UPDATE: July 6, 2020: Call Me By Your Name is available to stream via Netflix, Google Play, YouTube and iTunes. With Call Me By Your Name, Italian director Luca Guadagnino spins a tale of first love in all of its stages. The initial sparks of attraction. The jittery excitement of making a connection. The all-consuming passion. With a script by veteran filmmaker James Ivory, as adapted from André Aciman's book of the same name, it's a picture about yearning and desire; a romance that knows the importance of every look and touch. Weaved from quiet, tender, everyday encounters that pepper every love story, it swells and surges, taking both its characters and its viewers on an emotional rollercoaster ride. Think of it as perhaps the greatest example of cinematic show and tell there is: to watch it is to experience the same heady, heated feelings as its central couple. "Call me by your name, and I'll call you by mine," grad student Oliver (Armie Hammer) whispers to 17-year-old Elio (Timothée Chalamet) in the film's most intimate moment. It's this idea — of losing yourself in someone so completely that the lines between you fade away — that provides the movie with its fluttering pulse. The two young men meet during a sweltering Italian summer in 1983, their initial awkwardness slowly blossoming into affection. Oliver's assured swagger seems as foreign to the tentative Elio as the older American's fondness for saying "later", but the teenager is soon ignoring his somewhat girlfriend Marzia (Esther Garrel) to spend as much time with his new companion as possible. Beneath ravishing blue skies, soaked in streaming sunlight, the pair laze around by the pool, stroll through the orchard and cycle through their scenic surroundings. They accompany Elio's professor father (Michael Stuhlbarg, in an astonishingly sensitive and perceptive parental role) to look at archaeological finds, the real reason for Oliver's stay. During sultry nights, they party, drink and dance. It's a seemingly typical narrative, and yet the end result is anything but. Call Me By Your Name paints a detailed, nuanced portrait of Elio's sexual and emotional coming-of-age, and wholeheartedly conveys the uncertainties of a blooming gay romance played out in stolen moments. At the same time, the film speaks to anyone who has ever been overwhelmed by their feelings for someone else. It's a story that feels widely relatable while remaining deeply specific to queer relationships — drawing viewers into the intricacies of Oliver and Elio's dalliance while making everyone feel like, in some way, it's our own. Best known for the grief-tinged I Am Love and the chaotic interpersonal escapes of A Bigger Splash, Guadagnino crafts Call Me By Your Name as if he's sharing memories rather than relaying a fictional narrative. The stunning images lensed by cinematographer Sayombhu Mukdeeprom (Arabian Nights), with their precise, postcard-like composition and radiant warmth, seem as though they were etched into the filmmaker's mind long before the movie ever existed. The same also proves true of the moments between characters, with Guadagnino and his regular editor Walter Fasano giving every glance and spoken exchange the room to breathe and grow in a film where silence says more than even the most heartfelt of words. Still, for all its many charms, casting might be the feature's most crucial element. Call Me By Your Name is a triumph of acting, with Chalamet and Hammer both in sensational, career-best form. Indeed, as a precocious slip of a teen who finds his life forever changed, Chalamet delivers one of the best screen performances of recent years. Meanwhile, despite his lengthier resume, Hammer has never been more charismatic or vulnerable. It's their work, as much as anything around them, that helps immerse audiences in this seductive, sensual, personal and piercing account of romance's ebbs and flows. A film as infectious and intoxicating as the well-deployed strains of the Psychedelic Furs' 'Love My Way', Call Me By Your Name is the story that stories about first love will be judged against for many years to come. https://www.youtube.com/watch?v=R0UgXrhCPHo
Imagine sitting on the edge of an inflatable raft boat as you float down a river through a spectacular gorge surrounded by World Heritage-listed rainforest. Sounds pretty incredible, right? Now, picture taking that same boat down steep ravines and raging rapids and you've got the wet and wild adventure that is white water rafting. In Tropical North Queensland, you can choose to conquer a number of courses on the region's world-class rafting rivers. For a full day of adventure filled with thrills and spills on 45 rapids, book a trip on the Tully River with eco-certified rafting company Raging Thunder. Or, if you'd prefer to, quite literally, test the waters on a shorter course, try the half-day trip on The Barron River.
Whether you're treating yourself to a staycation or travelling further afield, no one likes going on holiday without their four-legged best friend. That adorable pooch isn't just your trusty companion at home, but in general — and, as every dog lover knows, those barking cuties like doing everything you do (and 100-percent think they can, too). At QT Hotels & Resorts across Australia and New Zealand, your dog can now come for a luxurious sleepover with you, with the chain going pet-friendly. Book yourself and your pupper in for a night, and you won't be the only one ordering off the dine-in menu or scoping out the mini-bar, either. Now on offer at all of QT's sites, the chain's Pup Yeah! fur-friendly stays include a night's accommodation for you and your doggo, an in-room menu specifically for woofers, a pooch-friendly mini bar offering and designer canine bedding. The doggy food range is overseen by the brand's head of treats — Nic Wood in Australia and Jiwon Do in NZ — and includes steak tartare with raw beef, mushrooms and egg yolk; bone marrow risotto with bone broth and crispy pigs ears; and chicken livers and pork necks on wholemeal toast with chicken gravy. Fancy a pupper dessert? There's also a bacon ice cream sandwich, made from bacon ice cream, dried liver and oat biscuits. If your canine has dietary requirements, QT also has appropriate options thanks to Eden Bondi — including vegetable terrine, sweet potato meatballs, and pupcakes with watermelon. And, in the mini-bar, there are also treats from pet bakery Woof Gateau for Aussie dogs, while NZ pooches can snack on bites from Wellington dog bakery Smack Bang. Bedding-wise, in Australia your pupper will be reclining in comfort thanks to a Nice Digs sleep set — and Wolves of Wellington is doing the honours in NZ. Some QT sites are even doing dog treatments at their onsite spas, such as pedicures, mud masks and blow dries. If you're now thinking of planning an indulgent getaway with your pooch, you'll just need to make sure it weighs less than 20 kilograms. Packages start at $450 per night, which includes bedding, a water bowl and a dish for your doggo from the in-room menu. For more information about QT Hotels & Resorts' Pup Yeah! dog sleepovers — and to book a stay — visit the chain's website.
There's nothing small about Hollywood's superhero obsession, with its 30-movies-deep-and-counting cinematic universes, competing caped-crusader realms, ever-growing spread across screens big and small, and determination to enlist every actor ever (and some actors more than once). That decades have passed, many spandex-clad characters have cycled through a few faces now, and reuniting past and present versions of beloved crime-fighters is the current trend: none are minor matters, either. And yet, when 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made those flesh-and-blood flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. Five years later, the first sequel to the deservedly Academy Award-winning masterpiece plasters around the same sensation like a Spidey shooting its silk. Give this latest take on Stan Lee and Steve Ditko's iconic character 2024's Best Animated Feature Oscar immediately. All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so astonishing and exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because the Spider-Verse movies truly do whatever a Spider-Man movie can. In Across the Spider-Verse, which will be followed by 2024's Spider-Man: Beyond the Spider-Verse plus a Spider-Women spinoff after that, being an imaginative and agile spider-flick initially entails hanging with Spider-Gwen (Hailee Steinfeld, one such talent with multiple superheroes on her resume thanks to Hawkeye). In most Spidey stories, Gwen Stacy is a love interest for Peter Parker, but the Spider-Verse Gwen from Earth 65 was bitten by a radioactive spider instead. Alas, with a great twist to the status quo comes not-so-great consequences for the aquamarine-haired teen drummer. Accordingly, when a battle with a Renaissance-era Vulture (Jorma Taccone, Weird: The Al Yankovic Story) gets the attention of Miguel O'Hara/Spider-Man 2099 (Moon Knight and X-Men: Apocalypse alum Oscar Isaac) and his Spider-Society, she begs to join. Before the film goes jumping between universes upon universes, however, it begins with a dazzling demonstration of how intimately linked its graphics and characters are. Gwen's dimension takes its cues from watercolours and sketches, which wax and wane in their hues and movement depending on her inner state. It's a breathtaking sight and an immensely moving touch, and Across the Spider-Verse is just getting started. For newcomers and folks with foggy memories alike, Gwen also narrates backstory details, filling in what's occurred since the first feature while playfully parodying that overused approach. When the movie slides into Miles Morales' (Shameik Moore, Wu-Tang: An American Saga) life, he takes her lead, but gives it his own spin. The first Black Latin American Spider-Man is now 15, and more confident in his spider-skills and -duties. In-between being Brooklyn's friendly neighbourhood Spidey and attending a private school that'll ideally help him chase his physics dreams, he's even guest-hosted Jeopardy!. But not telling his mum Rio (Luna Lauren Velez, Power Book II: Ghost) and police-officer dad Jefferson (Brian Tyree Henry, Causeway) about his extracurricular activities is weighing upon Miles, and he's still yearning for mentorship and friendship, especially knowing that Gwen, Peter B Parker (Jake Johnson, Minx) and an infinite number of other web-slingers are all out there catching thieves just like flies. The Spider-Verse movies take each new Spidey as a challenge to make their style and world their own, but never put aesthetics over substance. When another iteration drops in, then another and another, there's nothing arbitrary, unthinking or simple about how directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer) and their team depict anything about them. That's true in Mumbattan, where the film finds Pavitr Prabhakar/Spider-Man India (Karan Soni, Miracle Workers). And when Hobie Brown/Spider-Punk (Daniel Kaluuya, Nope) swaggers around, it's also accurate of the Sex Pistols-meets-Basquiat standout and his totalitarian-ruled universe. He isn't part arachnid, but the same applies with Across the Spider-Verse's big bad The Spot (Jason Schwartzman, I Think You Should Leave with Tim Robinson), whose fight scenes are a mind-bending wonder. Is coming-of-age angst still a part of these spider-tales? Yes. Do uncles and aunts still die, and other loved ones? Yes again. And are loss, heartbreak and great powers begetting great responsibilities still pivotal factors? That's another yes. And yet, returning writers Phil Lord and Christopher Miller (directors of The Lego Movie, too), plus Spider-Verse newcomer Dave Callaham (Shang-Chi and the Legend of the Ten Rings, Wonder Woman 1984), engage as eagerly and astutely with those spider-basics as the imagery springing from their script manages in every remarkable frame (all of which earn the cliche that they could and should grace walls). Across the Spider-Verse is gorgeous not only in those enchanting and entrancing visuals that couldn't better reveal who its characters are, why, and what they're thinking and feeling, but in how keenly it interrogates and engages with the comic-book medium and the page's limitless possibilities. Saying that the film resembles sticking every past Spider-Man outing in every format into a blender is a compliment; every spider-element is that well-merged. Although Across the Spider-Verse embraces being everything it can with every pixel — explodes with that idea, in fact, and makes the utmost of the freewheeling artistic freedom that animation is capable of — that isn't its message for Miles or audiences. There's so much going on in this intricate picture's kaleidoscope of intricate pictures, including unpacking what it means to have endless choices, or want to. Where the first film made it plain that being a hero isn't just for the stereotypical usual suspects and never should've been, this one champions the fact that no destiny is the same for everyone. At the same time, it conveys that being true to yourself and being in the moment is more meaningful than constantly pondering what might happen. As given voice by its first-rate cast, all imbuing their characters with a lifetime of emotion, it's no surprise that Across the Spider-Verse is so potent and infectious, or that it leaves live-action caped crusaders resigned to its shadows.
Not content with hosting the Brisbane Comedy Festival, queer culture fest Melt, and a jam-packed calendar of other events all year every year — and just adding a new outdoor venue, too — Brisbane Powerhouse is gifting music and art fans a brand-new boundary-pushing celebration of sound, tunes and performance. Meet ΩHM (pronounced "ohm"), a fresh venture that's all about getting adventurous. The New Farm venue has dubbed the event a "festival of other music", with a growing lineup that includes Peaches, Future Islands and Hear My Eyes doing Pan's Labyrinth to back up that statement. Across February and March 2023, ΩHM will take over the riverside spot with a program curated by Room40's Lawrence English alongside Brisbane Powerhouse Arts Program Director Brad Spolding, serving up a mix of big-name international headliners and emerging local acts — and gigs, cutting-edge shows and immersive installations. Peaches does the honours while she's in the country for Mona Foma, and Future Islands hits the fest as part of their first Aussie tour since 2017. Those two impressive headliners are part of ΩHM's previously announced first lineup drop, which also spans Monolake + Electric Indigo and The Chills, as well as Kae Tempest, Nakhane and black midi. There's more where that list of acts came from, too, with ΩHM turning its second program announcement into its big launch. Just announced today, Tuesday, November 29, ΩHM is screening Guillermo del Toro's Pan's Labyrinth like viewers have never seen it before — with a brand-new live score by Sleep D. This premiere performance marks Hear My Eyes' return to Brisbane, and continues its spate of stunning film-and-music combos (see: its take on Chopper in 2022 in Sydney and Melbourne, plus past tours of No Country for Old Men with Tropical F*ck Storm and Suspiria with King Gizzard & The Lizard Wizard). Also joining the bill are audiovisual artist Robin Fox, Los Angeles-based composer Yann Novak and Iranian sound artist mHz, who'll serve up a triple bill of audiovisual performances. ΩHM will host the Australian premiere of Fox's Triptych straight from UNSOUND KRAKOW, featuring three RGB laser projectors working in synchronicity. If you've seen his past works — Night Sky for Brisbane Festival, Aqua Luma for Mona Foma 2021, BEACON for Mona Foma 2022 and MONOCHORD for Rising Festival 2022, for instance — you'll know you're in for something special. As for Novak, he'll be using sound and light to explore how both can focus one's awareness on their experiences, as informed by his partial colour blindness and dyslexia. And, New Zealand-based Iranian sound artist mHz will take inspiration from material and architecture to hone in on sound and light production. [caption id="attachment_880277" align="alignnone" width="1920"] Robin Fox, Single Origin, Diego Figueroa.[/caption] Also, Swiss artist Zimoun will present two installations, both Australian premieres and exclusive to Brisbane. His ΩHM berth marks his debut exhibiting to Aussie audiences in general, and will showcase his work with everyday and industrial materials to mix sound and architecture. "Works like Zimoun's kinetic sound sculptures, Robin Fox's expansive audiovisual laser environments and Hear My Eyes: Pan's Labyrinth x Sleep D exist at a special nexus of sight, sound and space," said English, announcing ΩHM's new additions. "These dynamic pieces capture intensity and energy matched with a fearless sense of focus. The works are simply mind-blowing." ΩHM runs throughout February and March at Brisbane Powerhouse, 119 Lamington Street, New Farm. For more information and to buy tickets, head to the Powerhouse website. Top image: Hadley Hudson.
It's time to mark another food-based commemorative occasion. Yes, another one. By now, we all know that they're just excuses to eat more of a certain dish — and there's so many of them that you really could use them to plan your daily eating choices. But we keep celebrating dates like International Lobster Day because they're both tasty and fun. At Kangaroo Point, One Fish Two Fish is getting into the spirit of this lobster extravaganza in 2020 by, well, serving up the obvious. And it's doing so across three days — from Wednesday, September 23–Friday, September 25 (which is actual International Lobster Day). Make plans for dinner from 5pm on the Wednesday or Thursday or lunch from 12pm on the Friday, with $79 three-course feasts on offer. You'll eat your way through a bisque paired with a pastry disc, then tuck into a brioche roll with scampi caviar and sriracha mayo, and finish with grilled western rock lobster on tagliatelle with tarragon butter. Booking quickly is recommended, with only limited seats available. One Fish Two Fish's International Lobster Day menu is on offer from Wednesday, September 23–Friday, September 25.
The first time that Will Smith was nominated for an Oscar, it was for dramatising Muhammad Ali's story in Ali. It's much, much, much too early to say if he'll get the nod for his latest stint as a sporting figure — no one has even seen his upcoming movie King Richard yet, after all — but Smith sure looks to be angling to add a few shiny trophies for his mantle. He plays someone familiar with watching other people pick up silverware, in fact, given that he's playing Richard Williams — father of superstar tennis champions Serena and Venus. As the name makes plain, King Richard is all about the dad behind the ace-swinging duo, and his role in raising them, nurturing their talents and establishing their careers. When the girls first start showing their skills in Compton as children, neither Serena nor Venus nor Richard have any idea where their path will head. Viewers obviously do, but consider this the story behind the well-known story. The tone: persistent, moving and inspirational, at least based on the just-dropped trailer for King Richard, ahead of its release Down Under in November. From the sneak peek, Smith plays Richard as determined, confident and hardworking. Told that he might have the next Michael Jordan on his hands, he replies that he actually has the next two. Directed by Reinaldo Marcus Green (Monsters and Men), the biopic thankfully sees Smith in a completely different mode to his last big-screen appearance — in the abysmal, terrible and grating Bad Boys for Life. In King Richard, he's joined by Saniyaa Sidney (Fences) and Demi Singleton (Godfather of Harlem) stars as Venus and Serena, plus Aunjanue Ellis (Lovecraft Country) as their mother Oracene 'Brandi' Williams. Also among the familiar faces: Jon Bernthal (Those Who Wish Me Dead) as coach Rick Macci and Tony Goldwyn (Scandal) as coach Paul Cohen. Check out the trailer below: King Richard will release in Australian cinemas on November 18. Photo Credit: Courtesy of Warner Bros. Pictures.
If you didn't know that The Outsider was based on a book by Stephen King, you'd guess rather quickly during the show's first episode. A child is found dead, a town is understandably shocked and scandalised, and all of the evidence points detective Ralph Anderson (Ben Mendelsohn) towards local Little League coach Terry Maitland (Jason Bateman) — except that just as much evidence also shows that Terry was miles away at the time the murder took place. Throw in a strange hooded figure who keeps hanging around the Maitlands' house, plus a private detective (Cynthia Ervio) with preternatural deductive abilities, and The Outsider combines crime and horror in an instantly absorbing fashion. It's a must for King fans, whether you've read his 2018 novel or not. It's also absolutely essential for Mendo lovers, with the Aussie actor breaking away from his recent villainous blockbuster roles and putting in quite the performance.
To swim at the beach is to enjoy pure, natural beauty, but swimming at the pool allows for something else: the appreciation of nature and the human-made together. Whether driven by landlocked location, the presence of healing hot springs, or just a fear of waves, people have built stunning public swimming pools all over the world. These are ten of the best. Gellert Baths - Budapest, Hungary One hundred and eighteen thermal springs produce 70 million litres of warm water in Budapest every day. It's little wonder that the Hungarian capital is otherwise known as the 'Spa City'. Of the many pools found there, the Gellert Baths are the most visited. Built during the First World War, they are famous for their majestic, art nouveau architecture and the healing powers of their springs, acknowledged since medieval times. Badeschiff - Berlin, Germany As part of a 2004 public art project, Berlin based artist Susanne Lorenz transformed the hull of a 32m-long ship into a swimming pool and set it afloat it on the River Spree. Known as the Badeschiff, meaning 'bathing ship' in English, it is now one of Berlin’s primary summer attractions and includes table tennis tables and DJs for year-round fun. Montjuic Municipal Pool - Barcelona, Spain If you're a Kylie Minogue fan, you might recognise this view. She and a crowd of rather statuesque divers spend her video clip 'Slow' rolling around on beach towels next to the Montjuic Municipal Pool. Located on a hill high above Barcelona, this one offers spectacular scenery and Olympic diving boards. The Blue Lagoon - Reykjavik, Iceland The silica- and sulphur-rich waters of the Blue Lagoon are believed to possess powerful medicinal qualities. Whether or not you're one of the faithful, you're bound to be seduced by the mystical surroundings and the year-round 37-39°C water temperatures, especially if you're visiting during one of Reykjavik's icy winters. Having appeared in The Amazing Race 6, Hostel: Part II, and Britain's Next Top Model, the Blue Lagoon is one of Iceland's star tourist attractions. Yrjonkatu Swimming Hall - Helsinki, Finland This one is a must for skinny dipping enthusiasts. Up until 2001, you weren't even allowed in the Yrjonkatu with your clothes on. These days, nudity is still popular, but not obligatory, and men and women must visit at separate times. Established in June 1928, Yrjönkatu is Scandinavia’s oldest indoor public swimming pool. Its stunning classical-style architecture conjures up an atmosphere reminiscent of the ancient Roman baths. Barton Springs Pool - Austin, Texas For thousands of years, the Tonkawa Native American tribe used the springs that feed into Barton Pool during sacred rituals. Acquired by settlers in the 19th century and then by the City of Austin during the 1920s, the springs have been transformed into a public pool, which now lies inside Zilker Metropolitan Park. The water temperature is never much lower than 20°C and rarely exceeds 22°C, so you can take the plunge in comfort at any time of year. Pocas do Gomes - Madeira, Portugal The Pocas do Gomes lie on the idyllic southern edge of Madeira, a Portugese archipelago located 400km north of the Canary Islands. Naturally formed from volcanic rock, these pools enable expansive views over the Atlantic Ocean. A nearby restaurant offers fresh seafood and Portugese-style culinary delights. Piscine Molitor - Paris, France The Piscine Molitor, after which Yann Martel's increasingly famous fictional hero is named, may not be considered one of the world’s most beautiful pools right now. Built in 1929, but having closed in 1989, it became a favourite haunt for hoodlums and graffiti artists throughout the 1990s. However, a 2014 reopening promises the reconstruction of the pool in all its art deco glory. If Ang Lee's imaginative depictions are anything to go by, the Piscine Molitor will soon be vying for top of the list. Krapfenbaldwad - Vienna, Austria Situated just outside of Vienna and surrounded by vineyards, Krapfenbaldwad affords sweeping views. Given that Austria is landlocked, this pool provides some welcome cool relief for both locals and visitors and is often packed during the summer months. The old-fashioned changing rooms add an olde worlde charm to the bathing experience. Bondi Icebergs Baths - Sydney, Australia Finally, we'd be doing ourselves a disservice were we to forget that some of the most beautiful scenery on Earth is on our doorstep. The Waverley Council recognised this back in the 1880s, when they built the Bondi Baths at the southern end of Australia's most popular beach. Since 1929, the Baths have been home to the famous Icebergs, the only licensed Winter Swimming Club in the world. To be a member, you must be willing to swim at least one length of the 50m pool on three Sundays out of every month, all winter long. Any attempts at an excuse will only see your membership relinquished. If that’s not quite your style, take a dip at your leisure for $5.50 (adults) / $3.50 (children/Seniors).
It wouldn't be a film adaptation of a Nicholas Sparks book without the glow of sunlight, the shimmer of a body of water, and some all-knowing, overly sentimental narration. Sticking as closely to the formula as it can, The Choice begins with all three. Other Sparks trademarks swiftly make themselves known: an opposites-attract romance featuring would-be paramours from different sides of the tracks; rustic homes in a scenic, small-town location; letters professing feelings of love and longing; and a sudden catastrophe threatening to tear the central duo apart. Original, this certainly isn't. Indeed, while the movie version of The Choice might not be directed or written by Sparks (those honours going to relative newcomers Ross Katz and Bryan Sipe, respectively), there's never any doubt that the author responsible for 18 sappy books to date is the most influential force behind this film. Audiences that have watched Channing Tatum and Amanda Seyfried in Dear John, Liam Hemsworth and Miley Cyrus in The Last Song or Zac Efron and Taylor Schilling in The Lucky One — yes, attractive white people hooking up is another of Sparks' staples — should know what they're in for. This time, charismatic veterinarian Travis (Benjamin Walker) and spirited medical student Gabby (Teresa Palmer) are the star-crossed parties in the spotlight, meeting when the latter accuses the former's dog of knocking up her own beloved pooch. Though Travis is already fooling around with barmaid Monica (Alexandra Daddario) and Gabby is dating local doctor Ryan (Tom Welling), sparks between the two soon fly (pun intended). The will-they-or-won't-they aspect of their relationship isn't the end of their tale, though. The first half of the feature charts their courtship, then the second half moves the characters to a hospital seven years later, where the titular decision comes into play. As it is in all movies made from Sparks-penned fare, wish fulfilment is the aim of the game, peddling the notion of an epic love story that will withstand even the harshest obstacles, and trying to push as many emotional buttons as possible in the process. But while there's nothing wrong with romantic fantasies or old-fashioned weepies, The Choice dials everything up way too many notches — clumsy meet-cute, overly adorable rapport, corny dialogue and tragic twist included. The film isn't just adhering to a template, it's lazily throwing clichés at the screen to see what sticks. At least Walker, who was previously the best thing about Abraham Lincoln: Vampire Hunter, oozes the requisite charm, while Palmer is given much more to do here than she did in the Point Break remake. The scenery also proves a highlight, though it's obviously a problem when the picturesque background is more engaging than the narrative. Of course, the more troubling thought is that there are still seven of Sparks' novels that haven't been made into movies… yet. We might all love Ryan Gosling and Rachel McAdam locking lips in the rain, but The Notebook has a lot to answer for.
In addition to the unbeatable views of one of the world's great landscapes, this two-day cruise in the Great Barrier Reef is jam-packed with things to do. If you've never been to the UNESCO World Heritage-listed site — or it's been a while since you last visited it — a Sunlover Reef Cruise is the see it. Activities include water sliding, snorkelling, scuba diving, a private glass-bottomed boat tour, and even a helicopter ride to see the reef from up high. You'll also be treated to a stunning sunset which leads into a dreamy night of stargazing under the southern sky before a night sleeping under a blanket of stars in the middle of the reef. [caption id="attachment_831047" align="alignnone" width="1920"] Tourism & Events Queensland[/caption] Top images: Tourism & Events Queensland
Take one of popular culture's biggest supervillains, throw in one of today's very best actors and add the director of The Hangover trilogy. Only a few years ago, the above sentence might've seemed like a joke. Today, it's the reality we're living in — the reality that sees a standalone Joker movie cackling its way towards cinema screens, starring Joaquin Phoenix in the titular role. Move over Cesar Romero, Jack Nicholson, Heath Ledger and Jared Leto — it's Phoenix's time to don exaggerated clown makeup, wield a killer smile and wreak havoc on Gotham City. The just-released first trailer for Joker promises plenty of all three, as failed standup comedian Arthur Fleck turns to a life of facepaint-wearing crime (and eventually obsessing over Batman, we're guessing). As directed and co-written by Todd Phillips (Old School, Starsky & Hutch, Due Date), Joker also comes with a suitably unhinged vibe, as if Phoenix's You Were Never Really Here character stumbled into Martin Scorsese's The King of Comedy. (Fittingly, the latter film plus Taxi Driver and Raging Bull have been cited as inspirations for the new DC Comics flick, and Scorsese is one of Joker's executive producers.) It also looks certain to help everyone forget that the last take on the famous villain only arrived three years ago, because who wants to remember Leto's green-haired turn in Suicide Squad? Here's hoping Phoenix will follow in the footsteps of Nicholson and Oscar-winner Ledger instead, which looks likely based on the footage so far. And, of course, his excellent body of work in general. Robert De Niro, Atlanta's Zazie Beetz and Brian Tyree Henry, and Marc Maron also feature in Joker, with the film hitting cinemas in October. Check out the first trailer below: https://www.youtube.com/watch?v=t433PEQGErc Joker releases in Australian cinemas on October 3, 2019.
West Village is already one of the greenest parts of West End, and now it's letting you take some plant-life home with you. No, you can't raid the precinct's garden — but you can browse the stalls at the spot's first Plant Market. Looking for something leafy to sit on your window sill? A statement plant for your back deck? Terrariums and kokedamas to place (and hang) wherever fits? Ceramics to spice up your shelves? Succulents and cacti, because they brighten up any space? Good ol' fashioned flowers, just because? Botanical-themed jewellery? Some cactus-shaped cookies? Thanks to a long list of participants including All the Green Things, Max and Mort, Soul Pantry, September Creative, Billeta, Luvia Designs, Succulent Mummas, and Hansel and Gretel Cakes, they're all on offer. Just head on down to the free event from 10am–3pm on Sunday, June 16 — and if you have some plants at home that don't quite suit, could use someone else's love or you're just not feeling, you can bring them along to the onsite greenery adoption centre. At hourly intervals, you can also learn a few tips and tricks at the Plant Market's workshops, including about potted plants, making your own plant earrings, and kokedamas — for a fee between $10–60, and with registration required.
Living through bushfires, drought, a pandemic and economic depression — sounds familiar, right? Australian impressionist painter Arthur Streeton might have lived a hundred years ago, but his worldview was impacted by all-too-familiar cycles of environmental, economic and political upheaval. If you don't know much about Streeton, you'll have the opportunity to get to know one of Australia's most loved landscape painters through 150 of his works — including some that haven't been shown since the 1920s — in a new retrospective exhibition at the Art Gallery of New South Wales. Head curator of Australian art Wayne Tunnicliffe took a deep dive into the Gallery's collection to uncover not only the beloved paintings hanging on the Gallery's walls, but also works within the collection that have been stored away for over 100 years. Born in 1867, Streeton's art practice evolved over six decades. Within the exhibition, you'll see that evolution and an enduring passion for Australia's natural beauty; there are his sun-drenched landscapes from the 1880s, bright, joyful depictions of Sydney Harbour from the 1890s and his bucolic paintings of the 1920s and 30s. [caption id="attachment_784956" align="alignnone" width="1920"] Arthur Streeton, 'From McMahon's Point — fare one penny' (1890), National Gallery of Australia, Canberra[/caption] He painted familiar, and often beautiful, locations in New South Wales, from Coogee and Manly beaches to the Blue Mountains and upper Hawkesbury River. His skill at capturing light, land and sea contributed to Australia's take on impressionism. His peers — artists Tom Roberts and Charles Conder — were part of a new art movement, the Heidelberg School, that was a distinctly Australian take on the global art movement. The exhibition, which runs from November 7–February 14, will feature 150 works from both public and private collections — including paintings, drawings and watercolours. It's the most significant retrospective of Streeton's art ever presented, and includes works from the artist's time in Egypt, England, Italy and in France during the second world war. As well as his final works, which show Streeton's increasing focus on environmental concerns — on his return to Australia, Streeton became more vocal about conservation and exhibiting works showing our destruction to the natural world. Tickets to 'Streeton' cost $22 and you can buy timed-entry tickets online now. If you have already purchased untimed and undated tickets for 'Streeton', your tickets will be honoured for any date and time until February 14, 2021, excluding opening weekend. For $35, you can upgrade to a Gallery Pass, which gives you access to 'Streeton' and the 'Archibald, Wynne and Sulman Prizes 2020'. Top images: 1. Arthur Streeton, 'Early summer – gorse in bloom' (1888), Art Gallery of South Australia, Adelaide, Gift of Mrs Andrew Tennant through the Art Gallery of South Australia Foundation 1982. 2. Arthur Streeton, 'The Land of the Golden Fleece' (1926). Private collection, Sydney. Photo: Jenni Carter, AGNSW.
Late at night: that’s when all the fun stuff happens. Things get a little loose and a little crazy, audiences are ready for something a bit strange and silly, and comedians get brave enough to try out new material. The Brisbane Comedy Festival knows this, and they’ve created the perfect place for all kinds of shenanigans. Think a comedy club in the middle of the Brisbane Powerhouse, with the requisite laidback atmosphere. Anything goes at Chalkboard — and anyone, too, with lineups announced on the day. You never quite know what might happen, but it won’t certainly won’t be like anything on the main stages. Chalkboard is on Friday and Saturday nights at 10pm.
One Drink Jack Nicholson wears sunglasses. Harrison Ford wears an earring. Ellen thanks Seth MacFarlane for setting the bar so low. Winner thanks God or Jesus. Winner pays tribute to the late, great Phillip Seymour Hoffman. Winner commends losing nominees. Winner’s speech is played off by the orchestra. George Clooney says something earnest and/or pulls a “hilarious prank”. Leonardo DiCaprio smiles with an “Another year, another supermodel” look. George or Leo brings his mother as his date (five drinks if they bring each other’s mothers). Matthew McConaughy makes an incomprehensible speech and/or beats his chest in rhythm. Presenter refers to “The McConaissance” Jennifer Lawrence does something adorably “real” (three drinks if it’s a fashion mishap). Michael B. Jordan offers to star in the sequel to Space Jam. Channing Tatum refutes the suggestion that 22 Jump St will be the last in the series because he can’t count any higher. Jennifer Garner reminds us she's married to Ben Affleck who has TWO Oscars. Kevin Spacey refers to that corrupt, pernicious, money-hungry institution ... HOLLYWOOD. Not CONGRESS. HOLLYWOOD! Two Drinks Jack Nicholson wears sunglasses and a hat. Harrison Ford wears an earring and an Indiana Jones hat. Ellen jokes that the show will be longer than the Sochi Games and almost as long as Wolf of Wall Street. Winner thanks Buddha or Ganesh. Winner pays tribute to the late, great James Gandolfini. Winner describes his/her film as “important” Winner describes his/her film’s director as “a genius”. Special effects winner has a ponytail. Brad Pitt says something insightful/poignant, or Angeline Joie says something lighhearted. Jessica Biel says that marrying Justin Timberlake was irrelevant to getting a presenter’s gig. Liam Neeson looks genuinely surprised he wasn’t nominated for anything. Goldie Hawn tells Kate Hudson that she should give Matthew McConaughy a call now that he’s all respectable and accomplished. Anne Hathaway makes a rambling joke about rambling in her acceptance speech last year (three drinks if she also sings). Joaquin Phoenix brings a “Galaxy S5 – new from Samsung!” as his date. Amy Adams says it was awkward to be upstaged by her own cleavage in American Hustle. Kerry Washington mentions the potential for “scandal”. Emma Watson refers to the “magic of filmmaking”. Bendict Cumberbatch, referencing Smaug, is disappointed to be surrounded by golden statues he can’t keep himself. Three Drinks Jack Nicholson wears sunglasses and an Indiana Jones hat. Harrison Ford wears an earring, sunglasses, and an Indiana Jones hat. Ellen conducts a divorce of some of the couples who were married at Grammys but have found marriage to be “overrated”. Winner thanks Allah or Mohammed. Winner pays tribute to the late, great Paul Walker. Losing nominee mouths “fuck” when the winner is announced. Non-human presents an award. Congratulatory kiss or embrace from presenter “gets awkward”. Keanu Reeves throws a tantrum because they are re-making Point Break. Chris Hemsworth says he’s shocked that Liam and Miley’s engagement didn’t work out. Jonah Hill is reminded that he’s a two-time Oscar nominee and chuckles, “Who’s ‘super bad’ now, Michael Cera?” Naomi Watts congratulates Robin Wright on her engagement (five drinks if she also notes that Ben Foster is not quite young enough to be either of their sons). Jared Leto and Lupita Nyong’o win and make out on stage. The Lone Ranger wins for Best Visual Effects and everyone is just confused. Daniel Day-Lewis says he’d give his left foot to have Phillip Seymour Hoffman back. Bill Murray and Dan Aykroyd dress as Ghostbusters to farewell Harold Ramis (five drinks if Ernie Hudson also gets on stage). Jospeh Godon-Levitt or Tyler Perry makes a reference to marriage equality, Jason Collins, Michael Sam, or the Arizona veto. Five Drinks Ellen announces that presenters do not have to hand over awards to any winner who is ... from Arizona. Gravity wins an award and Neil DeGrasse Tyson rushes the stage to protest. John Travolta and Samuel L. Jackson take Christoph Waltz hostage, demanding that Quentin Tarantino make them relevant again. “Jackass” and “the Oscar goes to...” are used in the same sentence. Chiwetel Ejiofor or Michael Fassbender notes that it’s a bit weird that the two main actors in a movie about American slavery are English and German.
There's always something new in the works from Josh Niland. There's always another restaurant on the way, someone throwing the Sydney seafood chef some love or a reason to try his nose-to-tail approach to the ocean's finest. In the past year or so alone, he's opened his second iteration of seafood butchery and takeaway shop Fish Butchery in Waterloo, announced plans to take over The Grand National Hotel and move restaurant Saint Peter into it, and launched restaurant and bar Petermen in St Leonards. Oh, and he was the only Australian to make the top 100 best chefs in the world list for 2022, and scored the Game Changer Award from France's prestigious La Liste with his wife Julie. Next on the list: slipping back into home kitchens everywhere. As much of a delight as it would be to have Niland drop by your door and whip you up at meal, that sadly isn't on the menu — but helping you learn his tricks of the trade, and make his recipes, is. Already, Niland has released two cookbooks: The Whole Fish Cookbook in 2019 and its sequel Take One Fish. Next comes a tome with a familiar name, aka Fish Butchery. [caption id="attachment_855330" align="alignnone" width="1920"] Rob Palmer[/caption] For his third foray into print, the chef will share his expert techniques, and also some of his pioneering recipes. In the process, as his cuisine always does whether you're eating at his restaurants or working through his tips at home, he'll be advocating for culinary sustainability. Readers will peruse the manual's three sections — entitled 'Catch', 'Cut' and 'Craft' — for detailed instructions on how to prepare fish, plus 40-plus dishes to make. So, get ready to learn the reverse-butterfly and double-saddle methods, then cook up fish sticks, fish pies, fish sausages and fish chorizo. [caption id="attachment_870811" align="alignnone" width="1920"] Josh Niland at the Talisker and Saint Peter pop-up.[/caption] Debuting in hard cover and spanning 272 pages, Fish Butchery will hit bookstores on Wednesday, August 30. If you're a seafood fiend, you'll want to make space on your kitchen shelves ASAP — next to The Whole Fish Cookbook andTake One Fish, of course. The former nabbed Niland the James Beard Book of the Year Award back in 2020, becoming the first Australian do win the acclaimed prize. And the latter focused on 15 global varieties of fish, giving readers 60-plus ways to cook them up. [caption id="attachment_826359" align="alignnone" width="1920"] Josh Niland at Charcoal Fish.[/caption] Fish Butchery: Mastering The Catch, Cut And Craft will release on Wednesday, August 30. Top image: Rob Palmer, The Whole Fish Cookbook.
When Michael Crichton put pen to paper and conjured up a modern-day dinosaur-filled amusement park, he couldn't have known exactly what he'd done. The author easily imagined the story making its way to the big screen, because the Jurassic Park novel started out as a screenplay. He could've also perceived that a whole film and TV franchise could follow, and that folks would be quoting the movies for decades. And yet, we're guessing that he didn't predict the latest development: a recreation of the Jurassic World movies, which started with the fourth flick in the series back in 2015, made completely out of Lego. Jurassic World by Brickman first popped up in Melbourne in 2021, then Sydney in 2022. Next, Brisbanites will be able to wander through it, too — and peer at more than 50 dinosaurs, props and scenes from the Jurassic World movies that have all been fashioned out of the popular plastic bricks in the process. That'll all be on display at Queensland Museum from Friday, December 8, 2023–Sunday, July 14, 2024 as the exhibition keeps touring the country. More than six million Lego blocks have been used in Jurassic World by Brickman, each brick stacked together to create the four-metre-tall park gates, the lab where the dinosaurs are genetically engineered, those instantly recognisable jeeps, a heap of creatures and more. Welcome to... your Lego Jurassic World fantasy, basically. Lego dinosaurs are clearly the main attraction and, yes, this event is going big. There'll be a life-sized brachiosaurus that weighs more than two tonnes, a huge tyrannosaurus rex, two life-sized velociraptors (Blue and Delta), and everything from a stegosaurus to a triceratops, too. Plus, you'll see some prehistoric creatures in the baby dinosaur enclosure, encounter more on the loose and learn how to track them over the exhibition's recreation of Isla Nublar (while using your imagination a whole heap, obviously). If it all sounds rather sizeable, that's because Jurassic World by Brickman is the largest Lego exhibition in Australia. And if getting a closer look at Jurassic World sounds a little familiar, you might remember the non-Lego exhibition that hit Melbourne back in 2016 and the current showcase that's on display in Sydney right now. In Brisbane, Lego aficionados will also be able to get building while they're there, with 2.5 million bricks to play with. This'll be a family-friendly affair, so expect to have plenty of small dinosaur fans for company. Queensland Museum is having a dino-filled year given that it just said goodbye to Dinosaurs of Patagonia on Monday, October 2. Featuring fossils from 13 dinosaur species, that exhibition included the patagotitan, which was the largest-known land animal, reaching 37 metres in length and weighing 70 tonnes. It wasn't made out of Lego, though. Jurassic World by Brickman will display at Queensland Museum, corner of Grey and Melbourne Streets, South Bank, South Brisbane, from Friday, December 8, 2023–Sunday, July 14, 2024 — with pre-sale tickets from Monday, October 16 and general sales from Monday, October 23. Head to the venue's website for further details. Images: Anna Kucera.
When we sniff the word 'birthday' being thrown about somewhere, there's that instant ding in our minds: 'Ah yes. Official right to par-ty!' (never mind whose birthday it actually is). This time around it's our old mate Jack Daniels, and he's made it to 161 fine years. To celebrate, he's throwing one mighty big blow out. This year, a bevvy of musical acts are paying homage to one of Australia's greats, Icehouse – they who brought us 'Great Southern Land', 'Electric Blue', 'Crazy' and more (this would be your cue to hold a mini Icehouse YouTube party in your bedroom). Heading up the pack is Art Vs Science, who are no strangers to the cover, having taken on Daft Punk on Triple J's Like A Version. Along for the ride are Kate Miller-Heidke, Patience Hodgeson of The Grates, and Dappled Cities' Tim Derricourt. Plus, Purple Sneakers DJs will be at the decks to get things moving. To go in the running for one of four double passes to the JD Set, just make sure you're subscribed to Concrete Playground then email us with your preference of Sydney or Melbourne shows. Entries close Friday, September 9 at 5pm. https://youtube.com/watch?v=HRwis9CWcjA
On the fairly unassuming Hallenstein Street in picturesque Queenstown sits one of the most luxurious new offerings in New Zealand's hotel portfolio, offering a personalised accommodation experience worth travelling for. The Carlin is the brainchild of US-born hotelier Kevin Carlin, a property developer with a special connection to the region after buying up large swaths of land here decades ago in a move he says people claimed was "nuts". But unlike other hotels in the area, his newest venture and namesake does not sit on the crowded shores of Lake Wakatipu. Instead, it's found quietly up Queenstown Hill and therefore boasts jaw-dropping views of the lake and CBD. For those after a luxurious hotel experience, The Carlin is fairly unmatched. If you're looking for a typical five-star experience look elsewhere – this hotel modelled on the luxury hotels of Europe offers a range of spacious suites with 88 to 500 square metres of indoor and outdoor living space, and boasts a ''beyond five-star' experience. The "beyond five-star" features include (but are not limited to) private butlers, private chefs, private massage, a separate private entrance and access to a private jet and luxury vehicles — you can take a Bentley for a quick shopping sojourn into town and save your legs from the hike back up the hill afterwards. While most hotel balconies are an afterthought, that's not the case here – instead, your outdoor space has been maximised to make the most of those views. You'll find a spa, a fireplace and a full-sized dining table for entertaining. Want to host a dinner party? Your suite has a fully stocked kitchen — although you'll probably want to leave cooking preparations to your private chef. Our experience: Our arrival at the Carlin for a recent stay was marked by an extensive tour by the man himself. While clutching our welcome cocktails (dirty gin martini for me, spaced rum old-fashioned for my partner) we were taken around the various one-, two-, three- and four-bedroom suits – including a peek at the penthouse. More resembling a full-scale apartment, The Carlin Skyhome is the largest penthouse suite in Australasia. It has seven bedrooms spanning three floors, and a separate quiet entrance "for when Tom Cruise comes to stay", according to Carlin. If you want to book in hoping to spot celebs or royalty you'll probably be out of luck as discretion is the name of the game here. The hotel only accommodates a maximum of 50 guests at one time and can even be booked out by single groups – Carlin told us he has a family taking over the whole hotel for a week in December. Once you've settled into your suite and noticed the unique touches luxuriously appointed in gold and marble, showered with the Molten Brown toiletries and tried out the wildly exciting modes on the toilet (turn it into a heated bidet if you're so inclined), it's time to head downstairs for dinner. Oro (meaning 'gold' in Italian and Spanish) is the hotel's single restaurant, and hospitality brains will notice the clever separate hot and cold pass system designed by Kevin Carlin himself. This eatery offers a further elevated experience and one not reserved solely for hotel guests – you'll spot a mix of Queenstown locals taking the opportunity for a special occasion meal. The menu has a local lean, making the most of suppliers from the region. Standouts include the grilled ora king salmon, South Island venison, line-caught seafood and lamb rack from Royalburn Station — a name that will stand out for fans of Nadia Lim's television series Nadia's Farm. We opted for steaks, and upon learning my partner was a scotch man, the wonderfully attentive front of house brought out various examples on offer on a board so he could choose the most appealing cut. It's that attention to detail that most stands out at the Carlin — nothing is a bother. And while you're drinking, dining and chatting you'll realise the tinkling piano playing while you dine isn't a Spotify playlist, but the work of the hotel owner himself, taking a quick 10 minutes to entertain guests with a virtuoso performance in the corner. Attention to detail, indeed.
2021 marks 40 years since author Thomas Harris first introduced the world to Hannibal Lecter in his 1981 novel Red Dragon. It's the 35th anniversary of the character initially making the leap to the screen in 1986 movie Manhunter, too. But it was the Oscar-winning 1991 film adaptation of 1988 book The Silence of the Lambs that made the character a pop culture mainstay — and helped ensure that big and small screen versions of Harris' work were never far from view for long. In cinemas, 2001's Hannibal and 2007's Hannibal Rising each adapted Harris' books of the same name. 2002's Red Dragon gave audiences another movie based on that novel, too. And, on television, 2013–5 series Hannibal also focused on the psychiatrist and cannibalistic serial killer. Across all of the above, Lecter has remained the constant — as played by Succession's Brian Cox originally, then earning Anthony Hopkins an Academy Award, then portrayed by French actor Gaspard Ulliel (It's Only the End of the World) and Danish star Mads Mikkelsen (Arctic). Next in the franchise: TV series Clarice, which starts airing in Australia from Friday, February 12 via streaming platform Stan, and just dropped its first full trailer. The new show continues the saga's fondness for titles that share their name with a character and, obviously, pushes someone other than Lecter to the fore. Clarice Starling was a student at the FBI Academy when she was sent to interview Lecter, and it changed her career — with Clarice picking up her story in 1993, a year after the events of The Silence of the Lambs, as she returns to the field. While Jodie Foster nabbed an Oscar for the role, and Julianne Moore stepped into Starling's shoes in Hannibal, this time the character is played by Australian actor Rebecca Breeds (Blue Water High, Home and Away, Pretty Little Liars, The Originals). She'll portray Starling as the FBI agent faces new cases and confronts her own past — and she'll be joined on-screen by co-stars Michael Cudlitz (The Walking Dead), Lucca de Oliveira (SEAL Team), Kal Penn (House), Nick Sandow (Orange Is the New Black), Devyn Tyler (The Purge), Jayne Atkinson (Criminal Minds) and newcomer Marnee Carpenter. Check out the trailer below: https://www.youtube.com/watch?v=agjDfPTfMTY&feature=youtu.be Clarice starts streaming via Stan on Friday, February 12, dropping new episodes weekly. Top image: Brooke Palmer ©2020 CBS Broadcasting Inc.
They're taking the hobbits to Amazon — and, in just over a year, fans of Lord of the Rings will be able to see the end result. Mark Friday, September 2, 2022 in your diary, as that's when you'll be trekking back to Middle-earth via Amazon Prime Video's new LOTR show. It's called The Lord of the Rings, too, but it isn't just serving up a rehash. The series' existence shouldn't be new news, given that the streaming platform first announced it back in 2017, and then gave it the official go-ahead in mid-2018. Since then, the LOTR show has sat at the top of fans' most-anticipated list, obviously. Over the years, we've also heard that it wouldn't just remake Peter Jackson's movies, and learned a few concrete details regarding what it's about as well. Now, however, there's a specific date to look forward to — albeit a year later than when it was originally expected to drop, with sometime in 2021 initially floated. That was before the pandemic, though, and we all now know how much havoc COVID-19 has played on, well, everything, Amazon Prime Video announced the 2022 premiere date to mark the end of filming the show's initial batch of episodes. If you're wondering how it'll look — and how New Zealand's scenic landscape will be used this time around — the streaming service also dropped a first image from the series. Greenery abounds, naturally, as does a towering city surrounded by mountains, as well as a glowing sky. Also wondering what the series will cover if it's not retelling the events of JRR Tolkien's The Hobbit and The Lord of the Rings books? The show will spend time in Middle-earth's Second Age — and bring that era from the LOTR realm to the screen for the very first time. According to the official synopsis, it'll follow "the heroic legends of the fabled Second Age of Middle-earth's history," with the action set thousands of years before the novels and movies we've all read and watched. The series will also "take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." https://twitter.com/LOTRonPrime/status/1349519737655611392 If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. Naturally, you can expect Sauron to feature in the new show, and to give its main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. In terms of stars, LOTR will feature an unsurprisingly large cast — and some impressive talent behind the scenes. Among the actors traversing Middle-earth are Tom Budge (Judy & Punch), Morfydd Clark (Saint Maud), Ismael Cruz Córdova (The Undoing), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (The Underground Railroad) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Amazon's new Lord of the Rings series will premiere on Friday, September 2, 2022.
In every generation, a slayer is born — and a new show about them, apparently. It's the reboot that was always bound to happen, with Buffy the Vampire Slayer set to head back to television. Wannabe vampire vanquishers, get your stakes ready. Twenty-one years after the last TV version first aired, the new take will both follow in its footsteps and add something fresh to the concept — think fighting bloodsuckers and demons, of course, plus using Buffy's supernatural calling as a metaphor for broader societal issues, but in contemporary times and with a diverse cast. While the show is still in writing stage, the role of Buffy herself is being written for a black actress according to The Hollywood Reporter. Writer Monica Owusu-Breen has been charged with the task of penning the reboot, with assistance from original writer Joss Whedon — who'll also serve as an executive producer. It's a reunion for the two, after they worked together on Marvel TV series Agents of S.H.I.E.L.D. Owusu-Breen also has credits on everything from Charmed and Alias to Lost and Fringe on her resume. As for which members of the Scooby gang will be back, which vamps will make a reappearance, if it'll be set on Sunnydale's hellmouth, if a stuffy English librarian will be involved and whether there'll be a musical episode, it's still very early days — while the project is moving ahead, it doesn't yet have a TV network or streaming platform attached. And, if you're thinking that Buffy doesn't really need rebooting, remember that Whedon's Sarah Michelle Gellar-starring seven-season series originally remade the 1992 movie of the same name. Via The Hollywood Reporter.
There's no such thing as just another Quentin Tarantino film. Since he came to fame with Reservoir Dogs, the writer and director has continually toyed with dialogue-heavy, non-linear tales of crime and violence. And while there are stylistic elements that make a Tarantino film a Tarantino film, everything from Pulp Fiction to Death Proof has brought something different to the cinema. Take The Hateful Eight, for example. In his latest and eighth movie, the filmmaker delves back into the western genre (as he did with 2012's Django Unchained), he re-teams with Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen and Walton Goggins, and riffs on the scenario of Reservoir Dogs. But he also does much more than that. In its story, The Hateful Eight follows the fallout that ensues when eight treacherous characters are forced into close quarters. But it's the film's presentation that's perhaps even more interesting. For one, it revives the format of Ultra Panavision 70 — last used in 1966. It also brings back a form of movie-going rarely encountered these days, screening with an overture and intermission. That's the experience Sydney and Melbourne audiences have been gifted with this last week, via some advance 70mm sessions prior to the feature's national digital release on Thursday, January 21. Indeed, there's much to talk about when it comes to The Hateful Eight — and visiting Australia to promote the film, Tarantino did plenty. He spoke with Concrete Playground about what he has to offer one of his favourite genres, making The Hateful Eight an event, and watching audiences react to a different style of cinema. Among other topics, of course. ON MAKING WESTERNS "I've always been a big, big fan of the genre. And I think a lot of modern directors who have done westerns — like Walter Hill or somebody — before they actually got a chance to do a western, they kept flirting with the genre in modern terms to some degree or another. I mean, there's this whole aspect that Kill Bill: Vol 2 has a spaghetti western vibe, and I truly wanted Inglourious Basterds to almost have a spaghetti western feel — but with World War II iconography as opposed to western iconography. So, with Django Unchained I got my first chance at it, and I just really love the genre. And I wasn't done with it. It's kind of that simple: I wasn't done with it. And I also think it's a really good fit for me. I think as far as characters are concerned and the way violence works in my movies, it works out very good for a western." ON WHAT HE HAS TO OFFER THE GENRE "I think, in today's world, if I'm going to be able to call myself a western director and put my movies on the shelf with somebody like Anthony Mann or Budd Boetticher or Peckinpah, then I think you need to do at least three westerns. I mean, if it was the '50s, it'd be eight — but at least three westerns. And the fact that both movies deal with race in America at that time — two different times, but very close to each other — and also kind of do a vague mirror reflection on race in America today at the same time, I believe that's actually something I have to offer to the genre. That conversation is really something that hasn't been had that much in westerns — it's almost like that conversation has been avoided in westerns. And that's one of the things I think I have to offer to it." ON HIS DECISION TO SHOOT IN 70MM "One of the selfish reasons [I'm shooting in 70mm] is that I'm rather distressed at how digital projection has taken over to such a degree. I'm not really worried about shooting in digital because I'll always shoot in film — but I think something has been lost. I'm not saying that there's really anything wrong with digital projection, but I think something is lost if film projection is eradicated. And one of the benefits of shooting in 70mm is it's a little expensive. So, if a studio is going to pay to do that, they're going to at least make a token effort to make sure it gets shown in 70mm in certain cinemas. And that was a big calling card to do this. But also, I did like the idea of making this movie an event — to actually have a visual look first. And also, [I liked] the idea that I was going to be filming in this weather, and filming the weather was a big part of what we were doing. We were going for a big look. As dense as the material is, as bleak as the material is, and as dialogue heavy as the film is, there is an emphasis on the visual aspect of it." ON BRINGING BACK REAL CINEMA-GOING "It's actually kind of funny because, watching the film with audiences, there is this thing about the overture: [people think] "what is this?" I always like to sit in the middle of the cinema so I can really watch the people who are sitting in front of me, and the heads and the shoulders down the line. And you see their shoulders kind of relax as that overture goes on, as they settle into their seat and settle into the experience that they're going to have. And then there was this aspect — I think the first time I screened the film with a big audience — when the intermission happens, and it's like, "okay, what are we going to do?", and "okay, I guess I'm going to go take a pee or go have a smoke". But there is also that aspect of what you want to happen — they're talking about the movie. Apparently the toilets are abuzz, like "wow, did you just see what happened? I wonder what's going to happen next". You know, that kind of excitement about talking about the film. But also, I do like intermissions if it seems appropriate, because I think that they can be used for dramatic purpose. And I think that's the case in The Hateful Eight — that it has a dramatic moment when it happens, and there's a kind of sigh." ON THE HATEFUL EIGHT AS A WESTERN VERSION OF RESERVOIR DOGS "Having made movies now for over twenty years, there was a full circle kind of aspect with [The Hateful Eight] of me almost coming back to the start. And maybe even closing the circle. And the next couple of movies, who knows what they could be, because the circle is kind of closed and it opens up another chapter for me. I don't even know what that chapter is — but that's actually kind of exciting. But the idea of a western Reservoir Dogs was a little bit in my head as I was writing it, because I actually think that kind of pressure cooker situation could work really well in a western. There have been a few westerns that are really set-bound. One of my favourite westerns is Rio Bravo, and that really takes place between the saloon and the jailhouse — and I've always thought that Rio Bravo would be a really good play." The Hateful Eight is currently screening in Australian cinemas in limited 70mm locations, with the film's digital release opening around the country on January 21. Read our review.
It's no use hiding the fact that we like to eat out, and the beauty of the morning meal is it has no rules. Make-up-free is considered 'fresh' and unkempt hair is part of 'the look', thongs and singlets are both acceptable and yet Pawpaw Cafe boasts more class than The Chalk down the road. Logic, am I right? Whether you only drink barista made coffee, need a hangover pick-me-up or follow a Sunday morning tradition, Pawpaw is there offering sweet, savoury and everything in between, yet nothing mediocre. A classic choice on the breakfast dining scene Pawpaw Cafe has been frying, poaching, scrambling and baking eggs for just 18 months, but has cemented itself in the hearts of breakfast lovers. Open seven days, weekend mornings might find you queuing as the door - but we assure you it's worth it. With an all-day breakfast menu, as well supplementary lunch options and an ever-appealing specials board, Pawpaw is working a formula that has those on the market for more than an eggs benny returning for more. Choosing what to eat is like standing in the international airport and deciding which flight to get on. This round-the-world culinary experience offers up the likes of an Israeli breakfast with falafels and hummus, huevos rancheros with black beans and salsa, baked eggs with za'atar, Canadian-style waffles, and gnocci and burgers added for lunch. While it sounds like they might have too much on their plate, Pawpaw's strengths lie in their ability to put simple flavour combinations together to make fresh produce fine. For those feeling sweet, the pecan and almond toasted granola ($11.90) is a no-brainer. The in-house mix comes with a refreshing serve of yogurt and to-die-for-delicious spiced pear compote. On the savoury side, we tested the braised mushroom bruschetta ($13.9) and it did not disappoint. Sourdough stacked high with spinach, red pepper hummus and, of course, the divine white wine and herb braised mushrooms, topped off with crumbled feta. Pair your meal with an iced latte (they serve Campos coffee) and make the most of Pawpaw's laid back vibe, friendly service and breezy open cafe. We'll be heading back soon to try the quinoa and potato hash cakes, or perhaps go treat ourselves to waffles with bacon, caramelised banana and maple syrup.
Let's face it: finding the perfect plans for New Year's Eve is stressful. With all the parties, festivals, ticketed venues and firework displays on offer in our cities, sometimes it feels like new year planning — which you're expected to start now, mind you — is more trouble than its worth. But if you're looking to ring in 2019 by getting away from it all, we've got you covered with some top-notch alternatives to your usual New Year's happenings. Here's our top picks for getting out-of-town this year — which we're bringing to you early so you can get a head-start on booking, too. TASTE ALL THAT TASMANIA HAS TO OFFER Each year, revellers make their way down to Tassie for Falls Festival at Marion Bay. But, if you want to avoid the chaos of navigating stages and finding your tent in the dark, we have a festival of another kind that's worth the trip. Food lovers can indulge in the best of Tasmania's culinary scene as The Taste of Tasmania food festival returns to Hobart's Princes Wharf from December 28 to January 3. Entry is free, but the range of masterclasses are ticketed and run by some of the best chefs in the region — think cheese making with Analiese Gregory (Franklin and ex-Sydney's Bar Brosé) and sausage making with Rodney Dunn (Tassie eatery The Agrarian Kitchen), plus a long-lunch hosted by Alice Chugg and Vladimir Panevin (local bar Ettie's). And that's just three of the 15 events on offer. Apart from the eats, there will also be 120 live bands and circus, cabaret and dance performances, along with a twilight cinema. For more information and to book masterclass tickets, head to the Taste of Tasmania website. This will require flights and accomodation, so you might need to book this ASAP. CLEAR YOUR MIND WITH A YOGA OR DETOX RETREAT If you're looking to enter the new year with a clear mind, there's still time to book into a full on retreat. Billabong Retreat offers an annual new year's yoga getaway, for either five or seven nights, spanning from December 26 to January 2. The eco resort is located 45 minutes northwest of Sydney and the program features twice-daily yoga, nighttime meditation, daily wellness workshops and tranquil treehouse accommodation. Plus, two New Year-specific ceremonies: a letting go ceremony on New Year's Eve and a setting intentions ceremony on New Year's Day. If you're looking to be closer to Queensland, another retreat option is the Gwinganna new year detox, which is a seven-night spa getaway just south of the Gold Coast, taking place from December 27 to January 3. It's no doubt pricey, but includes massages, facials, all organic meals, evening meditation sessions and a wellness consultation, along with a $100 therapy credit. [caption id="attachment_695264" align="alignnone" width="1920"] Ray and Lystra Bisschop[/caption] TAKE AN EPIC OVERNIGHT HIKE (WITHOUT BOOKING A THING) Australia is home to some of the most stunning national parks and coastlines in the world, with many of the best hiking tracks taking more than a day to complete. One of the best is the Six Foot Track in NSW's Blue Mountains, which spans a 45-kilometre distance from Katoomba's famous Explorers Tree to the stunning Jenolan Caves. This challenging hike is most comfortably done in three days and two nights. Luckily, the overnights are free and don't need to be booked ahead of time, thanks to the easily accessible campsites along the route at Coxs River and Black Range. Another booking-free option up in Queensland is the newly completed Brisbane Valley Rail Trail, which offers free overnight camping at several spots along its 161-kilometre trail, including outside Fernvale, Toogoolaawah, Harlin, Moore, Linville and Benarkin. There are plenty of coffee stops along the way too, so you don't need to plan (and lug around) all your meals. CAMP OUT AT ONE OF AUSTRALIA'S MOST STUNNING BEACHES Spending New Year's at the ocean is as Australian as it gets, and some of the country's best spots across Victoria, New South Wales and Queensland offer top-notch beachside camping that will truly take your breath away. If you really want to go all out this new year, our pick is Mesa Camp at Cape Range National Park in Western Australia. You'll have to spend a pretty penny on flights to Exmouth, but the site is set overlooking a secluded bay within the UNESCO Heritage-listed Ningaloo Coast and is perfect for canoeing, kayaking, snorkelling or swimming holidays. Booking ahead is a must, but prices are set at an incredibly reasonable $11 per adult per night. For more information and to book Mesa, head over here — but it's best to book in advance, as there are only 23 campsites available and they'll likely book out fast. If you're looking for even more options, check out our list of the top beach camping sites around Australia. [caption id="attachment_660068" align="alignnone" width="1920"] Berry Springs[/caption] FINALLY TAKE THAT TRIP TO DARWIN If a trip to Darwin has been on your list for a while now, heading up north over New Year is an ideal time to see the Northern Territory capital in full swing. Explore the George Brown Botanic Gardens, go for a swim at Berry Springs or be the ultimate tourist and cuddle a crocodile at Crocosaurus Cove. For New Year's specific entertainment, The Darwin Waterfront hosts an annual New Year's Eve party with live music, entertainment, food stalls and the requisite fireworks at 9pm and midnight — all for free. Picnics, beach blankets, lawn chairs and booze-filled eskies (no glass, though) are all encouraged and there's plenty of space for the masses. The event continues into New Year's Day, when another free live concert will take place. [caption id="attachment_693452" align="alignnone" width="1920"] Mark Pickthall[/caption] CHECK ULURU OFF YOUR BUCKET LIST Uluru is on the bucket list of most Australians, and what better time to finally take the trek to this sacred site than at the start of a new year. Once you've got flights to Alice Springs, you can easily organise your own trip. Of course, you'll want to cop an eyeful of Uluru and learn about its history and that of Arrernte country (as it's known to the traditional custodians of the land). Make sure you see the landscape lit-up by visiting Field of Light at night, stop in at the Kangaroo Sanctuary and go for a swim at Ormiston Gorge. We've got a few other ideas here. If you really can't be bothered, Intrepid Travel hosts a three-day, two nights Uluru adventure from December 30–January 1 — and for a relatively reasonable $695 per person. Your group will be honoured to have a Aboriginal and Torres Strait Islander guide, who will explain the spiritual significance of this ancient site while you hike to Kings Canyon, Kata Tjuta and Uluru. Transport, meals and tent accommodation is all included, so you can just focus on being in complete awe of your incredible surrounds.
Whether you're a wizard or a muggle, the moment most people discover that something is forbidden, they feel a need to check it out. Harry Potter certainly did when it came to the forest surrounding Hogwarts, and now enchanted fans can follow in his footsteps as part of Warner Bros' London studio tour. From March 31, the film studio will unveil a new recreation of the area deemed off limits by Professor Dumbledore, complete with the greenery and creatures that helped it gets its name. As you walk through the Forbidden Forest with lantern in hand, you'll tread beneath 19 trees that each boast a diameter of almost four metres, see one of Hagrid's costumes — and even control the forest's weather. With the attraction designed and built by many of the crew members who worked on the films, the wonder doesn't stop there. Visitors will also spy a full-sized model of Buckbeak the hippogriff, and cross paths with the giant spider that is Aragog in all his glory (his leg span ranges beyond five metres, so don't venture near if you're arachnophobic). You'll feel as though Harry, Ron and Hermione are right there beside you, really. The Forbidden Forest is just the latest way the Warner Bros' London tour is going potty for all things Potter as part of its Making of Harry Potter section. A selection of outfits from the movies are on display until September, while current attendees can also find out how Dobby came to life until the end of March. In the lead up to Valentine's Day, eager diners can enjoy a love potion and a meal in the great hall, while a showcase of the dark arts — including a walk down Diagon Alley — is coming in October, followed by the return of the festive favourite Hogwarts in the Snow in November. Yes, it's totally okay if you're now looking up flights to London. For more information about the Warner Bros London studio tour and the Making of Harry Potter, visit the studio tour website.
Warehouse parties are great. Secret Mexican holiday-inspired, neon-drenched, immersive warehouse experiences are even better. Curated by a group of Mexican visionaries and artists, Day of the Dead 3.1. promises to be one heck of a Burning Man-channeling spectacle you'll want to lock down tickets for — on sale this Saturday, August 15 at 12.30pm. And with the demand already high, this event is expected to sell out within hours, so your crew had better be ready. For hundreds of years, El Dia de los Muertos has been one of the biggest parties in Mexico honouring the dead. The 4000 year-old tradition's history can be traced back to Mexico's indigenous beliefs of the afterlife — that death is only the beginning. Now it's Australia's turn to delve into the underworld, as The Day of the Dead finds its way to Sydney, Melbourne and Brisbane this spring, in secret locations within each city. Expect interactive art installations, light projections, extravagant costumes, murals created by renowned street artists and an exclusive lineup of local and international DJs and musicians — including one big ol' festival favourite headliner. The lineup will be released closer to the day, so stay tuned. Pop-ups by a handpicked bunch of Sydney, Melbourne and Brisbane's go-to local Mexican eateries, like Playa Takeria, have been selected to create Dia de los Muertos menus. Plus, there'll be Mexican cervezas and tequila/mezcal cocktails to provide you with enough sustenance to dance the night away. With instructions being sent to ticket holders just one week before the event, this is secret warehouse party business at it's best. Each city's locations are more closely guarded than an abuela's special mole sauce ingredient and will only be released one day before the party. Get ready to nab a ticket and start preparing your best Dia de los Muertos outfit. Day of the Dead will visit Sydney on October 24, then Melbourne on October 31 before ending in Brisbane on November 7. Tickets are $75 and go on sale here on Saturday 15 August at 12.30pm and are expected to sell out super fast. Don't stall on this one, it'll be the death of you.
Thanks to Brisbane's soggy May weather — and following on from the city's wet and wild end to summer as well — Paniyiri is no longer happening this month. Instead, the beloved food, booze and culture festival has been pushed back to October. But that doesn't mean you can't still treat your tastebuds to all things Greek across the weekend of Saturday, May 21–Sunday, May 22. Slotting into the rescheduled fest's dates, Greek Weekend is the party that the Greek Club is throwing when it's not taking part in the usual Paniyiri festivities. Expect two days of bites to eat, Greek wine and Greek music, and even a Greek dance party. Head to the venue's Nostimo restaurant and bar for a meze lunch or dinner over drinks, or sip Greek vino — and beers — on the terrace from midday on both days. Greek tunes will echo through the building across the two afternoons, while Saturday night will see its Olympus Room host a Greek taverna night — aiming to really make you feel like you've been transported to Europe — and Sunday evening is when DJs will hit the decks spinning Greek tracks, house and R&B.
When IT floated onto the big screen in 2017, inspiring plenty of coulrophobia in the process, it only told half of the story. Adapting Stephen King's bestseller into a film, the horror hit jumped back to 1988–89, visited the author's usual setting of Derry, Maine, and followed a group of teenagers who came face to face with their worst clown-filled nightmares. But, as fans of the book or the 1990 TV series know, that's literally just the beginning. Cue IT: Chapter Two, another excuse to unleash the white-faced, flame-haired Pennywise (Bill Skarsgård) upon the world, rustle up more than a few creepy scares and make a mint at the box office, all by charting the novel's other timeline. Set 27 years later — because that's how often the sadistic, shapeshifting demon pops up — it revisits the kids known as the Losers Club. They're all grown up, with Jessica Chastain, James McAvoy and Bill Hader leading the cast, but they're not done with red balloon-wielding evil just yet. Or, to be more accurate, Pennywise isn't done with them. If you're already afraid of clowns, IT: Chapter Two clearly won't be for you. If you'd like to discover just what it takes to make you tremble at the sight of circus performers, this sequel will definitely help. So will its just-released first trailer, which introduces the adult gang, reminds everyone not to chase toy sailboats into storm drains and — of course — lets its sinister villain do his worst again. Original director Andy Muschietti (Mama) is back at the helm, so expect a hefty dose of unnervingly effective and all-round unsettling horror imagery once more. And, while this eagerly anticipated follow-up has plenty of star power, the first flick's Sophia Lillis, Jaeden Martell, Finn Wolfhard and company all return as the younger versions of the Losers Club as well. Take a peek at the first trailer below: https://www.youtube.com/watch?v=zqUopiAYdRg IT: Chapter Two releases in Australian cinemas on September 5, 2019.
Whatever Pedro Almodóvar and Penélope Cruz happen to be selling — and whenever, and in whichever films — audiences should always be buying. It isn't quite right to liken the acclaimed filmmaker's long-running collaboration with one of his favourite leading ladies to commerce, though, so another comparison fits better: whatever this duo birth into the world, viewers should embrace as a parent does a child. Across four decades now, the Spanish pair has gorgeously and soul-stirringly made cinematic art with the utmost understanding of how to make people feel. They know how people feel, too, and have the combined resumes best exemplified by Live Flesh, All About My Mother, Volver, Broken Embraces, Pain and Glory and now Parallel Mothers to prove it. Their shared filmography also constantly demonstrates another essential insight into human existence: that life is emotion, whether facing its beginning, end or both. Now helming his 22nd feature, Almodóvar has long filled his works with other recurrent inclusions and fascinations, many of which also burst onto the screen again here. When he initially united with Cruz on 1997's Live Flesh, she gave birth on a bus; in their second pairing, the Oscar-winning All About My Mother, she played a pregnant nun; with their most recent collaboration before this, Pain and Glory, she was mum to the writer/director's fictionalised surrogate — so that she's one of his titular matriarchs now is vintage Almodóvar. He brings back another of his veteran stars in Rossy de Palma (Julieta), paints with the vibrant-toned costume and set design that make his movies such a blissful sight for colour-seeking eyes, and focuses on mothers of all shades navigating life's many difficulties as well. Yes, Parallel Mothers is classic Almodóvar, but nothing about that description ever simply unfurls as expected. As the movie's moniker indicates, Janis, the almost-40 photographer that Cruz (The 355) inhabits with the quiet force and fragility that's second nature whenever she's directed by Almodóvar, is just one of Parallel Mothers' mums. Teenager Ana (Milena Smit, Cross the Line) is the other and, despite the feature's title, their stories keep converging. The two first meet in a Madrid hospital, where they share a room, give birth simultaneously, chat about how they're each going it alone with no father in the picture and quickly form a bond — as different as they otherwise appear, down to contrasting sources of support (Janis' brightly attired magazine-editor best friend Elena, which is where de Palma pops up, versus Ana's self-obsessed and distant actress mother Teresa, played by Estoy vivo's Aitana Sánchez-Gijón). Janis and Ana descend separately into motherhood afterwards, but twists of fate keep bringing them back together. Soapiness, aka the kinds of narrative developments characteristic of daytime TV, is another of Almodóvar's touches. But while his career has spanned films light and camp, dark and serious, and almost everything in-between, he inherently recognises that the line between what's dismissed as melodramatic contrivance and what people do truly experience is thinner than a blue slash on a positive pregnancy test. He unravels Parallel Mothers' story with that notion beaming underneath, and while also tackling a real and grim chapter of his country's history that he's never overtly confronted in his work. Before Janis and Ana can meet again and again, their lives and those of their infant daughters' forever intertwined, Janis gets in the family way to anthropologist Arturo (Israel Elejalde, 45 rpm) — who she snaps at a job, then asks to unearth the mass grave in her village that she suspects has housed her great-grandfather's body since he went missing in the Spanish Civil War. A lesser filmmaker would fail to convincingly stitch together Parallel Mothers' past and present, and wouldn't turn the picture into a missive of hope for the future as well — an ode to the ways in which women have weathered the ills, woes, wars and heartbreaks of oft-absent men, and a musing on how acknowledging that reality is a key step to reshaping it. Almodóvar is an exceptional filmmaker, of course, and so every bold move he makes here excavates multi-layered complexity, emotion and, to borrow his last release's name, pain and glory. His embrace of soap opera-style twists and the lingering shadows of Spain's recent history in tandem is chaotic, but his film never sports that air because it accepts it all as truth. There's no heightened histrionics — just the awareness that life is emotion because it's a state of ongoing trauma, as peppered with snatched moments of happiness and learning to appreciate what you can so that you can keep going on. Warm and radiant, and as great as she's ever been for Almodóvar or in any feature, the magnificent Cruz internalises this concept — of enduring and persevering, whether in tirelessly striving to finally exhume her family's past, in lucking into becoming a mother, or when faced with a certainty that's the stuff of maternal nightmares — so completely and sensitively that she's sheer on-screen perfection. There's nothing thin about her performance, but you can see right into it, gleaning the whirlwind of complicated factors that push, pull, swirl, sway and motivate Janis' every choice. She's amply matched by Smit, who turns in a far more internalised portrayal, but one that's still a revelatory portrait of resilience and resolve in its own way. That said, Almodóvar may love his strong female leads, but he also adores flaws; in his movies, no one is faultless, and his characters and the performances behind them are all the more powerful for it. Also potent: Almodóvar's style, rampant as it is, and what it conveys about the tale he's telling. His work is never just about what happens, but how — and with his players, the same rings true in their actions — so all of the colours, deep-focus shots, close-ups of Cruz and Smit's faces, mirrored images featuring the pair and sometimes-sudden edits that bring this picture to fruition are pivotal pieces in Parallel Mothers' puzzle. The mastery of the director's returning technical talents (cinematographer José Luis Alcaine, composer Alberto Iglesias, editor Teresa Font, costumer Paola Torres and production designer Antxón Gómez, all back from Pain and Glory) helps shape the film into a haunted Hitchcockian thriller at times, for example, as well as a clear-eyed look at Spanish history. It's as visually arresting as an Almodóvar movie can be, too, and interweaves its seemingly disparate approaches as commandingly as it does its chalk-and-cheese narrative threads. Sensual and savvy and always sublime, Parallel Mothers sells everything within its immaculate frames — and surrendering to its emotional, visual and thematic pull is as natural as life and death.
A mainstay of Australia's film festival scene for 22 years, the Moro Spanish Film Festival doesn't just celebrate a single country. It also celebrates a language. With Spanish ranking as the globe's second most popular tongue, this showcase of cinema broadens its gaze across the world — not only highlighting movies from the festive European nation that gives the fest its name but, by joining forces with the Cine Latino Film Festival in 2019, screening flicks from Latin America as well. Consider the end result the biggest bargain there is in the film fest world: two festivals for the price of one. Consider it a hefty lineup of new Spanish-language movies, too, with 32 titles touring the country until mid-May. Overseas award-winners? New voices making their debut? A focus on female filmmakers? They're all on this year's program. So are existential thrillers, queer standouts and classic romps — which each claim a place among our five must-sees. https://www.youtube.com/watch?v=pQ5qPWgG1H0 ANA BY DAY Seeing double is one of cinema's favourite tropes — from creepy twins to stalking lookalikes to cases of mistaken identity, doppelgängers are all common film fodder. In Ana by Day, the eponymous Madrid woman (Ingrid García Jonsson) finds her life turned upside down when her double arrives, takes over and leaves her to her own devices. It's a tantalising notion, especially when Ana decides to lean into the situation and live the existence she's always wanted. As conveyed by first-time filmmaker Andrea Jaurrieta as well as exceptional star García Jonsson, at the core of the concept sits a simple truth: the struggle to realise who we really are. https://www.youtube.com/watch?v=iO_PZqilExE CARMEN & LOLA Premiering at last year's Cannes Film Festival, picking up two gongs at this year's Goya Awards, and earning plenty of praise on the queer festival circuit, Carmen and Lola brings an observant, empathetic eye to a tale of romance versus prejudice. The movie's two paramours are also its two victims — and while the setup might feel somewhat familiar, this film has its own spark. Here, a pair of Roman women (Zaira Romero and Rosy Rodríguez) in a Catholic gypsy community defy tradition by falling for each other. Drawing upon her documentary background, writer/director Arantxa Echevarría uses her non-professional cast perfection, conveying the heart-swelling love and heartbreaking oppression that mark the titular characters' lives. https://www.youtube.com/watch?v=KKdTPuCgqkU ROJO He mightn't be a household name, but Dario Grandinetti boasts quite the resume, with the Argentinian veteran featuring in everything from Pedro Almodovar's Talk to Her and Julieta to twisty anthology Wild Tales. He's also a multiple film festival best actor award winner for his work in Rojo, playing a lawyer navigating the corruption and crime of Granada in the 1970s. Murky, paranoid thrillers were a staple during that decade, and movies both set in and styled after the period keep reaching screens for a reason, as this complex and compelling affair demonstrates. As the film follows its protagonist's entry into a shady world, it delves into the fractured, fraying reality of pre-coup Argentina. https://www.youtube.com/watch?v=0paBosD04mM THE GOOD GIRLS Peering at the lives of the wealthy isn't just about indulging envious fantasies, dreaming of a different existence or watching a cashed-up trainwreck, Real Housewives-style. Rather, whether in satirical or melodramatic mode — and this Mexican comedy-drama operates in both — it's about examining the inner workings of the upper echelons and laying bare a society from the top down. Expect all of the above in Alejandra Márquez Abella's second feature, which follows the wives of her country's richest men in 1982. A wife to Fernando (Flavio Medina) and a mother to three children, Sofia (Ilse Salas) is accustomed to a charmed life, until her and her pals experience the other side. https://www.youtube.com/watch?v=PypMOEKJuh8 WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN Breakups, breakdowns, breaking free, blending sleeping pills into gazpacho — that's actor Pepa Marcos' (Carmen Maura) life when she's dumped by her fellow thespian boyfriend Iván (Fernando Guillén). It's also just the beginning of the always spirited, often farcical story that drives this masterful 1988 comedy from Spanish auteur Pedro Almodovar. One of the filmmaker's deserved early hits, Women on the Verge of a Nervous Breakdown is also the film that helped introduce the world to Antonio Banderas' charms. It wasn't the pair's first collaboration; however, this Oscar-nominated, multiple Goya-winning film thrust both the director and his star to greater attention, and it's easy to see why. The Moro Spanish Film Festival tours Australia from April 16, screening at Sydney's Palace Norton Street, Palace Verona and Palace Central from April 16 to May 8; Melbourne's Palace Cinema Como, Palace Westgarth, Palace Brighton Bay, Palace Balwyn, Kino Cinemas and The Astor Theatre from April 18 to May 8; Brisbane's Palace Barracks and Palace James Street from April 24 to May 15; and Perth's Palace Cinema Paradiso from April 24 to May 15. For more information, visit the festival website.
Brisbane might be a summery city, but when winter hits (or even approaches), we still make the most of it. While it mightn't get all that cold in the Sunshine State, we're all well-versed at pretending otherwise for the sake of our tastebuds — and tucking into hearty bites, plus stomach-warming drinks. The folks at Lennons Restaurant & Bar know this, and they're serving up a winter afternoon tea to match. It all starts with roast pumpkin and coconut soup, then includes everything from bite-sized warm Reubens on sourdough, buttermilk scones and other pastries created by pastry chef Regina Rabanal, through to three kinds of cake (chocolate and hazelnut, lemon with white chocolate frosting, and date with salted caramel sauce). The other big drawcard: no, not the coffee and tea (as essential as they are), but the mug of hot spiced cider that's included in the $55 price. Yes, hot booze really is what winter is all about. The afternoon tea is on offer from 2.30–4.30pm every Saturday and Sunday until the end of winter. Another hot perk? You can add a glass of champagne upon arrival if you like, too. Looking to warm up your winter arvos? Head to the website to book.
Sandstone Point sits just adjacent to Bribie Island so, naturally, it has its own waterside hangout — and one that's well worth making the drive north of the CBD for. As should be expected in such a tourist-friendly locale — and at a spot with 300 metres of unobstructed water-frontage — the Sandstone Point Hotel is the kind of place that caters for everyone, whether you're after a meal or want to catch a gig. Since opening in 2015, it's also proven the kind of place where you can pretend you're on holidays — and who doesn't want to do that, too?
When November hits in Brisbane, the weather likes to leap into the future. It isn't officially summer yet, but try telling that to the temperature. So, at Brisbane Quarter, the CBD precinct is embracing that idea. It's still spring, but the venue is dedicating three Thursday nights in November — November 11, 18 and 25 — to a pop-up it's dubbed Summer Nights at BQ. The big drawcard: a gin bar serving up cocktails, supplying white rattan pod chairs for you to kick back in and also offering up DJ sets with a firmly summery vibe. Head by between 5.30–7pm and that's how you can shake off your work day. Afterwards, Brisbane Quarter's eateries will doing summer-themed dishes, including Persone, Tenya, Phat Boy and Phoenix — plus the Wet Deck, Living Room Bar and Three Blue Ducks at W Brisbane. Obviously, no matter what's on the pop-up's menu, mango pancakes at Phoenix are always a fine choice. Images: Claudia Baxter.
If David Dastmalchian ever tires of acting, which will hopefully never happen, he'd make an entrancing late-night television host. He even has the audition tape for it: Late Night with the Devil. Of course, the star who earned his first movie credit on The Dark Knight, and has stood out in Blade Runner 2049, The Suicide Squad, Dune and the third season of Twin Peaks — plus Boston Strangler, The Boogeyman, Oppenheimer and Dracula: Voyage of the Demeter all in 2023 alone, alongside Ant-Man and the Wasp: Quantumania — might be hoping for a less eerie and unsettling gig IRL. Dastmalchian is a fan of horror anchors, writing an article for Fangoria about them. Here, putting in a helluva can't-look-away performance, he plays one. That said, the namesake of Night Owls with Jack Delroy isn't meant to fit the mould so unnervingly, nor is the series that he's on. Delroy is a Johnny Carson rival — and, because Australian filmmakers Cameron and Colin Cairnes (100 Bloody Acres, Scare Campaign) write and direct Late Night with the Devil, he's also a Don Lane-type talent — who isn't afraid of embracing the supernatural on his live talk show. On Halloween in 1977, airing his usual special episode for the occasion, he decides to attempt to arrest the flagging ratings of what was once a smash by booking four attention-grabbing guests. What occurs when Delroy, who is grieving the loss of his actor wife Madeleine Piper (Georgina Haig, NCIS Sydney) a year earlier, shares the stage with not only a famous skeptic and a psychic, but also with a parapsychologist and a girl who is reportedly possessed? That might sound like the setup for a joke, but it's this new Aussie horror gem's captivating premise. To be precise, it's the contents of the October 31 instalment of Night Owls with Jack Delroy, with Late Night with the Devil posed as a documentary about the broadcast that includes the entire show itself. With Michael Ironside (BlackBerry) on narration duties, Delroy gets some backstory first, stepping through Piper's lung cancer diagnosis despite never having smoked, plus Delroy's own affiliation with exclusive and highly questionable Californian men's club The Grove. The 70s gets some context, too, digging into its climate of fear and mistrust post-Manson family murders, and the anger of the decade's reckoning with race relations and the Vietnam War — all reasons put forward to explain why variety entertainment offering pure escapism is having a moment. The fortunes of the series itself from gleaming to flailing are also charted, justifying going all-in on the occult for the Sweeps Week episode that "shocked a nation", as presented in full as found footage from a master tape interspliced with behind-the-scenes material. If you've seen one evening talk show — from then, now or in-between; whether hailing from the US or Australia (Late Night with the Devil was shot in Melbourne, but packages its content as purely American) — then you know the basic format. Delroy monologues and banters charismatically to begin, albeit with an inescapable sadness that he's endeavouring to plaster over with a smile and 'the show must go on' bravado. So, he starts bringing on his guests. Medium Christou (Fayssal Bazzi, Prosper) foresees that something sinister is about to be afoot. Professional cynic Carmichael "the Conjurer" Haig (Ian Bliss, Safe Home), who was once a magician, is all doubt. There to spruik her book Conversations with the Devil, about a girl who was offered up as a Satanic sacrifice by a cult but survived, Dr June Ross-Mitchell (Laura Gordon, Foe) is wary that her text's subject Lilly (Ingrid Torelli, Force of Nature: The Dry 2) isn't ready for the exposure. But with the kid supposedly afflicted with demonic possession, and so much at stake for Delroy and the show, no one is letting her remain off the air. When The Blair Witch Project made found footage a horror movie go-to 25 years back, sparking too many imitators — most generic and/or terrible — it didn't create the format. Indeed, the gimmick of unearthing tales from previous documents hadn't only been seen on-screen, but is engrained in iconic gothic horror novels Frankenstein and Dracula, both of which deploy correspondence to unfurl their stories. In the post-Blair Witch era, however, inventive and exciting screen uses of the tactic have become increasingly rare. Enter: the Cairnes brothers. The duo also give riffing on Martin Scorsese's 1982 satire The King of Comedy, which Joker did as well, a fresh spin. Late Night with the Devil is the best kind of pastiche: one that knows it, loves it, adores everything that it's drawing upon and is committed to never merely aping its inspirations (which also span Scanners, as Ironside's involvement helps reinforce — plus four-time Oscar-winner Network, which sports a fellow Aussie connection in British Australian actor Peter Finch). Watching the Halloween chaos of Night Owls with Jack Delroy in real time is a masterstroke: viewers have no alternative but to have the same experience that the show's audience, both in the studio and at home, did at the fateful broadcast — and that Delroy, his crew and guests all shared. Late Night with the Devil is constructed from a raft of equally clever decisions, the most pivotal of which is casting the hypnotic Dastmalchian. There's an Alan Partridge-esque air to the film and its protagonist, transported into literal horror rather than the horrors of cringe comedy, and with the same go-for-broke commitment that's always marked Steve Coogan's (The Reckoning) best-known character. Within the picture's sole setting — another savvy move — Dastmalchian owns the screen. He also grounds Late Night with the Devil's examination of the relationship between celebrity and the attention that mass media brings, aka the cult of personality; it might be easy to paint the price of fame as a Faustian bargain, but it works. A performance this perfect and an idea this brilliant receives the execution to match, making sitting down to the movie virtually a time machine. The look, the feel, the detailed production design (by Otello Stolfo, Aunty Donna's Coffee Cafe) and costuming (Steph Hooke, The Wheel), the era-specific cinematography (Matthew Temple, Gold Diggers) and editing (by the Cairnes siblings themselves) choices, the commitment to practical effects when the spookfest kicks in after a tense and patient build up: they all ensure that Late Night with the Devil plays like it truly has been newly discovered in a pile of forgotten tapes from decades and decades back. As it conjures up that sensation, this is Cairnes' best film yet, and a delight of a wild ride to watch in one of two ways: in a packed cinema where everyone reacts to its contents like they're in the studio with Delroy; and at home on the couch, glued to the tube like Night Owls with Jack Delroy devotees. Whichever suits, no one is switching off.
Conventional maps of political results seen in the media, in stats and in reports often demonstrate a skewed and non-inclusive representation of the outcomes of US Presidential Elections. This then creates a politics of maps. However, Mark Newman, a renowned complexity researcher, has attempted to abate the confusion behind these inaccurate portrayals by creating his own highly inclusive and bona fide images. Newman believed the representations of states coloured by the majority votes was insufficient. Not only do these maps fail to take population into consideration, but they also demonstrate democratic or republican voters in each state as black and white, or in this case blue and red, rather than showing the many shades in between. After billions of dollars and years of incessant campaigning, surely an authentic portrayal of the election results is not too much to ask. Newman has answered this call by creating more realistic and more complex illustrations of the election results. First, view the varying processes Newman went through in accurately depicting the 2008 presidential elections, followed by his political map of the most recent 2012 election. 2008 Election Results By State With red depicting republicans and blue democrats, this widespread map of the 2008 Presidential Election is obviously a vast illusion, as one would not be wrong in mistaking the winner as McCain rather than Obama. 2008 Election Results Population Cartogram This more precise depiction instead shows the election results compared to the population sizes of each state. The fact is that the red states often have a lower population than the blue, thus increasing the proportion of blue in this image and eradicating the sea of red in the previous one. 2008 Election Results by County Rather than assuming an entire state is a homogenized mass holding a single political view, this map shows the electoral votes in each county of the US. Again, however, this image is incredible deceptive and misleading. 2008 Election Results by County Population Cartogram Using the same technology as before, this map demonstrates the results of the election by county, according to population. Once again this makes the balance between red and blue more accurate, however, this is much more specific and localized to certain areas. 2008 Election Results by County in Shades Forget 50 shades of grey, what we want to see is 50 shades of purple. To closer resemble the balance that exists within states and the nuances in voting patterns, Newman used varying shades of purple rather than simply two block colours. This eliminates the vast mass of red or blue spreading over particular areas and demonstrates that the country is not actually starkly divided. 2008 Election Results by County in Shades Population Cartogram Combining all the complex techniques above produces this truthful and reliable depiction of the election results compared to population per county. Much more accurate than the first map given! 2012 Election Results And now for the long awaited images of the recent 2012 US Presidential Election. Here is the image of the standard and simple map of the election results of Romney VS Obama. Not too distant from the image we saw from the 2008 Election. 2012 Election Results by County in Shades Population Cartogram Here is the more authentic portrayal of outcomes from the 2012 election using population per county and shades: an up-to-date representation of America's voting patterns that couldn't be much more accurate.
How does Ryan Coogler do horror? With the supernatural, a blues soundtrack, and blood and gore, and also with evil honing in on twin brothers who are trying to create a new haven for their Black community to let loose in after dark, and to simply call their own, in the Mississippi Delta in the 1930s. Both portrayed by Michael B Jordan (Creed III) — because the only thing better than one version of the actor in the filmmaker's Fruitvale Station, Creed, Black Panther and Black Panther: Wakanda Forever is two in Sinners — Elijah and Elias, aka Smoke and Stack, are back in their hometown from Chicago with cash to splash and a dream to bring to fruition. They secure an old saw mill, then set about turning it into a juke joint as speedily as they can. The siblings' young cousin Sammie (debutant Miles Caton), a talented guitarist, is enlisted to assist. So is everyone from other musicians (Unprisoned's Delroy Lindo and The Penguin's Jayme Lawson) and friends (Omar Benson Miller, True Lies) to loves from before the brothers left for the city (Loki's Wunmi Mosaku and The Marvels' Hailee Steinfeld) and the local Chinese American shopkeepers (Based on a True Story's Li Jun Li and The Last Bout's Yao). Not just anyone can enter — but when Irishman Remmick (Jack O'Connell, Back to Black) insists on an invite through the doors after being drawn the bar's way by Sammie's powerful tunes, and is refused, he gets persistent. Remmick also gets toothy. Chatting about the picture back when its second trailer released, Coogler described Sinners as "very genre-fluid". He continued: "it switches in and out of a lot of different genres. Yes, vampires are an element of the movie. But that's not the only element. It's not the only supernatural element". Seeing how that proves accurate in the finished film, and how the man behind the movie has written and directed the hell out of it, is already one of 2025's best cinematic experiences. While marking the first time that Coogler hasn't explored a true story, taken on an existing franchise or brought an already-known character to the screen, there's never any doubting that the flick that results couldn't have sprung from anyone else — and that it builds upon one of the best filmographies in the business over the past decade. Although Sinners is Coogler's debut official and overt entry in the horror realm, in a way he's been stepping into that terrain since 2013's Fruitvale Station. When that feature charted the events leading to the death of Oscar Grant in Oakland, it examined a real-life incident far more distressing than any movie that's predicated upon bumps and jumps. Now, 12 years later, Coogler's path from his first film to his fifth is clear: in both, terrors and traumas can lurk for no more reason than being Black in America. [caption id="attachment_1000420" align="alignnone" width="1920"] Marion Curtis / StarPix for Warner Bros.[/caption] Sinners also builds upon Coogler's tried, tested and terrific creative collaborations — with Jordan, yes, and also with cinematographer Autumn Durald Arkapaw (The Last Showgirl), production designer Hannah Beachler (Renaissance: A Film by Beyoncé), editor Michael P Shawver (Abigail), and two Oscar-winners in composer Ludwig Göransson (Oppenheimer) and costume designer Ruth E Carter (Coming 2 America), all back from either Black Panther, Black Panther: Wakanda Forever or both. Their sense of connection, of support, of coming together to realise a vision, is evident in every frame. Sinners' cast also gush about it. Indeed, when Coogler, Jordan, Caton, O'Connell, Lindo, Li, Mosaku, Steinfeld, Miller and Lawson chat through their experience making the movie, they talk about the shorthand between the film's writer/director and its two-time lead; first-timer Caton enjoying a spectacular learning experience; the depth at every turn, including for the feature's villain; and the cultural richness and attention to detail. Also covered: the flick's impressive choreography behind its frays, cultivating a sense of place, wanting to be on set on days off and more. On the Shorthand That Coogler and Jordan Have Established Over Five Projects and More Than a Decade of Collaborating Michael: "The shorthand has done nothing but get stronger over the years, especially with this one being my first movies that I've done since I directed my first film — and just having a deeper sense of empathy of what Ryan goes through on a day-to-day basis, all the hats that he must wear, the amount of places that he has to be at the same time. Especially on this one, for me to be able to be an extra set of eyes for him and help where I can or anticipate his movements or needs allowed us to maybe get a little bit more done, especially when time is always an issue on set in general — but it's a just mutual understanding. I can't really explain the nonverbal communication that we have that's only gotten better over the years." On Whether Coogler and Jordan's Working Relationship Evolved After Jordan Directed a Film Himself Ryan: "I worked as his producer on Creed III. It was a lot of times where I would never rub it in his face like that, but he would say 'whoa, man, I see what you're dealing with' — but the reality is, man, our jobs are so different. Even what he did when he was directing Creed III, he was acting in that movie. He was having to go get punched in the face and then go look and check to see how he did, and then go back and get punched again. I'm not on-screen ever when I'm directing. I'm behind the camera. Mike is an empathetic guy. He grew up on film and television sets. What I like the most about working with him is he has an incredible work ethic, but he's also a very kind and family-oriented person. When you're number one on the call sheet — in this case, he was 1A and 1B — you have that culture. Oftentimes, it's going to come from there and it trickles down. People are watching how the lead actor communicates with the PA; with the assistant director, the AD; with the camera operator; with the sound. Do they like to let the sound person mic them, or do they want to complain? All of these things, man. He's such an incredible sport and just kindness is the default. That's just infectious on the set in terms of establishing the tone that everybody's going to work with. It's unacceptable to yell at a PA — Mike had never done that, Mike had never raised his voice." Michael: "That's right. That's right." Ryan: "In an industry where it can get very high stress, it can get very toxic, it's great to have somebody who understands the value of keeping it loving and respectful, so that's what I like about Mike the most. The other piece is, he wants to challenge himself constantly. What was great was I got that with every cast member. Everybody who went through the works and stepped on the set, they were trying to be better than they were on their last movie. I believe that they're going to be better than they were on this movie on their next one. That's the type of people that we hired and that culture starts with Mike, but I was fortunate enough that everybody came with that, and I was very happy with that." On Caton's Journey with His First Film Role Miles: "I started off when I was 16 years old, I got the opportunity to sing background for HER, and we began a tour all over the world. We opened up for Coldplay. Towards the end of that tour, I got a call one day saying, she called me and she said 'little bro, there was somebody in the crowd that heard you sing and they want you to audition for this role'. I took that and I ran with it. I sent a self-tape audition. After that, I got a callback. Then they sent a couple sides. It was a kid, a young kid just playing the guitar. I did that and I sent that off. The next thing I knew, I had went to LA to do an audition, and I got to meet Mike and I got to meet Ryan along with a couple other people. From there, I got to really talk with them about the role and just put my best foot forward. After that, I was able to really learn from them. Just being on this project, I got to grow so much. Every day was a learning experience. From the time I got on set to the end, I really did push myself every day to be better. Being around actors at this level, they all showed me so much love, man, so to be here in this moment, I feel super blessed." On O'Connell's Job Unpacking the Many Layers of Sinners' Unsetting Supernatural Force Jack: "I think villain is a fair description. There's probably an easier way of doing things, but in the film, we do it the hard way for Remmick. He's all about fellowship and love. All he wants is just to bite you on your neck, and then that's everlasting love, just a little bite. He's constantly saying 'I promise I won't hurt you'. It's the easy way, but we end up going the hard way. Listen, there's a real richness, a real depth, I think, to Ryan's writing. What we were striving towards was — it wasn't superficial. It was grounded in something that's rooted in history. That, to me, was the main thing I was loving to latch onto, was the cultural richness that our characters were representing in individual ways." On Lindo Being Tasked with Getting Physical and Fiery Delroy: "First of all, we have such a wonderful team who work on the fights. I had said earlier 'oh, Ryan has a wonderful team that he puts at all the actors' disposal'. I had talked earlier about the fact that when I was younger, I did dance class and fighting on film, and in the theatre — it's like choreography, right? It's choreographed. On some level, the more violent the fights are, the more critically important it is that it be choreographed to a tee. These fights were. I came to the project a little late, because I was working on something else, but when I arrived in New Orleans they were already in the thick of building the moves in the fight. The very first fight rehearsal that I went to, the fight captain showed me what they were working on and showed me very specifically 'okay, this is how you will slot in'. We just worked very methodically to achieve that, so by the time we got on camera to shoot those scenes, we all knew exactly what we were doing, what our responsibilities were. The other thing I would say really quickly, there was an openness which trickles down from Ryan and from Mike in terms of the generosity shown to all of the actors. If something was presented to me, there were a couple of things presented to me in the fight scenes where I said 'can I maybe try this?'. 'Absolutely.' There was always space to incorporate what felt more organic for me as an actor." On the Attention to Detail That Went Into Exploring the Chinese American Experience Li: "I was not aware of the Chinese American community in the Mississippi Delta at all. I had no idea about them. All I knew was that when I was presented with the sides during my audition process, I had no other information other than the fact that she was a Chinese American with a very thick, deep southern accent, which was what really piqued my interest — and also obviously because it was Ryan's project. When we dived into the research, it was fascinating. They were such a crucial part of the world at the time. They were the only people who were able to open up grocery stores specifically for the Black and white communities, but they also endured a lot of prejudice themselves. In a documentary made by a filmmaker named Dolly Li, there were a couple of people that she mentioned. One of the women's names was Frieda Quon, which is whom we used for our dialect inspiration. She always said that as long as we stayed in our lanes, we were fine, but trouble would start if we crossed over. I just love how fascinating it was, how deeply embedded they were in the culture and how you would never think that a person who looks like me would speak that way, and yet they did. They also made southern-style Chinese food and they built their own community. It was really a gift to learn about this." On Why a Sense of Place Was So Important, Especially to Smoke and Annie's Love Story Wunmi: "Annie's shop, her home, is in this picturesque environment with these massive shaded oaks — and what's the other tree, the one in Louisiana with the moss? It's so beautiful and romantic and really adds to the magic of their relationship, their love. It elevates it. I love how, in the scene when we see Annie and Smoke for the first time, is it dandelions you've got blowing behind Smoke?" Ryan: "Yeah, pussy willows." Wunmi: "You say willow?" Ryan: "Yeah, pussy willow." Wunmi: "It's so beautiful. The whole shop itself, I feel like I wish we could see the whole thing because Hannah Beachler, she did such an amazing job." Delroy: "She did." Wunmi: "There's smoke coming up through the floorboards and there were these little cards hanging from the ceiling. This candle's burning in the background. You can't see all of this. There were spiderwebs on these spell books. These are real spiders. It's not even set design. It just felt really magical. It felt like their home. When he comes into the store, he knows where to pick his pipe from. He knows that time has stood still for her and everything is as it was. I really loved their environment. It felt like it really added to the scene, it added to our intimacy, it added to our connection." On Navigating Mary's Journey, and the Night-Time Shoots That It Entailed Hailee: "I think the nights were crazy, and a lot of the nights took place inside the juke, too. We would go in and it would be light — and we'd come out, it'd be light again. What I loved, though, so much about the juke for Mary was that even though it was a new place to her, it was home. There were so many elements within that juke that were created, that were brought to life, that were home. The food; the people, most importantly; the music; just the way, the layout where you'd have Smoke and Stack up above, Annie in her corner, the stage and Mary just moving through and feeling this sense of familiarity having never been there before because of who was around her. I love that so much about this character and how she falls into this story, because she's in a place of not knowing whether or not she, to an outsider, not so much herself — an outsider may not believe that she belongs in that space, but she does, she knows that and she feels it. Being in that juke, being on that stage and even in our exterior location, looking at that structure that was built, it was like it became our home. It became Mary's home. It became her connection to her mother and her past that she'd been away from for so long, living a very, very different life that we didn't necessarily see, but we could only imagine how beautiful it might've been or looked, rather, or how different it might've looked. It wasn't what she wanted. This is home. I loved walking in there and hearing everyone's shoes creak on the wood and the chairs that we see a little bit in the movie of the juke coming together. It's just like you wonder where it all came from and how they got it all together. It was all these people that are in there that made it happen, that brought it together. We had just the most incredible team, some of who you mentioned, bring this to life and make this feel like a safe space that we could call home." On the Collaborative and Creative Vibe That Comes with Working on a Coogler Film Omar: "I've been doing this for a good amount of time now. I've been blessed to work for a long time. Ryan Coogler runs the most-egalitarian set I have ever been on, and I say that in the most-complimentary way. Once we got to set, once everybody came out of the trailers, everybody was equal. For somebody who's had an underdog element to his whole career, I value that so much. To me, that was something that I leave with — leaving that set and always being welcome to return to the set, and always being a part of it with looking forward to return to it, was that I know that we're all being treated equally. Ryan knows everybody's first name. It's 200-something people. Ryan's calling people out: 'Roger Stevenson, how was your weekend?'. It's stuff like that. It's very, very, very impressive." Jayme: "This is hands-down my favourite experience. I think the way Ryan really set the tone, that it felt like we could bring our stories with us as he shared his with us — it made for this collaboration where, I think I can speak for a lot of us, we found a level of freedom that oftentimes you don't get to tap into, because you're being led by somebody that has so much faith in you and trust in you with his brainchild. At no point did he ever feel so precious about it. It was a gift that he was willing to share — every day, like Omar said. I would show up when I didn't have to be at work. Now, I don't know anybody else that would want to do that, but to be able to watch Ryan work, I had to. I just wanted be in that room at all times, and I am forever grateful for that." Sinners releases in cinemas Down Under on Thursday, April 17, 2025. Film images: Warner Bros / Eli Ade.
Fish Lane's Town Square is putting its patch of pavement to good use, with markets now popping up in the South Brisbane spot. While bars and eateries line the laneway, and festivals have taken it over as well, Fish Lane has only hosted its own stalls for three years now — and given you a reason to head by to browse and buy locally made art, ceramics and other goods. In 2023, that also includes the return of Fish Lane's Christmas markets. Running from 9am–1pm on Saturday, December 16, it'll span a heap of stalls filled with everything from fashion, plants, art and jewellery to natural skincare and accessories for your dog. In fact, the road between Hope and Grey streets will be closed down for the day to accommodate the market — and you can obviously bring your four-legged friend with you as you browse. Food-wise, Fish Lane's existing cafes and eateries will keep you feed and caffeinated while you shop.
"So, how long have you been dead?" If you're a vampire being interviewed, that's the kind of opening question that's bound to come your way. More queries obviously have to follow, but it's a helluva ice-breaker — and, in the new Interview with a Vampire TV series, it's slung Louis de Pointe du Lac's way. Set to arrive in October — in Australia via AMC+ from Sunday, October 2, with New Zealand details still to be announced — this new small-screen adaptation of Anne Rice's 1976 gothic horror novel of the same name sparks plenty of questions itself, too. No, Brad Pitt doesn't play Louis, as he did almost 30 years ago in the 1994 movie. No, Tom Cruise doesn't play fellow vamp Lestat de Lioncourt again either. And you can guess the answers to your next two queries: no, Kirsten Dunst isn't back as Claudia, and neither is Christian Slater as the interviewer. All those characters feature here, though, with the Interview with a Vampire series retelling Louis, Lestat and Claudia's tale. If you remember the flick — the film that helped push Dunst to fame as a child, well before she was an Oscar-nominee for The Power of the Dog — you'll know that it steps through the undead trio's not-quite-lives (being eternally undead might be the better way to describe it). This time, Jacob Anderson — aka Game of Thrones' Grey Worm — is the New Orleans resident who can't resist the offer to live forever. Playing Lestat to his Louis is Australian actor Sam Reid (The Drover's Wife The Legend of Molly Johnson). As for child vampire Claudia, Bailey Bass (Psycho Sweet 16) does the honours, with the always-welcome Eric Bogosian (Succession) as probing interviewer Daniel Molloy. Like plenty of other upcoming movies and TV shows did — such as The Lord of the Rings: Rings of Power, House of the Dragon, She-Hulk: Attorney at Law, Dungeons & Dragons: Honour Among Thieves, John Wick: Chapter 4 and Black Panther: Wakanda Forever — Interview with the Vampire dropped its first sneak peek at this year's San Diego Comic-Con. With Louis' story starting in the 1900s, it's big on period details and costuming, plus a sweeping mood. And yes, reviving 90s movies as a series is a trend that shows no signs of dying — like interviewed vampires — given that Interview with the Vampire will hit streaming queues less than two months after the new TV version of A League of Their Own does the same. Also, Interview with the Vampire joins the film-to-TV vampire ranks, too, alongside Buffy the Vampire Slayer and What We Do in the Shadows. Check out the Interview with the Vampire trailer below: Interview with the Vampire will start streaming in Australia viaAMC+ from Sunday, October 2. We'll update you with New Zealand details when they become available. Images: Alfonso Bresciani/AMC.
Brisbane's luxe hotel scene has been playing a bit of musical chairs in recent months, all thanks to the Hong Kong-based chain Ovolo. First, it took over the Inchcolm Hotel in Spring Hill, turning the art deco spot into a glam mix of the old and the new. Now, it's revamping the Fortitude Valley spot that was previously known as the Emporium. If you're still playing catch-up on all of these changes, the Emporium brand actually moved over to a new site at South Bank — one which, as of earlier this month, boasts a decadent rooftop bar on its 21st floor. But it sounds like the old Emporium will be quite the stunner too. Now called Ovolo The Valley and set to open its doors in November, the 103-room hotel has had a $55 million facelift, including two suites inspired by David Bowie. Fancy being a hero just for one day (and night)? In suites aptly named Major Tom and Rebel Rebel, guests will find 1970s-inspired velvet lounges and a gold bar. If you're not up for channelling your inner rock star, all rooms feature rich colours that take their cues from the Valley's streets and laneways, plus custom wallpaper and eclectic furniture choices. Also standard across the board is 24-hour room service, flat-screen TVs with Google Chromecast and an in-room Alexa to answer all of your questions — plus access to the rooftop swimming pool, gym and sauna. Like other Ovolo sites, Ovolo The Valley will also offer a heap of freebies: a free mini-bar with every room, free breakfast with every stay, free wi-fi, free laundry and free happy hour drinks each day. That said, rooms will start from $300 a night, so it's still an indulgent staycation. The new fitout is being overseen by architecture firm Woods Bagot, who're also looking after the Howard Smith Wharves redevelopment. Collaborating with Chloe Want from AvroKO in New York, they'll be working through into next year on Ovolo The Valley's final touch, with a standalone restaurant and bar slated to launch in early 2019. Ovolo The Valley will open at 1000 Ann Street, Fortitude Valley from November.
If someone tells you that a classic can't be improved, sometimes they're right — but sometimes, such as when mixing yum cha and rum is involved, their words won't quite ring true. Yum cha as it usually stands, as enjoyed at Brisbane's Chinese restaurants on weekends, is a go-to for a reason. But throw in rum at Casa Chow's new rum cha and it's a whole new experience. From Friday, March 3, Woolloongabba's resident Chinese Peruvian joint is dedicating 12–3pm Fridays and Saturdays to this new combo, which is based around $15 daiquiris and small bites to eat. Those drinks come in a choice of classic, pineapple, lychee and watermelon, and all feature Plantation Rum, which is also behind this culinary mashup. Beverage-wise, Khaleesi mojitos ($21, and made with dragonfruit), plus Casa Chow's spins on rum old fashioneds ($23) and mai tais ($17) are also on the menu. Obviously, it isn't rum cha without yum cha as well. The share range starting at $7, ranging through to $23, and featuring mud crab and scallops dim sum, prawn har gau, XO crab fried spring rolls, Sichuan pork and beef fried dumplings and more.
The best way to celebrate any occasion is also usually the tastiest way to celebrate any occasion: by eating, drinking and being merry. So, for Bastille Day, that means indulging in a French spread of beverages and bites. Obviously, that's what's on offer at Woolloongabba's C'est Bon. As the inner-city suburb's resident French restaurant, taking cues from Paris is always on the menu here — but the eatery is putting on special events, plating up themed menus and pouring colourful cocktails to really get into the spirit of the day. In fact, it's serving up so much French-themed deliciousness that it hasn't been able to confine it all to just Sunday, July 14, with C'est Bon hosting a Bastille Weekend until from Friday, July 12. It all starts with shared dinners on the Friday and Saturday evenings, with a shared menu on offer from 5pm. You'll pay $89 per person for a range of dishes that hero traditional flavours, complete with bottomless baguettes for bread fiends — plus complimentary crepe suzette. For lunch on the Saturday, the champagne will be popping in the restaurant's cellar, where a snack, four courses and petit four will all get their own French bubbles to pair. For $195 per person, you'll be tucking into smoked foie gras and laminated brioche, for instance — and other bites include Queensland red claw thermidor, Murray cod with mussel farci and nettle velouté, a rabbit dish, a pain d'Épice savarin and parsnip ice crème, and a mont blanc choux bun. Then, on the big day itself, your Sunday session can span another French shared menu — this one with twice-baked crab souffle, dry-aged duck a l'orange and more — over jazz tunes. It also costs $89 per person and again ends with crepe suzette.
By now you’re probably well acquainted with the rooftop pool terrace, so it’s time we introduced the restaurant. A welcome addition to Brisbane CBD’s central dining scene, Lennons Restaurant & Bar is here to cater for everyone at any time, on any day, at any budget. A simple escalator ride from the mall, indulge in the a la carte menu, speed through the 60-minute 'Lunch Timed' concept or take your pick of the daily lunchtime deals. Located within the new Next Hotel, the venue is named after the original dwelling. With floor-to-ceiling glass windows that look onto Queen Street Mall, the interior finds that warm balance between modern sophistication and comfortable class. Large spaced with natural light? Tick. Executive chef worth writing home about? Tick (Todd Adams previously worked at Stokehouse and the Euro). Business lunch? Tick. Cheap and quick bite? Tick. Totally air conditioned? Tick (can’t be underestimated in summer). Breakfast, lunch and dinner? Tick. The a la carte menu offers everything from salads and burgers to pasta and woodfired pizza, but if you’re out to treat yourself, order a steak ($32–$38) hot off the parrilla grill. Lennons steaks could be the best you find outside of a specialty grill restaurant in Brisbane. Served with a whole bulb of roasted garlic, it's even better if you add the roasted honey pumpkin with spiced nuts and seeds side. Realising the Monday to Friday clientele consisted mainly of time-poor business people who wanted quick food (not fast food), the restaurant introduced Lunch Timed. "Making your time count", the express lunch menu delivers a three-course meal in under 60 minutes, or you get half off the bill. Either way, you’re winning. The menu consists of a set entree and dessert, and your choice of three mains. If you’re penny-pinching, from Monday to Friday there is also a daily lunch deal, $10 burgers on Monday, "veal-like-a-schnitzel" Thursday $15, and so on. The range Lennons shows makes it a winner among hotel restaurants. And if you haven’t been up to the pool terrace yet, then you’ve got some work to do.
Eagle Street Pier has long been home to a lineage of high-rated restaurants, from swank stalwarts to fuss-free franchise staples. And now, among the riverside's good, great and decent, stands a chopstick-wielding Madame Wu, proving her pier-worthiness, one dumpling at a time. If you know your way around Eagle Street Pier, this Asian restaurant should take little hunting to find. It sits high and open, facing the river, in between Fridays, Riverbar and Kingsleys, but by no means crowded by these eating spots. The outdoor space sits facing the Story Bridge, with the inside resembling a high end cocktail bar, architecturally prim enough to be comfortable but showy enough to partially permit the prices. The aromas of Madame Wu could sell this spot alone. Sure, come here for cocktails — we recommend the Koh Samui Colada for sweet teeth, and the Sleeping Dragon if you're a bit more game — but the food is what you want. While it doesn't come out too quickly, it sure disappears in a flash. The Wagyu dumplings are a safe entree choice, hearty in texture and colour. The chicken ribs (who knew they were for eating?) are crumbed and deep-fried in a perfect layer of crunch, with tang sui dressing adding a strangely sweet bite. For lighter options, the smoked ocean trout salad and raw yellow fin with kim chi and crispy lotus let the fantastic flavours of the fish swim delicately in dressings of perfect balance. Some dishes, like the pork hock and butternut pumpkin, are overwhelming, each base over-swept with sweet and somewhat stark braises. The menu, however, is endless, with two banquets on offer, and dishes to suit every bud and his tongue. Take a risk and try something strange, like snapper poached in beer, and you might walk away feeling a little more worldly and a lot less hungry. If you come here, and feel outraged by the three-digit bill that is sure to succeed your evening, you should know better — this is the Eagle Street Pier of course. But the food on show here is presented in a modern way, with service that is politely personal, and sophisticated. Let Madame Wu give you a real taste of Asian dining, with the occasional gastronomic thrill and a view to match.
We've all been there. You are walking through Ikea, looking for that green flower print pillow cover or flexible floor lamp, when you somehow get lost in the kitchen section. Well, now you have a way out, thanks to Google Maps for Android. Google has expanded its cartography and announced that it is moving into the great Australian indoors. So now when you step off the street into the gargantuan megaplexes that house the biggest thing to come out of Sweden since ABBA, you no longer have to look silly asking for directions at every turn. More than 200 other iconic indoor locations across Australia have also been mapped, including Flinders Street Station, Sydney Opera House and Crown Casino in Melbourne, as well as many Westfield shopping centres. The bulk of the sites are in New South Wales and Victoria, but Adelaide Airport and Brisbane Convention and Exhibition Centre proudly represent their respective states and many more locations are on their way. The technology largely relies on local wi-fi networks and is currently only available on Android devices. No news of if or when the technology will be available for iPhone users. So if you're on Android, find your way indoors and head straight to that Gronkulla.
Before the pandemic, compiling a travel bucket list was limited only to your imagination. Now, after years of international border closures, and also the shutting down of overseas travel into and out of many countries, it's also guided by COVID-19 rules, requirements, restrictions and entry procedures. But if you've been keen to add Bali to your itinerary, the Indonesian island has good news: it's now open to double-vaccinated Australian and New Zealand tourist without quarantine. Back in February, Bali started welcoming back select tourists — including folks from Down Under — but with a shortened isolation period, requiring arrivals to quarantine for five days once they hit the island. Now, since Monday, March 7, that rule has been scrapped. There's still mandatory testing, as well as a few other procedures to abide by, but you no longer have to factor in a lengthy stint confined to your hotel before your getaway genuinely kicks into gear. Firstly, the new rules only apply to travellers who have had at least two doses of a COVID-19 vaccine — and, in the 48 hours before you get to Bali, you also need to get a PCR test (and, obviously, it needs to return a negative result). Then, thanks to Bali's newly implemented Visa on Arrival program, you'll fill out the paperwork and pay the fee (around AU$50) when you hop off the plane, and also take another PCR test. You will need to isolate until you get a negative result from that one, but that's clearly better than spending five days in quarantine. Upon arrival, you'll also need to show proof of a paid hotel booking for four days/three nights, as well as health insurance that covers COVID-19 up to at least US$25,000. And, you'll have to download the Bali COVID app as well. Then, three days after you get there, you're required to take another PCR test as well — but there's no isolation requirement attached. Countries covered under Bali's Visa on Arrival program since Monday, March 7 include Australia, New Zealand, USA, UK, Germany, the Netherlands, France, Qatar, Japan, South Korea, Canada, Italy, Turkey and UEA, with the scheme expanding to 42 nations on Monday, March 21. Indonesia has also just dropped its quarantine requirement nationwide, effective from the same date. That yearning you now feel? It's the need to pull out your dusty suitcase, get packing and book yourself a beachy Bali holiday. For more information about the requirements for travelling to Bali, head to the Indonesian Government's website.
During the summer months, there's often one thing at the top of our to-do lists: hitting up as many beaches as possible. Australia has a lot of them (11,761 of them, to be exact) and choosing which ones to go to can be difficult. Where won't be too busy? Too seaweed-y? Which one has the whitest sand? The bluest water? Is the best for beach cricket? There's a lot to consider. Thankfully, Tourism Australia's Beach Ambassador (how do we apply?) Brad Farmer AM has done the hard yards and pulled together a tidy list of the top 20 Australian beaches for 2020. Farmer chose the beaches based on water quality, cleanliness, capacity, facilities, safety and 'wow' factor, as well as a host of other factors. Topping the list for 2020 is Cabarita Beach on the Tweed Coast, tucked between Byron Bay and the Gold Coast. As well as being a great surfing spot that's reasonably quiet, Cabarita is filled with lauded dining destinations and a brand-new glamping retreat a thong's throw from the award-winning beach. Farmer calls it a "quintessential Aussie beachscape showcasing a truly diverse range of settings to swoon over". [caption id="attachment_754821" align="alignnone" width="1920"] Wagga Wagga Beach by Destination NSW.[/caption] Also on the list, for the first time, is an "inland beach". Wagga Wagga Beach, coming in at number nine, is located on the banks of the Murrumbidge River a five-hour drive inland from Sydney. It's far from the coast — and the seashore — but Farmer said "it's time we extend the meaning of a beach". "There are so many aquatic environments across Australia's interior," Farmer said in a statement. "These water spaces...socially connect rural and remote communities in often dusty and dry, drought conditions." At a time when so many parts of rural Australia are suffering through a two-year drought, it seems a fitting time to recognise our inland water bodies. A second non-coastal beach made the list, too: the pristine Lake McKenzie on Queensland's Fraser Island, which came in tenth. Rounding out the top five are the Gold Coast's Currumbin Beach at number two, NSW's hidden Minnamurra Beach (aka Mystics Beach) at number three, and Maria Island in Tasmania and Queensland's Cape Tribulation at number four and five respectively. Some of Australia's busiest (and, arguably, most popular) beaches — ie Bondi and Jervis Bay— didn't make the short list, but are both on Farmer's long list of 101 top Australian beaches for 2020. As did the Whitsunday's Whitehaven Beach, Australia's top-ranking beach in FlightNetwork's global list. So pack your togs (and your beach cricket set), round up some mates and start ticking these off. We see many road trips in your future. [caption id="attachment_754820" align="alignnone" width="1920"] Lake McKenzie by Ashley Dobson[/caption] THE TOP 20 BEST AUSTRALIAN BEACHES FOR 2020 1. Cabarita (NSW) 2. Currumbin (Qld) 3. Minnamurra (NSW) 4. Maria Island (Tas) 5. Cape Tribulation (Qld) 6. Brighton Beach (Vic) 7. Bettys Beach (WA) 8. South Port Beach (SA) 9. Wagga Wagga Beach (NSW) 10. Lake McKenzie (Qld) 11. The Basin, Rottnest Island (WA) 12. Fingal Bay (NSW) 13. Smiths Beach (WA) 14. Neds Beach, Lord Howe Island (NSW) 15. Quobba Station Red Bluff (WA) 16. Cossies Beach (Indian Ocean) 17. Lake Tyers Beach (Vic) 18. Diamond Head (NSW) 19. Pondalowie Bay (SA) 20. Killiecrankie Beach, Flinders Island (Tas) Top images: Cabarita Beach by Destination NSW
