When Baz Luhrmann makes a new film, the world takes notice — including the Australian Academy of Cinema and Television Arts and its annual awards. No stranger to heaping the filmmaker's movies with accolades, with every single one of his past flicks from Strictly Ballroom through to The Great Gatsby scoring nominations (and those two specific titles winning Best Film), AACTA has continued the trend by showering the director's latest in 2022 nods. Topping the just-announced nominations for this year's AACTA Awards — which were previously called the AFI Awards, before changing their name — Elvis picked up a whopping 15 nods, the most of any film. The accolades recognise the best and brightest in Australian cinema and television each year, with Mystery Road: Origin also scoring the same amount of noms in the TV categories. In their respective formats, Elvis and Mystery Road: Origin have plenty of company. The former is competing against Here Out West, Sissy, The Drover's Wife The Legend of Molly Johnson, The Stranger and Three Thousand Years of Longing for 2022's Best Film, for instance — and the latter is up against Bump, Heartbreak High, Love Me, The Tourist and Wolf Like Me for the year's best television drama. The winners of those categories, and AACTA's full list of fields, will be announced in early December on two dates: Monday, December 5 and Wednesday, December 7. Also highlights among the film nominees: 13 nominations apiece for The Drover's Wife The Legend of Molly Johnson and Three Thousand Years of Longing, Austin Butler getting an unsurprising Best Actor nomination for playing the King of Rock 'n' Roll, Nude Tuesday scoring a heap of love, acting nods for the powerful Blaze and a whole heap of recognition for The Stranger, including for writer/director Thomas M Wright. And, among the TV cohort, Mystery Road: Origin also picked up five noms in the four acting fields for TV dramas, spanning Mark Coles Smith, Tuuli Narkle, Daniel Henshall, Steve Bisley and Hayley McElhinney; Love Me and The Twelve nabbed ten nominations each across all categories; and Heartbreak High's James Majoos received the show's sole acting nod. Across both film and TV, a heap of international names graced the acting nominations, too, a common AACTAs trend. On 2022's list: Idris Elba and Tilda Swinton for Three Thousand Years of Longing, both the aforementioned Butler and Tom Hanks for Elvis, Sean Harris for The Stranger, Jackie van Beek and Jemaine Clement for Nude Tuesday, Joanna Lumley for Falling for Figaro and Jamie Dornan for The Tourist. Here's a selection of this year's major AACTA nominations, ahead of the awards' ceremonies on Monday, December 5 and Wednesday, December 7 — and you can check out the full list on AACTA's website: AACTA NOMINEES 2022: FILM AWARDS: BEST FILM Elvis Here Out West Sissy The Drover's Wife The Legend of Molly Johnson The Stranger Three Thousand Years of Longing BEST INDIE FILM A Stitch In Time Akoni Darklands Lonesome Pieces Smoke Between Trees BEST DIRECTION Baz Luhrmann, Elvis Hannah Barlow and Kane Senes, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller, Three Thousand Years of Longing BEST LEAD ACTOR Austin Butler, Elvis Rob Collins, The Drover's Wife The Legend of Molly Johnson Joel Edgerton, The Stranger Idris Elba, Three Thousand Years of Longing Damon Herriman, Nude Tuesday BEST LEAD ACTRESS Aisha Dee, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Julia Savage, Blaze Tilda Swinton, Three Thousand Years of Longing Jackie van Beek, Nude Tuesday BEST SUPPORTING ACTOR Simon Baker, Blaze Jemaine Clement, Nude Tuesday Malachi Dower-Roberts, The Drover's Wife The Legend of Molly Johnson Tom Hanks, Elvis Sean Harris, The Stranger BEST SUPPORTING ACTRESS Jada Alberts, The Stranger Jessica De Gouw, The Drover's Wife The Legend of Molly Johnson Olivia DeJonge, Elvis Joanna Lumley, Falling For Figaro Yael Stone, Blaze BEST SCREENPLAY Baz Luhrmann, Sam Bromell, Craig Pearce and Jeremy Doner, Elvis Jackie van Beek, Nude Tuesday Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller and Augusta Gore, Three Thousand Years of Longing BEST DOCUMENTARY Ablaze Clean Everybody's Oma Franklin Ithaka River TELEVISION AWARDS: BEST DRAMA SERIES Bump Heartbreak High Love Me Mystery Road: Origin The Tourist Wolf Like Me BEST TELEFEATURE OR MINISERIES Barons Savage River The Twelve True Colours Underbelly: Vanishing Act BEST COMEDY PROGRAM Aftertaste Five Bedrooms Hard Quiz Shaun Micallef's Mad as Hell Spicks and Specks Summer Love BEST LEAD ACTOR IN A TELEVISION DRAMA Mark Coles Smith, Mystery Road: Origin Jamie Dornan, The Tourist James Majoos, Heartbreak High Sam Neill, The Twelve Hugo Weaving, Love Me BEST LEAD ACTRESS IN A TELEVISION DRAMA Isla Fisher, Wolf Like Me Claudia Karvan, Bump Kate Mulvany, The Twelve Tuuli Narkle, Mystery Road: Origin Bojana Novakovic, Love Me BEST COMEDY PERFORMER Wayne Blair, Aftertaste Patrick Brammall, Summer Love Harriet Dyer, Summer Love Tom Gleeson, Hard Quiz Charlie Pickering, The Weekly with Charlie Pickering Doris Younane, Five Bedrooms BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Hayley McElhinney, Mystery Road: Origin Jacqueline McKenzie, Savage River Heather Mitchell, Love Me Brooke Satchwell, The Twelve Magda Szubanski, After the Verdict BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Steve Bisley, Mystery Road: Origin Brendan Cowell, The Twelve Daniel Henshall, Mystery Road: Origin Damon Herriman, The Tourist Thomas Weatherall, Heartbreak High
Can you feel a tingling in your toes as your feet start to defrost? That's the feeling of winter slipping away (or maybe you've been sitting cross-legged for too long) and with its demise comes the return of Australia's beloved Moonlight Cinema. Ahhh balmy nights on the grass, we have missed you. Heralding the coming of the warmer months, Moonlight Cinema is a summertime tradition that is thankfully making a comeback despite everything that 2021 has thrown our way — hitting up screens in Sydney (including western Sydney), Melbourne, Adelaide, Brisbane and Perth as usual. Nosh-wise, Moonlight Cinema will again let you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can also enjoy a plethora of bites to eat from food trucks — perfect, messy treats made for reclining on bean beds. The overall season runs from November through to April, although it varies city by city. As for what'll be screening, expect to hear what's on the bill later this month — before the season kicks off in Brisbane and Adelaide on Friday, November 26, obviously. MOONLIGHT CINEMA 2021–22 DATES Adelaide: Friday, November 26–Sunday, January 16 (Rymill Park) Brisbane: Friday, November 26–Sunday, February 20 (Roma Street Parkland) Melbourne: Thursday, December 2–Sunday, March 27 (Royal Botanic Gardens) Perth: Thursday, December 2–Sunday, March 27 (Kings Park and Botanic Garden) Sydney: Thursday, December 9–Sunday, April 3 (Centennial Park) Western Sydney: Thursday, November 16–Sunday, January 30 (Western Sydney Parklands) Moonlight Cinema kicks off in November 2021, running through until April 2022. For more information, visit the cinema's website — and we'll update you with program details when they're announced later this month.
Mona Foma, MONA's wild and weird summer music and arts festival, is back for 2018. And this time around, it's set to eclipse all previous incarnations, with the festival adding a program of Launceston events to its usual Hobart lineup. Further to the announcement of the MONA hotel and the move to Launceston back in July, this beefed-up presence also heralds the festival's biggest, most eclectic program to date, thanks largely to funding from the State Government. The Mofo 2018 lineup is a cracker, delivering 11 days of thought-provoking art and music to Tasmania's two largest cities and celebrating creativity and personal expression in all forms. Running from January 12 to 14, the Launceston leg will see singer-songwriter Gotye join the Ondioline Orchestra to pay homage to renowned French electronic composer Jean-Jacques Perrey (January 12 and 13), as well as a dance performance by Canada's The Holy Body Tattoo, scored live by post-rockers Godspeed You! Black Emperor (also January 12 and 13). Mofo's northern run will culminate with a huge, free party on January 14. To follow, January 19 to 21 will mark Mofo's final MONA appearance for a while, so it's exiting with a bang. The museum's outdoor stage will feature performances from the likes of punk poet Moor Mother, all-female Argentinian act Fémina and a collaboration between Tassie bassist Nick Haywood and The Hobart Liberation Orchestra. Martin Blackwell will deliver a 24-hour continuous performance soundtracked by an array of global instruments, while the MONA tennis courts play host to a challenging fashion runway courtesy of SAAKA's Hunger for Gluttony. Elsewhere in Hobart, the Violent Femmes will perform with the Tasmanian Symphony Orchestra, a one-day mini-Mofo will pull together local acts like Comrad XERO, Crypt Vapor and Phillipa Stafford, and the festival's official after-party Faux Mo will take over a huge new waterfront space at MAC2. Mona Foma 2018 will take place at venues across Launceston from January 12–14, at MONA from January 19–21 and across Hobart from January 15–22. Tickets are available here from Monday, October 16.
While it may be a household name in Australian aviation, Jetstar hasn't exactly made waves within the LARPing community until now. Not sure what LARPing means? To get you up to speed, it's live-action role-playing. Similar to cosplaying, it involves dressing as historical or fictional characters with a fantasy theme, but it goes a step further by encouraging participants to play the role of their character as an actor would, often partaking in a friendly duel or battle. It might sound like a big commitment to get into this community, but with the oh-so-tempting offer of winning a share in a $50,000 flights voucher on the cards, now is the best time to give it a go. 21st birthdays often involve a lot more alcohol and live music than this, but historically, a 21st birthday marks a transition into adulthood and a time when a squire can earn the honour of knighthood. Jetstar isn't subverting expectations of birthdays with ancient traditions just to have a laugh — it's taking its 'Knights of the Skies' tournament on Sunday, May 25, very seriously. To put together this contest of champions, it's partnered with Swordcraft, Australia's largest LARPing organisation, who are lending trained LARPer warriors to bolster the ranks of the competition. And since every battle needs an overseer, radio host Liam Stapleton will play host… and a wizard, too. On the day, each participant will be divided into one of two teams. The last eight participants not to be felled by a mightier opponent will get the chance to claim a share in the prize: a $50,000 flight voucher, while runners-up can claim $1,000 vouchers. To enter, all you need to do is craft a medieval costume, the more DIY the better, and share it on Instagram, tagging @jetstaraustralia and #KnightsOfTheSkies, or sharing it via Instagram DM. The field of battle is yet to be decided, but will be somewhere within the kingdom of Melbourne, so keep an eye on Jetstar's social media to find out more. Jetstar's Knights of the Skies tournament will take place at an as-of-yet undecided location on Sunday, May 25. Follow Jetstar Australia on Instagram for more information.
The BrisStyle team is a rather busy bunch. A few times a year, it puts on twilight markets in King George Square, but that isn't its only regular event. If you're particularly after a treasure trove of handmade goodies — and who isn't? — it hosts another opportunity to browse and buy that's dedicated to exactly those kinds of objects. Fashion, art, jewellery, homewares — if someone's been using their nimble fingers to make it, then you can probably trade your hard-earned cash for their hard work. In fact, there'll be more than 70 artisans selling their wares. And, while you're shopping, you'll also be able to grab a bite at the onsite cafe and listen to live tunes from local musos. The BrisStyle Handmade Markets next take place on Saturday, October 24, so mark your calendars now. Head along from 9am–3pm, with it all taking place in the Queensland Museum's whale mall. Image: BrisStyle.
Hotel Morris is an impressive design-led boutique hotel with a sense of warm, understated luxury as well as a fantastic wine bar Bar Morris. Hotel Morris is tucked away on Pitt Street in Haymarket not far from the best of Chinatown, the Sydney CBD, and Surry Hills. The heritage listed property first opened as a hotel in 1929 — a design showcase for architect Virgil Dante Cizzio's interpretation of the Inter-War Palazza style. It underwent a significant refurb before reopening in 2023, boasting beautiful new finishes and detail while maintaining the elegance of its historic Italian influence. The exterior has been refurbished to retain the original design, with a bold white and red sign proudly exclaiming 'Hotel Morris' out the front. Inside, art deco-leaning suites welcome guests with Jarrah wood accents and custom furniture that pays homage to the history of the building. Downstairs, the aforementioned Bar Morris continues the building's design with a sleek 40-seat space built around pink marble, velvet, leather, timber flooring, and vibrant flourishes of red.
First, the bad news: Brewsvegas, Brisbane's annual celebration of beverages, doesn’t take place until March. Now, the good news: they're unveiling their lineup this week at the ideal summer event for those who like to cool off with both a beer and a swim. Say hello to the Great Brewsvegas Pool Party and Program Launch, aka the get-together that wants to amp up your excitement not once, but twice. We're not sure what we're more pumped about — descending upon Ithaca Pool ready for an evening of splashing about, or getting a glimpse of all the awesome 2016 fun to come. The correct answer is both, of course. And with surf rock band The Wet Fish cranking out the on-theme tunes, Juan More Taco food truck serving up their festive foods and Fortitude Brewing Co unleashing this year's official Brewsvegas Beer at the launch, expect those excitement levels to keep on growing.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Maybe you're in lockdown. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's nine you can watch right now at home. THE SPARKS BROTHERS "All I do now is dick around" is an exquisite song lyric and, in Sparks' 2006 single 'Dick Around', it's sung with the operatic enthusiasm it demands. It's also a line that resounds with both humour and truth when uttered by Russell Mael, who, with elder brother Ron, has been crafting art-pop ditties as irreverent and melodic as this wonderful track since 1969. Sparks haven't been dicking around over that lengthy period. They currently have 25 albums to their name, and they've taken on almost every genre of music there is in their highly acerbic fashion. That said, their tunes are clearly the biggest labour of love possible, especially as the enigmatic duo has always lingered outside the mainstream. They've had some chart success, including mid-70s hit 'This Town Ain't Big Enough for the Both of Us', Giorgio Moroder collaboration and disco standout 'The Number One Song in Heaven', and the supremely 80s 'Cool Places'. They're beloved by everyone from Beck and 'Weird Al' Yankovic to Jason Schwartzman and Mike Myers, too. They're the band that all your favourite bands, actors and comedians can't get enough of, but they're hardly a household name — and yet, decade after decade, the Maels have kept playing around to make the smart, hilarious and offbeat songs they obviously personally adore. Everyone else should love Sparks' idiosyncratic earworms as well — and, even for those who've never heard of the band before, that's the outcome after watching The Sparks Brothers. Edgar Wright, one of the group's unabashed super fans, has turned his overflowing affection into an exceptional documentary. It's the Shaun of the Dead, Hot Fuzz and Baby Driver's first factual effort, and it's even more charming and delightful than the films he's best known for. That said, it'd be hard to mess up a movie about Sparks, purely given how much material there is to work with. Russell and Ron, the former sporting shaggier hair and the latter donning a pencil-thin moustache rather than the Charlie Chaplin-style top lip he's brandished for much of his career, are also heavenly interviewees. That's the thing about these now-septuagenarian siblings, every Sparks tune they've ever blasted out into the world, and this comprehensive yet always accessible film that's instantly one of 2021's best: they're all joyously, fabulously, eccentrically fun to an infectious and buoyant degree. The world has always needed more Sparks on a bigger stage; now, to the benefit of everyone that's ever loved them and anyone just discovering them, it's stopped dicking around and is finally delivering The Sparks Brothers is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. LITTLE JOE Pipes blow gently. The camera swirls. Rows of plants fill the screen. Some are leafy and flowery as they reach for the sky; others are mere stems topped with closed buds. Both types of vegetation are lined up in boxes in an austere-looking laboratory greenhouse — and soon another shoot of green appears among them. Plant breeder Alice (Cruella's Emily Beecham, who won the Cannes Film Festival's Best Actress award for her work here) is cloaked in a lab coat far paler than any plant, but the symbolism is immediately evident. Audiences don't know it yet, but her shock of cropped red hair resembles the crimson flowers that'll blossom in her genetically engineered new type of flora, too. "The aim has been to create a plant with a scent that makes its owner happy," she tells a small audience. She explains that most research in her field, and in this lab, has revolved around cultivating greenery that requires less human interaction; however, her new breed does the opposite. This species needs more watering and more protection from the elements, and responds to touch and talk. In return, it emits a scent that kickstarts the human hormone oxytocin when inhaled. Linked to parenting and bonding, that response will make everyone "love this plant like your own child," beams Alice like a proud parent. So starts Little Joe, which shares its name with the vegetation in question — a "mood-lifting, anti-depressant, happy plant," Alice's boss (David Wilmot, Calm with Horses) boasts. She's borrowed her own teenage son's (Kit Connor, Rocketman) moniker for her new baby, although she gives it more attention than her flesh-and-blood offspring, especially with the push to get it to market speeding up. The clinical gaze favoured by Austrian filmmaker Jessica Hausner (Amour fou) is telling, though. The eerie tone to the feature's Japanese-style, flute- and percussion-heavy score sets an uneasy mood as well. And, there's something not quite right in the overt eagerness of Alice's lab colleague Chris (Ben Whishaw, Fargo), and in the way that Planthouse Biotechnologies' other employees all instantly dismiss the concerns of the one naysayer, Bella (Kerry Fox, Top End Wedding), who has just returned to work after a mental health-induced sabbatical. Making her first English-language feature, Hausner helms a disquieting and anxious sci-fi/horror masterwork. Like many movies in the genre, this is a film about possibilities and consequences, creation and its costs, and happiness and its sacrifices — and about both daring to challenge and dutifully abiding by conformity — and yet it's always its own beast. There are aspects of Frankenstein at play, and The Day of the Triffids, and even Side Effects also. But as anyone familiar with Mary Shelley's iconic work knows, combining familiar elements can result in an intriguing new entity that's much more than just the sum of its parts. Little Joe is available to stream via Google Play and YouTube Movies. Read our full review. STREAMLINE Chasing a dream can feel like swimming through cool water on a hot summer's day — gliding, splashing and laidback paddling all included — with each refreshing stroke propelling you closer towards your own personal finish line. That's when everything is going well, of course, and when whatever your heart and mind desires seems as if it's waiting at the end of the pool. Otherwise, when you're bogged down by everyday minutiae and nothing seems to inch forward, working towards a set goal can also resemble treading water. It can mirror repetitively doing laps, too, when your destination seems out of sight despite all the hard work you're putting in. And, if you're tired and fed up with all the effort needed to even keep afloat — and when your heart is no longer in it — it can feel like floundering and drowning. In Streamline, all of these sensations and emotions bubble up for 15-year-old Benjamin Lane (Levi Miller, A Wrinkle in Time), as he pursues a professional swimming career, a spot in a prestigious squad in Brisbane and, ideally, an Olympics berth and all the glory that goes with it. Indeed, one of the delights of this Australian movie, which boasts Ian Thorpe as one of its executive producers, is how evocatively it sprinkles these swashes of feelings across the screen. Written and directed by feature first-timer Tyson Wade Johnston, Streamline is a sports drama as well as a small town-set family drama — and it's also a portrait of that time when you're expected to dive headfirst into adulthood, and into knowing what you want to do with the rest of your life, but you're also inescapably wracked with uncertainty and apprehension. Teenage awkwardness and angst aren't simple states to capture on-screen, although enough coming-of-age movies have been buoyed by both; however, Streamline opts to plunge deep into the existential stress that goes beyond feeling out of place with your peers or being annoyed at your parents. Its protagonist, who everyone just calls Boy, only really connects with his girlfriend and best friend Patti (Tasia Zalar, Mystery Road) at school. And, he's definitely mad at his mother and father. He resents his single mum Kim's (Laura Gordon, Undertow) efforts to keep him focused, which he sees as controlling rather than nurturing. He's doing tumble turns internally over his dad Rob (Jason Isaacs, Creation Stories), who's just been released from prison and has never been a positive influence in his life. Boy is also furious at his surrogate father figure, Coach Clarke (Robert Morgan, The Secrets She Keeps), for all the cajoling that coaches tend to give. But, mostly the swimming prodigy is unsure — about what he wants, what he's been told he wants and what to do next. Streamline is available to stream via Stan. Read our full review. THE SUICIDE SQUAD New decade, new director, new word in the title — and a mostly new cast, too. That's The Suicide Squad, the DC Extended Universe's new effort to keep viewers immersed in its sprawling superhero franchise, which keeps coming second in hearts, minds and box-office success to Marvel's counterpart. Revisiting a concept last seen in 2016's Suicide Squad, the new flick also tries to blast its unloved precursor's memory from everyone's brains. That three-letter addition to the title? It doesn't just ignore The Social Network's quote about the English language's most-used term, but also attempts to establish this film as the definitive vision of its ragtag supervillain crew. To help, Guardians of the Galaxy filmmaker James Gunn joins the fold, his Troma-honed penchant for horror, comedy and gore is let loose, and a devil-may-care attitude is thrust to the fore. But when your main aim is to one-up the derided last feature with basically the same name, hitting your target is easy — and fulfilling that mission, even with irreverence and flair, isn't the same as making a great or especially memorable movie. Indeed, a film can be funny and lively, use its main faces well, have a few nice moments with its supporting cast and improve on its predecessor, and yet still fall into a routine, unsuccessfully wade into murky politics, never capitalise upon its premise or promise, keep rehashing the same things, and just be average, too — and right now, that film is The Suicide Squad. Mischief abounds from the outset — mood-wise, at least — including when no-nonsense black-ops agent Amanda Waller (Viola Davis, Ma Rainey's Black Bottom) teams up Suicide Squad's Rick Flag (Joel Kinnaman, The Secrets We Keep), Captain Boomerang (Jai Courtney, Honest Thief) and Harley Quinn (Margot Robbie, Dreamland) with a few new felons for a trip to the fictional Corto Maltese. Because this movie has that extra word in its title, it soon switches to another troupe reluctantly led by mercenary Bloodsport (Idris Elba, Concrete Cowboy), with fellow trained killer Peacemaker (John Cena, Fast and Furious 9) and the aforementioned Polka-Dot Man (David Dastmalchian, Bird Box), Ratcatcher 2 (Daniela Melchior, Valor da Vida) and King Shark (Sylvester Stallone, Rambo: Last Blood) also present. Their task: to sneak into a tower on the South American island. Under the guidance of The Thinker (Peter Capaldi, The Personal History of David Copperfield), alien experiment Project Starfish has been underway there for decades (and yes, Gunn makes time for a butthole joke). In this movie about cartoonish incarcerated killers doing the US government's dirty work, Waller has charged her recruits to destroy the secret test, all to ensure it isn't used by the violent faction that's just taken over Corto Maltese via a bloody coup. The end result is silly and goofy, fittingly — and yet, even when a supersized space starfish gets stompy (think: SpongeBob SquarePants' best bud Patrick if he grew up and got power-hungry), this sequel-slash-do-over is never as gleefully absurd as it should be. Again and again, even when Gunn's gambit works in the moment, that's how The Suicide Squad keeps playing out. The Suicide Squad is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. REMINISCENCE The look is all Blade Runner. The idea owes a few debts in that direction, too. In Reminiscence's vision of the future, androids don't dream of electric sheep; however, humans do escape into memories while they slumber in a tank of water, reliving and interacting with cherished moments from their past as if they're happening again right that instant. The mood takes a bit of the aforementioned sci-fi classic's tone, and Blade Runner 2049's as well, but then doubles down on the noir, and on some of the plot twists. Playing a veteran of a post-flood war that's seen Florida split into the haves and the have-nots, and also a man in possession of the technology and know-how to let paying customers reminisce, Hugh Jackman (Bad Education) isn't ever told "forget it Nick Bannister, it's Miami". Given that Reminiscence often feels like it wants to be a futuristic take on Chinatown, that wouldn't phrase feel out of place in the slightest, though. This is a film that lets its influences flicker to the surface that forcefully. It trades in memories, too, conjuring up a long list of smarter fare. And while it gives Westworld co-creator Lisa Joy a new outlet for many of the themes that've always hovered through the hit HBO show — primarily humanity's increasing disconnection with each other, and the growing yearning to find solace in either artificial or nostalgic settings, or both — she gleefully treads in her own footsteps. Or, the writer/director gives the ideas she's clearly fascinated with a different appearance and atmosphere than she's been working with on TV, but still largely enjoys the same toys. Perhaps Joy just gets comfort from the familiar, just like Bannister's clients. That might ring with more truth if Reminiscence didn't primarily use its intriguing underlying concept — a notion with plenty of promise, even as it nods to sci-fi gems gone by — to wrap up a romance in a mystery in a flimsy fashion. The hard-boiled Bannister has settled into his routine guiding people through their personal histories, with assistance with his ex-military colleague Watts (Westworld's Thandiwe Newton), until the film's femme fatale walks through the door asking for help. Singer Mae (Rebecca Ferguson, Doctor Sleep) has lost her keys, wants to use Bannister's tech to find them and ends up earning his besotted affection in the process. Then bliss turns to heartache when she disappears suddenly. Bannister is as obsessed with tracking her down as he is with her in general when they're together, but secrets about the woman he realises he never really knew keep being pushed to the fore as he searches. Also prominent: dialogue that feels like it's parodying all the movies that Reminiscence is copying, which drags the feature down word by word. Thankfully, Jackman, Newton and Ferguson's performances exceed the trite phrases that they're repeatedly forced to utter. The film's look and feel gleam and haunt by design, even though they also shine with and are haunted by the greats of a genre Joy clearly loves; however, this ends up being a movie about revelling in the past that happily plays it safe instead of striding into the future. Reminiscence is available to stream via Google Play, YouTube Movies and iTunes. SOME KIND OF HEAVEN If you didn't know that Some Kind of Heaven was a documentary, you might think that it was a skit from I Think You Should Leave with Tim Robinson. The same kind of social awkwardness that makes the Netflix sketch comedy such an equally savage and hilarious watch is present in this factual look at the retirement community also dubbed "god's waiting room": The Villages, Florida, the world's largest master-planned, age-restricted locale of its kind, and home to more than 120,000 people. This is a place for folks aged over 55 to live in multiple senses of the world. Couples tend to move there, then sign up for some of the thousands of activities and clubs that get them out dancing, kayaking, cheerleading, swimming and more. If a resident happens to be on their own — usually after their partner's passing — they can get involved in the local singles club, too. Around since the early 80s, and also described as "Disney World for retirees", this community is meant to be a dream. It was specifically designed to resemble the kinds of small towns its inhabitants likely grew up in, right down to the shop-filled main street and the large town square, and locals aren't ever meant to want to leave. But as Some Kind of Heaven follows four folks who've made The Villages their home — including one ex-Californian import that's just squatting — it demonstrates the reality that lingers behind the busy facade and glossy sales pitch. Requiem for a Dream's Darren Aronofsky is one of the doco's producers and, while Mother!-style horrors never quite pop up, this isn't a portrait of bliss by any means. Many of The Villages' residents are clearly happy. In his first feature-lengthy documentary, filmmaker Lance Oppenheim trains his gaze at people who aren't likely to appear in any of the community's brochures, however. Every shot lensed by cinematographer David Bolen (1BR) and boxed into the film's square frame is scenic and striking — Some Kind of Heaven sports an exquisite eye for visual composition — but much of what the movie depicts feels like stepping into a surreal alternative realm. (In one sequence, the camera meets a room filled with women called Elaine, all of whom introduce themselves one after one — and it's a scene that could've come straight out of any one of David Lynch's visions of suburban horror.) Approaching their 47-year wedding anniversary, Reggie and Anne think they've found the place for them. That's what they're both saying, at least, but The Villages means different things for each of them. Reggie has used the move to embrace his love of drugs and doing whatever he wants, and Anne has once again been forced to stand by his side, including when he's sent to court and admonished for his rudeness while representing himself. Then there's Barbara, a widow from Boston who didn't ever plan to live in Florida alone. She still works full-time, a rarity among her fellow residents, and she yearns for the company she thinks a margarita-loving golf cart salesman might bring. Rounding out the interviewees is the sleazy Dennis, an 81-year-old living in his van until he can find an attractive and rich woman to marry. Some Kind of Heaven doesn't judge him, or anyone else in its frames, but it lets these stories speak volumes about a place positioned as a fantasy land and yet really just bringing out the chaotic teenager inside everyone. Some Kind of Heaven is available to stream via Docplay. WEREWOLVES WITHIN The last time that filmmaker Josh Ruben trekked to a snowy mountainous locale and tracked the characters stranded in its midst, Scare Me was the end result, with the entertaining horror-comedy combining cabin fever chaos with creepy tales. Accordingly, it's easy to see how he's jumped from that Sundance hit to Werewolves Within, which shares the same kind of setting and setup — but with lycanthropes and a whodunnit twist. Forest ranger Finn (Sam Richardson, Promising Young Woman) has just arrived in the remote town of Beaverfield as the weather turns and the strange attacks start. He's barely been given a tour by fellow outsider Cecily (Milana Vayntrub, This Is Us), the local mail carrier, when the village's generators are found destroyed and the bodies start piling up. Finn has already established that he's surrounded by eccentric characters, including an oilman (Wayne Duvall, The Trial of the Chicago 7) trying to build a pipeline through the foliage, a store owner (Michaela Watkins, Search Party) obsessed with her dog, a constantly arguing couple (No Activity's George Basil and Barry's Sarah Burns) with a fondness for skirting the law, and a pair of ex-city slickers (What We Do in the Shadows' Harvey Guillén and Saved by the Bell's Cheyenne Jackson); however, he's soon forced into close quarters with his new neighbours as they all try to work out who's transforming into a ravenous creature and indulging their hunger. If it all sounds a bit like Cluedo but with werewolves, there's a reason for that; the 2016 virtual reality game that Werewolves Within is based on also matches that description. Adapted into a movie, the narrative aims for Knives Out with claws — but, while overflowing with one-liners, sight gags and a healthy sense of humour to a not just jam-packed but overstuffed degree, the end result is never as funny as it should be. It's never quite as fun, either, even though the concept is a winner on paper. Comedian-turned-screenwriter Mishna Wolff spends far too much time trading in the glaringly apparent, not to mention the predictable. Hell is other people here, and the fact that a seemingly quaint and friendly small town can be filled with deceit, duplicity and disaster is hardly a new observation (and neither is the musing that the sniping within the community just might be worse than the supernatural threat they're now facing). That almost every character remains purely one-note doesn't help, and nor do the over-amped performances given by all of the film's supporting players. Richardson is a delight, though, as he has been in everything from Detroiters to Veep. Indeed, he makes the case not just for more work, but for more leading roles. Vayntrub sinks her teeth into her part, too, and her rapport with Richardson is one of the movie's highlights. Also engaging: the off-kilter tone that Ruben adopts throughout, again aping his previous — and better — feature. Werewolves Within is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. THE ICE ROAD They're called ice road truckers and, between 2007–17, they earned their own reality TV series on the History Channel. They're the folks who don't just drive while it's frosty, but steer big rigs onto frozen lakes and rivers in Alaska and Canada — using routes obviously only available in winter to haul freight from one point to another. And, they're the focus of The Ice Road. In his latest stock-standard action flick following Honest Thief and The Marksman in the past year alone, Liam Neeson joins the ice road trucking fraternity, although his character only does so as a last resort. A seasoned long-haul driver, Mike McCann has had trouble holding down a job ever since he started caring for his Iraq War veteran brother Gurty (Marcus Thomas, The Forger), who came home with PTSD and aphasia, and is also a gifted mechanic. The pair have just been fired from their latest gig, in fact, when they see Jim Goldenrod's (Laurence Fishburne, Where'd You Go, Bernadette) callout for help driving gas wellheads to a remote Manitoba site where 26 miners have been trapped by an explosion. It's a dangerous task, and one that calls for three trucks making the distance as quickly and carefully as possible. Mike and Gurty set out in one vehicle, Jim in another, and Native American driver Tantoo (Amber Midthunder, Roswell, New Mexico) and mining company insurance agent Tom Varnay (Benjamin Walker, The Underground Railroad) hop into the third rig, but transporting their cargo and saving the buried workers is a tense and treacherous mission. Much about The Ice Road will sound familiar to anyone who's seen Sorcerer, William Friedkin's stellar 1977 thriller about trucking volatile dynamite along a rocky South American road — which adapted 1950 French novel The Salary of Fear, a book that first reached cinemas via 1953's Cannes Palme d'Or-winning The Wages of Fear. This isn't an acknowledged remake, but icy, however. It'd be far better if it was, because the tension that ripples from simply driving along the titular route is The Ice Road's strongest element. In the feature's first half, after setting the scene for both the McCanns and the miners, writer/director Jonathan Hensleigh (Kill the Irishman) stresses the perils of trucking down frozen rivers. Bobbleheads placed on dashboards wobble whenever the ice threatens to become unstable, pressure waves shimmer and action-movie stress bubbles within the film's gleaming white images. That'd be enough to sustain the movie, but Hensleigh believes otherwise, which is where predictable double-crossing on the ice, among the stranded miners and back at company headquarters comes in. Even Neeson can't make the long list of cliches that fill The Ice Road's script entertaining, not that he seems to be trying all that hard. He's gruff and grizzled, and he yells, punches and fights for what's right, but he also just makes viewers wish they were watching him confront wolves in excellent survival thriller The Grey, or drive a snowplough in the average Cold Pursuit. Unsurprisingly, the rest of the cast fare just as badly, including the thoroughly wasted Fishburne and Midthunder, and Mindhunter's Holt McCallany as one of the miners. The Ice Road is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. ESCAPE ROOM: TOURNAMENT OF CHAMPIONS More than once in Escape Room: Tournament of Champions, a supporting performance stands out — and not for the right reasons. Overdone and obvious, these portrayals leave audiences with no doubt that the corresponding characters are part of the game that this franchise has been playing for two movies now. The overall premise of this series sees ordinary folks receive invites that lead them into a maze of escape rooms. These are literal life-and-death spaces, and the body count grows room by room. This time around, Zoey (Taylor Russell, Words on Bathroom Walls) and Ben (Logan Miller, Love, Simon), the sole survivors of 2019's series starter, are trying to track down the villains responsible for the death traps. Of course, they're soon stuck in another one, alongside four fellow winners (In Like Flynn's Thomas Cocquerel, Follow Me's Holland Roden, Queen & Slim's Indya Moore and Step Up: High Water's Carlito Olivero) from other games. There's supposed to be a sense of anxiousness about where the escape rooms begin and the outside world ends, and vice versa, but that's completely stripped out of this second effort. Throughly unsubtle bit-part performances, even for a movie this blatant at every turn, will do that. Escape Room: Tournament of Champions is still tense when Zoe, Ben and their fellow pawns are trying to sleuth their way to safety, thankfully, but that's largely a result of giving them twisty puzzles to solve at an urgent pace. Watching people trying to problem-solve quickly comes with innate tension. Will they succeed? Won't they? The seesawing between those two extremes is inherently suspenseful. That, and the rooms themselves, are two of Escape Room: Tournament of Champions' three highlights. The third: Russell, who is capable of so much more — as seen in Waves, for example — and gives her part here more depth than is written on the page. But, as much as returning director Adam Robitel (Insidious: The Last Key) tries to spin something memorable out of the nervous tone, elaborate spaces and Russell's presence, the repetition and overtness gets tiring fast. While individual scenes may be tense, the overall film never is. It's always apparent where the narrative is headed, even when the six credited writers (Mortal Kombat's Oren Uziel, Hand of God's Daniel Tuch, Counterpart's Maria Melnik, The Hive's Will Honley, Invincible's Christine Lavaf and Wildling's Fritz Böhm) think they're serving up surprises; thought has clearly gone into the minutiae of each escape room, and yet little seems to have been afforded the bigger picture. Visually, and in its soundtrack, every stylistic touch paints by the numbers, too. Also much too predictable: that the film is a setup for yet more to follow. The Final Destination franchise has ratcheted up five instalments so far, so the Escape Room series, the closest thing it has to a successor, can obviously keep milking its setup for several more formulaic movies to come. Escape Room: Tournament of Champions is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. THE MISFITS Imagine Robin Hood meets Ocean's Eleven meets the Fast and Furious franchise, but helmed by the filmmaker behind Deep Blue Sea, and somehow starring the unlikely combination of Pierce Brosnan (Eurovision Song Contest: The Story of Fire Saga), Tim Roth (Luce) and rapper/comedian/TV presenter Nick Cannon (Chi-Raq). Then, picture a film set in the fictional Jeziristan, because appropriating a particular culture and applying it to a made-up place is apparently okay by this flick's powers-that-be — and also envision a movie so blatant with its Islamophobia at every turn that Cannon's character is almost constantly making fun of Middle Eastern accents and Arabic names, citizens of this part of the globe are largely depicted as terrorists or psychopaths, a group of villains is called the Muslim Brotherhood, but all the gloss and glitz of Abu Dhabi, where the movie is shot, is leered at (as are the scantily clad women seen in its hotels, too). No one wants to visualise this flick, but unfortunately it exists. And yes, The Misfits is as atrocious as it sounds. Director Renny Harlin (who also has Cliffhanger and The Long Kiss Goodnight to his name) seems like he's simply trying to recreate shots, looks and scenes he likes from far better films, but badly. And, the fact that co-screenwriter Kurt Wimmer also has the atrocious 2015 remake of Point Break on his resume makes a huge amount of sense, because this bag of tripe just stitches together plot points from almost every other heist feature there is (as exacerbated by dialogue as bland and cliched as every aspect of the narrative). A big contender for the worst movie to reach Australian cinemas this year, and a film that surely wouldn't have ever gotten the chance if the pandemic hadn't upended the theatrical release slate, The Misfits brings together a ragtag gang of well-meaning criminals. They anoint themselves with the movie's moniker after ruling out 'motley crew' for obvious reasons, if you're wondering how stupid and inane this feature gets — and quickly. Bank robber Ringo (Cannon) usually flexes his light-fingered skills to rip off the wealthy and give back to the poor, so obviously he's keen to form a makeshift family with martial arts expert Violet (Jamie Chung, Lovecraft Country), who likes punishing terrible men; explosives-obsessed Wick (Thai popstar Mike Angelo), who blows up nasty businesses; and 'the Prince' (Rami Jaber, Tough Love), who may or may not be royalty in another made-up country. Their next target: a vault of gold hidden inside a maximum-security Jeziristan jail overseen by nefarious businessman Warner Schultz (Roth). Their latest recruits: UN-employed humanitarian Hope (Hermione Corfield, Sea Fever) and, if she can convince him, her conman dad Richard Pace (Brosnan), who of course has a history with their mark. Much that happens is nonsensical, which also applies to the messily staged and shot action scenes. The movie's sexism goes hand in hand with its blatant racism, too. Daddy issues, second chances, car chases, slow-motion explosions, pointless visual tricks — that's all part of this hideous package as well, alongside absolutely zero subtlety or enjoyment. The Misfits is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Looking for more at-home viewing options? Check out our lists of movies fast-tracked from cinemas to streaming back in May, June, July and August. You can also take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows.
Australia's first Mondrian hotel is already rather bougie, combining high-end design, stellar dining and beachfront views that never get old. Yet this five-star addition to Burleigh Heads has a brand-new escape, Nourish & Flow, that marries coastal bliss and restorative self-care in a single experience, now bookable until Monday, November 30. Made for times when you want to focus a little more on yourself, this serene accommodation package at Mondrian Gold Coast offers wall-to-wall peace and rejuvenation. Staying overnight in a luxury room, it includes two tickets to Mondrian Moves — Sunday Flow or Mindful Mondays — so you ease into the day with ocean air, boundless sunlight and regenerative yoga or pilates. Then, guests gain access to the hotel's Himalayan salt room to add some detoxifying goodness and dopamine-boosting encounters to their visit. Meanwhile, you're welcome to explore Mondrian Gold Coast's magnesium pools and fully kitted-out gym 24/7, ensuring you can maximise your relaxation throughout your stay. Back in your room, guests also receive an indulgent Synergie Skincare gift pack, plus there are numerous optional extras to consider. Think touchless therapy at CIEL Spa or thoughtfully balanced menus at in-house restaurants such as LiTO and Haven. With a stunning shoreline also on your doorstep, expect Nourish & Flow to deliver serenity at every moment. Images: Mietta Eve.
Every year, once gifts have been given, turkey and prawns devoured, drinks sipped and backyard games of cricket played, the festive season delivers another treat. Whatever you spend your Christmas Day doing, Boxing Day is just as exciting if you're a movie buff — or even simply eager to escape the weather, and your house, to relax in air-conditioning and watch the latest big-screen releases. 2020 might've seen cinemas Down Under spend months empty, with projectors silent, theatres bare and the smell of popcorn fading; however, the country's picture palaces are well and truly back in business. And, they're screening a wide array of Boxing Day fare as always — so at least one thing about this chaotic year is proceeding as normal. If you're wondering not only what's screening, but what's worth your time, we've watched and reviewed the day's slate of new titles. It spans superheroes, sublime dramas, documentaries about spectacular desserts, animated sequels, spy films and more, so don't say you don't have anything to see. https://www.youtube.com/watch?v=DSFpK34lfv0 NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's true whether she's playing overt or understated characters, or balancing those two extremes. In Fargo, the first film that earned her an Oscar, McDormand is distinctive but grounded, spouting midwestern phrases like "you betcha" but inhabiting her part with texture and sincerity. In Three Billboards Outside Ebbing, Missouri, her next Academy Award-winning role, she's an impassioned mother crusading for justice and vengeance, and she ripples with deep-seated sorrow mixed with anger so fiery that it may as well be burning away her insides. Now, in Nomadland, McDormand feels stripped bare and still a commanding force to be reckoned with. She's tasked with a plucky but struggling part — defiant and determined, too; knocked around by life's ups and downs, noticeably; and, crucially, cognisant that valuing the small pleasures is the hardest but most rewarding feat. It'll earn her another Oscar nomination. It could see her nab a third shiny statuette just three years after her last. Both are highly deserved outcomes because hers is an exceptional performance, and this is 2020's best film. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot where she spent her married years turns into a ghost town when the local mine is shuttered due to the global financial crisis. A slab of on-screen text explains her predicament, with the film then jumping into the aftermath. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it truly sees everyone in its frames, be they fictional or real. Nomandland understands their plights, and ensures its audience understands them as well. It's exquisitely layered, because its protagonist, those around her and their lives earn the same term — and Zhao never forgets that, or lets her viewers either. Read our full review. https://www.youtube.com/watch?v=dINWTUPkLqs WONDER WOMAN 1984 When it hit cinemas three years ago, the first movie about Princess Diana of Themyscira — also known as Diana Prince — stood out. Even though the DC Extended Universe started five years after the Marvel Cinematic Universe, DC bested its rival by focusing on a female character in its fourth film (for Marvel, it took 21 movies, only achieving the feat with 2019's Captain Marvel). DC didn't waste its opportunity, either. Wonder Woman isn't a mere cookie-cutter superhero flick, just focusing on a character of a different gender. It champions understanding and emotional intelligence, handles its engaging origin story with sincerity and warmth, and unfurls an adventure where both strength and vulnerability exist in tandem. It also relays a fulfilling tale; a sequel was inevitable, but the initial movie didn't just whet the audience's appetite for the next, plus all the other caped crusader films certain to follow. That second effort is now here but, sadly, it doesn't continue its predecessor's best achievements. No matter how much returning director Patty Jenkins and the powers-that-be behind the DCEU hope that Wonder Woman 1984's viewers sport an expression of wonder — and how much they believe that simply making a sequel to their 2017 blockbuster is enough to cause it — the movie doesn't earn much more than a resigned sigh. In Wonder Woman 1984, Diana (Gal Gadot, Justice League) tells everyone again and again that being truthful is far more important than anything else. That, and taking a more-is-more approach, are the feature's main driving forces. Jumping forward almost seven decades within the Wonder Woman films' timeline, Diana has taken up an anthropologist job at the Smithsonian, and turned swinging through malls on her Lasso of Truth to fight crime into her side hustle. But then insecure archaeologist Barbara Minerva (Kristen Wiig, Where'd You Go, Bernadette) starts working beside her, gets tasked with assessing a mysterious gem, and lets Donald Trump-esque infomercial salesman Maxwell Lord (Pedro Pascal, The Mandalorian) take the strange object home with him. It's no ordinary rock, however. It grants wishes, so Maxwell wants to take advantage of that power — and, unknowingly, both Diana and Barbara have already uttered their dreams aloud while holding the stone. These fantasies come at a cost, of course, even before Maxwell uses his to try to take over the world. Wonder Woman 1984 doesn't spin the most complicated story, but it's so repetitive and meandering across its 151-minute running time that it's needlessly bulky, muddled and weighed down. It also pushes Gadot to the side far too often; this sequel certainly knows how to trot out well-worn beats packaged as part-upbeat heroism, part-social satire, but it just doesn't realise where its true strengths reside often enough. Read our full review. https://www.youtube.com/watch?v=uan6MDxf3wU OTTOLENGHI AND THE CAKES OF VERSAILLES Marie Antoinette didn't actually say "let them eat cake", no matter how often the statement is misattributed to the 18th-century royal before her date with the guillotine. But New York's Metropolitan Museum of Art was surely hoping she would've approved of its hedonistic June 2018 food gala, which tied into the venue's Visitors to Versailles exhibition in the same year — and, in line with the place and period under the grill, put decadence on the menu. Overseeing the spread of desserts fit for a queen: renowned Israeli English chef and restaurateur Yotam Ottolenghi. He didn't make the Feast of Versailles' lavish cakes himself; instead, he trawled Instagram to source and select five pâtissiers known for delicious, innovative and aesthetically appealing wares. He found them, too, enlisting Dominique Ansel, the NYC-based French pastry chef who invented the cronut; Sam Bompas and Harry Parr, the London food artists known for their striking jellies and unique food events; architecturally trained Ukrainian Dinara Kasko, who approaches her desserts with the same design principles; Ghaya Oliveira, an award-winner and veteran at the Michelin-starred Restaurant Daniel; and Singapore's Janice Wong, who aims to turn chocolate into edible art. The exacting theme that views art and history through an untraditional lens, the melding of varying creative arenas, the roll call of significant names in their field, the theatricality on display, the iconic setting — if it all sounds a bit like a culinary version of The Met Gala, that was undoubtedly the intention, too. This was no ordinary serving of sugar. So it shouldn't come as a surprise that, as the venue's fashion-focused event did before it, Feast of Versailles has also earned the documentary treatment. Where The First Monday in May chronicled the preparations for 2015's Met Gala, Ottolenghi and the Cakes of Versailles does the same with the quest to recreate the Palace of Versailles' gardens with chocolate and multi-coloured fondant, whip up a tiered mousse cake that resembles the French castle's sculptured detail, and pair them all with swan-topped pastries, wobbling palace-shaped jellies and a cocktail-filled whirlpool fountain. Viewers of cooking-focused reality television will know what's in store. That may not be the comparison one expects with a doco about a Met event, but it fits, with documentarian Laura Gabbert (City of Gold) taking a superficial and straightforward approach. That seems to be what happens in docos about Met events, and it's always noticeable. Accordingly, Ottolenghi and the Cakes of Versailles is glossy, gleaming eye candy for those with a sweet tooth. It never feels like a full meal, though. Read our full review. https://www.youtube.com/watch?v=nEUWGWMsMQk HOW TO BE A GOOD WIFE After starring in High Life, Who You Think I Am and The Truth, all in just the past two years, Juliette Binoche adds another eclectic role to a resume that has deserved that term for decades. How to Be a Good Wife takes its radiant star back to 1967, to Alsace in Eastern France, and to a school designed to mould bright-eyed teenage girls into dutiful and subservient future housewives. Binoche's casting is a sign, thankfully. The film starts out following her character, the prim and proper Paulette Van der Beck, as she runs Van der Beck's School of Housekeeping and Good Manners for her husband Robert (François Berléand, Someone, Somewhere). She preaches the seven pillars required to ensure all her pupils fit her ideal vision of womanhood, with her single sister-in-law Gilberte (Yolande Moreau, The Summer House) assisting as the facility's cook, and superstitious nun Marie-Thérèse (Noémie Lvovsky, The End of Love) helping keep the girls in check. Of course, with the school part of Robert's family for decades, it isn't actually Paulette's own picture of feminine perfection that she's espousing. She might not have realised that fact, however, if her current cohort of students — the site's smallest for years, arriving with the 60s in full swing and as protests are beginning to sweep the nation — weren't instantly bristling against the notion that their lives should be spent in service to men. An unexpected tragedy also complicates matters, with an uprising soon threatening not just France in general, but one of the places that has upheld and instilled the patriarchal status quo and the conservative stereotypes that go with it. As directed by Martin Provost (The Midwife), and co-written by the filmmaker with Séverine Werba (Spiral), How to Be a Good Wife flits between playfully satirical and earnestly rousing as it charts Paulette, Gilberte and their students' journey — and yes, the fact that two of the main characters have feminised versions of male names as their own is emblematic of the movie's knowing approach. Binoche is the lynchpin, stepping into Paulette's shoes with sincerity as well as winking, nudging spirit; she's well aware of exactly the kind of woman she's playing, and the attitudes she's parodying as well. But, while the talented actor is posed and poised in a purposeful and often amusing way, the film itself doesn't always strike the same balance. It's easy to smile and internally cheer along with How to Be a Good Wife (and to revel in its period costuming and decor, too), but it's also just as easy to see when and where it overplays its comedic hand. One such example: the film's out-of-left-field climax, which is both glorious and clunky all at once. https://www.youtube.com/watch?v=A49o54i3OGI END OF THE CENTURY Memories and dreams are our brain's version of time travel; escape into either, and you can relive the past and ponder a possible future without the need for a Delorean or a telephone booth. New York-based Argentinian poet Ocho (Juan Barberini, Penelope) experiences that sensation in End of the Century, a queer romance that takes Weekend's lusty meet-up, combines it with Call Me By Your Name and Monsoon's passion abroad, and turns it into an evocative contemplation of love, sex, connection, choices, and roads both taken and forsaken. After more than ten minutes of dialogue-free, naturalistically lensed footage, watching Ocho rove around Barcelona, check into his holiday rental, sun himself at the beach and notice Javi (Ramon Pujol, Gran Nord), the film jumps into a vacation romance. Ocho and Javi strike a chord quickly, both physically and emotionally, and get deep just as swiftly in their post-coital conversation. To Ocho, there's a familiarity about the situation, as there should be. First-time feature writer/director Lucio Castro then leaps back 20 years earlier — before Ocho was fresh into a break from his partner of two decades, and before Javi had a daughter with his husband of four years — with the two men also crossing paths at the prior time. From the outset, one certainty is apparent: End of the Century favours understatement. That's true in how it unfurls the different parts of its narrative, and how they connect together; in the movie's performances, including from the beguiling Barberini when he's alone and surveying Barcelona; and in the feature's choice to peer on at Ocho and Javi's multi-layered story, and find both intimacy and distance depending on whatever the mood and scene calls for. As a result, it's a film that can seem slight, but also heaves with feeling at every moment. Castro knows the difference between unnecessarily complicating a narrative, and mining a situation's inherent complexities. He puts that awareness to excellent use, and draws viewers further into the movie's tale as a result. And, he benefits from his excellent casting choices — because making a feature that's both stripped bare and has its own authentic twists requires much of the folks within its frames. There's a slipperiness to End of the Century, too, as Ocho's experiences play out in various time periods. As this tender movie moves seamlessly back and forward, the audience is so enraptured with Ocho that they take the emotional journey with him. https://www.youtube.com/watch?v=TbZgLKjrdnA A CALL TO SPY "I want you in charge of recruiting some ladies," Vera Atkins (Stana Katic, Castle) is told in one of A Call to Spy's early scenes. The film's title makes it plain exactly what her colleague is referring to, and this specific piece of dialogue — and many more like it — demonstrates just how overtly the movie intends to proceed. This isn't a nuanced drama. It's inspired by true stories, but it rarely even flirts with the type of depth and detail that reality serves up. Still, by telling the tales of three women who became British spies in France during World War Two, all as part of Winston Churchill's ongoing effort to use unexpected means within the government's newly created Special Operations Executive to defeat the Nazi regime as it strengthened across Europe, it plunges into an important part of history. This chapter from the not-too-distant past springs from a familiar pile, after all. If you haven't heard of Atkins, Virginia Hall (played by Sarah Megan Thomas, who also penned the screenplay) and Noor Inayat Khan (The Wedding Guest), that's understandable; their lives, like those of many other women who've achieved commendable and crucial feats, haven't received the attention they should. That feeling ripples through A Call to Spy and, while it can't lift this Lydia Dean Pilcher (Radium Girls)-directed movie alone, it definitely leaves an imprint. Initially, Atkins is A Call to Spy's focal point. Charged with enlisting women who are "passionate about stopping Hitler" (another of the movie's needlessly clumsy lines), she finds several. Because she has a Jewish Romanian background, Atkins also receives more scrutiny within her own organisation than she should — an experience shared with Hall, who has a prosthetic leg; and Khan, who is of Indian Muslim heritage; and also heightened because of stereotypical opinions on gender anyway. Pilcher follows her three determined protagonists as they are initiated into their new roles, and into the field, while always viewing the many obstacles in their way. In the process, her film doesn't overcome the usual war-movie tropes that countless others have relied upon over the past 75 years, but it always endeavours to see them through Atkins, Hall and Khan's shared and individual ordeals. Even though it lacks in subtlety, A Call to Spy is nonetheless workmanlike that way, recognising that the stories it's relaying are important and moving enough, and that it can convey plenty by honing in on its characters' professional activities. It helps that Katic, Thomas and Khan all turn in involving performances, although Thomas wrote herself the best role. https://www.youtube.com/watch?v=2V6EXulQHjA THE CROODS: A NEW AGE Cavemen (and women) were people, too, and there was more to their lives than simply dwelling inside rocky crevices. That's an overly simplistic summary of 2013's animated hit The Croods, of course. Intricacy wasn't a big part of this big-screen successor to The Flintstones, though, or its messages of togetherness, seeing past immediate perceptions and rising to face all challenges. The film took a family of neanderthals — including teenage daughter Eep (Emma Stone, Zombieland: Double Tap), her overprotective father Grug (Nicolas Cage, Color Out of Space), far more carefree mother Ugga (Catherine Keener, Kidding), siblings Sandy (debutant Kailey Crawford) and Thunk (Clark Duke, Veronica Mars), and grandmother (Cloris Leachman, Mad About You) — then disrupted their literally sheltered existence. Not only were the titular characters pushed out of their comfort zone, but they were thrust into the orbit of homosapien Guy (Ryan Reynolds, 6 Underground), who Eep quickly fell for with a teen's intensity. Everyone had to adjust, naturally, and an average all-ages friendly comedy ensued. So did big box office numbers, sparking sequel The Croods: A New Age, the return of its predecessor's high-profile voice cast, and a new storyline that stresses the same sentiments. This time around, in a film directed by feature first-timer Joel Crawford, (a storyboard artist on The SpongeBob Movie: Sponge Out of Water, Trolls and The Lego Movie 2: The Second Part), The Croods are well-acquainted with roaming the big, wide, wild and dangerous prehistoric world. But Eep and Guy start thinking about a different kind of life — one that doesn't involve sleeping on the family pile, for starters — so the still controlling Grug tries to find everyone a new permanent home. And he thinks he has done just that in the vast walled-in gardens inhabited by Phil (Peter Dinklage, Game of Thrones) and Hope Betterman (Leslie Mann, Blockers) and their daughter Dawn (Kelly Marie Tran, Star Wars: Episode IX — The Rise of Skywalker). Alas, this seeming paradise isn't everything that it appears. Once again, this franchise opts for narrative and thematic simplicity and even crudeness, and for a zippy pace and onslaught of colour and movement designed to excite younger viewers. Once more, it's a standard affair all-round, and delivers little other than Cage and Stone's to-type voice work for the adult members of the audience. It's entertaining to hear Cage's voice bellow from Grug, in the same way that it's entertaining to see and/or hear him to anything (like swear in Netflix's upcoming series), but it doesn't help an over-energetic, giddily lively rehash of a past hit exceed its basic template, or do more than merely hit its marks. If you're wondering what else is currently screening in cinemas — or has been throughout the year — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, and December 17. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky and The Furnace.
If it wasn't for composer and theatre impresario Andrew Lloyd Webber, the world of musicals would've looked mighty different over the past half-century. His songs and compositions echo through everything from the Phantom of the Opera and Jesus Christ Superstar to Evita and Cats. (Yes, he's one of the folks who helped the word "jellicle" become lodged in everyone's brains for nearly four decades now.) In short, Lloyd Webber boasts quite the resume — and, while his musicals aren't treading any boards in the present circumstances, they are coming to a brand new YouTube channel called The Shows Must Go On. Starting from April 4, it'll release a different high-profile production each week, with the chosen show playing for 48 hours from 5am AEST each Saturday. And, unlike tickets to Broadway or the West End, these streams are free. It all starts with the 2000 adaptation of Joseph and the Amazing Technicolour Dreamcoat starring Donny Osmond, Maria Friedman, Richard Attenborough and Joan Collins. The following week, over the weekend of Easter, the 2012 version of Jesus Christ Superstar will be available to watch — complete with Aussie comedian Tim Minchin as Judas and Spice Girl Mel C as Mary Magdalene. And, from April 18, The Phantom of the Opera will hit the stream, courtesy of the 25th anniversary staging of the famous musical. On the channel's penultimate weekend, By Jeeves will be available to watch from Saturday, May 9 till Sunday, May 10. Closing out the shows is Andrew Lloyd Webber's one and only Cats — let's hope this one is less of a catastrophe than last year's nightmarish film adaptation. Starring Elaine Paige and Sir John Mills and an eighty-piece orchestra, Cats will be available to stream from 4am AEST, Saturday, May 16 till Sunday, May 17. Plus, if you're eager to peek behind the scenes, you'll be able to take a gander at backstage footage and clips of famous performances as well. [caption id="attachment_766768" align="aligncenter" width="1920"] A scene from Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice @ O2 Arena, London. (Opening 20-09-12) ©Tristram Kenton.[/caption] The Shows Must Go On will release a different production each week for six weeks, with future shows yet to be announced. Top images: Cats; By Jeeves; Jesus Christ Superstar, Tristram Kenton; and The Phantom of the Opera. Updated May 11.
SXSW Sydney is back for 2024 in a big way — and even if you're only planning to hit up its Screen Festival across Monday, October 14–Sunday, October 20, a stacked program awaits. When the event kicks off for this year, it's doing so with a movie that bowed at its Austin counterpart, heads back to the 90s, sports a Saturday Night Live alum behind the lens and boasts plenty of well-known faces on-screen, including the Harbour City event's music keynote speaker for 2024. The film: A24's Y2K, the directorial debut of Kyle Mooney (No Hard Feelings), with Rachel Zegler (The Hunger Games: The Ballad of Songbirds & Snakes), Julian Dennison (Uproar), Jaeden Martell (Arcadian) and The Kid LAROI starring. The storyline: it's New Year's Eve in 1999, a heap of folks are at a high-school party and the Y2K bug strikes. The fest's small-screen highlights span debuting and returning fare, as well as a new show that's the latest version of a popular hit that just keeps being remade. Plum, which stars Brendan Cowell (The Twelve) as a footballer who learns that his concussions have led to a brain disorder, and also features Asher Keddie (Fake) and Jemaine Clement (Time Bandits), is premiering at SXSW Sydney before airing on ABC. Apple TV+ delight Shrinking with Jason Segel (Winning Time: The Rise of the Lakers Dynasty) and Harrison Ford (Indiana Jones and the Dial of Destiny) is showing a sneak peek of its second season, and the new Australian take on The Office joins the program via a panel discussion featuring lead Felicity Ward (Time Bandits) with executive producers and writers Jackie van Beek (Nude Tuesday) and Julie De Fina (Aftertaste). Back on movies, Matt Damon (The Instigators)- and Ben Affleck (The Flash)-produced sports drama Unstoppable will enjoy its Australian premiere. Telling Anthony Robles' true tale, it stars Jharrel Jerome (I'm a Virgo) as the wrestler born with one leg — plus Bobby Cannavale (MaXXXine), Michael Peña (A Million Miles Away), Don Cheadle (Fight Night) and Jennifer Lopez (Atlas). Also on the film list: the world premiere of the Chicago-set Pools, which features Odessa A'zion (Ghosts) as a college sophomore at summer school; Messy, another summer-set flick, this time featuring Alexi Wasser (Poker Face), Ione Skye (Beef) Adam Goldberg (The Exorcism); First Nations coming-of-age tale Jazzy, with Lily Gladstone (Fancy Dance) as a star and executive producer; and They're Here, a documentary about UFO fanatics. Or, from acclaimed Japanese filmmaker Kiyoshi Kurosawa (Before We Vanish) comes both Cloud and Serpent's Path — the first of which is Japan's submission for 2025's Best International Feature Film category at the Oscars, with the second remaking the director's own 1998 revenge film in French. There's also headliners Saturday Night, Smile 2, Nightbitch, The Front Room and Pavements — and everything from cults, cat-loving animation and Christmas carnage thanks to Azrael, Ghost Cat Anzu and Carnage for Christmas. Movie buffs can also look forward to Ilana Glazer (The Afterparty)-led mom-com Babes; the maximum-security prison-set Sing Sing with Colman Domingo (Drive-Away Dolls); and Inside, which features Guy Pearce (The Clearing), Cosmo Jarvis (Shōgun) and Toby Wallace (The Bikeriders). Documentary Omar and Cedric: If This Ever Gets Weird spends time with At the Drive-In and The Mars Volta's Omar Rodriguez-Lopez and Cedric Bixler-Zavala; Teaches of Peaches goes on tour with its namesake; the Lucy Lawless (My Life Is Murder)-directed doco Never Look Away is about CNN camerawoman Margaret Moth; Peter Dinklage (Unfrosted) and Juliette Lewis (Yellowjackets) lead western-thriller The Thicket; and Aussie doco Like My Brother is about four aspiring AFLW players from the Tiwi Islands. The list goes on, with The Most Australian Band Ever! about the Hard-Ons, That Sugar Film and 2040 filmmaker Damon Gameau's Future Council, and Slice of Life: The American Dream. In Former Pizza Huts from Barbecue and We Don't Deserve Dogs' Matthew Salleh and Rose Tucker also screening.
As both The Dry and Force of Nature: The Dry 2 demonstrated, Jane Harper's mysteries feel right at home on-screen. After the Australian author's first two Aaron Falk books made the leap to cinemas starring Eric Bana (Memoir of a Snail), and proved hits, of course more adaptations of her work were set to follow. The Survivors is next — first announced between The Dry and Force of Nature reaching picture palaces, heading to Netflix as a six-part limited series, and now officially joining your streaming queue at the beginning of June. The Survivors isn't linked to either Falk tale, so he isn't part of the narrative. Instead, the Tasmanian-set story follows families still coping with the loss caused by a massive storm in their seaside town 15 years earlier. Filmed in Tassie, too, it follows the aftermath of two people drowning and a girl going missing in Evelyn Bay, as the just-dropped trailer teases — and as viewers can watch in full from Friday, June 6, 2025. Tragedy isn't just in this coastal town's past, however. An incident like that is never forgotten. So, when a young woman's body is found on the beach, old wounds are unsurprisingly reopened. The series is pitched as both a murder-mystery and a family drama, and the sneak peek features elements of both. Cast-wise, The Lord of the Rings: The Rings of Power's Charlie Vickers and Bridgerton season four's Yerin Ha play couple Kieran Elliott and Mia Chang, who return to their hometown. Also featuring: Damien Garvey (Nugget Is Dead?: A Christmas Story), Catherine McClements (Apple Cider Vinegar), Martin Sacks (Darby and Joan) and Robyn Malcolm (After the Party), plus Jessica De Gouw (The Union), Thom Green (Exposure), George Mason (Black Snow) and Shannon Berry (Fake). Filmmaker Tony Ayres is behind The Survivors' streaming adaptation, adding to fellow TV series Nowhere Boys, Glitch, Stateless, Clickbait and Fires on his resume — and Cherie Nowlan (The Irrational) both directs and executive produces, Ben C Lucas (Nautilus) also does the former and Harper the latter. The Survivors joins Netflix's slowly growing slate of Australian shows, which it has been growing since Tidelands became the first local production three years after the streaming service officially launched Down Under. Among the others: Heartbreak High, Wellmania, Boy Swallows Universe, Territory and Apple Cider Vinegar. Check out the trailer for The Survivors below: The Survivors streams via Netflix from Friday, June 6.
Whether it's a birthday, promotion, anniversary or celebration of general adulting (taxes in and laundry done), there are times you just want to treat yo-self with some luxurious daytime dining. Luckily, Brisbane has no shortage of restaurants where you can park yourself for hours, feasting and clinking glasses upon glasses of celebratory vinos. To make it easy, we've partnered up with Citi to narrow down some top Brissie faves for a leisurely lunch, spanning the spectrum from Italian along the river to Vietnamese fare with an extra French twist. Plus, there are a few wine pairing suggestions in there, too. All you have to do is make the booking. What's more, if you've got a Citi card, you can kick things off with a free bottle of wine, thanks to the Citibank Dining Program. Sad desk salad be gone. Book at any participating restaurant, mention the offer upon arrival and settle in for a long lunch complete with a free bottle of wine — just make sure to tap that Citi card at the end.
Cool. Cool cool cool. If you were to ask Abed Nadir (Danny Pudi, Mythic Quest) his thoughts on the latest Community news, that might be his response. It should certainly be yours — because the six-seasons-and-a-movie prophecy is officially coming true, with American streaming service Peacock just announcing that a Community film is in the works. Abed shouted that "six seasons and a movie" line in the community college-set comedy, in fact, and the character will indeed return for the new flick. Variety reports that Joel McHale (The Bear), Alison Brie (Happiest Season), Gillian Jacobs (Minx), Jim Rash (Home Sweet Home Alone) and Ken Jeong (The Pentaverate) will also star, meaning that Jeff Winger, Annie Edison, Britta Perry, Dean Pelton and Ben Chang will all grace your screen again. There's no word yet on whether Donald Glover (Atlanta) will be singing "Troy and Abed in the morning once more, though — or if Yvette Nicole Brown (Big Shot) will also make a comeback. Ordered 🤝 #sixseasonsandamovieOnPeacock pic.twitter.com/IrxVYSHT9n — Peacock (@peacock) September 30, 2022 this hits a little different today...doesn't it? https://t.co/QUbbDXX3oS — IT'S HAPPENING! SIX SEASONS AND A MOVIE! (@CommunityTV) September 30, 2022 Exactly when the Community movie will drop — and where it'll be able to be seen Down Under — hasn't yet been revealed either, but perhaps this isn't the darkest timeline after all. When the series wrapped up after 110 episodes in 2015, it only achieved the first part of its six-seasons-and-a-movie goal; however, fans have held out hope of seeing the Greendale gang again ever since. In 2020, that did happen in another way — during an early-pandemic virtual table read of season-five episode 'Cooperative Polygraphy'. .@alisonbrie @kenjeong @dannypudi @YNB @donaldglover @GillianA @peacock @SonyTV @CommunityTV pic.twitter.com/ynVqgaPuQD — Joel McHale (@joelmchale) September 30, 2022 Community creator (and Rick and Morty co-creator) Dan Harmon will be back for the movie, too, as a writer and executive producer, but exactly what it'll cover hasn't yet been announced. If you're now in the mood to binge your way through the beloved show's past antics in excitement (and anticipation), all six seasons of the series are available to stream via Netflix Down Under — and on Stan in Australia. Check out the Community season one trailer below: Exactly when the Community movie will arrive, and how it'll be available Down Under, are yet to be reavaled — we'll update you when further details are announced. Via Variety. Image: Netflix.
Dance and classical aren't music genres you'd usually find swirling around in the same basket — unless you have a particular bent for the orchestral 'Sandstorm' covers found in the depths of YouTube. Synthony — A Generation of Dance Music is here to prove that the disciplines go hand in hand. After a sellout run in New Zealand, the event arrives at Brisbane City Hall on Saturday, August 17. The event will see the Brisbane Philharmonic Orchestra join forces with a selection of DJs and live performers to play the biggest dance tracks of the last 30 years. Expect the usual quiet inner-city venue to take a few cues from the nightclub scene, with lights, lasers and mapped video all part of the experience — and a selection of dance floor bangers note-for-note. After kicking off with DJ Phil Smart, the event will also feature live performances from Ilan Kidron (Potbelleez), Jenny B (the vocalist on Corona's 'Rhythm of the Night'), Nastasha, Cherie Mathieson and saxophonist Lewis McCallum, before Ron Carroll carries the party into the small hours. Tickets go on sale at 9am on Monday, June 10.
By the time that Thursday night rolls around each, most of us are thinking about escaping the 9-to-5 grind. There's still one pesky weekday left to go until the weekend, of course, but sinking underground with a glass of rum in your hand — and with jazz tunes setting the upbeat but relaxing mood — sure does sound enticing. That's The Jazz Jamboree at The Walrus Club, aka the Regatta spot you go to when you've got malt drinks and a cosy, dark space on your mind. On Thursday, May 2 from 6.30–11.30pm, it combines the watering hole's hefty array of 300-plus spirits and prohibition bar vibes with lively — and live — music. The one-off shindig is in honour of International Jazz Day, because that's a thing, and it'll feature performances from four local trios as well as Plantation Rum and El Dorado tastings. All that music and tunes making you hungry? There'll also be a delectable delicatessen food stall — and entry is free.
Roll up, roll up, laugh-loving folks — it's that time of year. Think there's not much in common between a circus and a comedy festival? Well, both throw a feast of different acts your way for you to have a fine night out. And both will make you marvel at just what's possible — in terms of clever gags and, in comedy's case, how much more hilarity your stomach can handlee. At this year's Brisbane Comedy Festival at Brisbane Powerhouse — the event's eighth and biggest yet — there will be more than 66 comedians performing over the course of four weeks. The best thing to do is clear your schedule, dive in and prepare to give your face a workout. Here are our picks of the festival. By Sarah Ward, Shannon Connellan and Yelena Bide.
If you're a Brisbanite with a healthy appetite, there's only one place to be on Sunday, July 27. The much-loved James St Food and Wine Trail (JSFWT) is returning for 2025 with the largest number of participating food and beverage stalls in the event's history. This year, the free foodie event will host 26 resident venues that will take over 40 market stalls, serving more than 170 delicious dishes for you to enjoy al fresco. Newcomers like Hideki Izakaya and Penelope will join the trail's honour roll of long-standing resident venues, which include Biànca, Cru Bar, ēmmē, Gelato Messina, Sixes and Sevens, plus plenty more. On the menu, visitors can expect Italian doughnuts from Biànca and bold pairings of fried chicken and caviar from ESSA. Meanwhile, Hellenika's chargrilled lamb on the spit with tzatziki will make a highly anticipated return. Or, if you're in the mood for something a little fresher, head to the Sushi Room's stall for yuzu slushies and fresh tuna sashimi. If you have room for dessert, Gelato Messina will scoop out the Gold Digger: a caramel and vanilla deep-fried ice cream with chocolate pudding, chocolate biscuit crumbs and dulce de leche. There will also be a range of cooking demonstrations, including tuna carving, as well as live performances and DJ sets. Art on James will also make a return in 2025, with live sound performances taking place throughout the day. If you've got little ones running around, free children's activities will run all day. Sounding too good to ever leave? For those looking to stay the night, enjoy a discounted stay at The Calile Hotel with the code JSFWT25. The James St Food and Wine Trail is free to enter, with more than 30,000 attendees expected to hit the trail this year. Images: Supplied.
Music festivals and writers festivals have existed for years, but they rarely mix. Sure, you'll hear poetic lyrics at the former, and maybe attend a tunes-inspired session at the latter. A true fusion of the two, though, is an elusive beast. Well, it was, until a few smart-thinking folks decided to organise a rock and roll writers festival. In an Australian first, the weekend-long event will explore the relationship between the literary and musical worlds. It's an idea that's so great, we can't believe that no one has done it locally before. From April 2 to 3, some of Australia's finest authors, songwriters, lyricists and music commentators will converge upon Brisbane for two days of discussions, interviews, panels and more. The lineup boasts stacks of talented speakers, featuring performer Jackie Marshall, previous jMag editor Jenny Valentish, journalist and Australian Music Prize judge Kate Hennessy, former Time Off editor and owner Sean Sennett, Courier Mail music writer Noel Mengel, and Pig City: From The Saints To Savage Garden author Andrew Stafford, among others. They'll all natter on about everything that's great about words, songs and the combination of the two, while trying to surprise, entertain, enlighten and challenge attendees in the process. And they'll do at the Brightside, because if you're going to throw a rock and roll writers festival, you have to do it at a rock and roll venue.
For decades, the XXXX brewery has been a Brisbane landmark, towering over the inner west and lighting up the night sky with its neon sign. The Milton Road mainstay is no longer Brissie's sole beer haven, however. Thanks to the city's thriving, ever-growing craft brewery scene, it has plenty of company. From passionate outfits just a stone's throw away from the brewery behemoth to the bustling area that's popped up around Newstead and booze-makers slinging their wares in the 'burbs, Brisbane is now a beer-lover's playground. That not only means more ales, lagers and pilsners to sip and savour, but more places to enjoy them — including these: our picks for the best breweries around town.
Following months (and months) of lockdown, the Immigration Museum is finally able to exhibit the work of South Sudanese-born, Melbourne-based artist Atong Atem. Running through January 31, 2021, Atong Atem: To be real showcases the photographer's work as part of the Photo 2021 International Festival of Photography. Revealing a new series of large-scale photographic works, Atem captures moments that verge on the surreal and hyper-real. The artist uses bright tones and textural outfits to explore themes of mythology and fantasy — as well as examine her own identity and sense of belonging in contemporary Australian life. While entry is free, booking ahead is a must. Head here to grab your ticket. Top image: Bigoa with Fan (2020) by Atong Atem
Start the lunar new year as you intend to continue it: with a bottomless feast of dim sum and cocktails. Throw in non-stop Tsingtao beers and non-alcoholic beverages as well, and you'll be welcoming the year of the tiger in style. That's something we all want every time any calendar resets, and it's also something we could all do with after everything the past 12 months has thrown the world's way. Those drinks and dumplings are on the menu for two hours at Emporium's sky-high The Terrace, as part of the South Bank venue's Lunar New Year party. While you're eating and drinking, you'll be on the 21st level, scoring a mighty fine view over the city — and being entertained by a lion dance performance. The food menu includes pork buns, siu mei, dumplings and gyoza, while the cocktail list spans the lychee-heavy The Spring Bloom and the Cai Shen Dao!, which is made with sugarcane spirit, rosé vermouth, grapefruit and lemon myrtle. It all happens across multiple sessions from 6pm on Tuesday, February 1, with tickets on sale for $80. Emporium's lunar new year shenanigans are usually popular, so nabbing a ticket quick smart is recommended.
First, Black Mirror's Twitter account broke a four-year silence back in April. Next, Charlie Brooker's dystopian sci-fi hit dropped a sneak peek at its next batch of technological nightmares — aka the first trailer for the show's long-awaited sixth season — and confirmed that the show would return sometime in June. Now, the Netflix series has unveiled more details about what's in store, including which new technological nightmares it'll be spinning. It might be a streaming smash, but that doesn't mean that satirising streaming is off the agenda. Indeed, one of season six's five episodes, Joan Is Awful, will focus on an average woman who discovers that a global streaming platform has adapted her life into a prestige TV drama. Playing her on-screen? Salma Hayek Pinault (Magic Mike's Last Dance). This instalment will be packed with familiar faces, too, including Annie Murphy (Kevin Can F**k Himself), Michael Cera (Life & Beth), Himesh Patel (Station Eleven), Rob Delaney (The Power) and Ben Barnes (Guillermo del Toro's Cabinet of Curiosities). Also on its way: Netflix seeing the darker side of nature documentaries — which, like biographical dramas, it's mighty fond of making itself. In upcoming Black Mirror instalment Loch Henry, a sleepy Scottish town welcomes in a young couple, who are keen to follow in David Attenborough's footsteps. Then they learn of a shocking local story, in an episode with Samuel Blenkin (The Witcher: Blood Origin), Myha'la Herrold (Bodies Bodies Bodies), Daniel Portman (Game of Thrones), John Hannah (The Last of Us) and Monica Dolan (Empire of Light) in its cast. Viewers looking forward to Aaron Paul's (Westworld) return to Black Mirror after first being involved in 2017 will been keen on Beyond the Sea, where it's an alternative 1969, two men are on a high-tech mission and dealing with a tragedy's big consequences, and Josh Hartnett (Operation Fortune: Ruse de Guerre), Kate Mara (Call Jane), Auden Thornton (This Is Us) and Rory Culkin (Swarm) co-star. In Mazey Day, the paparazzi hounds a troubled starlet who is coping with the aftermath of a hit-and-run, with Zazie Beetz (Atlanta), Clara Rugaard (I Am Mother) and Danny Ramirez (Stars at Noon) featuring. And in Demon 79, it's 1979 and a sales assistant in Northern England is informed that she has to commit terrible acts or a disaster will occur — with Anjana Vasan (Killing Eve), Paapa Essiedu (Men), Katherine Rose Morley (The Syndicate) and David Shields (Benediction) starring. Brooker has penned all five new chapters, co-writing Demon 79 with Bisha K Ali (Ms Marvel). This season is being teased as "the most unpredictable, unclassifiable and unexpected season yet", which is saying something given everything that Black Mirror has thrown at the screen in past seasons (and in choose-your-own-adventure-style movie Black Mirror: Bandersnatch). And yes, Brooker does have quite the challenge this time around: making something that manages to be even more dispiriting than reality over the past few years. That's increasingly been one of the show's dilemmas — and noting that something IRL feels just like Black Mirror has become one of the cliches of our times — but this'll be the mind-bending effort's first round of episodes following the pandemic. Check out the first trailer and latest teaser for Black Mirror's sixth season below: Black Mirror season six will stream via Netflix some time in June. We'll update you when an exact release date is announced. Images: Nick Wall/Daniel Escale, Netflix.
It might be mere months old; however Bakery Lane remains the pint-sized Fortitude Valley precinct that keeps on giving. Their latest gift is to your stomach, courtesy of the crew behind West End's Fat Dumpling. Meet Mi + Mian. Traditional Chinese fare is on offer, of course, though anyone who has been to the Boundary Street mainstay won't be complaining about getting more of the same over on Ann Street. There's just something about their home-style cuisine that tantalises the tastebuds and keeps loyal customers coming back from more. With that in mind, a new outlet on the other side of the city can only be a good thing. Staying simple, both food and décor wise, serves Mi + Mian well — even with a changing menu that retains the staples but mixes up the flavours and ingredients. Rice bowls, noodle soups and salads of the week are always a given, as are the northern Chinese pan-fried buns that are the closest they has to a must-devour specialty. Then, grab an outdoor table to soak in everything the laneway eatery has to offer, or head home with some of the best takeaway you could hope for.
Gone are the days when watching a new television series meant sitting down at a set time to glue your eyes to the small screen, or programming your VCR to record said show for later. If you can remember back then, then you'll know that gone are the days where viewing everything you want to felt somewhat achievable, too. Thanks to the ever-growing array of streaming platforms, we're now utterly spoiled for choice, with new choices dropping all the time — and constantly demanding your attention. Sadly, we just can't watch every TV show ever made when they first arrive. Realistically, we can't all view every series ever anyway — but we can catch up with the greats. That's one of the handy things about summer holidays: the flow of newcomers does slow down, even if only for a few weeks, and plenty of the year's standouts beckon. When it comes to excellent episodic fare, 2022 was no slouch. Ace new shows hit with frequency over the past 12 months, so much so that you likely missed some. With that in mind, we've rounded up 15 stellar 2022 arrivals that mightn't have made their way to your streaming queues yet, but should as soon as you have the time — and, if you've already seen them, definitely deserve a rewatch. THE LAST MOVIE STARS Filmmakers adoring filmmakers is basically its own on-screen genre. Six-part documentary limited series The Last Movie Stars gives that idea a different spin: actors loving actors. Here, Ethan Hawke turns director, not for the first time — see: films Blaze, Seymour: An Introduction, The Hottest State and Chelsea Walls — to show his affection for the inimitable Paul Newman and Joanne Woodward. Unsurprisingly, he has a wealth of company, some chatting through their fondness for two Hollywood talents like no other and some contributing by giving voice to interview transcripts. For a memoir that didn't eventuate, Newman and Woodward compiled chats by a who's who of showbusiness during their careers; however, they also had the tapes destroyed. Cue George Clooney voicing Newman's chats, Laura Linney doing Woodward's, and everyone from Oscar Isaac, Sam Rockwell and Mark Ruffalo to Rose Byrne and Zoe Kazan also subbing in for other famous names. That's where The Last Movie Stars' audio comes from, echoing with insightful discussions given the emotion they deserve. Hawke also includes new zoom chats with his players, as well as with Martin Scorsese, his daughter and Stranger Things star Maya and more, but his engrossing and probing series is head over heels for pairing those recreated interviews with archival footage. Staring at Newman and Woodward is easy, as is celebrating them and their relationship. This isn't just a case of deserved worship, though, but shows its subjects as real people rather than just stars — all while exploring Hollywood at the time, stepping through their careers and contemporaries, and overflowing with clear-eyed warmth. Hawke doesn't avoid tricky traits or truths, and this in-depth doco is all the more enlightening and compassionate for it. Whether you already treasure Newman and Woodward or you've always wanted to know more about the two legends, this is a movie buff's pure and utter dream. The Last Movie Stars streams via Binge. THE AFTERPARTY Only Murders in the Building isn't the only new comic murder-mystery series worth streaming from the past year or so. Joining it is The Afterparty, which also sports a killer cast — this time Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk) and Tiffany Haddish (The Card Counter) — and a savvy spin on an oft-used gimmick. Rather than skewering true-crime podcasting, this quickly addictive comedy from writer/director Christopher Miller (The Lego Movie) toys with the reality that every tale differs depending on the perspective. Whodunnits always hinge upon that fact, and Miller has also clearly seen iconic Japanese film Rashomon. And, considering that its big murder takes place after a school function, there's a touch of Big Little Lies at play, too. With his directing partner Phil Lord, Miller has made a career out of getting smart and funny with familiar parts, however, and that doesn't change here. The setup: at the afterparty following his 15-year high-school reunion, obnoxious autotune-abusing pop star Xavier (Franco) winds up dead on the rocks beneath his lavish mansion. Enter the determined Detective Danner (Haddish), who starts grilling his former classmates one by one to find out who's responsible. Her interrogations start with the sensible Aniq (the always-great Richardson), who was hoping to finally make a move on his schoolyard crush Zoe (Chao) — and after his version of events, Danner hears from Zoe's macho ex Brett (Barinholtz) in The Afterparty's second episode, then from Aniq's best bud Yasper (Schwartz, riffing on Parks and Recreation's Jean-Ralphio without being quite as ridiculous), and so on. The cast is top-notch, the writing is clever, there's much fun to be had with its genre- and perspective-bending premise, and the throwaway gags are simply glorious. The Afterparty streams via Apple TV+. Read our full review. MO For three seasons on Ramy, Mohammed Amer has played Mo, the diner-owning cousin to the show's namesake. For those three seasons, including 2022's batch of episodes, he's also been part of one of the best and most thoughtful shows currently streaming, especially when it comes to the immigrant experience and telling Muslim American stories. Instead of just co-starring in an art-imitates-life dramedy inspired by someone else's existence, however, Amer has taken a leaf out of Ramy Youssef's book with Mo — a show with the same underlying concept, as co-created by Amer and Youssef. This time, the pair draw upon Amer's background rather than Youssef's. So, Amer's on-screen alter-ego is a Palestinian living in America. He's a refugee, in fact, who fled the Middle East when he was a child and sought asylum with his family. His US home: Houston, Texas. IRL, every one of these points is drawn from Amer's existence, as fans of his Netflix standup specials Mo Amer: The Vagabond and Mo Amer: Mohammed in Texas will recognise. That's the history behind Mo, with the series' eight-episode first season honing in on its protagonist's attempts to gain US citizenship. Mo Najjar (Amer, Black Adam), his mother Yusra (Farah Bsieso, Daughters of Abdul) and brother Sameer (Omar Elba, Limetown) have been waiting two decades to have their cases heard — another detail ripped from reality — and trying to forge new lives while remaining in legal limbo has long since taken a toll. Spanning losing jobs, trying to find a new one as an undocumented American resident, the Najjars' family dynamic, pain from back home they haven't processed, the weight of cultural traditions and expectations, and Mo's relationship with Mexican and Catholic mechanic Maria (Teresa Ruiz, Father Stu), there's no shortage of detail and drama to Amer's passion project. Indeed, every second of the series feels as personal and authentic as it clearly is, and does far more than merely give Amer his own Ramy. Mo streams via Netflix. LOOT Aptly given its title, new Apple TV+ sitcom Loot doesn't look cheap — or sound it. It's partly filmed in one of America's biggest private homes, an enormous mansion with 21 bedrooms, five pools, a bowling alley and a cinema. It's filled with well-known needle drops that come quickly and often, with one episode featuring three Daft Punk tracks alone. It couldn't scream louder or drip harder with excess; the series is about a mega-rich tech whiz's wife who gets $87 billion in their public and messy breakup, after all. And, it is inescapably made by a company that's a big technology behemoth itself, and has been splashing stacks of cash to build its streaming roster (see: The Morning Show, Ted Lasso, Severance, Physical, Prehistoric Planet, Foundation, The Shrink Next Door, Shining Girls, Slow Horses, Lisey's Story and more). Loot is also clearly a satire, however, and a canny, warm and funny one at that. The premise: amid being gifted a mega yacht for her birthday, then jumping to a party in that aforementioned sprawling home, Molly Novak (Maya Rudolph, Big Mouth) discovers that her husband John (Adam Scott, Severance) is cheating on her. Post-divorce, after that huge settlement and a stint of partying around the globe with her assistant Nicholas (Joel Kim Booster, Fire Island), she gets a call from Sofia Salinas (Michaela Jaé Rodriguez, Pose), the head of the foundation she's forgotten bears her name (and even exists). With Molly's drunken decadence all over the news, the charity is finding it difficult to do its work. So, the organisation's namesake decides to ditch the revelry — and her married moniker, becoming Molly Wells — and put all that dough to better use. She also commits to playing an active role in how her funds can truly help people. Loot streams via Apple TV+. Read our full review. TOKYO VICE Seven years after making his most recent movie, aka 2015's Chris Hemsworth-starring Blackhat, one of America's best directors is finally back behind the lens. Thief, Heat, The Insider and Collateral filmmaker Michael Mann only helms Tokyo Vice's pilot, but what a tone-setting debut episode it is — as stylish and gritty a piece of television as you're likely to stream any time soon, in fact. Mann also serves as the eight-part book-to-screen series' executive producer, which explains why its slice of neon-lit Japanese-set noir always feels like it bears his fingerprints. Of course, the show isn't shy about its links to the director, who also executive produced the original 1980s TV series Miami Vice, and wrote and directed the 2006 big-screen remake. That said, Tokyo Vice's moniker actually stems from Jake Adelstein's memoir Tokyo Vice: An American Reporter on the Police Beat in Japan, about his years writing for Yomiuri Shimbun as a non-Japanese journalist. Nonetheless, everything about the HBO-backed program feels as if it was always fated to end up in Mann's hands. Adelstein was Yomiuri Shimbun's first foreign staff writer, with Tokyo Vice exploring his quest to cement himself inside the publication from the bottom up. As played by West Side Story's Ansel Elgort, Adelstein always stands out, as does his dogged determination to chase the stories he's explicitly instructed to ignore. Murders don't happen in Japan, he's told. What he's witnessing screams otherwise, though. So, he starts spending his own time investigating, befriending Tokyo organised crime division detective Hiroto Katagiri (Ken Watanabe, Godzilla: King of the Monsters) for guidance, and also getting close to club hostess and fellow American-in-Tokyo Samantha Porter (Rachel Keller, Legion), plus jaded Yakuza enforcer Sato (Shô Kasamatsu, Love You as the World Ends). Elgort is the weakest part of the series, but that also suits the overall narrative and its focus on the city's underworld — and everything around him, including Rinko Kikuchi (Pacific Rim: Uprising) and Hideaki Itô (Memoirs of a Murderer), is stellar. Tokyo Vice streams Paramount+. Read our full review. PACHINKO When novels are turned into movies, there's usually a sense that's something is missing, no matter how fantastic the film proves. That's understandable; when you compare the time it takes to unfurl a story on the page with the usual running time of a feature — even a lengthy one — not everything can make the leap from book to screen. Named for the gambling machines that fill Japanese arcades, Pachinko turns author and journalist Min Jin Lee's award-winning text into an eight-part series instead, and it's a canny and clever move. So too is getting filmmakers Kogonada and Justin Chon to direct four instalments apiece, both coming off fantastic work via After Yang and Blue Bayou respectively. And, adding to the smart and savvy choices made by this immediately engrossing series, which unfurls a sweeping, 20th century-set, multi-generational tale about struggle, resilience and endurance: casting always-wonderful Minari Oscar-winner Youn Yuh-jung — as well as newcomer Kim Min-ha as the younger version of her character. Youn and Kim play Sunja (and, as a child, first-timer Yuna does as well), who anchors a story that's both impressively sprawling and devastatingly intimate. As a girl, she grows up in Japanese-occupied Korea, a fact that shapes every part of her young life. When she's older, she moves to Japan — and by the time that she's a grandmother, that's where the bulk of her existence has unfolded. Jumping between different periods, Pachinko charts how the shadow of colonial rule has lingered over not just Sunja but the family she's brought into the world, including in the 80s where her grandson Solomon (Jin Ha, Devs) works in finance in New York and her son Mozasu (Soji Arai, Cobra Kai) has made his way thanks to the titular game. Splashing an epic story told with emotion, resonance, insight and elegance across the screen, this is at the pinnacle of novel-to-screen adaptations. Pachinko streams via Apple TV+. BLACK BIRD 2022 marks a decade since Taron Egerton's first on-screen credit as a then-23 year old. Thanks to the Kingsman movies, Eddie the Eagle, Robin Hood and Rocketman, he's rarely been out of the cinematic spotlight since — but miniseries Black Bird feels like his most mature performance yet. The latest based-on-a-true-crime tale to get the twisty TV treatment, it adapts autobiographical novel In with the Devil: a Fallen Hero, a Serial Killer, and a Dangerous Bargain for Redemption. It also has Dennis Lehane, author of Gone Baby Gone, Mystic River and Shutter Island, bringing it to streaming. The focus: Jimmy Keene, a former star high-school footballer turned drug dealer, who finds his narcotics-financed life crumbling when he's arrested in a sting, offered a plea bargain with the promise of a five-year sentence (four with parole), but ends up getting ten. Seven months afterwards, he's given the chance to go free, but only if he agrees to transfer to a different prison to befriend suspected serial killer Larry Hall (Paul Walter Hauser, Cruella), and get him to reveal where he's buried his victims' bodies. Even with new shows based on various IRL crimes hitting queues every week, or thereabouts — 2022 has seen plenty, including Inventing Anna, The Dropout, The Girl From Plainville and The Staircase, to name a mere few — Black Bird boasts an immediately compelling premise. The first instalment in its six-episode run is instantly gripping, too, charting Keene's downfall, the out-of-ordinary situation posed by Agent Lauren McCauley (Sepideh Moafi, The Killing of Two Lovers), and the police investigation by Brian Miller (Greg Kinnear, Crisis) to net Hall. It keeps up the intrigue and tension from there; in fact, the wild and riveting details just keep on coming. Fantastic performances all round prove pivotal as well. Again, Egerton is excellent, while Hauser's menace-dripping efforts rank among the great on-screen serial killer portrayals. And, although bittersweet to watch after his sudden passing in May, Ray Liotta (The Many Saints of Newark) makes a firm imprint as Keene's father. Black Bird streams via Apple TV+. Read our full review. I LOVE THAT FOR YOU It works for television networks greenlighting new comedies, and it works for viewers picking what to watch, too: take one of Saturday Night Live's extremely amusing ladies, give them their own show, see laughs and smarts follow, profit. I Love That For You actually boasts two such talented women, although they didn't crossover during their SNL stints: Molly Shannon and Vanessa Bayer. The latter plays Joanna Gold, who has always dreamed of being on SVN — Special Value Network, that is. When she was a kid (Sophie Pollono, Small Engine Repair), she was diagnosed with childhood leukaemia, and obsessing over her idol Jackie Stilton (Shannon, The Other Two) as she sold anything and everything helped as a distraction. Now an adult, Joanna still wants to do exactly the same, and leave her job alongside her dad (Matt Malloy, The Sex Lives of College Girls) at Costco behind. But when she gets the chance, she pulls an unimpressed face during her first on-air stint that kills sales, so she says her cancer has returned to avoid getting fired. On paper, that's an extremely tricky premise. In lesser hands, it'd be downright horrible. As well as being a comic gem here, in SNL, and in everything from I Think You Should Leave with Tim Robinson to Barb and Star Go to Vista Del Mar, Bayer had childhood leukaemia herself — and if she didn't, and wasn't also one of I Love That For You's creators and writers, it's highly likely that this series wouldn't work. Thankfully, instead, it takes the same approach that Bayer has clearly always taken since her teenage experience, using humour in clever, sensitive, sincere, amusing, savvy and sometimes surreal ways. The show keeps demonstrating why its setup is worth tackling, too, asking questions about trying to live a normal life and work out who you are after surviving such a diagnosis; how and when sympathy is genuine, earned and milked; and guilt on several levels. It's also an entertaining workplace comedy and a takedown of consumerism, greed and the fact that anything, including sob stories, are for sale if there's something to be sold. And, of course, Bayer and Shannon are dynamite in their shared scenes. I Love That For You streams via Paramount+. THE PATIENT In one of 2022's new streaming standouts, Bad Sisters, Brian Gleeson tries to get to the bottom of a suspicious death. In another, The Patient, Domhnall Gleeson plays a serial killer. The two shows have more differences than commonalities, but it's clearly a great time for the Frank of Ireland-co-starring Gleeson brothers and twisty tales about crime. For Run's Domhnall, he co-leads a show about a murderer who enlists a therapist to try to stop his homicidal urges. Sam Fortner does indeed sit in Alan Strauss' (Steve Carell, Minions: The Rise of Gru) office and seek his help, but as well as hiding his eyes and face behind sunglasses, he keeps his real name, the bulk of his personal details and bloody pastime to himself. It's only after Strauss wakes up chained in Fortner's house that the latter feels comfortable enough to come clean and truly ask for assistance, albeit under terrifying circumstances for his captive. Domhnall Gleeson's on-screen resume isn't short on highlights, including Ex Machina and Brooklyn. Carell's has blatantly boasted many, spanning both comedies (Anchorman: The Legend of Ron Burgundy and The Office, obviously) and dramas (including his Oscar-nominated work in Foxcatcher). Accordingly, it should astonish no one that they're both instantly gripping in The Patient, as their characters bounce off of each other in inherently grim circumstances; however, they're each also in career-best form. The psychological-thriller series works as two commanding, textured and high-stakes character studies as Fortner demands Strauss' professional best, and ensures he isn't capable of refusing — and works through their respective baggage cat-and-mouse-style from there. In fact, it hits its marks so well that the show's concise format (each episode clocks in at between 20–25 minutes) keeps viewers wanting more. The Patient streams via Disney+. KILLING IT Killing It starts with a pitch. It's the first of many because that's just life these days, the show posits. Adding another sitcom to his resume after The Office, Ghosted and his beloved Brooklyn Nine-Nine guest spots, Craig Robinson keeps his first name as a Miami bank security guard with big aspirations — if he can rustle up some startup funds. His vision: owning a saw palmetto farm and living the American dream, because he believed his dad back when he was told as a kid that hard work and perseverance always pay off in the USA. For $20,000, he plans to buy land in the Everglades, then sell the fruit to pharmaceutical companies, who'll use it in prostate medicines for the lucrative health market. But when his branch manager won't give him a loan, and his life spirals soon afterwards, he begins to realise how America really works for everyone who isn't ruthless, wealthy or both. Striving for a better life, styling yourself to meet society's expectations, getting brutally trampled down: that's Killing It, which hails from B99 co-creator Dan Goor and executive producer Luke Del Tredici. It's a perceptive and savvily funny series about aiming for a shiny future to escape the swampy present, but getting stuck slithering in a circle no matter what you try. And, it's also about literally killing snakes, a money-making scheme that Craig comes across via Uber driver Jillian (Claudia O'Doherty, Our Flag Means Death). She's a chatty Australian who swings hammers at pythons because it's a profitable business — and because there's a contest awarding $20,000 to whoever kills the most. If The Good Place was wholly set in Florida and followed down-on-their luck folks chasing glory by slaying pythons, and also made exceptional use of the well-paired Robinson and O'Doherty, this'd be the end result. Killing It streams via Stan. Read our full review. WELCOME TO CHIPPENDALES Scandals are to the true-crime genre like loose bills are to erotic dancers: virtually essential. On-screen stories about real life can exist without getting into ripped-from-the-headlines territory, of course, and performers who disrobe onstage can do their job without crumpled notes being thrust their way. Still, some synergies just work. In 2022, TV writer and producer Robert Siegel has happily mined sordid chapters of the past for two new streaming series, and how — first with the instantly watchable and engrossing Pam & Tommy, and now with the just-as-easy-to- Welcome to Chippendales. The second sees him survey the eponymous male stripping business, of course, showers of dollar notes and all. And for viewers who don't already know the details behind the world-famous touring dance troupe and its West Los Angeles bar origins, as started by Somen 'Steve' Banerjee back in the 70s and earning ample attention in the 80s, the full rundown has far more than scantily clad guys aplenty, lusty women, and bumping and grinding to an era-appropriate soundtrack. Kumail Nanjiani (Eternals) plays Steve, who rustles up the cash to start his own backgammon club by working in a service station for years. His dream place: cool, suave and sophisticated, and somewhere that Hugh Hefner might want to hang out. When a rush of patrons doesn't eventuate, the male dancer idea springs after a night at a gay bar with club promoter Paul Snider (Dan Stevens, Guillermo del Toro's Cabinet of Curiosities) and his playboy model wife Dorothy Stratten (Nicola Peltz Beckham, Holidate). But as business partners change, choreographer and Emmy-winning producer Nick De Noia (Murray Bartlett, Physical) gives the troupe its crowd-pleasing moves, Steve kinds a kindred spirit in accountant Irene (Annaleigh Ashford, American Crime Story) and costume designer Denise (Juliette Lewis, Yellowjackets) comes on board, this twists into a tale of money, envy, squabbles over power and ultimately murder. And yes, both Nanjiani and Bartlett are riveting to watch — as are the dance routines De Noia conjures up. Welcome to Chippendales streams via Disney+. INTERVIEW WITH THE VAMPIRE When Louis de Pointe du Lac met Lestat de Lioncourt, his life forever changed. His death did, too. That's the story that Interview with the Vampire tells and, by committing it to the page in 1976, Anne Rice's existence was altered for eternity as well — although not quite in the same way, naturally. The author has been known for her Vampire Chronicles series ever since, and its debut entry was adapted into a Brad Pitt- and Tom Cruise-starring 1994 movie before getting a do-over now as a television series. Obviously, the late Rice doesn't share her characters' lust for blood, or their ability to thwart ageing and time. Still, her famed works keep enticing in both readers and viewers — and this latest novel-to-screen version is a gothic series worth sinking your teeth into, especially thanks to its willingness to take on race, to embrace queer themes, to get playful and humorous, and to splash a sweepingly rich iteration of its now well-known tale across streaming queues. If you've seen the film, you'll know Interview with the Vampire's basic gist, although there has been some tweaking. Nonetheless, Louis (Jacob Anderson, aka Game of Thrones' Grey Worm) and Lestat (Sam Reid, The Drover's Wife The Legend of Molly Johnson) meet in New Orleans, where they're both drawn to each other — and soon the former joins the latter in sleeping in coffins, avoiding daylight and (reluctantly) feeding on people. The series has the titular chatting happen in today's times, however, as a continuation of the movie's first conversation. Yes, this version of Daniel Molloy (Eric Bogosian, Succession) has been there and done this before. That didn't turn out so well for him, so he's reluctant about a repeat discussion, this time in Dubai. But Louis still has quite the story to unfurl, including covering been a Black man trying to make his way in the bayou at the turn of the 20th century, what it's meant to join the undead, his complicated relationship with Lestat, and the arrival of Claudia (Bailey Bass, Psycho Sweet 16) as part of their bloodthirsty family. Interview with the Vampire streams via AMC+. THE MAN WHO FELL TO EARTH Who'd want to try to step into the one and only David Bowie's shoes? Only the brave and the bold. Two people earn that description in The Man Who Fell to Earth, the new TV sequel to the iconic 1976 movie that starred the music legend in the role he was clearly born to play: an alien who descends upon earth and ch-ch-changes history. Bill Nighy (Buckley's Chance) is charged with taking over the character of Thomas Jerome Newton and, thankfully and with style, he's up to the task. Chiwetel Ejiofor (Doctor Strange in the Multiverse of Madness) slides into the same kind of part that Bowie owned in the original, however, as fellow extra-terrestrial interloper Faraday. He's this follow-up's newcomer to the planet, and he's just as destined to do big things. That's not a spoiler — early in the first episode, Faraday addresses a massive crowd like he's Steve Jobs announcing Apple's latest product, and The Man Who Fell to Earth's tech success uses the occasion to spin his origin story. Who'd want to try to pick up where one of the best sci-fi films ever made left off? That'd also be the brave and the bold, aka Clarice creators Jenny Lumet and Alex Kurtzman. Drawing inspiration from silver screen gems is obviously the pair's niche of late, but it's worth remembering with this new effort — which takes its cues from Walter Tevis' 1963 novel of the same name, too — that Kurtzman was also behind exceptional 2008–13 sci-fi series Fringe. Indeed, The Man Who Fell to Earth 2.0 feels like the perfect use of his talents, with the series thinking big and brimming with urgency in its vision of a world that might only be able to be saved by a spaceboy who truly cares about stopping climate change's damage. To follow through with his mission, though, Faraday also needs the help of former MIT physics whiz Justin Falls (Naomie Harris, No Time to Die). The Man Who Fell to Earth streams via Paramount+. OUTER RANGE Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field in this intriguing, quickly entrancing and supremely well-acted eight-part series — a show that makes ideal use of Brolin especially — he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Top Gun: Maverick) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Plus, into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says, but she's a key part in a show that's a ranch-dwelling western, an offbeat enigma, an eerie sci-fi, a detective quest and a thriller all at once. Outer Range streams via Prime Video. Read our full review. THE GIRL FROM PLAINVILLE Whatever she's in, and whether she's the star of the show or a supporting player, Chloë Sevigny's face always tells a tale of its own. That's been true in everything from Kids and Boys Don't Cry through to Big Love and We Are Who We Are, and it remains that way in The Girl From Plainville — the new eight-part true-crime miniseries led by The Great's Elle Fanning that's based on the death of Massachusetts teenager Conrad Roy III in 2014. Here, Fanning plays Conrad's long-distance girlfriend Michelle Carter. It's due to the her actions that the situation has been known as "the texting suicide case" for almost a decade — garnering not just local but international attention, and earning a HBO documentary, I Love You, Now Die: The Commonwealth Vs Michelle Carter, back in 2019. Fanning is fantastic in what proves an eerie character study, but the looks that Sevigny, as Conrad's mother Lynn, shoots her way scream rather than simply speak volumes. Inspired by Jesse Barron's Esquire article of the same name, The Girl From Plainville tells a tough tale, starting with Conrad's (Colton Ryan, Dear Evan Hansen) suicide in his truck in a Kmart parking lot. It was his second attempt to take his own life, although he'd promised Lynn that he wouldn't do it again — and when his death was investigated, police discovered text messages sent to him by Michelle, including a plethora of words encouraging him to follow through. In 2015, she was indicted on charges of involuntary manslaughter for "wantonly and recklessly" assisting the suicide. In 2017, her trial took place. The outcome is now a matter a history, which the complicated, captivating and gripping The Girl From Plainville builds up to while also unpacking Michelle and Conrad's relationship. The Girl From Plainville streams via Stan. Read our full review.
Canada had Degrassi. Britain had Press Gang. For for seven seasons, 210 episodes and a whole heap of "rack off"s between 1994–99, Australia had Heartbreak High. It's the show that turned Callan Mulvey's Drazic into an icon, actually resembled the multicultural country its homegrown audience experienced every day, and lived and breathed 90s teen angst along with its after-class viewers. Once its instantly catchy opening-credits theme started each episode, it cycled through the same taboos and troubles that every high school-set drama does, and weathered the same schoolyard ups and downs as well — but it was unmistakably and unashamedly Aussie from its accents and Sydney setting to its attitude and vernacular. The OG Heartbreak High wasn't just another snapshot of adolescent chaos; it was a mirror. Dropping on Netflix on Wednesday, September 14, the revival is now another generation's looking glass. It's also a welcome blast from the past for everyone who grew up with the original or managed to track it down afterwards (wearing out old VHS tapes, perhaps, before it hit Netflix itself); however, it's never just that, not even for a second. Initially a spinoff from the Claudia Karvan- and Alex Dimitriades-starring 1993 movie The Heartbreak Kid, which adapted the 1987 play of the same name, Heartbreak High returns with Gen Z at its core and a spicier vibe to match. This new batch of Sydney high schoolers don't just watch Euphoria, Sex Education and Never Have I Ever, the shows that Heartbreak High circa 2022 easily slots alongside — they're now at the centre of Australia's version, all while listening to a Triple J soundtrack, working at Harry's Cafe de Wheels, avoiding eshays and talking about bin chickens. Teen-focused dramas always reflect the generation they're made for, and the returning Heartbreak High is no different. Today's high school-set shows often come with more than a few nods backwards as well, though. Just like Beverly Hills, 90210, Saved by the Bell and Gossip Girl before it — like Degrassi's multiple go-arounds across more than four decades now, including a new take that's set to land in 2023 — Heartbreak High 2.0 knows it has a history and doesn't dream of pretending otherwise. 90s worship is in fashion anyway, so all those Doc Martens, nose rings, baggy jeans, slip dresses and oversized band t-shirts not only could've adorned the initial show's cast, but prove a natural fit this time around. Sporting such decade-crossing attire is a fresh-faced — and fresh-to-the-franchise — cohort of Hartley High students. The years and teens have changed, but the location, like plenty of the outfits, remains the same. When the eight-episode new season begins, Amerie (Ayesha Madon, The Moth Effect) and Harper (Asher Yasbincek, How to Please a Woman) are life-long best friends, but their sudden rift after a drunken night at a music festival changes everything. Amerie doesn't know why Harper has suddenly shaved her head, let alone cut all ties with her. She's just as shocked when the mural they've graffitied in an unused school stairwell, chronicling who's dated, had a crush on and slept with who among the year 11s, is scandalously outed. That "incest map", whether one of Amerie's classmates received a "tongue punch in the fart box", if another has a "lazy kebab vagina", the pink dildo stuck to the school basketball hoop's backboard: there isn't just one sign that Heartbreak High isn't in the 90s anymore, let alone on Network Ten or the ABC; there's a whole classroom full of them. Where the initial series was groundbreaking in its cultural and class diversity at a time when the overwhelmingly white casts of Home and Away and Neighbours otherwise monopolised Aussie screens, navigating almost exclusively middle-class existences, creator Hannah Carroll Chapman (The Heights) ensures that her version is equally as inclusive — and frank — when it comes to gender, sexuality and neurodiversity. Principal Woodsy (Rachel House, Baby Done) isn't impressed by her students' candour, however, sending every Hartley attendee named on the map to an after-hours sexual literacy tutorial. Also in the group: the non-binary Darren (screen first-timer James Majoos) and their bestie Quinni (Chloe Hayden, Jeremy the Dud), who has autism — and who now comprise Amerie's new support system. Hartley heartthrob Dusty (Josh Heuston, Thor: Love and Thunder), his smug pal Spider (Bryn Chapman Parish, Mr Inbetween) and resident comic relief Ant (debutant Brodie Townsend) are all roped in, too. So is the pink-haired Sasha (Gemma Chua-Tran, Mustangs FC), her ex-turned-bestie Missy (fellow newcomer Sherry-Lee Watson), and mullet-wearing drug dealer and food delivery driver Ca$h (Will McDonald, Home and Away), plus Bundjalung boy, basketballer and new Hartley arrival Malakai (Thomas, Troppo). Throw any motley crew of high schoolers together and familiar issues and struggles will arise, as all of Heartbreak High's peers — then and now — can attest. Although no one becomes a teen mother here, recent fellow Aussie series Bump also casts a shadow (and not just because it stars The Heartbreak Kid's Karvan among the parents). That show hews softer and smoother, while this one skews glossier and racier. At first, it feels like the OG Heartbreak High's rawness and grit might've been buffed away. But as the series charts the fallout from Amerie and Harper's feud, the reasons behind it, and a new wave of hookups and controversies — as well as parties and pairings — it finds its own intensity. Come for the instant nostalgia, stay for an old favourite firmly seen with fresh eyes: that's the revived Heartbreak High experience. Some recognisable names pop up, but overtly winking and nudging to 90s viewers definitely isn't the show's point. It can't be; teen chaos doesn't rack off but rather gets handed down through time, just as this series now has. Spanning everything from consent and crime to drugs and police brutality, there's more than enough adolescent mess and stress to go around again. Viewers don't have a moment to waste wondering if old faces will return anyway, given how dynamic the new cast is — Madon, Majoos and Hayden make a terrific lead trio, and Weatherall, McDonald and Yasbincek in particular turn in beautifully complicated performances — and how addictive their characters' dramas prove. Check out the trailer for Heartbreak High below: Heartbreak High streams via Netflix from Wednesday, September 14. Images: Mark Rogers / Lisa Tomasetti / Elise Lockwood, Netflix.
Undies: everyone wears them. Well, almost everyone. Queen Victoria did, and now you can see proof. An item of the monarch’s underclothing is among the star attractions at Undressed: 350 Years of Underwear in Fashion — a historical celebration of the kind of garments that are usually seen by a much, much smaller audience. Presented in collaboration with London’s Victoria and Albert Museum, the exhibition spans back to a time of restrictive iron corsets and homemade intimate apparel; it explores the mindset of the modern exhibitionist and touches upon everything in-between. Over 80 pieces from the V&A collection are on display, with many rare items making their public debut. If looking at old-fashioned bloomers and wondering at the construction of Wonderbras is your thing — and we know it is — then why not combine the experience with a party? Undressed After Dark ramps up the revelry with cocktails, gourmet treats, burlesque and a local lingerie designer showcase. Time to make like you've got a hot date and break out the fancy knickers.
Aunty Donna fans, we're living in a golden time for the sketch comedy group's jokes making their way from skits to IRL. Obviously, everything is still a drum and always will be. On top of that, though, Mark Samual Bonanno, Broden Kelly and Zachary Ruane are making a sitcom about whipping up morning browns, have dropped an Always Room for Christmas Pud picture book and are releasing a $30 bottle of wine literally called $30 bottle of wine. If you're already giggling at all of the above, then you know the skits that they all spring from — and, when it comes to the new vino, you're ready to chug-a-lug. First, though, you'd also best be prepared to aerate the wine by pouring it into a decanter, then wait an hour before drinking. Then, you'll need to swirl, sniff, maybe find a cupcake in your glass, spit some wine out to explore the flavours and just generally feel like a fancy rich type. View this post on Instagram A post shared by Built To Spill Wine (@builttospill.wine) Saying that it costs $30 a lot, and respecting it because it costs $30, are also essential. So is singing the Home and Away theme song, apparently. Obviously, you don't have to take Aunty Donna's $30 Bottle of Wine skit as actual instructions, but watching said clip while drinking is definitely recommended. The $30 bottle of wine — which isn't just any bottle of wine, of course — hails from a collaboration with Built to Spill. The wine label was started by Tai Tate (ex-Porteno, Mary's, P&V) back in 2020 and has built itself up a following since, with this collaboration coming after Tate was introduced to the world of Aunty Donna by tattoo artist called Sanchez. The latter has now done the honours with the bottle's label, in fact, and yes, the words "$30 bottle of wine" feature prominently. Tate advises that the wine, which retails for $29.95 and ships from Monday, November 28, is probably worth more than $30. A natural shiraz from Macedon by Trutta Wines, it features bright red fruits and cacao, plus notes of cranberry and wild cherry. Go on, give all that a mention as you're sipping — you have to, it's the $30-bottle-of-wine way. Built to Spill is selling Aunty Donna's $30 bottle of wine solo, and in a bundle with Always Room for Christmas Pud. Ace Christmas present alert, clearly. All that's left now is to revisit the sketch that started it all, because you can never watch it too many times. Check it out below: For more information about Aunty Donna's $30 bottle of wine, head to the Built to Spill website. Orders are open now, and bottles ship from Monday, November 28.
Much has changed at Portside Wharf over its almost two-decade existence to date, but Byblós Brisbane has remained a constant. One of the River City's go-tos for Lebanese cuisine has been a mainstay of the waterside Hamilton precinct, whether you're keen on a meal or drinks. When it opened in 2006, it was also the first-ever eatery from brothers Adonis and Nehme Ghanem, the pair behind hospitality outfit — and the Bisou Bisou-, Iris Rooftop-, Blackbird Bar, Dining and Events-, Boom Boom Room-, Donna Chang- and Lúc Lắc-running — Ghanem Group. As new venues make their home at Portside, Byblós remains in place, but it's now sporting a revamped aesthetic and refreshed menu. Eighteen years after it first launched its Hamilton digs, the restaurant has undergone a renovation, and has been back up and running since spring 2024 in its new redesigned guise.. Indoors, expect an open dining and bar area, complete with dining booths and private nooks. If you're keen to eat and drink outside, you can now step through bi-fold glass sliding doors to the plant-filled waterside al fresco space, which has also been expanded and weather-proofed. Space Cubed Design Studio was on design duties, aiming to nod to Lebanese cuisine's past and present, including by incorporating tiles handcrafted in the venue's namesake city. Food-wise, patrons can tuck into a sharing-friendly menu influenced by a 2023 research trip to Lebanon, plus a new drinks range featuring cocktails such as Lebanese Lemonade (vodka, a whole lemon, mint, arak and maraschino) and Phoenician Sunset (Licor 43, strawberry liqueur, apple and strawberry), a hefty array of spirits and a wine cellar filled with drops from around the world. New highlights span salmon kibbeh nayeh (which is made with raw salmon, burghal, cucumber, fresh mint, red onion and fresh saj) and eggplant fatteh (fried eggplant, cow's milk yogurt, fresh mint and toasted flatbread) among the small plates. Yes, the fan-favourite rakakat, aka fried filo pastries stuffed with mozzarella, feta, parsley and onion, remains on offer. For something more substantial, the wagyu skewers feature pomegranate, pickled red onion, wild thyme and chimichurri; the Brisbane Valley quail comes with orange blossom honey, sumac and parsley, as well as pine nuts and currants; and the slow-cooked lamb shoulder is paired with mixed nuts, currants and jus. Baklava cheesecake and Turkish delight pavlova are dessert standouts — and if you can't pick what to eat, that's where the banquet menu comes in.
The City Sounds are one of Brisbane’s most underappreciated entertainment outfits. Almost every week there are bands playing right in the middle of Queen Street Mall, performing free shows for anyone on their lunch break or shopping trip. This week, The City Sounds have a new act each day, so if you happen to be in the city, why not spend some time listening to some great music. We’ve done you a favour and have listed below when and where each act will be playing. Wednesday 15th: The Phoncurves (pictured) @ noon, 1pm, 2pm @ Intersection of Queen St Mall & Albert St Thursday 16th: Jorja May @ noon, 1pm, 2pm @ Intersection of Queen St Mall & Albert St. Friday 17th: The Imprints @ 4.30pm, 5.30pm & 6.30pm @ Milano Café Fox Lane @ 5pm, 6pm & 7pm @ Visitor Information Centre June @ 5pm, 6pm & 7pm @ Intersection of Queen St Mall & Albert St Saturday 18th: Amon and Audra @ 11.30am, 12.30pm, 1.30pm @ Milano Café Flap! @ noon, 1pm & 2pm @ Queen Street Mall Main Stage Sunday 19th: Danny Widdiecombe @ 11.30am, 12.30pm, 1.30pm @ Milano Café Max Savage & The False Idols @ noon, 1pm & 2pm @ Queen Street Mall Main Stage
How does life go on after not just a global Cordyceps infection, but the chaos that the first season of The Last of Us brought? In 2025, viewers will find out. While the hit HBO series isn't returning until next year, the US network has given fans a glimpse in the interim via the initial two images from the new season. Yes, Joel and Ellie are back — and, in their shoes, so are Pedro Pascal (The Unbearable Weight of Massive Talent) and Bella Ramsey (Catherine Called Birdy). The pair of first pictures doesn't give away much; however, Ellie has a rifle in hand and Joel is looking as serious as ever, but with longer hair. The Last of Us made the leap from video games to TV in 2023, and was swiftly renewed after proving a massive smash instantly. The series gave HBO its most-watched debut season of a show ever — and its first episode was also the network's second-largest debut of all time. Locking in a second season was also hardly surprising because the 2013 game inspired a 2014 expansion pack and 2020 sequel. For newcomers to the franchise on consoles and as a TV series, it's set 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. [caption id="attachment_932860" align="alignnone" width="1920"] The Last of Us season one[/caption] As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. In season two, Rutina Wesley (Queen Sugar) will also return to the cast alongside Pascal and Ramsey. Kaitlyn Dever (Good Grief), Isabela Merced (Madame Web), Young Mazino (Beef), Ariela Barer (How to Blow Up a Pipeline), Tati Gabrielle (Kaleidoscope), Spencer Lord (Family Law) and Danny Ramirez (Black Mirror) are the season's newcomers, as is Catherine O'Hara (Argylle) as a guest star. There's no clips from The Last of Us season two yet, but check out the trailer for season one below: The Last of Us season two doesn't yet have a release date, other than sometime in 2025. When it returns, it'll stream via Binge in Australia and on Neon in New Zealand. Read our review of the first season. Images: HBO.
When Death and Taxes started slinging whisky in Burnett Lane, it set up shop in a heritage-listed building that dates back to the 19th century. So, when the team behind it decided to open another CBD spot, they followed a tried-and-tested pattern. Dr Gimlette sits on the opposite side of the mall, and goes heavy on cocktails and spirits in general, but it too has nestled into a location with a significant past. That address: 109 Edward Street, which was home to Metro Arts before it made the move over to West Village in West End. In the arts centre's former base — a building that also dates back to the 19th century, and is considered one of Brisbane's oldest — Dr Gimlette has turned the ground floor into a luxe and cosy cocktail bar with a big focus on table service. Here, Martin Lange, Wiebke Lange, Blake Ward and Belle Ward want you to take a seat, get comfortable and enjoy having your drinks brought to you. The team has taken inspiration from top bars elsewhere, such as The Savoy in London, The Dead Rabbit in New York and Black Pearl in Melbourne, to bring Brissie a sit-down drinking experience. Opt for a martini, and it'll be made right in front of you, too — shaken, stirred, thrown or nitro frozen, and with your choice of garnishes and gin — all thanks to the venue's two martini carts. The 30-beverage cocktail menu covers all the classics, and favours ingredients from local suppliers. Or, you can opt for a spritz on tap, which'll rotate its selection. And, as you'll notice upon walking in, Dr Gimlette isn't short on spirits if you'd prefer the hard stuff by itself. Its eye-catching bar boasts more than 800 bottles, or you can pick from the beer and wine range as well. Decked out with a nine-metre-long marble bar, leather booths, timber aplenty and dim lighting, the venue takes its old-school feel and its sense of cosiness seriously. At the time of writing, due to pandemic restrictions, it caters to 50 patrons — but will only double that number to 100 when there's no COVID-19 rules in place. And if you're wondering about the name, it harks back to surgeon Rear-Admiral Sir Thomas Gimlette, who is credited with being the first to add lime cordial to gin, creating a combination that'd go on to become the gimlet. Images: Grace Elizabeth Images.
That wide-open highway between Melbourne and Sydney has so much to offer. So, why settle for the routine route when you can have a rural adventure? In partnership with Canadian Club and Empty Esky, we want folks to make the great Aussie road trip even better. We've plotted the perfect itinerary, spotlighting regional towns that have had a rough go lately but are back to welcoming tourists with open arms. The next time you hit the bitumen, make it a mission to do some good and discover cool new things. Brave a haunted house, explore Aboriginal cultural heritage, splurge on a boutique hotel, treat yourself with sweets and a bakery pilgrimage and admire a really big sheep. WANGARATTA Your first stop should be for a hearty lunch with a side of cultural education in Wangaratta. Hit the all-day breakfast menu at Cafe Prevue — is there ever a wrong time of day for pancakes? Or, opt for fried chicken bao, mushroom arancini or a trusty toastie. Afterwards, wander down to the river and along the Bullawah Cultural Trail. This project was a collaboration between over a dozen Indigenous and non-Indigenous people and organisations to acknowledge and celebrate the Pangerang people and their long heritage and continued connection to Country. Through artworks, info boards and a bush tucker garden, discover the ways of living and stories that belong to this place and its people. [caption id="attachment_801899" align="alignnone" width="1920"] Visit Victoria[/caption] BEECHWORTH If you're passing through Beechworth, hit Beechworth Bakery for the lunch of champions: the signature Ned Kelly Pie, stuffed with steak, bacon, cheese and egg. You'll find "Australia's Greatest Bakery" in one of the beautiful historic buildings typical of this picturesque gold rush town. Room for dessert? We suggest the classic vanilla slice or one of its famous Beestings: a fluffy, filled bun spilling custard into your hands with each bite. You'll need some treats for the road, too, so visit The Beechworth Sweet Co for the whimsy of an old-timey sweet shop. Admire the glass jars of boiled sweets, sherberts and jellies, and sample some of its handmade fudge. JUNEE You haven't really explored the country unless you've picked up some bric-a-brac and local handicrafts. The Olde School T-House in Bethungra is crowded with curios and collectibles, so stop in for a browse and some morning tea. Then, steel yourself with an ice-cold Canadian Club and Dry at Junee Hotel before you dine with the dead (maybe) at Monte Cristo Homestead. Test your nerve at this grand homestead, which was once the Crawley family's (the town's founding family) seat of power. The homestead ghost tour includes a three-course dinner, accommodation and breakfast — a friendly touch for what's considered Australia's most haunted house. Oh, and there's an additional gift "if you make it through the night". For some comfort the next day, head to the Junee Licorice and Chocolate Factory. You can pick up organic chocolates, take a tour around the old mill (currently on hold due to COVID restrictions) or stop at the cafe for a decadent hot chocolate laced with turkish delight, butterscotch or even chilli. [caption id="attachment_795809" align="alignnone" width="1920"] Destination NSW[/caption] GUNDAGAI You know it for The Dog on the Tuckerbox, now discover Gundagai's fancier attractions. Heritage meets stylish minimalism at the boutique hotel, Flash Jacks. Starting life as a convent in 1891, these Victorian bricks have been born again as the ultimate luxe retreat, where you can splurge on a room with a bay window daybed. The perfect accompaniment to this top-notch stay is one of the best coffees you can get between Melbourne and Sydney. The Coffee Pedaler is a bright, cheery cafe that punches well above its weight. Sit outside for a pretty street view towards the hills, and tuck into a city-worthy brunch with generous country portions. [caption id="attachment_801901" align="alignnone" width="1920"] Public Art Walk, Destination NSW[/caption] GOULBURN Is it an Aussie road trip if it doesn't include at least one Big Thing? Goulburn's Big Merino (Rambo to his mates) celebrates the great Australian wool industry. If you're a dyed-in-the-wool art lover, take a free tour of Goulburn Regional Art Gallery, which showcases some of the best regional contemporary and emerging artists, then wander the Public Art Walk from there to the Information Centre. Afterwards, join the locals at the Goulburn Workers Club for a Canadian Club and Dry and a game of pool. Recover the next morning at Grit Cafe with an espresso and get your granola on. Or, grab a homemade bagel, artisanal sausage roll or brekkie burrito to see you through to Sydney. For more road trip inspiration, check out these guides from Canadian Club and Empty Esky. Top image: Monte Cristo Homestead, Destination NSW
We can't yet zipline around the entire world, though it does sound like something Elon Musk might dream up. We can, however, come up with an increasingly impressive holiday itinerary by touring the globe's scenic zipline spots. From this week, the Grand Canyon joins the list. Zooming along tightly stretched cables is already a reality at the world's longest zipline opening at Jebel Jais in the United Arab Emirates and across Dubai's skyline. London recently had one, currently letting locals and visitors fly across the city, as did Sydney did, stretching between two skyscrapers 75 metres above Circular Quay. Seeing the Grand Canyon from such lofty heights is now on offer at Grand Canyon West, at the Hualapai Ranch in Arizona, reaching 300 metres above the floor of the rock formation. Capable of accommodating 350,000 visitors each year, two ziplines have been strung across the natural wonder, one measuring 335 metres and the other spanning 640 metres while traversing a steeper run. Each consists of four steel cables running side-by-side, which means that groups can enjoy the experience together. Riders will reach speeds of up to 80 kilometres per hour. For those planning a high-adrenaline sight-seeing stint as part of their next US trip, tickets cost AU$115, with the zipline operating from Tuesday to Friday from 9am to 4pm. The ziplines join the resort's helicopter tours and 1.2-kilometre-high skywalk among its sky-high attractions. Via PR Newswire.
More than a few venues have popped up inside 179 Alfred Street, including La Costa restaurant and bar, rooftop bar Cielo and late-night watering hole The Parlour. Also on the premises: La Valle Wine Bar and Bottle Shop, if you're looking for somewhere to sip vino and grab a bottle to take home with you. Whether you're eager to spend some time onsite or you're just popping in for a drop to go, you'll choose from 200-plus bottles. For customers on the run, wine tastings might tempt you to hang around for a little longer. That's a standard part of the bottle-o experience, of course — but being able to choose between cheese platters ($14–28), duck paté with lavosh ($8), three types of bruschetta ($14) and four kinds of focaccia ($14) definitely isn't. Sit inside and peer at all the brands you'll suddenly want to drink, perch yourself by the window and look out onto the street or pull up a chair outside — the choice is yours. And if you're wondering what types of drops you'll be imbibing, La Valle stocks the likes of Payten & Jones, Athletes of Wine and Barbera d'Alba, although obviously the list goes on.
When October hits Brisbane, almost every venue in town busts out the Oompah bands, sauerkraut, wursts and pretzels, with Oktoberfest shindigs happening all around the city. The biggest of them all: Oktoberfest Brisbane, which has been filling steins and serving schnitzels since 2008. In 2023, however, it won't be returning. The always-hefty, always-boozy, always-merry German-themed celebration has experienced a difficult few years, as all events have, including a two-year hiatus due to the pandemic. But after making a comeback in 2022, Festival Directors Kim and Boris Zoulek have announced that the big six-day event is saying auf wiedersehen. "All our pretzels were crossed that this message would never need to be written, but the time has come to announce the toughest decision of all — to say auf wiedersehen to The Only Oktoberfest Brisbane," the Zouleks said in a statement. "They talk about decisions not being made lightly, but this one takes the cake. The past few years have brought about the biggest challenges our industry has ever faced. But just last October the team were as excited as they'd ever been to bring back Australia's most traditional Bavarian experience to the people of Brisbane, no less than three years in the making!" "However, over the past few months it has become clear that if the festival were to take place in 2023 we would not be able to deliver the same authentic German experience you have come to expect and love. And if there's one thing we won't do, it's compromise on your experience. So, it's with a very heavy gingerbread heart that we say auf wiedersehen for now (but with one very carefully trained German eye on the future)." Thankfully, the door isn't completely closed on future occasions for Brisbanites to dust off their lederhosen or dirndl at Brisbane Showgrounds — or for the sizeable German culture festival's traditional live music tents, Munich-style biergartens and carnival rides, including yodelling and dance — but there's no immediate plans for another Oktoberfest Brisbane yet. In the past, the event has taken place across two weekends, pairing its entertainment with the opportunity to eat, drink and celebrate all things Bavaria, and attracted more than 35,000 people per year in the process. "When The Only Oktoberfest Brisbane was birthed back in 2008, we had no concept of the authentic, all-yodelling, all-dancing, bratwurst-eating, magnificent teenager it would become." the Zouleks added. "Over the past 15 years, we've welcomed nearly half a million honorary Germans into our family, downed around two million bratwursts, munched on over 1.5 million pretzels, danced to nearly 800 hours of Oompah music and sipped on over a million traditionally brewed biers. While Oktober 2023 will be tough, we say farewell knowing Brisbane was privy to the most authentic celebration of German culture outside of Bavaria." For more information about Oktoberfest Brisbane coming to an end, head to the event's website.
There are many ways to make the most of Brisbane's all-year-round sunshine, whether you're keen on going for a stroll with a scenic view, hitting the pedals or finding a refreshing swimming spot. One activity stands out, though, perhaps because you can do it at so many places around town — including before or after you take that walk, bike ride or splash. We're talking about picnics, of course. And, in most cases, picnics with a watery view. Brisbane boasts many a patch of greenery adjacent to the river, including big hitters such as New Farm Park, the Brisbane City Botanic Gardens, Howard Smith Wharves and South Bank. If you're after a bite to eat by the coastline, you can head to the Wynnum-Manly foreshore, plus the Sandgate and Shorncliffe region, too. But if you've whiled away more than one afternoon at all of the obvious places — as every Brisbanite has — this city also features plenty of other great waterside picnic spots that you might not have visited. We've listed nine that'll get you thinking about sandwiches, cheese and whatever else you'd like to put in your basket. [caption id="attachment_770752" align="aligncenter" width="1920"] Kgbo via Wikimedia Commons[/caption] Sir John Chandler Park If you don't live nearby, it takes a little time to get to Sir John Chandler Park, even though it's just in Indooroopilly. As a suburb, Indro sprawls along the river, as do its roads — so you'll find yourself enjoying a suburban drive past the golf course before your picnic. Perhaps that's why this park is rarely crowded. It's tucked out of the way and, when you're there, it feels that way. As a result, it also feels particularly cruisy and laidback, which exactly the right atmosphere for a park overflowing with grass, boasting picnic tables and barbecues, and also right next to the river. If you like looking at rather expensive houses, you'll also spy a few across the water. [caption id="attachment_692305" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Colmslie Beach Reserve Brisbanites, you don't need to head up or down the coast to enjoy a picnic on a beach. This city of ours is home to its own sandy spot, but it's hidden. Don't worry, you won't have to trek too far to find it, because it's actually less than ten kilometres out of the CBD. Head to the secret idyll that is the Colmslie Reserve, and you'll come across a tiny riverside beach — yes, sand and all — as well as tree-lined paths and a boardwalk that catches the cool water breeze. This southside oasis is a great place for a peaceful interlude and a lazy day in the Brissie sun. And, if you fancy going fishing while you're there, don't forget to bring your rods. [caption id="attachment_770753" align="aligncenter" width="1920"] Kgbo via Wikimedia Commons[/caption] Wilson Outlook Reserve When the Howard Smith Wharves precinct opened in 2018, it gifted Brisbane one helluva picturesque inner-city riverside picnic spot. That said, it also stole a little of Wilson Outlook Reserve's thunder. Perched atop the cliffs next to HSW, this scenic space has been welcoming locals for years — but it's not so well-known that it's always jam-packed. Here, you'll take in the eye-popping vantage, which includes the Story Bridge and the CBD, while kicking back beneath jacarandas in New Farm. Fancy an evening picnic? Wilson Outlook serves up quite the sight when sunset rolls around. Just remember, unlike HSW below, you'll want to bring your food with you. [caption id="attachment_770749" align="aligncenter" width="1920"] Warren Major via Flickr[/caption] Bullocky Rest Beaches are great. Rivers, too. But there's just something extra special about lazing around by a lake. There's a peacefulness that emanates, and it's very much present at Lake Samsonvale in the Moreton Bay region. Thanks to the lake's dam, aka North Pine Dam, it's also a source of Brissie's drinking water. If you're fond of a nice walk, it's surrounded by tracks as well. But, if it's picnicking you're after — and you're reading this list, so you clearly are — then get cosy at Bullocky Rest. Just be prepared to have company, including of the tiny human kind thanks to the onsite play equipment. [caption id="attachment_814713" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Rocks Riverside Park Before making the most of its riverside location, this spot in Seventeen Mile Rocks, in the city's west, was home to a cement and lime quarry. So, when you're wandering around, expect to see more than a few remnants of the site's industrial past. Expect plenty of trees and bushland as well, and a plethora of perfect places for picnicking with water views. The park's Great Lawn spans around 8000 square metres, so green is clearly the hue here. Also onsite: a market garden, pathways for that after-lunch stroll, a half-size basketball court and heaps of kids' play equipment — making it an ideal spot if someone in your crew has littlies in tow. [caption id="attachment_770750" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Porter's Paddock Park Located on Brisbane's eastside, Minnippi Parklands is comprised of several smaller parks throughout Tingalpa, Cannon Hill, Carina and Carindale. Only one of them boasts a lagoon, however, which instantly shoots Porter's Paddock Park to the top of the must-visit list. When you're not eating your way through your picnic basket, you can walk across the boardwalk, peer into the water, and look at both the birds and the plant life. That's a particularly relaxing way to digest all those cheese slices, crackers and sandwiches — or whatever other picnic feast you feel like bringing along. [caption id="attachment_972027" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Sherwood Arboretum This heritage-listed gem to the CBD's west has been welcoming the public and its picnics for nearly a century. Here, you'll sit under leafy trees — more than a thousand, in fact — while looking out over your choice of man-made freshwater wetlands or the Brisbane River. Whichever you choose, you're in for both a green and glistening sight — although the plant life is as much of a drawcard as the proximity to water. As the name makes plain, Sherwood Arboretum is all about amassing different species of trees (or collecting them, in a sense), so make time during your picnic to go for a wander. [caption id="attachment_770748" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Bulimba Riverside Park It isn't the lengthiest walking track in Brisbane, but the paved path along the Bulimba stretch of the river is one of the nicest places to put one foot after the other while soaking in both the river breeze and the Brissie sun. Naturally, there's a park nearby — and while it's never empty thanks to the fact that it's surrounded by houses, it's still a mighty fine picnic spot. Peering out over the water to Newstead, Bulimba Riverside Park is also a great place for impromptu picnics given that Oxford Street and its shops and cafes are so close by. Stock up, walk down to the river and get munching. It's also just a quick stroll from the CityCat terminal. [caption id="attachment_770747" align="aligncenter" width="1920"] Michael Zimmer via Flickr[/caption] Bongaree Beach There are beaches, and there are beaches. Yes, you can claim a sandy riverside spot as a beach (see: Colmslie Beach Reserve above), and that's all well and good. But if you want to picnic at a beach where you can actually go for a swim, then Bribie Island's Bongaree Beach is worth a visit. It features parklands on one side and water on the other, so you can pick between grassy and sandy sitting spots. You can also choose just to go for a dip in shallow water, or to hire a kayak or paddleboard. And, you can do the very Brisbane thing of saying you're heading away to an island, even though it's connected to the mainland by a bridge. Top image: Brisbane City Council via Flickr.
The Inchcolm is one of Brisbane's most distinctive boutique stays: a heritage hotel that leans into its past while embracing a more playful, design-forward present. Set in Spring Hill just outside the CBD, the building dates back to the 1930s and still carries much of its original character. Now part of Ode Hotels – the group behind Sydney's cult-favourite The Old Clare Hotel – the property carries a similar sensibility: thoughtful, slightly offbeat and rich in atmosphere. Inside, the mood shifts. Dark tones, layered textures and curated artworks create a more intimate, almost theatrical atmosphere, setting it apart from the city's lighter, resort-style hotels. The result is a stay that feels a little more European in sensibility: rich, slightly eccentric and full of personality. Rooms are individually styled, blending heritage features with contemporary touches. The experience feels boutique and personal rather than standardised, with an emphasis on mood, detail and comfort – ideal for travellers looking for something with a bit more identity. Downstairs, The Inchcolm Bar anchors the food and drink offering, serving signature martinis and modern Australian fare (with a touch of French inspiration) in a setting that mirrors the hotel's moody aesthetic. There is a live jazz night on the last Saturday of every month. Brisbane Airport is around a 20-minute drive away, parking options are available nearby, and the location places you within easy reach of the CBD, Fortitude Valley and key cultural precincts.
How far would you go to keep a roof over your family's head? That's the question posed by 99 Homes, the blistering new moral melodrama from writer-director Ramin Bahrani. Set in Orlando, Florida during the height of the 2010 foreclosure crisis, it is perhaps the most compelling film yet made about the global economic downturn and the everyday people whose lives it tore apart. Forget serial killers wielding machetes. This is a horror movie for the modern age. Trading his spandex and web-shooters for a toolbox and blue collar, Amazing Spider-Man star Andrew Garfield plays protagonist Dennis Nash, a construction worker and single parent forced to move his family into a motel after they're thrown out of their home. Adding insult to injury, the only work Nash is able to find is as a day labourer for Rick Carver (Michael Shannon), the same ruthless real estate broker who evicted him in the first place. But Carver soon sees potential in the desperate young father and invites him to take a greater role in his business. But what will it take for Nash to sell his soul? 99 Homes is Bahrani's fifth feature effort, although it's the first to receive a significant release here in Australia. Still, those who have seen his earlier work, including Chop Shop, Goodbye Solo and At Any Price, will recognise his signature motifs. He's an unapologetically earnest filmmaker with a strong social conscience, taking major issues that dominate headlines and using them as a basis for intimate human stories. During the film's numerous eviction scenes, he employs handheld cameras and a low, pulsating score, creating an atmosphere of overwhelming helplessness. Watching Carver throw Nash and his family out of their home will likely leave viewers feeling nauseous – although not half as nauseous as they'll feel later in the film, when Nash begins evicting families on Carver's behalf. After a few years languishing in superhero limbo, Garfield recaptures the stellar dramatic form seen in The Social Network and Never Let Me Go. Every compromise Nash considers the actor makes us understand, forcing us to ponder what we'd do in the same situation. Laura Dern is likewise strong in the admittedly thankless role as Nash's kind-hearted mother. Both, however, are overshadowed by Shannon. With the same simmering intensity he brought to Take Shelter and Boardwalk Empire, the Oscar-nominated actor is captivating whenever he's on screen. A callous big screen capitalist in the vein of Gordon Gecko, Carver is at once repellent and uncomfortably persuasive – characteristics best exemplified in a monologue midway through the film in which the e-cig smoking realtor gives us a glimpse into what drives him while raining rhetorical fire down on everyone from federal regulators to homeowners themselves. It is, quite simply, one of the best written, best acted scenes you'll see in a cinema this year. That's not to say that Bahrani's screenplay isn't also without its weak points. Nuance isn't exactly his strong suit, and there are stretches of the film that feel rather histrionic. More frustrating is the ending, in which the writer-director strips away any sense of moral ambiguity in favour of a simpler, less interesting conflict between right and wrong. Yet even in the moments where the narrative falters, the weight and sincerity of Bahrani's intention are enough to carry you through. That, along with the phenomenal work of one of the finest actors working today. https://www.youtube.com/watch?v=sfttvNCIJvE
The best glamping sites in New Zealand are made for travellers who want to explore and stay amid the country's spectacular natural landscapes without having to rough it. Either hit a few of these as you road trip through the North and South Islands or find a location you love then stock up and stay for a good few days. Whether you're after seaside glamping or a mountain escape, with fantastic lodgings scattered across the countryside, Aotearoa's best assets are on full display at these glamping destinations that get you closer to nature than any hotel (although there's no shortage of great hotels in New Zealand). Recommended reads: The Best Places to Go Glamping in Australia The Most Romantic Places to Stay in Bali The Best Spas in Auckland The Best Spas in Wellington Glam Camping, Queenstown At Glam Camping, you'll find a collection of geometric dome tents perched along a hillside looking down on the green valley and lake just a 20-minute drive from Queenstown. During the day, take the 90-minute walk around Moke Lake or go horse riding. You can even join a morning yoga class or organise a wine tasting tour around one or many of Queenstown's famous vineyards. But we are particularly excited about the Glam Camping's food and drink offerings. You can opt to cook your own food (with all the produce provided by the hosts) or let a private chef treat you and your travel buddies to a three-course feast on the property. [caption id="attachment_880413" align="alignnone" width="1920"] SJL Photography[/caption] Kawakawa Station, South Wairapa This sprawling farming property spans across rolling grassy hills by the South Wairarapa coastline. And until the end of April 2023, the Kawakawa Station team invites guests to stay in a series of large tents hidden within the pastures. But, unlike other bell tents, these have clear ceilings so guests can stargaze from the comfort of their own bed. It also has a fully equipped kitchen on the property, so you can prep your meals without needing to bring a heap of gear. You can easily spend a few days at this New Zealand glamping site, hanging out among the sheep and strolling around the property. But, if you're after a proper adventure, Kawakawa Station also offers an epic hiking experience. The three-day hike along the Station Walk takes you through forests, along creeks and right down to the coast. The team will put you up in a bunch of different accommodations along the way, too. Coromandel Luxury Escapes, Coromandel It's in the name but still deserves being repeated — Coromandel Luxury Escapes is a truly luxurious glamping site in New Zealand. It is all powered and comes with a mini fridge, oil heater, large king bed as well as a private free-standing outdoor bath. A massive deck with a BBQ is also there for you when you want to cook up some locally caught fish. Apart from the site, one of the biggest selling points is the location. It's close to some of New Zealand's best beaches, including the picturesque New Chums Beach. And, if you're up for a 50-minute drive, you've got to visit Hot Water Beach. Here, you can dig a hole in the sand to find naturally hot water bubbling up to the surface — just be careful when digging, as this water can reach temperatures beyond 100 degrees Celsius. Use Coromandel Luxury Escapes as your base when exploring the Coromandel region which is just a two-hour ferry ride from Auckland. Lavericks Bay, Christchurch The Lavericks Bay glamping spot has two tents making up this wonderfully bucolic site. Seclusion is almost totally guaranteed. Apart from the property's wandering sheep. You'll feel as if you have the entire bay and rolling countryside to yourselves — for exploring or just sitting back and taking in the views. During the day, head to the beach for some leisurely swimming at the property's private beach to check out the resident dolphins and seals that tend to float past. And, at night, you can't say no to a dip in the large wooden hot tub in which you can do some proper stargazing. There's no light pollution here, so you'll be guaranteed a stunning night sky. Waitomo Hilltop, Waitomo The Waitomo Hilltop glamping site feels like it's pulled from a fairytale. Atop a hill, in the green Waitomo countryside lies this luxury tent that's been kitted out with everything you could need. Cook up fresh pizzas in its woodfired oven, rug up by the fire pit watching movies via projector or take a dip in one of the outdoor baths overlooking the countryside. There used to be just one glamping tent available, but Waitomo recently finished creating another equally luxurious site. The new campsite has two tents joined together with a glass walkway — including three separate bedrooms, a lounge area and a massive kitchen and dining room. It is technically a tent, but looks far more like a bricks and mortar home. The Black Yurt, Oakura This one is for the keen surfers out there. You're a short walk away from Oakura's surfing beach which is known for having some fairly reliable swell. The Black Yurt is also close to town — walking distance from plenty of boutique stores, restaurants and bars. It may be one of the least remote New Zealand glamping spots on this list but it still feels miles away from crowds. The large yurt is surrounded by palms and native bushland, offering up some well-needed privacy. The interiors of the yurt are also extra cushy. There's a king bed, a queen futon mattress as well as some schmick bathroom facilities. And, if the weather is good, you can open the dome and windows to let the outside in. [caption id="attachment_879080" align="alignnone" width="1920"] Lisa Sun Photography[/caption] Tawanui Farm, Cheviot It doesn't take long to find jaw-dropping vistas outside of New Zealand's main cities. Just an hour-long drive from Christchurch lies Tawanui Farm, a working sheep, cow and deer farm. Here, the Loughnan family have set up two geodesic domes, a central camp kitchen (with couches and cooking gear all provided) and a large hot tub looking out over the pastures. It's easily one of the best New Zealand glamping sites out there. Each dome sleeps up to four people, and no matter how many guests you book for, you'll get the entire site — that makes Tawanui Farm great for larger groups. Either laze around playing boardgames and drinking in the hot tub or use it as a base to explore the rest of the region. You can fish at the local Hurunui River, swim and surf at Gore Bay or take an ATV farm tour to learn a little more about Tawanui Farm. Dealer's choice. Kanuka, Rotorua This is just about as remote as it gets. A single Kanuka glamping tent is hidden up in the bush, right next to Lake Tarawera, and can only be reached by a boat ride or hike. The campsite comes with a large tent and queen-sized bed, a bush kitchen with everything you need to cook up some grub, a dining area as well as a separate bathroom. The essentials are sorted. And, once you're all settled in, what you choose to do around here is totally up to you. The Kanuka team can provide a kayak for exploring the lake, there's a sandy beach less than 50 metres away and you can hike along a number of trails (with one leading to a natural hot pool in the bush). Ah, you've got to love New Zealand and all its thermal hot springs. [caption id="attachment_880412" align="alignnone" width="1920"] Dan Kerins[/caption] Camp Kekerengu, Kaikoura Coast If you're travelling with a bunch of mates or a big family, Camp Kekerengu is perfect. Here, you will find three large tents, a group kitchen and a covered lounge area — all with uninterrupted sea views. But, be prepared for living it a little rougher than you might like. The entire glamping site is off grid. This will force you to fully unplug and enjoy nature. You're a short walk from the beach, close to several walking trails and simply surrounded by wide open plains and rolling mountains. It's stunning. And is the perfect example of why people love to go glamping in New Zealand. Here, you get the best bits of Aotearoa's natural landscape all in one location. Feeling inspired to book a getaway unlike anything else out there? Only through Concrete Playground Trips, our new travel booking platform, can you now purchase holidays specially curated by our writers and editors. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips at destinations all over the world. Top images: Waitomo Hilltop
A string of long weekends is a joy while it's happening, such as the current Easter and ANZAC Day run (plus Labour Day, too, if you're in Queensland). When it's over and five-day work weeks become a reality week after week again, however, holiday dreams start calling. Clearly Jetstar wants you to get a jump on planning your next vacation, given that the Australian airline has just kicked off its latest big flight sale. Both domestic and international fares are on offer at discounted prices, with 40,000-plus seats available between now and 11.59pm AEST on Sunday, April 27, 2025. You'll want to get in quick, though, given that sale tickets mightn't last that long — and these deals run until sold out if that happens before the scheduled end date. One-way prices start at $49 for Club Jetstar members and $54 for everyone else this time, which covers routes from Brisbane and Melbourne to and from Newcastle. Next up, $97/102 will get you between Adelaide and Sydney, $99/104 from Melbourne to Cairns, and $114/119 between either Sydney or Melbourne and Uluru — and flights to and from the Gold Coast, Whitsunday Coast and Margaret River are also among the discounts. With the overseas options, one-way fares kick off at $159/165 from Cairns or Darwin to Bali, while Melbourne–Singapore ($179/189) and Brisbane ($279/289) or Sydney ($299/319) to Seoul are some of the other choices. Expect to primarily take winter getaways no matter where you're heading, although the international routes cover dates from mid mid-May to late-August 2025 and the domestic fares are for mid-July to late-September 2025 travel. The usual caveats apply: all prices apply to one-way fares; checked baggage is not included, so you'll want to travel super light or pay extra to bring a suitcase; and, as per above, dates vary according to the route. [caption id="attachment_938861" align="alignnone" width="1920"] Destination NSW[/caption] Jetstar's Just Plane Good Sale runs until 11.59pm AEST on Sunday, April 27, 2025 — or until sold out if prior. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
If you find yourself walking the grounds of the Barracks looking for a bite to eat, you may stumble upon a sunny courtyard, decked out with bright red tables and chairs, well-groomed shrubbery, shaded benches and bright hanging lanterns. This is the outdoor area and entrance to French-Vietnamese restaurant and bar Libertine. Make your way inside and you will find the interior is even more inviting than the exterior. Not sparse or minimalist in the way of many Brisbane restaurants, neither is it ostentatious or homely. Instead, Libertine is done up in self-proclaimed 'French-colonial bordello style'. Warm mahogany colours, red-fringed lampshades, chandeliers dangling from high ceilings, ornate wallpaper and gold leaf accents combine to quite lavish effect. Staff greet you at the door and once they have shown you to a table, are very ready to explain the menu, field any questions, and spruik the 'I'm Hungry!' meal option — $55 per person for seven of the chef’s chosen dishes. The menu is broken down under various headings. 'Street Food' is made up of petite dishes like dumplings filled with either free-range chicken or seven mushrooms and water chestnuts with chilli soy. 'Share Dishes' like the lemongrass, lime and Asahi chicken with galangal chutney and tobacco onions will feed larger groups or appetites. 'Nibbles' (Hanoi eight-spiced popcorn chicken with sweet chilli mayo) and sides (baguette with whipped butter) are plentiful, and desserts include the intriguing sounding chocolate orange chiboust with salted choc orange ganache, sesame croquant and orange vanilla cream. Though the food itself is outshone by the decor, for a convenient dinner before or after a movie at the Palace, Libertine easily fits the bill (especially on Movie Mondays when you can get a four-course banquet plus dessert and a movie ticket for $39 per person). A stone's throw from Suncorp Stadium, it is also a handy place for a pre/post-game tipple. Currently Libertine hosts a live DJ on Sundays from 2.30pm–5.30pm, so with fun-sounding cocktails like Puff the Magic Snap Dragon (vodka, peach, lemon, Vietnamese mint, sparkling) and plenty of French and Australian wines, Libertine would be a pleasant place for Sunday afternoon drinks.
Digital nomad visas and remote working have never been more attainable, so if you've ever toyed with the idea of taking your skills abroad, Tourism Authority of Thailand is giving you the chance to try before you fly (away forever) with its Live Your Best Digital Nomad Life competition. Up for grabs is a Concrete Playground Trips voucher valued at $3000 (covering return flights to any major airport in Thailand and accommodation for any hotel in Thailand hosted on the CP Trips website), a $500 Klook voucher to spend on top experiences, activities and travel essentials such as transport and SIM cards, as well as $1500 worth of Visa travel vouchers which should cover you for long-tail boat rides along Chao Phraya River in Bangkok, trekking in Chiang Mai's Doi Inthanon National Park, hopping on island escapades in Phuket or Krabi and all the Tom Kha Kai you can consume in a week. That's a total prize value of $5000. And who knows — at worst you can enjoy a change of WFH scenery. Or after a week you might love the Thai hospitality, your digital nomad life (and affordable living) so much, that you'll decide never to come back. Want to find out more about remote working in this incredible part of the world? Here's what you need to know to get yourself set up for a working holiday in Thailand. [competition]885290[/competition]
So much to see, so little time. If hitting the couch is one of your favourite ways to unwind, that'll be a familiar refrain. Now that there are far more streaming services to choose from than we each have fingers and toes, finding something to watch is never a problem — and in 2022, there's been a lengthy list of excellent shows worthy of your attention. Some have tapped into our struggles with work-life balance in chilling and thrilling ways. Others have made hearts soar and swoon several times over. Also on this year's must-see list: multiple shows that dance with exceptional movies, a behind-the-scenes television great doing what he does best, porn for women, spectacularly lifelike dinosaurs and murder-mysteries. And, they're just some of 2022's standouts. Haven't been able to watch all of the year's ace new arrivals thanks to life getting in the way? Not quite sure where to start? With 2022 now at its midway point, here are our picks of the year's 15 best new television and streaming shows — consider it your catch-up list over the next six months. SEVERANCE It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In mind-bending thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to re-enter his after-hours life; however, the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the lift starts moving, it goes back to the office for Mark's "innie", as his work-bound consciousness is dubbed. Voila, it's clocking-on time once more. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about the nine-to-five grind. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. For everyone watching, soaking in its twisty mysteries — and enjoying Patricia Arquette (The Act), Christopher Walken (Percy vs Goliath) and John Turturro (The Plot Against America) as fellow Lumon employees — it's a surreal and riveting must-see. Severance is available to stream via Apple TV+. Read our full review. IRMA VEP One of 2022's most magnificent new shows, and a cinephile's dream of a series, Irma Vep requires some unpacking. The term 'layered' has rarely ever applied to a TV program quite as it does here. French filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper) retraces his own footsteps, turning his cult-favourite 1996 movie of the same name into an Alicia Vikander-starring HBO miniseries. And, in this series itself, a director is also remaking one of his own past flicks as a television project. In all versions of Irma Vep, the movies and shows being made are also remakes of 1915–16 French crime effort Les Vampires. It was a ten-episode, seven-hour cinema serial, and it's supremely real. Indeed, by first helming a feature about remaking Les Vampires, and now a series about remaking a movie that remakes Les Vampires (which, IRL, is also a remake of a movie that remakes Les Vampires), Assayas keeps remaking Les Vampires in his own way. It all sounds exactly as complicated as it is — and Assayas loves it. Viewers should, too. The nested dolls that are Irma Vep's meta setup just keep stacking, actually. The 1996 Irma Vep starred Maggie Cheung, who'd later become Assayas' wife, then ex-wife — and the 2022 Irma Vep haunts its on-screen filmmaker René Vidal (Vincent Macaigne, Non-Fiction) with visions of his ex-wife Jade Lee (Vivian Wu, Dead Pigs), who, yes, led his movie. If you're a fan of word puzzles, you might've also noticed that Irma Vep is an anagram of vampire; that said, Les Vampires isn't actually about bloodsuckers, and nor is any iteration of Irma Vep. To add to the list, while Cheung played a version of herself, Vikander (Blue Bayou, The Green Knight) plays fictional American star Mira — a name that's an anagram of Irma. You can also take that moniker literally, because mirroring is patently a pivotal aspect of the brilliant Irma Vep in every guise. Irma Vep is available to stream via Binge. Read our full review. WE OWN THIS CITY For the past 20 years, we've all fallen into two categories: people who've seen, loved and haven't been able to stop raving about HBO's Baltimore-set masterpiece The Wire; and folks who don't tick any of those boxes but have been told by everyone who does that they really need to watch it ASAP. We Own This City deserves to spark the same response — and shares many of its predecessor's key pieces. It too takes place in Maryland's most populous city. It also follows a law-and-order battle, complete with time spent within the Baltimore Police Department. It springs from former Baltimore Sun police reporter-turned-author, journalist and TV writer/producer David Simon as well, and sees him reteam with writer George Pelecanos, a veteran of not only The Wire but also Simon's Treme and The Deuce. Oh, and as it tells a compulsive crime tale, it's packed with phenomenal performances. One of those astonishing portrayals is among the first thing that viewers see, in fact, with We Own This City opening with Sergeant Wayne Jenkins lecturing new recruits on the BPD Gun Trace Task Force. Chatting through how to legally do the job — how to get away with what he deems necessary, that is — Jon Bernthal (The Many Saints of Newark) is hypnotically unsettling as Jenkins, who'll become the focus of a corruption investigation for his methods. He isn't the only "prime example of what's gone wrong in Baltimore," as viewers are told. So is Daniel Hersl (Josh Charles, The Loudest Voice), who is initially glimpsed pulling over and terrorising a Black driver for no other reason than that he can. Department of Justice Civil Rights Department attorney Nicole Steele (Wunmi Mosaku, Lovecraft Country) is charged with tracking the force's bad eggs, and that's just one of this complex, revealing and arresting six-part miniseries' layers. And if it feels so detailed that it could only be true, that's because it's based on a non-fiction book by Justin Fenton another ex-Baltimore Sun reporter. We Own This City is available to stream via Binge. MINX When home video, the internet and mobile phones with inbuilt cameras each arrived, six words could've been uttered: get ready to look at dicks. HBO comedy Minx is set the early 70s, so before all three, but the same phrase also applies here. It's true of the show itself, which isn't shy about displaying the male member in various shapes and sizes. It also stands tall in the world that Minx depicts. When you're making the first porn magazine for women — and, when you're making an ambitious, entertaining and impeccably cast The Deuce meets Mrs America-style series about it, but lighter, sweeter and funnier (and all purely fictional) — penises are inescapable. Also impossible to avoid in Minx: questions like "are erections consistent with our philosophy?", as asked by Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying). Idolising the magazine industry and unhappily working for the dispiritingly traditional Teen Queen, she has long dreamed of starting her own feminist publication — even penning a bundle of articles and making her own issues — but centrefolds splashed with male genitalia don't fit her ideal pitch. No one's buying what Joyce is selling, though; The Matriarchy Awakens, her dream mag, gets rejected repeatedly by the industry's gatekeepers. Only one is interested: Bottom Dollar Publications' Doug Renetti (Jake Johnson, Ride the Eagle), but he's in the pornography business. Minx is available to stream via Stan. Read our full review. OUR FLAG FLAG MEANS DEATH In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. This show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone, but it more than lives up to its winning idea and winsome casting. Come for the buccaneering banter and seafaring satire, stay for a thoughtful and sincere comic caper that's also a rom-com. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and an eye-catching head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. The two real-life figures eventually cross paths after Bonnet leaves his life of wealth, privilege and comfort to rove the oceans, captains a ship staffed by a motley crew to end all motley crews, and initially gets captured by Blackbeard — or Ed, as he calls him. As these two opposites bond, riding the waves from adversaries to co-captains to potentially something more, Our Flag Means Death truly and gloriously opens up its warm heart. Our Flag Means Death is available to stream via Binge. Read our full review. THE AFTERPARTY Only Murders in the Building isn't the only new comic murder-mystery series worth streaming from the past year or so. Joining it is The Afterparty, which also sports a killer cast — this time Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk) and Tiffany Haddish (The Card Counter) — and a savvy spin on an oft-used gimmick. Rather than skewering true-crime podcasting, this quickly addictive comedy from writer/director Christopher Miller (The Lego Movie) toys with the reality that every tale differs depending on the perspective. Whodunnits always hinge upon that fact, and Miller has also clearly seen iconic Japanese film Rashomon. And, considering that its big murder takes place after a school function, there's a touch of Big Little Lies at play, too. With his directing partner Phil Lord, Miller has made a career out of getting smart and funny with familiar parts, however, and that doesn't change here. The setup: at the afterparty following his 15-year high-school reunion, obnoxious autotune-abusing pop star Xavier (Franco) winds up dead on the rocks beneath his lavish mansion. Enter the determined Detective Danner (Haddish), who starts grilling his former classmates one by one to find out who's responsible. Her interrogations start with the sensible Aniq (the always-great Richardson), who was hoping to finally make a move on his schoolyard crush Zoe (Chao) — and after his version of events, Danner hears from Zoe's macho ex Brett (Barinholtz) in The Afterparty's second episode, then from Aniq's best bud Yasper (Schwartz, riffing on Parks and Recreation's Jean-Ralphio without being quite as ridiculous), and so on. The cast is top-notch, the writing is clever, there's much fun to be had with its genre- and perspective-bending premise, and the throwaway gags are simply glorious. The Afterparty is available to stream via Apple TV+. Read our full review. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. Heartstopper is available to stream via Netflix. Read our full review. PREHISTORIC PLANET Five episodes, one comforting voice, and a time-travelling trip back 66 million years: that's the setup behind Prehistoric Planet, an utterly remarkable feels-like-you're-there dive into natural history. Having none other than David Attenborough narrate the daily activities of dinosaurs seems like it should've happened already, of course; however, now that it finally is occurring, it's always both wonderful and stunning. Filled with astonishing footage on par with the visuals that usually accompany Attenborough's nature docos, all thanks to the special effects team behind The Jungle Book and The Lion King, it truly is a wonder to look at. It needs to be: if the Cretaceous-era dinosaurs rampaging across the screen didn't appear like they genuinely could be walking and stalking — and fighting, foraging for food, hunting, flying, swimming and running as well — the magic that typically comes with watching an Attenborough-narrated doco would instantly and disappointingly vanish. Welcome to... your new insight into Tyrannosaurus rex foreplay, your latest reminder that velociraptors really don't look like they do in the Jurassic Park and Jurassic World flicks, an entertaining time spent with al kinds of animals, and your next favourite dinosaur project with an Attenborough attached. Each of Prehistoric Planet's five instalments focuses on a different type of terrain — coasts, deserts, freshwater, ice and forests — and chats through the creatures that call it home. Set to a spirited original score by Hans Zimmer, fresh from winning his latest Oscar for Dune, there's a formula at work. That said, it's no more blatant than in any David Attenborough-hosted show. Viewers watch as some dinos look after their young, others try to find a mate, plenty search for something to eat and others attempt not to be eaten. The same kinds of activities are covered in each episode, but the locations and dinosaurs involved all change. Prehistoric Planet is available to stream via Apple TV+. Read our full review. LOOT Aptly given its title, new Apple TV+ sitcom Loot doesn't look cheap — or sound it. It's partly filmed in one of America's biggest private homes, an enormous mansion with 21 bedrooms, five pools, a bowling alley and a cinema. It's filled with well-known needle drops that come quickly and often, with one episode featuring three Daft Punk tracks alone. It couldn't scream louder or drip harder with excess; the series is about a mega-rich tech whiz's wife who gets $87 billion in their public and messy breakup, after all. And, it is inescapably made by a company that's a big technology behemoth itself, and has been splashing stacks of cash to build its streaming roster (see: The Morning Show, Ted Lasso, Severance, Physical, Prehistoric Planet, Foundation, The Shrink Next Door, Shining Girls, Slow Horses, Lisey's Story and more). Loot is also clearly a satire, however, and a canny, warm and funny one at that. The premise: amid being gifted a mega yacht for her birthday, then jumping to a party in that aforementioned sprawling home, Molly Novak (Maya Rudolph, Big Mouth) discovers that her husband John (Adam Scott, Severance) is cheating on her. Post-divorce, after that huge settlement and a stint of partying around the globe with her assistant Nicholas (Joel Kim Booster, Fire Island), she gets a call from Sofia Salinas (Michaela Jaé Rodriguez, Pose), the head of the foundation she's forgotten bears her name (and even exists). With Molly's drunken decadence all over the news, the charity is finding it difficult to do its work. So, the organisation's namesake decides to ditch the revelry — and her married moniker, becoming Molly Wells — and put all that dough to better use. She also commits to playing an active role in how her funds can truly help people. Loot is available to stream via Apple TV+. Read our full review. TOKYO VICE Seven years after making his most recent movie, aka 2015's Chris Hemsworth-starring Blackhat, one of America's best directors is finally back behind the lens. Thief, Heat, The Insider and Collateral filmmaker Michael Mann only helms Tokyo Vice's pilot, but what a tone-setting debut episode it is — as stylish and gritty a piece of television as you're likely to stream any time soon, in fact. Mann also serves as the eight-part book-to-screen series' executive producer, which explains why its slice of neon-lit Japanese-set noir always feels like it bears his fingerprints. Of course, the show isn't shy about its links to the director, who also executive produced the original 1980s TV series Miami Vice, and wrote and directed the 2006 big-screen remake. That said, Tokyo Vice's moniker actually stems from Jake Adelstein's memoir Tokyo Vice: An American Reporter on the Police Beat in Japan, about his years writing for Yomiuri Shimbun as a non-Japanese journalist. Nonetheless, everything about the HBO-backed program feels as if it was always fated to end up in Mann's hands. Adelstein was Yomiuri Shimbun's first foreign staff writer, with Tokyo Vice exploring his quest to cement himself inside the publication from the bottom up. As played by West Side Story's Ansel Elgort, Adelstein always stands out, as does his dogged determination to chase the stories he's explicitly instructed to ignore. Murders don't happen in Japan, he's told. What he's witnessing screams otherwise, though. So, he starts spending his own time investigating, befriending Tokyo organised crime division detective Hiroto Katagiri (Ken Watanabe, Godzilla: King of the Monsters) for guidance, and also getting close to club hostess and fellow American-in-Tokyo Samantha Porter (Rachel Keller, Legion), plus jaded Yakuza enforcer Sato (Shô Kasamatsu, Love You as the World Ends). Elgort is the weakest part of the series, but that also suits the overall narrative and its focus on the city's underworld — and everything around him, including Rinko Kikuchi (Pacific Rim: Uprising) and Hideaki Itô (Memoirs of a Murderer), is stellar. Tokyo Vice is available to stream via Paramount+. Read our full review. PACHINKO When novels are turned into movies, there's usually a sense that's something is missing, no matter how fantastic the film proves. That's understandable; when you compare the time it takes to unfurl a story on the page with the usual running time of a feature — even a lengthy one — not everything can make the leap from book to screen. Named for the gambling machines that fill Japanese arcades, Pachinko turns author and journalist Min Jin Lee's award-winning text into an eight-part series instead, and it's a canny and clever move. So too is getting filmmakers Kogonada and Justin Chon to direct four instalments apiece, both coming off fantastic work via After Yang and Blue Bayou respectively. And, adding to the smart and savvy choices made by this immediately engrossing series, which unfurls a sweeping, 20th century-set, multi-generational tale about struggle, resilience and endurance: casting always-wonderful Minari Oscar-winner Youn Yuh-jung — as well as newcomer Kim Min-ha as the younger version of her character. Youn and Kim play Sunja (and, as a child, first-timer Yuna does as well), who anchors a story that's both impressively sprawling and devastatingly intimate. As a girl, she grows up in Japanese-occupied Korea, a fact that shapes every part of her young life. When she's older, she moves to Japan — and by the time that she's a grandmother, that's where the bulk of her existence has unfolded. Jumping between different periods, Pachinko charts how the shadow of colonial rule has lingered over not just Sunja but the family she's brought into the world, including in the 80s where her grandson Solomon (Jin Ha, Devs) works in finance in New York and her son Mozasu (Soji Arai, Cobra Kai) has made his way thanks to the titular game. Splashing an epic story told with emotion, resonance, insight and elegance across the screen, this is at the pinnacle of novel-to-screen adaptations. Pachinko is available to stream via Apple TV+. SLOW HORSES One of several espionage-themed efforts hitting streaming this year — see also: the returning The Flight Attendant and movie All the Old Knives — Slow Horses gives the genre a pivotal switch and entertaining shake up. It's still a tense thriller, kicking off with an airport incident and then following a kidnapping, but it's also about the kind of spies that don't usually populate the on-screen world of covert operatives. Stationed away from the main MI5 base at a rundown, clandestine office called Slough House, Jackson Lamb (Gary Oldman, The Hitman's Wife's Bodyguard) and his team are the agency's rejects. They haven't been fired for a multitude of reasons, however, including boasting ties to influential past employees, being great at their jobs but also a drunk and having impressive hacking skills yet proving impossible to get along with. Given the nickname that gives the show its moniker, usually they do little more than push paper, too, until they get caught up in a high-profile case. Oldman goes big and broad as Lamb, and he's also ceaselessly absorbing to watch, but Slow Horses isn't short on stars. In a six-episode first season adapted from Mick Herron's 2010 novel of the same name, Kristin Scott Thomas (Rebecca) plays MI5 Deputy Director-General Diana Taverner, Lamb's supremely competent head-office counterpart — although it's Jack Lowden (Fighting with My Family) and Olivia Cooke (Pixie) as young operatives River Cartwright and Sid Baker, and their efforts to chase down a lead they're not meant to, that's at the forefront. Behind the scenes, executive producer and writer Will Smith (not that one) brings a sly and witty way with dialogue from his past work on The Thick of It and Veep, making Slow Horses both crackingly suspenseful and tartly amusing. The slinky theme tune by Mick Jagger also helps set the mood — and season two is already in development. Slow Horses is available to stream via Apple TV+. THE MAN WHO FELL TO EARTH Who'd want to try to step into the one and only David Bowie's shoes? Only the brave and the bold. Two people earn that description in The Man Who Fell to Earth, the new TV sequel to the iconic 1976 movie that starred the music legend in the role he was clearly born to play: an alien who descends upon earth and ch-ch-changes history. Bill Nighy (Buckley's Chance) is charged with taking over the character of Thomas Jerome Newton and, thankfully and with style, he's up to the task. Chiwetel Ejiofor (Doctor Strange in the Multiverse of Madness) slides into the same kind of part that Bowie owned in the original, however, as fellow extra-terrestrial interloper Faraday. He's this follow-up's newcomer to the planet, and he's just as destined to do big things. That's not a spoiler — early in the first episode, Faraday addresses a massive crowd like he's Steve Jobs announcing Apple's latest product, and The Man Who Fell to Earth's tech success uses the occasion to spin his origin story. Who'd want to try to pick up where one of the best sci-fi films ever made left off? That'd also be the brave and the bold, aka Clarice creators Jenny Lumet and Alex Kurtzman. Drawing inspiration from silver screen gems is obviously the pair's niche of late, but it's worth remembering with this new effort — which takes its cues from Walter Tevis' 1963 novel of the same name, too — that Kurtzman was also behind exceptional 2008–13 sci-fi series Fringe. Indeed, The Man Who Fell to Earth 2.0 feels like the perfect use of his talents, with the series thinking big and brimming with urgency in its vision of a world that might only be able to be saved by a spaceboy who truly cares about stopping climate change's damage. To follow through with his mission, though, Faraday also needs the help of former MIT physics whiz Justin Falls (Naomie Harris, No Time to Die). The Man Who Fell to Earth is available to stream via Paramount+. OUTER RANGE Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field in this intriguing, quickly entrancing and supremely well-acted eight-part series — a show that makes ideal use of Brolin especially — he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Top Gun: Maverick) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Plus, into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says, but she's a key part in a show that's a ranch-dwelling western, an offbeat enigma, an eerie sci-fi, a detective quest and a thriller all at once. Outer Range is available to stream via Prime Video. Read our full review. THE DROPOUT Dramatising the Theranos scandal, eight-part miniseries The Dropout is one of several high-profile releases this year to relive a wild true-crime tale — including the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, and also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. It also dives into the horror-inducing Dr Death-esque realm, because when a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. And, it's the most gripping of the bunch, even though we're clearly living in peak scandal-to-screen times. Scam culture might be here to stay as Inventing Anna told us in a telling line of dialogue, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. The Dropout is available to stream via Disney+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also keep a running list of must-stream TV from across the year so far, complete with full reviews.
If a cinema date was on your agenda in the later months of 2024 or has been since 2025 began, then you might've seen an Oscar-nominee. When it comes to accolade-worthy flicks hitting screens, the films celebrated by the Academy of Motion Picture Arts and Sciences usually release closer to awards season and during it — and, in Australia, even once the year's official Oscar contenders have been named. Dune: Part Two, the first of duelling Timothée Chalamet movies vying for glory, is an exception among 2025's Academy-anointed picks, as audiences have had over a year to catch up with the spicy sci-fi sequel. A Complete Unknown, with Timmy as Bob Dylan, demonstrates the normal trend perfectly, though — and you'll need to get cosy in your local cinema right now to enjoy it. They're just two of 2025's Oscar-contending features and documentaries that Australians can enjoy this very instant. In total, if you're eager to give nominated flicks the Pokémon catch-them-all approach — whether they will, could or should win — there's 33 currently available in the lead up to Hollywood's night of nights. Ahead of the recipients being revealed on Monday, March 3, here's where to see them. Watching epic dramas on big screen, diving into powerful and haunting docos at home, deciding whether to defy gravity in a crowd or on your own couch: they're all options. On the Big Screen: A Complete Unknown Nominations: Best Picture, Best Director (James Mangold), Best Actor (Timothée Chalamet), Best Supporting Actor (Edward Norton), Best Supporting Actress (Monica Barbaro), Best Adapted Screenplay, Best Costume Design Our thoughts: This Timothée Chalamet (Dune: Part Two) passion project took more than half a decade to come to fruition. With its 60s setting, focusing on the period from Bob Dylan's arrival in New York City to going electric at the Newport Folk Festival, a sense of time is always visible A Complete Unknown; however, that also applies to the years that its star has had to perfect his lead part. Benefiting from such a hefty preparation block, this is as committed a performance as Chalamet has given — and one that director James Mangold (Indiana Jones and the Dial of Destiny) always lets shine as the film explores an icon's talents, ambitions and quest to remain himself. Where to watch: In Australian cinemas. Read our interviews with Timothée Chalamet, Elle Fanning, Monica Barbaro, James Mangold and Boyd Holbrook. The Brutalist Nominations: Best Picture, Best Director (Brady Corbet), Best Actor (Adrien Brody), Best Supporting Actor (Guy Pearce), Best Supporting Actress (Felicity Jones), Best Original Screenplay, Best Cinematography, Best Film Editing, Best Original Score, Best Production Design Our thoughts: Since switching from acting to writing and directing, Brady Corbet hasn't lacked in ambition for a second — but as excellent as both Childhood of a Leader and Vox Lux are, his third feature towers above them. With Adrien Brody (Winning Time: The Rise of the Lakers Dynasty) as Hungarian Jewish architect László Toth, The Brutalist is as epic as a three-and-a-half-hour drama about trying to escape life's horrors, including those of the Holocaust, by chasing the American dream can be. The buildings designed by its protagonist aren't the only things that are monumental here, career-best turns by Guy Pearce and Felicity Jones among them. Where to watch: In Australian cinemas. Read our interview with Adrien Brody, Guy Pearce, Felicity Jones and Brady Corbet. Emilia Pérez Nominations: Best Picture, Best Director (Jacques Audiard), Best Actress (Karla Sofía Gascón), Best Supporting Actress (Zoe Saldaña), Best International Feature Film, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Original Song — 'Mi Camino' by Camille and Clément Ducol, Best Original Song — 'El Mal' by Clément Ducol, Camille and Jacques Audiard Our thoughts: As it follows its namesake character's (Karla Sofía Gascón, Harina) journey from cartel leader to trying to live her authentic life, Emilia Pérez isn't just a musical and a crime drama rolled into one. It's also a melodrama — and French filmmaker Jacques Audiard (Paris, 13th District) goes bold in leaning in, and in embracing the juxtapositions of the movie's three main genres as they jostle against each other. That audacity, that willingness to be both spectacular and messy, and the feature's three key performances, including from Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building): they all assist in making this vivid viewing. Where to watch: In Australian cinemas. I'm Still Here Nominations: Best Picture, Best Actress (Fernanda Torres), Best International Feature Film Our thoughts: It came as no surprise when Fernanda Torres (Fim) won a Golden Globe for her portrayal of Eunice Paiva in Walter Salles' (On the Road) deeply moving political and personal drama. Her understated yet also expressive performance as the real-life wife of Rubens Paiva (Selton Mello, Bury Your Dead), who was taken away by Brazil's military dictatorship in 1971 and never seen again, is that powerful. I'm Still Here poignantly charts the task of trying to endure under such heartbreaking circumstances — under oppressive rule, when your existence crumbles, when your family is fraying courtesy of the trauma and when fighting back is the only choice, too. Where to watch: In Australian cinemas. Maria Nominations: Best Cinematography Our thoughts: Chilean filmmaker Pablo Larraín (El Conde). Pivotal women from the 20th century. Phenomenal actors giving their utmost to their parts. That's proven a winning combination three times now, with Maria following Jackie and Spencer. Unlike Natalie Portman (Lady in the Lake) as Jacqueline Kennedy and Kristen Stewart (Love Lies Bleeding) as Princess Diana, Angelina Jolie (Eternals) mightn't have earned a Best Actress Oscar nomination, but she's captivating in every second — in diva mode, but also both soulful and yearning — as opera singer Maria Callas, as the exquisitely shot film (by El Conde's Edward Lachman) charts the week before her death in 1977. Where to watch: In Australian cinemas. The Seed of the Sacred Fig Nominations: Best International Feature Film Our thoughts: Making movies isn't easy; however, there's regular challenges and there's the situation that Mohammad Rasoulof faces. For his art, for documenting the reality of life in Iran today and for showing it to the world, prison sentences and filmmaking bans have come his way. The Seed of the Sacred Fig isn't pivotal viewing just because of what it took to create — in secret, with Rasoulof directing remotely — and how its guiding force is treated by the Iranian regime, though. Observing how a family unravels when an investigating judge's wife and daughters push back amid the country's 2022–23 protests, this is another statement of film from the There Is No Evil helmer. Where to watch: In Australian cinemas. Read our interview with Mohammad Rasoulof. September 5 Nominations: Best Original Screenplay Our thoughts: Before First Cow, Past Lives, The Agency and plenty more, among John Magaro's first on-screen jobs was playing an extra in Munich. Two decades later, he turns in one of September 5's many compelling performances (see also: Presumed Innocent's Peter Sarsgaard, Mrs Davis' Ben Chaplin and The Teachers' Lounge's Leonie Benesch) in another potent drama about the terrorist attack at the 1972 Olympics. Filmmaker Tim Fehlbaum (The Colony) views this chapter of history through the efforts of the ABC Sports crew, whose coverage pivoted and made history — and his tense procedural journalism thriller is both stirring and gripping. Where to watch: In Australian cinemas. Sing Sing Nominations: Best Actor (Colman Domingo), Best Adapted Screenplay, Best Original Song — 'Like a Bird' by Abraham Alexander and Adrian Quesada Our thoughts: In the maximum-security prison that gives Greg Kwedar's (Transpecos) affecting and inspiring second feature its title, the aim of the Rehabilitation Through the Arts program is right there in its own moniker. For the real-life scheme to inspire a new cinema masterpiece, an on-screen masterclass in empathy and a tribute to being moved by art, surely wasn't an initial goal. As Divine G, one of the incarcerated man finding purpose through staging theatre productions with his fellow inmates, Colman Domingo (The Madness) is astonishing — as is Clarence Maclin, a former detainee at the NYC facility who plays himself as the movie mixes actors with amateurs. Where to watch: In Australian cinemas. In Cinemas or at Home: Anora Nominations: Best Picture, Best Director (Sean Baker), Best Actress (Mikey Madison), Best Supporting Actor (Yura Borisov), Best Original Screenplay, Best Editing Our thoughts: Along with playfulness, empathy, and an eagerness to look beyond the usual characters and pockets of America that tend to grace narrative cinema, tenderness is one Sean Baker's special skills, as splashed across his filmography. It's in Tangerine, The Florida Project and Red Rocket, and now Anora. Spotting Cinderella elements and riffs on Pretty Woman aren't hard with this movie about a Brooklyn erotic dancer (Mikey Madison, Lady in the Lake) who liaises with and is soon wed to the son (Mark Eydelshteyn, Zhar-ptitsa) of a Russian oligarch (Aleksey Serebryakov, Lotereya) — but just as Ani is always her own person, the magnificent Anora is always a Baker film. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. A Real Pain Nominations: Best Supporting Actor (Kieran Culkin), Best Original Screenplay Our thoughts: He didn't feature on-screen in his first film as a writer/director, but 2022's When You Finish Saving the World couldn't have sprung from anyone but Jesse Eisenberg. Neither could've 2024's A Real Pain. Both explore the fact that experiencing our own pain, big or small, world-shattering or seemingly trivial, or personal or existential, is never a minor matter. In the latter, the Fleishman Is in Trouble actor plays the anxious part, and literally. His character is a bundle of nerves about and during his pilgrimage to Poland with his cousin (Kieran Culkin, Succession) to honour of their grandmother, who survived the Second World War, then started a new life in the US. Where to watch: In Australian cinemas, and via Disney+, Apple TV and Prime Video. Read our full review and our interview with Jesse Eisenberg. Better Man Nominations: Best Visual Effects Our thoughts: Most music biopics want the figure in its spotlight to remain front and centre. Better Man doesn't stray from the formula there. The bulk of films in the genre also want audiences to always recognise the star in focus, which is where this Australian-made look at Robbie Williams' career makes a huge departure. It's the spirit of the former Take That member that shines through in Jonno Davies' motion-capture performance, as Williams is rendered on-screen as a chimpanzee. For The Greatest Showman director Michael Gracey, it works, so much so that it's now impossible to imagine a feature about the singer done any other way. Let me entertain you indeed. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Jonno Davies and Michael Gracey. Conclave Nominations: Best Picture, Best Actor (Ralph Fiennes), Best Supporting Actress (Isabella Rossellini), Best Adapted Screenplay, Best Costume Design, Best Film Editing, Best Original Score, Best Production Design Our thoughts: Cardinals, they're just like everyone else seeking power — bickering, gossiping, scheming, fighting and trying to find their way to the top by any means possible, that is. Aided by a stellar cast (including The Return's Ralph Fiennes, Citadel's Stanley Tucci, The Old Man's John Lithgow and Spaceman's Isabella Rossellini) answering viewers' prayers, filmmaker Edward Berger swaps World War I's horrors in All Quiet on the Western Front for a pulpy and twisty but smart page-to-screen papal thriller about electing a new pope. He hasn't completely switched thematically, though: how tradition and modernity butt against each other also remains the director's focus. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Gladiator II Nominations: Best Costume Design Our thoughts: Swords, sandals, spectacle, scale, sharks in more ways than one — including literally — and Denzel Washington (The Equalizer 3) having a scenery-chewing ball: welcome to Ridley Scott's 24-years-later follow-up to Gladiator. Helming his fourth feature of the 2020s after The Last Duel, House of Gucci and Napoleon, the veteran filmmaker has taken the sequel-as-remake approach with Gladiator II, but sports the style and stars to largely pull it off, with Paul Mescal (All of Us Strangers), Pedro Pascal (The Wild Robot), Connie Nielsen (Origin), Fred Hechinger (Kraven the Hunter) and Joseph Quinn (A Quiet Place: Day One) also great among the latter. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Paul Mescal, Connie Nielsen and Fred Hechinger. Nosferatu Nominations: Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, Best Production Design Our thoughts: The Witch, The Lighthouse and The Northman filmmaker Robert Eggers turned Nosferatu into a play as a teen. Consider his big-screen remake of FW Murnau's 1922 classic a second bite, then. His fastidious fixation with detail and recreating past eras with painstaking precision is on full and glorious display, as is his way with unnerving eerieness. As Count Orlok in a tale that began as an unauthorised Dracula adaptation a century ago, Bill Skarsgård (Boy Kills World) is commanding, while Renfield's Nicholas Hoult and Shadow of the Vampire's Willem Dafoe make welcome bloodsucker returns, but it's Lily-Rose Depp (The Idol) who truly haunts. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Willem Dafoe, Emma Corrin, Aaron Taylor-Johnson and Robert Eggers. Wicked Nominations: Best Picture, Best Actress (Cynthia Erivo), Best Supporting Actress (Ariana Grande), Best Costume Design, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Production Design, Best Sound, Best Visual Effects Our thoughts: As a theatre-kid obsession for decades, it was long likely that the big-screen adaptation of Wicked — a movie based on a musical springing from a book that offered a prequel to a film that walked the celluloid road 85 years prior, itself jumping from the page to the screen — would have big theatre-kid energy as it attempted to ensure that its magic enchants across mediums. No one would ever want a muted version, after all. It was true of his take on In the Heights and it's accurate again here: Jon M Chu has a knack as a filmmaker of stage hits reaching cinemas, matching the vibe of the show that he's taking on expertly. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our full review and our interview with Nathan Crowley. Via Streaming: A Different Man Nominations: Best Makeup and Hairstyling Our thoughts: 2024 was the year that Sebastian Stan (Dumb Money) played men chasing a dream that turns out to be a nightmare — and that musing on what it takes to accept yourself and ignore the world's feedback, and whether external change can bring about an internal transformation, was gripping movie viewing more than once. Hailing from writer/director Aaron Schimberg (Chained for Life), A Different Man is an exceptional example of both. When Stan's Edward Lemuel undertakes an experimental treatment for neurofibromatosis, his disfigurement disappears; however, his hopes for stardom and love can't be grasped that easily. Where to watch: Via Binge, Apple TV and Prime Video. Read our full review. Alien: Romulus Nominations: Best Visual Effects Our thoughts: Don't trust your employer. While that isn't the sole takeaway message from 45 years of Alien movies, it's a biting aspect of the sci-fi/horror saga nonetheless. In space, Weylan-Yutani Corp workers keep screaming and the company doesn't simply refuse to hear them; in the battle between killer extra-terrestrial creatures and the outfit's employees, it puts the former first. Under Fede Álvarez's (The Girl in the Spider's Web) direction, watching how that plays out in Alien: Romulus for Rain Carradine (Cailee Spaeny, Civil War), the latest to glean that she doesn't mean anything beyond labour to the source of her paycheque, isn't quite the perfect organism — but it's engaging. Where to watch: Via Disney+, Apple TV and Prime Video. The Apprentice Nominations: Best Actor (Sebastian Stan), Best Supporting Actor (Jeremy Strong) Our thoughts: The Apprentice was always going to be a horror movie. The world already knows its subject, and is familiar with where his path has taken him since the 70s- and 80s-era chapters of his life that are covered by Ali Abbasi's (Holy Spider) compelling film. Sebastian Stan (Dumb Money) and Jeremy Strong (in his first post-Succession role) proving phenomenal in a movie that's unshakeable: that too feels inevitable. The fact that this is a Frankenstein's monster story, too, was perhaps less expected — but by focusing on Donald Trump's (Stan) mentorship by New York City attorney and political fixer Roy Cohn (Strong) when the former was an aspiring real-estate tycoon, it fits. Where to watch: Via Apple TV and Prime Video. Read our interview with Ali Abbasi. Black Box Diaries Nominations: Best Documentary Feature Our thoughts: It's easy to wish for a world where Black Box Diaries didn't need to exist — where its director and subject, journalist Shiori Itō, wasn't sexually assaulted, then forced to investigate the attack herself because the Japanese police declined to pursue the high-profile culprit. The reality, though, is that in a country where only four percent of sexual assaults end up going through the justice system, many women are in the same situation, even if they can't and/or don't pick up a camera. Itō knows that fact as she courageously shares her story, and attempts to ensure that what she went through isn't buried. Filled with vulnerability and determination, this is devastating viewing. Where to watch: Via DocPlay. Dune: Part Two Nominations: Best Picture, Best, Cinematography, Best Production Design, Best Sound, Best Visual Effects Our thoughts: Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune. Where to watch: Via Netflix, Binge, Apple TV and Prime Video. Read our full review and our interview with Greig Fraser. Elton John: Never Too Late Nominations: Best Original Song — 'Never Too Late' by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin Our thoughts: It started in 2018. It finished in 2023. Across that five-year period, it came to Australia twice. Elton John's Farewell Yellow Brick Road tour, his final string of live shows around the world, saw him say goodbye to hitting the stage after five decades — a decision that documentary Elton John: Never Too Late digs into. This is a celebratory film rather than a deep dive, and somehow not as intimate as viewers should expect of a movie co-directed by the music icon's husband David Furnish (who also helmed 1997's Elton John: Tantrums & Tiaras, and works with Martha and Billie Eilish: The World's a Little Blurry filmmaker RJ Cutler hear), but the music is still a treat. Where to watch: Via Disney+. Inside Out 2 Nominations: Best Animated Feature Film Our thoughts: They're basic: joy, sadness, fear, disgust and anger, that is, the five emotions that swirled inside human heads in Pixar's 2015 hit Inside Out. In Inside Out 2, that quintet of feelings isn't enough to cope with being a teenager, which is where anxiety, envy, ennui and embarrassment come in. The newcomers arrive with the onset of puberty. They have no time for simple happiness; they've levelled up some of the emotions adjacent to sorrow, fright, dismay and fury, too. Inside Out was always an all-ages ode to mindfulness, as is its sequel — and discovering how to accept and acknowledge apprehension, unease and nerves is here, like in life, a complicated balancing act. Where to watch: Via Disney+, Apple TV and Prime Video. Read our full review. Kingdom of the Planet of the Apes Nominations: Best Visual Effects Our thoughts: Since day one, every Planet of the Apes tale has been a mirror. Gazing into the sci-fi series means seeing the power structures and societal struggles of our reality staring back — discrimination, authoritarianism and even the impact of a world-ravaging virus should ring a bell — but with humans no longer atop the pecking order. These are allegorical stories and, at their best, thoughtful ones, probing the responsibilities of being the planet's dominant force and the ramifications of taking that mantle for granted. Not every instalment has handled the task as well as it should've, but those, that do like Kingdom of the Planet of the Apes, leave a paw print. Where to watch: Via Disney+, Apple TV and Prime Video. Read our full review. Memoir of a Snail Nominations: Best Animated Feature Film Our thoughts: Fifteen years is a long time between features. Films by Australian stop-motion animator Adam Elliot — movies that he calls "clayographies" — also aren't quick to make. But Memoir of a Snail rewards the wait, with the Mary and Max writer/director again using his preferred medium to process life's heartbreaks, struggles, joys and delights in stunning fashion. Sarah Snook (Succession) voices Grace Pudel, twin to Gilbert (Kodi Smit-McPhee, Disclaimer) and later friend to the elderly Pinky (Jacki Weaver, Hello Tomorrow!). Grace reflects upon her existence from childhood onwards, and her journey towards living for herself, to share this immensely affecting story. Where to watch: Via Apple TV and Prime Video. Read our interview with Adam Elliot. Nickel Boys Nominations: Best Picture, Best Adapted Screenplay Our thoughts: Cinema's function as an empathy machine places viewers into someone else's shoes for 90 or so minutes at a time. Adapting Colson Whitehead's Pulitzer Prize-winning novel, director RaMell Ross (Hale County This Morning, This Evening) doesn't leave that sensation to chance in this impressionistic standout. As shot by Jomo Fray (All Dirt Roads Taste of Salt), Nickel Boys' extraordinary cinematography adopts a first-person perspective, ensuring that the audience sees and hears the world as Elwood (Ethan Herisse, The American Society of Magical Negroes) and Turner (Brandon Wilson, Murmur) do when they're sent to an abusive reform school. Where to watch: Via Prime Video. No Other Land Nominations: Best Documentary Feature Our thoughts: In No Other Land, Basel Adra films what he knows but wishes that he doesn't — and what he knows that the world needs to see. Co-directing with Israeli investigative journalist Yuval Abraham, plus farmer and photographer Hamdan Ballal and cinematographer Rachel Szor, the Palestinian activist chronicles the takeover of the West Bank region of Masafer Yatta for an Israeli military base. As a result, families with centuries of ties to the land are forced to live in caves, battle soldiers and fight to survive. Making this documentary is an act of bravery of the highest order. Watching it, and bearing witness as Adra demands, couldn't be more essential. Where to watch: Via DocPlay. Porcelain War Nominations: Best Documentary Feature Our thoughts: Art can be a radical act — a fight, a show of defiance, a countering to oppression and devastation — and this truth can be baked into a documentary's very existence (see: Black Box Diaries and No Other Land for just two recent examples). The moving and powerful Porcelain War also shows this idea in action in Ukraine, against the backdrop of its devastated landscape under the current Russian occupation. In this Sundance 2024 US Documentary Grand Jury Prize-winner, filmmakers Brendan Bellomo and Slava Leontyev capture the latter's efforts with Anya Stasenko to craft porcelain figurines while they're part of the Ukrainian defense. Where to watch: Via DocPlay. The Six Triple Eight Nominations: Best Original Song — 'The Journey' by Diane Warren Our thoughts: The ever-prolific Tyler Perry directed not one, not two, but three films in 2024: thrillers Mea Culpa and Divorce in the Black, plus the World War II-set The Six Triple Eight. The last of the otherwise-unrelated trio brings the story of the 6888th Central Postal Directory Battalion to the screen — the only all-Black US Women's Army Corps dispatched overseas during the conflict. In the lead, Kerry Washington (Unprisoned) is a highlight. Perry helms with great intentions, honouring women who history shouldn't be permitted to forget. But none of that translates to an impressive feature, even with Oprah Winfrey (A Wrinkle in Time) adding to her acting resume. Where to watch: Via Netflix. Soundtrack to a Coup d'Etat Nominations: Best Documentary Feature Our thoughts: The Cold War. Jazz greats, including Louis Armstrong, Nina Simone, Duke Ellington, Dizzy Gillespie and Melba Liston. America's operations through the CIA in the Democratic Republic of the Congo when it was newly independent from Belgium. Across two-and-a-half hours in essay style, Belgian filmmaker Johan Grimonprez's (Blue Orchids) inventive and engaging — and thorough and dense — documentary Soundtrack to a Coup d'Etat explains how they're all connected, plus the 1961 murder of Patrice Lumumba and much more as well. It has the soundtrack, of course, as well as smarts, pace, thrills and a probing look both backwards and forward. Where to watch: Via DocPlay. The Substance Nominations: Best Picture, Best Director (Coralie Fargeat), Best Actress (Demi Moore), Best Original Screenplay, Best Makeup and Hairstyling Our thoughts: If you suddenly looked like society's ideal, how would it change your life? The Substance asks this. With Revenge's Coralie Fargeat leading the charge on her long-awaited sophomore feature and earning Cannes' Best Screenplay Award for her troubles, the result is a new body-horror masterpiece. Pump it up: the sci-fi concept; the stunning command of sound, vision and tone; the savagery and smarts; the gonzo willingness to keep pushing and parodying; the gore (and there's gore); and the career-reviving performance from Demi Moore (Landman), who'll now always be remembered as newly 50-year-old actor and TV host Elisabeth Sparkle. Where to watch: Via Stan, Apple TV and Prime Video. Read our full review. Sugarcane Nominations: Best Documentary Feature Our thoughts: In 1981, more than a century after it was founded, the Catholic Church-run St Joseph's Mission residential school in British Columbia, Canada closed its doors. Reports of abuse swirled long before its shuttering, in some cases backed up by investigations and trials. Four decades afterwards, unmarked graves were discovered — and more distressing stories emerged, including of pregnancies resulting from sexual assaults and covered up. This is personal for Julian Brave NoiseCat, who co-directs the sensitively, potently, astutely and movingly told Sugarcane with fellow feature-length first-timer Emily Kassie: his father and grandmother are both part of this tale. Where to watch: Via Disney+. Wallace & Gromit: Vengeance Most Fowl Nominations: Best Animated Feature Film Our thoughts: Break out the Wensleydale cheese: Wallace & Gromit is back. The first film, short or feature-length, about the kind-hearted inventor (Ben Whitehead) and his beagle since 2008's A Matter of Loaf and Death — TV's Wallace & Gromit's World of Invention did pop up for six episodes in 2010, though — sees its namesakes targeted by penguin Feather McGraw on a quest for revenge. Despite the long break between screen outings, Aardman Animation's main duo have lost none of their charm. A delight of an all-ages flick, it's both humorous and heartfelt, nails its slapstick silliness, and even makes clever use of a robotic garden gnome. Where to watch: Via Netflix. The Wild Robot Nominations: Best Animated Feature Film, Best Original Score, Best Sound Our thoughts: A favourite on the page first, The Wild Robot is now an all-time gem on the screen. Boasting extraordinarily emotive voicework from Lupita Nyong'o (A Quiet Place: Day One), beautiful hand-painted forest imagery inspired by Studio Ghibli, assured direction from How to Train Your Dragon and The Croods' Chris Sanders, and a rousing score by Kris Bowers (Bridgerton) will do that. Story-wise, it spends time with Roz, aka ROZZUM unit 7134, after the android ends up on an animal-filled island and learns that there's more to existence than following your programming — and, in the process, The Wild Robot proves tender, warm and enchanting. Where to watch: Via Apple TV and Prime Video. Read our interview with Lupita Nyong'o and Chris Sanders. The winners of the 2025 Oscars will be announced on Monday, March 3, Australian time. For further details, head to the awards' website. Wondering what will, should and could win? Check out our predictions in 11 key categories.
Walking through a cathedral made of 100,000-plus lights, moseying beneath a canopy of glowing multi-coloured trees, wandering between ribbons of flashing beams — you'll be able to do all of this when Lightscape heads to Australia for the first time in 2022. Originally meant to debut Down Under in 2020 but postponed due to the pandemic, the after-dark light festival will be taking over the Royal Botanic Gardens Victoria — Melbourne from Friday, June 24–Sunday, August 7, beaming away from 5.15pm Wednesday–Sunday. While the leafy Birdwood Avenue spot is already extremely scenic, to say that Lightscape will be brightening up the place is quite the understatement. Prepare to see the garden illuminated by immersive and large-scale installations scattered along a 1.8-kilometre route, including sparkling trees, luminous walkways and bursts of colour that look like fireworks. A big highlight: large-scale works like Winter Cathedral, the aforementioned installation that'll feature more than 100,000 globes and make you feel like you're being bathed in radiance. Lightscape comes to Australia after taking over gardens across the United Kingdom and the United States. Developed by Royal Botanic Gardens, Kew in the UK, it's understandably proven a huge success — and more than two-million people wandered along its glowing trails last season. In Melbourne, Lightscape will also commission local artists to create works that'll celebrate the city's culture and nature — giving the after-dark light festival a local touch. Fingers crossed for pop-up food and drink stalls scattered throughout — selling, we hope, mulled wine to keep hands warm during the chilly winter nights. Lightscape will light up Royal Botanic Gardens Melbourne, Birdwood Avenue, Melbourne, from Friday, June 24–Sunday, August 7. For more information or to buy tickets, head to the event's website.
Here's a problem that absolutely no one will ever complain about: needing to fill not one, not two, but three long weekends all in a row. That's what Brisbanites are experiencing right now, and we're right smack bang in the middle of it — and that's all the excuse that W Brisbane needs to throw a party. The opulent hotel's fourth-level rooftop pool and wet deck area frequently gets a workout — whenever it can find a reason to throw a shindig, really. The excuse now: lapping up the cruisy long-weekend vibes, drinking cocktails and Hard Fizz, and dancing to DJs. That's all on the agenda from 2–4pm on Sunday, April 24, with DJ Chunky and DJ Carter on the decks. Entry is free, but you'll be paying for whatever you drink — and eat, with the venue's regular snack range on offer, including lobster chipotle tacos, smoked trout bruschetta and chocolate ANZAC cookie ice cream sandwiches.
If you've always thought that Brisbane could use a twice-yearly food market that doubles as a pop-up arts and culture festival, rejoice — you're in luck. Taking place at Brisbane Powerhouse, Night Feast is that event, debuting from Wednesday, March 1–Sunday, March 26 with a neon-lit riverside setup. First, the food. Longrain's Martin Boetz, e'cco Bistro's Philip Johnson, Lyndon Tyers at Donna Chang and Tuan Nguyen at Ngon, plus Lek Senee from Lek's Thai and Patricio Sarno from Mary Mae's Kitchen & Bar are all on the bill — and City Winery's vino thanks to winemaker Dave Cush. You can also look forward to dishes from Taro's Ramen and Ham on Rye, as well as from Saison Salumi and Wine & Dine Em. Plus, chef Anchalee Kasurin is whipping up poffertjes pancakes. Operating 4.30–9.30pm from Wednesday–Sunday in its first two weeks — then starting at 2pm on Saturdays and Sundays from Saturday, March 18 — all at the Powerhouse forecourt and its surrounding parks, Night Feast's first-ever run will survey Thai, Vietnamese, Japanese, Middle Eastern, Italian, Greek, modern Australian cuisine and more across 20-plus gourmet food stalls. Communal feasting is one of Night Feast's big focuses — and getting the restaurants taking part in Night Feast to dish up the absolute top thing on their menus is another. That means tucking into their signature dishes, but by the river in New Farm. Night Feast will also feature an open fire pit for roasting and a dedicated dessert bar, plus cocktails and a top-notch wine list to wash it all down with. But, the food side of the program is just one of the highlights. The arts and music program looks just as ace, giant illuminated humanoids and laser beams that look like intergalactic events included. Those towering glowing figures come courtesy of Amanda Parer's Fantastic Planet, which has been to Brisbane before alongside other the artist's past works such as Intrude, What's That and Lost. And those lasers are the product of Australian audiovisual artist Robin Fox. His site-specific Brisbane Constellation is all sound and light, as aided by a matrix of crystal refractors. The aim: to make you hear what you see and feel. Attendees will also enjoy Zimoun's symphony made with everyday materials; Rising Lotus, a series of large triangular sculptures that'll loom over the venue; the refracted sunlight-focused Tower; Theatre of Thunder's Succulenticca, aka costumed creatures roving around; and an old-school gaming den courtesy of Netherworld. Or, via Swiss site-performance designer and fog artist Tom Mùller, Steam Works will deploy four large industrial fog generators to pump out steam twice a day, in a piece that responds to Brisbane Powerhouse's industrial past. The music roster features Akala Newman, GLVES, Lucy Francesca Dron, Mark Crotti and Nicole McKinney on different dates, plus Paris Irwin, Paulina and the QUIVR DJS. Images: Markus Ravik / Lachlan Douglas.
