One of the best films to hit cinemas in 2023 so far gets a song stuck in viewers' heads like it's been slung there with the stickiest of webs. Just try to watch a Spider-Man movie — any Spider-Man movie, but preferably the stunning Spider-Verse movies — and not get the cartoon theme song lodged in your brain. You can't. It's impossible. Tweak the earworm of a track's lyrics, though, and you have the perfect description of the first six months of this year at the pictures: the greatest features to flicker through projectors truly did whatever movies can. Among 2023's best films so far, one made the connection between a parent and child feel so aching new yet so deeply relatable that you might've convinced yourself that you lived this plot yourself. Another hung out with a Sardinian donkey to muse on the fragility of life, plus the way that all creatures great and small that aren't human are so often disregarded. Some rightly garnered awards for exploring close bonds and impassioned fights; others hopped all over Japan, or Korea, or wherever on the globe that John Wick has a battle to wage. One made the Australian outback look otherworldly — and another toyed with reality on multiple levels, and in a stunning fashion. They're some of the films that've shone brightly at picture palaces this year — some releasing last year elsewhere, but only debuting Down Under in 2023; some so shiny and brand-new that they've only just reached cinemas. More than 15 ace movies have graced the silver screen over the past six months, of course, but if you only have time to watch or rewatch the absolute best 15, we've picked them. Happy midyear viewing. AFTERSUN The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, The Lost Daughter) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. Read our full review. EO David Attenborough's nature documentaries are acclaimed and beloved viewing, including when they're recreating dinosaurs. Family-friendly fare adores cute critters, especially if they're talking as in The Lion King and Paddington movies. The horror genre also loves pushing animals to the front, with The Birds and Jaws among its unsettling masterpieces. Earth's creatures great and small are all around us on-screen, and also off — but in EO, a donkey drama by Polish filmmaker Jerzy Skolimowski (11 Minutes), humanity barely cares. The people in this Oscar-nominated mule musing might watch movies about pets and beasts. They may have actively shared parts of their own lives existence the animal kingdom; some, albeit only a rare few, do attempt exactly that with this flick's grey-haired, white-spotted, wide-eyed namesake. But one of the tragedies at the heart of this adventure is also just a plain fact of life on this pale blue dot while homo sapiens reign supreme: that animals are everywhere all the time but hardly anyone notices. EO notices. Making his first film in seven years, and co-writing with his wife and producer Ewa Piaskowska (Essential Killing), Skolimowski demands that his audience pays attention. This is both an episodic slice-of-life portrait of EO the donkey's days and a glimpse of the world from his perspective — sometimes, the glowing and gorgeous cinematography by Michal Dymek (Wolf) takes in the Sardinian creature in all his braying, trotting, carrot-eating glory; sometimes, it takes on 'donkey vision', which is just as mesmerising to look at. Skolimowski gets inspiration from Robert Bresson's 1966 feature Au Hasard Balthazar, too, a movie that also follows the life of a hoofed, long-eared mammal. Like that French great, EO sees hardship much too often for its titular creature; however, even at its most heartbreaking, it also spies an innate, immutable circle of life. Read our full review. CLOSE When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. Then, when girls in Léo and Rémi's grade ask if the two are a couple, it shows the heartache and heartbreak of a boyhood bond dissolving. Read our full review. ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. Read our full review. SAINT OMER In 2016, a French documentarian with Senegalese heritage attended the trial of a Senegalese French PhD student who confessed to killing her 15-month-old daughter, who was fathered by a white partner, by leaving her on the beach to the mercy of the waves at Berck-sur-Mer. The filmmaker was fixated. She describes it as an "unspeakable obsession". She was haunted by questions about motherhood, too — her mum's and her own, given that she was a young mother herself as she sat in the courtroom. That story is the story of how Saint Omer came to be, and also almost exactly the tale that the piercing drama tells. In her first narrative film after docos We and La Permanence, writer/director Alice Diop focuses on a French author and literature professor with a Senegalese background who bears witness to a trial with the same details, also of a Senegalese French woman, for the same crime. Saint Omer's protagonist shares other traits with Diop as she observes, too, and watches and listens to research a book. A director riffing on their own experience isn't novel, but Saint Omer is strikingly intimate and authentic because it's the embodiment of empathy in an innately difficult situation. It shows what it means to feel for someone else, including someone who has admitted to a shocking crime, and has been made because Diop went through that far-from-straightforward process and was galvanised to keep grappling with it. What a deeply emotional movie this 2022 Venice International Film Festival Grand Jury Prize-winning feature is, understandably and unsurprisingly. What a heartbreaking and harrowing work it proves as well. Saint Omer is also an astoundingly multilayered excavation of being in a country but never being seen as truly part it, and what that does to someone's sense of self, all through Fabienne Kabou's complicated reality and Laurence Coly's (Guslagie Malanda, My Friend Victoria) fictionalised scenario. Read our full review. WOMEN TALKING Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and this year's Best Adapted Screenplay Oscar-winner is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Read our full review. TÁR The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok, Carol and The New Boy actor — "our Cate", of course — unsurprisingly scored an Oscar nomination as a result. Accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them), deservedly so. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because the Spider-Verse movies are that imaginative and agile. In Across the Spider-Verse, which will be followed by 2024's Spider-Man: Beyond the Spider-Verse plus a Spider-Women spinoff after that, being an inventive spider-flick initially entails hanging with Spider-Gwen (Hailee Steinfeld, Hawkeye). In most Spidey stories, Gwen Stacy is a love interest for Peter Parker, but the Spider-Verse Gwen from Earth 65 was bitten by a radioactive spider instead. Gwen also narrates backstory details, filling in what's occurred since the first feature while playfully parodying that overused approach. Then, when the movie slides into Miles Morales' (Shameik Moore, Wu-Tang: An American Saga) life, he takes her lead, but gives it his own spin. The first Black Latin American Spider-Man is now 15, and more confident in his spider-skills and -duties. In-between being Brooklyn's friendly neighbourhood Spidey and attending a private school that'll ideally help him chase his physics dreams, he's even guest-hosted Jeopardy!. But not telling his mum Rio (Luna Lauren Velez, Power Book II: Ghost) and police-officer dad Jefferson (Brian Tyree Henry, Causeway) about his extracurricular activities is weighing upon Miles, and he's still yearning for mentorship and friendship, especially knowing that Gwen, Peter B Parker (Jake Johnson, Minx) and an infinite number of other web-slingers are all out there catching thieves just like flies. Read our full review. SUZUME When the Godzilla franchise first started rampaging through Japanese cinemas almost 70 years ago, it was in response to World War II and the horrific display of nuclear might that it unleashed. That saga and its prehistoric reptilian monster have notched up 38 movies now, and long may it continue stomping out of its homeland (the American flicks, which are set to return in 2024, have been hit-and-miss). In such creature-feature company, the films of Makoto Shinkai may not seem like they belong. So far, the writer/director behind global hits Your Name and Weathering with You, plus The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words before that, sadly hasn't applied his talents to good ol' Zilly, either. But Japan's animators have been musing on and reflecting upon destruction and devastation for decades, too — stunningly and heartbreakingly so, including in Shinkai's latest beautiful and heartfelt effort Suzume. This about a teenage girl, matters of the heart and the earth, supernatural forces and endeavouring to cancel the apocalypse firmly has its soul in the part of Honshu that forever changed in March 2011 due to the Great East Japan Earthquake and the resulting Fukushima nuclear disaster. Suzume meets its namesake (Nanoka Hara, Guilty Flag) on Kyushu, Japan's third-largest island, where she has lived with her aunt Tamaki (Eri Fukatsu, Survival Family) for 12 years. More than that, it meets its titular high schooler as she meets Souta (SixTONES singer Hokuto Matsumura), who catches her eye against the gleaming sea and sky as she's cycling to class. He's searching for ruins, and she knows just the local place — an abandoned onsen, which she beats him to. There, Suzume discovers a door standing mysteriously within a pool of water, then opens said entryway to see a shimmering sight on the other side. That's an ordinary act with extraordinary consequences, because Shinkai adores exactly that blend and clash. To him, that's where magic springs, although never while spiriting away life's troubles and sorrows. Every single door everywhere is a portal, of course, but this pivotal one takes the definition literally. Read our full review. JOHN WICK: CHAPTER 4 Almost a quarter-century has passed since Keanu Reeves uttered four iconic words: "I know kung fu". The Matrix's famous phrase was also the entire movie-going world's gain, because watching Reeves unleash martial-arts mayhem is one of cinema's purest pleasures. Notching up their fourth instalment with the obviously titled John Wick: Chapter 4, the John Wick flicks understand this. They couldn't do so better, harder, or in a bloodier fashion, in fact. Directed by Keanu's former stunt double Chad Stahelski, who helped him look like he did indeed know wushu back in the 90s, this assassin saga is built around the thrill of its star doing his violent but stylish best. Of course, The Matrix's Neo didn't just know kung fu, but gun fu — and Jonathan, as The Continental proprietor Winston (Ian McShane, Deadwood: The Movie) still likes to call him, helps turn bullet ballet into one helluva delight again and again (and again and again). Picking up where 2019's John Wick: Chapter 3 — Parabellum left off, and once again so expertly and inventively executed that it's mesmerising, John Wick: Chapter 4 saddles its namesake with a new adversary: the Marquis (Bill Skarsgård, Barbarian), emissary of the death-for-hire business' powers-that-be, aka the High Table. After Wick puts the assassin realm's head honchos on notice during an early trip to the Middle East, the series' newest nefarious figure wants rid of him forever, wasting no time laying waste to the few things left that John loves. The Marquis has company, too — seeking a big payday in the case of the mercenary known as Tracker (Shamier Anderson, Son of the South), who has his own devoted dog; and due to a familiar deal with Caine (Donnie Yen, Mulan), a martial-arts whiz who is blind, and an old friend of John. That said, Wick has pals in this clash between the hitman establishment and its workers, which doubles as an eat-the-rich skirmish, including Winston, the Bowery King (Laurence Fishburne, All the Old Knives), and the Osaka Continental's Shimazu (Hiroyuki Sanada, Bullet Train) and Akira (Rina Sawayama, Turn Up Charlie). Read our full review. INFINITY POOL Making not just another body-horror spectacle but an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain, who visually inverts its stroll through its lavish setting within minutes. No one in this film's frames is in Kansas anymore, especially when fellow guest Gabi (Mia Goth, Pearl) and her husband Alban (Jalil Lespert, Beasts) invite the pair for an illicit drive and picnic beyond the gates the following day, which sparks a tragic accident, arrest, death sentence and wild get-out-of-jail-free situation. Read our full review. BROKER No matter how Hirokazu Kore-eda's on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director and Shoplifters Palme d'Or winner's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song Kang-ho, Parasite) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. Read our full review. BEAU IS AFRAID Beau is afraid. Beau is anxious. Beau is alone. Beau is alive. Any of these three-word sentences would make a fitting name for Ari Aster's third feature, which sees its titular middle-aged figure not just worry about anything and everything, but watch his fears come true, concerns amplify and alienation grow — and then some. And, in the Hereditary and Midsommar filmmaker's reliably dread-inducing hands, no matter whether Beau (Joaquin Phoenix, C'mon C'mon) is wallowing in his apartment solo, being welcomed into someone else's family or stumbling upon a travelling theatre troupe in the woods, he knows that he's truly on his own in this strange, sad, surreal and savage world, too. More than that, he's well-aware that this is what life is inescapably like for all of us, regardless of how routine, chaotic or grand our individual journeys from emerging out of our mother's womb to sinking into death's eternal waters happen to prove. Aster has opted for Beau Is Afraid as a moniker, with this horror-meets-tragicomedy mind-bender a filmic ode to existential alarm — and, more than that, a picture that turns catastrophising into a feature. Psychiatrists will have a field day; however, experiencing the latest in the writer/director's growing line of guilt-dripping celluloid nightmares, so should viewers in general. Even with Chilean The Wolf House helmers Cristóbal León and Joaquin Cosiña lending their help to the three-hour movie's midsection, where animation adds another dreamlike dimension to a picture book-style play within an already fantastical-leaning flick frequently running on dream logic, Aster embraces his favourite deranged terrain again. He makes bold choices, doesn't think twice about challenging himself and his audience, elicits a stunning lead performance and dances with retina-searing imagery, all while pondering inherited trauma, the emotional ties that bind and the malevolence that comes with dependence. Read our full review. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. Read our full review. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Read our full review.
Jurassic World: The Exhibition is a thing, and it's coming to Melbourne. Based on the blockbuster film of the same name, the exhibition will have its world premiere at Melbourne Museum in March next year. And, according to Dr. Patrick Greene, Museum Victoria's CEO, it's sure to "wow audiences and inspire young minds". The exhibit will feature incredibly life-like animatronic dinosaurs created by Melbourne locals, Creature Technology Company — the same team who developed the dinos for the Walking With Dinosaurs arena spectacular. Did you see the announcement? Terrifying. So it's a good thing they're not real — because if you've seen at least one of the Jurassic Park films, you'd know that dinosaurs aren't always friendly. The exhibition instead gives you a chance to get up close and personal with the creatures in a unique and engaging way. "Visitors to [the exhibition] will get an unprecedented opportunity to be in close proximity to the most amazing creatures to have ever roamed the earth," says Sonny Tilders, creative director at the Creature Technology Company. Jack Horner, one of the film's paleontological advisors (or, Official Dinosaur Guy), is working with the exhibition to make sure that it's both educational and fun. Visitors both young and old will be able to learn more about these prehistoric creatures without having to pore over a dry textbook. Gone are the days of boring museum presentations. Now you can learn about dinosaurs from interactive and theatrical exhibits that might scare your pants off at the same time. This unique experience allows you to experience the events of the film, without having to travel to reception-less Isla Nublar with its dubious emergency protocol. Jurassic Park: The Exhibition features encounters will the realistic life-size dinosaurs, so we can only assume that there will be thousands of people taking pictures pretending to be velociraptor-whisperer, Owen Grady, doing some 'Prattkeeping'. Jurassic World: The Exhibition runs from March 19 to October 9, 2016 at the Melbourne Museum. Advance purchase of tickets is strongly recommended. Image: Universal Pictures
If pink drinks are your favourite beverages to sip — and basking in stunning river views is your favourite way to spend an afternoon, too — then a waterside date filled with tipples by Brisbane's ol' brown snake should definitely be in your future. That's all on the agenda at Customs House, which is celebrating the warmer weather by turning its terrace into a Whispering Angel and Moet & Chandon-pouring pop-up rosé garden. It's the Queen Street venue's latest seasonal makeover, and it comes complete with domes boasting greenery and flowers aplenty (with pops of pink, of course) for you and your mates to hang out in — while peering at the river and knocking back a range of beverages. The drinks list heroes the rosé — sparkling, flat and in creative concoctions — but it isn't the only thing on the menu. You can also enjoy white and red wine, beer and peach seltzers. And those cocktails? One pairs sparkling rosé with elderflower liqueur, lemon, rhubarb bitters and strawberry; another goes with tequila, cointreau, elderflower liqueur again, blood orange, lime and orange bitters; and a third features vodka, lemon, blackberry and basil. Open throughout spring from Friday, September 6, 2024, with the bar operating from Thursday–Sunday, the pop-up is also serving up a selection of bites to line your stomach. Customs House's beloved Moreton Bay bug croissant is back, as it is every time these gardens return. Or, there's oysters, caviar with blinis, wagyu tartare, mac 'n' cheese croquettes, duck liver parfait and sweet potato empanadas — and, to match all the rosé, a heap of cheeses. The garden is also putting on high tea on Tuesdays and Wednesdays, catering to two–six people for $100 a head for 90-minute seatings in the domes.
Sometimes a movie makes a statement. Sometimes it just thinks it does. In Men, Women & Children, the impact of digital technologies on interpersonal exchanges is purportedly probed for all to see. We’re not only caught up in our daily minutiae, the film appears to posit, but our interactions are so often mediated and dictated by the online world that truly connecting with our loved ones is impossible. An interstellar framing device certainly labors this point, announced in the unseen Emma Thompson’s dulcet tones. Linking to Carl Sagan’s Pale Blue Dot, the sequence bookends the feature’s musing on modern relationships. The narration waxes lyrical about the juxtaposition of our supposed importance: we blast tokens of our species into space as if someone might care, yet given our tiny place in our universe, our daily realities can only be trivial and insignificant. Living life through the internet doesn’t matter; we’re best spending our time cultivating physical, tangible bonds with those we care about. Adapted by writer/director Jason Reitman from the novel of the same name, Men, Women & Children states its case through intertwined vignettes. Across an average American community, lives and loves are influenced by devices on desks and in hands. A married couple (Rosemarie DeWitt and Adam Sandler) seek sexual fulfilment not from each other but through an affair website and prostitution. Their son (Travis Tope) has a porn habit that means he can’t relate to his wannabe actress classmate (Olivia Crocicchia), who posts semi-clad modelling pictures online with the help of her mother (Judy Greer). Said single parent warms to an abandoned father (Dean Norris) concerned that his son (Ansel Elgort) prefers gaming to football. And so it continues, with the lapsed athlete falling for a melancholy teen (Kaitlyn Dever) constantly surveilled by her fear-mongering mother (Jennifer Garner). Then there’s the cheerleader (Elena Kampouris) with body issues and a crush on an older boy (Will Peltz) unnoticed by her father (JK Simmons). Everyone has names, but they need not; they’re symbols, a means to an end, faces placed upon narrative convenience. That the ensemble is rendered in such broad terms, with a clear lack of subtlety and satire from the maker of Juno and Young Adult, is what makes Men, Women & Children alarming to watch. Surprisingly, it’s not the messaging that grates, because the bland material constantly undermines its own aim. The characters aren’t cast adrift by their technological predilections, but by their self-involvement, both of the on- and off-line variety. The usual Reitman aesthetic polish is evident, and the performances from the largely high-profile cast are effective; however, it all amounts to a lot of sound and fury signifying nothing. With the supposed rallying against digital living too easily dismissed by inconsistent plot machinations, all that results is a soapy dramedy on the struggles of sex and secrets that has been done before and better by the likes of American Beauty and Crazy, Stupid Love.
COVID-19 clusters keep popping up, lockdowns are still part of Australian life and whether Aussies can head to states other than their own — or to New Zealand — can change quickly. This is the reality of life during the pandemic. That said, if you have a trip to Queensland in your future, the Sunshine State has revealed one definite new part of your next visit. The state's government has advised that it is introducing online travel declarations for all visitors to Queensland. So, from 1am on Saturday, June 19, anyone travelling to the Sunshine State from another Aussie state or territory — or from NZ — will need to fill out the form. And yes, this should sound familiar, because similar online forms were implemented back when Queensland's borders were beginning to reopen post-lockdown in 2020. Queenslanders returning home from other Aussie states and territories, and from NZ, will also need to fill out the declaration. You're required to do so up to 72 hours before heading to Queensland, after which you'll be issued a 'green Queensland travel declaration' — as long as you haven't been to a hotspot or exposure site while you were outside of the state. The declarations will apply to everyone, unless you live in the Queensland or New South Wales border zone and have only been in that zone or in Queensland for the past fortnight — and then, only if you're entering the Sunshine State via road. Workers in emergency health services, emergency services, national defence, state security and police who are responding to an emergency in Queensland will be exempt, too, as will ambulance and aeromedical passengers, anyone heading to Queensland in an emergency situation, some maritime crew, folks assisting with or participating in a State or Commonwealth law enforcement investigations, and disaster management workers under their operational protocol. https://twitter.com/AnnastaciaMP/status/1405311966072037382 Announcing the news today, Thursday, June 17, Queensland Minister for Health and Ambulance Services Yvette D'Ath advised that the declarations were about contact tracing efforts. "It's vital that if an interstate exposure site or hotspot is declared, our health experts can quickly contact anyone who has travelled into Queensland from that area," the Minister said. Also coming into effect: a traffic light-style system like Victoria's, which will designate sections of Australia and New Zealand as green, amber and red areas. If somewhere is green, there are no travel restrictions. In the amber category, the area in question has interstate exposure venues — and if it's red, it's a hotspot. Queensland already requires anyone heading to the state who has been to an interstate exposure venue to either quarantine at your home or in other appropriate accommodation for 14 days if you're already in the state with the exposure venue is identified. Or, if you enter Queensland after an exposure site is named, you'll need to isolate in government arranged accommodation for a fortnight. Queensland's online travel declarations will come back into effect from 1am on Saturday, June 19. For further information, head to the Queensland Government website.
Here's a question we bet you're eager to know the answer to: how much pasta can you consume in a single sitting? No matter what type you happen to be devouring, the Italian dish is oh-so-easy to just keep eating. So at Salt Meats Cheese in Newstead from 5pm on Monday, October 25, that's exactly what's on offer. This all-you-can-eat pasta night is being held to celebrate World Pasta Day. Yes, it's a case of another food-focused date, another reason to fill your plate. With this one, we're betting your carb-loving tastebuds won't be complaining. Four types will be on the menu, so you can tuck into bottomless serves of lamb pappardelle and crab linguini, as well as SMC's beloved carbonara rigatoni — and a vegan zucchini and pesto tagliolini. The pasta free-for-all will set you back a highly affordable $25, although you'll have to also buy a drink. You'll need it, clearly, to wash down all those bowls.
It's worrying the way we deride films aimed at an older audiences as simply being a Best Exotic Marigold Hotel facsimile designed to snare seniors, given how we largely ignore the fact that the majority of mainstream cinema over the past 30 years has been made for 12-year-old boys. Philomena, with its poster depicting a smiling Judi Dench alongside a stoic Steve Coogan, will no doubt be dismissively lumped in with this crowd. It is, however, a million miles away from the likes of Best Exotic (which, for the record, was actually rather good). Based on a true story, Philomena follows ex-political spin doctor Martin Sixsmith (Coogan), who, in an attempt to revive his journalism career, chases the "human interest story" of Philomena (Dench) an elderly woman searching for her long-lost son. In flashbacks, we see the younger Philomena (Sophie Kennedy Clark) as she becomes pregnant out of wedlock, and is forcibly kept in servitude by nuns, who then sell her son to a wealthy couple. As the pair investigates, the truth behind the forced adoption becomes all the more shocking. Coogan, who not only portrays Sixsmith but also co-wrote the screenplay, strikes a perfect tone with such sensitive material. The revelations are powerful and honest without being gut-wrenching; the comedy is welcome and consistent without being inappropriate. It's a remarkable juggling act, directed beautifully by Stephen Frears, who atones for recent disasters Lay the Favorite and Tamara Drewe. Coogan's sardonic Northern charm makes Sixsmith a compelling lead, and his relationship with Dench's Philomena is wonderfully developed. It's Dench who is the real standout here. At this point in her career, she could easily get away with sleepwalking through roles, relying on her undeniable presence to carry her performances. But as in 2006's Notes on a Scandal, she creates a character unrecognisable from her previous roles. Philomena is pleasant, vague, forceful and compellingly well-rounded. Dench's energy and attention to detail elevates this film to something even more remarkable. The depiction of the Catholic structure both past and present is one of the most fascinating elements of Philomena. It's caused controversy, with many accusing the film of being anti-Catholic. To make such an accusation, however, fundamentally misses the point, and excuses the crimes committed in the name of the church. The film does not shy away from Philomena's piety or Sixsmith's atheism, and argues strongly in favour of both. Sixsmith is deeply compassionate without religion, whilst Philomena embodies the ideals of Christianity that the Church and its representatives so often and so demonstrably forget. Disinterested in a sanitised "I'm okay, you're okay" message, the film manages to extol the best elements of both atheism and Christianity whilst unrelentingly and unapologetically shining a light on the darker side of organised religion. It is truly impressive stuff. Be not fooled by the marketing materials, which make the film look like an aged-up version of The Trip with Judi Dench in place of Rob Brydon. (Although, thinking about it, that would be brilliant.) Philomena is a terrifically made, entertaining work that stands head and shoulders above many of the films being forced upon us this Christmas. See it. https://youtube.com/watch?v=rD8f9kn7D2U
For the past 37 years, everyone that's wanted good neighbours to become good friends has wished they were living in one spot: Ramsay Street. Since 1985, the cul-de-sac in the fictional Melbourne suburb of Erinsborough has been beamed into homes around Australia, and further abroad, unfurling the always melodramatic, often chaotic, sometimes downright wild antics of residents named Charlene, Harold and Madge and more. Some folks don't have to dream about living on the nation's most famous TV street, though. For a small portion of Aussies, feeling like you're on one of the country's big soap operas just comes with the address. Indeed, if you happen to reside on a Ramsay Street somewhere across the country, the shadow of Neighbours has been inescapable — and now that the long-running series has been cancelled after almost four decades, with its final episode set to air on Thursday, July 28, Ramsay Street inhabitants nationwide can celebrate with a free meal. To mark the last-ever instalment of Neighbours — which is set to see a hefty cast of well-known Aussie names return, including Kylie Minogue, Jason Donovan, Margot Robbie and more — Menulog is giving away free food to folks who really do live on a Ramsay Street somewhere in Australia. If you happen to be in love with someone called Scott, that's obviously a bonus. No, you don't need to have been through an amnesia spell or a shock return from the dead, or know someone who has. [caption id="attachment_844968" align="alignnone" width="1920"] Manon van Os[/caption] You don't need to have been held hostage, been through more than one tumultuous wedding, or managed a bikini store called Bounce — all things, among oh-so-many others, that happened to the one and only Jarrod 'Toadfish aka Toadie' Rebecchi (Ryan Moloney). And if you're wondering why we're bringing him up specifically, that's because he's the face of Menulog's Ramsay Street giveaway, fittingly. Here's how it works: if you have the right address — with or without the Toadie-style Hawaiian shirt — you can head to Menulog between Monday, July 25–Monday, August 1. That's where you'll find a $20 voucher code in the 'For You' section if you're eligible, which you need to redeem within those dates. Also, you have to spend more than $20 in your order. Hey #Neighbours fans 👋 We wanted to confirm when you'll be able to watch the finale in the UK & Australia. Both us here in Australia and our friends @NeighboursTV in the UK will be a spoiler free zone until everyone has had a chance to watch our incredible final episode. pic.twitter.com/fBQRmU10ST — Neighbours (@neighbours) July 4, 2022 Obviously, if you were wondering what to eat at 7.30pm on Thursday, when the final-ever Neighbours episode goes to air on 10 and 10 Peach, now you know. And if you need a dose of Neighbours nostalgia in the interim, you can also check out Toadie revisiting the famed roadway below: Menulog is giving away $20 vouchers between Monday, July 25–Monday, August 1 to folks who live on Ramsay Streets around Australia. If that's you, head to the Menulog app and the Menulog website.
Walking isn't the only form of exercise that's dog-friendly — and Kangaroo Point yoga studio myDrishti has the class to prove it. For one day only, to celebrate its reopening, the Linton Street spot is hosting a puppy yoga session. Even better: it doubles as an adoption day. So, next time you break out your best downward-facing dog, you could just have a posing pooch for company. Well, as long as you head along between 1–2pm on Sunday, February 5, that is. Raising money for the deserving cause that is the SMART Rescue SMART Animal Sanctuary and Rehoming Centre, this stint of bending and stretching gives every dog-loving yoga aficionado their day. Yes, the class really will pair adorable pooches with beginner yoga poses. You'd be barking mad not to head along. If you're looking for a four-legged friend to take home with you — a permanent tail-wagging yoga buddy, perhaps — all of the puppies will be up for adoption as well. And, if you're keen on adding a pooch to your family but not on the yoga, the dogs will be onsite from 1–4pm, with pop-ins just for the pups more than welcome. Back to that puppy yoga, bookings are required, with the session costing $40 per person. The full day's festivities also span meditation and sound healing classes, the latter with live music and both taking place for free.
Now that you can start inviting friends round for an overdue catch up, we'd like to help you out with a refresher on how to play host. Sure, maybe you want to show off all those loaves of sourdough you've been baking (and we won't stop you), but to truly rise to the occasion, why not pair it with some delicatessen quality cheeses and a celebratory round of passion fruit martinis? It's an unusual pairing, but these are unusual times. We've partnered with Pernod Ricard to bring you four indulgent food and drink pairings that'll bring you back to not-so socially distant times with classic matches like freshly shucked oysters and rosé to more surprising flavour matches, such as a massaman curry with sour cocktails. Bonus: each one can all be delivered to your doorstep, so you can keep the best of lockdown convenience next time you're having your mates over. [caption id="attachment_626153" align="alignnone" width="1920"] Stinking Bishops[/caption] MATCH A PLATTER OF CHEESE WITH PORN STAR MARTINIS We know the classic pairing is white wine with mild cheese and red (or more tannin-heavy styles) with blues and mature cheeses, but we'd like to suggest a more playful match that adds a little fizz to the mix. The London-born cocktail porn star martini is sweet and celebratory — it's traditionally served with a shot glass of champagne — and pairs particularly well with blue cheese, comté and brie. The sweet concoction cuts through most creamy cheeses, as well as dense dried fruits and quince. What to order: Sydneysiders can order European and Australian farmhouse cheeses direct from Formaggi Ocello, or from Stinking Bishops via Doordash. In Melbourne, you can order hampers of 'all Victorian' or 'all soft' cheeses from Milk the Cow. Speciality cheese shop Harper and Blohm also delivers cloth-bound cheddars, gooey soft cheeses and stinky blues from its Brunswick store. And Brisbanites should head to Le Fromage Yard who is delivering a combo of three cheeses, quince and crackers for $55. Pair with: a round of porn star martinis made with Absolut Vanilla. [caption id="attachment_768195" align="alignnone" width="1920"] East 33[/caption] SHARE A DECADENT SEAFOOD FEAST WITH BONE-DRY ROSE You'll hardly be surprised to hear that a delicate, textural rosé sits well with a platter of grilled prawns. It's practically a national drink pairing come summer, so we're here to say make the most of those lingering warm days and fire up the barbie. There are nuances you can consider when matching your rosé to your ocean catch; light, dry styles (often pinot noir based) work well with raw and lightly cooked shellfish, and medium-dry or sweeter wines (such as zinfandel) work best with salads, dessert or foods with a bit of spice. What to order: In Sydney, sustainable seafood eatery Fish & Co delivers cold cooked king prawns and fresh oysters via Deliveroo. When you want to go all out, order from East 33 — supplier to the country's best restaurants. In Melbourne, there's been no better time to indulge in a delivery from fine diner Minamishima — order the box-pressed hakozushi, a specialty of chef Hide. And in Brisbane, Sushi Edo has nigiri and aburi nigiri available via Deliveroo. Pair with: a cold bottle of Jacob's Creek Le Petit Rosé. The blend of pinot noir, grenache and mataro is a perfect match for seafood. [caption id="attachment_696538" align="alignnone" width="1920"] Continental Deli by Kitti Gould[/caption] GRAZE ON CHARCUTERIE WITH A SUBTLE SPANISH RED It's a similar method for matching wine with cured meats — lighter styles of wine are better bedfellows for lighter flavoured meats. And while a charcuterie board is an assembly of cured meats, we also like to add cheese, fruit, cornichons and nuts to the mix, so look at the flavour balance as a whole. Generally speaking, saltier foods are best paired with acidic wines and those with bolder tannins complement smoky flavoured meats. What to order: In Sydney, Bel and Brio has ready-to-serve charcuterie platters (including white truffle honey, prosciutto, salame felino and mortadella) via Deliveroo. Or, order Continental Deli's cheese and charcuterie platter (with brie, comté, jamón and sopressa) via Bopple. Melburnians can pick up from Windsor's Tipico, which has salumi misti as well as pizza, pasta and dessert. And D.O.C. also has local delivery and takeaway of its salumi and cheese boards from $17. In Brisbane, there's a dedicated charcuterie delivery service called Say Cheese, which is packing boxes of platter-ready cheeses, cured meats, olives, dips and crackers to all suburbs, as well as Rosalie Gourmet Market which has a decadent charcuterie box for $84.99. Pair with: a bottle of Campo Viejo Tempranillo — expect woody and vanilla notes with ripe red fruits and spices. [caption id="attachment_686214" align="alignnone" width="1920"] Chin Chin[/caption] PAIR A THAI FEAST WITH SOUR PINK COCKTAILS As Thai dishes balance sweet, sour, salt, spice, bitterness and aromatic flavours, you can pair them with almost any sweet–sour cocktail. If it's been a while since you've enjoyed a table full of share plates and chinked glasses with loved ones, perhaps you can take a step towards bringing the flavour party back home with a round of colourful cocktails. Whether you prefer whisky, gin or tequila as your base, go big or go home on theatrics. We suggest shaking up this pink concoction with strawberry-infused gin. What to order: In Sydney, you can get speciality dishes from award-winning restaurant Spice I Am, such as the pad prik pao pork belly. And in Melbourne and Sydney, Southeast Asian restaurant Chin Chin is offering a takeaway service direct from its website, including curries, roasts and barbecued dishes. In Brisbane, Phat Elephant has whole barramundi platters and mixed entree plates via Deliveroo, and Same Same in Fortitude Valley is running a daily delivery service of its curries and salads. Pair with: London dry gin Beefeater Pink. Right now, Pernod Ricard is offering a $10 Deliveroo voucher for every $50 spent on a select range of its wine and spirits — bought online or in-store at its partner liquor stores. Find out more, here. Top image: Continental Deli by Kimberley Low.
The Biscuit Factory has always been the staple on the Brisbane bass scene. Once a month they throw a beat-heavy party, jetting in some of the best international drum and bass acts to our sunny little city. Now, for their final 2014 throwdown, and first event at West End’s Hi-Fi, they’ll be bringing to the stage Belgium born D&B don Netsky, favourites ETC(!) ETC(!) and rising Canadian star Rene LaVice. On the back of his new single and first number-one, 'Running Low' (featuring Beth Ditto), Netsky is bound to blow Boundary Street away with his liquid funk stylings. He toured last year to sell-out crowds, and since then has been making waves on an international scale — he’s worked his magic on Pendulum, Rusko, Leftfield and Swedish House Mafia just to name a few. ETC(!) ETC(!) are LA-based, cookie-enthused Biscuit Factory favourites, and Rene LaVice is the next big thing to come out of Canada since the Avril Lavigne era. The remaining tickets for the Biscuit Factory are $45.50 with the night kicking off at 9pm, and likely to be a late one. Prepare yourself, and don't miss out.
The Intern is one of those films that’s not easily labelled. It absolutely feels like a romcom, especially with writer/director Nancy Meyers at the helm (responsible for the likes of Father of the Bride and It's Complicated), but there’s not really any romance in it to speak of. It’s also a funny film, though you’d fall short of calling it a comedy, and it consistently packs in the feels, only there are too many lighter moments for it to be an out-and-out drama. Ultimately, whether by chance or design, The Intern's indeterminate status actually offers us a neat reflection of the story within it, for this is a story about two individuals — the ‘retiree’ and the ‘working mum’ — both grappling with the expectations and misconceptions that accompany those characterisations. De Niro, the retiree, is a 70-something widower without a purpose. Intelligent, polite and openly uncomfortable with inaction, his character Ben Whittaker applies for (and secures) a place in a senior’s intern program at fashion tech startup About the Fit. Anne Hathaway, the ‘working mum’, is the company’s 30-something founder and CEO, Jules Ostin. Passionate and driven but overworked, Jules is fending off shareholder insistence that she hire a ‘proper’ CEO while simultaneously struggling to keep her family together on account of her relentless schedule and the restless ‘stay-at-home dad’ (another unhelpful label) waiting at home. When De Niro is assigned to be Hathaway’s personal intern, their initially uncomfortable partnership soon develops into an indispensable friendship: he the calming influence on her, and she his newfound sense of purpose. The early scenes in The Intern are enough to give serious pause. De Niro’s ‘old guy in a young person’s tech world’ shtick had the potential to be incredibly hammy, and moments like not knowing how to wake up his laptop or use a USB did not augur well for avoiding the tired ‘analog meets digital’ cliche. Hathaway’s character, too, was immediately unlikeable, wearing her wireless headset and riding her fixed-gear bicycle through the office from meeting to meeting. Thankfully, though, neither concern plays out for long. De Niro’s reserve — that trademark smile and gentle nod that has traditionally masked violent intent — works perfectly as a juxtaposition to the madness of the Gen Y workplace around him. His old-school approach to both work and life endears him to all, as he offers advice from fashion and accessories through to putting down the phone and actually talking to people. Similarly, as soon as Hathaway’s pristine veneer reveals its vulnerabilities, she becomes at once an entirely sympathetic character and a surprisingly cogent representation of the unresolved workplace gender debate. In many ways, The Intern plays out like an adaption of Annabel Crabb’s The Wife Drought or Unfinished Business by Anne-Marie Slaughter, the first female director of policy planning at the US State Department and author of the controversial ‘Why Women Still Can’t Have It All’ essay in the Atlantic. Both these texts highlight the difficulties and hypocrisies surrounding successful women in the workplace, including why we never hear the label ‘working dad’, and — at its heart — this is what The Intern ultimately concerns itself with. There are plenty of laughs along the way, as well as some admittedly saccharine scenes, but mostly this is a heartwarming tale of friendship and a constructive engagement with feminism and gender inequality.
This five-day, four-night outback expedition leaves from Cairns each Monday with guests returning on Friday afternoons with a palpable sense of peace. You can get there via a 4.5-hour drive from Cairns, with the option to splash on a helicopter ride if you feel like taking the express option. Aside from the optional flights, the Kinrara Expedition is all-inclusive with an impressive selection of tours and activities on the itinerary. Guests stay in safari-style tents with comfortable queen-sized beds and private timber balconies. The homestead sits on the edge of a sparkling volcanic lake which is home to more than 200 bird species. The O'Brien family have lived on this property for five generations and operate in partnership with the Traditional Custodians of the land — the Gugu Badhun people. Images: Tourism Tropical North Queensland
Cake sadly can't fix all the world's troubles, but it can provide a mighty fine temporary dose of sweetness. And if you like your baked treats by the jarful whenever the craving strikes — including when you're out and about — then The Mason Baker has just the thing for you throughout February. The Brisbane-based company is known for its mason jars filled with cakes, including salted caramel, strawberries and cream, blueberry and lemons, chocolate ganache and sticky date pudding varieties. From Friday, February 5, though, it isn't just selling them and delivering them to your door — it's vending them out of a pink-hued ATM that'll be stationed at 6 Warner Street in Fortitude Valley. You already know how vending machines work, of course, so you know how to get your hands on however many jarcakes your tastebuds demand. You'll just have to head by on Thursday, Fridays and Saturdays, in February — and after 5pm — because that's when the ATM will be up and running throughout the month. Yes, that means that you can grab an after-work cake snack, some dessert post-dinner or something sweet while you're bar-hopping late at night. And, while the Valley ATM will only be around for a month, The Mason Baker is hoping to pop up at other locations throughout the rest of the year. When the company last brought its wares to Brissie's streets back in October last year, it did so via emergency boxes that folks had to spot around town, then break open — with the cakes inside available for free. This time, however, you will need to pay for your goodies. You'll still be tucking into a heap of cake in a jar, though, and making your inner dessert fiend rather happy. Find The Mason Baker's cupcake ATM at 6 Warner Street, Fortitude Valley, from Friday, February 5 — operating from 5pm each Thursday, Friday and Saturday in February.
If you thought the Suitcase Rummage markets couldn’t get any better then I have some news for you: the best market in town just got better! Hard to believe, but it’s all true. Suitcase Rummage is taking part in the new creative community event called Home Festival and is delivering a brand spankin’ new market appropriately named The Wardrobe Markets. The Wardrobe Markets will be just like the regular rummage markets were you can buy the best vintage, hand made and second hand goods Brisbane has to offer, but now instead of rummaging through suitcases the markets will be set up like a giant wardrobe. This means, tables, clothing racks, lamps, rugs and other homely displays to make your shopping experience just that little bit more unique. The Home Festival has created different 'rooms' for people to visit throughout the day, (a lounge room, kitchen, study, garage etc) and the Suitcase Rummage stall holders will be setting up the scene of the rooms with their wares. PLUS there will be other events happening including live bands, workshops, zine making and outdoor screenings. The Home Festival has it all!
With the GoMA’s recent Valentino, Retrospective: Past/Present/Future exhibition putting Brisbane on the cultural map and the Met’s Alexander McQueen: Savage Beauty smashing attendance records for the prestigious gallery, it raises the question: is fashion art? It’s a question that beckons a myriad of varying responses, but most can and will get lost in a vortex of useless words and information. So who can we turn to for an answer? Valerie Steele. If you’re not familiar with the blonde historian, let me put it into perspective for you: with a Yale PhD under her belt, Steele’s currently working as Director and Chief-Curator of The Museum at the Fashion Institute of Technology in New York, has curated more than 20 exhibitions and authored numerous books on fashion, including Gothic: Dark Glamour and the Encyclopedia of clothing and fashion. Constantly quoted in the media, lecturing frequently and making numerous television appearances, she’s earned her place in the New York Daily News’ “Fashion’s 50 Most Powerful.” So, if anyone was to answer the question of is fashion art? it’s definitely Valerie Steele. Head down to The Loft on Thursday and hear a bit of the brainier side of fashion from one of fashion’s brainiest women.
Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Seasoned Insidious viewers already know what's in store: ghosts and evil spirits jump-scaring their way back into Josh and Dalton's minds and lives, and also into Insidious: The Red Door's frames. In the saga's mythology, such beings hail from a form of purgatory known as The Further and can't easily be suppressed. Accordingly, when Dalton's university art professor (Hiam Abbass, Succession) encourages him to dive into his subconscious, then splash what he sees onto a canvas, it's obvious where Scott Teems' (Firestarter) script is going. When the snappy Josh tries to glean why his brain is so foggy and his mood so peevish, he too has an unpleasant awakening. For the elder and younger Lambert men alike, first comes snippets of creepy visions, then unshakeable sights, then astral projection to get the Lipstick-Face Demon and The Bride in Black to stop. "If only this portal had remained shut" isn't only something that Josh and Dalton are thinking in Insidious: The Red Door. Early, often, and until the weary and creaky film comes to an end, audiences share that wish. The picture keeps its central pair largely apart, one navigating his cursed chaos in his otherwise empty home, then endeavouring to reconcile with Renai (although Byrne is still woefully underused), and the other at school with new pal Chris (Sinclair Daniel, Bull). Splitting them up just plays like a quest to lengthen the movie's duration — extra running time that isn't put to good use. This isn't a meaningful exploration of trauma's lingering impact, the current genre go-to, as much as it wants to be. Similarly, it doesn't cause Wilson or Simpkins to turn in anything but workmanlike performances, either. Plenty of horror franchises are resurrected with by-the-numbers instalments — that's become as much of a horror convention as constantly reviving spooky series again and again — but this is dispiritingly routine and repetitive, and also rarely even barely scary. It doesn't help that the better Insidious fare, aka the first two that sported Aquaman and Malignant's James Wan behind the camera, weren't ever exceptional. What they boasted was effectiveness in executing their bumps, capitalising upon their uneasy sights, slowly building their suspense and tension, and ramping up the unsettling atmosphere. Wan did start both the Insidious and Saw sagas with The Invisible Man's Leigh Whannell, and The Conjuring Universe solo. Whannell has penned every Insidious screenplay until now, and helmed 2015's Insidious: Chapter 3. The duo produces this time around, while Whannell came up with the story behind Teems' script. As a filmmaker, Wilson is happy to go through the motions rather than try much new. He's also fond of closeups, which might stem from spending the bulk of his career in front of the lens. As a horror veteran — on-screen, he's a mainstay of The Conjuring movies as well, as last seen in The Conjuring: The Devil Made Me Do It; he popped up in Annabelle Comes Home, the third feature in that series' spinoff series, too — he's reluctant to attempt to put a new stamp on one of his franchises. He knows where and how to sprinkle in unnerving figures and faces in the peripheries, and to elicit jumps, but only by sticking to the Insidious template. His best fright? It plays with and preys on medical anxiety, because anyone that's ever had an MRI has harboured fears about getting stuck in the claustrophobic machine — no forces from The Further needed. Although it also doesn't work, the biggest and most interesting swing that Wilson takes comes over the closing credits, when Insidious: The Red Door busts out a version of late-80s track 'Stay' by Shakespears Sister. Swedish metal band Ghost are behind the cover, and Wilson himself sings on it. That truly is something that no other Insidious chapter has offered. Wan and Whannell genuinely couldn't have foreseen inspiring it, unlike sparking a wave of post-Saw torture porn, or the many movies about sinister kids, jinxed items and paranormal investigations that the Insidious films have influenced. Still, that isn't what any Insidious chapter should be best known for, let alone justify keeping the franchise's hatch open — but sixth flick Thread: An Insidious Tale, which'll broaden out the Insidious Universe with Mandy Moore (This Is Us) and Kumail Nanjiani (Welcome to Chippendales) starring, plus Jeremy Slater (Moon Knight) writing and directing, is already in the works.
From anime-inspired gyoza hubs and teppanyaki riverside bars to cheap and cheerful sushi joints, Brisbane has developed an insatiable taste for the delicate culinary delights of Japan. Gear up for mouth-melting sashimi, hearty ramen and fresh nigiri worth lining up for as we take a tasty tour through Brisbane's best Japanese spots. HAI-HAI RAMEN, PADDINGTON Shiyo or shoyu? You gotta do you. Whatever you choose, your fragrant ramen from Hai-Hai in Paddington will be flavoured à la minute. This means your big bowl of pork broth with pork belly, black garlic, nori and tsukemono is going to be the freshest business on the block. Vegos chow down on a truly divine kelp and shiitake concoction and you can pimp your ramen with miso butter, among other treats. They sell Hitachino Nest beers. Why are you still reading? Go. Go now. 102 Latrobe Street, Paddington. OISHII SUSHI BAR, SUNNYBANK HILLS Cheap and cheerful is the order of the day at this Sunnybank Hills fixture. Do you feel like sushi and your mate wants a big bowl of udon noodles? No worries. With a combination of sashimi, sushi, noodles and other delights everyone will find what they want at Oishii Sushi Bar. Top tip: try the spider roll ($14). Shop 2, 70 Pinelands Road, Sunnybank Hills. SAKE, CBD Dining at Saké is all about choice. Where to sit? How to order? What to eat? What to drink? Choice is usually a good a thing; it means you don't have to settle. If you're not a fan of zashiki seating (traditional, on the floor), ask to be seated at a communal table, nab a spot at the sushi counter, kick back in the bar or book out a private dining room with your buds. 1/45 Eagle Street, Brisbane. BIRD'S NEST YAKITORI, SOUTH BRISBANE Food served on a stick has always held a certain appeal. This interest probably started with dagwood dogs and has now become a full-blown obsession. If you too are a things-on-sticks aficionado, please get yourself to Bird's Nest Yakitori immediately. With sophisticated offerings to satisfy meat eaters and vegetarians alike (and a stonking saké list) you will be in yakitori heaven here. Shop 5, 220 Melbourne Street, South Brisbane. HARAJUKU GYOZA, FORTITUDE VALLEY Things to bring to Harajuku Gyoza: 1. Your inner anime character, 2. A sense of celebration, 3. An empty stomach, 4. Paracetamol for your ear-ache afterwards. From the minute you step through the giant heavy sumo-like door, you are greeted with a loud "Irasshaimase!", which is Japanese for "Welcome, come in". The gyoza (dumpling) menu is impressive and for all the lovers of these parcels of pleasure, the peanut butter and white chocolate gyoza dessert is a bucket-list worthy treat — as is the famed raindrop cake. Without a doubt, Harajuku Gyoza is renowned for its fun atmosphere and gorgeous staff equipped with some serious pipes. Don't believe it? Order a shot of celebratory sake and watch what happens. 394 Brunswick Street, Fortitude Valley. SONO, HAMILTON With delicious food, impeccable service and a sleek, minimalistic interior, there's a lot to love about Sono Japanese restaurant at Portside (the stunning river views don't hurt, either). From the moment you remove your shoes to take a seat at one of the sunken tables by the window at Sono, you'll be immersed in the modern Japanese dining experience. You can order from the lengthy a la carte menu, take a seat at the Teppanyaki bar, or stick to the six-course tasting menu for an indulgent meal. 39 Hercules Street, Hamilton. SUSHI KOTOBUKI, EAST BRISBANE Kotobuki is cheap, cheerful and no fuss, with great staff and a good vibe. The sushi is all made-to-order — guaranteeing delicious freshness. Don't walk past the crunch chicken ($8): this fusion double roll is filled with a generous serve of (usually warm) fresh crumbed chicken and thinly sliced cabbage, seaweed on the inside, rice on the outside and, like icing on the cake, it is dressed with a tempura crumb and served with a sweet soy. 3/53 Lytton Road, East Brisbane. MIZU, TENERIFFE Mizu has been a Teneriffe fixture for nearly a decade, and recently opened a second restaurant in West End. It is BYO as well as licensed and boasts a wide range of Japanese beers and sake. The izakaya-style menu revolves around fresh seafood, fried snacks such as gyoza and karaage, and larger plates for sharing. For something different on a weekend morning, try the Japanese breakfast (although this is only available at Teneriffe). 2 Macquarie Street, Teneriffe. [caption id="attachment_585914" align="alignnone" width="1280"] Jamie Hamel-Smith[/caption] LR SUSHI, CBD The queue is a permanent fixture outside this incredibly popular takeaway sushi joint. Don't worry though — it moves quickly and the sushi is well worth the short wait. Fillings such as lobster salad, chicken, peach and cream cheese, and California roll may not be all that authentic, but they sure are delicious. Other fillings include fresh sesame tuna, prawn and wasabi, grilled unagi (eel), and Japanese omelette. 149 Adelaide Street, Brisbane. WAGAYA, CBD Entering Wagaya is a little like floating into a Miyazaki film. Wooden interiors play on patterns of light and shade with occasional splashes of stone, giving the impression you're wandering into a Japanese forest. Touch screens sit at the end of every table, allowing you to browse the menu, order at your leisure and stay updated on your meal while it's sizzling. The menu is authentically Japanese, with common favourites like gyoza, karaage and tempura at your fingertips, a point away from Wagaya's eclectic selection of sashimi, ramen and hot pots. Rounded out with a generous beverage list, Wagaya serves up all your Japanese go-tos with gumption. Level 1, 315 Brunswick Street, Brisbane. By Meegan Waugh and Laura Dawson. Top image: Sake. View all Brisbane Restaurants.
It isn't often that a fast-food chain wins the hearts of industrial food system activists. And yet, with its anti-establishment message and over 3 million hits already recorded, Chipotle's touching new infomercial has recently cemented a subtle but powerful message to otherwise apathetic customers. Produced by Oscar winners Moonbot Studios, the animation is being used by American fast food chain Chipotle Mexican Grill to promote their mobile app game, which warns against the horrors of industrialised factory food production. Accompanied by a haunting rendition of the uber-familiar 'Pure Imagination' from Willy Wonka and the Chocolate Factory, sung by musician and animal rights activist Fiona Apple, the video succeeds as an indirect marketing hook, encouraging a more sustainable model for food cultivation. Also impressive is the fact that the video achieves this with almost non-existent branding, the Chipotle pitch not appearing until the final seconds of the video. https://youtube.com/watch?v=lUtnas5ScSE The brand — which took a hit earlier in the year after a fake Twitter hack and criticism over changing standards of beef — is once again proving its worth, the Scarecrow video showing an impressive commitment by the Mexican food chain to serve responsibly raised food. The app is already one of the top ten most played free games on the iOS charts. It sees players act as the Scarecrow, the empathetic protagonist of the short film, with users then rewarded with free burritos. Via Gawker.
If, when weekends roll around, you look for any excuse to don a nice outfit, sip fine wine and eat delicious food, listen up — Saké Restaurant & Bar Eagle Street Pier is now hosting a highly opulent Champagne lunch. To celebrate the 200th birthday of Veuve Clicquot's famous rosé Champagne, the restaurant is serving up a special two-hour food and drink package every Saturday and Sunday. As the story goes, Madame Clicquot invented the special blending technique behind the rosé Champagne after taking over the Clicquot business following the death of her husband. This prompted 'Veuve' — meaning 'widow' in French — to be added to the brand name. Unlike her predecessors in rosé-making, who simply coloured regular champagne with elderberries, Madame Clicquot allowed her fondness for red wine grapes to guide experimentation. She decided to blend red wine with still white wine, creating a newer, stronger rosé Champagne. Madame Clicquot is also credited with starting the riddling method, which ensures the champagne keeps its clear and crisp colour. In celebration of Madame Clicquot and her rosé Champagne, Saké Restaurant is treating you to a specially prepared lunch for $75 per person. The seven-plate feast includes Sydney rock oysters with spicy ponzu and onion salsa, sashimi tacos with kingfish and tuna, plus wagyu skewers served with yakiniku sauce and panko-crumbed Glacier 51 toothfish tempura. Add free-flowing Veuve Clicquot Yellow Label for an additional $99 per person, or, for those truly getting in the birthday spirit, upgrade to Veuve Clicquot Rosé for an additional $139 a head. For more info or to secure a table for the special champagne lunch, visit the Saké website.
You've done your CrossFit and F45 this week, enjoyed some early morning yoga and a green juice, and almost kicked your weekly burger habit. But what about when it's time for weekend drinks with the crew? Enter FAIR Açai liqueur, which turns the superfood staple into booze. Launched in Australia at Melbourne's Good Food & Wine Show on June 2, FAIR Açai liqueur is made using ethically grown and sustainably farmed handpicked açai berries from the Amazon rainforest, which are then pressed to extract their essence to form the base of the beverage. This maceration process also harnesses the qualities that make the berries so healthy — aka all of those antioxidants, fibre and heart-healthy fats. As you're sipping away, you'll be kick starting your metabolism and helping make your hair and nails shine. Basically, it's a beverage filled with all the things you need to look your best on a night out and easily digest that 'cheat meal' 3am kebab. As well as being good for eager drinkers, the liqueur is good for the environment, with FAIR ensuring that every bottle made follows rigorous sustainability and ethical agriculture protocols. Plus, in addition to supporting farmers in the region, they're also donating a portion of the profits to sustainability programs in the developing world. With flavours of red berries, cherry, blackcurrant and cranberry just bursting through on the palate, you wouldn't be blamed for wanting to pour it on your morning yoghurt and muesli combo. But for a more traditional way to drink the liqueur, try a twist on a gimlet. Shake up some gin, lime, sugar syrup and ice with a splash of this, and you'll be feeling those antioxidants working in no time.
Any weekend is a good weekend to shop for plants at the Brisbane Markets, the old faithful of the Brissie market scene. That said, Saturday, October 5, 2024 will be better than ever thanks to a returning event: Plantapalooza. It's the fifth time that the Rocklea spot has held a plant festival and, running from 6am–1pm, that's something to get excited about. You'll still find the venue's regular 100-stall-plus market array, but it'll be joined by thousands of extra indoor and outdoor plants, as well as plenty of flowers and succulents — and demonstrations from horticulture experts to help you put your green thumb to work. If you usually put off getting into the garden when spring is well and truly in swing, here's your motivation. Or, if you'd like to brighten up your house with a potted piece of nature, here's your chance as well. Remember: there's absolutely nothing wrong with giving a name to your favourite houseplant. Entry costs $2, or $6 with premium parking.
Like commemorating the birth and life of famous figures? Like multicultural festivities that shed a light on diversity and harmony? If so, it's party time. Brisbane's annual Buddha Birthday Festival is back for its 25th festival, this time taking place at the Chung Tian Temple in Priestdale. Running from Friday, May 6–Sunday, May 8, the 2022 program is serving up three jam-packed days of lion dances, calligraphy, art, performances and more. While it might not cater to 200,000 people as it has in pre-pandemic years, you still won't find yourself lacking in either company or something to watch. The festival isn't just about seeing other people strut their stuff, though. With a vegetarian food fair serving up culinary delights, tea ceremonies keeping you hydrated, meditation sessions taking care of your mental bliss and red lanterns on display, this isn't just a feast of entertainment; it's a complete mind and body experience as well. Images: Buddha Birthday Festival
'Help!' 'Come Together.' 'All You Need Is Love.' Songs and lyrics that have influenced countless people around the world. Young and old. Hip and square. At the height of The Beatles' popularity, John Lennon declared that the band was bigger than Jesus. For the three lost souls at the centre of Living Is Easy with Eyes Closed, his words might as well have been gospel. Taking its title from the opening verse of the Fab Four's psychedelic ballad 'Strawberry Fields Forever', this uplifting Spanish road movie takes place in 1966, at a time when the country was still under the thumb of the fascist General Franco. Javier Camara plays Antonio, a middle-aged English teacher and diehard Beatlemaniac who, after learning that Lennon is in Spain for a film shoot, makes it mission to meet the man himself. Shortly after hitting the road, Antonio picks up a pair of hitchhikers, both of whom want nothing more than to leave their pasts behind. Pretty young Belen (Natalia de Molina) is three months pregnant and has fled the monastery where she was sent to give birth to her fatherless child. Starry-eyed Juanjo (Francesc Colomer) is a teenager with long hair and an artistic streak. He too is running away, from the demands of his domineering father. All three actors do excellent work, their underdog characters all but impossible not to like. Camara, in particular, is perfectly cast as Antonio, an eternal optimist and nice-guy who remains steadfast in his belief he will get the chance to shake his hero's hand. The interplay between the three unlikely travelling companions is funny and disarming — and while the stakes of the film may not be particularly high, you can't help but feel invested in the journey. The politics of the era are confined mostly to the background. Franco and his conservative dictatorship can be felt whenever someone turns on the radio, blaring dour Catholic masses rather than music. The film's overwhelming vibe is one of positivity and acceptance. As such, writer-director David Trueba treats the regime like the bullies that they were, doomed to be defeated by a belief in something more. Maybe that sounds a little twee, but then again, that's what The Beatles were about. Living Is Easy captures the spirit of the band — their energy, their idealism, and the hope that they inspired. It's a shame the film contains next to none of their actual music, presumably because it's so exorbitantly expensive to license. No matter. Life, as they say, goes on. https://youtube.com/watch?v=uO1jXG38XbM
If you're a vegetarian, worshipper of eggplant or just a keen home cook — which, let's face it, many of us are becoming — chances are Yotam Ottolenghi has had some impact on your life. In fact, we bet you've got at least one of his bestselling cookbooks in your cupboard. And, this week, you can get some tips and tricks from the cult Israeli chef when the Sydney Opera House streams its 2019 chat with him. Streaming at 3pm AEST on Sunday, April 26, the recording is from the Opera House's Talks and Ideas program. Ottolenghi's Aussie visit followed the publication of his book Simple, which celebrates the joys of fuss-free dishes, featuring 130 easy-to-make yet super-tasty dishes. The renowned chef will be in conversation with Malaysian Australian cook Adam Liaw and they'll be discussing everything from what makes a recipe simple to the humble cauliflower, bold flavours and cooking for kids. So, even if you're a bit of a novice in the kitchen, this talk is sure to get you cooking up a storm soon enough. But, Ottolenghi will be talking about much more than that, too. Firstly, there are all his other books, like the Middle Eastern-inspired Jerusalem, the vegetarian-friendly Plenty and the dessert bible Sweet, a collaboration with Melbourne pastry chef Helen Goh. Then, there are his documentaries and his regular writing gigs: a weekly column in Feast magazine and a monthly column in The New York Times. [caption id="attachment_768174" align="alignnone" width="1920"] Flickr/Stijn Nieuwendijk[/caption] The talk is part of the Sydney Opera House's three-month digital program From Our House to Yours, with free content streamed nightly from Wednesday–Sunday. While you wait for the full talk to stream on Sunday, you can also check out the Opera House staff's favourite five Ottolenghi recipes here, as well as five fun facts about the famed chef. Image: Ken Leanfore
Another beloved film is heading to the theatre — this time, iconic Australian effort Starstruck. It follows in the footsteps of a growing number of Aussie flicks-turned-musicals; think Priscilla, Queen of the Desert, Muriel's Wedding and Moulin Rouge!. Like its predecessors, it's easy to see why the film is getting the stage musical treatment. In fact, given the movie's storyline, it's a wonder that a large-scale production of hasn't been made before. Directed by Gillian Armstrong and first released in 1982, the comedy-drama tells the tale of Sydney teenager Jackie Mullens, who works in her mum's pub by the harbour but wants to become a rock star — and her cousin Angus, an aspiring manager, plans to get Jackie on a national TV talent series to help her dreams become a reality. An all-singing, all-dancing affair that'll be filled with 80s pop just like the movie, Starstruck — The Stage Musical will see RGM Productions, the folks behind the Priscilla, Queen of the Desert musical, team up with the National Institute of Dramatic Art. For the show's initial run at Sydney's Parade Theatre in 2019, it'll showcase NIDA's graduating class; however the production will also act as pilot for future commercial seasons. Dates haven't yet been announced, but it's expected to take to the stage towards the end of next year. As well as Priscilla Queen of The Desert, The Musical producer Garry McQuinn and his partner Rina Gill, the behind-the-scenes talent includes director Simon Phillips (Priscilla Queen of the Desert, Ladies in Black, Muriel's Wedding) and choreographer Andrew Hallsworth (Anything Goes, Sweet Charity), with the book by actor, singer, writer and director Mitchell Butel (Two Hands, Gettin' Square, Holding the Man). "It'll be an exciting adventure to see this warm-hearted little Australian film take shape on the stage," says Phillips. "The story about a couple of self-invented Ozzie kids trying to save their family pub is full of joy and adolescent energy, and NIDA feels like the perfect place to road-test its charms." https://www.youtube.com/watch?v=ucf3bzv-e9M
"What do we want?" "Time travel!" "When do we want it?" "It's irrelevant!” And so it is that the Terminator franchise rediscovers its sense of humour. As for everything else, well, the ground’s a little less resolute. Somewhat appropriately, Terminator: Genisys is either the fifth film in the franchise, or the third, depending on your perspective. James Cameron, who wrote and directed the first (and best) two, openly declared both Rise of the Machines and Salvation to be blips on the radar that are best ignored, meaning — at least in his view — Genisys now rounds out the unofficial trilogy (cue joke about a director from the future going back in time to terminate inferior sequels). Certainly, Genisys goes out of its way to fit solidly within the original movie's timeline, at least to begin with. In fact, it’s worth re-watching Terminator beforehand, if only to appreciate the lengths to which director Alan Taylor and his production team have gone in painstakingly recreating some of the film's signature moments (right down to casting a Bill Paxton lookalike for the then-unknown actor’s punk cameo). The reason for the cinematic fidelity quickly becomes apparent, too, when those well-known moments from the original are hugely turned on their head. It’s difficult to explain without revealing giant spoilers, but suffice it to say Sarah Connor (played with remarkable likeness to Linda Hamilton by Game of Thrones’ Emilia Clarke) no longer needs rescuing back in 1984 by Kyle Reese (Jai Courtney), and Arnie isn’t the first Terminator to be sent back there. Everything’s changed, and therein lies both the film’s strength and weakness. As a positive, switching everything up was a sensible and necessary move to breathe new life into a franchise already guilty of retelling the same story with merely cosmetic differences. John Connor (Jason Clarke) undergoes a dramatic amendment in Genisys, and Schwarzenegger’s T-800 (easily the film’s shining light) has noticeably aged, explaining “I’m old, not obsolete”. Going back to 1984, too, is a clever device because — at least for fans of the original — as soon as the first difference becomes apparent, it raises a lot of questions that help drive the story forward. The downside, however, is that making those changes requires some serious amendments to one of the more established and analysed lores in film history, and unless you’ve got rock solid explanations to back them up, gaping potholes quickly reveal themselves. In Genisys, some are answered via hastily mumbled lines about 'nexus points’ and parallel timelines, but the more critical ones — like how terminators ended up in the timeline long before 1984, who sent them there and why — remain unanswered. It’s a clear setup for a sequel, but mostly just lazy film-making, failing to tell the story it promises. When the credits roll on Genisys, you soon realise you’ve no idea what it was actually about. 2015 is proving itself the king of the reboot, with Jurassic World already destroying box office records, and new entries for Mission Impossible, James Bond and Star Wars all to follow. Terminator: Genisys will likely find itself somewhere towards the bottom of that list, mostly because — while it’s a lot of fun — it fails to ‘wow’ us like its predecessors. The terminators’ technology is largely the same, the action sequences are again mostly variations on a theme, and somehow the phenomenal special effects of 1991’s Judgment Day still remain more jaw-dropping than most things that have come since.
Fans of the legendary Stephen Fry should prepare to laugh, cry and squabble over ticket sales because the man himself is coming down under in November with a new comedy show, Telling Tales. The announcement hit hungry inboxes this morning, accompanied by an arguably redundant biography about Fry’s history of making us laugh, cry and think; from his days in A Bit of Fry and Laurie and Blackadder all the way up to his poignant LGBT doco Out There. Yes, we know who he is. Yes, we will sell our hair to go to his show and bask in his glowing presence. Fry will be hitting the big cities, Melbourne (Hamer Hall), Canberra (Royal Theatre, Perth (Riverside Theatre) and Sydney (State Theatre). Sorry Brisbane, next time. The show has been described rather alliteratively as an evening of "fun, frolic and uniquely Fryish delight" but let's be honest, the host of QI, the best TV quiz show of all time, needs no fancy introduction. Frankly we’d respond the same way to an email that just barked, "Stephen Fry is coming to Oz, buy a ticket you garbage people." Speaking of, tickets go on sale Tuesday 1 September at 9am. STEPHEN FRY'S TELLING TALES 2015 TOUR DATES: Monday, November 9 — Hamer Hall, Melbourne. Tickets via Arts Centre Box Office or Ticketmaster. Saturday, November 14 — Royal Theatre, Canberra. Tickets via Ticketek. Tuesday, November 17 — Riverside Theatre, Perth. Tickets via Ticketek. Saturday, November 21 — State Theatre, Sydney. Tickets via Ticketmaster. Image: Virgin.
In the manner of "why not both?" believers everywhere, Sydney's craft beer darlings Young Henrys have teamed up with Irish whiskey-giant Jameson to bring fans of both libations an extra special taste of each. Now through to August 31, 49 Australia-wide venues are serving up high-end collaboration boilermakers. The appropriately nicknamed Boilermates will bring craft beer and whiskey lovers under one roof, where they most likely were already. This special boilermaker — which, for the uninitiated, is a glass of beer paired with a nip of whisky — isn't the trashy kind where punters drop a shot into a beer and skull. No, this partnership is a classy one, consisting of Jameson Caskmates, served neat or on the rocks, paired with a Young Henrys beer of choice. The Caskmates whiskey — dreamt up by Jameson's head distiller and the head brewer of Cork's Franciscan Well Brewery — is aged in stout-seasoned whiskey casks and triple-distilled for a super smooth finish. In short, it is not for shooting. Venues across NSW, ACT, WA and Queensland will be participating, including Brisbane's Lefty's Music Hall, Sydney's iconic craft beer haunts Mojo Record Bar and The Little Guy, as well as venues including The Unicorn, Mary's, The Lord Gladstone and The Hazy Rose. It should come as no surprise that these two beverage behemoths hatched this spectacular plan over a few drinks at Great Australian Beer SpecTAPular (GABS). The festival is known as a beacon for craft beer creativity and innovation. The group felt that, while beer and whiskey lovers are aplenty in Australia, the boilermaker isn't nearly as represented in bars and pubs as it should be. They've launched Boilermates with the hope that, come end of August, the two libations will remain close cousins in the eyes of Australians everywhere. Together may not always better, but it sure is when it comes to craft beer and whiskey. Check out Young Henrys website for a list of all venues serving Boilermates.
Gathering the country's best of the best, the annual Melbourne Royal Wine Awards (MRWA) took place on Thursday 27 October at the Victoria Pavilion after receiving a colossal 2,350 entries this year (South Australia submitted the most with 967). Taking home The Champion Victorian Winery Trophy was Yarra Valley's Oakridge Wines led by chief winemaker David Bicknell. On top of its other five gold medals from this year, Oakridge also claimed Best Victorian Chardonnay in 2021. Elsewhere, Scotchman's Hill snagged The Trevor Mast Trophy for Best Shiraz for its 2021 Shiraz, an offering that was also awarded Best Victorian Shiraz. As for the coveted Jimmy Watson Memorial Trophy, Barossa vineyard Hentley Farm had the honour of claiming the title this year thanks to its Old Legend grenache featuring a medium body and notes of strawberry, red currant and nutmeg. "The Melbourne Royal Wine Awards recognise and celebrate excellence in Australian winemaking. The Jimmy Watson Memorial Trophy was first awarded 60 years ago and is the trophy winemakers from all around Australia want to win. Melbourne Royal congratulates South Australia's Hentley Farm on being the 2022 winner," Brad Jenkins, Melbourne Royal CEO, shared. Meanwhile, for the first time in a number of years, The Francois De Castella Trophy for Best Young White went to a category other than chardonnay—the Macclesfield Grüner Veltliner 2022 by Longview Vineyard in Adelaide Hills. In addition to its Francois De Castella Trophy, Longview Vineyard also earned Best Pinot Gris/Grigio, Best Single Varietal White, and Best Cabernet Sauvignon. You can check out the full list of award winners at the Melbourne Royal Wine Awards website. Top image: Kelsey Knight
It's not every festival feels like a country weekend fete that just happens to be headlined by say, The Shins. Fairgrounds, Australia's country boutique camping festival descends on the small NSW town of Berry each December. Taking over the local Berry Showgrounds, Fairgrounds boasts all the trimmings of a major music festival with the essence of a local fair. And this December, it's back for another two-day round. Running over December 8 and 9, the two-day festival is making a triumphant return. In a huge coup for the small festival in its third year, they've secured big time festival favourites The Shins and Future Islands to headline, alongside local legends Client Liaison, D.D Dumbo, Holly Throsby, Jen Cloher, Royal Headache's Shogun and more. Oh, and casual founding Pavement member Spiral Stairs. With a strong focus on the local NSW South Coast area, Fairgrounds isn't just about the tunes. Last year local nosh, market stalls and the local swimming pool played equally starring roles at this multifaceted festival — something we're sure made Berry residents pretty happy. Between dips in Berry's local pool (within the festival grounds), punters feasted on local delights, including fresh rock oysters harvested less than half an hour from the festival site. But we know what you're here for. Here's the full lineup. FAIRGROUNDS 2017 LINEUP: Aldous Harding Client Liaison D.D Dumbo Future Islands Hockey Dad Holly Throsby Japanese Breakfast Jen Cloher Marlon Williams Noname The Shins The Teskey Brothers You Am I Jess Locke Leah Senior Press Club Shogun (Royal Headache) Spiral Stairs (Pavement) Fairgrounds runs December 8–9 at Berry Showgrounds, NSW. Tickets on sale from Moshtix at 9am, Tuesday, August 22 (presale Thursday, August 18 — sign up to the newsletter for this). Festival entry is $160, with camping $220, with shuttle $198. Kids under 12 attend free with an adult. Image: Andy Fraser.
Harry Harlow controversially answered through monkey experimentation in the mid 1900s, what is despair? 1897 saw Tolstoy answering what is art? And in 2004 Ron Burgundy answered the deep-rooted question, what is love? But one of many questions still remain. What is photography? At a glance it’s a snap – something taken, processed then scrapbooked depending on your age and hipness. But as David Chatfield, Emma Leslie, Felix Merry and Sarah Oxenham portray in the Hold Artspace’s latest exhibit For Want of a Better Word, there’s no simple answer to this age-old question. The work of these four artists all differ significantly, but work together seeking to deconstruct traditional photography down to its base elements of light, surface, image and object. Through elements of installation, video, sculpture and wall based artwork, they’ll be exploring and challenging the traditional notions of photography and drilling them down to their very core. Don’t miss out on this week long display – it’s an education second to an exhibition.
In 2028, one of the biggest names in Hollywood — and in cinema in general — will turn 100. When that year's Oscars takes place, recognising and rewarding the films of 2027, it'll mark a century of celebrating the latest and greatest on the big screen. The event will also fix a glaring omission from the Academy of Motion Picture Arts and Sciences' annual accolades. There'd be no movie magic without stunts, but the Academy Award for Achievement in Stunt Design will only join the Oscars when it hits its massive milestone. On Friday, April 11, 2025, Down Under time, the AMPAS Board of Governors announced that it is creating an annual competitive Oscar for stunts — and yes, "finally" is the word that should instantly come to mind. Adding the category comes after a concerted push from stunt professionals in recent years, and after The Fall Guy's Ryan Gosling and Emily Blunt were tasked with paying tribute to stunt performers at the 2024 ceremony. [caption id="attachment_999323" align="alignnone" width="1920"] Al Seib, The Academy[/caption] "Since the early days of cinema, stunt design has been an integral part of filmmaking. We are proud to honour the innovative work of these technical and creative artists, and we congratulate them for their commitment and dedication in reaching this momentous occasion," said said Academy CEO Bill Kramer and Academy President Janet Yang, announcing the new stunts Oscar. Details on eligibility and voting for the award are still to come, however — and the same regarding how the accolade will be presented. The former will be revealed in 2027, when the 100th Academy Awards rules are unveiled. The latter will be announced "by the Academy's Board of Governors and executive leadership at a future date". [caption id="attachment_999325" align="alignnone" width="1920"] Richard Harbaugh, The Academy[/caption] Wondering which movies might be in contention for the first-ever Oscar for stunt design? 2027's current planned releases include the live-action The Legend of Zelda film, Avengers: Secret Wars, the sequel to The Batman, The Lord of the Rings: The Hunt for Gollum and the second live-action How to Train Your Dragon, for starters, plus Sonic the Hedgehog 4, a sequel to Godzilla x Kong: The New Empire and an untitled Star Wars flick. The Academy Award for Achievement in Stunt Design is just the second new Oscar field since Best Animated Feature Film joined the roster in 2001, the third since Best Makeup and Hairstyling in 1981, and the fourth since Best Costume Design in 1948. The other recent addition hasn't actually been handed out yet, with the Achievement in Casting gong set to first be awarded at the 2026 ceremony, covering movies released in 2025. [caption id="attachment_999326" align="alignnone" width="1920"] Dana Pleasant, AMPAS[/caption] [caption id="attachment_718585" align="alignnone" width="1920"] Marvel Studios 2018[/caption] The Academy Award for Achievement in Stunt Design will join the Oscars for films released in 2027, so will be first presented at the 2028 ceremony. For more information, head to the Oscars website. Top image: The Fall Guy.
Despite also serving up everything from all-day vegan breakfast to ice cream sandwiches, we still think that fries are the best thing about Lord of the Fries. It's right there in the name, after all. The chain's chips are particularly tasty — as made with Australian potatoes and cooked in a cottonseed sunflower oil blend. There is one thing better than Lord of the Fries' titular dish, however. That'd be free shoestring fries from the chip-loving establishment. And on Wednesday, July 13, the vegan fast food joint is giving away just that. Free. Fries. Yes, really. To snag free fries on Wednesday, you'll need to head to your chosen store in between 4–5pm and you'll be gifted a serving of shoestring deliciousness. You don't even have to purchase any vego nuggets to redeem them. There is a limit of one freebie per person, though, so take that into consideration if you're feeling particularly peckish. You'll get your choice of classic sauces, too. This is clearly great news for anyone who like fries, aka everyone — and Brisbanites can flock to Fortitude Valley. And if you're wondering why, that's because it's National Fry Day. Of course it is. There are a few caveats, as is always the case with this kind of giveaway. So, the freebies span one Lord of the Fries stickered cup of shoestring fries and one classic sauce, with the latter popped directly on top of the former. Again, you can only get one per person, and only in-store. And, it's only for shoestring fries — not the classic, chunky or sweet potato versions.
Feeling a bit glum about your lack of airline club membership and all the benefits that go with it? Well, you can pick yourself up off that floor and start actually looking forward to your next Melbourne Airport visit, because someone's launched a 'pay-as-you-go' lounge that's open to anyone and everyone. Over in the international terminal T2, the newly unveiled Marhaba Lounge promises to bring a touch of sophistication to your pre-flight game — even if you're flying budget economy without a single, lousy frequent flyer point to your name. Of course, you'll have to pay for the privilege, with $65 gaining you casual entry for up to four hours, paid either on the spot or in advance when you pre-book online. Sure, it sounds a little pricey, though if you've managed to wrangle a super cheap long-haul flight, who knows when you'll next see a comfy seat and a decent feed? Marhaba Lounge has room for 200 guests and is manned by 26 staff, on hand to ensure your lounging experience is tip top. It's got showers, free wi-fi, a quiet zone, buffet dining and an Aussie-led booze list, and is open from 6am to midnight each day. Currently, you'll score free entry if you're travelling with Marhaba's partners Tianjin, Xianen and JAL, with more airlines set to team up by the end of the year. Other lounges are also under discussion, so keep an eye out if a trip to Adelaide or Perth is in your future. For more information or to pre-book your spot, visit the Marhaba Lounge website. Via traveler.com.au
So many films, such little spare cash. Know the feeling? Going to the movies isn't a particularly cheap night out, especially if you're fond of popcorn and choc tops while you watch. Even if you're an avid film buff, you can probably empathise. For one week between Thursday, August 29 and Wednesday, September 4, Five Star Cinemas is here to help. If the independent chain's name doesn't sound familiar, then New Farm Cinemas and The Elizabeth Picture Theatre will. Head into either spot during the aforementioned dates, and you can see any movie you like for $6. And, if you'd like to get cosy in either the venue's premium cinemas, that'll cost you $12. Flick-wise, there's plenty to see, whether Quentin Tarantino's Once Upon a Time in Hollywood, stirring documentary The Australian Dream, gorgeous Japanese animation Weathering with You, or unsettling horror movie Midsommar takes your fancy. If you're more of a drive-in fan, you can also zip down to Yatala, too. Sit in your car, watch The Lion King or Fast & Furious: Hobbs and Shaw and pay $35 for a carload of up to six people.
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This Is Not Art is the dream that keeps us trudging through winter each year, looking towards that October long weekend when Newcastle transforms into some wild, uncontrollable and utterly miscellaneous beast of the arts. Except that, for a moment there, it looked like this year's festival wouldn't happen. In early July, with less than three months left until the festival, TINA were notified by Newcastle City Council that their triennial funding had been canned. This meant an $18 000 deficit in the budget: a nightmare for any small arts organisation. The event, which annually offers over two hundred and fifty free events, featuring the work of more than four hundred Australian artists, and typically attracting over five thousand participants, was in serious doubt. Thanks to an assertive campaign by Festival Coordinator Eliza Adam, this week TINA have confirmed that the show is back on the road. Phew! Incredibly, supporters of TINA raised a huge $8 750 over only two weeks. What's more, the Copyright Agency Limited jumped on board to offer a huge $9 000 and a Newcastle-based web company, Izilla Web Solutions, pledged $2 000. In the wake of popular outrage, Newcastle Council flipped to offer TINA increased financial support, plus additional provisions for planning and assistance into the future. This year's festival is once again looking good. Keen to see TINA be all it can be? You can still help! Donations are being accepted at TINA's Pozible site until 7 August - and let's face it, it's a small fee to pay for an amazing, five day festival that's already free. TINA is also heavily reliant on volunteers, and there's a huge range of things to be done which you can check out here.
Celebrating Oktoberfest year-round over a game of putt putt mightn't be the standard way to mark the occasion, but it became a reality in Brisbane when Hey Caddy opened its doors in North Lakes in 2022. From April 2024, it'll also be on the agenda at South Bank. That's where the mini-golf chain is setting up its next venue, as part of a golf-centric hub that'll also include indoor golf simulator business X-Golf. Hey Caddy is an offshoot of X-Golf, so they're no strangers to each other. When both open on Grey Street on Tuesday, April 4, it'll mark Hey Caddy's second location in Brisbane, third in Queensland and tenth nationally — and for X-Golf, its third in the city after North Lakes and Enoggera, eighth in the Sunshine State and 26th in the country. Back in 2022, Hey Caddy advised that South Brisbane was in its sights that same year, but it's clearly just taken longer to get there. Patrons will be able to tap, tap, tap their way around 12 holes, then give their swing a try at five simulators. Hitting up the bar, hanging out in the games area, grabbing a bite from the in-house kitchen and watching screens showing sports: that'll all be offered by the site, too, in what's being badged an "indoor golf-entertainment hybrid". The aim is to cater to all levels of golfing interest, whether you're only interested in having fun with your short game, you'd like to take lessons from PGA-certified coaches or X-Golf's X-League competition — which feeds into venue, state and national championships — gets you excited. Other than playing mini golf, you'll be honing or showing off your skills on virtual greens, of course. Aside from an Oktoberfest-themed hole and one that nods to Spain's running of the bulls, exactly what putt putt fans will be hitting around hasn't been revealed. When the North Lakes venue opened, however, it did so with Coachella, Area 51 in Nevada, New York, Miami, Bora Bora, Egypt, Melbourne and Mars all getting a nod. Hey Caddy also themes its cocktails to its courses, which you'll be able to enjoy in the al fresco dining area. The hybrid venue will feature party rooms as well, if that's your ideal way to gather the gang to commemorate an occasion. Find X-Golf and Hey Caddy at 275 Grey Street, South Brisbane, from Tuesday, April 4, 2024 — head to the X-Golf and Hey Caddy websites for further details.
The COVID-19 situation in Australia is changing every day, with the federal government first implementing a ban on non-essential events with more than 500 people and then mandating that everyone arriving from overseas self-isolate for 14 days. In response to the first restriction, events and venues around the country are cancelling and postponing their 2020 plans. The latest casualty: Bluesfest. The long-running festival was set to return to Tyagarah Tea Tree Farm — just outside Byron Bay — for the Easter long weekend, headlined by Alanis Morissette, Dave Matthews Band, Patti Smith, Crowded House and Lenny Kravitz, among others. But, Festival Director Peter Noble this morning announced it would not be going ahead. "We are heartbroken," Noble said in a statement. "We believe we were presenting one of the best ever bills of talent for you." While the Easter festival has been cancelled, Noble says "we are now working through how to move forward". https://www.facebook.com/bluesfestbyronbay/posts/3896289597078132 It's the first time in 30 years the festival will not run, but the second year in a row it has come under threat. Last year, Noble contemplated moving the festival to a spot outside of NSW last year because of the State Government's strict music festival licensing regime. According to website I Lost My Gig Australia, so far 20,000 events have been cancelled, which has impacted 190,000 Australians and equated to $47 million in lost income. And those numbers are continuing to climb by the minute. We'll let you know if and when Bluesfest releases more details. To stay up-to-date with the events postponed and cancelled in your city, head over here. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Joseph Mayers
Bear Grylls. The name alone brings many visions to mind: Grylls hiding inside a dead camel, Grylls drinking urine, Grylls stripping him off to swim naked across freezing waters. You can’t deny it; Mr. Grylls has quite a reputation. Whether he’s willingly putting himself in crazy situations and then getting out through even crazier ideas, his stories always sound edge-of-your-seat fantastic which can be attributed to why Man vs. Wild is so successful. This year, Mr. Grylls is travelling down under again. However, instead of being dropped in the Kimberleys to encounter snakes and crocodiles, he’ll be braving a tougher and much more foreign environment: a live audience and show. Travelling to our fair capital cities, this show is giving fans the chance to hear new stories and old favourites alike, told from a personal and fresh perspective. He’ll also be showing the amazing footage that was captured as he gallivanted around the dangerous parts of the world. Don’t miss this world premiere event and a chance to see Mr. Grylls up close and dangerous.
Sacrifice, of the kind where ideals clash with safety and responsibility, is at the heart of A Thousand Times Good Night. The film starts with a potent example, as photojournalist Rebecca (Juliette Binoche) snaps away in Afghanistan. Secreted to a secluded spot, she starts capturing a funeral; however, it is soon revealed that her subject isn’t dead. Instead, the prone pose is part of a ritual preparing a suicide-bomber for a mission that goes awry, injuring Rebecca in the process. Juxtaposing the struggle of a woman driven to chronicle the horrors of humanity with the plights of those whose daily lives exist on the precipice between life and death, this introduction makes a strong statement. The former clearly seems trivial in comparison to the latter, but both have costs and consequences. Rebecca has a husband (Nikolaj Coster-Waldau) and two daughters (Lauryn Canny and Adrianna Cramer Curtis) restless with worry when she is out in the field. Giving up her passion for her loved ones’ peace of mind doesn’t come easily, as she is troubled in her attempts to reconcile the need to make a difference with the comforts of home and the calling of family. Alas, following on from such a striking and tense opening was always going to be difficult. The focus swiftly shifts to an account of disturbed domesticity, and so does the A Thousand Times Good Night’s effectiveness and interest. Contemplating the professional versus personal divide is admirable, and touching upon the ethics of observing versus intervening sparks questions, although both areas have been traversed more thoughtfully in other films. Here, they’re just mechanisms to incite conflict in a marriage melodrama. In such rendering of the circumstances, much is left to rest on Binoche’s talented shoulders. Thankfully, it is never tiresome to see the actress on screen, even when a furrowed brow seems her standard expression. Coster-Waldau is sadly given little to do, other than rally against the protagonist’s choices. Instead, it is young newcomer Canny that offers the best depiction of the traumatic repercussions of living with and loving someone constantly drawn to perilous situations. A Thousand Times Good Night is inspired by the early photographer years of director Erik Poppe’s own career, as conveyed in a script co-written with his long-term collaborator Harald Rosenløw-Eeg, but it is easy to dismiss its content as fiction. Only the war-torn visuals seem taken from Poppe’s experiences; indeed, some of his own stills are used, and the handsome imagery certainly eclipses the strived-for emotion. That’s the issue: the story and performances are just too concerned with heavy-handed sentiments to ring true. It seems that the key sacrifice the film makes is in its approach, preferring the appearance of resonance to taking any thematic risks.
To judge Nano Stern by his long haired hippie appearance is to underestimate the young Chilean's musical talent. Having played the violin since he was just 3 years old, Nano is not your average bohemian musician. He has lived a life that Byron Bay street buskers can only dream of, and to add further salt to the wounds, he's only 24 years old. Studying and adopting traditional music from around the world, Nano has been travelling the globe with his whimsical performances of Latin American and traditional European songs. His next destination? Australia. Said to be the voice of his generation in Chile, Nano Stern is the leading creator of the New Chilean Song. His exotic style of music incorporates guitar, violin, Swedish flute and lyrics written in Spanish, Macedonian, Italian, Swedish and English. While many of us probably won't be able to understand the lyrics sung throughout his show, Nano's emotion filled and heart felt performances are famous for striking a cord with all audiences. Nano Stern along with his 4 piece band will be gracing Brisbane with a magical performance for one night only. Audiences can expect to hear music from Nano’s last self-produced album, Los Espejos (ranked #3 by Rolling Stone Chile in their top 100 albums for 2009) as well new music from his imminent fourth album – to be recorded in April 2011.
UPDATE: April 15, 2020: Aladdin is available to stream via Disney+. Let's get the obvious reference out of the way: in remaking the 1992 classic, Disney's live-action Aladdin doesn't venture to a whole new world. Instead, the company's latest rehash of its back catalogue adds literal, visible flesh to everyone's favourite makeover concept (Blue Eye for the Street Rat Guy, basically), as well as a few minor twists and an extra song. Relaying the same tale again isn't necessarily an issue, on paper. Storytellers have been doing the same thing since time began, as have filmmakers for more than a century, with re-interpreting familiar narratives, adapting them to different contexts and seeing them afresh all part of human nature. But what Aladdin lacks is a purpose beyond the obvious. It's a glossy new version with actors instead of animation; a shiny, nostalgic replica that's definitely entertaining enough. However it never tries to soar on its own magic carpet. One line of thinking, of course, is that if it ain't broke, don't fix it. Another is that faithful do-overs of beloved hits (including Alice in Wonderland, Cinderella, The Jungle Book, Beauty and the Beast and Dumbo, plus the forthcoming The Lion King) are just Disney's safety-driven success strategy. These are risk-averse filmmaking times, so the latter approach is understandable. When fans mobilise online en masse to cry about women with lightsabers and demand that a television show be remade because it didn't end the way they personally wanted, simply giving viewers what they already like is the all-too-sensible option. Accordingly, Aladdin circa 2019 is exactly what it was always going to be, with all of the expected ups and downs that entails. Yes, it'll make you want to revisit the original. No, Will Smith can't match Robin Williams, but he doesn't always try to. Surprisingly, while there are no geezers spouting Cockney rhyming slang (and no Jason Statham, sadly), director Guy Ritchie's penchant for energetic spectacle generally fits. The story, for those who didn't spend their childhoods rewatching the animated flick endlessly and committing the details to memory, charts Agrabah urchin Aladdin (Mena Massoud), his newfound love for Princess Jasmine (Naomi Scott) and the lamp-dwelling Genie (Will Smith) who can make dreams come true. Aladdin is merely a kind-hearted petty thief with a cheeky monkey for a best friend, with Jasmine only able to marry royalty — and her sultan father (Navid Negahban) is hardly fond of breaking tradition. Complicating matters even further is nefarious advisor Jafar (Marwan Kenzari), who exerts his own influence — with the help of his all-seeing parrot Iago (voiced by Alan Tudyk) — to try to seize the throne. With Genie's wish-granting assistance, Aladdin pretends to be a prince to secure Jasmine's hand, but securing the kingdom becomes just as pressing a concern. There's a timely female empowerment thread to this version to Aladdin, as seen in its new song, as well as Jasmine's rallying against her lack of agency. Barely tinkering with the initial flick's script, Ritchie and co-scribe John August (Frankenweenie) aren't trying to break the mould — or enchanted lamp — yet it's a welcome albeit fairly obligatory touch. Where the director best exerts his influence is in teaming with cinematographer Alan Stewart (Mary Poppins Returns) to bring Agrabah to vivid, jewel-toned life, watching Aladdin sneakily parkour himself around the city and giving the musical numbers the requisite bounce. Where the tunes are concerned, established crowd-pleasers such as 'Prince Ali', 'Friend Like Me' and 'A Whole New World' prove the high points they're meant to be, which sums up the film's fortunes perfectly: its hits are already known, and making sure they don't crash compared to the original is the primary plan. That could sum up Smith's tactics also, or at least that's how it initially seems. He's less comfortable and convincing when he's overtly mimicking Williams at the outset, but serves up an engaging and amusing Genie once he makes the character his own (and when he isn't sporting a distracting shade of blue). Indeed, if viewers had three wishes for the Aladdin remake, and one of them was for a great cast, that has largely been granted. Crucially, Massoud makes a suitably charismatic rapscallion, and Scott brings poise and radiance to a star-making performance, helping you forget that she was in the awful Power Rangers movie. The true scene-stealer, though, is ex-Saturday Night Live star Nasim Pedrad as Jasmine's handmaiden Dalia. It's a move that'd never happen, but if this adequate yet never arresting Aladdin revival sparked a spin-off about its two main ladies just being great and taking on the world, it'd justify its existence several times over. https://www.youtube.com/watch?v=foyufD52aog
It's the news Brisbane eastsiders have been waiting for, and anyone keen on mixing up their Sunday morning shopping routine will be pretty happy about it too. Come January 31, the Carindale PCYC will be playing host to a new weekly market. It's called Moo and Glue. And the great name is just the beginning — though, when it comes to summing up both the farm-fresh and handmade goodies on offer, the market's moniker really does get the message across. They're backing it up with the usual mix of stalls and trucks, all selling things that will stock your pantry, fill your stomach and decorate your home. On the edible side of equation, expect locally grown produce from The Happy Veg, fresh bread from The Baker's Corner, caffeinated brews from Mr Barista, ice cream from Miss Daisy and sweet treats from Eat That Cake. More stallholders are being announced on a regular basis, so expect that list to grow. Yes, you're allowed to get hungry just thinking about it. Elsewhere, you'll find an international food court lined with many of the city's favourite mobile eateries, plus a jumping castle for younger attendees. Basically, it's the weekend marketplace locals have been dreaming of — and a much needed addition to this patch of Brisbane. The first Moo and Glue Farmer's, Craft and Boutique Market will take place on January 31 at the Carindale PCYC, 27 Narracott St, Carina, and will run every Sunday morning from 7am. For more information, visit their Facebook page. Image: Dollar Photo Club.
Anything humans can eat, dogs think they can munch on as well. But as every responsible pet parent knows, that isn't actually the case. So, we've all weathered those adorable, yearning, pleading looks from our beloved pooches as we've tucked into something they'd like to taste as well. And, we've all felt the heartbreak at letting our cute critters down — even though it's for their health. Does your doggo get a twinkle in their eye whenever there's a doughnut around? It wouldn't be the first — and, for the next fortnight, it's in luck. In the lead up to International Dog Day on Thursday, August 26, Krispy Kreme has announced the release of a limited-edition range of 'doggie doughnuts'. They're doughnut-inspired dog biscuits, actually, but they sure do look like the real thing. The eye-catching bikkies are a collaboration with Coolum-based pet treats business Huds and Toke, and they come in six different varieties. If you love Krispy Kreme's original glazed doughnuts, perhaps your pupper will adore the dog biscuit version as well. Or, you could let then go barking mad over choc iced, choc cookie, choc cheesecake, choc sprinkles and strawberry sprinkles varieties. The biscuits aren't made from doughnuts or from chocolate, of course; instead, they use a hard-baked cookie base, as well as frosting made from ingredients like carob and yoghurt that's been designed specifically for dog jaws. The bikkies are also meant to be good for chewing and for dental cleaning — and they're designed to last longer than your usual dog treat. If these round delights will get your four-legged friend's tail wagging, you can buy them in six-packs (for $14.95) between now and Thursday, August 26 at Krispy Kreme stores — including via drive-thru and click-and-collect. And, they are just for pets — so just like how Fido or Rover can't have your doughnut, you can't have their version either. Krispy Kreme's doggie doughnuts are now available from the chain's stores — including via drive-thru and click-and-collect — until Thursday, August 26.
It has been a busy two years for Timothée Chalamet, aka the internet's current boyfriend. Not too long ago, he was best known for a bit part in Interstellar, and now he's one of cinema's biggest talents. Chalamet swooned over first love in the gorgeous Call Me By Your Name, and was nominated for an Oscar for his impeccable performance. He played one of the titular character's first loves in Lady Bird, a film that nabbed Oscar nominations for almost everyone else involved. In his latest movie, Beautiful Boy, he's grappling with addiction — and he'll likely receive plenty of awards love again. This true life drama stands out from Chalamet's recent hits, however, and not in a positive way. His work is exceptional once more, inhabiting rather than performing his troubled character, but the film doesn't do its star justice. Or, to be more accurate, it doesn't do its stars justice. Beautiful Boy is a father-and-son drama as much as it is a deep dive into the trauma wrought by drugs, with Steve Carell as journalist David Sheff and Chalamet as his bright, thoughtful, college-bound son Nic. David can only watch on as Nic escalates from casual marijuana use to an insatiable crystal meth habit, and the respective tolls of bearing witness to, and spiralling through, the depths of addiction are written across Carell and Chalamet's faces. Each actor plays their character like a man possessed, one by trying to understand what drove his boy down this path, the other by an urge that he can't and won't stop indulging. Or perhaps it's that they both seem like they're haunted — by dreams, wants, needs and choices, and by a life that's not what either originally planned. Based on separate memoirs by the actual David and Nic, Beautiful Boy's details are familiar. Viewers first meet David when he's asking an expert exactly what all of these illicit substances are doing to Nic, before the movie jumps back to show the progression to that point and beyond. The Sheff household is happy, with David remarried to painter Karen (Maura Tierney), and Nic getting along with both his stepmother and much-younger half-siblings. But then, suddenly nothing is happy. All that's changed is Nic, and his newfound penchant for getting high rather than burying his head in a book. Soon he's withdrawn and sullen, out late and disappearing for periods of time, and hiding his soulful gaze further and further behind his dark, wavy locks. Every moment that Chalamet and Carell are on screen, either individually or together, it's easy to believe the Sheffs' plight. Beautiful Boy can't answer why Nic dissolves into his addiction, other than the fact he enjoys taking drugs. It can't explain why this thoroughly middle-class family is put through such an ordeal, other than the fact that the unexpected happens. With images that feel both dreamy and gritty simultaneously, what it can do instead is depict the torturous aftermath. The results are authentic and heartfelt, thanks to the film's basis in reality, its brilliant leads, and the stellar support offered by Tierney and Amy Ryan (as David's first wife and Nic's mother). And yet, while the actors make the most intimate, internalised and difficult of emotions ring true, conveying the pain and suffering that clearly changed the Sheffs' lives, the movie itself couldn't be more heavy-handed. Even if it actually happened, having one character read "I just love drugs" in another's diary, or words to that effect, isn't the most subtle of moves. The same applies to Beautiful Boy's use of Nirvana, Neil Young, John Lennon and more on its soundtrack — songs which may stem from the Sheff's real-life music choices, yet are always deployed to obvious effect. While nuance wasn't in director Felix Van Groeningen's wheelhouse when he helmed the heartstring-tugging Broken Circle Breakdown in 2012, he's made a much less effective melodrama this time around. Beautiful Boy is still a moving, affecting picture — with its two main stars putting in some of their best work, how could it not be? — but it never trusts that viewers will respond accordingly. Chalamet and Carell show the audience what the Sheffs went through, however the film itself doesn't just want to tell their story. Rather, it wants to scream it, and to push every sentimental, blunt and cliched button. https://www.youtube.com/watch?v=vaOhgZez1Nk
Since a US remake of Jemaine Clement and Taika Waititi's vampire sharehouse mockumentary What We Do in the Shadow was first hinted to back in 2017 — then confirmed in May the following year — three brief teasers have dropped. Now, finally, us mere mortals have been blessed with a full two-minute trailer. The ten-episode American version is set to air in the US this March, and has been written by Clement and directed by Waititi. It follows three vampire flatmates living in New York City. Despite being written and directed by Clement and Waititi, the duo won't be starring in the new-look series (but may make guest appearances — we hope), instead it'll feature Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou, The Magicians' Harvey Guillen and The Office's Mark Proksch. Unfortunately for Aussie fans, an offical release date has not yet been announced — but it's looking like we will get to see the series. According to ads aired frequently during Foxtel's Golden Globes broadcast, the show is headed to the pay TV network's Fox Showcase channel at a yet-to-be-revealed date. In New Zealand, the ten-episode mockumentary will air on Sky TV's SoHo2 in March. Here's the first full What We Do in the Shadows trailer in all its glory: https://www.youtube.com/watch?v=VWUiU3t5udM The US remake is just the latest addition to the What We Do in the Shadows universe, too. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. And television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, debuted its first season last year and has a second season in the works. What We Do in the Shadows will debut in America on FX on Wednesday, March 27, with a New Zealand screening scheduled on SoHo2. We'll update you as soon as further release dates have been announced.
