Whatever your pet pupper has planned for this Saturday, you'd best cancel it — your furry BFF is coming with you to the pub. Excuses to take the doggo out for a few drinks aren't lacking across Brisbane (The Brightside even has their own weekly shindig), but Archer's Brewsvegas event comes with a few inclusions that'll get your four-legged buddy yapping: a 100 percent dog-friendly beer and dog ice cream, too. Sounds like a Dog Day Afternoon, doesn't it? That's the plan from 1pm on March 10. And, because a pooch-and-pint party is even better when it's in an ace location, you'll have to wander through a bottle-o fridge to get there. As well as the aforementioned Archer Brewing 100% Dog Friendly Woof Ale and Hugo's Dog Ice Creamery's frosty treats, there'll also be a brand new dark beer — Archer's first, complete with a secret ingredient — for humans, pimp-your-own hot dogs, live music and heaps of stalls selling goodies for pups. And, while entry is free, proceeds from the pooch-friendly tipple will go to the dog rescue charity Herd2Homes.
Take your protein pills and put your helmet on. Picture yourself face to face with David Bowie's Ziggy Stardust 1972 bodysuits, Kansai Yamamoto’s trouser suits for the '73 Aladdin Sane tour, the Union Jack coat designed by Bowie and Alexander McQueen for the '97 Earthling album cover, props from Jim Henson's Labyrinth. We know, you're sweet to start freaking out. Opening next July, the Australian Centre for the Moving Image (ACMI) will play host to the acclaimed David Bowie is exhibition, celebrating the kickass career of the man himself. Created by London's Victoria and Albert Museum (V&A), the exhibition is a Bowiephile's dream — an unprecedented collection of over 50 stage costumes alongside tour sets (including the designs for the '74 Diamond Dogs tour), handwritten set lists and lyric sheets, Bowie's own sketches, rare live and interview videos, musical scores and diary entries, photographs and album artwork. Basically, if you're a Bowie fan, this is next level squealworthy material. "The mystery of David Bowie as an enigma is so lovingly explored in this incredible immersive exhibition you’ll feel as if you’ve stepped inside the mind of this astonishing cultural and pop icon," says ACMI Director & CEO, Tony Sweeney. "Bowie is a figure whose social and creative influence and significance far exceeds his status as a pre-eminent rock performer and in David Bowie is, his incredible career is showcased in glorious detail." Presented exclusively in Australasia by ACMI as part of Melbourne Winter Masterpieces, the exhibition explores Bowie's influences and legacy in a lengthy narrative layout (tracing Ziggy Stardust through Berlin and Thin White Duke phases), delving into his career as a musician, of course, but also reminding fans of his top notch cult film career, stints as a writer and his lifelong ability as a stage performer. V&A curators and brains behind the whole Bowie show, Victoria Broackes and Geoffrey Marsh, handpicked over 300 objects and films for the exhibition — a research process we're pretty damn jealous of. "The exhibition looks in-depth at how Bowie’s music and radical individualism has both influenced and been influenced by wider movements in art, design, film and contemporary popular culture over an incredible 50-year career and demonstrates how Bowie has inspired others to challenge convention and pursue freedom of expression," they said. The exhibition comes to Australia under a furious amount of buzz — its world premiere this March in London became V&A's fastest selling exhibition ever, recording record numbers of over 311,000 visitors. As the exclusive venue for David Bowie is, ACMI have crafted a specially-curated program of talks, screenings, live performances and special events to pair with the Major Tom-a-thon. David Bowie is will open at ACMI on 16 July 2015 as part of the Victorian Government’s Melbourne Winter Masterpieces series. Tickets go on sale to the general public in November 2014. To register for exclusive pre-sale ticket opportunities, visit acmi.net.au/bowie.
Sometimes, it's easy to forget the holiday part of a national day off. Sure, you'll remember not to go to work — but will you really take advantage of the chance to go wherever you want? Enter the humble picnic — or the day trip getaway that everyone can enjoy, complete with tasty bites to eat and scenic surroundings. On January 26, Walkabout Creek at D'Aguilar National Park is the ideal spot for relaxing, dining and soaking up the country's flora and fauna. Plus, you can order a hamper for two in advance, and feast on shredded lamb wraps, lamingtons and pavlova.
From the ruthless world of magazine publishing to the blood and guts of an Aussie hens weekend gone supremely wrong: that's been Aisha Dee's journey of late. There's far more to the Gold Coast-born actor's career so far, of course, including coming to fame as a teenager back in 2008 courtesy of The Saddle Club, subsequent parts on Dead Gorgeous and Sweet/Vicious, and showing up in St Vincent-starring satire The Nowhere Inn. Still, on screens big and small alike, she's been garnering attention for navigating pressure-filled situations — and revelling in them. In Sissy, her latest role and her return to Australia after years working in the US, Dee is in positively savage territory. She plays the titular character, better known as @SincerelyCecilia on Instagram to the tune of 200,000-plus followers. Liking and subscribing is what her devotees do all day, responding to her calming and inspiring missives about being yourself and finding your bliss, and Cecilia's whole sense of self is built on that online adoration. Sissy is a comedy, too, with writer/director duo Hannah Barlow and Kane Senes having ample fun parodying the wellness and influencer industries. That said, when the movie's namesake attends a bachelorette shindig for her long-lost childhood BFF, old torments resurface and this proves firmly a horror flick as well. Dee wasn't initially approached to play Cecilia. When the script came her way, she was earmarked for Fran, fiancée to Emma, Cecilia's primary school bestie. But Dee felt an instant bond with Sissy's eponymous figure. She felt protective of her. "Honestly, I read the script and immediately I felt like I had to defend Cecilia," she tells Concrete Playground. "I cared so deeply for her. I really felt really connected to her and had a lot of empathy for what she was experiencing in the moment, and how easy it would be under those circumstances to kind of just slip and fall." Once you've seen Sissy, Dee's words obviously come with a caveat: clearly, she hasn't found herself in the exact same situation, behaving in the exact same way. But in a film that happily, smartly and entertainingly rips into a whole heap of targets — with humour and as a slasher flick alike — she makes Cecilia a compelling protagonist amid all the chaos. It's a bold performance, because The Bold Type isn't just an entry on Dee's resume. The international film festival circuit heartily agrees, with Sissy premiering at SXSW 2022, enjoying its Australian premiere in June at the Sydney Film Festival, and doing the rounds everywhere from Melbourne and Perth to South Korea and Scotland since. Dee hit the Harbour City midyear with the movie, which is now in cinemas across Australia — and chatted to us about social media, knowing that she had to play Cecilia, preparing for the part in hotel quarantine, making a different kind of Aussie movie and getting an opportunity she didn't think would happen. ON SOCIAL MEDIA'S PREVALENCE — AND SILLINESS "The film doesn't offer solutions, but I do think it poses questions and forces us, in a way that feels quite uncomfortable, to question our own relationship with social media and how we interact with it. I think it's hard to be a human in the world right now and not have some kind of relationship with social media, because it is such a prevalent part of our society now. Personally, I don't use social media in the same way [as Cecilia] — I wish I was better at it, it's not something that comes super naturally to me, to be posting on Instagram all the time. My relationship with social media has always been really about creating boundaries, because I find it a very triggering environment in terms of even just having the confidence to post something. I second-guess myself a lot, and I get very existential. Every time I post something, I'm like, 'well, what's the point? What is Instagram? What is a telephone?'. It's all pretty silly." ON NEEDING TO PLAY CECILIA "It was towards the end of 2020 — and, you know, we were all there for 2020. I had been in LA for most of that year, really only seeing a select few people and kind of feeling quite isolated socially, a bit awkward, and reexamining a lot of my relationships. And my manager sent me this script. Initially they wanted me for the role of Fran, and I could see that, because Fran felt really similar to a couple of characters I had played before. But literally, I couldn't shake the feeling that I felt like Cecilia was my little sister or my best friend, or just someone that I loved so deeply and cared so deeply for. It wasn't something that I planned or knew was going to happen when I read the script, but I felt like I had to honour it. I called my manager and I said 'please tell them that I really love the script, but I just don't feel connected to Fran as a character — but I feel really connected to Sissy, tell them that I love Sissy'. I said that knowing it was kind of presumptuous but not expecting them to ask to meet me at all, but they were really into the idea. I think they had had someone very different in mind — she was described as having blonde hair and being very petite and pale, and I am none of those things — but I just felt like something felt right. ON DRAWING ON 2020'S CHAOS FOR THE PART — HOTEL QUARANTINE AND ALL "There's the year of 2020 as a whole. But then, in order to get back home to Australia, I had to do two weeks of quarantine in hotel quarantine where you literally see no one. It is the most extreme version of isolation. I was on a really low floor in this big tall building, and every day at like 12pm, I would lose the sun. I would be out my window — like I needed the sun and I needed the fresh air, and I felt like I was going absolutely insane. So while I was in quarantine, I was actually sending Hannah and Kane, the writers and directors of the film, I was sending them videos as Cecilia. Just every morning I would wake up and do a different kind of like sermon or meditation or something, just because I did't really have anything to do. Getting out of quarantine, I definitely felt like Bambi on ice a little. I felt very awkward. I'm an awkward person to begin with, but having those two weeks alone in a room — it wasn't intentional but I do think it kind of leant itself to getting into some kind of headspace." ON RETURNING HOME TO MAKE A DIFFERENT KIND OF AUSSIE MOVIE "Something that jumped out to me when I was reading it was the way that there was this really heavy female gaze on the movie — which I think is rare for genre films to have such a strong female gaze. And beyond just Cecilia the character, you had a very small cast that consisted of an interracial lesbian couple, a gay man with disability and an Asian woman. And the only man that you really saw was a queer man." I loved this this. I just loved the world that I could see imagining it and reading it. It didn't feel like any other Aussie movie that I had seen. It really reflected the colourful, diverse, beautiful Australia that I know. I think unfortunately, up until kind of recently, Australian film and television really hasn't reflected that same colourful melting pot that like we all know actually exists here — so that was another big reason why I wanted to be a part of it." ON GETTING AN UNEXPECTED OPPORTUNITY "I definitely had hoped that I would be able to play a character like this. But, being realistic, opportunities like this don't come up every day for someone who looks like me, especially in the Australian film space. So I had always hoped that maybe I would be able to play a role like this, but the fact that the opportunity was actually presented to me is really, really, really cool. I guess it kind of was on my bucket list. But when I think about it, I don't know that I ever could've anticipated that this would be an opportunity that I would've had. And to me, it really meant nothing whether people were going to see it or they weren't, it didn't matter to me — because with independent film, you really are rolling the dice, chances are nobody's going to see it. The fact that like it's doing such big things is really cool. I think that honestly it's a testament to what can happen if the Australian film industry embraces diversity the way they should." Sissy released in Australian cinemas on November 3. Read our full review.
Piecing together Ron Howard's petrol-headed extravaganza Rush is a bit like piecing together one of the F1 racers that this film is so in love with. It begins as little more than a mishmash of scrap metal. A love interest here, a chiselled six-pack there, but nothing quite manages to gel together to create a cohesive whole. Once the various touchstones and expectations of the biopic genre have been ticked off, a more fully formed picture begins to take shape. When the film finally does take off, somewhere near the hour mark, it has all the power and explosive energy of a supercharged engine. Well, it almost does. For anyone with even a smidgen of gasoline running through their veins, the 1976 Formula One season is the stuff of sporting folklore. For the rest of us, Rush is your classic tale of warring rivals: McLaren's loveable British rogue, James Hunt (Chris Hemsworth) versus Ferrari's reigning world champ, and the biggest "asshole" in racing (this is not my judgment, this is the film's recurring insult-of-choice), Niki Lauda (Daniel Brühl). If the trailers are anything to go by, then Rush is targeting two groups of movie-goers: (1) those who like their movies filled with vintage cars whooshing across pretty landscapes and (2) those who like their movies filled with porny shots of a shirtless (and often pants-less) Hemsworth. While the film includes plenty of both, these are perhaps Rush's weakest points. The early race scenes look more like well-funded car ads then the work of the guy that made A Beautiful Mind, and Hemsworth, while perfectly adept at shouting expletives and glaring angrily, ain't no Marlon Brando. His attempts at bad boy charm are consistently wooden and occasionally quite laughable. Because Hollywood has inundated us with so many films about fast cars, filmmakers cannot simply show a couple shots of burning rubber and shifting gears and expect audiences to get a rise out of it. The stakes need to be higher. When Rush does set the bar higher, the film is quite irresistible. Once Howard shows us what makes these two racers click, we begin to care about them, with every race becoming a thrilling, heart-in-mouth experience. We feel their fear when the film puts us in the driver's seat and when the camera cuts to the reaction shots of loved ones. These shots do not simply instruct our emotions but actually reflect them. Much of this emotional engagement is thanks to Brühl's star-making turn as Lauda (for those playing spot the actor, he's the Nazi soldier in Inglourious Basterds). Apart from his uncanny resemblance to the real Lauda, the loveable German makes a delightful prick. His single-mindedness modulates from callous to hilarious to downright heartbreaking over the course of the film. And while Rush is, at times, a bit of a mixed bag, Brühl's engrossing performance provides the picture with the sort of poignancy that would put the kazillionaires at Marvel to shame. https://youtube.com/watch?v=ZKqB987FpMI
There's nothing quite like seeing a film on the big screen — especially when it's a movie you downright adore. And when it's accompanied by trivia dedicated to the flick in question, plus themed food and drinks, then you know you're in for an ace viewing experience. That's the idea behind the Blue Room Cinebar's new Roll Credits Film Club, which is showering love upon a new film every fortnight. Every second Wednesday, attendees can demonstrate their extensive movie knowledge from 7pm, then settle in for the feature from 8.30pm. Tickets cost $18.50, plus the cost of whatever food and drink you're keen. These kind of nights are only as good as the films on offer, of course, and RCFC certainly delivers when it comes to the main event. On March 21, dive back into the neon-hued, synth-scored world of the Ryan Gosling-starring Drive, then prepare for pastel-toned, symmetrically-framed hotel hijinks with Wes Anderson's The Grand Budapest Hotel on April 4. Head to the Blue Room website for future sessions.
Finding a moment or statement from The Princess to sum up The Princess is easy. Unlike the powerful documentary's subject in almost all aspects of her life from meeting the future King of England onwards, viewers have the luxury of choice. Working solely with archival materials, writer/director Ed Perkins (Tell Me Who I Am) doesn't lack in chances to demonstrate how distressing it was to be Diana, Princess of Wales — and the fact that his film can even exist also underscores that point. While both The Crown and Spencer have dramatised Diana's struggles with applauded results, The Princess tells the same tale as it was incessantly chronicled in the media between 1981–1997. The portrait that emanates from this collage of news footage, tabloid snaps and TV clips borders on dystopian. It's certainly disturbing. What kind tormented world gives rise to this type of treatment just because someone is famous? The one we all live in, sadly. Perkins begins The Princess with shaky visuals from late in August 1997, in Paris, when Diana and Dodi Fayed were fleeing the paparazzi on what would be the pair's last evening. The random voice behind the camera is excited at the crowds and commotion, not knowing how fatefully the night would end. That's telling, haunting and unsettling, and so is the clip that immediately follows. The filmmaker jumps back to 1981, to a then 19-year-old Diana being accosted as she steps into the street. Reporters demand answers on whether an engagement will be announced, as though extracting private details from a teenager because she's dating Prince Charles is a right. The Princess continues in the same fashion, with editors Jinx Godfrey (Chernobyl) and Daniel Lapira (The Boat) stitching together example after example of a woman forced to be a commodity and expected to be a spectacle, all to be devoured and consumed. Listing comparable moments within The Princess' riveting frames is easy; they snowball relentlessly into an avalanche. Indeed, after the film shows Charles and Diana's betrothal news and how it's received by the press and public, the media scrutiny directed Diana's way becomes the subject of a TV conversation. "I think it's going to be much easier. I think we're going to see a change in the attitude of the press. I think that now she's publicly one of the royal family, all this telephoto lens business will stop," a talking head from four decades back asserts — and it isn't merely the benefit of hindsight that makes that claim sound deeply preposterous. Later, Perkins features a soundbite from a paparazzo, which proves equally foolish, not to mention a cop-out. "All we do is take pictures. The decision to buy the pictures is taken by the picture editors of the world, and they buy the pictures so their readers can see them. So at the end of the day, the buck stops with the readers," the photographer contends. The Princess isn't here to simplistically and squarely blame the public, but it does let the material it assembles — and the fact that there's so much of it, and that nothing here is new or astonishing even for a second because it's already been seen before — speak for itself. What a story that all unfurls, and how, including pondering the line between mass fascination and being complicit. Perkins eschews contemporary interviews and any other method of providing recent context, and also makes plain what everyone watching already knows: that escaping Diana has been impossible for more than 40 years now, during her life and after her death a quarter-century ago as well, but it was always worse by several orders of magnitude for Diana herself. The expressions that flicker across her face over the years, evolving from shy and awkward to determined and anguished, don't just speak volumes but downright scream. In the audio samples overlaid on paparazzi shots and ceaseless news coverage, that's dissected, too, and rarely with kindness for the woman herself. Being sympathetic to royalty isn't a prerequisite for feeling perturbed by The Princess. Being a fan of The Crown or believing that Kristen Stewart deserved an Oscar for Spencer — which she did — isn't either. All that's required is empathy for anyone whose existence is stripped of choice, who is made to perform a certain role no matter what, who's saddled with onerous tasks that dismantle their agency and identity, and who gets torn to pieces whether they comply or rebel. That's a key reason why Diana's plight keeps resonating and always will. It's also why 'the People's Princess' label continues to echo. The latter was coined to describe her popularity and that feverish obsession, but it cannily cuts to the core of a heartbreaking truth: Diana attained a supposed fairytale but discovered that nothing in life is a dream, a realisation that couldn't be more relatable and universal. As well-established as the details are, the minutiae still spills out as The Princess progresses: the coupling primarily to provide an heir to the throne, the unsurprising distance in Diana and Charles' marriage, the persistent presence of Camilla Parker Bowles, several layers of envy, the 'Dianagate' tapes and the nation-stopping interviews all included (electricity surges during her 1995 tell-all chat with Martin Bashir, thanks to kettles boiling across Britain, are noted). Ignoring how the media kept shaping Diana's narrative would mean shutting your eyes and blocking your ears, even if the score by The Crown's Martin Phipps didn't maximise the tension. Ignoring the parallels rippling through the royal camp today, in the way that Meghan Markle has been treated by the media, is similarly out of the question. It isn't by accident that Perkins lingers on a young Prince Harry at his mother's funeral to wrap the movie up, after all. The Princess' approach isn't new, either. It's effective, though. And, as the same style proved in recent Australian docos The Final Quarter and Strong Female Lead — films that used archival footage to explore how perceptions are manufactured by the press as well — it's nothing short of damning about media practices and the audience hunger they think they're satisfying. Those two features explored how AFL star Adam Goodes was regarded in the twilight of his career, and how the fourth estate surveyed Australian Prime Minister Julia Gillard while she was in the nation's top job. They dived into the self-fuelling cycle that stems from predatory coverage and the public's responses, one feeding the other and vice versa. Sound familiar? Watching both alongside The Princess would make for grim and harrowing viewing — essential viewing, too, particularly in a world that shows so few signs of changing.
The 2018 Alliance Française French Film Festival might be one year short of a major milestone, but the Gallic cinema showcase is still celebrating its 29th iteration in style. As always, that means a feast of films is on the agenda at the crowd-drawing and -pleasing annual event — 47 features, two documentaries and one televisions series, in fact. Touring the country from February 27, starting in Sydney before heading to Melbourne, Canberra, Brisbane, Perth, Hobart, Adelaide, Parramatta and Casula, this year's AFFFF will bookend its program with amusement. The festival kicks off with comedy C'est la vie! from The Intouchables duo Éric Toledano and Olivier Nakache, before coming to a close with rom-com 50 Is the New 30. In-between, everything from acclaimed efforts to star-studded dramas to the latest work from master directors will grace cinema screens around Australia, celebrating the best in French film from the past 12 months. Sitting high amongst the highlights are the AIDS activism-focused BPM and the Juliette Binoche-starring Let the Sunshine In, which will both receive a nation-wide run after screening at last year's Melbourne International Film Festival. In the high-profile camp, they're joined by a Marion Cotillard double, with the acclaimed actress featuring in last year's Cannes opening night pick Ismael's Ghosts and comedy Rock'n Roll; romantic drama The Return of the Hero with Mélanie Laurent and The Artist Oscar-winner Jean Dujardin; Isabelle Huppert in coming-of-age effort Reinventing Marvin; and Gael Garcia Bernal in If You Saw His Heart. Or fans of prominent French filmmakers can get their fix courtesy of François Ozon's Double Lover and Xavier Beauvois' The Guardians, marking the latest flicks from the respective directors of Frantz and Of Gods and Men. The Artist's Michel Hazanavicius tackles an icon, turning the life of Jean-Luc Godard into Redoubtable, while Laurent Cantet jumps from 2008 Palme d'Or-winner The Class to thriller The Workshop. Elsewhere, actor-director Mathieu Amalric helms and features in Barbara, about an actress starring in a biopic about a famed chanteuse. AFFFF 2018 will also shine a spotlight on queer cinema for the first time, to celebrate marriage equality, and also include its usual selection of family-friendly fare for younger cinephiles. And, for those keen on catching some TV on the big screen, three episodes of Paris, Etc will whisk you away to the French capital, following the lives and loves of Parisian women.
Bluesfest has lifted the lid on its first artist announcement for 2018, and heading the stampede is a pair of legendary musical figures: Lionel Richie and Led Zeppelin's Robert Plant, who will play with his band The Sensational Space Shifters. Plant's performance at the five-day Easter long weekend festival just outside of Byron Bay will mark 50 years since he first performed with Led Zeppelin, so the gravity of the performance is sure to be pretty huge. Other acts taking to the stage Tyagarah Tea Tree Farm over the weekend include Aussies Tash Sultana and John Butler Trio, Swedish duo First Aid Kit and what will surely be a captivating set by José González. Bluesfest returnees Joe Louis Walker, Dumpstaphunk and Eric Gales are on there too. Anyway, here's the full lineup. Better start making Easter plans because tickets are already on sale. BLUESFEST 2018 LINEUP Robert Plant and The Sensational Space Shifters Lionel Richie The John Butler Trio Tash Sultana The New Power Generation Chic Featuring Nile Rodgers First Aid Kit Jose Gonzalez Morcheeba Gov't Mule Lukas Nelson & Promise of the Real The California Honeydrops Eric Gales Bobby Rush Dumpstaphunk Joe Louis Walker Rick Estrin & The Nightcats + more to be announced. Bluesfest 2017 will run March 29 to April 2 at Tyagarah Tea Tree Farm, Byron Bay. More details and ticket info here. Image: Andy Fraser.
Gotta love this grass-roots, crowd-sourced internet art project. Corpus Libris is an ongoing photo essay on books and the bodies that love them, in which participants create visually quirky creations by superimposing images of the human body found on book covers over their own bodies. Creator of the project Emily Pullen says "It began as a fun little photo essay on a Thursday night while working at Skylight Books in Los Angeles. As we kept going and going, I realized that many, many more people could enjoy and create similar photographs. The possibilities are practically endless!" The most successful images strike a balance of perspective, positioning the book so the image is the same size as the human holding it – check them out below: [Via Flavorwire]
In the pandemic's early days, Disney skipped cinema releases for three films — Soul, Luca and Turning Red — due to lockdowns, restrictions, and picture palaces either temporarily closing or having capacity limits. Instead, all three movies went straight to streaming platform Disney+. Wish you'd gotten a silver-screen experience while viewing this trio — or any one of them? Enter the new Pixar Film Fest to give you that chance. From Thursday, February 22–Wednesday, March 13, for a week apiece at various locations around Brisbane, it's debuting Soul, Luca and Turning Red in cinemas for the first time Down Under. Oscar-winner Soul sports a premise that resembles Inside Out, which has a sequel arriving on the big screen in 2024. Instead of emotions having emotions, souls do. Rather than Amy Poehler (Moxie) doing voice work, Tina Fey (Mean Girls) does. And director Peter Docter (Up) helmed them both. But Soul is definitely its own feature — and takes quite the existential trip as it follows aspiring jazz musician-turned-music teacher Joe (Jamie Foxx, The Burial) after an accident where his soul leaves his body.It's releasing in cinemas from Thursday, February 22–Wednesday, February 28. Next up is Turning Red, which'll get projectors whirring from Thursday, February 29–Wednesday, March 6. The setup: what'd happen if the Hulk was a teenage girl, but became a super-cute red panda? Or, finding a different riff on the ol' werewolf situation, what if emotions rather than full moons inspired a case of not-quite-lycanthropy? Rounding out the lineup is Luca, which is similarly about transformation. This one takes place in Italy over a gorgeous summer, also spins a coming-of-age tale and nods to Frankenstein as well. Here, teenage sea monsters Luca (Jacob Tremblay, Orion and the Dark) and Alberto (Jack Dylan Grazer, Shazam! Fury of the Gods) just want to fit in, but know that the village they decide to call home wouldn't accept them if they don't take on human form. Cinemagoers can catch it from Thursday, March 7–Wednesday, March 13.
Future Totoros and Ponyos may not eventuate; Studio Ghibli have announced a hiatus to their animation feature film department. Surrounded by rumours of an outright closure, Studio Ghibli's general manager, Toshio Suzuki, announced the movements on Japanese television today as a "brief pause". Responsible for the likes of Spirited Away, Grave of the Fireflies, Howl's Moving Castle, Princess Mononoke, Ponyo and My Neighbour Totoro among many, many other beloved tales, the animation studio is reassessing its filmic future. The news comes just under a year after legendary, Oscar-winning director Hayao Miyazaki announced his retirement in September 2013 and released his final film The Wind Rises in February this year. Differing translations of Suzuki's announcement caused minor havoc online (notably fuelled by so-called Ghibli insiders at Japanese website News Cafe and subsequently quashed by Kotaku). Although most thought the studio was closing its doors for good, newer, more accurate translations cleared things up. "On what to do with Studio Ghibli’s future, it is by no means impossible to keep producing [movies] forever," said Suzuki on the TBS program Jonetsu Tairiku. "However, we will take a brief pause to consider where to go from here." Producer and co-founder Suzuki stepped into Miyazaki's shoes and became general manager when the director retired from Ghibli last year, joining forces with other Studio half, director Isao Takahata (Grave of the Fireflies). So why is Ghibli shutting up shop? It seems to be a matter of money, a fair reason to reassess in a Michael Bay-peppered, box office landscape. According to Anime News Network, Studio Ghibli's latest film,When Marnie Was There opened at number three over the first weekend (July 19 - 20) with 378,790,697 yen (US$3,721,297) on 461 screens. That seems like a whole bunch, but the international market isn't so kind to arthouse-designated Ghibli. Marnie is set to hit US cinemas some time next year, with Australian release dates still TBC. Ghibli haven't covered up their financial struggle, most notably considering 2013's The Tale of Princess Kaguya a flop with tiny box office numbers (a huge step down from 2002's Acadamy Award-winning hit Spirited Away, which took US$274,925,095 worldwide). Suzuki said the studio is considering "housecleaning" or restructuring internally. While this doesn't entirely rule out a future shutdown, it seems the pause is centred around rebuilding the studio, managing copyrights and trademarks and possibly freelancing out projects — a good sign for Ghibli fans. But Kotaku has assured fans that Studio Ghibli is not dead yet, so we'll keep those good vibes delivered via Kiki and keep fingers crossed. Via Anime News Network, Kotaku and Hypable.
Since the first jabs started being put in arms around Australia at the beginning of 2021, two words have monopolised the discussion about the country's COVID-19 vaccine rollout: AstraZeneca and Pfizer. They're two of the companies with jabs approved for use in Australia so far, and it's their shots that folks who've been vaxxed to-date have been receiving. But from September, a third company's vaccine will be available to everyone rolling up their sleeves. On Monday, August 9, Australia's Therapeutic Goods Administration gave the Moderna COVID-19 vaccine approval to be used in Australia. As announced in a press conference by Prime Minster Scott Morrison, the TGA "has given provisional approval for the use of Moderna for Australians aged 18 and over." In its own statement explaining its decision, the TGA advised that "the Moderna COVID-19 vaccine has shown strong efficacy preventing symptomatic COVID-19 and severe COVID-19 in clinical trials." Elsewhere around the world, the vaccine has also received approval or authorisation to use in emergency situations in countries such as United Kingdom, Canada, the European Union, the United States, Switzerland and Singapore. The Therapeutic Goods Administration (@TGAgovau) has provisionally approved Moderna's COVID-19 vaccine for use in Australia.https://t.co/Yr7dj0G0ja pic.twitter.com/Kp0EMpck7V — Australian Government (@ausgov) August 9, 2021 Partly funded by a donation from the one and only Dolly Parton, Moderna's vaccine is actually the fourth to get the nod in Australia, following AstraZeneca, Pfizer and a jab from Johnson & Johnson — the latter of which hasn't been included in the country's vaccine rollout so far. Like the Pfizer vaccine, the Moderna jab is an mRNA-based vaccine. So, it uses a synthetic genetic code called RNA, which tells the cells in our bodies how to make the coronavirus' unique spike protein. Then, once our bodies have done just that, making the protein that's encoded by the mRNA vaccine, we're able to recognise the spike protein as being foreign to our system and launch an immune response against it. Two doses of the Moderna vaccine are required — and while the AstraZeneca jabs are recommended four–12 weeks apart, and the Pfizer jabs three weeks apart, Moderna's should be administered within 28 days of each other. Wondering what that the Moderna approval means in terms of boosting Australia's vaccine ability (because actually getting a jab isn't particularly straightforward as part of the country's slow-moving rollout)? The Prime Minister advised that Australia will be adding 25 million doses of Moderna to the 125 million doses of Pfizer and 53 million doses of AstraZeneca that are already part of the vaccine campaign. "We will have ten million of the Moderna doses arriving before the end of this year. The first one million doses is on track to arrive next month and will go to pharmacies. Then we will have three million in October, three million in November and three million in December," he said. With the addition of the Moderna vaccine, the Prime Minister also noted that he expected that 70-percent of eligible Australians would be fully vaccinated by the end of 2021 — the threshold at which the second phase of National Cabinet's National Plan to transition Australia's National COVID Response is set to kick in. At that stage, which applies both when Australia reaches that figure and each state and territory does as well, restrictions will be eased on folks who've had the jab, including around lockdowns and border controls. Lockdowns are expected to be less likely, low-level restrictions will still help minimise the spread of cases and assist contact tracing, inbound passenger caps for unvaxxed returning Aussies will be restored to previous levels and more vaccinated returning Aussies will be allowed to come home. For more information about the Therapeutic Goods Administration's approval of the Moderna COVID-19 vaccine, head to the TGA website.
Australians really love prawns — and Ballina Prawn Festival knows it. They've dedicated an entire day in honour of everyone's favourite crustacean, and that day is November 11. Set in Ballina's Missingham Park on the banks of the Richmond River, the day will be marked by parades, music, rides and all the prawns you can eat. The festival stalls will be sizzling prawns of all sizes while events happen in every direction, including a prawn shelling competition and a signature dish competition. There will also be a boat parade celebrating the prawn industry, fireworks, amusement rides, live music and sand castle building. Yeah, it'll be the truest form of an Aussie-as day.
What's better than one new Edgar Wright movie in a year? Two new flicks by the Scott Pilgrim vs the World, The World's End and Baby Driver filmmaker, of course. And, that's exactly what 2021 is delivering. Neither of the British director's latest movies fits his usual type, either — as phenomenal documentary The Sparks Brothers has already demonstrated, and the trailers for Last Night in Soho keep showing as well. Wright does indeed have a comfort zone, as his fans well and truly know. He first caught the film world's attention with zom-rom-com Shaun of the Dead, after all, and also toyed with both horror and comedy in Hot Fuzz. But he hasn't ever dived headfirst into mind-bending psychological thriller territory before, which is where Last Night in Soho dwells. No one is set to kill the undead to Queen's 'Don't Stop Me Now' here. That said, Anya Taylor-Joy (The Queen's Gambit) does play a singer in 60s-era London who appears to be a ghost. In the movie's initial teaser trailer, her character Sandie pops up when aspiring fashion designer Eloise (Thomasin McKenzie, Old) manages to venture back in time. Mysteriously travelling six decades into the past, Eloise looks in the mirror and sees Sandy's reflection, rather than her own. Both that initial sneak peek and the just-dropped new full trailer are filled with neon hues and an all-round trippy mood. In a feature that seems to take plenty of cues from horror and thriller flicks from the time it is set, things appear to get even more lurid as well. Impeccable period-appropriate set and costume design, vibrant pink lighting aplenty and an all-round dreamy feel also feature in the trailers so far, as Eloise finds herself coming face to face with her idol while plunged into a ghost story. Similarly playing a pivotal part: The Crown and Doctor Who's Matt Smith, who pops up alongside Taylor-Joy in the film's eerie 60s-set scenes. Whether following small-town cops in Hot Fuzz or jumping into the heist genre with Baby Driver — or directing late 90s/early 00s sitcom Spaced, too — Wright's work always stands out visually, and Last Night in Soho clearly promises to continue the trend. And, because the director loves his standout soundtracks, this one looks set to continue the trend. Expect glorious 60s-era tunes, obviously. Check out the full trailer for Last Night in Soho below: Last Night in Soho is slated to release in Australian cinemas on November 18. Images: Parisa Taghizadeh / Focus Features.
In 2020, when Gelato Messina decided that we'd all be much happier at home if we could bake and eat the company's OTT desserts, it kicked off its parade of tasty specials after Easter. So, while fans of sweet treats have been able to tuck into everything from cookie pies in choc chip, red velvet, choc-hazelnut, and peanut butter and jelly varieties to full tubs of both Iced VoVo gelato and Messina's own take on the classic Viennetta ice cream cake over the past year, we didn't get anything to pair with our chocolate eggs. Thankfully, that's changing in 2021. Up next: a hot cross bun version of the brand's sticky snails. Basically, it's their interpretation of a Cinnabon-style scroll, then combined with an Easter favourite. It's another of Messina's limited releases, and it'll be available at all of its stores for a very short period. Wondering what exactly Messina's hot cross bun sticky snail entails? Well, that spiced sticky hot cross bun dough is filled with choc chips and vanilla custard. Crucially, raisins aren't included — but it is topped with a cinnamon malt caramel. The sweet bake-at-home bite to eat can only be ordered online on Wednesday, March 17. It will set you back $65, which includes a one-litre tub of the brand's triple choc gelato hot tub, too — which features milk chocolate gelato, toasted white chocolate mousse and with Ecuadorian dark chocolate crack. Once you've placed your preorder, pick up will be available between Thursday, April 1–Sunday, April 4 from your chosen Messina store. And, after you've got the hot cross bun sticky snail safely home, you just need to whack it in the oven for 20–25 minutes at 160 degrees and voila. Gelato Messina's hot cross bun sticky snails will be available to order on Wednesday, March 17, for pick up between Thursday, April 1–Sunday, April 4 — keep an eye on the Messina website for further details.
At this point in Australia's cinema history, audiences can be forgiven for wondering if homegrown movies have unearthed and told every outback tale there is. Filmmakers have surveyed the nation's ochre-hued terrain as a source of beauty, wonder, comfort, isolation, terror and horror many times over — and used it as a vast and striking backdrop, too — for decades via a multitude of genres. Splash almost any orange-tinted patch of the Aussie landscape across the big screen, and it instantly feels recognisable to even the most ardent of city dwellers, in fact. But the answer to the aforementioned query is an overwhelming no, as The Furnace shows. When the country's cinematic talent traverses this sunburnt and sprawling expanse we call home to explore stories steeped in our problematic past, it's impossible to run out of tales to unfurl. First-time feature writer/director Roderick MacKay sets his meat pie western — the term applied to Australia's spin on the genre, riffing on Italy's spaghetti westerns — in gold-rush era Western Australia. The year is 1897, and transporting freight requires a network of cameleers who trek across the desert. The men hail from India, Afghanistan and Persia, and are largely of Muslim and Sikh faith. They're also badged together under the label 'Ghan' by white Aussies, who treat them poorly and cruelly. As they trudge and toil, Indigenous Australians are far more welcoming. Of course, in stressing this fact, The Furnace isn't making a minor point. MacKay delivers a powerful interrogation of Australia as a multicultural nation, and as a country controlled by those who've done much over the past two centuries to ignore and erase that truth. Indeed, it shouldn't be lost on anyone that the film draws from a real chapter of the nation's story, and also a largely forgotten one — so much so that it's likely to introduce the cameleers' existence to many viewers for the first time. Hanif (Ahmed Malek, Clash), The Furnace's main point of focus, didn't choose to come to Australia or take up this line of work. So, when the young Afghan witnesses the death of his mentor at the hands of a white man, he's eager to earn the cash he needs to return home and leave his stint in the Aussie desert far behind. The Yamatji Badimia people he often spends time with on his travels, including leader Coobering (Trevor Jamieson, Storm Boy) and Hanif's friend Woorak (Baykali Ganambarr, The Nightingale), suggest that he stays and joins them instead — but, after stumbling across injured thief Mal (David Wenham, Dirt Music), he's determined to use half of his new acquaintance's stolen Crown-marked gold bars to finance his escape. Troopers led by the fervent Sergeant Shaw (Jay Ryan, IT: Chapter Two) are swiftly on the unlikely pair's trail; however, Hanif and Mal keep traipsing towards the eponymous smelter, where Mal promises they can melt down the precious metal to remove all traces of the government's ownership. Charting Hanif's journey — physically, and emotionally and spiritually as well — The Furnace is a patient film. It follows characters making a considerable trek, and it lets that sense of time infect the audience. Viewers feel Hanif's exasperation as parts of his life slip by in the sun-dappled dirt and dust. The movie forces those watching to fall into a rhythm, where there's no shortage of new developments complicating Hanif and Mal's quest, but there's no urgency either. That's a difficult feat, especially in a film that sees its central duo pursued by the law with increasing vehemence. The audience knows that Hanif and Mal's predicament is precarious and pressing, because it's apparent in every second after they first cross paths. But MacKay doesn't rush a moment, scene or vivid yet composed image, ensuring viewers also know that being in a hurry means something completely different when nothing but hellishness stretches out as far as the eye can see. It takes an immense amount of skill to realise exactly how long a story needs — not just to relay its plot, but to steep audiences in its characters' experience. If a movie feels too short or lengthy, it's usually because it has failed at this task. The Furnace perfects it and, in deploying the western genre's trademarks in an Australian colonial context, it serves up a stellar meat pie western in the process. The Proposition, Sweet Country, The Nightingale and the forthcoming High Ground have all done so since the turn of the century, and now have more company among the 21st-century's best examples. Perhaps less expected is the way that The Furnace also recalls the greatest addition to the western genre from anywhere over the past two decades: TV series Deadwood. While MacKay crafts an inherently and visibly Aussie story, he also taps into the acclaimed HBO show's canny understanding that trying to make something of oneself when a country is also in its fledgling phase of doing the same is not only complex, but brutal. In a movie that's unflinching in posing the kinds of questions about our national identity that we should always be asking, that above observation applies across the board. It's given flesh via Malek and Wenham's performances, but it's the former that's the star here — alongside Ganambarr, who is now two for two film-wise. Both Malek and Ganambarr are expressive actors who can convey as much through their gaze and presence as through words, which MacKay capitalises upon via prolonged, unedited shots. Actually, they're the reason that The Furnace's biggest struggle stands out, too. So much is subtle and lingering about this film, so it's immediately noticeable when some peripheral characters prove one-note and cartoonish. Such blunt instruments clash with a movie that's otherwise poured as carefully onto the screen as molten gold from its titular stove. https://www.youtube.com/watch?v=N8DT_zVzxhk
Enjoying live theatre, a gig or experimental art is never fun on an empty stomach, so with the annual Brisbane Festival kicking off this week we thought a pre-game feasting guide could help fill your tum right up. Brisbane Festival have teamed up with 19 restaurants to bring you specials that are sweet on the hip pocket but full on the taste buds. You’ve got no excuse. Get out there and enjoy the city this month, after all this is our festival. P.S We also have a sweet prize to give away, keep reading. Judith Wright Centre In the heart of the Valley, you’re spoilt for choices. The suburb is known for its Asian cuisine, and we recommend you check out new-comer Ho Chi Mama. They’re bringing Vietnamese street food to Brisbane in an eclectically-styled venue, and it is right across the road from the Judith Wright Centre. A win all round. For a post-show debriefing, spill out into Glass Bar, it’s in the Judith Wright Centre itself and boasts a huge cocktail list as well as snacks, tapas and pizza. Their friendly staff will make you feel right at home in the intimate setting. If you need an extra shot of culture, order a round of sake at Harijuku Gyoza. You know the deal. From here it’s just a hop, step and a jump to some of your favourite Valley bars. Ask Sean at The Press Club to whip you up an award-winning cocktail. He was crowned champion at the Angostura Cocktail Challenge Queensland final last week. QUT Theatre Republic Brisbane Festival’s newest venue is located in the university at Kelvin Grove. The creative precinct boasts a number of quick bites nearby including student favourites Burger Urge and Zambrero, or for those wanting something more romantic than burgers and fries, stop by the likes on Libertine or Iceworks in Paddington on the way. Just a few hundred metres from the La Boite Theatre is the very quaint Room 60, a late-night cultural space and bar. Pull a retro chair up on the astroturf and commence yours post-show debriefing over a beer. Just beware approaching hipsters. South Bank Brisbane Festival and South Bank are a match made in cultural heaven. On one hand, South Bank is the heart and soul of the festival, and on the other it’s Brisbane’s ‘go to’ suburb for restaurants. Dining here you’ll be spoilt for choice. Champ Kitchen + Bar is on the doorstep of where the Spiegeltent will be set up. Their Festival Flavours dish is a delicious seared Yellow Fin Tuna with watermelon, soy gel and wasabi. It looks more like art than food and is a bit like eating deconstructed sushi. Delish. For drinks, escape to Bacchus. Set above busy Grey St, this classy poolside bar surrounded by comfortable lounges. If you want to join the fiesta, head to Ole and order a jug of their finest sangria. There is of course the magical and splendid pop-up Garden Bar at the Spiegeltent, as well at the fabulous Euro-beat Wunderbar at QPAC. We hear both are set to be bigger and better this year and can’t wait to join in the festive fun. Last but not least, don’t forget to spend a night settled in at the Santos GLNG Lounge to view the light fantastic on at various times nightly throughout the festival. Brisbane Powerhouse It’s always a fun trip out to the Powerhouse, it’s close to everything yet feels like a world away. Set right on the river, the Powerhouse has always been a provider, heh, and for your convenience both Bar Alto and Watt restaurant are located within the centre. Watt have paired up with Brisbane Festival to offer a delicious chef’s tasting plate, it goes perfect paired with a Little Creatures, and we won’t judge if you order the same thing post-show. If the thrill of the journey is more your thing, we recommend a stop on your way down James St at Bucci, Gerard’s or Harvey’s, or Brisbane favourite Beccofino in Teneriffe. As the Powerhouse won’t be your final destination, trot back via At Sixes and Sevens to get the necessary fuel to make it home, or head on into the Valley. Metro Arts Pre-game feasting doesn’t get any easier than this, situated within the Metro Arts building is Verve Restaurant and Cider Bar serving up some Italian inspired fare. Though, if you prefer dining with a view, Eagle St Pier is just around the corner where the likes of Sake, Cha Cha Char and Riverbar may tickle your fancy. After the show, slip down Burnett Lane and head into Super Whatnot where the coolness of this laneway bar will seep into your veins and give you a taste for craft beer. Following your new found craving, give the Embassy a chance. Yes, the Embassy. No longer a trashy stale-beer-and-vom-smelling venue, its latest makeover has transformed this place into a boutique beer bar. For the interior think raw brick, honey wood and clean slicked floors not dim lights, sticky floors and the grimey club vibe. Hooray for renovations! Riverstage The Botanic Gardens are a bit of a stretch from it all and chances are your bus/train/car are a mile away so enjoy the walk. You’re spoilt for choice in the CBD, but many are hidden where only a local can find. For dinner we nominate Spring on the fringe of the gardens. From here it’s just a hop, step and a jump to Eagle St Pier’s plethora of eateries. And if Aria isn’t in your budget, there’s always Grill’d. The two large-scale events at Riverstage are free so there’s no excuse not to go drop a dollar at casino, or even better on a beverage (or three). Fat Noodle in the casino will be shaking up the official and specially designed festival cocktail - the Barcardi La Fiesta. It’s delicious, we’ve tried it, you know, in the name of research. Brisbane City Hall The city centre is not just flash for its shopping precinct. Tucked away in a couple of laneways, try Vapiano for a quick pizza or pasta fix with a difference, or share some plates and tipple at Brew. As part of Festival Flavours, Brew is offering, wait for it, slow braised beef cheeks on a bed of spiced pumpkin puree with a wine for $30. Gee, they had us at slow braised. Escape the rat race and soar six storeys up where you’ll find Vintaged Bar + Grill serving top quality fare in the Hilton hotel. Laze around drinking cocktails in the lobby bar for some interesting people watching. Besides the constant stream of perfect Emirates flight hostesses, you might find your future husband - be he a pilot or a millionaire. WIN TICKETS TO BRISBANE FESTIVAL Concrete Playground readers have the chance to win a special night out thanks to Brisbane Festival. One lucky reader will win two tickets to see URBAN on Saturday, September 14 at 9.30pm and two $30 Festival Flavours vouchers to use at 5ifth Element for a pre-show feast. Here after sell-out seasons from Columbia to Paris, URBAN is a high-energy circus show that tells a story of the streets. Through dance, music and acrobatics, Circolumbia reveal the real joys and violence the young artists grew up around. Brisbane Festival has paired up with 19 great restaurants to offer some mighty fine wine and dine deals for the duration of the festival. Audiences can tuck into a Festival Flavours dish and a beverage for just $30 from September 7 to 28. For your chance to win, be subscribed to the Brisbane Concrete Playground newsletter and email your name, address and phone number to daniela@concreteplayground.com.au with 'Brisbane Festival' in the headline by Tuesday, September 10. Winner will be drawn at random.
UPDATE, October 29, 2020: Paterson is available to stream via SBS On Demand, Google Play, YouTube Movies, iTunes and Amazon Video. Who knew that watching the ebb and flow of an ordinary life could be so illuminating and soothing? Jim Jarmusch, that's who. If ever there was a movie that's destined to become contemplative comfort viewing, it's the new effort from the director of Dead Man, Coffee and Cigarettes and Only Lovers Left Alive. In Paterson, the daily grind of waking, working, talking with friends and loved ones, walking the dog and hanging out in a bar offers plenty of food for thought, particularly for anyone keen to peer beyond the surface of seemingly average, expected occurrences. In one of the movie's numerous instances of mirroring and symmetry, the film's title refers to many things. It's the name of a bus driver (Adam Driver) in New Jersey, as well as the name of the town where he was born, raised and still lives. It adorns the vehicle he steers from Monday to Friday, and the weighty tome by one of his favourite poets that sits on his desk. Paterson has a way with lyrical turns of phrase, too, which he jots down as he follows his usual schedule. Sometimes he takes inspiration from snippets of chatter he overhears between bus passengers, or interactions with strangers as he walks home from work. Sometimes he reflects upon his modest but happy relationship with his enthusiastic wife, Laura (Golshifteh Farahani), who styles their house in black and white patterns, bakes cupcakes and decides to learn the guitar. Jarmusch's features have always flirted with the poetic, preferred minimalism and intimacy, and frequently found beauty in the commonplace. In that way, Paterson is the latest example of the writer-director doing what he's done best for more than three decades. However it's also an astute, insightful ode to everyday creativity and contentment. Over the course of eight days, Paterson's waking hours appear to repeat the same cycle and yet also reveal crucial slivers of difference. While many movies try to paint their protagonist as an everyman, this one goes a step further. Even when he's noticing twins all around him, trading verse with children or chatting with strangers about great writers, everything feels purposefully warm and familiar. Indeed, Paterson proves the kind of movie that overflows with recognisable details, and immediately resonates for that very reason, while also gazing deeper into existential matters. It brims with grace, affection and solace, but avoids sugarcoating the reality it depicts. Oozing gentle emotion, the work of Driver, outstanding Iranian actress Farahani, and scene-stealing Cannes Palm Dog-winning canine Nellie is pivotal in perfecting that balance. Often ranging from soulful yet commanding, energetic yet yearning, and cute yet probing in turn, the trio offer an engaging glimpse of the colour and quiet contrasts inherent in an ordinary life. Add Jarmusch's fondness for evoking the literary art form at the film's centre wherever he can — in the visual harmony evident in every image, in the rhythm of the movie's pacing, and including text on screen — and Paterson couldn't be more meditative or more moving. The film is a revealing character study, a reminder to recognise the small stuff that comprises much of our existence, and an appreciation of the ups and downs of living, all in one.
More than once during Why Are You Like This, aspiring drag queen Austin (Wil King) attempts to shut out the world by scrolling through memes on his phone. Although the six-part ABC sitcom he's in isn't doesn't show him looking at any of the images that give the series its title, you can bet that he'd stumble across them. He'd have to. It's the internet — they're unavoidable. And, he'd likely do one of two things when he did find the memes on his screen: either flick past hundreds without giving a single thought to how they might relate his life, or keep viewing one after the other until he melts down because they hit a little too close to home. Irreverent and astute, honest yet hilarious, drawn from reality but also willing to poke as much fun as possible: that's Why Are You Like This' niche. Focusing on characters that can hardly be described likeable but are instantly recognisable, the series takes aim at the minutiae of 21st-century life. Witheringly funny, it knows that simply existing right now involves constantly being online, and also navigating the never-ending onslaught of expectations, information and opinions that comes with it. And, without flinching, it's also aware that just getting through the day in this non-stop environment can feel relentless and hellish. That's the situation that the show's three main figures, each in their early 20s, all find themselves facing in every one of Why Are You Like This' episodes. The days tick by, and the personal and professional problems just keep coming. It's a familiar laundry list, including getting fired, battling with colleagues, money troubles, hiding boyfriends, losing moon cups and trying to spark a workplace revolution but ending up getting other people sacked. So, yes, this trio is just like the rest of us — and they're just as glued to their phones while they're weathering everything from sudden social media backlash to dealing with frenemies. Penny (series co-creator Naomi Higgins, Utopia) wants to be an ally to everyone, a commitment that exhausts anyone who comes into her orbit. Her bestie Mia (Olivia Junkeer, Neighbours) matches that determination with both self-assurance and a self-serving mindset; if she's sticking up for anyone, it's always herself. Rounding out the trio is Penny's housemate Austin, the aforementioned fan of distracting memes. Alas, his glittery outfits, super-sized personality and blistering cynicism can't always hide his internal crumbling. Across the show's first season, these three friends keep trying to stand out in their own ways. They also routinely demonstrate both their best and worst traits in the process. In one episode, Penny goes overboard while trying to prove that she's Mia's closest friend. In another, Mia helps a new work colleague turn her cosplay hobby into cash — to take advantage of the sad men objectifying her — with creepy repercussions. And, when Austin gets tired of Penny's Marie Kondo obsession, it doesn't end well for her beloved belongings. The result: a must-see comedy that's as satirical as it is candid and relatable. Why Are You Like This knows that everyone and everything is awful at all times, leans in, and finds both the humour and the insight in that realisation. And, in terms of the series' style of comedy, the fact that Higgins created the show with lawyer and illustrator Humyara Mahbub and Aunty Donna's Mark Samual Bonanno says plenty. Indeed, like 2020's standout Aunty Donna's Big Ol' House of Fun, Why Are You Like This is ridiculously easy to binge in one sitting, then start re-binging again. Check out the trailer for Why Are You Like This below: https://www.youtube.com/watch?v=Sw_iVa6bZgs Why Are You Like This is available to stream via ABC iView.
Everyone knows that SXSW is a haven for music, including unearthing new talent. The festival's screen side, showcasing your new favourite movies and TV shows, is just as famous. So is the fact that all manner of well-known names take to its stages to get chatting — plus the event's all-round focus on tunes, tech, innovation, films, television, games and culture, as Sydney first experienced in 2023. SXSW's Down Under leg also lets the community get behind the microphone, via a part of its conference programming called Session Select. More than that, it allows you to choose what makes it into this portion of the fest's lineup. All you need to do is vote, which is now open for 2024. [caption id="attachment_923287" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] It was in late 2023, after the inaugural SXSW Sydney proved a hit — and featured everyone from Black Mirror's Charlie Brooker and Chance The Rapper to Future Today Institute founder and CEO Amy Webb and Nicole Kidman onstage — that the Australian event confirmed that it'd be back in 2024. If you're wondering who'll be on the bill from Monday, October 14–Sunday, October 20, nothing else has been announced so far. But make your picks among the Session Select candidates and you can help shape the conference portion. You'll be choosing from proposed sessions from over 1000 organisations and folks, hailing from 35 countries. Whether you're interested in hearing more about and from Concrete Playground, TikTok, Reddit, Aussie airlines Qantas and Virgin Australia, Getty Images, or a bunch of Australian and international universities, you've got options. That's obviously just the start of a list that also spans Google, Meta, Leonardo.ai, Canva, Xero, Tourism Australia, the Australian Human Rights Commission and plenty more. [caption id="attachment_923316" align="alignnone" width="1920"] Paul McMillan[/caption] Whatever earns your vote, topics set to feature at the conference cover AI, the future of work, climate and sustainability, food, lifestyle and beauty, and the creator economy, for starters. In total, there's 23 tracks, all picked to reflect what's garnering conversation right now. The chosen sessions will start being announced from this month. Early-bird tickets to SXSW Sydney 2024 have also gone on sale, including platinum badges, which gets you into all SXSW Sydney events in the conference, and at the games, music and screen festivals; tech and innovation badges; and music, screen and game festival badges. There's also a new Under 25s option for the latter two — tech and innovation, plus music, screen and game — which offers a discount if you fit that age group. [caption id="attachment_923286" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] 2023's SXSW Sydney notched up 287,014 attendances from 97,462 unique attendees. Those figures came from 34,975 total tickets, with folks from 41 countries heading along to 1178 sessions. Among its wealth of highlights, last year's SXSW Sydney featured Brooker chatting about his hit series and technology's future; Chance The Rapper talking about 50 years of hip hop; Coachella CEO Paul Tollett discussing his own fest; Kidman exploring her work as a producer on the likes of Big Little Lies, Nine Perfect Strangers, The Undoing and Love & Death; the Australian premiere of Kitty Green's The Royal Hotel; and the world premiere of The Wiggles documentary Hot Potato: The Story of The Wiggles. The full lineup spanned a 700-plus strong bill of talent, covering over 300 sessions, and featuring more than 300 gigs across 25 venues. From talks and concerts to films, TV shows and games, there was no shortage of things to see. That's all in store again in 2024. SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details, tickets and to vote for Session Select conference sessions. If you're be interested in attending Concrete Playground's panels, please visit the voting pages for New Rituals: The State of Socialising and Hospitality and Appetite for Distraction: Youth, Information and the Digital Age in 2024 to show your support. Voting closes on Monday, April 22, 2024. Images: Brendon Thorne/Getty Images for SXSW Sydney.
Fancy a trip to Japan without heading to Japan? Well, Brisbanites, Maho Magic Bar has you covered. The dazzling show is courtesy of the creative folks at Broad Encounters, and is in residence in Northshore Hamilton's neon-lit pop-up entertainment precinct Twilight Electric until Sunday, September 18. The best bit? The magic happens tableside, with mind-bending magicians — straight from Japan's magic bars — roving the room as you sip. What else can you expect? Well, it's a bar, performance space and show all in one. Bright lights set the mood, cherry blossoms hover above and sake and shochu lead the drinks menu (though there's beer, wine and booze-free options, too). Designed to replicate a night out in Shinjuku, your experience will be one of hedonistic wonder. [caption id="attachment_854728" align="alignnone" width="1920"] Nathaniel Mason[/caption] The ace thing about the setup: whether you adore magic or don't think it's your thing, you're still in for a ripper night. The atmosphere (and the drinks and those lights) are a massive part of the allure, though prepare to have your mind swayed by the roll call of stand-out magicians. There's the gender stereotype-busting Kaori Kitazawa, daring close-up magician Sarito, the style-heavy talent Shirayuri and Santa Terakado, the quirky toy magician. And your host? Actor and Brisbane local Sho Eba. If you're ready to immerse yourself in the magic of Japan (literally), you'd better be quick to grab your tickets. Maho Magic Bar is on from Wednesday, July 27 till Sunday, September 18. For more information and to grab your tickets, head to the website. Top images: Kate Prendergast (first), Nathanial Mason
Over the past few years, as the music world has lost many an icon, we've all developed a routine. When terrible news arrives, Spotify and YouTube get quite the workout as well all immerse ourselves in tunes and videos. Sound familiar? For Brisbanites looking to extend their cathartic listening and viewing to a public place, that's where Kristian Fletcher's tribute nights come in. With the passing of Dolores O'Riordan, he's heading to the New Globe Theatre and cranking out The Cranberries' tracks on their big screen. Yes, you do have to let it linger as the Irish band's songs well and truly get in your head from 6.30pm on January 25. Entry is free, the bar will be open, and the lineup includes back-to-back music videos followed by a recording of The Cranberries in concert.
Condensing the life story of Nelson Mandela into a single film is a daunting task. This is not just because the man went from being an agitator to a political prisoner to the first black president of South Africa (spoilers), but because the emotional connection the entire world has with one of the most significant anti-racism warriors is not a light one for a film to take on. Mandela: Long Walk to Freedom is not exactly up to the task. If this film is undone by anything, it's the biopic form itself. No film exists in a vacuum, and it's impossible to ignore that this biopic possesses basically the same narrative structure as most other activist/musician/politician/author biopics: begins, falls, rises. Which was the tagline to the Dark Knight trilogy, now that I think about it. The problem isn't that the film is reductive in its portrayal of Mandela's life — especially as it at least appears willing to show him at both his best and his worst — but that it is too reverential of its form. Director Justin Chadwick, best known for 2008's The Other Boleyn Girl, does not take any strong stylistic liberties with Mandela's story, but given the film feels frustratingly familiar, I rather wish he had. Idris Elba is very good in the role, and looks far more like Mandela than you might initially think. Oddly, he seems more comfortable playing the aged Mandela than the youthful one; the film itself echoes this feeling, significantly more at ease with Mandela the Forgiving Leader than Mandela the Righteous Terrorist. Winnie Mandela, who has, in many quarters, been retroactively painted as a villain in Nelson Mandela's life story, is given a much fairer shake here, in what is one of the film's better decisions. Although Winnie is depicted in the same generic strokes as everything else in the film, it at least acknowledges her best and her worst aspects, and that fairness is Mandela's saving grace. It doesn't hurt that Winnie is played by Naomie Harris, one of the UK's best actors, although her natural charisma is not given much room to shine through. The best thing that can be said of Mandela: Long Walk to Freedom is that it refuses to play in the same sandpit that the media did following the man's death last year, refusing to engage exclusively with the picture of Mandela as the genial statesman. The film is prepared to explore the elements of Mandela's past that would see him labelled a terrorist, and even if these are dealt with only perfunctorily, this sandpapering comes across as a result of the storytelling form rather than a politicised motivation. The worst thing that can be said of the film is that it is only superficially illuminating, briefly informative; the drama is only mildly engaging, the imprisonment distantly horrific. It insists upon keeping us at an arm's length for its not inconsiderable running time. Like a sign language-faking impostor at a funeral, the moves all look right to the untrained eye, but are, ultimately, devoid of all meaning. https://youtube.com/watch?v=hmm-aazQQKA
As Australians gear up for a postal vote on the issue of same-sex marriage, Melbourne City Council is showing its unequivocal backing of marriage equality by lighting up the Melbourne Town Hall in rainbow colours for the next two nights — just as it did in the wake of last year's Orlando nightclub shootings. Along with the municipal building's temporary makeover on Wednesday, August 16 and Thursday, August 17, the Council has also arranged a message in support of marriage equality to be screened up on Swanston Street's Young and Jackson Hotel's iconic rooftop sign for an hour from 11am today, and on rotation between Monday, August 21, and Sunday, September 17. We'll see even more of its endorsement in the coming weeks too, with local businesses offered window stickers backing the campaign. It all comes after Melbourne City Council last night endorsed a motion to campaign in support for marriage equality and to promote respectful dialogue surrounding the debate, with Lord Mayor Robert Doyle AC clear about the message they're hoping to send out. "When I think of Melbourne I think of equality," Doyle said. "I want Melbourne to take pride in its tolerant, welcoming, diverse culture. I believe all of our residents should have the opportunity to marry, if they wish." Melbourne City Council's a long-time supporter of marriage equality, having unanimously voted to back same-sex marriage back in 2015 and called on the Federal Government to legislate for it.
Last month, McDonald's spread some lockdown cheer for a few days, offering burger-loving customers free delivery for an entire weekend. From now until the end of June, it's doing the same. Sharing the fast food love, the huge chain is doing free home delivery on orders over $25 via UberEats — every single weekend. If you're craving a Quarter Pounder or a box of chicken McNuggets and you don't fancy leaving the house, that's obviously great news. To get your hands on a burg, some fries, a Happy Meal, McFlurry or a hot fudge sundae — or anything else on the chain's regular menu — with no extra delivery cost, head to UberEats' website or use the UberEats app and enter the weekly code. This week's code, valid until Sunday, May 11, is MACCAS2U; however it will change each week. To get the new details every Friday, you'll need to head to Macca's Facebook page. The entire transaction will be contact-free, including when it hits your doorstep. And, if you're after a few household staples, Macca's is also delivering milk, plus six-packs of English muffins and its gourmet buns. Or, of course, you can ignore whatever time of day it is and go straight for a McMuffin, hash brown and some hot cakes. McDonalds is offering free delivery across Australia on orders over $25 made via UberEats, with the special available every weekend until the end of June. To order, head here and use the weekly code. Until Sunday, May 11, the code is MACCAS2U, with new codes announced every Friday via the Macca's Facebook page. Images: McDonald's.
The music fanatics that make up the Audio Collective are an eager bunch. They scour the internet for the coolest tunes and musicians and then bring them straight to your computer screens for you to enjoy. Reviews, interviews and photography are all a part of their repertoire, but they main skill set is and forever will be throwing massive parties. The Audio Collective is turning one, so they decided it would be a fitting occasion for getting in the party vibe. This time, they’ve spared no expense. Head on down to The New Globe Theatre to enjoy some amazing live music from interstate and Brisbane based musicians. On the bill will be CREO, Lucha Libre, CHINATOWN CARPARK (pictured), Pack Animals, Little Aztec, The Electro Kid, Sports Fan, Bloom, William Briskey and Aly Grace. If that wasn’t enough, there will be prizes for best dressed – the theme is the 90’s, so get the denim, the flannel or the colour out and get in the vibe. Happy birthday Audio Collective!
While we all may be counting down the days till summer holidays, there's plenty of festive fun to be had in the meantime. 'Tis the season to be jolly and all that, and nothing gets you in the Christmas spirit better than gathering your finest friends for a quality hang in the city. Of course, you'll need a venue that suits your squad's vibe — whether you live for basement dives or prefer catching cool breezes from a rooftop. So, we've teamed up with Pernod Ricard, purveyors of festive tipples like Chivas, St Hugo and Mumm Champagne, to track down five top-notch spots for you and your crew to check out this month. Round up the troops, choose your spot and start mustering up your holliest of jolliest Christmas cheer. THE TERRACE AT THE EMPORIUM The new (and only) rooftop bar in South Bank atop the Emporium Hotel was made for balmy summer-night hangs. Take in the views from the breezy chrome and glass balcony, Absolut cosmo in hand (they're making a comeback, people), and indulge in fresh oysters. And if you're looking for the full luxury experience, order one of the must deluxe sandwiches in the city: lobster, pancetta, potato, corn and crème fraiche on toasted ciabatta with salmon roe. Once you've finished your cosmo and realised this will be your drink of the summer, pair that lobster sandwich with a glass of Champagne — we said we were going full luxury. The Terrace also has Mumm Champagne and Perrier-Jouët on the pour, completing this ideal celebration situation of sipping bubbles while overlooking the shimmering city and river. [caption id="attachment_674629" align="alignnone" width="1920"] Adam Hunter.[/caption] LITTLE VALLEY If sampling funky, fresh flavours gets your crew pumped, check out this little fusion spot, inspired by the 'cultural melting pot' of Hong Kong. The dim sum menu — perfect for sharing — offers dumplings as you've never had them. Think duck à l'orange steamed buns and chicken wontons with aged vinegar and chipotle oil. Australian flourishes also appear in dishes like chopped kangaroo tartare with bone marrow, pickled chilli and saltbush. With all these flavour twists, you'll want a cocktail that can keep pace; opt for the signature summer specials like the Waking Panda, with Absolut vodka, elderflower, mandarin and citrus, or the Silk Palace, with Havana Club rum, orange blossom, coconut cream, vanilla and citrus. BROOKLYN STANDARD In the grand tradition of NYC dive bars, this joint brings the thumping heart of Brooklyn to Brisbane, offering live funk, soul and blues every night. Within the dimly lit dive of exposed brick and wood panelling, bedecked with sports memorabilia, the kitchen serves classic American favourites like hot dogs, buffalo wings, popcorn shrimp and mozzarella sticks, which can all be washed down with Havana Club rum and root beer. Bartenders will also do you a Jameson every which way, from neat to an Old Fashioned. Want to take your celebrations up a notch? (It is the silly season after all.) Order the lobster roll with a very reasonably priced glass of Mumm Champagne($14). GERARD'S BAR More than a spot for excellent charcuterie, this hidden laneway little sibling of Gerard's Bistro also serves some of the finest cocktails on James Street. Gather the group for an elegant share-plate repast at this green-tiled industrial-chic Valley bar. Know you're in good hands with award-winning chef Ben Williamson in the kitchen dishing out savoury jamon and potato croquettes and flamed sobrassada with rooftop honeycomb and potato crisps, as well as a selection of terrines, preserves and sharing boards. Plus with Mumm available and a bar full of cocktail prowess, you'll easily find a drop to match all that meaty goodness. BLACKBIRD BAR The luxe fitout of Blackbird Bar is matched by both its magnificent 180-degree river view — we're talking unparalleled vistas of Story Bridge and Kangaroo Point — and a selection of exquisite drinks and dishes. Elevate your evening by taking advantage of the skilled team of bartenders and the extensively stocked bar. Sip a Chivas Regal whisky sour, or one of the geographically inspired cocktails from the menu, and grab a few nibbles of the bar snacks menu. There are your standard chips in the form of shoestring fries elevated with lemon myrtle aioli and saltbush, the ultra comforting fried mac 'n' cheese balls served with truffled mayo or indulgent shellfish platters packed local seafood like rock and pacific oysters, Mooloolaba king prawns, Moreton Bay bugs and Hervey Bay scallops. And if you're in need of a nightcap, there are over 50 single malts on the menu to choose from, including The Glenlivet 18-year-old. Start planning your festive hangs pronto. And if you're entertaining at home or just looking to keep the party going, purchase any two eligible Pernod products from a Cellarbrations, The Bottle O, IGA Liquor or Big Bargain Bottleshop, and go in the draw to win a $500 travel voucher. There's one voucher to win every day until Christmas. After all, what could be better for the holiday spirit than winning an actual holiday?
Like Highlander, when it comes to formally wrapping up this year's BIGSOUND, there can be only one. Official closing party, that is, which the Triffid is taking care of. They've enlisted Born Lion, Dorsal Fins, The John Steel Singers, Fraser A Gorman, Ben Salter, Ngaiire, Caitlin Park, All Our Exes Live In Texas and Robbie Miller to provide live performances from 4pm until after midnight; however anyone with a spare afternoon can hang out in the beer garden from midday. Sure, you're probably supposed to be doing something else — but did someone say unofficial long weekend? This event is one of our top five picks of BIGSOUND. Check out the other four here.
When the end of the year hits, do you get 'Christmas is All Around', as sung by Bill Nighy, stuck in your head? Have you ever held up a piece of cardboard to tell the object of your affection that, to you, they're perfect? Does your idea of getting festive involve watching Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Alan Rickman, Emma Thompson, Keira Knightley, Rowan Atkinson and Martin Freeman, all in the same movie? If you answered yes to any of the above questions, then you clearly adore everyone's favourite Christmas-themed British rom-com, its high-profile cast and its seasonal humour. And, you've probably watched the beloved flick every December since it was first released in cinemas back in 2003. That's a perfectly acceptable routine, and one that's shared by many. But this year, you can do one better. A huge success during its past tours of the UK and Australia (to the surprise of absolutely no one), Love Actually in Concert is returning in 2022 to make this festive season extra merry. It's exactly what it sounds like: a screening of the film accompanied by a live orchestra performing the soundtrack as the movie plays. To the jolly delight of Brisbanites, it's heading to the Great Hall at the Brisbane Convention and Exhibition Centre at 4pm on Saturday, December 10. Here, you'll revisit the Richard Curtis-written and -directed film you already know and treasure, step through its interweaved Yuletide stories of romance, and hear a live orchestra play the movie's soundtrack. And, yes, Christmas (and love) will be all around you.
One of the world's most visited multi-sensory experiences will come alive in Sydney this spring From Friday, September 18, Van Gogh Alive will see more than 3000 large-scale images of the Dutch master's works projected onto walls, columns and floors at The Royal Hall of Industries in Moore Park. The project is the brainchild of Melbourne-based Grande Exhibitions, which, for the past 15 years, has hosted immersive exhibitions and gallery experiences in over 140 cities across the world. The company also owns and operates Rome's Museo Leonardo da Vinci. The family-friendly experience will create the sensation of walking right into Van Gogh's paintings. Famous works including The Starry Night and Sunflowers are presented in fine detail using Grande Exhibitions' state-of-the-art technology combining 40 high-definition projectors, while a classical musical score accompanies the vibrant colours in cinema-quality surround sound. The exhibition has already wowed audiences at 50 cities throughout the northern hemisphere and parts of South America — and was was initially meant to be unveiled in Melbourne this year inside a new multimillion digital art gallery in Melbourne called The Lume, but, because of the city's strict lockdown, the Australian premiere will now happen in Sydney. Van Gogh Alive runs at The Royal Hall of Industries, adjacent to the Entertainment Quarter, Moore Park from Friday, September 18 for a limited time. Tickets will cost $30 per person and go on sale at midday on Friday, August 21 via vangoghalive.com.au.
And the best thing about cooking with beer? Once you’ve cracked one open, you’ll have to finish the bottle. Snack, simmer and sip on this feast of knowledge, beer and food. Join the Goat Pie Guy and Mountain Goat Beer in this hands-on cooking class that’ll show you how to make the most of beer in everything from marinades to mussels, relishes and roasted rumps. BYO frilly apron.
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.
Maybe viewing old episodes of Aerobics Oz Style helped you stay active during 2020's first long lockdown. Perhaps you've been obsessed with the now-iconic Key & Peele aerobics meltdown sketch for years, as everyone should be. Or, you might've watched the excellent Kirsten Dunst-starring On Becoming a God in Central Florida and got bitten by the water aerobics bug. Whichever fits — or even if none of the above applies to you — leotards, exercise and all things 80s haven't been far from our screens in recent years. And, they'll feature again in a big way in Apple TV+'s new ten-part dark comedy series Physical. Set in the decade that's always going to be synonymous with leg warmers, Physical sees Rose Byrne make the leap from hanging out with talking CGI rabbits in terrible book-to-screen adaptations to getting hooked on aerobics. She plays Sheila Rubin, a San Diego housewife who has always played her dutiful part as expected, but struggles with her self-image and her sense of self in general. Then, the only form of exercise that TV shows and movies seem to think that anyone did back in the 80s suddenly enters her life. Cue a journey that brings Sheila success, sees her forge her own path beyond being a wife and mother, and also turns her into a lifestyle guru. As seen in both the first sneak peek last month and the just-dropped new trailer, she obviously won't be posting about her daily life on social media — but this show is set in the peak VHS era, so expect videotapes to play a part in the story. Physical is set to start streaming on Friday, June 18, and will drop its first three episodes in one hit before releasing the rest weekly afterwards. Naturally, big hair and spandex are set to play a huge part in the supremely 80s-looking series. Alongside Byrne, the show stars Rory Scovel (I Feel Pretty), Dierdre Friel (Second Act), Della Saba (Ralph Breaks the Internet), Lou Taylor Pucci (American Horror Story), Paul Sparks (The Lovebirds) and Ashley Liao (Fuller House). Desperate Housewives and Suburgatory's Annie Weisman created, wrote and executive produced Physical, and serves as its showrunner, while Cruella's Craig Gillespie, Dead to Me's Liza Johnson and Love Life's Stephanie Laing all enjoy stints in the director's chair. Check out the latest trailer trailer below: Physical starts streaming via Apple TV+ on Friday, June 18.
The art world's love affair with Andy Warhol has lasted far longer than 15 minutes. Australia's fondness for the iconic artist definitely hasn't been fleeting, either. In 2023 alone, not one, not two, but three different exhibitions Down Under have showcased or are about to celebrate his work; however, only the just-announced Instant Warhol is solely dedicated to his skills with a polaroid camera. On the Gold Coast in autumn, Pop Masters highlighted Warhol's pieces alongside works by Jean-Michel Basquiat and Keith Haring. In Adelaide around the same period, Andy Warhol & Photography: A Social Media honed in on the artist as a shutterbug. Obviously, Instant Warhol has the same idea as the latter, but it will only be filled with polaroid portraits — 59 of them. [caption id="attachment_906816" align="alignnone" width="1920"] Andy Warhol self-portrait in drag, 1980. © Andy Warhol Foundation for the Visual Arts, Inc. Artists Rights Society [ARS]/Copyright Agency, 2023.[/caption] This time, Warhol's work is headed to Ballarat, displaying from Saturday, August 26–Sunday, October 22 at the Art Gallery of Ballarat during the Ballarat International Foto Biennale. The regional Victorian photography festival is never short on things to see, but Instant Warhol is quite the drawcard for the biannual event. The original snaps that Warhol himself took — when he wasn't painting Campbell's soup cans and images of Marilyn Monroe, of course — will be on display. Even if you haven't seen them before, some should be familiar. One of the reasons that the artist captured polaroids, other than loving them, was to turn some of the famous faces he snapped into his screen prints. [caption id="attachment_906817" align="alignnone" width="1920"] Top image: Andy Warhol, Sylvester Stallone, 1980. © Andy Warhol Foundation for the Visual Arts, Inc. Artists Rights Society [ARS]/Copyright Agency, 2023.[/caption] Drawn from the thousands of photographs he took with the instant cameras between 1958–87, this selection of pictures will also feature images of Warhol himself. They're all coming to Australia thanks to The Brant Foundation, with founder Peter M Brant one of Warhol's early patrons, then a friend, and also the the producer of Warhol's films L'Amour and Bad. "Warhol had an unparalleled ability to chronicle the visual culture of his time. The Brant Foundation is delighted to share our collection of portraits including celebrities such as Mick Jagger, Jean-Michel Basquiat and Liza Minnelli for the Australian public to discover and enjoy," said Allison Brant, The Brant Foundation's current director. 'These original polaroids captured a moment in time and went on to identify our culture, our art form, our view of celebrity. Warhol was the inventor of the 'superstar' and it's fascinating to take a moment to absorb these tiny snaps within our fast and furious scrolling world," added Vanessa Gerrans, CEO of Ballarat International Foto Biennale. [caption id="attachment_906823" align="alignnone" width="1920"] Platon, Cate Blanchett, November 2004.[/caption] As revealed earlier in May, 2023's event will also feature People Power — Platon, which'll span 120-plus portraits by photographer Platon, including images of everyone from Cate Blanchett to the snapper himself. Also already announced: a showcase of Yvonne Todd and Erik Johansson's work, with Todd's The Stephanie Collection making its Australian premiere, and a suite of Johansson's surreal landscapes and optical illusions world premiering in Ballarat. [caption id="attachment_906824" align="alignnone" width="1920"] Erik Johansson, Above All, C-Type, 180 x 135cm.[/caption] Instant Warhol will be on display at the Art Gallery of Ballarat, 40 Lydiard Street North, Ballarat, during the Ballarat International Foto Biennale from Saturday, August 26–Sunday, October 22, 2023 — head to the festival's website for further details. Top image: Photograph of Andy Warhol taking a polaroid picture while sitting with Jack Ford and Bianca Jagger on the Truman Balcony, U.S. National Archives and Records Administration courtesy Gerald R. Ford Presidential Library via Wikimedia Commons.
What happens when you take a huge name in Australia's music scene, add 40 more musical talents, then combine them all for a big Brisbane gig? In 2023, you get Red Bull Symphonic with Genesis Owusu and the Brisbane Symphony Orchestra. This popular series pairs impressive local talents with an orchestral backing, after first debuting in 2022 in the Sunshine State with Goodna rapper Lisi and the Queensland Symphony Orchestra. In 2023, it's returning with Ghanaian Australian artist Owusu as its star star. The 2023 Red Bull Symphonic tour will play the River City's Fortitude Music Hall on Friday, March 3. As well as the symphony orchestra, Owusu will be collaborating with Australian composer and arranger Alex Turley (Sydney and Melbourne Symphony Orchestras, Omega Ensemble, Electric Fields, NGAIIRE). This gig promises to combine two different arts worlds — and give Owusu's punk-electronic tracks a new interpretation that even his most ardent fans haven't experienced. The multi award-winning performer gets orchestral after a massive couple of years that've seen him win triple j's Album of the Year in 2021 for his debut record Smiling with No Teeth; nab four ARIAs including Album of the Year, Best Hip Hop Release, Best Independent Release and Best Cover Art for the same release; and score 2022 ARIA noms for Best Music Video and Best Independent Release for single 'GTFO'. Top image: Alex Turley.
'Jumoo' means 'smoking' in the Turrbal language. And, to open this year's Brisbane Festival, Yuggera and Turrbal man Shannon Ruska will lead a city-wide smoking ceremony on Friday, September 4 that everyone is invited to watch and participate in. Ruska, who is the managing director of Custodianship of Tribal Experiences, will lead Brisbanites into the three-week festival peacefully, and with respect to his ancestors and First Nations communities in Brisbane today. After a whirlwind year, it's time to reset and start afresh. This celebration is open to all ages and starts at South Bank and Roma Street Parklands. Image: Atmosphere Photography
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Brisbane at present. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. SHANG-CHI AND THE LEGEND OF THE TEN RINGS Social media can get you anywhere, or so the story behind Marvel's latest movie and the actor playing its eponymous character demonstrates. Back in 2014, Simu Liu tweeted at the comic book company-turned-filmmaking powerhouse, asking "how about an Asian American hero?". In 2018, after Black Panther's success, he tweeted again — querying "are we gonna talk or what?" with the #ShangChi hashtag. Now, the Kim's Convenience star leads the Marvel Cinematic Universe's 25th feature, and the first to focus on a hero of Asian descent in its 13-year run to-date. He's the face of the franchise's latest step forward, both in terms of inclusion and representation, and in keeping the MCU's ongoing narrative forever hurtling onwards. Liu anchors a film about history and destiny, too — one that's about breaking free from the past and committing to the future — and he heartily embraces the occasion. As directed and co-written by Destin Daniel Cretton (Just Mercy, Short Term 12), Shang-Chi and the Legend of the Ten Rings itself flits between offering up a lively picture that strives to carve out its own space in the series, and simply serving up more of the usual Marvel template but in enticing packaging, however. Liu first graces the screen as Shaun, a San Francisco valet who's happy parking cars with his best pal Katy (Awkwafina, Breaking News in Yuba County), even though they both know they could follow other paths. While the film shows Katy's family decrying her lack of ambition, Shaun has a keener awareness of what he isn't doing — because he's really Shang-Chi, the son of centuries-old warlord Xu Wenwu (Tony Leung, The Grandmaster), who leads the shadowy Ten Rings criminal organisation and wears the mystical bracelets it's named after. Shang-Chi also has the otherworldly Jiang Li (Fala Chen, The Undoing), the former guardian of an enchanted village filled with dutiful warriors and mythical creatures, for a mother. But when she died when he was a child, his life changed. After the grief-stricken Wenwu obsessively trained him to become an assassin and see vengeance, Shang-Chi fled for the US, where he's lived since. Then, initially via a postcard from his Macau-based, underground fight club-running sister Xu Xialing (debutant Meng'er Zhang), and then thanks a violent visit from his dad's henchmen, he's forced into a family reunion that puts the fate of the universe at stake. Read our full review. SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) Much of Summer of Soul (...Or, When the Revolution Could Not Be Televised) involves stunning archival footage, as recorded more than five decades ago, capturing live performances by an astonishing lineup of musicians. At the 1969 Harlem Cultural Festival, a free series of gigs that rolled out across six weekend and saw around 300,000 people head along, Nina Simone, Stevie Wonder, BB King, Sly and the Family Stone, the Staples Singers, Mahalia Jackson and Gladys Knight & the Pips all took to the stage — among others — and the newly unearthed reels that immortalised their efforts are truly the stuff that music documentary dreams are made of. For his filmmaking debut, Ahmir 'Questlove' Thompson could've simply stitched together different songs from various sets across the festival, and let those music superstars lead the show. He could've taken the immersive, observational approach as Amazing Grace did with Aretha Franklin and her famed gospel gigs, and jettisoned context. But The Roots frontman and drummer doesn't make that choice, and he ensures that two words echo strongly throughout the film as a result: "Black Woodstock". Also in New York — upstate in the town of Bethel, 100 miles north of Harlem — Woodstock itself took place in the summer of 1969 as well. The Harlem Cultural Festival kicked off before and kept playing after its better-known counterpart ended, but comparing the two events makes quite the statement. Why has one endured in public consciousness and proven pervasive in popular culture, but not the other? Why did footage of one quickly get turned into a film, with the Woodstock documentary first reaching cinemas in 1970, but recordings of the other largely sat in a basement for half a century? Why did television veteran Hal Tulchin, who shot the entire Harlem Cultural Festival from start to finish on four cameras loaded up with two-inch videotape, get told that there was little interest in releasing much from a "Black Woodstock"? (One New York TV station aired two hour-long specials at the time, but that's all that eventuated until now.) These questions and the US' historical treatment of people in colour go hand in hand, and whenever the words "Black Woodstock" are uttered, that truth flutters through Summer of Soul. Here's another query that belongs with the others: why was such an important event left to fade in memories, and in broader awareness, to the point that many watching Questlove's exceptional doco won't have heard of it until now? 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. Read our full review. EIFFEL Speculating on the past, and on the creation of one of the planet's most famous monuments, Eiffel asks a question: why did Gustave Eiffel build the tower that shares his name? That mightn't be the usual query that runs through people's minds as they stare up at the iconic structure; however, competing to win the right to construct it for the Exposition Universelle of 1889 in Paris represented a significant change of opinion for the engineer, after he'd initially turned down the concept when it was suggested to him by his employees. The result of that about-face has left its mark on history, France and the travel itineraries of everyone who has enjoyed a Gallic holiday ever since. Although he'd already achieved fame and acclaim due to his help building the Statue of Liberty, his eponymous tower is the reason the world know's Eiffel's name now, too. Writer/director Martin Bourboulon (Daddy or Mommy) and his co-scribes Thomas Bidegain (The Sisters Brothers), Martin Brossollet (Détectives), Natalie Carter (Thérèse Desqueyroux) and Caroline Bongrand (Parlez-moi d'amour) posit a reason, and the fact that their film is a romantic drama spells out everything it needs to. Here, Eiffel (Romain Duris, All the Money in the World) decides to assemble the A-shaped mass of wrought-iron lattice because of the woman, Adrienne Bourgès (Emma Mackey, Sex Education), he was set to marry when he was younger, lost touch with after their nuptials were called off, and then sees again just as the Exposition Universelle project is under discussion. The idea driving Eiffel is simplistic and sentimental, given that it's a film about a man erecting something unmistakably and plainly phallic for love. A biopic, this definitely isn't. But it's to Bourboulon, Duris and Mackey's credit that everything here flickers with enough feeling, even though a behind-the-scenes look at how the Eiffel Tower was built between 1886–89 — including the actual mechanics of assembling its pieces, and also the complex reaction in France at the time — could've easily fuelled an entire movie without a romance layered on top. (Charting someone simply achieving a great feat, such as constructing what was the tallest structure in the world at the time, and what remains one of the most well-known landmarks there is, would've also proven suitably rousing without the extra tugging at heartstrings.) Turning history into amorous fiction is the path this feature has chosen, however, and Bourboulon wraps it up in handsome period staging and a passionate tone. There's also a soapiness to Eiffel, too, filled as it is with yearning looks, secret trysts and will they, won't they twists. But if it wasn't for Duris, Mackey and their convincing performances — Duris' reliably ability to convey inner conflict with charm, particularly — the film would lean further in that direction. Marrying the origin story of an iconic tower with a grand love story still makes for an awkward and overly melodramatic fit, though. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; June 3, June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; and August 5, August 12, August 19 and August 26. You can also read our full reviews of a heap of recent movies, such as Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman and Annette.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are ten that you can watch right now at home. BARBIE No one plays with a Barbie too hard when the Mattel product is fresh out of the box. As that new doll smell lingers, and the toy's synthetic limbs gleam and locks glisten, so does a child's sense of wonder. The more that the world-famous mass-produced figurine is trotted through DreamHouses, slipped into convertibles and decked out in different outfits, though — then given non-standard makeovers — the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also a cleverly funny flick from its 2001: A Space Odyssey-riffing outset. The longer that it continues, however, the harder and wilder that Lady Bird and Little Women director Greta Gerwig goes, as does her Babylon and Amsterdam star lead-slash-producer Margot Robbie as Barbie. In Barbie's Barbie Land, life is utopian. Robbie's Stereotypical Barbie and her fellow dolls (including The Gray Man's Ryan Gosling as Stereotypical Ken) genuinely believe that their rosy beachside suburban excellence is infectious, too. And, they're certain that this female-championing realm — and the Barbies being female champions of all skills, talents and appearances — has changed the real world inhabited by humans. But there's a Weird Barbie living in a misshapen abode. While she isn't Barbie's villain, not for a second, her nonconformist look and attitude says everything about Barbie at its most delightful. Sporting cropped hair, a scribbled-on face and legs akimbo, she's brought to life by Saturday Night Live great Kate McKinnon having a blast, and explained as the outcome of a kid somewhere playing too eagerly. Meet Gerwig's spirit animal; when she lets Weird Barbie's vibe rain down like a shower of glitter, covering everything and everyone in sight both in Barbie Land and in reality, the always-intelligent, amusing and dazzling Barbie is at its brightest and most brilliant. Barbie is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TALK TO ME An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds, as Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low) explain. But, as she navigates the anniversary of her mother's death, Mia (Sophie Wilde, The Portable Door) is up for going as far as she can. Here, being consumed by sinister spirits, not consuming booze, is an escape. That, and filming whatever twisted chaos happens when you connect with the otherworldly. It isn't all fun and frights and games, though; when her best friend Jade's (Alexandra Jensen, Joe vs Carole) 14-year-old brother Riley (Joe Bird, First Day) takes part, traumatic consequences spring. Talk to Me is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Danny Philippou. THE NEW BOY Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The New Boy is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Warwick Thornton. RED WHITE & BRASS Watch Red, White & Brass and you'll never see the pre-game or half-time entertainment at a big sporting match the same way again. Of course, if Rihanna, or Beyoncé with Destiny's Child, or a heap of hip hop and rap legends are taking to the stage at the Super Bowl, you won't question it — but if there's a community band on the turf, you might start wondering when they first picked up their instruments, why and if it was only four weeks ago to make it to this very gig. Are they just out there because they were that desperate to see their team play? And, because they missed out on expensive and instantly sold-out tickets? Were they so eager, in fact, that they bluffed their way into a gig by claiming to already be a musical group, then had to speedily do anything and everything to learn how to get melodic, and obviously not embarrass themselves, in a passion-fuelled whirlwind of pretence and practice? A band solely forming to score access to a rugby game sounds like pure screenwriting confection. Often enough, though, when tales like that make it to the silver screen, it's because they're so wild that they can only be true. Such is the case with Red, White & Brass' premise, as it notes at the outset, with co-writer Halaifonua (Nua) Finau scripting the story with first-time feature director Damon Fepulea'i from his very own experiences. Back in 2011, New Zealand hosted the Rugby World Cup, which was a source of particular excitement to Aotearoa's Tongan population, and especially to avid aficionados at a Wellington church. The kind of fans that were showing their devotion by decking out their homes in the Tongan flag top to bottom, hitching the red-and-white cloth to every free space on their cars and carrying around the symbol on their phone cases, they were determined to see Tonga play France in their own home city, and willing to whatever it takes to do so — wholesomely, in the type of underdog story about fervour, ingenuity, self-belief and luck that engagingly makes for an easy and warm-hearted cinema crowd-pleaser. Red, White & Brass is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with John-Paul Foliaki and Damon Fepulea'i. CARMEN Breaking down a classic tale best known as an opera, rebuilding it as a lovers-on-the-run drama set across the US–Mexico border and making every moment burst with emotion, Benjamin Millepied's Carmen is a movie that moves. While its director is a feature debutant, his background as a dancer and choreographer — he did both on Black Swan, the latter on Vox Lux as well, then designed the latest Dune films' sandwalk — perhaps means that the former New York City Ballet principal and Paris Opera Ballet Director of Dance was fated to helm rhythmic, fluid and rousing cinema. His loose take on Georges Bizet's singing-driven show and Prosper Mérimée's novella before it, plus Alexander Pushkin's poem The Gypsies that the first is thought to be based on, is evocative and sensual. It's sumptuous and a swirl of feelings, too, as aided in no small part by its penchant for dance. And, it pirouettes with swoon-inducing strength with help from its stunningly cast leads: Scream queen and In the Heights star Melissa Barrera, plus Normal People breakout and Aftersun Oscar-nominee Paul Mescal. When Mescal earned the world's attention in streaming's initial Sally Rooney adaptation, he had viewers dreaming of fleeing somewhere — Ireland or anywhere — with him. Carmen's namesake (Barrera) absconds first, then has PTSD-afflicted Marine Aidan (Mescal) join her attempt to escape to Los Angeles. Carmen runs after her mother Zilah (flamenco dancer Marina Tamayo) greets the cartel with thunderous footwork, but can't stave off their violence. Aidan enters the story once Carmen is smuggled stateside, where he's a reluctant volunteer border guard in Texas alongside the trigger-happy Mike (Benedict Hardie, The Drover's Wife The Legend of Molly Johnson). As the picture's central pair soon hurtle towards California, to Zilah's lifelong friend Masilda's (Rossy de Palma, Parallel Mothers) bar, they try to fly to whatever safety and security they can find. That may be fleeting, however, and might also be in each other's arms. Carmen is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Benjamin Millepied. HOW TO BLOW UP A PIPELINE Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. How to Blow Up a Pipeline is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SISU Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but writer/director Jalmari Helander's (Rare Exports: A Christmas Tale) latest effort means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, also Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. Sisu is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INDIANA JONES AND THE DIAL OF DESTINY Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment from Logan and Ford v Ferrari filmmaker James Mangold whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Indiana Jones and the Dial of Destiny is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BOOGEYMAN Teenagers are savage in The Boogeyman, specifically to Yellowjackets standout Sophie Thatcher, but none of them literally take a bite. Grief helps usher a stalking dark force to a distraught family's door; however, that malevolent presence obviously doesn't share The Babadook's moniker. What can and can't be seen haunts this dimly lit film from Host and Dashcam director Rob Savage, and yet this isn't Bird Box, which co-star Vivien Lyra Blair also appeared in. And a distressed man visits a psychiatrist to talk about his own losses, especially the otherworldly monster who he claims preyed upon his children, just as in Stephen King's 1973 short story also called The Boogeyman — but while this The Boogeyman is based on that The Boogeyman, which then made it into the author's 1978 Night Shift collection that gave rise to a packed closet full of fellow movie adaptations including Children of the Corn, Graveyard Shift and The Lawnmower Man, this flick uses the horror maestro's words as a mere beginning. On the page and the screen alike, Lester Billings (David Dastmalchian, Boston Strangler) seeks therapist Will Harper's (Chris Messina, Air) assistance, reclining on his couch to relay a tragic tale. As the new patient talks, he isn't just shaken and shellshocked — he's a shadow of a person. He's perturbed by what loiters where light doesn't reach, in fact, and by what he's certain has been lurking in his own home. Here, he couldn't be more adamant that "the thing that comes for your kids when you're not paying attention" did come for his. And, the film Lester has chosen his audience carefully, because Will's wife recently died in a car accident, leaving his daughters Sadie (Thatcher) and Sawyer (Blair) still struggling to cope. On the day of this fateful session, the two girls have just returned to school for the first time, only for Sadie to sneak back when her so-called friends cruelly can't manage any sympathy. The Boogeyman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEG 2: THE TRENCH Jaws, but bigger. Jurassic Park but sharks. Like a prehistoric underwater predator scooping up a heap of beachgoers in one hefty mouthful, describing what The Meg and its sequel Meg 2: The Trench are each aiming to be is easy. Ridiculous big-screen fun that sets Jason Statham (Fast X) against multiple megalodons, his scowl as shiny as their razor-sharp teeth: they're the type of waters that this creature-feature franchise also wants to paddle in. Since debuting in cinemas in 2018, all things The Meg have always had a seriousness problem, however. They're at their best when they're also at their silliest, but they're rarely as entertainingly ludicrous as they're desperate to be. This five-years-later follow-up might task Statham with shooting harpoons while riding a jet ski at a tourist-trap holiday destination called Fun Island — and also busting out the line "see ya later, chum", which lands with such a sense of self-satisfaction that it feels like the entire reason that the movie even exists — but such gleeful preposterousness is about as common as a herbivore with a meg's massive chompers. Again based on one of author Steve Alten's books — he's penned seven so far, so more flicks are likely — Meg 2: The Trench doesn't just want to ape the Jurassic series. It does exactly that overtly and unsubtly from the outset, but this film is also happy to brazenly treat multiple movies from a few decades back as fuel for its choppy antics. When the feature starts, it's 65 million years ago, dinosaurs demonstrate the cretaceous period's food chain, then a megalodon shows who's boss from the water. Obviously, life will find a way to bring some of this sequence's non-meg critters into the present day. Next comes a dive in The Abyss' slipstream, before embracing being a Jaws clone again — even shouting out to Jaws 2 in dialogue — but with a Piranha vibe. Before it's all over, Meg 2: The Trench also flails in Mega Shark Versus Giant Octopus' direction, just with a visibly larger budget. Meg 2: The Trench is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June, July and August, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
Eriksson Architects have compiled a proposal for an eco-silicon valley that will revolutionise modern enviro-friendly architecture. They have created blueprints for the Mentougou Eco Valley, an experimental 100 square-metre development with buildings of diverse contemporary design. If and when the Chinese government approves the proposal, the company plans to install the Mentougou Eco Valley about 60 kilometers west of Beijing, in a deep valley surrounded by lush mountains, an ideal haven for eco-friendly living. The city will be self-sufficient in producing water, returning nutrients back to the environment and maintaining its own agriculture because it will be built amidst vast vegetation and small bodies of water. Protected by the surrounding wall of mountains, noise and pollution are also kept out of the Mentougou Eco Valley. The development is designed to include nine environmental research institutes, a city center and small residential neighbourhoods built into the mountains that would house over 50,000. The architects will experiment with new building materials and designs, technologies and floor plans in an attempt to build the most modern eco-friendly city ever created. [via designboom]
If you're a Queenslander who is currently in New South Wales or the Australian Capital Territory and you've been thinking about heading home, the Sunshine State has put a timeline on your return. The same applies to NSW and ACT residents pondering a holiday up north, or to anyone who has been in the two areas in the past 14 days and plans to mosey up to Queensland sometime soon — with the state implementing new border restrictions from 1am on Saturday, August 8. When the weekend kicks in, Queensland will completely close its border to NSW and ACT, Premier Annastacia Palaszczuk announced today, Wednesday, August 5. Both regions have now been declared hotspots by Queensland's Chief Health Officer, which means that all visitors from NSW and ACT will be denied entry to Queensland, except for rare exemptions and returning Queenslanders. If you fall into those categories, you'll have to fork out for a 14-day stretch of mandatory hotel quarantine. The Premier advised that exemptions will be limited, however, including for compassionate reasons. During the shutdown, the aim is to only allow folks who live in border communities and essential workers such as truck drivers to cross. Anyone who fits that description will need to obtain a pass, with those who reside in the area requiring proof of address and photo identification to do so. https://twitter.com/AnnastaciaMP/status/1290786409465278464 The move comes in response to rising COVID-19 case numbers down south, and follows earlier decisions to ban visitors from Victoria, as well as several parts of NSW — once Queensland started reopening its border in mid-July to interstate travellers, that is. The restrictions on NSW visitors started with the Campbelltown, Liverpool and Fairfield City local government areas, then spread to include the entirety of Greater Sydney, a limit that came into effect this past weekend. "I know it's going to be tough on Queenslanders," Premier Palaszczuk explained. "But your health comes first. We need to protect not only our health, we need to protect the families, we need to protect our economy. We've seen what's happened in Victoria. We don't want to see that happening here." The Premier also stressed that Queenslanders shouldn't be thinking about travelling south. "It's also very important that Queenslanders stay in Queensland. Now is not the time to travel to New South Wales. Now is not the time to travel to Victoria," she said. The border closure with NSW and the ACT will be in effect at least until the end of August, when the Queensland Government will undertake a review. From 1am on Saturday, August 8, anyone who has visited New South Wales or the Australian Capital Territory in the past 14 days will not be allowed to enter Queensland unless they are a returning resident or are entering for one a few essential reasons. For more information, head to the Queensland Government website. Image: Yun Huang Yong via Flicker.
Ask any brewer, winemaker or distiller just what makes a great beer, vino or spirit — or sangria or premix — and they'll likely give you a variation of the same answer. They might mention standout ingredients, an enticing taste or a big flavour, but they're all really talking about that sensation when a drink passes your lips and instantly becomes one of your favourite tipples. Another key quality behind every excellent beverage? Resilience. That's a trait few people might've thought about prior to 2020, though. But it takes hardiness and adaptability to turn a drinks-making dream into a reality — including initially deciding to jump into the industry yourself, doing the hard yards, getting your product in people's glasses, and weathering the ups and downs. Named the most-loved New South Wales-made tipples in the BWS Local Luvvas initiative, Audrey Wilkinson, Akasha Brewing Company, Lust Liquor and Nueva Sangria have all clearly crafted tastebud-tempting beverages. That's why the bottle shop retailer is now giving these four chosen companies an extra helping hand with getting their products stocked in more BWS stores. As we found out by chatting to the folks behind each brand, these drinks-making outfits have all proven resilient as well. You need to be in these testing times — and they've all told us about their experiences. INNOVATIVE DROPS FROM ONE OF AUSTRALIA'S OLDEST VINEYARDS The importance of durability, and of being able to evolve as times change, isn't lost on the team at Audrey Wilkinson. Indeed, when the vino brand's marketing manager Renee Raper notes that "it has been a tough year for everyone", she not only explains how it has hit home, but also how winemakers are doing everything they can to navigate this tough period. "The wine industry hasn't been immune to this, with the drought, bushfires and pandemic — but the wine industry is resilient," she says. Of course, you could say that's been a hallmark of Audrey Wilkinson — or the patch of land in the Hunter Valley that its vineyard calls home, to be specific — for some time. It has been more than 150 years since the Wilkinson family first acquired the spot, and almost 120 years since it started winning awards for its tipples. The winery has been owned by the Agnew family since 2004, who've continued on with a small and dedicated staff that's devoted to the task at hand. "We have an innovative, young and passionate team behind the brand, and this really resonates through the wines we produce," says Raper. The fact that those tipples are resonating with local drinkers, too, is a source of pride as well — and a much-needed boost in this difficult year. "We are really overwhelmed… winning the Local Luvvas means more people can buy Audrey Wilkinson wines throughout NSW, which is a real silver lining for small local brand like ours". HOP-FORWARD IPAS IN SYDNEY'S INNER WEST If Akasha Brewing Company's founder and CEO Dave Padden wasn't so adaptable, his Canada Bay brewery wouldn't exist. He fell in love with craft beer on trips to America, watched the scene explode in the early 2000s, then decided he wanted to do more than just drink his favourites. "It became readily apparent that the Australian market was lacking the hop-forward beers that were becoming so abundant in the US," he explains. "I threw in the corporate towel and embarked on my professional brewing career… this success led to the birth of Akasha Brewing Company in 2015 and the launch of many beers." Padden's motivation: hops. Noting that there are "literally hundreds of different hop varieties available around the world", he describes them as "a real focus for me and the beers that we brew and drink". But he's aware that, for any of Akasha's IPAs to stand the test of time, they need to do more than experiment with his favourite ingredient. "My passion is discovering that next awesome hop combination that creates a beautifully flavoured IPA, whilst maintaining balance and drinkability," he says. "Every single beer we brew must exhibit these qualities." In 2020, Akasha itself has needed to be adaptable. "It's been a strange old year, and we've had our ups and downs like everyone else," Padden notes. As well as hops, naturally, Akasha has been inspired by the love directed its way this year. "We've been really fortunate to have such an amazing following of local supporters who have continued to buy our beers, and visit our taproom for a feed or a refill," he says. "I think everyone could use a drink after these last few months." MEETING THE DEMAND FOR SUGAR-FREE AND LOW-CALORIE TIPPLES Attending university and enjoying a few drinks have long gone hand in hand. But not every tertiary student turns their fondness for a tipple into a business. "We were at university when we noticed an increasing demand for sugar-free and low-calorie alcoholic beverages," Lust Liquor co-creator Nick Rowell says. "So we decided to stop studying and create our own. Nine months later, Lust was born." If Rowell's decision back in 2018 sounds like a brave move, that's because it was. Making that big leap — noticing a particular trend, then abandoning his current plans to help fill that gap — also required quite a display of versatility. That shouldn't come as a surprise, though, given the beverages that Lust serves up. When you're giving drinkers an alternative that doesn't otherwise exist, you're letting them be flexible, after all. Perhaps that's why Lust has amassed an avid fanbase — and why those local supporters have helped the company continue on in this difficult year. Describing everything that 2020 has thrown the world's way, Rowell is frank. "COVID-19 has been a horrible experience for businesses and individuals all over the world," he says. "When we went into lockdown in March, things got really tough for us," he continues. "We had to lean on our loyal fans and customers to make sure that we were ticking over. The support from our community has been amazing — more and more Australians went out of their way to support local and Australian-made products." [caption id="attachment_790538" align="aligncenter" width="1920"] Kitti Gould[/caption] MAKING AN AUSSIE-STYLE SANGRIA There are many ways to show resilience, agility and flexibility, of course — including discovering a niche just screaming to be filled, working out how to do exactly that in a creative and accessible way, and making something that people respond to in the process. That's Nueva Sangria's story. It specialises in bottled sangria that isn't just created in Australia using Aussie-grown pinot grigio grapes, but is designed to taste and feel uniquely Australian. "This is our interpretation of sangria made in Australia for Australia," says managing director Tegan Kynaston. The company initially sprang to life in response to a straightforward problem. "Sangria is the perfect celebratory drink, but we could never find a decent bottle of it anywhere in Australia," Kynaston explains. Resolving that issue wasn't easy, however. "Sangria has a pretty bad reputation here, because most of it is crap. We persisted, and it became a bit of a challenge: how to make a sangria for wine snobs?" Nueva Sangria's tipples aren't just the product of a sturdy and tenacious team, though — they're also drunk by locals who show the same traits, as Kynaston has observed this year. "Nueva Sangria is designed to be enjoyed with your mates. Obviously self-isolation is not conducive to that," she says. "But it's amazing how resilient and adaptable people are. We've been tagged in all sorts of ways that people have been sharing their sangria, from Zoom parties to employers sending it as gifts to cheer up their staff." That's something she hopes will continue now that life in much of Australia is returning to normal, too. To find these or other NSW drinks as part of the BWS Local Luvva initiative, head to your nearest BWS store.
Homer Simpson has arrived in southeast Queensland. He's a cartoon character, so obviously there's a twist. Thanks to the 2021 Swell Sculpture Festival, the doughnut-loving, Duff beer-drinking, "d'oh!"-exclaiming animated dad is making an appearance as part of a sculpture called Homer Homer, which is on display until Sunday, September 19. This isn't any old likeness of the character, though. Rather, it's a five-metre-tall inflatable version. And, it combines his yellow-hued face with that of another famous Homer: the Ancient Greek poet, who is presumed to have written the Iliad and the Odyssey. The top half, including those sparse strands of hair, is all Simpson. The bottom half is inspired by a bust of his namesake. So, it really does look like a huge statue. Combined together, the piece is the work of Danger Dave, founder of art collective Cool Shit, which has a history of toying with popular culture in big, blow-up works. If you've seen The Rock Rock — which combines Dwayne Johnson's face with a massive monolith — you'll know what the aptly titled Homer Homer is all about. Or, you might've heard of Snoop Dogg Hot Dogs, which pairs up the hip hop star with a fast food staple. Other Cool Shit pieces include Nicolas Cage in a Cage, Tina Turner Prize and Happy Kanye, because being playful is definitely part of the remit here. View this post on Instagram A post shared by SWELL Sculpture Festival (@swellsculpture) At this year's Swell Sculpture Festival, Homer Homer is on the event's Northerlyswell pop-up program — so, while the bulk of the fest takes over Currumbin Beach, you'll get your Simpsons-meets-Ancient Greece fix at the Helensvale Library and Cultural Centre. And yes, it has been a busy year or so for super-sized odes to pop culture around Australia. Clearly, if a giant Borat statue can take over Bondi Beach and an 18-storey portrait of Nicole Kidman can hover above Darlinghurst — both of which happened in 2020 — then a huge sculpture of Homer Simpson is just the next step. Homer Homer is on display at Swell Sculpture Festival's Northerlyswell pop-up program, which is taking place at the Helensvale Library and Cultural Centre, Helensvale Plaza, Corner Lindfield Road and Sir John Overall Drive, Helensvale until Saturday, September 19. It's available to view on weekdays only from 9am–4pm. Top image: Shey Simon Laplanche.
In past years it feels as if there's been a surge in the sub-genre of romantic comedies that revolve around the 20-something commitment-phobes. Generally they feature a host of characters more attractive than you, resisting relationships for the sake of engaging in meaningless sex. Or, the kind of films Natalie Portman and Mila Kunis did to flush the Oscar winning demons of Black Swan out of their psyches in 2011. Are We Officially Dating (released in the US as That Awkward Moment) can be lumped into this category, while also having a stab at bro comedy. The film follows Jason (Zac Efron), Daniel (Miles Teller), and Mikey (Michael B. Jordan), who after the failure of Mikey's marriage, make a pact to stay single as a gesture of solidarity. Unsurprisingly, all three violate the agreement. Whilst first-time filmmaker Tom Gormican has an admirable goal — to depict the clunky transition from dating to relationship from a male perspective — this film's insipid plot and unfunny jokes make it, dare I say, 94 minutes worth of 'awkward moments', It's essentially a male version of Sex in the City; they're snappy dressers and waltz around Manhattan, fuelling their crude humour with chai lattes. This brand of sex-positivism doesn't have the quite same punch when paired with stereotypical 'dudes' and such a flimsy premise. Venturing out of the PG13 paddle pool and into cinematic adolescence, Efron plays Jason, an apparently sharp-minded graphic designer working at a chic New York publishing house. In a feat of Don Draper-esque brilliance, he impresses a client by drawing an impromptu stiletto for a book cover. (Ah, of course. The essence of woman boils down to footwear. It's psychology 101, folks.) It's difficult to shirk the film's reductive and vacuous depiction of women. Aside from the trio 'rostering' girls to bone at appropriate intervals so they don't get attached, the female characters are poorly drawn. They merely function as narrative goalposts, as if to assure us that there is in fact, a point. Imogen Poots plays Ellie, Jason's humble, bookish and bohemian love interest. Whilst instinctively likeable, a scene in which she reveals her deepest desire — a ridiculously big house in the middle of Manhattan — feels like a contradiction of character. There's also a touch too many penis jokes. In fact, it feels as if scenes are set up specifically for the purpose of penis jokes. For example, when Jason misinterprets a dress-up party and arrives with a sex toy hanging from his fly, leading to much 'cock'tail punning. All in all, if you're planning on a Valentine's Day movie with your significant other, you may want to think about spending your money elsewhere. To impart the film's single slice of wisdom, "Relationships are about being there for the other person." https://youtube.com/watch?v=UrdI3zAnzno
So much to see, so little time: it’s the festival attendee’s perennial problem. Or maybe your wallet just isn’t flush with enough money to see all the funny folks that you want to. This year, there’s a solution for the time-poor and cash-strapped alike. Head along to The Biggest Comedy Show on Earth and see ten comedians take the stage in one show. Ronny Chieng, Rhys Nicholson, Katrina Brown and Tien Tran are just some of the talent on display in this fast-paced showcase of non-stop laughs. Expect something more than your average set, and expect special guests, too, as comedy takes over Brisbane City Hall.
Right now you're probably thinking about your next meal (we know we are). Will it be another Bon Appétit-inspired cook-up to impress everyone you're cooped up with in isolation, or have you earned yourself a night off from all that upskilling in the kitchen? If your enthusiasm for cooking has begun to wane, you may be reaching for your favourite takeaway app to start browsing the options for a quick fix. Before you do, check your booze stash. Trust us, there is a connection. At the moment, if you spend $50 or more on any Pernod Ricard products — such as vodka or gin for your quarantinis — you'll receive a $10 voucher to use on Deliveroo. [caption id="attachment_745926" align="alignnone" width="1920"] Mary's Burgers by Nikki To[/caption] While we don't want to encourage excessive drinking during the COVID-19 lockdown, it's possible that you've already emptied your last bottle of wine and those cocktails you were shaking in week one have made your liquor cabinet look a tad dry. Pernod Ricard's range includes champagnes, cognac, gin, tequila, rum, whiskies and wines from brands like Absolut, Glenlivet, Jameson, Kahlua and Monkey 47, as well as Australian whites and reds from Jacob's Creek and St Hugo Wines. And the best part is that you can make your purchase from any online or bricks-and-mortar store, including BWS, Dan Murphy's, Liquorland, Porters Liquor, and a number of other participating stores. Just make sure you keep your receipt. Once you've made your purchase, it's easy to claim your Deliveroo voucher. Simply upload an image of your receipt to Pernod Ricard's website and, once validated, you'll be sent a discount code to your email address. You can then use the Deliveroo code for any food order — whether you're craving a hangover-busting burger, an icy Gelato Messina, or a comforting curry. Find out more about the Pernod Ricard offer here. The offer runs until the end of July, or until stocks last, and once you have your Deliveroo voucher you can use it immediately or until April 8, 2021. Find all the FAQs here.
If you're like us, you've probably excitedly hummed along to the theme song at the start of every Game of Thrones episode (yep, all 73 of them). Now, you can do just that again, but you'll be joined by a live orchestra, a choir and tens of thousands of other spectators when the internationally renowned Game of Thrones Live Concert Experience finally hits Australia. Having toured North America and Europe, the grandiose musical show will head to Brisbane, Sydney, Melbourne, Perth and Adelaide in early 2020. The immersive show sees Emmy Award-winning composer Ramin Djawadi's emotive scores — from all eight seasons of the HBO show — brought to life with an international cast of soloists, an orchestra and a choir, and accompanied by the equally dramatic footage. Over in the States, according to MTV, the show featured 360-degree stages (designed to replicate locations throughout the Seven Kingdoms), 800 feet of video wall, an 80-piece orchestra and custom-made instruments, such as a 12-food Wildling horn. Expect things to be equally large and OTT Down Under, too. Expect, also, to relive some of the season's most dramatic moments — SPOILERS (if you somehow haven't watched it already) — such as Hodor's sacrifice, Arya's conquering of the Night King, Joffrey's (brilliant) death, the Battle of Winterfell, the Red Wedding and so much more. Pack the tissues, folks. What's more, the show will coincide with a series of 'VIP experiences' that we can definitely get around. These include a pre-show medieval banquet (hopefully without any Freys), the chance to sit on a Iron Throne and a dedicated butler, who'll deliver food (hopefully pies) and drinks (hopefully wine in goblets) to your seat. While you're waiting for the show to arrive next summer, you can re-listen to all eight seasons' scores on Spotify — including the nine-minute epic that is 'The Night King Theme' (we've handily embedded that below). If that's not enough to fill your time, you can also listen to some of Djawadi's other scores. He has created the music for Westworld, Prison Break, Pacific Rim and Iron Man, too. Get ready, winter is coming (back) to Aus. GAME OF THRONES LIVE CONCERT EXPERIENCE 2020 DATES Brisbane — Brisbane Entertainment Centre, February 7 Sydney — ICC, February 9 Melbourne — Rod Laver Arena, February 12 Adelaide — AEC Theatre, February 15 Perth — RAC Arena, February 17 Game of Thrones Live Concert Experience pre-sale tickets are available from 9am on Tuesday, August 13 with general sale starting at midday on Friday, August 16 via Live Nation. Images: Ralph Larmann
Redefining perceptions about technology and its purpose in art, Thrashing Without Looking is causing a stir and garnering rave reviews by combining performance art and cinema into a memorable experience. Utilising audience participation, video goggles and loud tunes, the 50 minute performance will thrill, and disorient attendees in a memorable and thought provoking way. Put together by art and cultural collective, Aphids, Thrashing Without Looking will create an experience that you wont want to leave behind. Tickets are selling out fast, so get in quick or miss out!
The current true crime craze has filled our ears with acclaimed podcasts and packed our streaming queues with must-watch TV programs. Now, it's turning a former teen idol into a serial killer. After singing his way through high school, playing frat pranks at college and saving lives on California beaches, Zac Efron is swapping teen musicals, Bad Neighbours flicks and Baywatch remakes for a stint as notorious serial killer Ted Bundy. The end result is Extremely Wicked, Shockingly Evil and Vile, which focuses not only on the horrific string of killings that would eventually lead to Bundy's arrest and execution (he confessed to 30 homicides, but is suspected of committing more), but also on his relationship with single mother Liz Kloepfer (Lily Collins). How did the infamous figure charm his victims? How did Kloepfer fall in love with a psychopath? Both questions sit at this heart of this crime thriller. As the movie's first trailer (below) demonstrates, it's quite the change of pace for Efron, who has been garnering impressive reviews for his performance. Also starring John Malkovich and Haley Joel Osment, the film screened at the Sundance Film Festival over the past weekend, debuting 30 years after Bundy's execution on January 24, 1989 — almost to the day, a case of gruesome timing that obviously isn't a coincidence. Extremely Wicked, Shockingly Evil and Vile director Joe Berlinger is clearly steeped deep in all things Bundy at the moment, with the filmmaker's other project — Netflix documentary Conversations with a Killer: The Ted Bundy Tapes — premiering just last week on the actual anniversary of the murderer's death. Berlinger created, wrote and directed the four-part series, and his name should be familiar to die-hard true crime fans beyond that. He was also behind the three Paradise Lost documentaries, about the Robin Hood Hills murders and subsequent West Memphis Three trials — movies that played an enormous part in bringing the case to broader attention. Outside of his usual genre, Berlinger also directed acclaimed music doco Metallica: Some Kind of Monster — and the band's James Hetfield also features in Extremely Wicked, Shockingly Evil and Vile. While you're waiting to Extremely Wicked, Shockingly Evil and Vile to hit local screens, check out the unsettling first trailer below: https://www.youtube.com/watch?v=-lW6Z38HHJw 'Extremely Wicked, Shockingly Evil and Vile' doesn't currently have an Australian release date. We'll update you if and when that changes.
Kiwis based in Australia hoping to see family across the ditch can start planning their sojourns home sooner than expected. New Zealand's planned five-step border reopening plan has been brought forward this week, with isolation requirements for double-vaccinated Kiwis returning home scrapped weeks earlier than expected. From 11.59pm on Wednesday, March 2, vaccinated Kiwis entering New Zealand from Australia will no longer need to self-isolate. Prime Minister Jacinda Ardern announced the change of plans amid New Zealand's current Omicron outbreak, which sees the country currently suffering the highest rates of COVID-19 transmission in the world. But Australians holidaymakers shouldn't get planning a quick weekend jump across the ditch just yet. Vaccinated Aussie citizens wanting a holiday in New Zealand still have to wait for step four of the original border reopening plan, which sees all travellers from Australia and from countries who don't require special visas able to enter NZ. While that is still currently proposed to happen around July this year, Aussies can cross their fingers they may be able to head across for an adventure holiday earlier. COVID-19 Response Minister Chris Hipkins advised last month that "the reopening to visa-free tourists is also likely to be brought forward, with July being the latest date we anticipate this happening." Of course, during all five steps, testing will remain critical. Every traveller will be required to undertake a rapid antigen test (RAT) on the day they arrive and on day five or six. All positive RATs must be registered and followed up with a PCR test. New Zealand had 19,599 new cases reported on Tuesday, March 1, with over 300 cases currently in hospital. Kiwis returning to New Zealand from Australia will not need to isolate upon arrival from 11.59pm on Wednesday, while Australian holidaymakers will need to wait to enter the country until later in 2022. For more information, head to the New Zealand Government's COVID-19 website.
