Winter's almost done with its chilly bullshit, but before you can pack away your woolies just yet, Brisbane's cooking up some serious comfort food that's much better enjoyed in the crisp, colder weather. There's a handful of deliciously food-focused events happening this week, so we thought we'd put them all on one table for you. Pick one course, or make a degustation of them all. Or you could just go and inhale some popcorn watching Sausage Party. Your choice.
When Ralph Fiennes first trundles across the screen in The Dig, then starts speaking in a thick Suffolk accent, he's in suitably surly mode, as he needs to be. But, playing forthright, hardworking and under-appreciated excavator Basil Brown, the adaptable Official Secrets, Hail, Caesar!, Spectre and A Bigger Splash star also flirts with overstatement in his initial scenes. Thankfully, Fiennes settles into his role quickly. What starts out threatening to dissolve into caricature — not a charge aimed at the actor very often across his long career — soon becomes a measured, layered and earthy performance that's quietly weighty and moving. The self-taught Basil has spent a lifetime being judged by his voice, demeanour and appearance, and not on his talents and intellect, which Fiennes conveys with a firm but also delicate touch. As he finds his groove, not only while his character shovels dirt but in his conversations with those around him, this 1939-set drama about a real-life archaeological discovery also finds its rhythm with him. Hired by Edith Pretty (Carey Mulligan, Promising Young Woman) to burrow into what appear to be centuries-old burial mounds on her sprawling estate, Basil doesn't unearth any old junk. His kindly employer has always had a feeling about the small hills on her property, as she tells him in one of their friendly, leisurely chats, and her instincts prove more than accurate when they're found to contain Anglo-Saxon relics dating back to the sixth or seventh century. Basil initially dismisses Edith's suggestion about one particular mound; however, he swiftly realises that she too has spent her years being cast aside — due to her gender, not her class — by others. Their discovery on the site now known as Sutton Hoo is immense. It sparks national attention, including from museum head honchos who were barely interested when Edith first went asking for help excavating her property. Indeed, they cared so little about assisting Edith, and what her land might contain, that they fobbed off the job to Basil. The latter was well-recommended, and rightly so, but the way in which he came to be in Edith's employment smacks of men of authority, wealth or both who think they inherently know better than everyone, especially those they consider beneath them. Telling this tale, The Dig adapts the 2007 novel of the same name by John Preston — exploring Basil's work, Edith's fight to retain both recognition and the items buried deep in her soil, her increasing health woes, and the keen excitement of her primary school-aged son Robert (Archie Barnes, Patrick) as the excavation continues. It also follows the circus that arises when the British Museum's Charles Phillips (Ken Stott, The Mercy) insists on taking over once objects of value are found, and the love triangle that forms between his married employees Stuart (Ben Chaplin, The Children Act) and Peggy Piggott (Lily James, Rebecca) and Edith's airforce-bound cousin Rory Lomax (Johnny Flynn, Emma). The latter is the film's least convincing and least necessary element, smacking of pointlessly adding a romantic subplot to ramp up the drama. Still, whether you already know Sutton Hoo's story or you're learning the details for the first time, The Dig nonetheless relays an astonishing chapter of history. The first half of the 20th century was a staggering time for unearthing the past in general, as the movie nods to when Edith and Basil mention the exhumation of Tutankhamun's tomb in Egypt just the decade prior. That said, spending time at an archaeological site mightn't sound like rich and riveting viewing — but this fascinating feature proves that notion wrong. While The Dig doesn't hone in on the scooping, shovelling and scraping too often, every shot that does leave an imprint. Such images also reinforce the film's broader contemplation of longevity, mortality and legacies, too. This is a movie that steps back into the past, chronicles an extraordinary historical discovery, and ponders the reality that time comes for all things and people. We all hope to leave a mark, to ensure that generations to come know that we once walked this earth, and to live on in the minds of those who follow after us, but the reality is that not everyone gets to. We can't all have our treasures dug up more than a thousand years after our deaths, or have our names etched in the history books for finding someone else's. We can all hope to be remembered by those nearest to us, those dearest to them and so on, though. As well as its true tale and its ruminative, melancholy undercurrent, The Dig benefits from two important decisions: the casting of Mulligan and Fiennes, and the involvement of Australian theatre director-turned-filmmaker Simon Stone. After the anger and raw energy of Promising Young Woman, Mulligan finds power in restraint here. Arriving back to back, her two recent performances are almost whiplash-inducing; that's how extensively they survey her range. Once Fiennes finds his knack as Basil, he's a source of stoic potency as well. Indeed, Mulligan and Fiennes' scenes together rank among the movie's best, although, making his first feature since 2015's The Daughter, Stone ensures that even the most routine of moments is never dull. The Dig abounds with sun-dappled imagery of Suffolk fields, their green and yellow expanse being carved into one spade at a time, but it's a gorgeously lensed picture in every frame. Stone and cinematographer Mike Eley (who also worked on The White Crow, which was directed by Fiennes) rarely shoot anything within view in the expected manner, resulting in a film that appears the handsome period part, yet also looks and feels fluid and lively. It has a sense of movement, of living, of truly engaging with everything within its view, rather than just peering on. And, while gouging into the land sometimes disinters valuables and sometimes just offers more dirt, this graceful movie proves a consistent gem. https://www.youtube.com/watch?v=JZQz0rkNajo The Dig is currently screening in Brisbane cinemas, and will also stream via Netflix from Friday, January 29. Image: Larry Horricks/Netflix.
Fresh from making two of his last four films in Australia — Lion and Hotel Mumbai — Dev Patel is heading somewhere completely different. Stepping back to medieval times, he's jumping into the fantasy genre, messing with Arthurian legend and swinging around a mighty sword, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, The Green Knight casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the green-skinned titular figure in an eerie showdown. As the poem explains, the Green Knight dares any other knight to strike him with an axe, but only if they'll then receive a return blow exactly one year and one day later. Just how closely this film adaptation will stick to that story is yet to be seen — however the just-dropped first teaser certainly looks more than a little moody, brooding and creepy. Patel is in great company, with The Green Knight also starring Alicia Vikander, Joel Edgerton and Dunkirk's Barry Keoghan. Games of Thrones' Kate Dickie pops up as Guinevere, while her co-star Ralph Ineson — whose also known from the Harry Potter flicks, The Witch and the UK version of The Office — plays the Green Knight. And, it's the latest film by an impressive — and always eclectic — writer/director, with David Lowery's filmography spanning everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun. Check out the teaser below: https://www.youtube.com/watch?v=VoJc2tH3WBw The Green Knight will release in the US sometime over America's summer, but it doesn't yet have a release date Down Under — we'll update you when it does.
Alongside its huge Japan Supernatural: 1700s to now exhibition, the Art Gallery of NSW is hosting another exceptional show this summer — and this one's free. From Saturday, November 9 until February next year, the gallery is dedicating an entire exhibition to celebrated contemporary Australian artist Ben Quilty and his work over the past 15 years. Simply entitled Quilty, more than 70 pieces will showcase his work from the early 2000s onwards — including his intimate looks at his own reflection, his time spent as an official war artist in Afghanistan, poetic visions of the Australian landscape and his response to other topical events, including the last American election. Quilty's expressive portraits, both of himself and of others — such as executed Bali Nine drug smuggler Myuran Sukumaran — are quite a striking sight. His Rorschach paintings are too, unsurprisingly. And, they're designed not just to catch the eye, but to explore the dark undercurrent of violence and themes of displacement. Including paintings inspired by his visits to Lebanon, Syria and Greece, the exhibition marks the first major survey of Quilty's artistic output in a decade. On Wednesday, November 13, Quilty will be in conversation with ABC Radio presenter Robbie Buck in a special edition of Art After Hours. After the talk, you can catch some live tunes, too. Image 1: Photograph: Daniel Boud. Image 2: Ben Quilty. Rorschach after von Guérard. 2009. Oil and synthetic polymer paint on linen (12 panels) / 230.0 x 804.0 cm (overall). Acquired 2009, TarraWarra Museum of Art. Courtesy the artist. Photograph: Jeremy Dillon.
It's time for another madcap, star-studded, pastel-hued adventure with Wes Anderson. Hooray! The follow-up to Moonrise Kingdom, The Grand Budapest Hotel follows Gustave H (Ralph Fiennes), a manager at the swanky eponymous establishment and his devoted lobby boy, Zero Moustafa. The suave Gustave is a hit with the mature lady guests, and when one of them dies, he is suspected of murder and theft. So he and his precious sidekick make a run for it, and the story unfolds into the whirlwind of adventure, mystery, romance and, of course, comedy that captivate us with Anderson's films. It looks like Anderson won't be abandoning his colourful, dreamy sets; dry, poker-faced humour; and eccentric characters anytime soon. The usual suspects in the cast include Willem Dafoe, Edward Norton, Bill Murray, Owen Wilson, Jeff Goldblum, Adrien Brody and Jason Schwartzman. Tilda Swinton, Jude Law and Saoirse Ronan are also thrown in, making The Grand Budapest Hotel one Anderson's most dynamically cast films yet. The Grand Budapest Hotel is is in cinemas on Thursday, April 10, and thanks to Twentieth Century Fox, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=1Fg5iWmQjwk
Igloo season has hit southeast Queensland, with winter's arrival seeing plastic domes popping up at bars around the region. Some pitch their see-through spaces on a rooftop. Others welcome folks in by the river. On the Gold Coast, you can hang out in a beach-themed bar that's given itself a winter lodge makeover. Or, there's Bribie Island Hotel's version: garden pods. No one is pretending to be in icy climes at this northside pub, but it is only unleashing its newest addition for the frosty season. The garden pods are residing in the venue's fairy light-lit beer garden from June till the end of August, and they're exactly what they sound like. These domes come decked out in greenery and florals, furniture and cushions to look the part, and even feature a few plastic flamingos. There's six pods in total, each catering for up to eight guests for two-hour sessions. If you're keen, you'll need to book in a package, which starts at $60 per person and covers a share-style menu, plus a drink on arrival. You'll tuck into an antipasto platter filled with meats, cheeses, olives, arancini, chargrilled vegetables, dips and toasted sourdough — as well as grilled teriyaki beef skewers, buffalo chicken wings and barbecue pork ribs with roasted potatoes, parsnip, and salads as sides — with seafood available for an extra $35, and chocolate lava cake for $10. The pods give Brisbanites their latest excuse to hit up the waterside pub, which scored a makeover at the end of 2021. As part Australian Venue Co's current renovation spree across Queensland — see also: Riverland, The Wickham, Cleveland Sands Hotel, Salisbury Hotel, Koala Hotel and the Crown Hotel in Lutwyche, with Nundah's The Royal also getting the same treatment — it spent $2.2 million to give the venue a facelift. Courtesy of the revamp, Bribie Island Hotel is now home to a hefty outdoor space decked out with grass, white picnic tables and shady umbrellas, as well as a a new-look bistro that serves up pub classics. So, you can grab a beer, tuck into a chicken schnitzel, play lawn games and sit under a brolly — and, for a few months, now hang out in a leafy garden dome. Find Bribie Island Hotel at 29 Sylvan Beach Esplanade, Bellara, open daily from 10am–3.30am — with the hotel's garden pods popping up until the end of August. For further information, head to the hotel's website.
After 2009's piss-poor X-Men Origins: Wolverine, this latest instalment (now the sixth for Hugh Jackman's indestructible mutant) really didn't have a whole lot to live up to. That meant director James Mangold (Walk the Line) could take the story wherever he wanted, and it turns out, he wanted Tokyo. The Wolverine hence takes its plot from one of the character's better known comic book series, 'Wolverine', written by Chris Claremont and Frank Miller all the way back in 1982. It opens with a surprisingly unsettling scene just minutes before the bomb is dropped on Nagasaki, with Logan (Jackman) trapped nearby inside a Japanese POW camp. As the blast-wave spreads, he manages to save his captor's life and sets in motion a chain of events that will see the pair reunited decades later. That surviving soldier — now an elderly billionaire obsessed with his legacy — summons Logan to his deathbed in Tokyo. He craves Logan's healing powers whilst promising in return the one thing Logan can never have: death. "This is my gift, my curse" said Tobey Maguire's Spiderman back in 2002, enunciating the most compelling theme that underscores all good superhero stories. For Logan, immortality is now his torment, but he is not alone in his suffering. His Harajuku-girl escort, Yukio (Rila Fukushima), possesses the ability to foretell a person's death; a mutation that imbues her with a truly haunted existence and makes her character both tragic and engaging. Sadly, she's under-utilised by Mangold, and the only other mutant of note in the film is a statuesque blond known as Viper (Svetlana Khodchenkova), whose reptilian mutation is as forgettable as her scenes. Perhaps it's Mangold's background in drama, but the action in The Wolverine was remarkably dull, save for one entertaining sequence on the roof of a bullet train. The problem is, so long as Logan is invincible, the stakes sit at zero, yet when he's vulnerable, he loses the one thing that makes him interesting. By contrast, the quiet, intimate scenes in The Wolverine were much more enjoyable, effectively taking the Wolverine out of the movie and focusing on the man, Logan. And that's what it all boils down to: the Wolverine is a classic loner, a gruff recluse favouring the company of his own haunted memories to that of any other humans, mutant or otherwise. Throughout this franchise he has actively rejected the 'team' and only ever begrudgingly formed unions when circumstances required it. And yet, he is almost certainly that franchise's most popular character. His charmlessness is, in effect, his charm; however, the problem with movies focusing just on him is that his loner persona plays best as part of a wider ensemble. He is never more appealing than when sparring with other X-Men because it gives his isolation context. The promotional material for The Wolverine describes it as "The Wolverine movie fans have been waiting for", and certainly that is factually accurate, since it is the only Wolverine movie currently in cinemas, and until it came out, fans had to wait for it. But was it the one they'd been hoping for? Doubtful; however, if they stay beyond the credits, they'll find good cause to be excited about the next one: X-Men: Days of Future Past. https://youtube.com/watch?v=WEbzZP-_Ssc
Maybe you remember the news reports back in 2009. Maybe you've just heard the stories since. Either way, the story of St Mary's in South Brisbane has become part of Brisbane history. That's what happens when a beloved priest is ousted by the Catholic Church for placing a statue of Buddha in the foyer, blessing same-sex couples and welcoming women into the pulpit — and when he takes his flock of more than 700 devoted followers to a new building in the aftermath. St Mary's In Exile tells that tale, which focuses on Father Peter Kennedy, a tight-knit community and the real meaning of organised religion. As the excommunicated minister prepares to leave the building he calls his spiritual home, he crosses paths with a homeless visitor who asks about his situation. Written by Brisbane playwright David Burton of April's Fool and The Voice in the Walls acclaim, the Queensland Theatre Company production that results is both rousing and compelling, as any version of this battle between a progressive priest and a rigid institution would have to be.
Calling all dumpling fiends — and wonton, gyoza, jiaozi, shishbarak and momo fans too. That most wonderful of encased foods and its many, many varieties are getting a whole day to call their own, showcasing the types and flavours of Asia while celebrating the lunar new year. From 10am to 4pm on February 17, Wandering Cooks will dedicate its South Brisbane space to the tasty heated parcels that everyone loves. In a day certain to end in food comas, everywhere from Tibet to Palestine will be represented. Not only can you buy and devour your favourite kind — or kinds, lets be honest — but you can also learn how to make them. Entry into the event is free, but registration is required. And if you're wondering why Brisbane is being treated to such a glorious occasion, it's all part of the BrisAsia festivities. You can't revel in the wonders of Asian culture on an empty stomach, after all.
Mark Ronson's newly released memoir Night People: How to Be a DJ in '90s New York City is officially being adapted into a feature film. As first reported by Variety, the Grammy- and Oscar-winning producer's story of New York nightlife will be brought to the big screen by Plan B, the production company co-founded by Brad Pitt. The studio has been behind acclaimed projects including Moonlight, F1 and Beetlejuice Beetlejuice, as well as Netflix's Emmy-winning series Adolescence. In a recent interview with Rolling Stone AU/NZ, Ronson said the deal only came together a fortnight ago after Plan B co-president Jeremy Kleiner reached out. "He just loved the book," Ronson explained. "He was like, 'I think this could be a great film.' And for me, I'm kind of a modest guy. It's my life. I was just so happy to be finished with the book. But it's a brilliant era, and they make such brilliant films. I'm so excited to see what they want to do with it." The exact direction of the movie is still up in the air — whether it will follow a biopic-style arc or take looser inspiration from Ronson's stories. "I actually don't think they've even decided yet, so it could be whatever," he said. "I think whoever the director is, the visionary who comes into it, [they are] gonna definitely lead that as well." Ronson also revealed he'll likely have input on creative decisions — including casting. "I think so, yeah. Only if it's Timothée Chalamet will I agree on this picture," he joked. "[Plan B] make such great films and I'm just down for whatever they wanna do." Night People: How to Be a DJ in '90s New York City is out now, and you can find more details via Penguin Random House. Images: Getty
On February 2nd in Punxsutawney, Pennsylvania, a furry creature pops its head out from its burrow. Taking in the conditions outside, it either decides whether to stay put due to the cold or venture out if warmer weather is ahead. The same thing happens every year, sparking an annual ceremony since 1886 — and, a quarter-century ago, one classic Bill Murray-starring comedy. That's right woodchuck-chuckers, it's Groundhog Day. And yes, it's a film that you really should watch every February to mark the occasion. It's also the answer to the question: "what would you do if you were stuck in one place and every day was exactly the same, and nothing that you did mattered?". Clearly, you'd watch weatherman Phil Connors relive the same day over and over again. This year, Dendy Coorparoo is making that easier, returning the looping fun to the big screen for one night only to celebrate the feature's 25th anniversary. The session takes place at 6.30pm on February 2, of course. Look out for the icy puddles on the way.
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 eight that you can watch right now at home. FOE Pondering the end of the earth also means pondering the end of people. When the planet that we live on withers to the point of becoming uninhabitable, humanity doesn't just suffer big-picture consequences as a species — existentially, the basic facets of being human are upended as well. So explores and interrogates Foe, the haunting third feature from Australian director Garth Davis (Lion, Mary Magdalene), as well as the latest adaptation of Canadian author Iain Reid's books after 2020 movie I'm Thinking of Ending Things. The pair teamed up to pen the script to a dystopian thriller that looks every inch the stark sci-fi part, using Victoria's Winton Wetlands as its shooting location to double for America's midwest circa 2065, and yet is always one thing above all else: like Killers of the Flower Moon, too, this is a relationship drama. This time, in his second film in a row made Down Under alongside Carmen, Paul Mescal (All of Us Strangers) plays half of Foe's key couple, opposite his Irish compatriot (plus Atonement, Brooklyn, Lady Bird and Little Women Academy Award-nominee) Saoirse Ronan. The pair trade their natural lilts for American accents as Junior and Hen, holdout farmers in a world and at a time where there's little hope in the field, their actual fields or for the future. As a title card explains, days on the third rock from the sun are numbered. Also noted in that opening text is the setup moving forward, relocating the population to space stations. And, as Blade Runner did decades ago, simulated humans are also entwined in this new status quo. Junior and Hen's marriage is one of lived-in routine, concise exchanges and loaded looks, then — of resignation and malaise, with life's realities tampering down the high-school sweethearts' spirits mere years into their wedded bliss. He works at a poultry factory, she waits tables at a diner, and the bleak expanse surrounding their farmhouse sports rows of symbolism; Foe's central couple cling to the wish that the inherited land and their love alike hasn't turned fallow, no matter the signs otherwise. With such barrenness lingering, car lights outside their home one night and then a sharp knock at the door were always going to feel like more than just an ordinary visitor. The cause is anything but an average passerby: government consultant Terrance (Aaron Pierre, Old) has come with conscription orders for the OuterMore project, which is building the off-world installation that earth's residents will soon need to live on. Foe streams via Prime Video. Read our full review, and our interview with Garth Davis. THE MARVELS More Marvels, less Marvel: that could've, would've, should've been the path to making The Marvels more marvellous as it teams up Carol Danvers aka Captain Marvel (Brie Larson, Lessons in Chemistry), Ms Marvel's Kamala Khan (Iman Vellani in her big-screen debut) and WandaVision's Monica Rambeau (Teyonah Parris, They Cloned Tyrone). Unsurprisingly for a Marvel Cinematic Universe movie that goes heavy on the first word in the ever-sprawling franchise's moniker, this 33rd cinematic instalment in the series has a glaring Marvel problem. Thankfully, as it proves fun enough, likeable enough and sweet, but also overly saddled with the routine and familiar, it never has any Captain Marvel, Ms Marvel or Monica Rambeau issues. When there's too much Marvel-ness — too much been-there-done-that formula, too hefty a focus on smashing pixels together over spending time with people and too strong a sense that this is merely another chapter in the saga's assembly line, and also dutifully setting up what's next — The Marvels struggles, even as the shortest MCU feature yet. When the main trio get the luxury of being together, just seeing them revel in and react to each other's company is a delight. When there's also singing, dancing, a hearty sense of humour and/or Flerkens involved, the film soars. Perhaps befitting a movie with three lead characters, this is a Goldilocks attempt at a picture that tries as overtly as a fairy-tale figure to get its balance just right. Filmmaker Nia DaCosta (Candyman) and her co-scribes Megan McDonnell (also WandaVision) and Elissa Karasik (Loki) can't quite find and keep their midpoint, however, due to all of the weight and demands that come after 15 years of the MCU, those 32 prior flicks, plus nine seasons of eight Disney+ TV shows since 2021 — and the many nods and references required in those directions. Marvel has cottoned on to how clunky this can be, and how exhausting to watch; the company has marketing streaming series Echo under the banner 'Marvel Spotlight' to signal that viewers can enjoy the story as a standalone experience without needing to have done copious amounts of MCU homework. If only The Marvels had been allowed to spin its tale the same way, even with Carol, Kamala and Monica's established histories across the franchise, and permitted to lean further into what makes it stand out from the rest of the Marvel crowd. The Marvels streams via YouTube Movies, iTunes and Prime Video. Read our full review. NAPOLEON When is a Ridley Scott-directed, Joaquin Phoenix-starring trip to the past more than just a historical drama? Always, at least so far. Twice now, the filmmaker and actor have teamed up to explore Europe centuries ago, initially with Gladiator and now 23 years later with Napoleon — and where the Rome-set first was an action film as well, the second fancies its chances as a sometimes comedy. This biopic of the eponymous French military star-turned-emperor can be funny. In the lead, Phoenix (Beau Is Afraid) repeatedly boasts the line delivery, facial expressions and physical presence of someone actively courting laughs. When he declares "destiny has brought me this lamb chop!", all three coalesce. Scott (House of Gucci) not only lets the humour land, but fashions this muskets-and-cannons epic as a satire of men with authority and dominance, their egos, and the fact that ruling a country and defeating other nations doesn't cancel out their pettiness and insecurities. As it's off with Marie Antoinette's (Catherine Walker, My Sailor, My Love) head, it's in with Napoleon's revolutionary stirrings in Scott and screenwriter David Scarpa's take (with the scribe returning to cut the powerful down to size after the director's All the Money in the World, just as Walker apes another famous figure after playing Anna Wintour in House of Gucci). Also in: Napoleon's tinkering with facts, which'll later see its namesake and his troops fire at the pyramids. Devotion to historical accuracy isn't the movie's aim. Like The Castle of blasts from the French past, it's more interested in the vibe of the thing — said 'thing' being how Napoleon Bonaparte, later Napoleon I, follows his yearning for glory and adoration above all else. Scott stitches together a selection of his own recurrent obsessions, too, such as Phoenix sulking, savaging the quest for command and influence, Gallic days of yore as seen in his debut The Duellists and the unrelated The Last Duel, and unfettered ambition's consequences as per The Martian and Prometheus, then tops it with the requisite bicorn hat. Napoleon streams via YouTube Movies and Prime Video. Read our full review. CAT PERSON "Margot met Robert on a Wednesday night toward the end of her fall semester." So starts the only thing that everyone was reading, and also talking about, in December 2017. Published by The New Yorker, Kristen Roupenian's Cat Person is a short story unparalleled in its viral fame. A piercingly matter-of-fact account of a dating nightmare, the piece of fiction became a literary and online phenomenon. Cat Person didn't just spark discourse about modern romance, relationship power dynamics, 21st-century communication, age gaps and more; it monopolised them, as fuelled by the internet, of course, and arriving as the #MeToo movement was at its early heights. Releasing it as a book, still as a 7000-word piece, came next. Now there's the film that was always bound to happen. As a movie lead by CODA's Emilia Jones, Cat Person can count the Twitter-to-cinema Zola as a peer in springboarding from digital phenomenon to picture palaces, and it too aims for a specific vibe: the feeling that the world experienced while first roving their eyes over the details on their phone, tablet or computer screen. Cat Person and Zola have another glaring similarity: enlisting Succession's Nicholas Braun to infuse his Cousin Greg awkwardness into a wild tale. Here, he's the Robert that Margot encounters while "working behind the concession stand at the artsy movie theatre downtown when he came in and bought a large popcorn and a box of Red Vines", as Roupenian's story explains in its second sentence — and as filmmaker Susanna Fogel, the director of The Spy Who Dumped Me and one of Booksmart's writers, shows on-screen. Actors' performances don't exist in a vacuum for audiences. Unless you somehow missed the four-season Roy family shenanigans, plus all the rightly deserved attention around it, going into Cat Person unaware of Braun's best-known role is impossible. Self-consciousness, haplessness and discomfort are expected twice over of the man that Margot sells snacks to, then. Much follows. Cat Person streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Susanna Fogel. DICKS: THE MUSICAL When it starred Lindsay Lohan (Falling for Christmas) making her film debut in dual roles in the late 90s, and when Hayley Mills (The Wheel of Time) was doing double duty back in the 60s as well, The Parent Trap told of identical twins who were separated at birth when their mother and father divorced. Each parent gained custody of a baby, then raised the child separately. Never did the sisters cross paths until a summer camp years later, where they realised their connection, then hatched a plan to reunite their family by posing as each other back home. The tale springs from the page, with German novel Lisa and Lottie also inspiring adaptations in its homeland, Japan, the UK, India and Iran. The Olsen twins' It Takes Two owes it a debt, too. But there's never been a version of this story like Josh Sharp (Search Party) and Aaron Jackson's (Broad City) iteration, as first seen onstage in Fucking Identical Twins and now in cinemas as Dicks: The Musical. So absurdly its own ridiculous, raucous, irreverent and raunchy thing, calling Dicks: The Musical exuberantly unhinged — or anything, really — doesn't do it justice. Before this A24 release brought its sibling antics to the big screen with singing, dancing, Megan Mullally (Party Down) and Nathan Lane (Beau Is Afraid) as its long-split parents, Borat and Brüno director Larry Charles behind the camera, Brisbane-born Saturday Night Live star Bowen Yang as drama-loving gay God and Megan Thee Stallion busting out a mid-movie tune, Fucking Identical Twins was a two-man production that premiered in 2014 to must-see success. Created at Upright Citizens Brigade, which was co-founded by Amy Poehler (Moxie), the then half-an-hour affair first filled a basement and now rises to share its delirium with the film-watching world. Leading the way in every guise: Sharp and Jackson, who definitely aren't twins let alone brothers, don't look a thing alike, yet know how to take audiences on a helluva wild ride. Dicks: The Musical streams via YouTube Movies and iTunes. Read our full review. SILENT NIGHT There's no swapping faces in John Woo's latest English-language action-thriller. Instead, the iconic Hong Kong filmmaker brings guns, chases and a quest for revenge to the festive genre. As anyone who rightly considers Die Hard among the pinnacle of Christmas movies already knows, seasonal cinema offerings don't need to drip in schmaltz, holiday humour, or Santas and reindeers to be an end-of-year present. Still, in making his first Hollywood effort since 2003's Paycheck, the director behind Hard Target, Broken Arrow and Face/Off in the 90s — plus Mission: Impossible II in 2000 — keeps the ties of family gleaming in Silent Night. That said, from the moment that the picture opens with a man in a Rudolph-adorned jumper, fuzzy red pom-pom and all, in a battle on Texan back streets with gang members who've just torn his brood apart on Christmas Eve, Woo also goes the brutal route. Silent Night's name echoes in several ways. Recalling a tune that's all about the jolliest time of the year is just one. Setting scenes in a period when halls are decked with boughs of holly is merely another. If protagonist Brian Godlock (Joel Kinnaman, The Suicide Squad) gets his wish, there'll be no more noise — let alone violence and bloodshed — from the criminals responsible for killing his young son (Alex Briseño, A Million Miles Away) with a stray bullet from drive-by crossfire as the boy rode his new bike in the front yard. Woo's main stylistic conceit comes to fruition instantly, however, because Silent Night largely avoids dialogue. Aided by meticulous sound design, that choice isn't a gimmick purely for the sake of it. Rather, Robert Archer Lynn's (Already Dead) script has Brian lose the ability to speak in the introductory sequence's fallout. Silent Night streams via YouTube Movies, iTunes and Prime Video. Read our full review. NYAD When most sports films bring real-life exploits to the screen, they piece together the steps it took for a person or a team to achieve the ultimate in their field, or come as close as possible while trying their hardest. Nyad is no different, but it's also a deeply absorbing character study of two people: its namesake Diana Nyad and her best friend Bonnie Stoll. The first is the long-distance swimmer whose feats the movie tracks, especially her quest to swim from Cuba to Florida in the 2010s. The second is the former professional racquetball player who became Nyad's coach when she set her sights on making history as a sexagenarian — and reattempting a gruelling leg she'd tried and failed when she was in her late 20s. It helps that Annette Bening (Death on the Nile) plays the swimmer and Jodie Foster (The Mauritanian) her offsider, with both giving exceptional performances that unpack not only the demands of chasing such a dream, but of complicated friendships. Also assisting: that Nyad is helmed by Jimmy Chin and Elizabeth Chai Vasarhelyi, directors making their feature debut beyond documentaries after The Rescue, Meru and winning an Oscar for charting Alex Honnold's El Capitan climb in Free Solo. Extraordinary efforts are this filmmaking pair's wheelhouse, clearly. Nyad and Stoll fit that description easily, as do Bening and Foster. With the latter, who brings shades of Michael J Fox (Still: A Michael J Fox Movie) to her portrayal, Nyad also provides a reminder of how phenomenal the Taxi Driver, The Silence of the Lambs and Panic Room star is on-screen, how charismatic as well, and how missed she's been while featuring in just four films in the past decade (the just-arrived fourth season of True Detective thankfully places Foster at its centre). Understandably, the movie's main actors have been earning awards attention. The picture around them never stops plunging into what makes both Nyad and Stoll tick — and keep shooting for such an immense goal, even as setback after setback comes their way — with Chin and Vasarhelyi experts in conveying minutiae. Whether or not you know the outcome, Nyad is rousing and compelling viewing, floating on excellent work by its four key creative talents. Nyad streams via Netflix. THE EXORCIST: BELIEVER When they were making All the Real Girls, Pineapple Express and Your Highness together, plus Eastbound & Down, Vice Principals and The Righteous Gemstones as well, did filmmaker David Gordon Green and actor Danny McBride chat about creating their own versions of all-time horror masterpieces, in flicks that act as direct sequels to the OG films and ignore all of the past sequels, and also work as reboots sparking a new trilogy? Thanks to the recent Halloween films, this natter seems likely. In fact, now that Green and McBride have also given The Exorcist a spin, this kind of talk appears a certainty. So, writer/director Green was possessed with a new demonic screen story with McBride and Halloween Kills' Scott Teems, then penned a devil-made-me-do-it script with Camp X-Ray's Peter Sattler. The result is The Exorcist: Believer, a 50-years-later return to head-twisting dances with evil — this time with a prologue in Haiti rather than Iraq, the bulk of the action set in Georgia instead of Washington, DC's Georgetown, and two girls not one in need of faith's help to cast out malevolent fiends. Green and McBride's swap from Michael Myers to Pazuzu also already has its own trinity in the works. As it apes the original movie's structure, there's a touch of trickery in starting The Exorcist: Believer in Port-au-Prince: the city's 2010 earthquake is used to get the plot in motion, a move that lands queasily, clunkily and exploitatively. Perhaps Green and company thought that slipping into a real-life tragedy's skin then wreaking havoc was a fitting piece of mirroring; instead, that choice should've been exorcised. Photographer Victor Fielding (Leslie Odom Jr, Glass Onion: A Knives Out Mystery) is holidaying with his heavily pregnant wife Sorenne (Tracey Graves, On Ten) when the earth rumbles, leading to him becoming a single father — but not before the baby is blessed in utero by a local healer. Cut to 13 years later, where teenager Angela (Lidya Jewett, Ivy + Bean) is introduced rifling through her mother's belongings, then convincing her grief-stricken dad to let her have an after-school date with her classmate Katherine (debutant Olivia O'Neill). She doesn't tell him that they'll be trying to contact Sorenne via a seance in the woods, though, an event that ends with a disappearance, something unholy afoot and needing help from Chris MacNeil (Ellen Burstyn, Law & Order: Organised Crime). The Exorcist: Believer streams via YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more 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, August, September, October, November and December 2023, too. We kept a running list of must-stream TV from across 2023 as well, complete with full reviews. And, we've also rounded up 2023's 15 best films, 15 best straight-to-streaming movies, 15 top flicks hardly anyone saw, 30 other films to catch up with, 15 best new TV series of 2023, another 15 excellent new TV shows that you might've missed and 15 best returning shows.
Neil Perry and Rockpool have been inextricably linked since 1989, but they won't be for much longer, with the famed restaurateur announcing his sudden retirement from the Rockpool Dining Group earlier this week. Perry has stepped down from his role as culinary director for the hospitality group, which began as Rockpool Est. 1989 in Sydney's CBD. While the inaugural Rockpool restaurant closed its doors after 30 years in 2016, it spawned Rockpool Bar & Grills in Sydney, Melbourne and Perth, and grew into the Rockpool Dining Group, which currently has over 80 venues across the country under 16 different restaurant brands. The fast expansion of the group in recent years has been partially thanks to its merger with the Thomas Pash-led Urban Purveyor Group (UPG) in 2016. From 2017–2020, the group grew from 17 venues and $150 million in revenue to 85 and $400 million. Despite the group's success, Perry and Pash were set to part ways this year. Perry, with the help of financial backers, planned to reacquire the premium restaurants in the group's portfolio — Rockpool Bar & Grill, Rosetta, Spice Temple and R Bar, under the name Rockpool Group — while the remaining casual brands, including El Camino Cantina and The Bavarian, were maintained by UPG under the new name Pacific Concepts. [caption id="attachment_689482" align="alignnone" width="1920"] Rockpool Bar & Grill in Sydney[/caption] That decision, however, was announced on March 2 — just weeks before the COVID-19 hit Australia, forcing the mass closure of restaurants across the country and crippling the hospitality industry. As a result, according to The Australian Financial Review, Perry's plan fell apart. While staying on as consultant and a major shareholder of the Rockpool Dining Group, Perry will no longer be an active part of the company, a statement on the chef's departure said. Instead, he'll be focusing on his charitable endeavours, including the recently launched Hope Delivery, which provides meals for those in need. "It will never be easy to move on from the restaurants I founded, and I do so with a heavy heart, but as the business and the sector set their sights on new beginnings, it is the right time for the next generation to have the opportunity afforded to me over 40 years ago," Perry said in a statement. For more information about Rockpool Dining Group and which restaurants have reopened, head to the group's website. Top image: Neil Perry and Tom Pash
After a horror run over the last three years, another major cancellation has hit the Australian festival scene. This time, The Grass Is Greener has been forced to cancel its new Canberra and Geelong gigs, and four of its acts won't be appearing at the remaining Gold Coast and Cairns dates. 2023 was slated to be a big year for the fest, which made its debut in Cairns back in 2016. This year, it was due to expand outside the Sunshine State, including heading to Canberra and Geelong as part of its planned four-date run — and, it had locked in multiple international headliners. The festival has sadly had to scale back last-minute, citing a range of reasons including weather forecasts, rising costs and the event industry post-COVID. "The reason for cancellation doesn't rest upon a single factor. Rather, it's related to the culmination of multiple elements that have affected not only us but our industry partners and siblings across the entire event industry in the COVID/post-lockdown period," a statement from The Grass Is Greener team reads. [caption id="attachment_856350" align="alignnone" width="1920"] Curdin Photo[/caption] The statement continues: "From an event standpoint, especially heading into these new markets, a festival team relies on certain milestones to enable us to run events successfully. What's more, the weather warnings we're receiving from Canberra and Geelong have also played a large role in this decision. While the shows were selling slower than predicted, we still had full intention of seeing them through — loss or otherwise. However, when coupled with the chance that sites might not even be built due to the impending weather, we knew we had to make a call as soon as possible." While this is sad news for those in the ACT and Victoria, it's not all doom and gloom. The festival will still be going ahead in the Gold Coast on Saturday, October 22 and Cairns on Saturday, October 29 with the likes of YG, PNAU, Alok, Wafia, Boo Seeka and Wongo. ONEFOUR, Ty Dollar $ign, Zhu and Maya Jane Coles have dropped off the bill, however, and won't be playing the Gold Coast or Cairns. [caption id="attachment_856349" align="alignnone" width="1920"] Mitch Lowe[/caption] Refund information for folks with tickets for the two cancelled dates will be made available in the next 7–14 days, or Canberra and Geelong ticketholders can use their tickets to gain access to the Gold Coast and Cairns festivals. The festival's statement also mentions that tickets will be valid for YG's Melbourne sideshow on Monday, October 31. YG was billed to appear with Ty Dolla $ign at his Margaret Court Arena show on that date. Be sure to check the festival and YG's Instagram pages for up-to-date info on this sideshow. [caption id="attachment_812356" align="alignnone" width="1920"] PNAU. Image: Pat Stevenson[/caption] THE GRASS IS GREENER 2022 LINEUP: Alok Aluna Boo Seeka Brux Crush3ed Little Fritter Wongo Market Memories Mood Swing & Chevy Bass Pnau Sidepiece Sticky Fingers TDJ YG + more THE GRASS IS GREENER 2022 DATES: Saturday, October 22 — Doug Jennings Park, Gold Coast Saturday, October 29 — Cairns Showgrounds, Cairns The Grass Is Greener has cancelled its Geelong and Canberra dates. It will now hit the Gold Coast and Cairns with reduced lineups this month. Head to the festival website for more information. Top image: Mitch Lowe.
Just over two weeks ago, the Australian Government announced a ban on non-essential mass gatherings of more than 500 people. Tonight, Sunday, March 29, that number has dropped to two. During an announcement made after the latest national cabinet meeting, Prime Minister Scott Morrison said that any public gatherings should be limited to two people, excluding family members. If you're not with those you live with — your parents, children or partner, for example — you should only be with one other person. The previous limit was ten. States and territories will decide if this is an enforceable limit. On-the-spot fines are currently in place in NSW, Victoria and Queensland, for individuals and businesses not following other COVID-19 containment regulations, such as self-isolation and unlawful mass gatherings. It was also announced that public playgrounds, outdoor gyms and skate ramps will close from Monday, March 30. The new two-person limit on public gatherings does not apply to weddings (which have a current limit of five people) and funerals (which have a limit of ten), but it does apply to group bootcamps. The Prime Minister also reiterated that Australians should only be leaving their homes for one of four reasons: shopping for what you need — such as food and other essential supplies — "as infrequently as possibly"; for medical care or compassionate reasons; to exercise, in-line with the new two-person limit; and for work or education if you cannot work or learn remotely. Another new announcement made tonight and set to be expanded on by individual states and territories over the coming days is a moratorium on evictions for the next six months. Which means that individuals and businesses cannot be evicted from their residential or commercial properties for not paying rent. The Australian Government also urges anyone that does leave their house to follow its social distancing guidelines. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kimberley Low
Again and again, fans of slasher films have seen the one about the unhinged murderer butchering teen victims. They've seen more than one, in fact. It's a horror convention: take a bunch of young adults, then dispense with them person by person as a killer works through childhood trauma. Penning and helming his first feature — his short Z Is for Zygote was included in The ABCs of Death 2, and he did special effects work on Psycho Goreman, too — writer/director Chris Nash knows the basics of his chosen genre as much as any other diehard viewer. He's just as aware of the great, and greatly influential, flicks gone by such as Halloween and Friday the 13th. He's well-versed in their tropes in storytelling and in form alike. Making his full-length debut with a picture called In a Violent Nature, he's also clued up on what happens when someone sinister gets a-stalking in scenic surroundings. Plot-wise, Nash isn't trying to break the mould with his account of Johnny (Ry Barrett, Massacre at Femur Creek) and the folks who are unlucky enough to fall across his path. But the filmmaker asks a question: what if a rampaging slaughterer's terrors came not with a score heralding their every menacing move (even when those tunes can become iconic, as John Carpenter's Halloween music has), but with the ordinary silence of everyday life in nature punctuated only by noises just as commonplace, and then by the sounds of a killer at their insidious worst? In its imagery, In a Violent Nature adds another query: what if the audience wasn't biding its time with those likely to perish, tension dripping from not knowing when and where the murderer would strike, but was stuck at the side of the force causing such gruesome mayhem as the inevitable approaches? There's seldom any escape from a slasher; however, Nash finds a new way to take that idea literally. Let's call it the bang-and-whimper method of tackling the genre, because lives cease here with each given as much attention. Johnny still metes out big kills that create a din and sear themselves into memory. One inventively grisly death in particular can never be erased from brains, and ensures that everyone watching is incapable of contemplating its setting or the pastime involved in the same way ever again. Another sequence suggests that it's going a similar way, but becomes unforgettable for the fact that it holds back on grim expectations. And, of course, mewls of pain are hardly new to horror. Here, though, Nash's commitment to the film's ambience gives both its bangs and its whimpers extra impact. This is the way that the world ends for Johnny's prey: not with just a bang or solely a whimper, but with the haunting, echoing combination of the two that compels In a Violent Nature's viewers to reckon with them in the moment. Nash's understanding of horror at its most stock-standard commences with In a Violent Nature's opening, where wandering campers chat while stumbling across a grave beneath an old fire tower. A gold locket hangs in plain sight, which leads Troy (Liam Leone, Eli Roth Presents: A Ghost Ruined My Life) to pocketing the jewellery, opting for the kind of stupid decision that people in a slasher flick love. Yes, it'll come back to taunt him. So awakens Johnny from the earth. So stirs his ire as well. But how the audience might anticipate that this plays out from the above description isn't ever how the feature stages it. The focus is rarely on those potentially awaiting a date with the heavens, to the point that their faces aren't the picture's most-common sight. Neither is Johnny's, whether or not it's under a smoke helmet. Nature isn't merely a location, but the expanse that fills cinematographer Pierce Derks' (Frankie Freako) frames — sometimes in close shots, sometimes sprawling. As Johnny sets off, there's not a shred of doubt lingering that he'll indulge his violent urges — the reasons for which get a backstory layered in, details that are knowingly by the book — via a relentless frenzy. Nash and Derks aren't in a hurry, largely lurking behind their killer with patience as he turns the wilderness into his hunting ground. He walks. He slays. Sometimes the results are splattered across the screen with slaughterhouse-esque gore and guts. Sometimes a savvy cut by editor Alex Jacobs (V/H/S/85) conveys what has happened instead of getting blatant and bloody. The camera remains static more than it roves, and peers on from long-held wide shots more than it zooms forward. Johnny's temperament is expressed by the pace of his stride, which becomes In a Violent Nature's metronome of unease. Masked characters, not the actors who play them, tend to carve their place in common pop-culture knowledge out of horror movies. Michael Myers is the household name, for instance, as much as Nick Castle (Halloween Ends) should be. Barrett deserves the same recognition, making Johnny a petrifying presence even when so frequently spied from a few footsteps back. That said, he isn't carrying the film alone on-screen. The travellers that meet the figure's hooks and other weaponry start out disposable, but leave an impression the longer that they survive, Andrea Pavlovic (Our Mother's Secret Affair) especially. That'll ring familiar, too; to take the risks that Nash does, and to test if a slasher flick can work the way he wants it to — and it can — he leans into the template everywhere else possible. It was a Sundance sensation to kick off 2024, proved a box-office hit in America for independent studio IFC Films and now has a sequel in the works, but a movie like this, with the output of director Terrence Malick (A Hidden Life) as much of a touchstone as the Friday the 13th and The Texas Chain Saw Massacre franchises, is a gamble. Both of the latter two horror sagas earn clear nods, yet there's no mistaking In a Violent Nature's lyrical skew thanks to its ever-present greenery and naturalistic soundtrack. Combine the two and scares still spring, laced with dread that gushes like a limb lopped off by a log splitter. While it's frightening to ponder that ghastly turns of fate can and do occur randomly, as regular slashers capitalise upon, it's bone-chilling to confront that truth when it's presented as an inherent, innate, matter-of-fact certainty of existence. In a violent nature indeed.
To anyone who's ever seen a boy band struggle to croon over the screams of an enraptured crowd, the energy from the adolescent girls losing their minds would seem enough to solve the looming global energy crisis. Is it clean? Not always. But there are 60 years worth of gig footage — from The Beatles to One Direction — that classifies this energy as renewable. Belvoir's latest show, Fangirls, is a musical that peeks into the poster-plastered bedroom and love-heart-emblazoned diary of teen girl fandom. It's a celebration of the time in your life when you're convinced the haircuts of a pop group may well bring civilisation to its knees. It's witty and fun, sure. But writer, lyricist and performer Yve Blake also probes an insidious double standard: "When boys cry at the footy, that's the love of the game. When girls cry at a Justin Bieber concert, that's pathetic." Through protagonist Edna, a city girl conspiring to confess her undying love to True Connection frontman Harry, Fangirls also examines the sorts of messages sold to young women as well as the power of the modern fan. In the age of the internet, pubescent devotees are a coveted market, but they are also the new talent scouts, organising online to confer godhood on anybody playing acoustic guitar in their bedroom, rhyming 'your face' with 'gotta get out of this place'. Fangirls is boppy and sugary in spades. But it also asks you to spare a thought for those crying, screaming and full of joy in the front row. They're going through a hugely transformative time. And, they may be the ones keeping your lights on in years to come. Fangirls is a Belvoir St Theatre co-production with Queensland Theatre, Brisbane Festival in association with Australian Theatre for Young People. It is showing from September 7–October 5. For tickets, head here.
Streaming platforms have become one of modern life's certainties, with new instances continuing to pop up all over the place. In fact, this year along will see two huge players giving Netflix, Amazon and the like a run for their money — not only Apple, which will release Apple TV+ in the second half of 2019, but Disney as well. First revealed last year, Disney+ will boast a swathe of high-profile content, including new Star Wars and Marvel TV shows, plus all of your favourite Disney animated movies in one place. Now the service has announced a US launch date of November 12, as well as "plans to be in nearly all major regions of the world within the next two years." Just how long viewers Down Under will have to wait is yet to be seen; however given the array of titles heading to the platform, here's hoping it's sooner rather than later. With Disney recently merging with competitor Fox, Disney+'s US range is hefty — not only spanning Disney, Marvel, Star Wars and Pixar, but National Geographic and the entirety of The Simpsons, too. During its first year of operation, it's due to release more than 25 original series and 10 original films, documentaries and specials. And, to make its catalogue available from US$6.99 per month, in both HD and 4K, and "on a wide range of mobile and connected devices, including gaming consoles, streaming media players and smart TVs". [caption id="attachment_689920" align="aligncenter" width="1920"] Marvel Studios[/caption] In the Marvel sphere post-Avengers: Endgame, new series Loki, WandaVision and The Falcon and The Winter Soldier will all focus on their eponymous characters — Tom Hiddleston's trickster Loki, Elizabeth Olsen's Wanda Maximoff and Paul Bettany's Vision, and Anthony Mackie's Falcon and Sebastian Stan's Winter Soldier, with all of the actors retaining their roles. A Hawkeye series with Jeremy Renner is also in the works, as is animated program Marvel's What If…, which'll take inspiration from the comics of the same name, asking the titular question about important Marvel Cinematic Universe moments. Fans of Star Wars can not only look forward to the $100 million live-action series The Mandalorian from The Lion King, The Jungle Book, Iron Man and Iron Man 2 director Jon Favreau (and with Thor: Ragnarok director Taika Waititi helming an episode), but look forward to it soon — it'll launch when the platform does in the US. Also zooming to screens from a galaxy far, far away is a spinoff from Rogue One about Diego Luna's Rebel spy Cassian Andor. Set before the events of the film, it — like all of Disney+'s big-name series — will also feature the star reprising the character. Elsewhere, two new Toy Story-based projects — animated short series Forky Asks a Question and one-off short film Lamp Life — are on their way, well-timed to hit after the release of Toy Story 4. If you just can't let it go, a Frozen 2 making-of special will also feature, about the sequel headed to cinemas later this year. And, because everyone loves Jeff Goldblum, National Geographic's The World According to Jeff Goldblum will involve the actor delving into the fascinating stories, science and facts behind seemingly familiar objects. Going big when it comes to bringing the company's well-known properties to the new streaming platform, a High School Musical TV series, another show based on Monsters, Inc. and a live-action Lady and the Tramp movie will also be on the bill. On the classic front, Fox titles like The Sound of Music, The Princess Bride and Malcolm in the Middle have been named as part of a lineup of more than 7500 television episodes and 500 films — alongside "the entire Disney motion picture library" according to CEO Bob Iger, which should be available "at some point fairly soon after launch". Viewers can also likely expect Disney and Fox's recent flicks to be made available on Disney+, and for subsequent cinema releases due to hit the service within a year of their big-screen release. https://www.youtube.com/watch?v=FrXNtj84owc Disney is also reportedly contemplating buying a bigger stake in existing streamer Hulu according to Variety, which would give it full control over that platform. Like the timing of Disney+'s international rollout, just how the purchase might affect the company's new service hasn't been revealed. In Australia, a big batch of the aforementioned existing Disney content is currently available on Stan, spanning both movies and TV series — but you can reasonably expect that that arrangement will be impacted by Disney+, whenever it does finally hit locally. Top image: Marvel Studios.
Although universally acknowledged that pancakes are acceptable to eat at any time of day, you'd be hard pressed to find an upmarket eatery offering one of its signature dishes for breakfast, lunch and dinner. Gauge is the exception. Head to this South Brisbane café — run by Jerome Batten, the mastermind behind Teneriffe institution Sourced Grocer — at any time of day to indulge in their black garlic bread with brown butter and burnt vanilla. It's equal parts sweet, savoury and delicious. Image: Gauge via Instagram.
If you saw a giant on the street, you'd stare in wonder. Your jaw would drop, your eyes would pop, and you would marvel at the sight in front of you. Once the shock wore off, you'd also be more than a little bit scared. But, if the lumbering creature in front of you actually turned out to be rather nice, you'd probably want to be his friend. In fact, if he was so harmless that he was being bullied by his fellow behemoths, you'd want to help him. That's how orphan Sophie (Ruby Barnhill) reacts when she meets the individual she comes to call the Big Friendly Giant (Mark Rylance). Roald Dahl's 1982 novel The BFG told this tale, and now so does Steven Spielberg's years-in-the-making film. Given that one penned books that have brightened childhoods for decades, and the other has made movies that achieved the same feat, bringing the two together seems like a perfect fit. Add E.T. screenwriter Melissa Mathison to the mix, and The BFG should be primed to capture hearts and minds alike. Indeed, as the film revels in its state of dream-like awe — and explores the awe-inspiring dreams the titular giant disseminates to the sleeping masses — there's plenty of affection on display. And as it contrasts the friendly antics of the BFG with his cruel, carnivorous comrades with names like Fleshlumpeater (Jemaine Clement) and Bloodbottler (Bill Hader), it offers a sweet reminder that seemingly frightening figures can also be outsiders with their own problems. You don't run to the queen (Penelope Wilton) and her offsiders (Rebecca Hall and Rafe Spall) for assistance if you're not in a hefty spot of bother, after all. Alas, amidst the leisurely life lessons about identity and acceptance, gibberish-infused dialogue and more than a handful of fart jokes, there's also an air of calculation. The BFG thinks, dreams and renders everything it can in the biggest possible manner — but, more than doing the source material justice, the CGI-heavy effort also wants to stress its size. There's a difference between employing specific camera angles to ensure that audiences know they're supposed to be wowed, and actually causing that reaction. There's also a difference between contemplating vast emotions and genuinely inspiring warm, fuzzy feelings. Accordingly, while it provides servings of fantastical spectacle and heightened sentiments, The BFG strives a little too hard to capture the usual Dahl and Spielberg magic. Thank goodness, then, for Rylance, who anchors the entire feature with an endearing motion-captured lead performance. After winning an Oscar for his turn in Bridge of Spies, he's the best thing about a Spielberg movie for the second time in a row. Though young Barnhill proves more precocious than poignant, their shared scenes — and the gentle kindness that radiates from Rylance every time he's on screen — are worth the price of admission alone.
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, 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. NITRAM It's terrifying to contemplate something so gut-wrenchingly abominable as the bodies-in-barrels murders, which director Justin Kurzel and screenwriter Shaun Grant depicted in 2011's Snowtown, and to face the fact that people rather than evil were behind them. Nitram courts and provokes the same response. Exploring the events preceding the Port Arthur massacre, where 35 people were murdered and 23 others wounded in Tasmania in 1996, it focuses on something equally as ghastly, and similarly refuses to see the perpetrator as just a monster or a Hollywood horror movie-style foe. It too is difficult, distressing, disquieting and disturbing, understandably. In their third collaboration — with 2019's bold and blazing True History of the Kelly Gang in the middle — Kurzel and Grant create another tricky masterpiece, in fact. And, the fact that Nitram is about a person is one key reason for its brilliance. The film's core off-screen duo don't excuse their protagonist. They don't to justify the unjustifiable, explain it, exploit it, or provide neat answers to a near-unfathomable crime. Rather, they're exactingly careful in depicting the lone gunman responsible for Australia's worst single-shooter mass killing, right down to refusing to name him. (The movie's title comes from his moniker backwards, and it's all he's ever called on-screen.) Nitram does depict its eponymous figure's mental health issues and medication, and his status as an outcast, but not as reasons for what's to come. It shows his complicated relationships, mentions his struggles as a boy and sees how he's teased as an adult, yet never deems these motives. All such things can be part of someone's life, or not, and that person can commit heinous deeds, or not — and this tremendous feature doesn't ever even dream of seeing that as a straightforward cause-and-effect equation. In his fifth stint behind the lens — 2015's blistering Macbeth and 2016's abysmal Assassin's Creed are also on his resume — Kurzel does adopt a hazy aesthetic, though. The film isn't dreamy, instead resembling anxious memories worn and frayed from too much time looping in someone's mind. Its imagery is boxed in within a constricted frame, heightening that sensation; however, cinematographer Germain McMicking (Acute Misfortune) shoots Nitram (Caleb Landry Jones, The Outpost) as if he's roving around the space to test the boundaries. The character does just that narrative-wise. He earns his wearied mother's (Judy Davis, Mystery Road) constant exasperation, and almost everyone else's dismay. His father (Anthony LaPaglia, Below) expresses more warmth, but is just as affected. After knocking on her door attempting to start a lawn-mowing business, eccentric lottery heiress Helen (Essie Davis, Babyteeth) shows Nitram kindness and showers him with gifts, but even with her he's still pushing limits. When she sees him shooting at an old car with an air rifle in her sprawling backyard, she forbids it. It's her sternest moment. She also asks him not to lunge at the steering wheel as she's driving and, as turbulent as ever, Nitram keeps doing it. Jones' work here is fragile but weighty, volatile but lived-in, boisterous but anguished, and petulant but intimidating. It's all these things at once and, even with other menacing roles in his on-screen past, it's phenomenal. Every second of his performance, and of Nitram, is a challenge to the views of masculinity that've become as baked into Australia as the ochre-hued soil, too. And, every moment is meticulously crafted to unsettle, to challenge, and to confront the reality that something this abhorrent happened at the hands of one person. Read our full review. RIDERS OF JUSTICE Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie, which is one fantastic film experience that 2021 has already delivered. But the always-watchable actor is equally magnetic and exceptional in Riders of Justice, a revenge-driven comedy that's all about tackling your problems in a different and far less boozy fashion. In both features, he plays the type of man unlikely to express his feelings. Instead of Another Round's mild-mannered teacher who's so comfortably settled into his adult life that his family barely acknowledges he's there, here he's a dedicated solider who's more often away than home. Beneath his close-cropped hair and steely, bristly beard, he's stern, sullen and stoic, not to mention hot-tempered when he does betray what's bubbling inside, and he outwardly expects the same of everyone around him. Mikkelson excels at transformational performances, however. He's also an exquisite anchor in films that dare to take risks. No matter what part he's playing, the Danish star is gifted at conveying subtlety, too, which is ideal for a character, Markus, who slowly realises that he needs to be more open with his emotions. And, while Mikkelson is usually expertly cast in most entries on his resume — the misfire that is Chaos Walking being one rare outlier — he's especially in his element in this genre-defying, trope-unpacking, constantly complex and unpredictable film. With a name that sounds like one of the many by-the-numbers action flicks Liam Neeson has starred in since Taken, Riders of Justice initially appears as if it'll take its no-nonsense central figure to an obvious place, and yet this ambitious, astute and entertaining movie both does and doesn't. After a train explosion taints his life with tragedy and leaves him the sole parent to traumatised teenager Mathilde (Andrea Heick Gadeberg, Pagten), Markus returns home from Afghanistan. Talking is her method of coping, or would be if he'd let her; he refuses counselling for them both, and opts not to discuss the incident in general, because clamming up has always been his PTSD-afflicted modus operandi. Then Riders of Justice's writer/director Anders Thomas Jensen (Men & Chicken) and screenwriter Nikolaj Arcel (A Royal Affair) send statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) knocking at the grieving family's door. They're a trio of stereotypically studious outsiders to his stony-faced military man, but they come uttering a theory. Mathematically, they don't think that the events surrounding the accident add up, so they're convinced it wasn't just a case of pure misfortune — because it's just so unlikely to have occurred otherwise. The nervy Otto, who was on the train with Mathilde and her mother Emma (Anne Birgitte Lind, The Protector), has even started to narrow down possible culprits with his pals. Markus, with his action-not-words mindset, is swiftly eager for retribution, but again, this isn't like most films of its ilk. Narratives about seeking justice often ride the expected rails on autopilot, getting from start to finish on the standard vengeance template's inherent momentum; this attentive and layered gem questions and subverts every usual cliche, convention and motif along the way, including by putting its characters first. Read our full review. SKIES OF LEBANON When Skies of Lebanon begins with Alice (Alba Rohrwacher, Happy as Lazzaro) departing Beirut by boat, it does so with the sense of wistfulness that always reverberates whenever a chapter comes to an end. This isn't a film that wallows in melancholy, but rather one that proves heartfelt and hauntingly evocative as it looks backwards — and, it's also a feature that understands that ruminating on the past is inevitable, because that's what truly shapes us. In this case, history has moulded the movie, too. It has influenced the filmmaker behind it as well. Hopping through three decades in its titular nation, writer/director Chloé Mazlo draws Skies of Lebanon from her grandmother's recollections, turning those memories into a tale of a life lived and shared, and then interrupted and challenged. In that opening scene, it's 1977 and Alice is sailing away from the city she's called home since the 50s. She pens a letter reflecting upon her life, and it's from those words that the film's main story springs. All those years ago, she makes the move from Switzerland for a job and, having never felt as if she belonged in her homeland, she jumps at the chance to do so. Then she quickly meets, falls for and starts a family with astrophysicist Joseph (Wajdi Mouawad, Still Burning), who adores her and their children in their pastel-hued home. He's dedicated to helping put a Lebanese man on the moon, too, but theirs is a whirlwind romance turned cosy and content. Alas, that part of the tale happens quickly because, as its framing device intimates, this isn't the kind of narrative where a couple simply lives happily ever after. Once the Lebanese Civil War begins, the ebbs and flows of Alice and Joseph's existence are wholly dictated by the combat. Unsurprisingly, that significant development instantly changes the mood — at home, of their love and of the entire city. That's where the bulk of Skies of Lebanon unfurls, as Mazlo plunges into the reality of having everything you hold dear touched by conflict. Making a resoundingly affecting and effective feature debut, she sees the impact and the fallout, and also perceives the way that a fairy tale can be stripped of its magic in the process. In an assured and gorgeous move, Mazlo highlights that initial storybook air and its subsequent fading aesthetically, too. With leaps into animation, plus the striking use of stylised sets and painted backdrops, the movie's merry early sequences are playful and vivid. They pop in the frame, filled with alluring and soothing shades, symmetry and an overall look that'd do Wes Anderson proud. And, when they give way to images far more standard, the change is inescapable. The film has the appearance and feel of a memory as a result, and one that segues from fond and blissful to raw and realistic. It's an exceptional touch, and one that helps an already moving feature to keep landing stirring blows. Also remarkable is the always-outstanding Rohrwacher, who conveys Alice's internal struggle in a quietly expressive performance. In a film that switches from a picture-perfect frolic to a delicate historical drama, she's just as pliable, poignant and powerful — and, in a movie that's quaint with its visuals but never its emotions, just as stunning as well. THE COLONY "Climate change. Pandemics. Wars." Via introductory text on-screen, these are the reasons The Colony gives for its futuristic dystopian setup. Metropolis. Mad Max. Waterworld. Children of Men. Sunshine. Along with every movie about space and daddy issues — see: Ad Astra, Interstellar and The Midnight Sky for just three examples — these are the films that writer/director Tim Fehlbaum (Hell) and his co-scribe Mariko Minoguchi (Relativity) might've blatantly name-checked in the same way, because their influence over this sci-fi thriller is that overt and apparent. If there are only so many different plots to play with and stories to spin, then each variation ebbs and flows based on its details and differences; however, here they're few and far between. There's so much that's recognisable about The Colony that it almost feels like an in-joke. Featuring Game of Thrones' Iain Glen in a plum role, it also resembles a riff on the idea that ex-GoT cast members now pop up in everything, given that so many other science fiction films virtually pop up in this. That derivation, cobbling from elsewhere and generic approach undercuts the movie's successes, too, because that's how heavily its been-there-done-that handling weighs. Accordingly, its foggy, grey-hued aesthetic still catches the eye with its mournful beauty, but gets constantly drowned out by all its box-ticking elements. And, although Nora Arnezeder (Army of the Dead) turns in a formidable performance, she's also stranded in a puddle of a film. Water frequently splashes across the frame, but this is a movie that's saturated by the tides of too many nods and tropes. With a sense of purpose rippling through her rigid posture, the impressive Arnezeder plays Blake, an astronaut leading a mission from a colony on planet Kepler-209. When the environment, disease and conflict wreaked havoc on earth — more than usual, to the point of making it unliveable — the wealthy departed for the new space community, and have been trying to make it back home ever since. Blake guides the second crew to attempt the feat, but she's just one of two shipmates to survive the trip. Then, as she's exploring the sodden land that now stretches as far as the eye can see, she's captured by the locals. Her quest is to ascertain whether Keplar's inhabitants can return, with the very future of humanity at stake, but the under-30s population that's sprung from the people originally left behind aren't quite welcoming. War still rages between two different factions, with Blake soon caught in the middle, but also unwittingly already tied to one side. She's following in her adored father's (Sebastian Roché, The Man in the High Castle) footsteps, because he was part of the first mission, and she's also increasingly attuned to what the proposed homecoming will mean for earth's waterlogged existing survivors. The Colony endeavours to ruminate on its title, pondering colonisation, its purposes for those in power and its cost for the group that isn't, but it only dives as deep as the often ankle-level ocean its characters keep trekking through. Fehlbaum also has a penchant for repeating the feature's details both in dialogue and in events on-screen, trying to pad out a stylish but flimsy movie that treads water for most of its duration. 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 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; August 5, August 12, August 19 and August 26; and September 2, September 9, September 16 and September 23. You can also read our full reviews of a heap of recent movies, such as 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, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal and The Killing of Two Lovers.
Does a cocktail, meal or cup of coffee taste better when it's served up in stunning surroundings? It shouldn't, but interior design is still a pivotal part of the hospitality experience. So recognises the Australian Interior Design Awards, which also highlights spectacular decor in shops, workplaces, homes and public settings — and the annual gongs have just revealed 2024's shortlisted venues. Now in its 21st year, AIDA has found more than a few bars, restaurants, cafes, houses, offices, retailers and the like that it considers supremely stylish. This year's shortlist includes 222 projects from around the country (plus a few overseas that spring from local talent), which is a record for the awards. Not all of them are hospo joints, of course; however, the next time that you're keen to hang out in chic digs while you get sipping and eating, you'll have more than a few choices. And, the same goes for whenever the urge to browse and buy strikes, too. [caption id="attachment_949107" align="alignnone" width="1920"] The Wolf Dining and Bar, Brock Beazley[/caption] Hospitality design contenders include Capella, Longshore, Bar Besuto and Hanasuki in Sydney; Reine and La Rue, The Ritz-Carlton, The Lyall, Antara 128, Enoteca Boccaccio and Purple Pit in Melbourne; and The Wolf Dining and Bar and the revamped Gerard's in Brisbane. South Australia's Pinco Deli, Fugazzi Basement and Evergreen Cafe also made the cut, as did Ember Bath House, Lawson Flats, Canteen Pizza and Yiamas in Western Australia. In the retail design category, Dissh Bondi, Sydney's LeTAO and Gelato Messina Newtown are up against Melbourne's Pidapipó Laboratorio and G McBean Family Butcher, to name just a few places on the shortlist. And, the public design field includes UQ Brisbane City, Art Gallery of New South Wales' library and members lounge, and stage three of Geelong Arts Centre. [caption id="attachment_929402" align="alignnone" width="1920"] Capella Sydney, Timothy Kaye[/caption] The rundown goes on in all fields, which means that — as proves the case every year — there's no shortage of strikingly designed new, revamped and refurbished places demanding your attention around around the country. This year's winners will be announced in-person at a dinner the Sofitel Wentworth in Sydney on Friday, June 14. [caption id="attachment_922655" align="alignnone" width="1920"] Antara 128, Haydn Cattach[/caption] [caption id="attachment_905603" align="alignnone" width="1920"] Longshore, Jason Loucas[/caption] [caption id="attachment_927271" align="alignnone" width="1920"] Enoteca Boccaccio, Peter Clarke[/caption] [caption id="attachment_928198" align="alignnone" width="1920"] LeTAO[/caption] [caption id="attachment_949111" align="alignnone" width="1920"] Gelato Messina Newtown, Jack Fenby[/caption] For the full Australian Interior Design Awards 2024 shortlist, head to the AIDA website. Top image: Como Restaurant by Cieran Murphy.
In Love Lies Bleeding, a craggy ravine just outside a dusty New Mexico town beckons, ready to swallow sordid secrets in the dark of the desert's starry night. Tumbling into it, a car explodes in flames partway through the movie, exactly as the person pushing it in wants it to. There's the experience of watching Rose Glass' sophomore film emblazoned across the feature's very frames. After the expertly unsettling Saint Maud, the British writer/director returns with a second psychological horror, this time starring Kristen Stewart in the latest of her exceptionally chosen post-Twilight roles (see: Crimes of the Future, Spencer, Happiest Season, Lizzie, Personal Shopper, Certain Women and Clouds of Sils Maria). An 80s-set queer and sensual tale of love, lust, blood and violence, Love Lies Bleeding is as inkily alluring as the gorge that's pivotal to its plot, and as fiery as the inferno that swells from the canyon's depths. This neon-lit, synth-scored neo-noir thriller scorches, too — and burns so brightly that there's no escaping its glow. When the words "you have to see it to believe it" also grace Love Lies Bleeding — diving into gyms and in the bodybuilding world, it's no stranger to motivational statements such as "no pain no gain", "destiny is a decision" and "the body achieves what the mind believes" — they help sum up this wild cinematic ride as well. Glass co-scripts here with Weronika Tofilska (they each previously penned and helmed segments of 2015's A Moment in Horror), but her features feel like the result of specific, singular and searing visions that aren't afraid to swerve and veer boldly and committedly to weave their stories and leave an imprint. Accordingly, Love Lies Bleeding is indeed a romance, a crime flick and a revenge quest. It's about lovers on the run and intergenerational griminess. It rages against the machine. It's erotic, a road trip and unashamedly pulpy. It also takes the concept of strong female leads to a place that nothing else has, and you do need to witness it to fathom it. Stewart is Love Lies Bleeding's shaggy mullet-wearing heartthrob, a surly and oft-silent type who knows what she wants and doesn't. In the first category for the gym-managing Lou: a life free of abuse for her sister Beth (Jena Malone, Rebel Moon — Part One: A Child of Fire), who has scuzzy and vicious husband JJ (Dave Franco, Day Shift) lurking about; nothing to do with the shooting range-owning, gun-running, insect-obsessed, ponytailed Lou Sr (the scene-stealing Ed Harris, Top Gun: Maverick); and, from when she first sets eyes on her, muscular and permed out-of-towner Jackie (Katy O'Brian, Ant-Man and the Wasp: Quantumania). It's 1989, Lou is unwilling to be anyone but herself — iron-pumping patrons try and fail to insult her with "grade-a dyke" — and she's also introduced knowing how to clean up a mess and navigate amorous complications. Glass initially finds one of her protagonists with a hand deep in a backed-up toilet, and with local hang-about and past fling Daisy (Anna Baryshnikov, Dickinson) pleading for a date. More muck and more relationship chaos are in store for both Lou and for Love Lies Bleeding. Breezing in en route to a bodybuilding championship in Las Vegas, Jackie reciprocates her affections, then moves into her house — but the day before they meet, she's sleeping with JJ for a job at Lou Sr's. That's just some of the shit, metaphorical rather than literal, that Lou will have to get more than elbow-deep in. The FBI agents hovering around asking questions fall into the same camp. Alongside gleefully subverting the usual take on powerful women characters on-screen, Glass carves into idyllic perceptions of love. Love Lies Bleeding's central romance is urgent, instant, sweaty and horny, and also opportunistic, perilous and thorny. The idea that discovering your special someone is transformative also receives a stunning spin, and far beyond the fact that bulging biceps and doing everything on steroids — sometimes literally there — are rarely far from returning Saint Maud cinematographer Ben Fordesman's lens. It isn't merely Glass, Fordesman, editor Mark Towns (another Saint Maud alum), composer Clint Mansell (Sharper) and the meticulous team of sound designers who go all in on crafting Lou and Jackie's plight as an evocatively visceral and squelchy fever dream, heated sex scenes, an onslaught of gore and brutality, and an eagerness to get weird all included. Almost every time that she rolls out a new performance, Stewart is in never-better form again and again, which is true once more in this phenomenal portrayal. The anxiety, tension and vulnerability that's pulsating through Lou is evident in a look, a line reading and posture alone, as is determination, devotion, grit and complexity. Stewart masters something that's only matched by the electric O'Brian, as Glass demands: mesmerising viewers, and making them fall as head over heels for this chemistry-dripping pair and the movie they're in as they do with each other. For O'Brian, who also has The Mandalorian and Agents of S.H.I.E.L.D. as well as Westworld and The Walking Dead on her resume, has studied martial arts since childhood, takes part in bodybuilding contests off-screen and was previously a cop, it's a star-making, can't-look-away turn. Add obsession to the forces pumping ravenously through Love Lies Bleeding, which befits its filmmaker; this isn't her first picture about transformation and connection. The links between Saint Maud and Love Lies Bleeding mirror Lou and Jackie, with the two duos as much kindred spirits as opposites. Glass relishes the magnetic clash, then revels in it. What it truly means to change, and why, and the motivations to try; attempting to abandon old and forge new habits; what a person can and can't find in another; where faith and trust kick in: they all throb through both flicks. But jumping from a claustrophobic British setting to the expansive American west, plus from ailing bodies to musclebound figures, is also Glass' journey. Contrasts abound within Love Lies Bleeding itself, which is intimate but sprawling, raw and tender, sweet and savage, gets love and sex butting heads with carnage and death, grim but blackly comedic, and also dark and distressing yet swoonworthy and romantic. In her two features so far — a helluva debut, then this astounding follow-up — Glass has also proven herself a builder, but not of the bodies that her second movie peers at with as female a gaze that cinema is capable of. There's no watching Love Lies Bleeding and not spying its influences, as was the case with Saint Maud. That said, that both take those inspirations as foundations to construct something else entirely is equally inescapable. These are no one's copies. True Romance, Wild at Heart, Lost Highway, Thelma & Louise, Showgirls, Badlands, Paris, Texas, Raising Arizona, Bonnie & Clyde, Natural Born Killers: consider them all Love Lies Bleeding's siblings. So are Nicolas Winding Refn's Drive, Only God Forgives and The Neon Demon, as spied in the intoxicating hues that dance across the screen. Although it similarly only reached cinemas in 2024, Ethan Coen's Drive-Away Dolls would make a glorious double with one of the standout movies of the year. For a burning, bulging, blistering and brilliant plunge into filmmaking at its most exhilarating, however, Love Lies Bleeding stands and shines fiercely atop its own cliff.
Here's something that has been as rare as a good night's sleep over the past year or so: the announcement of a new music festival to look forward to. Come March 2022, This That will be making its first trip to Queensland. Its local debut has been pushed back a few times due to the pandemic's ongoing effects, but you can now mark Saturday, March 5 in your diary, tell your mates and get ready to head to the Sandstone Point Hotel. On the bill is an all-Australian lineup, featuring Client Liaison, The Presets, Dune Rats, Hayden James, Jack River, San Cisco and more. Yes, you'll be listening to electronic, hip hop, pop and rock tunes all day — and, as the event's name suggests, you'll be doing so across two stages. Naturally, everything will be held in a COVID-19-safe way, because that's the world we all now live in. Final release tickets are on sale now. THIS THAT MARCH 2022 LINEUP: Badrapper vs Luude Budjerah Client Liaison Dune Rats Haiku Hands Hayden James Jack River Kodi Dee Kota Banks Meg Mac Pacific Avenue San Cisco Spacey Jane Teen Jesus and the Jean Teasers The Chats The Presets The Rubens Waax Wafia Yng Martyr Images: Jordan Munns. Updated February 25, 2022.
Perhaps the most active, on-the-ground way to explore the islands is via a kayak. Salty Dog Sea Kayaking runs six-day tours to explore Whitsunday, Haselwood and Hook Islands for $1850 per person. But if a six-day kayaking tour sounds like way, way too much arm-work — and your idea of a holiday is less laborious — you might like to try your hand at kayaking in shorter stints. Salty Dog also offers half and full-day tours for $90 and $145 respectively. If you want to go it alone (and are an experienced paddler), you can hire a single or double kayak, too, with rates starting from $60.
UPDATE, November 3, 2021: The Harder The Fall is available to stream via Netflix from Wednesday, November 3. Idris Elba. A piercing gaze. One helluva red velvet suit. A film can't coast by on such a combination alone, and The Harder They Fall doesn't try to — but when it splashes that vivid vision across the screen, it's nothing short of magnificent. The moment arrives well into Jeymes Samuel's revisionist western, so plenty of stylishness has already graced its frames before then. Think: Old West saloons in brilliant yellows, greens and blues; the collective strut of a cast that includes Da 5 Bloods' Delroy Lindo and Jonathan Majors, Atlanta's Zazie Beetz and LaKeith Stanfield, and If Beale Street Could Talk Oscar-winner Regina King; and an aesthetic approach that blasts together the cool, the slick and the operatic. Still, Elba and his crimson attire — and the black vest and hat that tops it off — is the exclamation mark capping one flamboyant and vibrant movie. Imaginative is another appropriate word to describe The Harder They Fall, especially its loose and creative take on American history. Where some features based on the past take a faithful but massaged route — fellow recent release The Last Duel, for example — this one happily recognises what's fact and what's fantasy. Its main players all existed centuries ago, but Samuel and co-screenwriter Boaz Yakin (Now You See Me) meld them into the same narrative. That's an act of complete fiction, as is virtually everything except their names. The feature freely admits this on-screen before proceedings begin, though, and wouldn't dream of hiding from it. Team-up movies aren't rare, whether corralling superheroes or movie monsters, but there's a particular thrill and power to bringing together these fictionalised Black figures in such an ambitious and memorable, smart and suave, and all-round swaggering film. After proving such a commanding lead in HBO series Lovecraft Country, Majors takes centre stage here, too, as gunslinger Nat Love. First, however, the character is initially introduced as a child (Anthony Naylor Jr, The Mindy Project), watching his parents get murdered by the infamous Rufus Buck (Elba, The Suicide Squad). A quest for revenge ensues — and yes, Nat shares an origin story with Batman. Samuel definitely isn't afraid to get stylised and cartoonish, or melodramatic, or playful for that matter. One of the keys to The Harder They Fall is that it's so many things all at once, and rarely is it any one thing for too long. This is a brash and bold western from its first vividly shot frame till its last, of course, and yet it's also a film about the tragedies that infect families, the violence that infects societies, and the hate, abuse, prejudice, discrimination and bloodshed that can flow from both. It's a romance, too, and it nails its action scenes like it's part of a big blockbuster franchise. As an adult, Nat still has Rufus in his sights. It'll take a few twists of fate — including a great train robbery to free Rufus en route from one prison to the next — to bring them face to face again. The sequence where the outlaw's righthand woman Trudy (King) and quick-drawing fellow gang member Cherokee Bill (Stanfield) take on the law is sleek heist delight, and the saloon clash with marshal Bass Reeves (Lindo) that gets Nat back on Rufus' trail is just as dextrously handled. Nat also has bar proprietor and his on-again, off-again ex Stagecoach Mary (Beetz) on his side, plus the boastful Beckwourth (RJ Cyler, Me and Earl and the Dying Girl), sharp-shooting Bill Pickett (Edi Gathegi, Briarpatch) and diminutive Cuffee (Danielle Deadwyler, P-Valley). Everyone gets their moments, and every one of those moments sashays towards a blood-spattered showdown. It might seem like a pure boilerplate affair on the page, particularly when getting roguish with the western genre — and using it to muse on race — has peppered Quentin Tarantino's resume courtesy of The Hateful Eight and Django Unchained. One of the other keys to The Harder They Fall is how openly and confidently that Samuel knows whose footsteps he's following in, because this is a realm with a past as sprawling as the plains it frequently covets. Seasoned fans can spot the nods in a multitude of directions, including to 60s and 70s spaghetti westerns, and to plenty of other flicks from the same era starring Clint Eastwood. But this is act of reclamation built on the bones of all that's come before, rather than a homage; it slides into a busy field to assert a place for Black cowboys, and does so as beguilingly as Samuel knows how. Perhaps better known as a songwriter and music producer, aka The Bullitts, Samuel brings a thrumming, dynamic, take-charge energy to The Harder They Fall. He writes, directs and composes the movie's soundtrack, too, so that applies across the board. Indeed, the way that he weaves the sounds of hip hop, reggae and afrobeat into a score that also takes cues from the late, great Ennio Morricone — the man behind the music to all of Sergio Leone's spaghetti westerns, as well as an Oscar-winner for The Hateful Eight — perfectly encapsulates his overall approach. Samuel has room for all that's come before, and reverence for it, but he's also committed to challenging and redefining the stories and mythology it represents. The Harder They Fall has purpose, pluck and panache — oh-so-much flair, in fact, that it drips across everything from the cinematography to the production design and dapper costuming. It has pace as well, with its 130-minute running-time whizzing by amid several shootouts filled with rapid-fire bullets and enough strong glares to fuel a franchise of flicks. It also boasts the absolute best posse that Samuel could've hoped for. The Harder They Fall's cast is the kind you build an entire movie around, not that that's the gambit here. It'd be hard to thrust this ensemble together and have something other than a spectacular acting showcase result, but this is a rollicking pleasure with the exact right cast, an abundance of smarts, savvy and style, and an unwavering backbone. Top image: David Lee/Netflix.
December might be the month of constant Christmas carols, getting Mariah Carey stuck in your head every day and rediscovering that NSYNC made a festive album, but that's not the only music-related fun to be had. As well as celebrating the season, we're all celebrating the year that was. The standout records, the tunes that became instant faves, the tracks you streamed non-stop for days and days and days — you know the ones. Need some help? You're in luck — and it's a two-step process. First, pick your ten best albums of the year and email jetblackcatmusic@gmail.com. Next, head along to Jet Black Cat Music from 6pm on December 21, and get ready to hear the top ten of the year as voted by the West End store's customers. Actually, there's also a third step: pick up some booze and take it along with you. Entry is free, and will also include a second countdown of the ten best-selling albums of 2017, as well as Christmas cheer and munching on JBCM's own homemade rocky road Xmas trees.
We've officially entered one of the busiest times of the year when it comes to buying gifts for the fam. Luckily, Black Friday deals make it a lot more affordable, especially if you have a big family. To help you get prepped, we've narrowed down some of the best bargains from Amazon for mums, dads, kids, sisters, brothers and partners. From coffee machines to cookbooks, skincare essentials and wardrobe staples, these savings are tantalizingly good, so get shopping and make the most of the deals while they last. For Mum Often the most self-sacrificing people when it comes to gifts, mum absolutely deserves a treat. From skincare to some newfound inspiration in the kitchen, these Black Friday deals will have you covered. Philips Espresso Machine for $699.00 – 41% off. VT COSMETICS CICA Reedle Shot 100 Serum for $26.40 – 47% off. RecipeTin Eats: Dinner by Nagi Maehashi for $24.00 – 47% off NIVEA SUN UV Face Shine Control Sunscreen for $8.99 – 50% off. Instant Pot Electric Pressure Cooker for $138.98 – 54% off. COSRX Snail MucinPower Repairing Essence Hydrating Serum for $12.99 – 66% off. For Dad Grab the dads in your life some gifts they will love, like an air fryer for lazy, healthy dinners or even a new watch if you think his outfits are in need of a little bit of extra flair. The Voice Inside by John Farnham for $29.00 – 42% off. Philips 5000 Series Air Fryer for $229.00 – 49% off. Inkbird Digital Meat Thermometer for $18.99 – 51% off. Atomic Habits: Tiny Changes, Remarkable Results Book for $17.49 – 53% off. Bonds Men's Underwear Cotton Action for $19.99 – 43% off. Tommy Hilfiger Men's Stainless Steel Watch for $139.00 – 58% off. For Your Sister or Girlfriend You really can't go wrong with some new shoes, hair accessories or nice-smelling stuff for the girls in your life. You can thank us later. d'Alba Italian White Truffle Toner for $19.98 – 50% off. Australian Food by Bill Granger for $29.00 – 42% off. Calvin Klein, Carousel Thong 5 Pack for $35.99 – 56% off. Dr. Martens Unisex Myles Brando Leather Slide Sandal for $139.99 – 46% off. Philips 5000 Series Hair Straightener for $64.99 – 40% off. Philosophy Cinnamon Buns Shampoo, Bath And Shower Gel for $13.55 – 60% off. For Your Brother or Boyfriend Whether they're a tech nerd, Lord of the Rings obsessed or are more of the active type, we've narrowed down some of the best low-price gifts to suit any kind of guy. BUZIO Insulated Water Bottle for $29.58 – 44% off. The Hobbit / The Lord of the Rings Box Set for $40.24 – 50% off. Sennheiser Momentum 4 Special Edition Headphones for $335.00 – 46% off. MERRELL Men's Moab 3 GTX Hiking Shoe for $128.99 – 54% off. Calvin Klein One Eau De Toilette for $33.94 – 86% off. UGREEN Magsafe Power Bank for $49.99 – 42% off. For Kids If there's one thing we're certain of, is that it's oh-so-easy to make kids smile with a simple gift that will guarantee endless entertainment, whether it's a book, a board game or a toy you've heard them begging for the past six months. The Adventures of Tintin Complete Boxset for $149.90 – 57% off. Bose SoundLink Flex Bluetooth Portable Speaker for $149.00 – 40% off. PicassoTiles 100 Piece Magnetic Playboards Tiles Set for $45.60 – 49% off. Barbie DreamHouse for $175.00 – 53% off. Blokus for $19.99 – 52% off. Crocs Kids' Bayaband Sandal for $28.04 – 42% off. Images: Supplied. This article contains affiliate links, Concrete Playground may earn a commission when you make a purchase through links on our site.
With a new superhero movie hitting cinemas every month, or near enough, you can be forgiven for feeling a bit fatigued with the general premise. With box office domination comes more of the same; however the genre's popularity is also inspiring creative takes on the concept — and in the case of Brightburn, something dark and creepy. You mightn't recognise the movie's moniker, given that it stems from an original script rather than an existing comic book property, but Guardians of the Galaxy writer/director James Gunn is the producer's chair. The first release with his name on it after he was fired from the Marvel franchise earlier this year, it was written by his brother Brian and cousin Mark. Brightburn also features a cast led by Elizabeth Banks, who starred in Gunn's pre-Guardians horror flick Slither. Directed by David Yarovesky (who also has a Guardians credit, appearing on-screen as a goth ravager), the premise starts in familiar territory. A child from another world crashes to earth, and is taken in by a caring couple (Banks and The Office's David Denman). But before you start thinking about Superman, this is a horror movie — and it definitely doesn't feature the man of steel. Brightburn opens in Australian cinemas on May 23, 2019 — check out the trailer below. https://www.youtube.com/watch?v=8lCimwXO0-U&feature=youtu.be
He's been hailed as the king of documentaries, known for his fearless deep dives into the boldest of subjects, from sex trafficking to religious extremists and just about everything in between. And now, Louis Theroux is stepping out from in front of the camera and onto the stage, venturing Down Under for his second Aussie speaking tour this summer. In January, the intrepid BBC filmmaker will hit Perth, Adelaide, Brisbane, Canberra, Sydney and Melbourne, here to share his secrets in new show Louis Theroux Without Limits. The fearless journalist will be joined by local media personality Julia Zemiro for a two-hour on-stage adventure, dropping insights into his extraordinary life and behind-the-scenes secrets from his impressive catalogue of work. With more than two decades of filmmaking experience and multiple awards under his belt, Theroux has a knack for digging deep and getting people to spill the beans, telling it exactly how it is. From the opioid epidemic and the San Fernando Valley porn industry to the Church of Scientology, his work has given him countless fascinating stories to dish up on this latest speaking tour. "Australians are obviously connoisseurs of the weird side of life," Theroux said in a statement. "I look forward to coming back to share even more memorable moments and extraordinary stories from the people I have encountered in my films." He was last here in 2016, when he took his (sell-out) speaking tour to Sydney, Melbourne, Adelaide, Brisbane and Perth. While you wait for Louis to head Down Under, you can catch his new series of documentaries on BBC Knowledge from Thursday, June 27. You can check out a teaser for the new show Louis Theroux Without Limits here: https://www.youtube.com/watch?v=3bcgv0S4Wj8&feature=youtu.be LOUIS THEROUX WITHOUT LIMITS 2020 DATES Sunday, January 12 – Riverside Theatre, Perth Monday, January 13 – Convention Centre, Adelaide Wednesday, January 15 – Brisbane Convention Centre, Brisbane Thursday, January 16 – Royal Theatre, Canberra Friday January 17 – State Theatre, Sydney Sunday, January 19 – Plenary Theatre, Melbourne Tickets to Louis Theroux Without Limits go on sale at 9am on Monday, June 24. You can sign up for pre-sale on the website.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE FRENCH DISPATCH Editors fictional and real may disagree — The French Dispatch of the Liberty, Kansas Evening Sun's Arthur Howitzer Jr (Bill Murray, On the Rocks) among them — but it's easy to use Wes Anderson's name as both an adjective and a verb. In a sentence that'd never get printed in his latest film's titular tome (and mightn't in The New Yorker, its inspiration, either), The French Dispatch is the most Wes Anderson movie Wes Anderson has ever Wes Andersoned. The immaculate symmetry that makes each frame a piece of art is present, naturally, as are gloriously offbeat performances. The equally dreamy and precise pastel- and jewel-hued colour palette, the who's who of a familiar cast list, the miniatures and animated interludes and split screens, the knack for physical comedy, and the mix of high artifice, heartfelt nostalgia and dripping whimsy, too. The writer/director knows what he loves, and also what he loves to splash across his films, and it's all accounted for in his tenth release. In The French Dispatch, he also adores stories that say as much about their authors as the world, the places that gift them to the masses, and the space needed to let creativity and insight breathe. He loves celebrating all of this, and heartily, using his usual bag of tricks. It's disingenuous to say that Anderson just wheels out the same flourishes in any movie he helms, though, despite each one — from The Royal Tenenbaums onwards, especially — looking like part of a set. As he's spent his career showing but conveys with extra gusto here, Anderson adores the craftsmanship of filmmaking. He likes pictures that look as if someone has doted on them and fashioned them with their hands, and is just as infatuated with the emotional possibilities that spring from such loving and meticulous work. Indeed, each of his features expresses that pivotal personality detail so clearly that it may as well be cross-stitched into the centre of the frame using Anderson's hair. It's still accurate to call The French Dispatch an ode to magazines, their heyday and their rockstar writers; the film draws four of its five chapters from its eponymous publication, even badging them with page numbers. But this is also a tribute to everything Anderson holds The New Yorker to stand for, and holds dear — to everything he's obsessed over, internalised and absorbed into the signature filmmaking style that's given such an exuberant workout once again. One scene, in the first of its three longer segments, crystallises this so magnificently that it's among the best things Anderson has ever put on-screen. It involves two versions of murderer-turned-artist Moses Rosenthaler, both sharing the boxed-in frame. The young (Tony Revolori, The Grand Budapest Hotel) greets the old (Benicio Del Toro, No Sudden Move), the pair swapping places and handing over lanyards, and it feels as if Anderson is doing the same with his long-held passions. Before Moses' instalment, entitled The Concrete Masterpiece, the picture's bookending story steps into Howitzer's offices in the fictional French town of Ennui-sur-Blasé. Since 1925, he's called it home, as well as the base for a sophisticated literary periodical that started as a travel insert in his father's paper back in Kansas. Because Anderson loves melancholy, too, news of Howitzer's death begins the film courtesy of an obituary. What follows via travelogue The Cycling Reporter, the aforementioned incarcerated art lark, student revolution report Revisions to a Manifesto and police cuisine-turned-kidnapping story The Private Dining Room of the Police Commissioner is The French Dispatch's final issue turned into a movie — and an outlet for both Howitzer's and the director's abundant Francophilia. Read our full review. DON'T LOOK UP Timing may be everything in comedy, but it's no longer working for Adam McKay. Back when the ex-Saturday Night Live writer was making Will Ferrell flicks (see: Anchorman: The Legend of Ron Burgundy and Step Brothers), his films hinged upon comic timing. Ensuring jokes hit their marks was pivotal to his scripts, crucial during editing, and paramount to Ferrell and his co-stars. Since 2015, McKay has been equally obsessed with timeliness. More so, actually, in his latest film Don't Look Up. As started with The Big Short, which nabbed him a screenwriting Oscar, his current breed of politically focused satires trade not just in laughs but in topicality. Skewering the present or recent state of America has become the filmmaker's main aim — but, as 2018's Vice so firmly illustrated, smugly stating the obvious isn't particularly funny. On paper, Don't Look Up sounds like a dream. Using a comet hurtling towards earth as a stand-in, McKay parodies climate change inaction and the circus that tackling COVID-19 has turned into in the US, and spoofs self-serious disaster blockbusters — 1998's double whammy of Deep Impact and Armageddon among them — too. And, he enlists a fantasy cast, which spans five Oscar-winners, plus almost every other famous person he could seemingly think of. But he's still simply making the most blatant gags, all while assuming viewers wouldn't care about saving the planet, or their own lives, without such star-studded and glossily shot packaging. Although the pandemic has certainly exposed stupidity on a vast scale among politicians, the media and the everyday masses alike, mining that alone is hardly smart, savvy or amusing. Again, it's merely stating what everyone has already observed for the past two years, and delivering it with a shit-eating grin. That smirk is Don't Look Up's go-to expression among its broad caricatures — in the name of comedy, of course. Trump-esque President Orlean (Meryl Streep, The Prom) has one, as does her sycophantic dude-bro son/Chief of Staff Jason (Jonah Hill, The Beach Bum). Flinging trivial banter with fake smiles, "keep it light and fun" morning show hosts Brie Evantee (Cate Blanchett, Where'd You Go, Bernadette) and Jack Bremmer (Tyler Perry, Those Who Wish Me Dead) sport them as well. But PhD student Kate Dibiasky (Jennifer Lawrence, X-Men: Dark Phoenix) and her astronomy professor Dr Randall Mindy (Leonardo DiCaprio, Once Upon a Time in Hollywood) aren't smiling when she discovers a Mount Everest-sized comet, then he realises it's on a collision course with earth and will wipe out everything in six months and 14 days. And they aren't beaming when, with NASA's head of planetary defence Dr Teddy Oglethorpe (Rob Morgan, The Unforgivable), they try to spread the word. The world is literally ending, but no one cares. Conjuring up the premise with journalist/political commentator David Sirota, McKay turns Don't Look Up into a greatest-hits tour of predictable situations bound to occur if a celestial body was rocketing our way — and that've largely happened during the fights against climate change and COVID-19. The President's reactions stem from her clear-cut inspiration, including the decision to "sit tight and assess" until it's politically convenient or just unavoidable, and the later flat-out denial that anything is a problem. The character in general apes the same source, and bluntly, given Orlean is initially busy with a scandal surrounding her next Supreme Court nominee, and that her love life and the porn industry also spark headlines. The insipid media and social media response, favouring a rocky celebrity relationship (which is where Ariana Grande and Kid Cudi come in), is also all too real. The list goes on, including the memes when Dibiasky gets outraged on TV and the worshipping of Mindy as an AILF (Astronomer I'd Like to Fuck). Read our full review. DEAR EVAN HANSEN Dear Dear Evan Hansen: don't. If a movie could write itself a letter like the eponymous figure in this stage-to-screen musical does, that's all any missive would need to communicate. It could elaborate, of course. It could caution against emoting to the back row, given that cinema is a subtler medium than theatre. It could advise against its firmly not-a-teenager lead Ben Platt, who won one of the Broadway hit's six Tony Awards, but may as well be uttering "how do you do, fellow kids?" on the big screen. It could warn against shooting the bulk of the feature like it's still on a stage, just with more close-ups. Mostly, though, any dispatch from any version of Dear Evan Hansen — treading the boards or flickering through a projector — should counsel against the coming-of-age tale's horrendously misguided milk-the-dead-guy narrative. When the most interesting thing about a character is their proximity to someone that's died, that's rarely a great sign. It's the realm of heartstring-tugging illness weepies and romances where partners or parents are bereaved, sweeping love stories are shattered and families are forever altered, and it uses the sickness or death of another person purely as a prop to make someone that's alive and healthy seem more tragic. That's worlds away from engaging sincerely with confronting mortality, loss, grief or all three, as so few movies manage — although Babyteeth did superbly in 2020 — and it's mawkish, manipulative storytelling at its worst. Dear Evan Hansen gives the formula a twist, however, and not for the better. Here, after a classmate's suicide, the titular high schooler pretends he was his closest friend, including to the dead kid's family. A anxious, isolated and bullied teen who returns from summer break with a fractured arm, Evan (Platt, The Politician) might be the last person to talk to Connor Murphy (Colton Ryan, one of the Broadway production's understudies). It isn't a pleasant chat, even if Connor signs Evan's cast — which no one else has or wants to. In the school library, Evan prints out a letter to himself as a therapy exercise, but Connor grabs it first, reads it, then gets furious because it mentions his sister Zoe (Kaitlyn Dever, Dopesick). Cue days spent fretting on Evan's part, wondering if he'll see the text splashed across social media. Instead, he's soon sitting with Cynthia Murphy (Amy Adams, The Woman in the Window) and her husband Larry (Danny Pino, Fatale), who inform him of Connor's suicide — and that they found Evan's 'Dear Evan Hansen' note on him, and they're sure it's their son's last words. With his high school misery amply established through catchy songs, and his yearning to connect as well, Evan opts to go along with the Murphys' mistaken belief, including the idea that he and Connor were secretly the best of pals. As penned for both theatre and film by Steven Levenson (Tick, Tick... Boom!) — with music and lyrics by Benji Pasek and Justin Paul (The Greatest Showman) — this plot point is meant to play with awkwardness and longing, but it's simply monstrous. Indeed, the longer it goes on, with Evan spending more time with Connor's wealthy family than with his own mum Heidi (Julianne Moore, Lisey's Story), a nurse always working double shifts, the more ghastly it proves. It's lazy writing, too, because this isn't just a tale that defines its lead by their connection to a deceased person; it's about someone who intentionally makes that move themselves, then remains the recipient of all the movie's sympathies. Read our full review. RESIDENT EVIL: WELCOME TO RACCOON CITY It's the franchise about zombies that just won't die. The series with a disdain for big corporations and the chaos they wreak that keeps pumping out more instalments, too. After six movies between 2002–16 that consistently proved a case of diminishing returns — and the original horror flick was hardly a masterpiece to begin with — welcoming viewers back to the Resident Evil realm smacks of simply trying to keep the whole saga going at any cost. Resident Evil: Welcome to Raccoon City does indeed extract a price from its audience, stretching their fondness for the video game-to-film franchise, their appetite for John Carpenter-inspired riffs and their penchant for overemphasised 90s nostalgia. Primarily set in 1998, and endeavouring to reboot the series without its previous star Milla Jovovich, it strenuously tests patience as well. After an orphanage stint filled with familiar Resident Evil figures — siblings Claire and Chris Redfield as kids, plus nefarious Umbrella Corporation scientist Dr William Birkin (Neal McDonough, Sonic the Hedgehog) — Welcome to Raccoon City first gets gory en route back to its titular town. The now-adult Claire (Kaya Scodelario, Crawl) hitches a ride with a trucker, who then hits a woman standing in the road. The victim still gets up afterwards, because unnaturally shuffling along after you've been killed comes with the territory. The walking dead are a new phenomenon in the desolate locale, however, following Umbrella's decision to shut up shop and leave the place a crumbling shell. Of course, the night that Claire arrives back to reunite with Chris (Robbie Amell, Upload), who's now a local cop, is the night that a virus zombifies Raccoon City's residents. Any movie that features besieged police officers trying to fend off attackers will always tread where Carpenter's Assault on Precinct 13 has already stomped, and Welcome to Raccoon City writer/director Johannes Roberts knows it — just as he splashed his awareness of shark horror flicks gone by across both 47 Metres Down and 47 Metres Down: Uncaged. Restarting a well-known series by blatantly taking cues from another filmmaker, and from 80s and 90s horror overall, isn't the path to success, though. As this dispiritingly generic feature keeps proving, it's about as smart as constantly splitting up while fending off the undead and navigating labyrinthine spaces, which Claire, Chris, and the latter's fellow cops Jill Valentine (Hannah John-Kamen, Ant-Man and the Wasp), Albert Wesker (Tom Hopper, Terminator: Dark Fate) and Leon Kennedy (Avan Jogia, Zombieland: Double Tap) unsurprisingly keep doing. Welcome to Raccoon City fares better with action over logic and originality, although nodding so forcefully to the filmmaker behind Halloween and The Thing stands out within the Resident Evil franchise. When it comes to Raccoon City's infected inhabitants, plus foes more frightening — their onslaughts, and Claire and company's attempts to evade them — Roberts finds a balance between stripping things back to ramp up the suspense and trying to imitate the video games that started it all. In the film's midsection, it all gets monotonous nonetheless, even while switching between first- and third-person perspectives and going big on monstrous creature design. Callouts to technology gone by, such as Nokia phones with Snake and VHS tapes (and, the flipside, marvelling over whiz-bang new tech by 90s standards like Palm Pilots and chat rooms), get repetitive and old fast, too. All things Resident Evil have as well, something this movie can't change despite its overt angling for a certain-to-eventuate sequel. NEW ORDER If only one word could be used to describe New Order, that word would be relentless. If just two words could be deployed to sum up the purposefully provocative film by writer/director Michel Franco (April's Daughter), savage would get thrown in as well. Sharing zero in common with the band of the same name, this 2020 Venice Film Festival Grand Jury Prize-winner dreams up a dystopian future that's barely even one step removed from current reality. And, in dissecting class clashes, and also examining the growing discontent unsurprisingly swelling worldwide at the lavish lives indulged by the wealthy while so much of the world struggles, the mood and narrative are nothing less than brutal. Screens big and small have been filled with eat-the-rich stories of late — Parasite, Us, Candyman, Ready or Not, The White Lotus, Nine Perfect Strangers and Squid Game among them — but New Order is its own ravenous meal. The place: Mexico City. The setup: a wedding that goes undeniably wrong. As the ceremony gets underway at a compound-style residence that's jam-packed with the ultra-wealthy and ultra-corrupt, the chasm between the guests and the staff is glaring. Case in point: bride-to-be Marianne (Naian González Norvind, South Mountain) couldn't be more stressed when she's asked for money to help ex-employee Rolando's (Eligio Meléndez, La Civil) ailing wife, who also worked at the house, and plenty of her family members are dismissive, arrogant and flat-out rude about their former servant's plight. Then activists start making their presence known outside, as well as further afield in the city's streets — and interrupting the nuptials by storming the mansion, too. The military respond swiftly and brutally, sparing no one in their efforts to implement the movie's telling moniker. Franco doesn't want any second of New Order to be easy to watch. The film's opening foreshadows the bloodshed and body count to come, but even when it then gets immersed in a ridiculously lavish but characteristically chaotic upper-class wedding — as such events stereotypically are — all the slick excess so rampantly on display remains positively ghastly. There's a sense of insidiousness in the air that the filmmaker lets fester amid all the gated home's glass and steel, then pushes into overdrive as the violent uprising gathers steam. There's an utter lack of hope as well, because nothing can or will turn out well in this situation. It can't end nicely for the bourgeoisie previously oblivious to or cruelly uncaring about the 99 percent and, as authoritarianism kicks in to a savage degree, the ideals of fairness and equality being championed by protestors aren't shared by their government. One word that can't be used to describe New Order: subtle, or any synonym denoting a delicate approach. Franco wants the parallels between his fictional situation and reality, and the unsparing critique of the latter he's making with the former, to be noticed — and to be not only unavoidable, but searingly, blisteringly haunting. He's brash and bold with the film's style as a result, as well as blunt. He's forceful, but also masterful, and makes every image and sound resound with palpable anger. Franco's also trading in obvious concepts as he tears down the rich, greedy, powerful and unscrupulous, lays bare the ease with which a fascist nightmare can take hold and posits that the fight against both is never easy, but he's still moulded all those notions into an emotionally dynamic whirlwind. New Order is screening in Melbourne only. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; and December 2. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter and The Lost Leonardo.
From July 19 to July 30, there's one surefire way to work up an appetite — just head to South Bank's Cultural Forecourt, peruse the hawker-style array of stalls slinging all manner of food and listen to your stomach grumble. Yes, the Night Noodle Markets are back for a fourth annual round of culinary deliciousness and yes, they're guaranteed to make you hungry. In 2017, there will be 23 stalls to choose from, plus heaps of pop-up bars, free music each night and the kind of bustling vibe that comes with a massive food gathering. As for what you'll be feasting on, expect tasty treats from the likes of Gelato Messina, Waffleland, Teppanyaki Noodles, Little Kyoto, Donburi Station, Spanthai, Hoy Pinoy and an epic collaboration between Blackstar and N2 Extreme Gelato. Make sure to work up an appetite beforehand and be prepared to roll yourself on home.
So, you haven't been to River Quay — and you don't know where River Quay is. It's the pocket of South Bank that now houses a host of restaurants, plenty of grass and a great view of the river, and it's the place to be from January 23 to 26. For four days, the eateries in the area — aka Aquitaine Brasserie, Cove Bar & Dining, Popolo and The Jetty — will showcase their wares, offering not only a sample of everything that makes them great, but a feast of Queensland ingredients as well. A lineup of live performances provides just the right kind of mood music, and a fireworks display brings everything to a close on Australia Day. If Great Australian Bites sounds like the perfect way to while away an afternoon, that's because it is. Who doesn't love taster plates piled up, pop-ups, local artists and scenic sights, after all? No one, that's who.
It's not every day that an inner-city street shuts down for an onslaught of music and fun. No, just Big Gay Day. Now in its 20th year, the annual event returns to The Wickham and the surrounding roadway for an afternoon and evening of music and celebratory mayhem. Topping the bill is a name that households across the globe will know: Mel C. You know, the one from one of the biggest girl groups ever — the Spice Girls. She'll be performing with her band of drag performers, Sink The Pink. You'll also catch Indigenous Australian electronic duo Electric Fields; bubble gum punk duo Cry Club; hip hop and roots collective The Regime; local act Being Jane Lane; indie folk artist Julia Rose; a heap of DJs and drag performances. It's proven to be the city's most colourful and diverse street festival for the past 19 years, and will continue to be so again in 2020. There'll be carnival acts, multiple performance spaces, food trucks, themed pop-up bars and plenty of partying people on the agenda, as is raising funds for six charity partners that help the LGBTQIA+ community. [caption id="attachment_754871" align="alignleft" width="1920"] Mel C and Sink The Pink.[/caption]
I'm of the firm belief that travelling somewhere new is best enjoyed with some local intel. As the resident writer hailing from Tropical North Queensland at Concrete Playground, I feel it is my duty to share my go-to ways to enjoy a balmy (and palmy) break in the tropics. And, if you feel like you missed out on some of your summer fun this year, this is your sign to book a holiday in the tropical north where summer lives on. Full disclosure: I'm based in Sydney now, however, I did spend the first 18 years of my life in this part of the world and head back to the truly idyllic region as often as I can to visit friends and family. So, if you're looking for a holiday that's brimming with immersive nature experiences, scenic drives and spectacular views, I've got you.
Now in it's third year, MTV Beats & Eats returns November 18 to take over Wollongong's Stuart Park. Just steps from North Wollongong beach, the festival brings live music and food lovers together for one big ol' party that will satisfy both your belly and your soul. Themed 'Space Fantasy', the festival encourages attendees to come in fancy dress as whatever their space fantasy may be. Astronauts, martians, space cowboys, alien unicorns — whichever costume you choose, you could win $2,000 for best dressed, $1,000 for second and $500 for third best dressed. Plus you'll look awesome. With past acts including Savage, PACES, Tigerlily and DJ Steve Aoki, you can expect an even bigger roster of local and international acts this year. Plus, in between sets, fill up on a range of eats from food vendors from the region, along with a few Sydney imports expected to dish out some top-notch barbecue, burgers and pizzas. And, though you probably don't need another excuse to get a ticket, your attendance will also go towards a good cause. With every ticket sold, MTV Australia will donate $1 to headspace, the national youth mental health foundation.
Brisbanites love a market — especially one that specialises in top-notch pre-loved clothing. There's nothing like finding a quality item at a clothing market. There's the thrill of searching through the racks to stumble upon the piece, plus shopping secondhand and upcycled clothing is more sustainable than buying your clothes new. If this all sounds entirely relatable to you and you're doing your festive shopping, head to the Second Life Markets when it hits Brisbane for Christmas on Saturday, December 14–Sunday, December 15 2024. Taking place at Superordinary — and expanding across two days — the event will host pop-up stores boasting vintage, secondhand and upcycled clothing. The stalls will span all ranges of clothing, including masculine, feminine and unisex pieces. There's your gifts covered, whether you're buying for someone else or yourself. The Second Life Markets run successful quarterly events across Sydney, Perth, Melbourne, London and, of course, Brisbane. The seasonal events bring together local sellers and independent designers, as well as a heavy dose of good vibes. Brisbane's Christmas market will run from 11am–4pm on both days. Entry varies from free to $30 depending on what time you'd like to head by (the later, the cheaper) and if you're keen to hit up both days. In the sustainable spirit of the market, it's asked that you bring your own reusable shopping bag(s) with you. There'll also tunes and snacks options onsite, because shopping is hungry work.
In the wacky family comedies you usually see at this time of year, everyone will come to accept the quirks and legacies of their kinfolk. They'll acknowledge that even a wacky family is better than no family, probably while laughing around a Christmas ham with all the trimmings. August: Osage County is not that movie. It started life as a play — in fact, probably the best play I have ever seen. Sydney was lucky enough to receive a visit from its original production company Steppenwolf in 2010, giving Australian audiences a chance to join the cacophony of praise already coming from the Tony Awards committee, Pulitzers, American critics and Broadway-goers. But what was amazing about the show seemed quite theatre-specific. At nearly four hours long and set across a three-storey, bisected house, Osage County feels momentous. And more than that, it relies entirely on the crackling chemistry of its taut ensemble, a feat that seems magical on stage but prosaic on screen, where you know it's the product of take after take, plus editing. Sure enough, the new film — adapted by its own playwright, Tracy Letts, and starring a cast so heavyweight as to tip the scale into ridonkulous — is good, but it's not quite great. The tone is spot on: it's dark comedy infused with the Southern Gothic. You will laugh, but you'll probably feel evil about it. The family in question is the Westons, who are all drawn back into their childhood home miles from any significant town in Oklahoma. It's not the festive season; rather, the family patriarch, Beverly (Sam Shepard), has disappeared without warning or explanation, leaving his abrasive, abusive, cancer-inflicted and pill-addicted wife, Violet (Meryl Streep), alone with only the new carer, Johnna (Misty Upham). Violet's children understandably have mixed feelings towards her, but they're also dragging their new problems into the house. Barbara (Julia Roberts) is there with her recently estranged husband, Bill (Ewan McGregor), and teenage daughter Jean (Abigail Breslin); lifelong adolescent Karen (Juliette Lewis) has pinned all her hopes on the shoulders of shifty new fiance Steve (Dermot Mulroney); and Ivy (Julianne Nicholson) feels emboldened by a clandestine romance with her timid cousin, 'Little Charles' (Benedict Cumberbatch). This all culminates in a couple of exquisite dinner table confrontations, during which a lucid and destructive Violet exercises her finest skill and favourite hobby, 'truth telling'. Streep is, of course, excellent to watch in these moments, although every one of the actors needs to be — and is — at their best in the rapid-fire, emotionally fraught verbal rallies. Even if their purpose is to poison, Letts' script is full of beautiful words, which might actually be a let down for the movie. It's lofty, alienating and artificial in a way that doesn't totally work on screen, and a fair few critics have taken the hatchet to it in return. Elsewhere, though, Letts and director John Wells have done well making a very theatrical work cinematic (and have, mercifully, cut down the length). In the absence of the 'character' played by the imposing set, plentiful landscape shots of the open yet unfriendly plains of Osage County make an impact. One of the best scenes has Violet, hit by withdrawals, run blindly, desperately into this landscape, and it's one of the few moments where you really feel for her, and for her inability to escape a prison that she has helped build. If the film doesn't quite stand on its own, it's at least a good approximation of a great play. And some kind of record for sheer quantity of acting. https://youtube.com/watch?v=4VBEZrkCT8Q
The best spot in Australia for a picnic is hotly contested. Melbourne has some good ones. So do Sydney and Brisbane. Mount Buffalo, a picturesque mountain surrounded by green valleys roughly a four-hour drive from Melbourne, is now coming for the title — as long as you're not afraid of heights. The Bright Adventure Company is offering secluded picnics for thrill-seekers suspended off the cliff face of Mount Buffalo, on a platform 300 meters off the ground. For $449, you'll get a set up on the suspended ledge suitable for two people, a delicious picnic hamper and all the safety equipment and training required. Then you can relax with your partner or picnic buddy as you take in the views of the Mount Buffalo National Park. All you need to bring is warm clothes, sturdy shoes, a water bottle and a total lack of fear of heights. The experience goes for three hours with sunrise, lunch and dinner packages all available. If you have a group of four you can organise a set of two edges side-by-side so you can share the experience with your besties. Book a cliff picnic through the Bright Adventure Company. Before heading interstate, check the relevant state's COVID-19 guidelines.
Sometimes, you're just so desperate for more of your favourite TV show that you're willing to go to extraordinary lengths. Some might think that recreating the seven kingdoms on stage is pushing it a little too far — but they haven't met Graeme of Thrones yet. We're not saying that the hit UK parody has iron thrones, fire-breathing dragons, giant fortresses, white walkers and everything that George RR Martin has conjured up on the page and HBO has subsequently brought to the screen. We're not saying it doesn't, though. As it tells the tale of a guy with a dream (but without a budget), Graeme of Thrones definitely does boast the titular Game of Thrones super fan, and his amusing attempt to pay tribute to the program that he loves. This event is part of Wonderland 2016.
Do you feel that? It’s a change in the air. It’s a little more humidity. It’s birds chirping a little louder. It’s flowers blooming brighter. Yep, the season is changing here in Brisbane. More than just political change has been in the air, and at local favourite Alfred & Constance a new menu has been brewing to make the most of summer’s seasonal produce. Head patron chef Jocelyn Hancock has given winter the flick, introducing new soon-to-be-favourite the Josper grilled duck breast on a bed of watermelon cubes, Persian feta, mint leaves and toasted cashews. This bad boy works the refreshing feel of summer on your tastebuds. While lots of old favourites didn’t get cut, other new notables include the lamb rack main with green beans and salsa, the chorizo scotched egg, crispy calamari, and house cured salmon with a crunchy Chester Street organic rye bread. Dessert has brought to life a not-too-sweet pecan pie with maple ice-cream and a classic Aussie pavlova with a lemon and passionfruit zing. If you’re looking for us in the next six months, chances are we’ll be sitting on the deck with a Jumbled Julep cocktail in one hand and a fork in the other. Hello summer.
Bulimba's Oxford Street might be the cafe capital of Brisbane's inner east, but it isn't the only place to grab a daytime bite and a caffeinated brew on that side of town. For breakfast, brunch and lunch over a coffee, Riding Road is no slouch — and, in the street's Fifth Avenue precinct, it's exactly where newcomer Hawthorne Coffee has set up. Every cafe wants to be known for its cuppas, and this one is no different. Brisbane's own Bancroft Roasters is behind its beans, which get a workout in the usual coffee lineup. The eatery's beverage range also spans other daytime standards such as iced and hot chocolates, tea, milkshakes, acai smoothies and cold-pressed juice, but it's just as much of a go-to for its toastie-heavy food selection. View this post on Instagram A post shared by Hawthorne Coffee (@hawthorne.coffee) Welcoming customers into its light-filled corner space in since late May — so, just in time for winter — Hawthorne Coffee knows the magic of a hot drink paired with a hot-toasted sandwich. Its food menu levels up the humble toastie with gourmet fillings, including garlic thyme truffled mushroom; basil pesto chicken with sun-dried tomatoes and mozzarella; and a breakfast option with two eggs and streaky bacon. The classic ham-and-cheese combo still has a place, of course, and so does the simple gooey goodness of two types of cheese between warmed-up bread. Hawthorne Coffee also prides itself on its house-made muffins, which range in flavour from staples like raspberry and white chocolate and blueberry lemon curd through to whatever seasonal produce inspires. "We are thrilled to bring Hawthorne Coffee to the vibrant Hawthorne neighbourhood," says founder and owner Tom Wilcock. "Our mission is to serve exceptional Bancroft Coffee, delightful house-made muffins, and gourmet toasties that will elevate the coffee shop experience in Brisbane. We can't wait to welcome coffee enthusiasts, food lovers, and friends from the community to our fresh and inviting space." Find Hawthorne Coffee at 85 Riding Road, Hawthorne — open 5.30am–3pm Monday–Friday and 6am–12pm Saturday–Sunday.
"Darling it's better down where it's wetter" isn't just a line The Little Mermaid fans have had stuck in their head for the last two decades. Come the beginning of 2019, it's also the first thing likely to pop into the minds of anyone heading to one particular Norwegian restaurant. Set to open in the coastal village of Båly in the country's south, Under will plunge hungry patrons into watery surroundings, offering more than just the usual scenic vistas. At this eatery, diners will be tucking into their dishes underwater. To be specific, they'll be feasting on seafood under the sea — if you're going to open a space underneath the ocean, you have to serve up the fish, which is just what head chef Nicolai Ellitsgaard will be doing. Visitors will descend down three colour-coded levels to sip sparkling tipples in a champagne bar that boasts views of the shoreline, before enjoying meals in the completely submerged dining room. The latter sits five metres below the water's surface, and is surrounded by panoramic acrylic windows for quite the aquatic view. For those wondering about pressure and safety, metre-thick concrete walls will keep everyone nice and dry, in a structure designed by architecture firm Snøhetta. Describing the space as "a sunken periscope", the building will be constructed not only to wow those stepping foot inside, but to fit in with its surroundings. The grey exterior colour scheme will blend in with the rocky coastline, and coarse surfacing will encourage molluscs to cling on. Indeed, over time it's hoped that Under will become an artificial mussel reef. As well as offering a memorable place to eat, the project also aims to champion biodiversity, functioning as a research centre for marine life. This will include informational plaques educating visitors about the area, helping to expand not only the list of places you've tucked into a meal, but your knowledge. Start planning your 2019 Scandinavian trip now. Images: Snohetta.
Not quite certain what to get your loved ones for Christmas this year? Then you clearly haven't spent enough time at a festive market. It's virtually impossible to browse your way through hundreds of stalls and come up empty-handed — in fact, that'd take more effort than picking gifts for your nearest and dearest. Your next place to put the above theory to the test: the Nundah Christmas Twilight Markets, which take place from 4–10pm on Saturday, December 2. Yes, there really will be quite the lineup of places to grab handmade presents, including clothes, jewellery, art, homewares, soap, candles and all things edible. You'll find both gourmet foods and festive treats on offer as well (including bites to eat while you're there). For your $3 entry fee, you can enjoy a stint of shopping under the site's fairy lights at Nundah Markets' usual spot on Station Street. And, you can stop in at the North Pole-themed bar, too. Decorations will be decking the walls with more than boughs of holly, and live music is also on the agenda.
Mindfulness practice — achieving the mental state of focusing on the present moment — is gaining popularity as people attempt to regulate their stressful lives. People have turned to everything from meditation to colouring books to achieve mindfulness, but perhaps few people would think of doing a triathlon to achieve inner peace. Take three activities that promote mindfulness — specifically running, yoga and meditation — and you've got yourself a 'mindful triathlon'. Wanderlust 108 has been running these triathlon festivals since 2014, and the standard day has a few main components. First, there's the five kilometre run, although the site reassures you that you can walk instead of running — or even "prance, skip, stroll or strut" — as long as you reach the finish line. After that, theres 75 minutes of yoga accompanied by a DJ set, and finally 25 minutes of guided meditation to round out the whole-group activities. Once the structured section of the day has wrapped up, participants can also head to activities such as acroyoga and hooping, or to lunch. It's part exercise, part dance party, part fest — and 100-percent focused on helping attendees feel great inside and out. You can also browse your way around a marketplace, which will help you take your new blissed-out state home with you. Returning to Brisbane on Saturday, October 19, this year's Wanderlust 108 will take place in West End's Orleigh Park. By Siobhan Ryan and Sarah Ward.
What's getting its projectors rolling with Saturday Night's journey behind the scenes of a TV premiere that changed comedy history? What is wrapping up with a portrait of tennis star Jelena Dokic, too? And, in-between, what's playing everything from Selena Gomez's latest big-screen role to a music biopic made with Lego — plus pioneering Australian animation, First Nations' horror, Cate Blanchett navigating a global crisis and more. That'd be the Brisbane International Film Festival for 2024. Also on the lineup: Anora, the latest feature from Tangerine, The Florida Project and Red Rocket filmmaker Sean Baker, which won the Palme d'Or at the 2024 Cannes Film Festival; the Amy Adams (Dear Evan Hansen)-starring Nightbitch, featuring a canine twist; Riley Keough (Daisy Jones & the Six) and Jesse Eisenberg (Fleishman Is in Trouble) playing a sasquatch family in Sasquatch Sunset; Aussie horror The Red, which is quite the kangaroo story; and the female Iranian judo athlete-focused Tatami. And, straight from Venice, BIFF is playing Golden Lion-winner The Room Next Door, aka the newest movie from Spanish auteur Pedro Almodóvar (Parallel Mothers, Pain and Glory) and his English-language feature debut, with Tilda Swinton (Fantasmas), Julianne Moore (May December) and John Turturro (Mr & Mrs Smith) starring — plus Silver Lion-winner The Brutalist, which picked up the Italian fest's Best Director prize and hails from actor-turned-filmmaker Brady Corbet (The Childhood of a Leader, Vox Lux), as well. They're just some of the flicks to check out between Thursday, October 24–Sunday, November 3. The places to head to: Palace Barracks, Dendy Coorparoo, Reading Newmarket, Five Star Cinemas New Farm, Angelika Film Centre, Dendy Powerhouse and Dendy Portside, as well as taking the festival to the city's western suburbs at Reading Jindalee. Gomez (Only Murders in the Building) joins the BIFF lineup via Emilia Pérez, the musical crime comedy from Jacques Audiard (A Prophet, Rust and Bone) that also stars Karla Sofia Gascón (Harina) and Zoe Saldaña (Special Ops: Lioness), and won all its ensemble cast Cannes' Best Actress prize this year. Plastic bricks are on the bill courtesy of Piece by Piece, which gives Pharrell Williams the on-screen bio treatment, but not in the usual way. Blanchett (Borderlands) features in Rumours, which boasts the The Green Fog's inimitable trio Guy Maddin, Evan Johnson and Galen Johnson behind the lens. And as also mentioned above, BIFF has the world premiere of homegrown animation The Lost Tiger, the first such Aussie flick written and directed by an Indigenous woman, on the bill as well — and also Sundance-debuting horror The Moogai. Other highlights include Malcolm Washington's feature directorial debut The Piano Lesson, which has his brother John David Washington (The Creator), as well as Samuel L Jackson (Fight Night) and Danielle Deadwyler (Till), among the cast; dreamy Buffy-inspired sensation I Saw the TV Glow from We're All Going to the World's Fair's Jane Schoenbrun; and Hunter Schafer (Euphoria)- and Dan Stevens (Abigail)-starring thriller Cuckoo. There's also Sundance Audience Award-winner Sujo, about the son of a cartel gunman; Audrey, as led by Jackie van Beek (Nude Tuesday) as a mother who steals the identity of her teenage daughter, who is in a coma; and restaurant-set dramedy La Cocina featuring Rooney Mara (Women Talking). BIFF attendees can look forward to Inside, too, with the prison drama starring Guy Pearce (The Clearing), Cosmo Jarvis (Shōgun) and Toby Wallace (The Bikeriders) — and directed by Charles Williams, who won the 2018 short film Palme d'Or for All These Creatures. The Seed of the Sacred Fig is the latest film from Mohammad Rasoulf (There Is No Evil), with the movie's place on this year's Cannes lineup seeing him forced to flee Iran after being sentenced to flogging and imprisonment. And All We Imagine as Light was the first Indian film to play in Cannes' competition in three decades. Elsewhere, In Vitro is an Ashley Zukerman (Succession)-led Australian sci-fi thriller about a couple doing biotech experiments, the Ilana Glazer (The Afterparty)-led mom-com Babes is helmed by Pamela Adlon from Better Things, and Carnage for Christmas brings Yuletide mayhem courtesy of a tale about a true-crime podcaster in the sights of a psychotic killer. And for a piece of inspiration, the Osher Günsberg-narrated 150 follows Erchana Murray-Bartlett's attempt to run 150 marathons over 150 days. In total, 52 features grace BIFF's 2024 roster, meaning there's plenty more joining all of the aforementioned flicks — and plenty of excuses for Brisbane movie lovers to spend 11 days doing nothing but watching festival films in cinemas.
When beer brewers Killer Sprocket and Kaiju teamed up to make KaKS Cotmari, they bottled a malty science experiment and featured a menacing creature on its label. But that wasn't to be their only foray into monster movie territory. Now, as part of Brewsvegas 2016, they're holding a movie night — and you can be there to watch, witness and taste the results. Knocking back a beverage by both companies is a must, of course; however watching their film of choice is just as important. In fact, the former will help you enjoy the latter, as The End pops on a classic Japanese flick and lets Killer Sprocket's brewer-slash-comedian Sean and Kaiju's resident funny guy Nate provide their own commentary. The ticket price includes the film, a beer and a plate of gyoza on arrival.
Unafraid to shock and appall, sharp photographer, journalist and human rights activist Shahidul Alam examines the ever-increasing issue of ever-prominent extra-judicial killings in Bangladesh. In 2004 the Bangladeshi government created The Rapid Action Battalion, a new armed-enforcement agency formed in response to what they perceived to be a law and order crisis. Quickly the RAB became notorious and feared for their quickness to act violently and itchy trigger fingers, and hated for the number of people, allegedly, blindly killed in the crossfire. Shahidul Alam’s Crossfire opened to government opposition. First shown in 2010 to draw attention to The Rapid Action Battalion’s wanton disregard for public safety the project was swiftly shutdown by a government keen to hide from reality. But, following a high court ruling in Alam’s favour, the show was re-opened for a single day. Following a successful run at New York’s Queens Museum in April this year the exhibition comes to Brisbane’s Powerhouse for its first Australian appearance.
