action sequences as frenetic as ever, the second in vintage form — Miller has top-notch help etching stunning sights into cinema history again. Although Furiosa isn't just one long pedal-to-the-metal display, it's still filled with them. A mid-movie 15-minute setpiece is as tremendous as Mad Max flicks get. While CGI leaves bigger tyre marks this time, there's an apt air to the glossier look versus Fury Road's lived-in aesthetics, reflecting Furiosa's journey. The wasteland and its horrors greet her afresh in this film, but they're as caked on as mud when she's an Imperator. It also feels fitting that Furiosa arrives, finally, in a year that sand has already stretched across screens as far as could be seen in Dune: Part Two, and also revenge has fuelled Love Lies Bleeding and Monkey Man and Boy Kills World. Making the vast, primal and eternal feel vivid and shiny and new keeps proving Miller's 00s-era Mad Max wheelhouse — and what a treat, what a lovely treat, it makes for viewers.
Remember Who Framed Roger Rabbit? 1988's mismatched buddy comedy about a washed-up private eye (Bob Hoskins) and an animated rabbit was (and remains) a remarkable piece of cinema: groundbreaking in its special effects, hilarious in its comedy and note-perfect as a noir pastiche. It set the standard for movies that seamlessly entertained both adults and children alike, almost as if there were two separate audio tracks where only those over a certain age could hear the gags about sex, drugs and violence. Watching the trailers for Pokémon: Detective Pikachu, it was hard not to get excited that we might be on the verge of another Roger Rabbit-esque classic. Sumptuous special effects, a murky detective story, mismatched buddies and, as the pièce de résistance, master of deadpan Ryan Reynolds providing the voice of the eponymous Pikachu. Whether as a newcomer or a die-hard fan of the Pokémon franchise (which began as a video game and collectable-card craze), it seemed there was ample room for everyone to get beside the wise-cracking chubby rodent with the eyes of an angel and the mouth of a pirate. Alas, no. A convoluted plot, countless first-draft jokes and constant exposition dumb down the film to a level that even kids will find silly. It's not without its merits, but the overwhelming feeling is one of frustration at what might have been had they either embraced the world of Pokémon in earnest, or gone all-in on the detective story. Instead, it's a bit of everything and not a whole lot of anything. And to think, it all started so well. Detective Pikachu kicks off dramatically with a secret laboratory meltdown of sorts, prompting a prisoner escape, a car chase and a spectacular crash. The action then pivots to a delightful sequence involving a young man in a field, Tim (Justice Smith), attempting to catch and bond with a grumpy little Pokémon named Cubone. If the dynamics of human/Pokémon relations mean nothing to you, however, you'll quickly find yourself floundering from this point onwards, as the film all but glances over the details of what, for the franchise, were its core principles, rules and objectives. In fact, the film almost dismisses them entirely, setting its main story in Ryme City where the traditional sport of Pokémon combat is outlawed and humans and Pokémon instead live, work and play alongside each other as equals. Tim is there to finalise the affairs of his late father, Harry, whose death from the crash at the beginning of the film raises numerous unanswered questions. It's here where he also encounters Pikachu, and, to their mutual surprise, they discover they can communicate with each other. Pikachu has amnesia, remembering nothing except that he was Harry's former partner, and that he's convinced the death was fabricated. The stage is hence set for some classic sleuthing — but instead of going down that road, or even just following the story of the video game from which the film is based, Detective Pikachu simply jumps from one half-explored plotline to the next in a narrative that feels increasingly disjointed and rushed. It's such a shame, too, because in addition to the stunning visuals, Detective Pikachu boasts a pretty solid cast. Alongside Reynolds and Smith, there's Bill Nighy, Ken Watanabe and Kathryn Newton, all of whom receive either far too little screen time, or not nearly enough character development. Being a kids movie doesn't mean its leads have to be basic or cliched (consider, for example, the complexities of some of Pixar's leading characters). Yet here only Pikachu and Smith get anything even close to resembling a back-story. From the audible gasps at various stages of the film, it's clear there's some joyous content for the true Pokémon fans out there, but for the uninitiated Detective Pikachu doesn't offer nearly enough to sink your teeth into. https://www.youtube.com/watch?v=1roy4o4tqQM
There are many reasons to thank Mike White, creator and writer of The White Lotus, for bringing the hit HBO series to our screens. Firstly, he's responsible for one of the best TV shows of late — a program that's weaponised luxurious settings, helped set travel itineraries, thoroughly eaten the rich, spun twisty murder-mysteries, and kept viewers guessing throughout each and every episode of two spectacular seasons. What else? He's brought cultural darling Jennifer Coolidge to her rightful place at the front of our consciousness — and the winning spot in awards season. The star of the show, she dazzled us in everything from American Pie and Legally Blonde to Promising Young Woman before she brought the cool, loveably clueless millionaire Tanya McQuoid to life. In huge news, on Saturday, June 10, worshipping the White-and-Coolidge pairing in the flesh is a possibility thanks to Vivid Sydney — and Concrete Playground Trips has an exclusive deal for you. First, the event details: the duo is coming to the Harbour City's Aware Super Theatre at the ICC Sydney for an exclusive in-conversation session moderated by Benjamin Law as a part of Vivid Ideas. As well as hearing about their careers and long friendship, you'll hear Coolidge talk about her time on The White Lotus, and White chat about the creation of the series especially for Coolidge: "Jennifer's the reason I did [The] White Lotus in the first place. I just wanted to write something for her, I just adore her," White told The New York Times. The exclusive Trips deal? Two tickets to Vivid Sydney's Mike White and Jennifer Coolidge in Conversation event on Saturday, June 10, plus a night at the lush Kimpton Margot in the CBD. That's one night to luxuriate into your inside look at this Hollywood pair's relationship before soaking up Vivid Sydney's bright lights and creative expression. So, whether you're a superfan of The White Lotus or simply witnessed the culture-altering effects of the show take shape, this Vivid Sydney session will have you immersed in a stellar friendship, creative storytelling, cultural commentary and the power of comedy. Mike White and Jennifer Coolidge in Conversation hits Aware Super Theatre at the ICC Sydney on Saturday, June 10. Take in the full Vivid Sydney experience with Concrete Playground Trips' exclusive event package, which includes two A-reserve or premium tickets to the in-conversation event and a one-night stay at Kimpton Margot (or another hotel handpicked by us). For more information, head to the website.
It never gets all that cold in Brisbane. It doesn't snow, for instance. Still, it's fun to pretend that it's frostier than it is. One way to do exactly that: the Winter Chalet pop-up at Customs House, which sets up igloos and wintry decor by the river each year. It's the Queen Street venue's regular seasonal makeover when the mercury drops, and it comes complete with see-through domes for you and your mates to hang out in — while getting cosy under faux-fur blankets, peering at the river and knocking back a range of Veuve Clicquot tipples. Or, if you'd prefer cocktails for your chalet-style waterside hangs, the Clicquot sidecar, espresso martinis, negronis and Tommy's margaritas are on offer. Open Tuesdays–Sundays weekly from Tuesday, May 13 until the end of winter for 2025, the pop-up is also serving up a selection to line your stomach. Dining is available from Tuesday–Thursday, as is a winter high tea. The first costs $160 per person and the second $105 per person, both for two–six people. Opt for dinner and you'll be tucking into wagyu beef tartare, pork belly, potato gnocchi and wood-smoked buffalo mozzarella, among other options. For high tea, bites include smoked salmon and caviar waffle sandwiches, curried lobster brioche, vanilla cream cheese scones and Baileys mousse petit fours. Both packages come with a glass of Veuve Clicquot NV. The site is operating as a chalet bar Friday–Sunday, too — for dome bookings from $75 per person, and also just hanging about. That's where the always-popular half Moreton Bay bug croissants come in, as well as duck liver parfait, burrata arancini, and baked whole brie. Images: Markus Ravik.
Imaginary friends should be seen, but people trying to survive an alien invasion should not be heard. So goes John Krasinski's recent flicks as a filmmaker. While IF, The Office star's fifth feature behind the lens, has nothing to do with 2018 horror hit A Quiet Place or its 2020 sequel A Quiet Place Part II, the three movies share a focus on the senses and their importance in forming bonds. When Krasinski's two post-apocalyptic hits forced humanity into silence for survival, they contemplated what it meant to be perceived — or not — as a basic element of human connection amid the bumps, jumps and tale of a family attempting to endure. With IF, the writer/director also ponders existence and absence. It skews younger, though, and also more whimsical, for a family-friendly story about a girl assisting made-up mates that are yearning Toy Story-style to have flesh-and-blood pals again. The horror genre still lingers over IF, however. It doesn't haunt in tone, because this isn't 2024's fellow release Imaginary; rather, it's a sentimental fantasy-adventure film, enthusiastically so. But from the moment that the movie's narrative introduces its IFs, as the picture dubs imaginary friends, it's easy to spot Krasinski's inspiration. In New York staying with her grandmother Margaret (Fiona Shaw, True Detective: Night Country) while her dad (Krasinski, Jack Ryan) is having heart surgery, 12-year-old Bea (Cailey Fleming, The Walking Dead) starts seeing pretend creatures. She then has a task: reuniting critters such as Blue (Steve Carell, Asteroid City), the purple-hued furry monster that, alongside Minnie Mouse-meets-butterfly Blossom (Phoebe Waller-Bridge, Indiana Jones and the Dial of Destiny), is one of the first IFs that she spots, with the now-adults that conjured them up as children. Only Cal (Ryan Reynolds, Ghosted), who lives upstairs from Bea's nan, can also glimpse Blue, Blossom and the like. And although his past plans to aid the IFs in finding new kid buddies to get over their old ones haven't been successful, he's still along for the ride — somewhat reluctantly and crankily — as Bea spends the days that her dad is in hospital distracting herself with her new job. Krasinski mightn't have yet directed a film that hails from existing material, not here, in either A Quiet Place entry, his 2009 debut Brief Interviews with Hideous Men or in 2016's The Hollars, but he slips IF into familiar all-ages terrain. Take a kid or kids, whisk them off into a fanciful space either away from or that reframes their own world, then surround them with anything but the ordinary and everyday: everything from Mary Poppins and Labyrinth to Jumanji and also Studio Ghibli's Spirited Away has imagined it as well. A giant heart beats and a waterfall of sincerity flows in IF's exploration of how loneliness, pain, uncertainty and anxiety can dance away through companionship, and also through truly seeing someone and being seen. That's what it means to spot imaginary friends, after all, with children conjuring themselves up a pal that's always by their side unconditionally no matter what life throws their way at a young age. We might grow out of playing make believe to enjoy the company of a BFF, but no one moves past needing to be recognised and appreciated, and hurting if they aren't. Someone who certainly hasn't: a pre-teen who insists to her happy-go-lucky father that she's too old now for goofy pranks and spinning stories, and to her grandma that colouring in and painting aren't age-appropriate hobbies, as she grapples with her remaining parent's health after losing her mother (Catharine Daddario, The Tomorrow Job) in the movie's opening montage. Sweet almost to the point of corniness, patently unafraid of symbolism and giving all of the effort that it can, IF isn't a subtle film, including in deploying a glow from cinematographer Janusz Kamiński (The Fabelmans, and also Steven Spielberg's go-to since Schindler's List) in its retro aesthetic and heartstring-tugging melodies from composer Michael Giacchino (Next Goal Wins, and also Pixar's Inside Out, Coco and Lightyear) in its score as it takes its audience along with Bea's emotional journey. (Also obvious, and not just from Kamiński and Giacchino's involvement: the Spielberg and Pixar influences). But it's all so eagerly and unashamedly earnest, and so carefully constructed, that the movie itself resembles a kid with an imaginary friend — making viewers believe in it because it believes with such unwavering and wholehearted dedication. It helps that the various IFs bounding through the picture's frames look not only imaginative, but like the product of real imaginations, spanning bears, marshmallows, unicorns, spacemen, cubes of ice in glasses of water and more. Blue, all plush and tactile (and, yes, likely destined for the merchandise treatment), isn't the only imaginary friend that could've stepped out of a toy box. On voice duties, the cast is a look-who-I-can-call roster on Krasinski's part — see: Emily Blunt (The Fall Guy), George Clooney (Ticket to Paradise), Bradley Cooper (Maestro), Matt Damon (Drive-Away Dolls), Awkwafina (Kung Fu Panda 4), Bill Hader (Barry), Keegan-Michael Key (Wonka), Blake Lively (The Rhythm Section), Sam Rockwell (Argylle) and Maya Rudolph (Loot), for starters — yet IF doesn't enlist such a starry list of names for just-showing-up turns, getting both depth and laughs from the who's who lineup. With the impressive Fleming at its centre, a playful showpiece sequence arrives midway through the movie, with Bea guided to the IF retirement home beneath Coney Island. Here, imaginary friends endeavour to cope with life without their tykes, but Bea reshapes their space using (what else?) the power of imagination. Flourishes such as singing with the late, great Tina Turner and plunging into a painting only to come out all splattered with its hues are splendid touches (endearing as well), each alive with the spirit of childlike wonder that Krasinski so keenly wants to capture. One harking back to tunes with and cherished moments of significance to Bea, the other making the act of diving into creativity literal, they're sensory touches, too — because Krasinski knows that if we're not open to experiencing as much as we truly can, and connecting through it, we're not truly living.
One of the most significant fashion designers of the past century is the subject of one of Australia's most significant fashion exhibitions, with the National Gallery of Victoria dedicating its big summer blockbuster show to the late, great Alexander McQueen. For fans of pioneering, boundary-pushing threads, Alexander McQueen: Mind, Mythos, Muse's four-month season promises to be better than Christmas — complete with more than 120 garments designed by the icon, plus artworks, sketches, videos and photographic works that inspired him. First revealed back in May, and now on display from Sunday, December 11, 2022—Sunday, April 16, 2023, Mind, Mythos, Muse has taken over the NGV International. Inside the Melbourne cultural institution, fashion devotees will find walls and halls filled with a stunning display, as created in collaboration with the Los Angeles County Museum of Art (LACMA). All things McQueen first graced LACMA, and now it's Australia's turn. While the LA venue organised the exhibition, drawing upon more than 60 garments and accessories from its own holdings, it contacted NGV about both contributing and running its own season. That's where 50 designs by McQueen from the NGV Collection come in, plus other artworks from each institution. The NGV has been hoping to put an exhibition like this together ever since the designer first made a splash in the early 90s, and Mind, Mythos, Muse does indeed venture back that far. The showcase features McQueen-designed items dating back to 1994, and 25 different seasonal collections — with 20 seasons covered from its the NGV's own holdings alone. Accordingly, attendees can check out examples from the autumn-winter 1995–1996 Highland Rape collection, the autumn-winter 2006–2007 The Widows of Culloden range, and spring-summer 2010's Plato's Atlantis, McQueen's final complete collection before his death in February 2010. Various sections of the exhibition dive into McQueen's oeuvre in different ways. With Mythos, for example, three collections inspired by mythological and religious belief systems sit together. Then, in Fashioned Narratives, four collections that showcase his knack for world-building are in the spotlight. Next comes Evolution and Existence, which hones in on his interest in life cycles and the human condition — and Technique and Innovation, which is rather self-explanatory. Finally, Dangerous Bodies is all about early collections with a focus on eroticism and empowerment. Helping pull together all of the above are behind-the-scenes snaps by photographer Robert Fairer, taking audiences backstage at McQueen's shows — because his parades were an event and an art — and 80-plus historical artworks spanning painting, sculpture, photography, decorative arts and works on paper, all hailing LACMA and NGV's collections.
UPDATE, September 17, 2021: Ammonite is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Looking at an ammonite fossil is like putting your ear up to a seashell: in their ridged spirals, it feels as if a whole new world could exist. In the latter's case, each one is made from the remains of extinct molluscs from millions of years ago, and lingers now as a reminder of a different time and existence, its compact coils encasing all of its secrets. The striking specimens from the past provide the film Ammonite with its title, and with an obvious metaphor as well — but also an apt one that's brought to life with meticulous delicacy. The two central characters in this patient yet always evocative 1840s-set romance are the product of centuries of convention and expectation, with society's engrained views about women both weathering away at them and solidifying their place. They're also as tightly wound as the historical remnants they tirelessly search for along the craggy, cliff-lined West Dorset coastline. Writer/director Francis Lee made his feature debut with 2017's exceptional God's Own Country, which means he has already deployed many of the choices that are pivotal to Ammonite. Both brandish a title that functions literally and symbolically. Both spin stories about queer love that arises slowly and organically in heightened and intimate circumstances. Both dive into specific, labour-intensive fields with a resolute and instinctive connection to the land, and derive an elemental tenor from their crucial locations. The two films each watch on tenderly as a new arrival upends the status quo, unleashing a wave of affection that takes both parties by surprise — unlocking a lifetime of closely held emotions, and gifting lonely souls a connection they wouldn't otherwise admit they yearned for. But Lee's latest feature isn't just the lesbian counterpart to its predecessor. While the movies complement each other perfectly, Ammonite unearths its own depths and boasts its own strengths. Lee has made the concerted decision not just to focus on women, but to fictionalise the relationship between real-life scientists who find solace in each other as they're forced to fight to be seen as anything other than housewives. Living in Lyme Regis with her ailing mother (Gemma Jones, Rocketman), Mary Anning (Kate Winslet, Wonder Wheel) is no one's wife, and doesn't want to be — but, toiling in the male-dominated realm of palaeontology, she's accustomed to being treated differently to her peers. As a child, she found her first ammonite fossil, which is displayed in the British Museum. Now scraping by running a shop that sells smaller specimens to rich tourists, she hasn't stopped looking for other big discoveries since. When geologist Roderick Murchison (James McArdle, Mary, Queen of Scots) visits Mary's store, however, he's after her services in a different way. In a casual reminder of just how dismissively women are regarded, she's asked to take care of his melancholic wife Charlotte (Saoirse Ronan, Little Women) while he travels abroad for work. Roderick thinks it'll be good for Charlotte to learn from Mary, to get outside daily and to have a sense of purpose, but Mary only agrees for the money. Ammonite swells with foreboding, rather than with astonishment. Viewers know where the narrative is heading, and soak in every moment of the gradual journey along the way. And, as Mary and Charlotte form a friendship and then something more, working through their individual traumas in the process — Mary's heart is hardened from a failed relationship with another villager, while Charlotte's depression stems from a miscarriage — the audience dives into their passion and their struggles in tandem. Eventually, heated trysts ensue, but Ammonite isn't a torrid, feverish, corset-ripper. Lee paces his film deliberately, colours it with grey and naturalistic hues thanks to cinematographer Stéphane Fontaine (Jackie, Elle), and gives it an almost grim mood, all to stress just how Mary and Charlotte's bond offers a ray of sunshine in an otherwise austere existence. Mirroring the restrained lives enforced upon 19th-century women in general, and those trying to forge careers specifically, the filmmaker's approach proves thoughtful, involving and moving; to truly understand why his central couple dissolve with such contentment in each other's embrace requires deeply feeling the oppression and unhappiness that surrounds them everyday. Casting frequent Oscar favourites Winslet and Ronan has a significant impact, of course. God's Own Country didn't need high-profile names to leave an impression, and neither does Ammonite, but Lee has enlisted two of the best actors for the current job. The former won a golden statuette for 2009's The Reader, the latter nabbed four nominations before her 26th birthday, and both rank among the greats presently gracing our screens — a status that Ammonite only reinforces. Playing complex and conflicted characters so used to aching inside that it shades every element of their demeanour, they're each quietly and potently expressive here in their own ways. Winslet is stern, fierce, no-nonsense and task-oriented, while Ronan is eager and open but heartbroken and tentative. Each recognises more than a little of themselves in the other, and the magnetic pull drawing Mary and Charlotte closer becomes palpable in their hands. Watching Winslet and Ronan's often-silent, always-emotionally loaded stares, viewers can be forgiven of thinking of the past year's other stellar sapphic romance; however, Ammonite doesn't merely lurk in Portrait of a Lady on Fire's shadow either. Exquisitely told love stories can simmer and sparkle to the point of threatening to catch ablaze, as the French film does so magnificently. They can also ebb and flow back and forth like the tide washing against the rocky shore, which this English drama prefers. Ammonite serves up its own equally nuanced and resonant affair as a result, crackling with the salty ocean air and clinging to the forbidding cliffs rather than shimmering and sitting in the beachside sun. A solemn sense of beauty emanates, too, as does an earthy reminder that romances, women and under-appreciated bright minds alike never just adhere to one type — and that excavating that truth should be commonplace, rather than monumental. https://www.youtube.com/watch?v=lZAQT0jTFuU
Bringing Shakespeare to the big screen is no longer just about doing the material justice, or even about letting a new batch of the medium's standout talents give their best to the Bard's immortal words. For anyone and everyone attempting the feat (a list that just keeps growing), it's also about gifting the playwright's material with the finest touches that cinema allows. It's never enough to simply film Macbeth like a theatre production, for instance, even if all that dialogue first penned four centuries ago still ripples with power — while riffing about power — without any extra adornments. No Shakespeare adaptation really needs to explain or legitimise its existence more than any other feature, but the great ones bubble not only with toil and trouble, but with all the reasons why this tale needed to be captured on camera and projected large anew. Joel Coen knows all of the above. Indeed, his take on the Scottish play — which he's called The Tragedy of Macbeth, taking Shakespeare's full original title — justifies its existence as a movie in every single frame. His is a film of exacting intimacy, with every shot peering far closer at its main figures than anyone could ever see on a stage, and conveying more insight into their emotions, machinations and motivations in the process. The Bard might've posited that all the world's a stage in As You Like It, but The Tragedy of Macbeth's lone Coen brother doesn't quite agree. Men and women are still merely players in this revived quest for supremacy through bloodshed, but their entrances, exits and many parts would mean nothing if we couldn't see as far into their hearts and minds as cinema — and as cinematographer Bruno Delbonnel's (The Woman in the Window) stripped-down, black-and-white, square-framed imagery — can possibly allow. In a year for filmmakers going it alone beyond the creative sibling relationships that've defined their careers — see also: The Matrix Resurrections — Joel Coen makes a phenomenal solo debut with this up-close approach. His choice of cast, with Denzel Washington (The Little Things) as powerful as he's ever been on-screen and Frances McDormand (The French Dispatch) showing why she has three Best Actress Oscars, also helps considerably. The former plays the eponymous Scottish general, the latter his wife, and both find new reserves and depths in the pair's fateful lust for glory. That's another key element to any new silver-screen iteration of Shakespeare's most famous works: making its characters feel anew. Washington and McDormand — and Coen as well — all tread in the footsteps of of Michael Fassbender, Marion Cotillard and Australian filmmaker Justin Kurzel (Nitram) thanks to 2015's exquisite Macbeth, but they stand in absolutely no one's shadows. As also previously splashed across cinemas by Orson Welles, Akira Kurosawa and Roman Polanski, the narrative details remain the same, obviously — from the witches (all played by Kathryn Hunter, Flowers) prophesying that Macbeth will soon be monarch, through to his murderous actions at Lady Macbeth's urging to make that prediction become a reality. All that scheming has consequences, both before and after King Duncan (Brendan Gleeson, Mr Mercedes) is stripped of his throne. One of the smartest parts of the movie's central casting is the change it brings to the Macbeths' seething desperation. Due to Washington and McDormand's ages, their versions of the characters are grasping onto what might be their last chance, rather than being ruthless with far more youthful abandon. They're susceptible to the Weird Sisters' suggestions in a different way, too, embracing what they think should already be theirs rather than seizing a shot they may not have expected for some time otherwise. McDormand's involvement is hardly surprising — she's married to Joel, is one of the Coen brothers' mainstays when her husband and his sibling Ethan share directorial credits, and won her first Academy Award for playing a pregnant police chief in their crime classic Fargo. But The Tragedy of Macbeth moulds what could've just been a given, a case of spouses reteaming again, into an inspired opportunity to give its source material a few shrewd tweaks. Writing as well as helming, that's the intensely fastidious level that Joel operates on. His work has always been assembled with precision, but that devotion to detail feels as stark here as the movie's overwhelmingly evocative monochrome visuals. For a filmmaker known for surveying life's chaotic and careening turns, dating back to 1984's Blood Simple, spanning comedies such as Raising Arizona and The Big Lebowski, and evident in the more recent Inside Llewyn Davis and Hail, Caesar!, too, he makes mess and mayhem look meticulous in The Tragedy of Macbeth. This towering adaptation may carve its own space among the many other Macbeths, but it also shows Coen's penchant for Welles' rendering — and his films in general — plus Kurosawa's Throne of Blood. Those nods come through aesthetically, flickering through a feature that masterfully looks as if it could've been made decades ago. The Tragedy of Macbeth's German expressionism-influenced use of light and darkness isn't just sharp, it's piercing, aptly so when Washington stands in a lengthy corridor to ask "is this a dagger which I see before me?". They're intense words from one of the Bard's greatest soliloquies, and they're paired with such stunning cinematography — that hallway appears to keep extending forever, a sight that says oh-so-much about the moral precipice Macbeth stands at — that the effect is scorching. Something wicked this way comes within the narrative, of course, but something magnificent unfurls in this new retelling. Stepping back into the acclaimed play proves a lean and ravishing experience again and again here, and also eerie and potent — a mesmerising brew when it comes to this story. Strutting and fretting as Delbonnel's staggering cinematography gazes his way, and as Carter Burwell's (The Ballad of Buster Scruggs) score ramps up the tension, Washington is equally transfixing. He needs to be to play this part. He needs to be remarkable to express Macbeth's transformation from loyal royal offsider to killer, and to navigate the corresponding existential torment. Something astonishing this way comes as a result, a feat that isn't The Tragedy of Macbeth's alone with this tale (Kurzel's version was the best film of its year), but provides another masterwork full of sound and fury signifying everything. The Tragedy of Macbeth opens in Australian cinemas on December 26, 2021, and will be available to stream via Apple TV+ on January 14, 2022.
In the next few years, Brisbane will score its own sprawling 45-hectare park in the middle of the city — something that, according to the Brisbane City Council, will become our own version of New York's Central Park and London's Hyde Park. But there's a bit of work to be done before that's the case, including a public consultation period. As part of the latter, there's also a party. You can offer your thoughts on the revamp of Victoria Park any time you like by heading online before Sunday, September 29 — or, you can mosey along to the Victoria Park Party on Sunday, September 22 to find out more. The free shindig runs from 10am–3pm, and will include plenty of opportunities to chat to the team behind the project, and to share your own ideas. Also on the agenda: the chance to explore the entire site, plus live tunes, talks, food trucks and activities for kids.
Established in 2009 to discuss difficult issues, push boundaries and inspire debate, Sydney's Festival of Dangerous Ideas has spent a decade exploring provocative topics — and it's celebrating its tenth anniversary in the same fashion. This year's event will tackle the theme 'dangerous realities', focusing specifically on racism, surveillance and climate change. After postponing its weekend-long Town Hall event in April due to the government's ban on non-essential gatherings over 500 people, FODI has decided to return next month with a succinct digital program for 2020. It's called FODI Digital, aptly — and fans will be happy to hear that headliner Edward Snowden is still on the docket. The whistleblower will — of course — examine the reality of mass governmental surveillance system. As expected, he was always planned to appear via livestream rather than in person, so not much has changed. The one-hour conversation will take place on Thursday, September 24 from 7pm. Alongside Snowden, the program features Professor Marcia Langton AM on Thursday, September 10 and Journalist David Wallace-Wells on Saturday, October 11. Langton will discuss the truth about racism in relation to Australia's Indigenous people, as well as our society's resistance to accepting our racist past. Meanwhile, Wallace-Wells will dissect the climate crisis in a conversation titled The Uninhabitable Earth. As all events will be live-streamed, tickets will cost just $10 for Langton and Wallace-Wells and just $15 for Snowden — or nab tickets to all three for $30. FODI is presented by The Ethics Centre, who co-founded the fest with the Sydney Opera House, then partnered with UNSW for the 2018 version of the event on Cockatoo Island. While this year's digital season is decidedly different from past iterations, it still boasts the fest's usual high-calibre range of speakers — so another eyeopening FODI season awaits. FODI Digital will take place across three separate online conversations on Thursday, September 10; Thursday, September, 24; and Saturday, October 11. For tickets, visit the festival's website. Top image: Jodie Barker
We have to make choices about what we eat multiple times a day. Add a partner with a different diet to you into the equation and things can get even trickier. But that doesn't mean you can't enjoy date night together. Whether it's for health reasons or to help the animals and planet, plant-based eating is becoming more and more popular. And Brisbane has some pretty awesome venues that cater to the herbivores among us. Together with Vegkit, we've selected seven that you should check out. These venues are kind to animals but big on flavour, making them the perfect places to bring your OSO (omnivorous significant other). Who knows? Some of those dishes might even be enough to change their meat-eating habits. FITZ AND POTTS, NUNDAH Booze, jaffles and lots of friendly dogs to pat? Yes, please. Fitz and Potts has been a go-to bar for northside locals for years now and, since switching to a completely plant-based menu, its popularity has only grown. Tuck in to the likes of mushroom pizza, pumpkin arancini and gyoza, or try one of the rotating jaffle flavours on offer with vegan cheese, faux meats and grilled vegetables. Pair your snacks with a craft beer, a cocktail made from Australian boutique spirits or a glass of local organic wine. Your partner will be too focused on the drinks list to notice there's no meat on the menu. YOU CAME AGAIN, WEST END You Came Again is all about creating a community-focused space, free of judgement but full of game-changing veggies. The menu here is completely plant-based and designed to show diners how great plant-based meals can be. You'll find reimagined bar food classics using vegetables and plant-based cheeses — think toasties, lemon popcorn cauliflower bites and harissa-roasted carrots with red pepper hummus — best enjoyed with a drink in hand. And on the sweeter side, there's vegan lemon meringue, a chewy walnut brownie and a vegan cheesecake that changes monthly. EL PLANTA, SOUTH BRISBANE The team at El Planta does an amazing job of making sure nobody misses meat when dining there. Everything served here is 100-percent plant-based and made from scratch, including traditional tortillas. The El Planta menu changes weekly and, while it's always simple, it's certainly never boring. Try ceviche made using hearts of palm, capsicum and corn; El Planta's take on classic pescado (fish) tacos; or elote, fried spiced corn ribs. Can't decide on what you and your beau should eat? Ask for the Feed Me banquet and let the kitchen do it for you. Whatever you end up eating, make sure you wash it down with one of the restaurant's six margaritas — the grilled pineapple version is our pick. [caption id="attachment_825455" align="alignnone" width="1920"] Victor Munhoz[/caption] NONNA'S NIGHTMARE, WEST END Looking for plant-based Italian food your partner, mates or even your nonna will be able to get around (eventually)? That's what you can expect at Nonna's Nightmare. Cosy up with pizzas, pasta and comfort food made for feeling good about your choices. Locally sourced ingredients come together to make dishes like gnocchi al ragu (made using Beyond Meat bolognese), ravioli al tartufo with mushroom and truffle and sourdough pizzas. If you really want to see nonna get cranky, order the Italian Nightmare pizza, topped with grilled pineapple, vegan bacon, chilli and lime salsa (yep, really). If only a burger will cure your cravings, there are four options to choose from, including one stacked with eggplant parmigiana. And if you somehow have room for dessert, check out the pistachio-infused ricotta cannoli. This is definitely not the kind of place you'll leave hungry. YAVANNA, PADDINGTON One of the OG completely plant-based venues in Brisbane, Yavanna has been around long enough to know how to make meat-free dining easy for all. The first step? Make your menu indulgent AF. The team here does a mix of veggie options and faux meats, slinging everything from mac and blue cheese to burgers stuffed with crispy chicken or charred tofu and pickled beetroot. There's no shortage of activities in Paddington that make Yavanna the perfect addition to your date plans — head here for brunch after a spot of op-shopping and try the spiced pumpkin pancakes, or pop by for a beer and a burger in the evening before catching a game at Suncorp Stadium. GREENHOUSE CANTEEN AND BAR, SOUTH BRISBANE Greenhouse Canteen and Bar boasts that it's "cruelty free and killing it", and you know what? It is. This plant-based and gluten-free bar and diner is all about making dishes that are equal parts delicious and creative. When you visit, go down the indulgent path with pumpkin alfredo gnocchi or pecan pie served with cashew cream. Or, try something healthier with raw pesto zucchini noodle pasta and kale caesar salad. With so many options, both of you will be able to find something to tickle your fancy. ZA ZA TA, FORTITUDE VALLEY In early 2020, Ovolo The Valley's Za Za Ta made its Israeli-inspired offering completely vegetarian — a move that proved so popular that Ovolo's full suite of bars and restaurants around Australia and Hong Kong followed suit. But Chef Roy Ner's conscious lineup doesn't end there, with many of the dishes also being vegan. The food is hearty and distinct with share plates made to satisfy big time. Start with a silverbeet and Fine Cultures plant-based feta borek with tomato salsa, before moving on to cauliflower shawarma with pickled fennel and apple, and charred sweet corn with tahini. With dishes like these, who needs meat anyway? For more plant-based dining and recipe inspo, head to the Veg Kit website.
Should margaritas be made with tequila or mezcal? It's a debate for the ages. You and your pals can settle it once and for all at Cloudland's one-night-only event. On Friday, May 17 the Crystal Palais is hosting a taste-off between Mexico's two most popular agave spirits: tequila and mezcal. Every ticket holder will receive four mini margaritas, plus a full-sized serving of their favourite cocktail. Two tipples will be made with Olmeca Altos Plata Tequila to hero its bold citrus notes — a classic marg served on the rocks and a Mandarin Paloma served with grapefruit soda. The other two drinks will showcase the complex, smoky notes of Del Maguey Vida Mezcal: an original mezcal margarita with chilli salt and a smoked pineapple and jalapeño version. Elevate your evening with a sharing menu for an additional $35 per person, which features dishes like smoked aubergine with woodfired bread, cured meats with pickled chilli, local burrata and candied olives and wild mushrooms and taleggio arancini with truffle mayo. And the fun doesn't stop there — ticket holders will be entered into a draw to win a $500 Altos Tequila Fiesta hamper. ¡Viva Agave! will take place from 6–8pm on Friday, May 17. To book your tickets, check out the website. All guests within the same group must be on the same package, with or without the grazing-style menu add-on. Minimum of two people on the dining menu. Total hamper prize value $500. The winner will be notified on the Monday after the event.
Phillip Island's ever-popular little penguin residents have scored themselves an upgrade, with the new-look, revamped Penguin Parade visitor centre opening its doors this week. The colony of tiny birds and their waterfront digs have long been one of Victoria's iconic tourist destinations, with the sunset penguin viewings pulling over 700,000 visitors each year. Now, with the help of $48.2 million funding from the Labor Government — along with an extra $10 million from the not-for-profit Phillip Island Nature Parks — the world-leading penguin research precinct has had a long-awaited makeover. In good news for its pint-sized inhabitants, the mammoth infrastructure project has restored over six hectares of penguin habitat, reclaiming the site of the former visitor centre building to create extra homes for up to 1400 breeding penguins. As for the new centre built in its place, it boasts a state-of-the-art theatre, a suite of interactive activities and educational installations, along with a selection of retail and dining options. Here, you'll be able to browse a range of commissioned penguin-themed designs, from bamboo tumblers to tea towels, along with a line of sustainability-focused products including reusable veggie bags and stainless steel straws. An onsite restaurant will be dishing up plates like slow-cooked lamb shanks and a classic chicken parma, while the cafe is your go-to for sandwiches, sushi and pies. On the educational side of things, you'll find a realistic habitat space offering a penguins-eye view of the world, a range of penguin statues for those selfie snaps and a display sharing the story of the Summerland Peninsula's historic buy-back scheme and restoration of the penguin habitat. You'll also score a close-up glimpse of the penguin life cycle, as told through the journeys of resident birds Pudding, Ava, Peter and Flynn. The interactive installation allows you to see what's likely happening in penguin world during various seasons and months. The building's design has also earned some serious street cred, being named as a winner at the recent 2019 International Architecture Awards. And, in a win for those penguins, the building is especially environmentally friendly, featuring 666 rooftop solar panels, low-carbon building materials throughout and a water filtration system that recycles rainwater for non-potable use. While the visitor centre is entirely new, the program of penguin-viewing experiences remains the same — including the popular underground viewing platform and the ranger guided tours. You can find the new Penguin Parade Visitor Centre at 1019 Ventnor Rd, Summerlands.
Take a Brisbane pub, spruce it up, get the beverages and bites flowing: it worked for Australian Venue Co at The Wickham, the Cleveland Sands, Salisbury Hotel, the Crown Hotel in Lutwyche, Bribie Island Hotel and Capalaba's Koala Tavern, and now that tried-and-tested plan has been put into action at the Royal Hotel, too. Earlier in 2023, AVC announced that it was revamping the Nundah pub, giving it a $1.1-million refurbishment. The results have just been unveiled, complete with a 200-person entertainment space upstairs that can host everything from bands to comedy, plus a refreshed bistro that's slinging brisket burgers and doughnut fries. Before its makeover, this watering hole was known as The Royal; however, that hasn't always been its name. A pub has sat at the Sandgate Road location in Nundah since 1888, pouring brews for Brisbane's northsiders. Back when it first swung open its doors 135 years ago, the site was also known as — you guessed it — Royal Hotel. Reclaiming its original moniker, adding that 200-person first-floor entertainment venue, refreshing the food range and outdoor terrace: that's all part of this do-over. The heritage-listed pub's facade remains the same, of course, as designed by the same architect as Crown Hotel all those years back. Now, Mel Porter Design has taken care to blend the pub's heritage features with modern details. The upstairs space has been dubbed Royal Quarters, and will cycle through different entertainment options on different nights. Head along on Thursdays to get giggling, Friday nights for piano bar sessions, Saturday evenings for live gigs and Sundays for bingo. Downstairs, the public bar is also doing trivia on Tuesdays. As for Royal Hotel's bistro and terrace, that revamp spans greenery aplenty, marble-look tables, checkerboard floors and wooden accents, giving the pub a 120-seater — and family-friendly — dining space. The new menu covers pub classics and seasonal dishes, with other highlights including Moreton Bay bug rolls, pressed lamb shoulder, pan-seared barramundi, Stone & Wood-battered fish and chips, and four types of pizzas. Pasta marinara, mini fish ceviche tacos and baked brie cheesecake also feature. And yes, both chicken schnitzel and chicken parmi are on offer, too, plus three steak options. The front bar and al fresco area have also received a new lease on life. Here, five big TV screens show sports t0 80 folks if you're just keen to catch whichever game you prefer over a pint. "Royal Hotel is a Nundah institution, and we are thrilled to open the doors again to our community. It is a historic pub and a space for the entire family to enjoy no matter the occasion, with weekly entertainment and an exciting new menu and interiors," said Venue Manager Naomi Franklin. Find the Royal Hotel at 1259 Sandgate Road, Nundah — open 10am–3.30am seven days a week.
More dogs. That's it, that's our wish list. There can never be enough dog-friendly bars, dog-centric events, creative food for dogs, doggo movie screenings or just good ol' dog parks, and there never will be. Also, as the ABC's new Tony Armstrong-hosted three-part doco series A Dog's World with Tony Armstrong clearly realises, there can't be too many shows about these four-legged cuties either. Netflix already gave us two seasons of the docuseries Dogs, recent big-screen release Stray spent time with puppers in Istanbul and there's even a whole streaming platform made for woofers — as every pooch owner knows, they like to watch TV, too — but none of them enlist the former AFL player turned ABC News Breakfast sports presenter to explore the world of canines. Obviously, given its title, A Dog's World with Tony Armstrong definitely does. Across the three-part series, he won't just be surrounded by canines, but will also interview top canine researchers, step into the evolution of dogs, explore their senses and help provide advice for your own barking bestie. "When I was approached about the possibility of being involved in A Dog's World, I don't even think I got to the end of the email before I was agreeing to take part," says Armstrong. "It was amazing being involved in the project, I learned a lot and I hope everyone who watches enjoys it as much as we enjoyed making it!" The ABC has just dropped a trailer for the series and, yes, it looks as super-cute as it sounds. The dogs featured even just in the 100-second sneak peek firmly fit that description. If you're keen to watch, add 8.30pm on Tuesday, March 22 to your diary — which is when A Dog's World with Tony Armstrong will start airing on ABC TV and streaming via ABC iView. Check out the trailer for A Dog's World with Tony Armstrong below: A Dog's World with Tony Armstrong will be available to watch via ABC TV and ABC iView on Tuesday, March 22.
Ever wanted to set off kayaking from balmy tropical beaches lined with palm trees? Well, at picturesque Palm Cove, approximately 25 minutes drive north of Cairns, you can. The Kayak Turtle Tour, run by Pacific Water Sports, is an unmissable half-day ocean adventure in Tropical North Queensland. Departing at 7am, you'll kayak across The Coral Sea to nearby Double Island and Haycock Island to spot green and hawksbill turtles basking in the coral reefs below. Then, you'll paddle further afield to sight rays and shovelnosed guitarfish (sometimes called shovelnose sharks) before making your way back to the shore at Palm Cove.
When it comes to originality, place Violent Night on cinema's naughty list: Die Hard meets Home Alone meets Bad Santa meets The Christmas Chronicles in this grab-bag action-comedy, meets Stranger Things favourite David Harbour donning the red suit (leather here, still fur-trimmed) and doing a John Wick impression. The film's beer-swigging, sledgehammer-swinging version of Saint Nick has a magic sack that contains the right presents for the right person each time he reaches into it, and screenwriters Pat Casey and Josh Miller must've felt that way themselves while piecing together their script. Pilfering from the festive canon, and from celluloid history in general, happens heartily and often in this Yuletide effort. Co-scribes on Sonic the Hedgehog and its sequel, the pair are clearly experienced in the movie version of regifting. And while they haven't solely wrapped up lumps of coal in their latest effort, Violent Night's true presents are few and far between. The main gift, in the gruff-but-charming mode that's worked such a treat on Stranger Things and in Black Widow, is Harbour. It's easy to see how Violent Night's formula — not to mention its raiding of the Christmas and action genres for parts — got the tick of approval with his casting. He's visibly having a blast, too, from the moment his version of Santa is introduced downing drinks in a British bar, bellyaching about the lack of festive spirit in kids today, thinking about packing it all in and then spewing actual vomit to go with his apathy (and urine) from the side of his midair sleigh. Whenever Harbour isn't in the frame, which occurs more often than it should, Violent Night is a far worse picture. When you're shopping for the season, you have to commit to your present purchases, but this film can't always decide if it wants to be salty or sweet. Harbour's Kris Kringle: saltier than a tub of beer nuts. Still, after his sloshed pub stint, he keeps grumpily doing his job, because Christmas Eve isn't really the time to quit. Then, at the Lightstone abode, aka "the most secure private residence in the country" as viewers are told, more booze and a massage chair calls him — and that butt-vibrating rest sees him unwittingly caught up in an attack on the property. As wealthy matriarch Gertrude (Beverly D'Angelo, Shooter) lords over her adult children and their families, mercenaries storm in with their sights set on the mansion's vault. What the self-described Scrooge (John Leguizamo, The Menu) and his interchangeable colleagues aren't counting on, of course, is a formidable Father Christmas skulking around. He's trying to get away more than initially save the day, but he'll happily dispense season's beatings to do both. Just as the John Wick films, then Atomic Blonde, then Nobody all knew — Bullet Train director David Leitch has either helmed or produced them all, doing the latter with Violent Night — there's visual poetry and visceral thrills to be found when someone super-competent at holding their own dispenses with nefarious foes. That's the case even when they're battling scenery-chewing, "bah humbug"!-spouting, Hans Gruber-wannabe antagonists like Scrooge, plus his flimsier henchmen. As that's happening, and frequently, Violent Night ticks off many a movie's wishlist, but that's only part of the premise here. Those Lightstone offspring include Jason (Alex Hassell, Cowboy Bebop), who has his ex Linda (Alexis Louder, The Terminal List) and seven-year-old daughter Trudy (Leah Brady, The Umbrella Academy) in tow, and wants this Christmas jaunt to be a permanent reunion. That's a layer of drama Violent Night doesn't need, adding nothing but filler, just like Jason's sister Alva's (Edi Patterson, The Righteous Gemstones) Succession-esque clamouring for the family company. There's usually never a bad time to eat the rich, but Violent Night's efforts are a half-chomp at best — the gun-toting crew of intruders trying to rip off millions of dollars are always the real bad guys, after all. Casey and Miller haven't penned a movie with much in the way of depth, and attempting to pretend otherwise proves as clunky as it sounds. The saccharine side that Trudy's presence brings is similarly just a way to take up time; Bad Santa's bad Santa has a pint-sized offsider, which means this flick's does as well, apparently. Trudy has also just watched Home Alone and screams about it (yes, the nods are that blatant). The sizeable scene that puts her fandom to good use, nails, bowling balls, sabotaged ladder rungs and all, is among Violent Night's most entertaining, though. The film knows how to make its familiar parts gleam when it wants to, but that isn't often enough. Director Tommy Wirkola must've been a simple hire for the job, however, thanks to Dead Snow and its sequel, plus Hansel & Gretel: Witch Hunters. The filmmaker has stuffed his stocking with high-concept this-meets-that flicks, the exact type of movie that Violent Night is from go to whoa to ho-ho-ho. Unsurprisingly, he fares best when his picture is letting loose and living up to its enticing idea, complete with kinetic fight choreography, blood and gory deaths, and everything from icicles to lit-up star tree-toppers used as weapons. In pure action terms, there's an around-the-world sleigh ride's worth of mileage in a literally killer Santa Claus turning slasher not in a horror-flick fashion (despite its many borrowings from elsewhere, this isn't a Silent Night Deadly Night do-over), but to play hero. Comedy isn't Wirkola's strength, or the feature's — see: the laboured attempts at laughs around Alva's actor spouse Morgan (Cam Gigandet, Without Remorse) and aspiring-influencer son Bert (Alexander Elliot, The Hardy Boys) — which is why all those nods to Gremlins, The Ref, National Lampoon's Christmas Vacation and more land with the hollow thud of an empty box. Holiday schmaltz and reminders that there's more to the festive season than material aren't highlights either, and Casey and Miller haven't stretched themselves in trying to come up with either amusing or heartfelt dialogue. Even with a The Northman-style backstory part of Violent Night's take on the jolly man, that leaves Harbour with a heap of heavy lifting in the film's first two thirds. He's up to the task — again, it's an ace premise with ace lead casting — but he's never walking audiences through an ultra-violent Christmas movie wonderland.
It has been eight months since The Handmaid's Tale dropped its first teaser for its upcoming fourth season, which, like plenty of other things over the last year, was postponed. Over that time, it was also announced that the dystopian series would bless our screens for even longer, with a fifth season green-lit before the fourth even airs. But fans keen to actually step back into the show's story, rather than just hear news about it, have been hanging out to do exactly that for quite some time. Thankfully, that delay is about to come to an end, with a US release date just announced for the next batch of episodes. The Handmaid's Tale will start its fourth season in America on April 28 — and while just when it'll air Down Under hasn't been revealed, you shouldn't expect that there'll be much of a wait. Hulu, the platform that airs The Handmaid's Tale in the US, has also just dropped a new trailer for the fourth season, so you can get another glimpse of what's about to hit. In its opening moments, the tense score and images of empty streets are accompanied by a radio broadcast‚ with the resistance in full swing. And yes, the show's protagonist, June (Elisabeth Moss), is still battling against Gilead after season three's cliffhanger ending. Toppling a totalitarian society that's taken over the former United States, tearing down its oppression of women under the guise of 'traditional values', and fighting for freedom and equality doesn't happen quickly, after all. If you're wondering what else in store in the award-winning adaptation of Margaret Atwood's 1985, June's quest isn't likely to be easy — because everything in this series comes with risks and challenges. Check out the latest season four trailer below: https://www.youtube.com/watch?v=pmcWPOH4Yqw The fourth season of The Handmaid's Tale will hit US screens from April 28, and it's likely it'll start airing on SBS in Australia around the same time. We'll update you with further details when they're announced.
UPDATE, September 7, 2020: Emma is available to stream via Google Play, YouTube Movies and iTunes. Happiest when she's playing matchmaker, experienced at meddling in the affairs of others and accustomed to a comfortable level of standing in her village, Emma Woodhouse withholds judgement on no one. Since first popping up on the page 205 years ago, Jane Austen's heroine has always been a picture of youthful hubris. Case in point: the 20-year-old member of the upper class wouldn't dream of letting a friend marry a mere farmer. She eventually learns the error of her well-meaning arrogance, of course. That's the journey that Austen's Emma charts, following the titular character's evolution from unthinking snobbishness to genuine compassion. But if the fictional Miss Woodhouse was somehow asked to survey the latest film to tell her story, we're certain that her opinionated tendencies would still shine through. Renowned for eschewing the average and ordinary in the hope of a more romantic option, she'd at least arch an eyebrow at this dutifully faithful, perfectly palatable yet hardly spectacular adaptation. Emma may be stylised on its marketing materials as 'Emma.', as though it's putting a full stop on all big-screen iterations of Austen's novel; however it's unlikely to become the definitive book-to-film version of this tale. That title continues to belong to Clueless, a movie that modernised the details, played fast and loose with certain specifics, and turned Austen's comedy of manners into an even savvier delight than it already was. Devotees of the original text might consider that statement blasphemous, but Emma's musings on love, life, social status and human nature thrived under a bolder spotlight. Indeed, Clueless outshone the more traditional Gwyneth Paltrow-starring adaptation of Austen's novel that came out just a year afterwards, and did so easily. The difference a quarter-century ago, and now as well: Clueless engages with and re-interrogates the narrative and its insights, rather than just reverently recreating it. They all tell the same general story, though. For those who haven't committed the broad strokes to memory alongside Alicia Silverstone's 90s outfits, Austen's tale revolves around Emma (played in this 2020 iteration by Anya Taylor-Joy) and her current matchmaking mission. Her friend Harriet Smith (Mia Goth) receives a marriage proposal from local tenant farmer Robert Martin (Connor Swindells), with whom she's clearly besotted, but Emma is convinced that her pal can, should and must do better. So, she nudges Harriet towards seemingly kindly vicar Philip Elton (Josh O'Connor). As well as earning the disapproval of her neighbour George Knightley (Johnny Flynn), who she treats like a brother, Emma's interference causes significant ripples throughout the village. It doesn't help that the rich, handsome and vain Frank Churchhill (Callum Turner) has just returned to town, and the quietly accomplished Jane Fairfax (Amber Anderson), too — with the former considered a potential match for Emma herself, and the latter the target of her palpable jealousy. Well-heeled chaos ensues — as much chaos that can ensue within stately and sprawling country manors, while compliant, silent servants are always on hand, and amidst polite conversation constantly tinted with gossip (although as Downton Abbey keeps demonstrating, that's plenty). Emma circa 2020 does everything it's supposed to, including using its sumptuous production and costume design to paint a vivid picture of Regency-era England, but it adds little of its own personality. Austen's prose, here shaped into a screenplay by The Luminaries' author Eleanor Catton, still sparkles with wit. Making her feature filmmaking debut, photographer and music video director Autumn de Wilde retains the novel's playful mood, and pairs it with a sweeping sense of visual symmetry that'd do Wes Anderson proud. And yet, this adaptation feels mostly indistinguishable from the many other unchallenging film and TV versions of literary classics that've reached screens over the years. In fact, the end result is fine, but in the passable rather than excellent sense of the word. It can be a strange sensation, watching a movie that hits plenty of marks and still feels just standard, but that's this iteration of Emma. The film's various parts boast a variety of charms, and yet they never manage to leave much of an imprint. The main outlier: The Witch, Split and Glass' Taylor-Joy. There's little in the way of purposeful contemporary parallels in this take on Austen's tale but, in Taylor-Joy's hands, Emma herself seems like she could easily be passing judgement on her peers and their love lives via Instagram. As the overly chatty, far less wealthy Miss Bates, Miranda Hart (Call the Midwife) also stands out, especially when her character becomes the target of Emma's withering comments. But it might be Bill Nighy, playing Mr Woodhouse, that encapsulates the movie best. He's as reliable as ever, trots out all his usual moves, and inspires more than a few laughs and smiles — but you always know exactly what you're in for. https://www.youtube.com/watch?v=llt7-EQP6dg
While seeing fruit mince pies in your local shopping centre in October feels downright disturbing, there's one Christmas treat that no one ever minds arriving early: Four Pillars annual Christmas Gin. The latest iteration of the Healesville distillery's seasonal sip is coming in strong, set to hit shelves on Saturday, November 2. It's the delicious result of a yearly tradition that sees a bunch of Christmas puddings handmade with distiller Cameron Mackenzie's mother's recipe — the 1968 Australian Women's Weekly recipe, in fact — distilled with various festive botanicals to create a sought-after tipple that pretty much screams December 25. The flavours of an Aussie Christmas are captured in notes of cinnamon, star anise, juniper, coriander and angelica. The Christmas gin is then blended with some earlier gin that's been carefully ageing in 80-year-old muscat barrels. It's all finished with a hit of Rutherglen muscat for a bit of added richness and complexity. Each year, a new unique label is chosen to wrap up this Christmas creation, setting out to evoke that same festive spirit. The 2019's bottle design is the work of artist Tim Summerton, who lives on a property in the Southern Highlands where he grows hundreds of Indigenous Australian plants. The bottle is decorated with one of them: vibrant red Illawarra flame trees. The distillers recommend you sip the limited-edition gin straight over ice, mix it with ginger ale or whip up a Christmassy martinez with gin, vermouth, Benedictine and Angostura bitters. Or you can just splash a bit of it on your own Christmas pudding. If you want to nab a bottle, have your fingers poised over the 'buy' button when they go on sale online on November 2. Alternatively, you can stop by the Four Pillars HQ in Healesville, Victoria. Bottles are $100 a pop and would make stellar Chrissy pressies, if you're already thinking about that. Four Pillars Christmas Gin is available from November 2, in selected retail stores and online. But you'd best be quick — there's only a limited amount of bottles.
What's better than one new episode of Black Mirror in a six-month period? A whole new season. After Black Mirror: Bandersnatch dropped in the last few days of 2018, unleashing its movie-length choose-your-own-adventure mysteries upon the world, just when the show's fifth series would hit was anyone's guess. Now, all has been revealed. Mark Wednesday, June 5 in your diary and prepare for quite the unsettling night. Yes, if you're super keen on bleak technological tales that explore just how dystopian our world could become, you'll be able to knock the new season out in a single evening. While more Black Mirror is always a good thing — especially more Black Mirror arriving so soon — this run will only include three episodes, just like the show's first two seasons. Although specific storylines haven't been completely revealed, the series' first trailers do give away a few hints. Unsurprisingly, the pesky buzzing of mobile phones features prominently, as does the growing prominence of social media, artificial intelligence, smart technology and virtual reality. A police standoff, a lonely teen getting empowering feedback from a desktop robot and the troubles of stardom all earn a mention in the teaser's montage of clips, too. As always, that's certain to be just the beginning. Also familiar: a hefty lineup of familiar faces, with the Charlie Brooker-created series continually going above and beyond on the casting front. This time around, Miley Cyrus, Anthony Mackie, Topher Grace, Andrew Scott and Aussie actress Angourie Rice lead the way, alongside Nicole Beharie, Pom Klementieff, Madison Davenport, Ludi Lin, Damson Idris and Yahya Abdul-Mateen II. Check out the trailers below — including the overall series trailer, plus individual episode trailers for the three instalments, which are called Striking Vipers, Smithereens and Rachel, Jack and Ashley Too: https://www.youtube.com/watch?v=2bVik34nWws https://www.youtube.com/watch?v=ssr40U3-do0 https://www.youtube.com/watch?v=2SybklT8k1k https://www.youtube.com/watch?v=-qIlCo9yqpY Black Mirror's fifth season drops on Netflix on Wednesday, June 5. Updated May 23. Images: Netflix / Pedro Saad.
When spring hits Brisbane each year, it doesn't just herald the arrival of warmer weather and blossoming jacarandas. For most of September, it also means that Brisbane Festival is here. Over the first few weeks of the season, the citywide event brings a swathe of performances, concerts, art and other activities to town — and, following a smaller-scale event in 2020, this year's fest will be back doing what it does best. The full 2021 lineup hasn't been announced as yet, and won't be until next moth; however, that doesn't mean Brisbanites can't start getting excited already. Over the past few months, Brisbane Festival has been revealing bits and pieces of its program or this year. From returning favourites and stage productions that were supposed to happen last year to new shows glare, there's plenty to look forward to. 2020's Street Serenades — a series of street parties and gigs in Brisbane suburbs — is making a comeback, so you can expect to hear live tunes and see engaging performances across the city's 190 neighbourhoods once again. The program is dedicated to popping up in every one of the nearly 200 suburbs around town, in fact, with this year's event gaining additional funding. Something that Brisbanites have also already heard about: the long-awaited stage adaptation of Boy Swallows Universe, which was first announced back in 2019. It was actually meant to premiere at Brisbane Festival in 2020, until the pandemic hit, and will now take to the stage this year. And, in the just-announced camp, Bris Fest will get everyone thinking about a certain suave espionage agent — which'll be rather timely given that pandemic-delayed Bond flick No Time to Die is finally set to hit cinemas later this year. Here, though, the 007 action comes courtesy of The Little Red Company. In a show called Skyfall, performers Naomi Price and Luke Kennedy will pay homage to the cinematic spy by crooning tunes, including past Bond themes by Shirley Bassey, Tom Jones, Nancy Sinatra, Gladys Knight, Paul McCartney and Adele. For their gigs, they'll also be giving the South Bank Piazza a makeover, turning it into a Monte Carlo-style club. [caption id="attachment_816003" align="aligncenter" width="1920"] Dylan Evans[/caption] Also on the bill: Kate Miller-Heidke, who'll kick off her new national tour at the festival; Client Liaison, playing The Tivoli; Jess Hitchcock's Songs That Made Me; and Dead Puppet Society's new production Ishmael, which'll have its world premiere. As for what else you'll be seeing and hearing between Friday, September 3—Saturday, September 25, that'll be revealed mid-July. Brisbane Festival will run from Friday, September 3—Saturday, September 25, with the full program announced on Tuesday, July 14. For further details, keep an eye on the festival's website.
UPDATE, May 16, 20222: Due to Brisbane's wet weather, Paniyiri 2022 has been postponed from Saturday, May 21–Sunday, May 22 to Saturday, October 15–Sunday, October 16. This article has been updated to reflect that change. For two days each year, most of Brisbane heads to Musgrave Park to pretend that they're in the Mediterranean. Well, before the pandemic hit and upended our regular routines, that's what usually occurred — and in 2022, it'll finally be happening again. After two pandemic-interrupted years — with the 2020 event cancelled and the 2021 fest opting for a scaled-down and largely online format, plus a delay due to wet weather — Paniyiri is returning to its usual full range of celebrations in October 2022. Once again, the city's massive Greek festival will take over West End with quite the array of food, drink, partying and more. Yes, there's a reason that more than two million people have gone along over the years. In 2022, more than four decades since the fest first began back in 1976, the fun will take place across Saturday, October 15–Sunday, October 16. Brisbanites can expect the usual array of Greek revelry — aka grapes to stomp, coffee to sip, olives to consume and plates to smash, plus TV stars to rub shoulders with and cooking demonstrations to watch. Food-wise, more than 20 stalls will serve up bites from 11 Greek regions, including an abundance of loukoumades, souvlaki, haloumi and barbecued calamari. If devouring as much as you can is your idea of fun, the festival's regular food contests usually keep stomachs satisfied. Then, to wash all of that down, there'll be Greek wine, Greek beer and Greek-inspired cocktails as well. Of course, it wouldn't be Paniyiri without entertainment. While the full event program hasn't yet been revealed, dancing is always a big feature thanks to Greek Dancing with the Stars and the Hellenic dancers — so fingers crossed they return this year. In addition to celebrating all things Greek in Musgrave Park, Paniyiri also takes over The Greek Club — and given that it's marking its first regular fest in more than two years, expect both venues to host one massive shindig.
