Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Brisbane at present. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. JOE BELL Led by Mark Wahlberg in one of his weightiest roles in some time — Entourage, the Ted films, Deepwater Horizon, the Daddy's Home movies, multiple Transformers flicks, Instant Family, Spenser Confidential and Infinite certainly haven't earned that description in recent years — Joe Bell is clearly a vehicle for its star. It tells a true story that more than deserves to hit the silver screen, but everything about it has been engineered to thrust its biggest-name talent to the fore. That move doesn't do this drama any favours. In fact, taking that course proves a significant misstep. Wahlberg turns in a passable performance, but the eponymous figure he plays should never have been the central focus here. In 2013, that real-life Oregon man decided to walk across the US to raise awareness about bullying. At the towns on his route, he'd pause to spread his message, all because his son Jadin had been tormented by his classmates for being gay. He was determined to stop the same thing happening to anyone else, and his mission and motivations were noble. His quest was vital and well-intentioned, obviously. It's glaringly apparent, though, that his efforts to teach tolerance to America's rural youth aren't the most crucial part of this tale — unless you want to make a movie starring Wahlberg, that is. And, unless you're happy to craft a film that takes all the wrong cues from weepies about illness and trauma that misguidedly and infuriatingly prefer the people adjacent to those who actually struggle and suffer, and a feature that largely pushes aside a queer teen's experiences in favour of his dad's reaction to them. That's exactly what Reinaldo Marcus Green (Monsters and Men) directs, and that Diana Ossana and Larry McMurtry (Brokeback Mountain) have scripted. While preaching the importance of not ignoring LGBTQIA+ teens, Joe Bell lets Jadin stand in its namesake's shadow. Since the film first premiered at the 2020 Toronto International Film Festival, it has actually been re-edited before its theatrical release, but only slightly. Jadin gets more prominence now, although he still isn't the movie's core focus. Again and again, that choice clunks through the movie — not just because Reid Miller (A Girl Named Jo, Play by Play), who plays the pivotal teen, is so radiant and affecting, but because it's always plain which story the feature should be telling instead. While there's a reason that Joe Bell has chosen the route it has other than ramping up Wahlberg's screen time, it isn't enough to justify sidelining Jadin. Also impossible to excuse: the way that one essential aspect of the narrative is treated like a twist, which also requires using Jadin as a mere gimmick before that. Accordingly, not only is the taunted gay teen that's sparked this mission to stop the taunting of gay teens turned into a supporting player, but he's also used as a prop and a piece of pure cinematic manipulation. That decision can't be explained away by wanting to flesh out Joe's emotional journey. It cheapens everything in the film, as important as its underlying statement against bullying is. And while Connie Britton (The White Lotus) and Gary Sinise (13 Reasons Why) help broaden out the feature's perspective beyond the man that shares it moniker (as Joe's wife and a small-town sheriff, respectively), there's never any doubting where Joe Bell's loyalties reside. PERSIAN LESSONS Persian Lessons starts unfurling its dramas with a familiar statement: "inspired by true events". It isn't novel of World War II-set films to make such a claim. In fact, it's virtually expected. But the phrase seems to apply loosely here; this film tells a tale of survival during the Holocaust that smacks of cinematic neatness, and also credits a short story by Wolfgang Kohlhaase. Beginning the feature with tenuous words couldn't be more fitting, however. Indeed, this is a movie about language, its meaning, its function as a form of connection and its use as currency. It's a film about the lies that words can spread and cement, the truths they can hold on to or obscure, and the way that words are constantly twisted to different advantages — whether to pad out dreams that someone desperately wants to believe in, to provide hope in dire situations, to threaten, to hide, to persecute, to taunt, to condemn, to console, to record, to remember or to simply survive. Director Vadim Perelman (House of Sand and Fog) and screenwriter Ilja Zofin (Yolki 1914) mightn't have intended Persian Lessons' standard preface to tie so firmly into its themes and storyline. They might've just wanted to flag that, somewhere in this narrative, kernels of truth do linger. But this handsomely shot and finely performed movie makes those opening four words count, albeit only in retrospect. It ensures that words matter and echo in its moving finale, too. It's considerably less successful at avoiding the tropes that come with Second World War features, but its musing on language, and also the complex and compelling work by Nahuel Pérez Biscayart (BPM (Beats Per Minute)) that comes with it, makes an unshakeable impact. The setup: after being captured by the Nazis during World War II, Gilles (Biscayart) comes into possession of a Persian book from a fellow prisoner. It's 1942, he's the son of a rabbi who has been caught trying to flee occupied France for Switzerland, and he soon uses that tome to save his life. SS officer Klaus Koch (Lars Eidinger, Babylon Berlin) has tasked his transit camp underlings with keeping their eyes peeled for people of Persian descent, so when Gilles claims that he's not Jewish to avoid being shot, that lie proves not just convenient but fortuitous. He's not only spared a bullet, but is quickly put under Koch's watch in the camp's kitchen. By day, he cooks. By night, he teaches Farsi to his stern student. Gilles doesn't actually know the language, though, so he's constantly making up gibberish in order to stay alive and avoid suspicion. Word after word, he adds to his superior's vocabulary — because Koch dreams of leaving Germany and the Nazis after the war, following his estranged elder brother to Tehran and opening a German restaurant there. Other guards don't buy Gilles' story, and trust isn't strong between officers and their captives anyway, but Koch is infatuated with chasing his fantasy future. When he endeavours to test his new tutor's assertions, he opts for insultingly basic questions such as "what is the capital of Persia?" and "what language do they speak? (Again, much in Persian Lessons happens a little too easily to truly resound with authenticity.) And, as burdensome as remembering all these fake words is, Gilles strenuously wants to avoid the fate befalling everyone around him. DIANA'S WEDDING Forty years ago this past July, Lady Diana Spencer married Charles, the Prince of Wales. Their unhappy union has already fuelled the fourth season of The Crown, and will pop up again in the series' fifth batch of episodes in 2022. It's also at the core of the upcoming, Kristen Stewart-starring Spencer. The regal relationship is just one of the nuptials referred to in Diana's Wedding, however. This Norwegian comedy begins on Wednesday, July 29, 1981 with glimpses of that big British affair, but Liv (Marie Blokhus, Out Stealing Horses) and Terje (Pål Sverre Hagen, A Conspiracy of Faith) are also getting hitched. While the occasion is nowhere near as fancy as the royal ceremony happening at the same time, these newlyweds are happy. They've even named their daughter Diana. Arriving at their new home that night, they're spied by Unni (Jannike Kruse, Psychobitch) and Jan (Olav Waastad, ZombieLars) next door, who've just watched Diana and Charles walk down the aisle on TV — and who also have their own infant, Irene, too. Indeed, Unni wanted to name her baby Diana as well, but Jan's disapproval is just one marker of their dysfunctional relationship. From here, Diana, Irene, Liv, Terje, Unni and Jan's lives are intertwined, as those of small-town neighbours often are. Whatever the people's princess is up to provides a backdrop to their existence in 1990 and 1997 as well, with writer/director Charlotte Blom (Staying Alive) checking back in with her characters at different points. The culmination: this Diana's (Ine Marie Wilmann, Sonja: The White Swan) own wedding, although her views on love have been coloured by Liv and Terje's tempestuous marriage, as well as Unni and Jan's dispassionate relationship. The idea behind Diana's Wedding is simple, charting two families across four periods in time, with all things Princess Di providing a handy backdrop. That said, the core of the film resides not in its narrative structure but in its characters, and in the performances that bring them to life. The royal elements are gimmicky, but playful. The time jumps are as well. What truly resonates, though, is how the ins and outs of two very different couples leave an imprint that ripples through the years, and down to the next generation — because Diana sees everything, whether she's a baby in a basket, a nine-year-old constantly witnessing Liv and Terje fight and make up, a teenager who's had enough of all the tumultuousness, or getting ready to don a white gown herself. Blokhus and Hagen frequently steal the camera's attention, and layer their bickering couple with depth and texture. As the yearning Unni, who desperately wants Jan's affection despite how patently he'll never give it, Kruse serves up a portrayal filled with quiet pain. There's no big revelations in their character arcs — some marriages seesaw, others are blatantly miserable — but the film's strong performances give everything in the story a lived-in air. Blom finds a canny balance between darker moments and a breezy, comedic feeling overall, those laughs emanating from recognising just how relatable this tale proves. And, within the sunny hues and amid the spot-on period detail, Diana's Wedding also makes a savvy statement about what we gossip about, what the world remembers and what really shapes us. OASIS KNEBWORTH 1996 Not only jumping back to a time when Oasis was the biggest band in the world, but chronicling the largest gigs of their career, Oasis Knebworth 1996 was always going to be an exercise in nostalgia. For anyone who can remember the Manchester group's mid-90s heyday, it's a trip back to the past. For fans of brothers Liam and Noel Gallagher and their bandmates, it captures the British chart-toppers at their zenith. Director Jake Scott (American Woman) doesn't shy away from the documentary's wistfulness. While footage of the band on-stage fills much of the film's 110-minute running time — visuals featuring songs such as 'Live Forever', 'Champagne Supernova' and of course 'Wonderwall' — much of Oasis Knebworth 1996 is guided by the group's fans. That 25-year-old imagery dwells on their beaming faces in the crowd, and their ecstatic exclamations of love for the band, and is frequently overlaid with fond recollections from some concertgoers. They narrate the buzz leading up to the two 125,000-capacity gigs on the grounds of Knebworth House in Hertfordshire in England's south. They share tales of lining up for tickets, or finding ways to jump the telephone queue, and of their planning, early arrivals and uncontrollable excitement as the weekend of Saturday, August 10 and Sunday, August 11, 1996, approached. Liam, Noel, guitarist Paul Arthurs and bassist Paul McGuigan also offer their thoughts, which are similarly layered on top of material shot at the time by Dick Carruthers and his team rather than served up talking head-style, but this documentary wants to recreate the feeling of having been an ordinary Oasis fan at one of these gigs above all else. The shows were monumental; with only two albums to their name (1994's Definitely Maybe and 1995's (What's the Story) Morning Glory), Oasis sold out two gigs at a place where only bands of Queen, Pink Floyd and Led Zeppelin's ilk had done the same. Oasis weren't the only group on the bill, with Manic Street Preachers, Kula Shaker, The Charlatans, The Chemical Brothers and The Prodigy among their supports; however, Oasis was the reason that more than two percent of the UK population tried to buy a ticket. Scott heads back to that weekend with euphoric affection. The performance clips and crowd shots emanate that vibe anyway — like the archival footage in fellow recent music doco Summer of Soul (...Or, When the Revolution Could Not Be Televised), the material here paints a clear portrait of a time, place and mood that's instantly infectious. But Oasis Knebworth 1996 is also an indulgent film, needlessly so when it opines about going to concerts pre-internet and before mobile phones as if that's a historical curio anyone who wasn't at Knebworth wouldn't remember. That attitude springs from the fans, and proves repetitive. Their recollections otherwise lead to a few interesting tales, including one girl and her pal's luck at chancing upon tickets on the day, and one guy finding himself in a limousine with Kate Moss and Anna Friel in the chaos to get out of the car park afterwards. Also radiating here, though, is an added dose of warmth and fondness not for these particular gigs, but for shows of their type in general. Celebrating a quarter-century since Oasis played Knebworth comes at a time when such large-scale concerts have become memories for now — and this film has us all looking back in reverence. FLASHBACK Add Flashback to the roster of movies that are made with obvious affection for others before it, but mostly only succeed in making viewers want to watch all those well-known and better films they clearly took inspiration from. Richard Kelly's Donnie Darko, Rian Johnson's Brick and Looper, and Justin Benson and Aaron Moorhead's The Endless and Synchronic have all left an overt imprint on this sci-fi mystery-thriller. Indeed, writer/director Christopher MacBride (The Conspiracy) eagerly wants Flashback to follow in their footsteps — and to sit in the same realm as David Lynch's entire filmography as well. There's a bit of Christopher Nolan's Memento, Inception and Tenet-style puzzling, a dash of Denis Villeneuve's Enemy and a smidge of Joseph Kahn's Detention at play, too. The list goes on, and watching can feel a bit like a game of spotting the influences. MacBride's movie doesn't merely emulate its predecessors, however. It synthesises bits and pieces into a new narrative about unhappy twenty-something Fred (Dylan O'Brien, Infinite), his mundane existence, his murky past, and the fact that a drug called mercury might open the door to living in multiple timelines simultaneously. But as its protagonist starts experiencing flashes back to high school, remembers that Cindy (Maika Monroe, Honey Boy), the girl he had a crush on, went missing, and struggles to remain grounded in his adult life with his wife (Hannah Gross, Joker), dying mother (Liisa Repo-Martell, Anne with an E) and overbearing boss (Amanda Brugel, The Handmaid's Tale), it's impossible not to see Flashback's oh-so-recognisable elements. Two specific aspects of Flashback prove a double-edged sword, too: O'Brien and the film's visual approach. When it comes to the former, he plays melancholy, bewildered and haunted well, but he's also looks out of place when Fred's navigating the minutiae of his late 20s and when he's cast back to classes, teen parties and doing whatever it takes to keep him close to Cindy. Stylistically, Flashback also both shines and scrambles. MacBride favours a trippy look and feel, including brief glimpses of moments from other times, swift strobe-cut editing, and an overall vibe that wants to keep the audience guessing about what's real and what's a drug-induced hallucination. In small bursts, all of these touches work. Repeated again and again, they lose their effectiveness. It doesn't help that the film is so infatuated with its concept, labyrinthine tale and psychedelic flourishes that it's barely concerned with making anyone within its frames — Fred included — feel much like a real character. Indeed, all the movie's women are given thankless parts, and Emory Cohen (The OA) and Keir Gilchrist (Atypical) fare just as routinely as pals from Fred's mercury-ingesting school days. MacBride doesn't lack ambition, though. Flashback is pulpy, convoluted and familiar, and it also strives to make a splash with its twists, aesthetics, and tinkering with maybes, what ifs and what might've been. This isn't the universe where the film comes together as intended, but it's one where it makes a just watchable-enough effort. TIME IS UP If Netflix is now the go-to for cutesy teen rom-coms — as illustrated by To All the Boys I've Loved Before, The Kissing Booth, their respective franchises and the like — then cinemas have become home to their supposedly hotter-and-heavier, always terribly acted counterparts. There's nothing alluring about Fifty Shades of Grey wannabe After and its sequel After We Collided, however, or about the unrelated but still similar Time Is Up. (And, it's worth noting that third After film After We Fell is now skipping the big screen in Australia and heading straight to streaming.) All of these movies endeavour to normalise unhealthy relationships, and try to dress them up as star-crossed instances of true love put to the test. Worse, they attempt to push romances between apparently capable young women and brooding, often-jerkish young men as the pinnacle when it comes to affairs of the heart. Being treated badly, putting yourself through it willingly and pining for the person responsible despite all logic screaming otherwise is a key part of the template here, and it's both abhorrent and tiresome. In Time Is Up, hotshot physics student Vivian (Bella Thorne, The Babysitter) can't quite figure out why her swimmer boyfriend Steve (Sebastiano Pigazzi, We Are Who We Are) is distant and rarely around. She spends all her time studying for a big test, he's always at training — and when they are together, he couldn't be more disinterested. But he isn't the only moody teenage male in her vicinity, with aspiring swim-squad member Roy (musician Benjamin Mascolo) also catching her eye, but also playing the aloof card. During an argument with Steve, Vivian spits back one of the worst lines ever uttered in a movie: "I'm always busy with quantum physics, and I still have time for you." Dialogue isn't writer/director Elisa Amoruso (Sirley) and her first-time co-scribes Lorenzo Ura and Patrizia Fiorellini's strong point, and making it seem believable isn't Thorne's — or, when saddled with spouting similar by-the-numbers declarations, Pigazzi or Mascolo's either. Time Is Up is shot with the music video-esque gloss of a fantasy, as its fellow teen romantic dramas usually are. It isn't aiming for realism in its narrative, which sees Vivian follow Steve to Rome, then end up spending a day with Roy instead, and also weaves in her struggles to cope with her parents' possible divorce, exactly what Steve has been doing with his time, plus Roy's guilt over a family tragedy and his insecurity over the fact that he comes from the wrong side of town. But nothing that flickers across the screen genuinely sells either of the film's romances, anchors its trio of main characters in anything resembling believable emotions, or gets viewers invested in what's happening. Thorne plays Vivian as mopey and clueless, despite how many times the screenplay mentions quantum physics. Pigazzi and Mascolo mirror each other in the blankly broody stakes, just with one veering towards arrogance and the other pitched as more sensitive. Opening narration about particles colliding hits the sappy mark it's aiming for, frequently swirling camerawork bluntly stresses how love is like a whirlwind, and a dull tale about a supposedly smart teen and the two toxic men she's caught between sinks into formula every moment it can. And with needle drops that include Billie Eilish on the soundtrack, it repeatedly feels as that's where the feature's money and focus has been spent — funds and effort that would've been useful elsewhere. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on May 6, May 13, May 20 and May 27; June 3, June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; and September 2, September 9 and September 16. You can also read our full reviews of a heap of recent movies, such as Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal and The Killing of Two Lovers.
Head east on Saturday, June 29 and Sunday, June 30, Brisbanites, and you might just find yourself surrounded by barbecued foods. With around plenty of vendors cooking up a storm at this year's Bayside BBQ & Beer Roadshow, you can probably just follow your nose through Cleveland, straight towards the showgrounds. An array of the city's top food trucks will be on barbecuing duties, covering everything from low 'n' slow meats to international barbecue dishes. Plus, if you'd like to pick up some tips to whip up your own feast at home, there'll be masterclasses as well. Or, watch the experts compete at the Queensland BBQ Championships — which is sure to kick your appetite into gear. Of course, this isn't just a barbecue festival, complete with dishes such as slow-cooked brisket, ribs, pulled pork and gourmet smoked sausages. It's also beer-fuelled shindig, with more than 100 local and international brews waiting for you to sip. And, there'll be markets to peruse, giant games such as human foosball to play and live music to listen to as well. Tickets start at $10 in advance, with general entry costing $25 on the door — and the event runs from 10am–5pm daily.
Because you're reading this, we know you're not someone who received a pet for Christmas, only to decide it wasn't for you. We know you're one of the good folks. You're probably wishing that you did receive a loveable animal as a gift, even if you already have one — or several — that you adore. And now more than ever. We understand your yearning, and so does the RSPCA. And, to find permanent homes for pups, cats, bunnies and guinea pigs surrendered into its care, it's calling out to the community to help look after its many animal during this tough time. While more of us are working from home and practising social-distancing (and increasingly wanting a four-legged friend as a comforting companion), the RSPCA is encouraging Australians to foster or adopt. So, if you've been thinking about adding a pet to your fam (and have considered it thoroughly), now might just be the time. Last year, the RSPCA found new homes for 2654 pets Australia-wide. Right now, RSPCA NSW has 2577 animals in its care, ready for new homes full of love and pats — temporarily or forever. In a statement, RSPCA NSW CEO Steve Coleman said, "As this pandemic escalates, we are asking for your help to find forever homes for the animals in our care." The Victorian and Queensland branches echo this sentiment, with one website saying, "our foster program is now more important than ever". If you're keen to foster a furry friend, you can register in NSW, Victoria and Queensland as usual; however, for adoption, the process has changed a bit in response to the ongoing COVID-19 pandemic. As of today, Friday, March 27, you must make an appointment before visiting one of the RSPCA NSW's locations, which can be done by filling out this form. Once that's done, they'll arrange a time for a meet-and-greet with your potential new family member. A similar process is in place at RSPCA Queensland's locations — you'll need to fill out this pre-adoption form before heading in — and in Victoria, you must submit an application before you can set up a time. According to the RSPCA, at present there is no evidence that you can contract COVID-19 from a companion animal or that they can become sick if exposed to the virus. If you're thinking about adopting, you can check out all the good boys, kittens, bunnies and birds looking for new homes in NSW, Victoria and Queensland. For details about adopting and fostering animals, head to the RSPCA NSW, Victoria and Queensland websites. If you are going out to meet a potential new family member, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
It's a truth that Morticia, Gomez, Wednesday and Pugsley would treasure: nearly a century might've passed since The Addams Family first graced the pages of The New Yorker in the 1930s, but this creepy, kooky, mysterious and ooky brood will never die. America's first macabre family keeps entrancing and enchanting audiences, luring them in with their unflinching embrace of the eerie, the gothic, and the all-round dark and twisted. Forget bumps, jumps, screams and shrieks, however; this off-kilter crew might pal around with a severed limb and adore graveyards, but they also delight in a gloriously eclectic, eccentric, embrace-your-inner-outcast fashion, as the 1960s TV show, 1991's live-action film The Addams Family and its 1993 sequel Addams Family Values, and now new Netflix series Wednesday understands and adores. Dropping all eight season-one episodes on November 23 — a Wednesday, when else? — The Addams Family's latest go-around arrives stitched-together as so much is of late. Netflix's algorithm has accurately gleaned that viewers love cartoonist Charles Addams' horror-influenced creations. It knows that people like mysteries and teen coming-of-age tales, two of the platform's favourite genres. And, the service is well-aware that already-beloved big names are a drawcard. Throw in Tim Burton directing like it's his 80s and 90s heyday, current scream queen Jenna Ortega sporting the trademark plaits, 90s Wednesday Christina Ricci returning in a new part, and a supernatural school for unusual children complete with Miss Peregrine's Home for Peculiar Children-meets-Hogwarts vibes, and Wednesday's various pieces are as evident as the sewn-on limbs on Frankenstein's monster. Mary Shelley's famous creature is an icon and a marvel, of course, and more things should want to follow in its footsteps. In the author's game-changing book, it lived, breathed and fascinated despite its seams being oh-so-visible, and Wednesday does the same — and quickly engages and entertains. Seeing why and how Netflix has crafted this series, and which levers it's pulling to electrify its experiment, is as easy as getting a killer glare from Wednesday's teenage protagonist. Enjoying every second because it's astutely, knowingly and lovingly spliced together is just as straightforward, especially with Scream, Studio 666 and X star Ortega leading the show so commandingly and convincingly. This version of the Addams family's eldest child is indeed full of woe, like the nursery rhyme she's named for. She wouldn't have it any other way. Played by Ortega with a knockout stare every bit as gleefully bitter as Ricci's and 60s TV show star Lisa Loring's, Wednesday has been bouncing around public schools, but she's suddenly out of options. After unleashing a pool of piranhas on Pugsley's (Isaac Ordonez, A Wrinkle in Time) tormenters — torturing him is her job, not the water polo team's — she's enrolled in the haunted house-esque Nevermore Academy. Morticia (Catherine Zeta-Jones, Prodigal Son) and Gomez (Luis Guzmán, The Resort) went there. In fact, they met and fell in love there. But the preternaturally morbid Wednesday is even less thrilled than usual, until she discovers there's a spate of grim deaths to solve. Harry Potter and X-Men comparisons spring the moment that Wednesday locks eyes on Nevermore, and only deepen when the series reveals that it caters to vampires, werewolves, sirens, gorgons and other paranormal folks. Wednesday's roommate is pastel-loving lycan Enid Sinclair (Emma Myers, Girl in the Basement), who hasn't yet 'wolfed out', for instance. Her immediate nemesis is queen bee Bianca (Joy Sunday, Dog), who has to wear an amulet to avoid unleashing her siren powers. Smartly, series creators and writers Miles Millar and Alfred Gough — who co-created Smallville together two decades ago, so know the ropes when it comes to mining the high-school angst of well-known figures — stick with Wednesday's namesake's withering attitude, and with a wryly comedic mood. She isn't fussed about the whole magical educational institution setup, and the show she's in recognises that it's a setting and a source of plenty of humour rather than the real focus. That centre of attention instead: Wednesday, always. People in and around Nevermore are disappearing, though. Students and Vermont locals might be getting torn to pieces by a monster, or they might show up again the next day even after Wednesday witnesses their murders. None of the adults — not headmistress Larissa Weems (Gwendoline Christie, Flux Gourmet), new teacher Marilyn Thornhill (Ricci, Yellowjackets), local sherriff Donovan Galpin (Jamie McShane, The Lincoln Lawyer) or Wednesday's court-ordered therapist Valerie Kinbott (Riki Lindhome, Knives Out) — are particularly open to her theories or happy about her investigations. A misanthropic teen black sheep sleuthing around an exclusive school and the insular town it's in, making few friends in the process, and determined to expose deep, dark secrets? Yes, there's more than a touch of Veronica Mars to Wednesday, too. Yes, there's thorny romances as well (enter Your Honor's Hunter Doohan as the sheriff's son Tyler and Pretty Hard Cases' Percy Hynes White as Nevermore pupil Xavier Thorpe), just with a brunette lead, a blacker colour palette and moody woodland surroundings. If you're well-acquainted with the formulas behind most high school-set dramas, or whodunnits and detective tales, then Wednesday has few shocks and surprises. Nonetheless, it remains a twisted and easy to binge from start to finish, all thanks to two key factors. First is that standout lead casting, with Ortega slipping into Wednesday's dead-eyed scowl like she's always worn it, never softening it, ensuring that Wednesday lives up to it and perfecting the part's deadpan humour at the same time. Zeta-Jones and Guzman play the lusty Morticia and Gomez with flair, Fred Armisen (Los Espookys) makes a suitably offbeat Uncle Fester, and Christie relishes her authoritative role, but the intense Ortega is the show's blackly and wittily charming heart. Secondly, although Burton doesn't helm every episode in the series — just the first four — Wednesday is as quirkily mesmerising as the Frankenweenie, Beetlejuice and Edward Scissorhands' greatest work. More than that, it's among his finest output in a couple of decades, in no small part because it looks so bewitchingly attuned to his preferred melancholy aesthetic, complete with wonderfully surprising and seductive design choices. There's Danny Elfman-composed theme music to help perfect the mood, too, continuing a collaboration with Burton that goes all the way back to 1985's Pee-wee's Big Adventure. Wednesday doesn't exceed its 60s or 90s predecessors — it swiftly and thoroughly bests the recent animated flick and its own follow-up, though, which isn't hard — but it's exactly what a Burton-style take on The Addams Family was always bound to be. Whether you're popping a witch's shawl on and grabbing a broomstick you can crawl on, or not, it's worth playing a call on. Check out the trailer for Wednesday below: Wednesday streams via Netflix from Wednesday, November 23. Images: Courtesy of Netflix © 2022.
For animal-lovers, one silver lining of the pandemic-era cloud was all the adorable live-streams that made their way into our feeds. Watching cute critters all day, everyday, became a favourite pastime, thanks to various zoos and aquariums around Australia and beyond. After all, what better way to brighten your mood than to lose a few minutes, hours or days to some adorable creatures on screen? Fast-forward to now and Melburnians — or anyone interested in the city's birdlife, really — again have something special to watch. This live-stream isn't actually new, but it's particularly relevant at this time of year. Thanks to a camera on 367 Collins Street in the CBD, you can train your peepers on two rare peregrine falcons nesting on a high-up ledge outside the building. You're able to give them a squizz any time you like, but from August onwards each year (aka now) is when you'll see them lay and hatch their chicks. At the moment, the eggs are already there, so you'll spy a whole lot of sitting atop them as the feathered couple waits for their progeny to hatch into the world. Once they've arrived, you'll also see vision of the parents bringing food back to the nest for their little ones to eat. For a peek at all the action, head to the Mirvac building's website. For those visiting the high-rise itself, the CCTV footage of the falcons is also on display in the foyer. This particular nest comes with quite the history, too, as peregrine falcons have been nesting at 367 Collins Street since way back in 1991. This is actually the only known peregrine falcon nesting site within the Melbourne CBD, which obviously makes it extra special. Check out the live-stream below: For more information about 367 Collins Street's peregrine falcons and their nest, head to the 367 Collins website and the 367 Collins Falcon Watchers Facebook page.
Ever convinced yourself that you needed something from Bunnings on a Saturday morning just so that you could down a snag in bread? If you answered no to that question, we don't quite believe you. The hardware chain's sausage sizzles are a beloved Australian weekend ritual, and we all missed them when they were put on hiatus during lockdowns. Come Saturday, July 23, however, they'll cost an extra $1. The price increase marks the first change in 15 years, and will see snags in bread go up from $2.50 to $3.50. And if you're quick to blame inflation, you're right, but it's worth remembering that the whole point of the sausage sizzles is to raise money for community groups. With the price of just about everything going up over the past few months, the community groups, not-for-profit organisations and charities that host the weekend barbecues have asked Bunnings to up the price so that their fundraising activities aren't impacted. When sausages, bread, onions, sauce and oil costs more for them to buy, that's less cash they're making after those snags have been sizzled, then sold to hardware-shopping customers. The entire price increase — the whole price for each snag, in fact — still goes directly to the community group running the barbie. So, while you'll be out an extra dollar, you'll also still be doing an ace deed. Drinks will remain $1.50, which means that you can grab a bite and a beverage for a fiver. On average, each Bunnings sausage sizzle brings in around $800–900, with more than 155,000 held at Bunnings outlets across Australia in the past five years alone — raising more than $140 million in that period. Bunnings' sausage sizzle prices will increase to $3.50 per snag from Saturday, July 23. For more information about the hardware chain, head to its website.
THE Rodriguez is coming back to Australia. Touring nationally this October and November, the 72-year-old enigmatic legend was last here in 1981 playing with Midnight Oil, after touring in the late '70s to small success. Now he's riding a wave of newfound support back to our biggest venues, thanks in part to two South African fans. Most people had no idea who Sixto Rodriguez was until the Oscar-winning documentary Searching for Sugar Man dropped in 2012, prompting longtime fans to shake a fist and spin a bitter "I told you so." A self-taught guitarist, Rodriguez played around the traps in Detroit during the '60s but saw no real success in the States with his two albums Cold Fact (1969) and Coming from Reality (1971). Different story in South Africa, where he was pretty much bigger than Elvis — inspiring South African anti-Apartheid activists and musicians alike (unbeknownst to Rodriguez himself). One of music's most mysterious heroes, Rodriguez was even thought to have died until two Cape Town fans in the late 1990s, Stephen 'Sugar' Segerman and Craig Bartholomew Strydom went to find out if the rumours were true (cue Oscar-winning doco). The man also has a cheeky bachelor's degree in philosophy from Wayne State University, he ran for political office and he's had to work construction jobs to support his family. Undeniable and relatively unknown legend. Rodriguez will play Brisbane Convention Centre, Sydney Opera House, Melbourne's Palais Theatre, Adelaide's AEC Theatre and Perth's Kings Park and Botanic Garden. Tickets on sale on Thursday August 28 at 12pm local time. Members of the Niche mailing list and ticket agent mailing lists can purchase pre-sale tickets on Tuesday 26 August at 12pm until Wednesday 27 August at 5pm. For further details or to sign up to the mailing list please visitwww.nicheproductions.com.au. Rodriguez Australian Tour Dates: Sunday October 19 — Convention Centre, Brisbane. Tickets via Ticketek or 132 849. Tuesday October 21 and Thursday October 23 — Sydney Opera House. Tickets via Opera House Box Office or 02 9270 7111. Saturday October 25 — Palais Theatre, Melbourne. Tickets via Ticketmaster or 136 100. Wednesday October 29 — AEC Theatre, Adelaide. Tickets via Ticketek or 132 849. Friday November 7 — Kings Park & Botanic Garden, Perth. Tickets via Ticketmaster or 136 100. https://youtube.com/watch?v=qyE9vFGKogs
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your text trip. In this instalment, we take you to The Hotel Britomart, where you'll find modern eco-friendly accommodation set on Auckland's city harbour. If you're due for a VIP escape to this sensational hotel, you're in luck. Right now there's an ultra exclusive Auckland getaway, curated by our editors, that you can snap up on Concrete Playground Trips. But we only have 20 packages (for two travellers) so when we say 'ultra exclusive' we really mean it. WHAT'S SO SPECIAL? This is where luxury design and amenities are perfectly paired with sustainable practices (it is New Zealand's only 5-Green Star hotel). THE ROOMS Each of the 99 rooms is designed for tranquil escapism. Think of Hotel Britomart like a city retreat, lined in natural and sustainably sourced timber. Guest rooms all come with in-built sofas, hand-made ceramics and minibars full of locally sourced treats. Attention to detail is on point. But that's just your entry level experience of Hotel Britomart. You've then got the hyper luxe suites, each with their own unique selling point. The Poraenui Suite is one of their very best, giving a whole new meaning to rooftop living. This 74-sqm living space occupies a glassy pavilion tucked discreetly onto the rooftop of the heritage Buckland Building (blending heritage with modernity). Up here, both the living room and bedroom open onto a private 28-sqm terrace with views across neighbouring heritage rooftops to the city and Takutai Square. Pick a book from their mini library, order up some local New Zealand wine, and you have just found your new happy place. You won't regret staying up here. FOOD AND DRINK The in-house restaurant, kingi, is also a must-see. It is set within the heritage Masonic House, and showcases sustainably caught seafood paired with unique wines. Chef Tom Hishon has devised an evolving menu that's perfect for this all-day food-consuming haven (you'll usually find a mix of guests staying at the hotel as well as local foodies). Expect dishes like octopus carpaccio and pan-roasted snapper, alongside stories about the talented fishermen and women who sustainably caught the produce on your plate. It's all traceable and tasty. THE LOCAL AREA The Britomart area is located in central Auckland, right along the harbour. It's a 24-hour hub of culture, food and shopping. Boutique stores championing local designers are scattered all over. Restaurants, bars and pop-up food stalls keep the local workers and the tourists equally happy. And you can easily get all around Auckland from here. THE EXTRAS You can rest peacefully knowing you are staying in one of the most sustainable hotels in New Zealand — it is New Zealand's only 5-Green Star hotel. You can even make your stay eco-friendlier by booking a Green Package. For every day you're there, these guys plant a native tree at sister property The Landing, located in the Bay of Islands. Guests even have the option to fly there via helicopter, for an even longer and more luxurious getaway. And lastly, to add to its green credentials, Hotel Britomart rents out its own bikes so that guests can get around town without having to call cabs or use public transport. You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
The Olympic Games bring nations together in a worldwide contest of sport and competition. But the Olympics do much more than this too by providing an arena for remarkable triumphs, terrible failures, true perseverance and utter determination. Even through devastating wars, ongoing global conflicts, drastic terrorism acts and natural disasters, nations of the world have managed to unite (almost) every four years for over a century in a demonstration of friendly competition and unity. With the approaching London Olympics, it got us thinking about the spectacular images from past Olympic Games — photos that make you think, laugh, cringe or cry. Here is our pick of the best photographs from each summer Olympic Games throughout history. Athens 1896 - The Starting Gun Fires The first international Olympic Games to be held in the modern era. Being the 'birthplace of the Olympic Games', Athens was a suitable first venue. Athletics events obtained the most international field of the sports on offer, with the major highlight being the marathon; this was the first time the event had been held in international competition. Paris 1900 - Women Compete for the First Time Women donned their sporting caps and get-ups (apparently dresses in those days) for the first time at an international sporting event in Paris in 1900, with Charlotte Cooper being crowned the first female Olympic champion. 1000 competitors took part in 19 sports at these Games, which was held during the 1900 World's Fair. St. Louis 1904 - 3rd Time Not Such a Charm The St. Louis Olympic Games almost became the last due to such poor management. Making the same mistake as Paris did four years earlier, the World's Fair was run at the same time, causing audience members to be lost to other cultural exhibitions and events. Many athletes were also a no-show due to the Russo-Japanese War. London 1908 - Kings, Queens and Cramming London only had a short amount of time to ready themselves for these games as the original location, Rome, had to focus funds on restoring Naples following the destruction of the eruption of Mount Vesuvius two years earlier. The London games saw the setting of the new official distance for the marathon; in an attempt to restore the importance of the monarchy, British officials changed the track to start below the window of the Royal Nursery and finish in front of the King. Stockholm 1912 - Women's Gymnastics The Olympic Games in 1912 was the year of many firsts - and one last. The final Games to issue solid gold medals, Stockholm also held the first Olympics to have art competitions, the first to feature the decathlon and pentathlon, the first to have an Asian nation participate (Japan), and the first death during competition after Portuguese competitor, Francisco Lazaro, died from hyperthermia in the marathon. The Games also had a whopping 48 women compete (most of which appear to be in the Norwegian's Gymnastics team above). Berlin 1916 - A No-Show The Olympics were due to take place in Berlin in 1916, and it was expected to be a grand affair with the development of the new 'Deutsches Stadion'. The stadium was released with a parade, 10,000 pigeons and 60,000 people. If only they could get that many people to turn up to the real event though, because the Games didn't go ahead in this year due to the turmoil embroiling Europe at the time with the outbreak 0f the Second World War. Antwerp 1920 - Return to the Stadium The Games of the VII Olympiad were offered to Antwerp to honour the suffering the citizens had endured during World War I. The Games had originally been set to appear in Budapest, however as a German ally, Hungary, and many other nations such as Germany, Austria, Bulgaria and Turkey, was banned from competing. France appeared strong in the games, as is evident through Suzanne Lenglen's valiant effort on the tennis court. Paris 1924 - The Old Switcheroo Known as 'The Flying Scot', Britain's Golden Boy, Eric Liddell, stubbornly refused to take place in the 100m finals, as the event was to take place on a Sunday. The devout Christian thus decided to simply swap events in favour of the 400m sprint, ignoring the vast differences in distances and strategies. Despite the public's low expectations of his abilities, Liddell managed to not only win the competition, but also tied the Olympic record. Amsterdam 1928 - Jumping for Joy After being denied the ability to play host to the Games in both 1920 and 1924, the Olympics were finally celebrated in Holland in 1928. This was the first games to have an Olympic flame lit during the event and was also the first time that 400m athletics tracks were used. Los Angeles 1932 - Jumping Hurdles Mildred Zaharias wasn't the only one overcoming hurdles and breaking records in 1932, with California attempting to look past the worldwide Great Depression plaguing the globe at the time. These Summer Olympics held less than half the number of participants that competed in its previous location, Amsterdam, because many nations were unable to pay for the trip to Los Angeles. However, this didn't seem to impact the US too negatively as newspapers reported that the Games nevertheless reaped a profit of US$1,000,000. Berlin 1936 - Showing Off After being denied their chance to host the games in 1916, Berlin gained a second opportunity in 1936. The games were held on the eve of the Nazi Regime's rise to power in Germany, which occurred two years later. In an attempt to outdo the Los Angeles Olympics four years prior, the Nazis built a new 100,000 seat track and field stadium, six gymnasiums and many other small arenas. London 1948 - Third Time is a Charm After the Games were cancelled in Tokyo in 1940 and again London in 1944 (due to the Second World War), the Olympics finally returned to the world stage in 1948. Due to the destruction the war had caused in Europe, the games became known as the 'Austerity Games'. No new venues were built for the games and rather than being housed in an Olympic VIllage, athletes were housed in existing accommodation. Helsinki 1952 - A Record Breaking Event Known for being the games in which the most number of records were broken (until the 2008 Olympics in Beijing that is), Helsinki also saw the return and first appearance of a large number of nations. A total of 69 nations competed in the games, a figure 59 higher than that of the 1948 Games. Japan and Germany both appeared this time, along with 13 totally new nations such as The People's Republic of China and the USSR. Melbourne 1956 - Exceeding Expectations Melbourne was selected by a mere one vote margin and many were skeptical of its suitability as the reversal of seasons would mean that athletes would be unaccustomed to the wintery weather at the Summer Games. The Games proved to be a success and later became known as the 'Friendly Games'. Betty Cuthbert (above) was a star for the Australian nation by securing three gold medals, in the 100m, 200m & 4 x 100m sprint relay. Rome 1960 - Frozen in Time After emerging from the quarter and semi-finals of the 100m with the quickest times, German Armin Hary jumped the gun by false-starting twice in the finals. By the third, time, he seemed to have honed his panther-like reflexes to run a speedy 10.2 second and take out the Gold Medal. Tokyo 1964 - Savvy Games The Olympic Games held in the Tokyo in 1964 were the first Olympics to be telecast internationally without the need for tapes to be flown overseas, as was required previously. They were also the first games in which South Africa was barred from participating due to its apartheid system. Mexico City 1968 - Black Power Although you've probably seen this image a thousand times, the use of sport for making overt political statements and to become a vehicle for change, which is embodied in this photo, cannot be ignored. The Black Power Salute, made by African American athletes Tommie Smith and John Carlos in the 1968, was a contentious gesture. Ostracised at the time, their demonstration only became recognised as a demonstration for dignity years later. Munich 1972 - Shadows The Games in Munich were largely overshadowed by the Munich Massacre, in which eleven Isreali athletes and coaches, a West German Police Officer and five terrorists were killed. Despite the event, the West German Government was determined to present a new democratic government, after the last games held in Germany was under the Nazi Regime. To this aim, the official motto of the games became 'the Happy Games'. Montreal 1976 - A Perfect Performance Romanian Gymnast Nadia Comaneci made Olympic history in the 1976 Olympics in Montreal by becoming the first female gymnast to ever be awarded a perfect score of 10 for her wondrous display on the uneven bars. Comaneci was also the the first Romanian gymnast to win the all-round event and was only 14 at the time - no wonder she appears to be floating on air. Moscow 1980 - Boycott Because of the Soviet Invasion of Afghanistan, the United States and a number of other countries boycotted the games in Moscow. As a result the games garnered a mere 80 participating nations, the smallest number since the 1956 Olympics. All in all a fairly non-eventful Games evidently. Los Angeles 1984 - Yep, another Boycott In retaliation to America's boycott four years prior, this time the Eastern Bloc nations boycotted the games. Seems like the fighting fire with fire approach is being employed here. Seoul 1988 - Cracking Under Pressure In the 1988 Seoul Olympics, the world's best diver at the time. Greg Louganis seemed to crack under the pressure - and that's not the only thing he cracked. In his attempt to complete a reverse 2 and a 1/2 pike somersault, the diver didn't get enough distance from the board and hit his head on the board, requiring temporary sutures. Barcelona 1992 - A Family Affair Renowned 400 metre sprinter Derek Redmond tragically tore a hamstring in the middle of the semi-final race at the 1992 Games in Barcelona. However, after his father tore past the security to go to his son's aid, Redmond was able to fight through the pain to complete a full lap, finishing with a standing ovation from the crowd. Atlanta 1996 - A Bombshell of an Olympics In the middle of the Atlanta Games in 1996, Eric Rudolph conducted his first of four terrorist bombings, killing two people and injuring 111. Rudolph bombed the Centennial Olympic Park, which was designed as the 'town square' of the Olympics. Sydney 2000 - Controversial Cathy Making the history books, Freeman brought glory to the Australian population by claiming the title of winner of the 400m track event. She was only the second ever Australian Aboriginal Olympic Champion. Following the race, the sprinter proceeded to (somewhat controversially and against Olympic norms) take a victor lap carrying both the Aboriginal and Australian flags. Athens 2004 - Making Waves Charnvudth Saensri of Thailand made waves with his strong stroke in the men's swimming 1500 metre freestyle heat in Athens. (Ok he didn't do that well but you can't go past the beauty of the photograph and his sheer determination). Beijing 2008 - As Fast as a Bolt Despite unfavourable wind conditions, Usain Bolt smashed through the 100m sprint world record with a swift 9.69 seconds. If that wasn't enough Bolt then went on to win gold and set another world record in the 200m. This made Bolt the first sprinter to ever break both records at the same Olympics.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue in December. BRAND NEW STUFF YOU CAN WATCH IN FULL GLASS ONION: A KNIVES OUT MYSTERY Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites from tech mogul Miles Bron (Edward Norton, The French Dispatch), in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares, Andi Brand (Janelle Monáe, Antebellum), simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to, including when the body count starts. He also knows when to let everything spill out, and when to put the cravat-wearing Blanc on the case. Glass Onion: A Knives Out Mystery streams via Netflix. Read our full review. KEVIN CAN F**K HIMSELF Not once, not even jokingly, does Annie Murphy utter the words "ew, David" in Kevin Can F**k Himself. She's never ever just a little bit Alexis, either. Murphy is just as exceptional and awards-worthy here, however, in a superb show that's a clever and cutting dark comedy — and, perhaps more accurately, offers a clear-eyed unpacking of what sitcoms usually mean (Schitt's Creek excluded, obviously) for women. In its first season in 2021, Kevin Can F**k Himself cast its star as Allison Devine-McRoberts, wife to the manchild of a titular figure (Eric Petersen, Sydney to the Max), and clearly in the kind of TV show about obnoxious husbands and their put-upon spouses that've been a small-screen mainstay for far too long. In those segments of the series, the lights glow, the McRoberts home looks like every other abode in every other program of its ilk, multiple cameras observe the action and viewers can be forgiven for expecting Kevin James to show up. Also, canned laughter chuckles — always unearned. Consider the above setup Kevin Can F**k Himself's starting point, though, because the show itself does. From there, creator Valerie Armstrong (Lodge 49) exposes what life is truly like for Allison — who is considered Kevin's wife first and foremost by almost everyone around her — including by switching looks, hues and camera arrangements whenever its namesake isn't around. The visible change is smart and effective, with this two-season show keeping digging into Allison's bleak situation from there. In the spirit of the series' title, she's trying to rid herself of her horrible marriage, including with help from neighbour Patty (Mary Hollis Inboden, The Righteous Gemstones). Alas, as this second and sadly last batch of episodes shows — as its first did as well — nothing is ever that easy. In a better world, Kevin Can F**k Himself would've had more time to unfurl and interrogate its story, but in this world it doesn't put a foot wrong with the time it's been given. Murphy and Inboden make one of TV's best duos, too; fingers crossed that someone reteams them again sometime soon. Kevin can F**k Himself streams via AMC+. Read our full review of 2021's season one. LADY CHATTERLEY'S LOVER Neither Emma Corrin's nor Jack O'Connell's resumes lack past highlights — The Crown for the former, and Skins, Starred Up, '71 and The North Water among the latter's — but the two actors scorch up the screen in Lady Chatterley's Lover. There'd be a problem if they didn't, given that the film adapts DH Lawrence's famously steamy and even banned 1928 novel. (In Australia, even a book about the British obscenity trial that the tome inspired was censored.) To tell this tale about an upper-class wife, her unfulfilling marriage to a Baronet injured in World War I, and the sexual and emotional yearning she quenches with the family property's gamekeeper, chemistry has to drip from the images, sparks need to fly so furiously that the movie's frames almost ignite, and a feverish and all-encompassing mood is a must. Along with actor-turned-director Laure de Clermont-Tonnerre (The Mustang), Corrin and O'Connell bring all of the above to the latest take on Lady Chatterley's Lover, and help the sumptuous erotic period drama itself not just bubble but boil. As lensed with a sensual eye by cinematographer Benoît Delhomme (At Eternity's Gate), this achingly romantic film sees its titular Lady Connie (Corrin, My Policeman) meet her also-eponymous paramour Oliver Mellors (O'Connell, Seberg) following the war, after Clifford Chatterley (Matthew Duckett, A Confession) has returned paralysed and moved his bride into his stately estate. Talk of an heir remains — pre-injury, it was the first thing mentioned in their wedding toast — but Clifford's condition, as well as his focus on writing a novel and then modernising the local mine, prove obstacles. Connie could have a discreet affair for the sole purpose of getting pregnant, however, as Clifford suggests. But it isn't just a head-over-heels clandestine love that springs with Mellors, who's also a veteran. Connie and Oliver are bowled over by the kind of adoration, affection and lust that inspires frolics in the fields and stripping down in the rain, all while their romance also helps interrogate class clashes. As well as woozily heady, vibrantly performed and handsomely shot, Lady Chatterley's Lover also enjoys eating the rich; yes, that's sexy, too. Lady Chatterley's Lover streams via Netflix. NANNY In Nanny, Aisha (Anna Diop, Us) is haunted, both when she's asleep and awake. Her slumbers are disturbed by nightmares, but seeing rising waters and unwelcome spiders isn't just relegated to when the Senegalese woman in New York closes her eyes. A gut-wrenching sense of unease also lingers while she works, after securing a childminding job for rich Upper East Side residents Amy (Michelle Monaghan, Echoes) and Adam (Morgan Spector, The Gilded Age). Their five-year-old daughter Rose (Rose Decker, Mare of Easttown) adores Aisha — more than her parents, it often seems. And, the nannying gig helps Aisha distract herself from missing her own son, who she's desperately trying to bring over to the US. She's haunted by his absence, too, and by the stolen snippets of conversation she gets with him on the phone, constantly juggling the time difference. The supernatural disturbances plaguing Aisha and her feelings about leaving her child in Senegal to chase a better future for them both are clearly linked, although Nanny is atmospheric and insightful rather than blunt and overt. The first horror film to win Sundance Film Festival's Grand Jury Prize, this evocative effort hails from writer/director Nikyatu Jusu, who makes her feature-length debut with quite the calling card. 2022 isn't short on affectingly moody and evocative female-focused thrillers with a maternal bent — see: Resurrection, which also debuted at Sundance — but Nanny's addition to the fold is deeply steeped in Aisha's immigrant experience. Thanks to all that otherworldly water, it feels like it's always steeping, in fact, soaking in the troubles and struggles of trying to snatch even a piece of the American dream when you're not wealthy, white and originally from the so-called land of the free. Also prominent: the dispiriting minutiae of Aisha's day, aka exactly what she has to endure to even have a chance of gaining what comes easily and obliviously to her employers. Like its central figure, Nanny is haunted several times over, too. Nanny streams via Prime Video. COLIN FROM ACCOUNTS A girl, a guy and a meet-cute over an adorable animal: that's the delightful and very funny Colin From Accounts' underlying formula. When medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) cross paths in the street one otherwise standard Sydney morning, they literally come to an impasse. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. As these circumstances demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. Always, this new Aussie gem is breezy and weighty — and instantly bingeable. Colin From Accounts streams via Binge. Read our full review. DREAMING WALLS: INSIDE THE CHELSEA HOTEL Part of Manhattan since the 1880s, the Chelsea Hotel is as much a New York City icon as the Statute of Liberty or the Empire State Building, and as influential over the cultural landscape as well. It's where 2001: A Space Odyssey was written by Arthur C Clarke and Stanley Kubrick, where Janis Joplin and Allen Ginsburg have resided — Patti Smith, Madonna, Bob Dylan, Jimi Hendrix and Leonard Cohen as well — and a key factor in the Andy Warhol co-directed 1966 film Chelsea Girls. It's the last place that poet Dylan Thomas stayed, and where Nancy Spungen, girlfriend of the Sex Pistols' Sid Vicious, was found dead. All of these details could fuel a documentary, or several, but that's not the approach that the Martin Scorsese-produced Dreaming Walls: Inside the Chelsea Hotel takes. As the building undergoes extensive renovations that've been happening for years, upending long-term inhabitants and transforming historic apartments, filmmakers Amélie van Elmbt (The Elephant and the Butterfly) and Maya Duverdier spend time with the people determined not to leave. Everyone who still calls the Chelsea home knows the ins and outs of its past; "the ghosts who haunt it," as one puts it. But Dreaming Walls considers those everyday dwellers — most linked to creative fields in one way or another, of course — the life and soul of the current joint. That might be easy when so much of the place, and its gorgeous gothic architecture, is a construction site in the documentary's frames. The contrast between stripped-bare walls and jam-packed apartments that've been occupied by the same people for decades is haunting as well. It's no wonder that this ethereal and evocative film is largely content to loiter, to listen and to bear witness to the folks who've been there, seen it all, heard what they didn't personally experience and aren't willing to simply move just because a boutique spot is poised to take over. Dreaming Walls: Inside the Chelsea Hotel streams via DocPlay. BUMP Time-jump alert: when Bump returns for its third season, four years have passed in this supremely bingeable Aussie dramedy's on-screen world. Oly (Nathalie Morris, Petrol) and Santi (Carlos Sanson, Sweet As) are no longer high schoolers, or even teenagers. They're also no longer the couple that took a big leap at the end of season two by moving into their own apartment, away from both of their chaotic families, while Oly finished her HSC, Santi started working full-time and both juggled all of the above with caring for baby J. Indeed, this new batch of Bump episodes begins with its central pairing taking the now almost five-year-old Jacinda (Ava Cannon) to her first day of kindergarten. All three are both excited and nervous amid the awkward co-parenting energy between the now-split Oly and Santi — and as Oly's mother Angie (Claudia Karvan, Moja Vesna) surprises them en route. Times and ages may have changed, and situations and appearances as well, but the warmth this series feels for its characters — and the complexity it works through in well-worn scenarios — steadfastly remains. We said it when the first ten-episode season dropped at the end of 2020, and we still stand by it today: Heartbreak High fans, Bump is for you, too. That isn't just because Karvan starred in The Heartbreak Kid, the movie that the OG Heartbreak High spun off from, but due to its dedication to chronicling the ins and outs of growing up and parenting in Sydney — yes, with school a focus as well. Bump has matured as Oly and Santi also have, however, even if the same can't always be said about Angie, Oly's dad Dom (Angus Sampson, The Lincoln Lawyer) and her older brother Bowie (Christian Byers, Between Two Worlds). A key theme in season three: what it means when life already hasn't turned out as planned when you still have so much of it left ahead of you. The show is called Bump, after all, and finds plenty of them paving everyone's paths. With the series also devoting its time to Santi's stepmother Rosa (Paula Garcia, Thirteen Lives) and best friend Vince (Ioane Saula, Preppers) among its broader look at Oly and Santi's support network, it also finds an array of ways to contemplate hopes, dreams, loves, losses, joys and disappointments. Bump streams via Binge from December 26. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK ABBOTT ELEMENTARY The Office did it, in both the UK and US versions. Parks and Recreation did so, too. What We Do in the Shadows still does it — and, yes, there's more where they all came from. By now, the mockumentary format is a well-established part of the sitcom realm. Indeed, it's so common that additional shows deciding to give it a whirl aren't noteworthy for that alone. But in Emmy-winner Abbott Elementary, which is currently streaming its second season, the faux doco gimmick is also deployed as an outlet for the series' characters. They're all public school elementary teachers in Philadelphia, and the chats to-camera help convey the stresses and tolls of doing what they're devoted to. In a wonderfully warm and also clear-eyed gem created by, co-written by and starring triple-threat Quinta Brunson (Miracle Workers), that'd be teaching young hearts and minds no matter the everyday obstacles, the utter lack of resources and funding, or the absence of interest from the bureaucracy above them. Brunson plays perennially perky 25-year-old teacher Janine Teagues, who loves her gig and her second-grade class. She also adores her colleague Barbara Howard (Sheryl Lee Ralph, Ray Donovan), the kindergarten teacher that she sees as a mentor and work mum. Actually, Janine isn't just fond of all of the above — she's so devoted to her job that she'll let nothing stand in her way. But that isn't easy or straightforward in a system that's short on cash and care from the powers-that-be to make school better for its predominantly Black student populace. Also featuring Everybody Hates Chris' Tyler James Williams (also The United States vs Billie Holiday) as an apathetic substitute teacher, Lisa Ann Walter (The Right Mom) and Chris Perfetti (Sound of Metal) as Abbott faculty mainstays, and Janelle James (Black Monday) as the incompetent principal who only scored her position via blackmail, everything about Abbott Elementary is smart, kindhearted, funny and also honest. That remains the case in season two, where Janine is newly single and grappling with being on her own, sparks are flying with Williams' Gregory and James' Ava can't keep bluffing her way through her days. Abbott Elementary streams via Disney+. LET THE RIGHT ONE IN Is every vampire film destined to become a television series? Where Buffy the Vampire Slayer, What We Do in the Shadows and Interview with the Vampire have already tread — the latter just this year, too — Let the Right One In now follows. Originally a devastatingly haunting Swedish novel by John Ajvide Lindqvist, then an entrancing 2008 film in its original language, then an American big-screen remake called Let Me In, this one just keeps drawing audiences in. In its present guise, it takes its tale to New York, where Mark Kane (Demián Bichir, Godzilla vs Kong) and his daughter Eleanor (Madison Taylor Baez, Selena: The Series) are trying to live as normal a life as they can when the latter is a member of the bloodsucking undead. Other changes abound, including the fact that Ellie has been blighted by her condition for just a decade; that NYC is being plagued by a series of brutal but strange killings; and that former pharmaceutical executive Arthur Logan (Željko Ivanek, The Last Duel), his estranged daughter Claire (Grace Gummer, Dr Death) and afflicted son Peter (Jacob Buster, Colony) factor into the narrative. Because everything is a murder-mystery of late — see: Glass Onion: A Knives Out Mystery above, and fellow recent streaming hits Only Murders in the Building, The Afterparty, Bad Sisters and Black Bird — so is Let the Right One In circa 2022 in its way. When Ellie befriends a boy, as has happened in every version of this tale so far, his mother happens to be a police detective investigating those aforementioned deaths. So, while the show chronicles Ellie and Isaiah Cole's (Ian Foreman, The Holiday Switch) affinity as outsiders, with the magic-loving neighbour kid bullied at school, it also charts his mum Naomi's (Anika Noni Rose, Maid) time on the job. And, this Let the Right One In is also a survival quest, chasing a cure for Ellie's predicament. In other words, creator and writer Andrew Hinderaker (Away) has taken the source material, filtered it through thoroughly 2022 obsessions, conjured up there requisite moody vibe and filled it with weighty performances. Sinking your teeth in is recommended. Let the Right One In streams via Paramount+. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME FLUX GOURMET Flickering across a cinema screen, even the greatest of movies only engage two senses: sight and hearing. We can't touch, taste or smell films, even if adding scratch-and-sniff aromas to the experience has become a cult-favourite gimmick. British director Peter Strickland hasn't attempted that — but his features make you feel like you're running your fingers over an alluring dress (In Fabric), feeling the flutter of insect wings (The Duke of Burgundy) or, in his latest, enjoying the smells and tastes whipped up by a culinary collective that turns cooking and eating into performance art. Yes, if you've seen any of his movies before, Flux Gourmet instantly sounds like something only Strickland could make. While it's spinning that tale, it literally sounds like only something he could come up with as well, given that his audioscapes are always a thing of wonder (see also: the sound-focused Berberian Sound Studio). And, unsurprisingly due to his strong and distinctive sense of style and mood, everything about Flux Gourmet looks and feels like pure Strickland, too. The setting: a culinary institute overseen by Jan Stevens (Gwendoline Christie, Wednesday), that regularly welcomes in different creative groups to undertake residencies. Her guests collaborate, percolate and come up with eye-catching blends of food, bodies and art — hosting OTT dinners, role-playing a trip to the supermarket, getting scatalogical and turning a live colonoscopy into a show, for instance. Watching and chronicling the latest stint by a 'sonic catering' troupe is journalist Stones (Makis Papadimitriou, Beckett), who also has gastrointestinal struggles, is constantly trying not to fart and somehow manages to keep a straight face as everything gets farcical around him. Asa Butterfield (Sex Education), Ariane Labed (The Souvenir: Part II) and Strickland regular Fatma Mohamed play the three bickering artists, and their time at the institute get messy and heated, fast — but this is a film that's as warm as it is wild, and stands out even among Strickland's inimitable work. Also crucial: riffing on This Is Spinal Tap. Flux Gourmet streams via Shudder. Read our full review. STREAMING HIGHLIGHTS FROM EARLIER IN THE YEAR WORTH CATCHING UP ON THE LAST MOVIE STARS Filmmakers adoring filmmakers is basically its own on-screen genre. Six-part documentary limited series The Last Movie Stars gives that idea a different spin: actors loving actors. Here, Ethan Hawke turns director, not for the first time — see: films Blaze, Seymour: An Introduction, The Hottest State and Chelsea Walls — to show his affection for the inimitable Paul Newman and Joanne Woodward. Unsurprisingly, he has a wealth of company, some chatting through their fondness for two Hollywood talents like no other and some contributing by giving voice to interview transcripts. For a memoir that didn't eventuate, Newman and Woodward compiled chats by a who's who of showbusiness during their careers; however, they also had the tapes destroyed. Cue George Clooney voicing Newman's chats, Laura Linney doing Woodward's, and everyone from Oscar Isaac, Sam Rockwell and Mark Ruffalo to Rose Byrne and Zoe Kazan also subbing in for other famous names. That's where The Last Movie Stars' audio comes from, echoing with insightful discussions given the emotion they deserve. Hawke also includes new zoom chats with his players, as well as with Martin Scorsese, his daughter and Stranger Things star Maya and more, but his engrossing and probing series is head over heels for pairing those recreated interviews with archival footage. Staring at Newman and Woodward is easy, as is celebrating them and their relationship. This isn't just a case of deserved worship, though, but shows its subjects as real people rather than just stars — all while exploring Hollywood at the time, stepping through their careers and contemporaries, and overflowing with clear-eyed warmth. Hawke doesn't avoid tricky traits or truths, and this in-depth doco is all the more enlightening and compassionate for it. Whether you already treasure Newman and Woodward or you've always wanted to know more about the two legends, this is a movie buff's pure and utter dream. The Last Movie Stars streams via Binge. MO For three seasons on Ramy, Mohammed Amer has played Mo, the diner-owning cousin to the show's namesake. For those three seasons, including 2022's batch of episodes, he's also been part of one of the best and most thoughtful shows currently streaming, especially when it comes to the immigrant experience and telling Muslim American stories. Instead of just co-starring in an art-imitates-life dramedy inspired by someone else's existence, however, Amer has taken a leaf out of Ramy Youssef's book with Mo — a show with the same underlying concept, as co-created by Amer and Youssef. This time, the pair draw upon Amer's background rather than Youssef's. So, Amer's on-screen alter-ego is a Palestinian living in America. He's a refugee, in fact, who fled the Middle East when he was a child and sought asylum with his family. His US home: Houston, Texas. IRL, every one of these points is drawn from Amer's existence, as fans of his Netflix standup specials Mo Amer: The Vagabond and Mo Amer: Mohammed in Texas will recognise. That's the history behind Mo, with the series' eight-episode first season honing in on its protagonist's attempts to gain US citizenship. Mo Najjar (Amer, Black Adam), his mother Yusra (Farah Bsieso, Daughters of Abdul) and brother Sameer (Omar Elba, Limetown) have been waiting two decades to have their cases heard — another detail ripped from reality — and trying to forge new lives while remaining in legal limbo has long since taken a toll. Spanning losing jobs, trying to find a new one as an undocumented American resident, the Najjars' family dynamic, pain from back home they haven't processed, the weight of cultural traditions and expectations, and Mo's relationship with Mexican and Catholic mechanic Maria (Teresa Ruiz, Father Stu), there's no shortage of detail and drama to Amer's passion project. Indeed, every second of the series feels as personal and authentic as it clearly is, and does far more than merely give Amer his own Ramy. Mo streams via Netflix. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October and November this year. You can also check out our running list of standout must-stream 2022 shows as well — and our best 15 new shows of the year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now streaming its fifth season via Binge in Australia and Neon in New Zealand. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who all share an abode and the afterlife in Staten Island. In cinemas, the film version of What We Do in the Shadows already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been showing that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. Based on every season so far, including season five, here's hoping that this vampire comedy continues forever. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. Some ensemble comedies only shine when their talents combine. Some let one or two stars do all of the heavy lifting. As stellar as Berry, Demetriou and Novak each are, What We Do in the Shadows is the sharehouse ideal of a TV comedy: everyone contributes no matter if they're together or alone. That includes Harvey Guillén (Werewolves Within) as Nandor's long-suffering and ever-dutiful familiar Guillermo, and Mark Proksch (The Office) as energy vampire housemate Colin Robinson. At the series' outset, Guillermo could've just been a tagalong offsider and Colin that exhausting friend everyone has, but with vampire-centric spins. Guillén and Proksch are now not only scene-stealers — especially the former's looks to-camera and the latter's deadpanning — but the source of some of the show's savviest jokes and the subjects of a few of its best episodes. With its game cast making everything they touch a comic gem, TV's iteration of What We Do in the Shadows has never been afraid to take risks as its episodes have soared by. In season four, that meant watching Colin grow up again from a baby — and it was hilarious. Over its run, the show has also seen Guillermo discover that he descends from the undead-hunting Van Helsings, a precarious history given his usual companions. He still desperately wants to be a bloodsucker himself, however. Indeed, that continuing conflict is season five's starting point, with a bitten Guillermo not quite sinking his teeth into anyone yet, worrying about why and also struggling with keeping his possible transformation a secret from Nandor. If Nandor finds out that Guillermo has been turned by his convenience-store cashier pal Derek (Chris Sandiford, Moonfall), wounded pride and a fractured friendship won't just be the end result. As the familiar discovers, being given the chomp by anyone other than the vamp he serves is a faux pas punishable by death — his own, and his master's out of deep shame — in otherworldly circles. This plot strand is season five's new direction for Laszlo, too, as he commits to helping understand why Guillermo isn't feasting on necks like a typical bloodsucker. As he experiments and assists, Nadja endeavours to battle a hex. She also learns that a Little Antipaxos neighbourhood exists right there in Staten Island, gaining a tonic for her frequent homesickness. Season five's storylines get Colin draining souls on the local campaign trail, running for the borough's comptroller purely to feed during debates and other political events. Plus, The Guide (Kristen Schaal, The Bob's Burgers Movie) makes her presence known — more than that, she'd like to be seen as one of the gang — after her time as an envoy to the Vampiric Council, then aiding Nadja with running her vampire nightclub. Visits to the mall and to space, staging a pride parade with perennially clueless neighbour Sean (Anthony Atamanuik, Little Demon), trying to get Nadja's ghost laid: that all happens in early episodes across this latest season. So does What We Do in the Shadows' best staple, aka this supernatural crew bickering, bantering and roasting each other. Case in point: season five finds occasion for Laszlo and Nandor to squabble over whether wit and charm or hypnotism is the best way to bend humans to a bloodsucker's will. What We Do in the Shadows' characters are so well fleshed-out now, and so delightfully performed, that having two of them argue and attempt to one-up each other remains gleaming comedy. The show's writers aren't slumbering. Sharpness and silliness still combine in gags everywhere — about Laszlo learning that he's Kim Cattrall in a Sex in the City quiz, just for starters, and in having Nadja's spirit ask speed-daring partners "how do you feel about taking the virginity of a dead ghost?" as well. Spending eternity with someone, or a quintet of seasons to-date, means loving hanging out with them, though, and this show is understandably mesmerised. Check out the trailer for What We Do in the Shadows season five below: What We Do in the Shadows' fifth season streams via Binge in Australia and Neon in New Zealand.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from October's haul. BRAND NEW STUFF YOU CAN WATCH FROM START TO FINISH NOW BECKHAM Strike It Like Sam Kerr would make an excellent movie title. As fans of football and film alike already know, Bend It Like Beckham got there first 21 years ago, borrowing its moniker from David Beckham's uncanny knack for curling the ball when taking a free kick. The former Manchester United, Real Madrid, AC Milan, LA Galaxy and Paris Saint-Germain player — and England captain — now sees his name grace the screen again via Beckham, the instantly compelling four-part documentary about one of the biggest talents to ever play the world game. A birth-to-now chronicle, the series spins a fairytale that's all real and came true. David was once a quiet boy from a working-class family with a dad who loved soccer. He took to the sport with passion and dedication, and has since lived out any and every aspiring athlete's wildest fantasy. Director Fisher Stevens, who is recently best-known for acting in Succession, appreciates the dream ride that Beckham has experienced, but also sees the costs and tolls. Reflecting on that for him are several Beckhams, including the man himself, Spice Girl Victoria (who is adamant that she wasn't into football when she met David and still isn't now), and his doting parents Sandra and Ted. As countless YouTube complications have already captured, watching Beckham on the pitch at the height of his footballing powers is pure sporting joy — a fact that can be appreciated in the doco by soccer diehards and the unacquainted alike. Beckham shows off the skills, demonstrating how exceptional he was on the field and why the world responded. Witnessing that prowess is also key in understanding how everything from brand partnerships to global tours, famous teammates to disapproving team managers, and championships to tabloid harassment followed. Various Beckhams aren't the only folks chatting. Sir Alex Ferguson, Gary Neville, Eric Cantona and Rio Ferdinand are among the footballing names. Anna Wintour makes an appearance. But David and Victoria's observations, memories and insights — and relationship, in the 90s, since and now — are at this docuseries' core. Red cards, the World Cup, big moves, fan abuse and taunts, sacrifices and scandals, sarongs and hairstyles, the Beckhams' wedding, being peak 90s and pop-culture icons, changing clubs, owning clubs, family life: it all factors into this captivating and satisfying watch. Beckham streams via Netflix. THE FALL OF THE HOUSE OF USHER Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this absorbing, visually ravishing and narratively riveting eight-parter. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children (including Pet Sematary: Bloodlines' Henry Thomas, Minx's Samantha Sloyan, The Peripheral's T'Nia Miller, iZombie's Rahul Kohli, The Wrath of Becky's Kate Siegel and The Midnight Club's Sauriyan Sapkota) came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation, even as it bubbles with greed, violence and paranoia (plus death, loss, decay and the deceased haunting the livin)g. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Fall of the House of Usher streams via Netflix. Read our full review. OUR FLAG MEANS DEATH First dropping anchor with its debut season in 2022, and finding a mooring among the best new series that the year had to offer, Our Flag Means Death's premise has always glinted as brightly as its impressive cast (not just Uproar's Rhys Darby and Thor: Love and Thunder's Taika Waititi, but also Bloods' Samson Kayo, Creation Stories' Ewen Bremner, Bank of Dave's Joel Fry, Game of Thrones' Kristian Nairn, Hello Tomorrow!'s Matthew Maher, Loot's Nat Faxon, The Sex Lives of College Girls' Vico Ortiz and The Batman's Con O'Neill for starters). It follows Darby as self-styled 'gentleman pirate' Stede Bonnet. Born to a life of privilege, he felt that seafaring and swashbuckling was his calling, leaving his life on land behind to hop on a ship — details that all spring from reality. Creator David Jenkins (People of Earth) isn't interested in telling the exact IRL tale, however. Consider those basics merely Our Flag Means Death's departure point. On-screen, Stede gets caught up in both a workplace comedy and a boatmance. The first springs from his certainty that there has to be a nicer way to glide through a pirate existence, and the second from his blossoming feelings for feared marauder Edward Teach (Waititi), aka Blackbeard. When season one wrapped up, Stede and Ed had found love in a buccaneering place, but also felt splashes of uncertainty about what their relationship means, leading to heartbreak and a breakup. Season two picks up with the show's motley crew of characters torn in two, with Stede and his loyal faction marooned on the island tourist destination that is The Republic of Pirates — fantasy is as much a part of Our Flag Means Death as comedy and romance — and Blackbeard back to his robbing and murdering ways on The Revenge. The series' attracted opposites will find their way onto the same deck again, but choppy waters are in store for their emotions, as well as ample bobbing up and down, ebbing and flowing, floating and sinking, and everything else that the ocean brings to mind. Similarly splashing their way: rivalries, curses, old pals, new foes, betrayals, forgiveness, glorious silliness, trauma, lopped limbs and a merman (plus Madeleine Sami from Deadloch among the show's new faces). Our Flag Means Death streams via Binge. Read our full review. LUPIN Forget Emily in Paris — the best Netflix series set in the French capital focuses on a light-fingered smooth mover who is as adept at stealing hearts as he is at pilfering jewels and art. The streaming service's Lupin isn't the first screen outing based on the Maurice Leblanc-penned master of disguise, with the author's famous character first popping up on the big screen over a century ago, then appearing in both movies and TV not just in his homeland but also in the US and Japan since. Centred on a gentleman thief who takes his cues from the fictional figure, however, Netflix's take on all things Arsène Lupin is equally creative, riveting, twisty and entertaining. With the charismatic Omar Sy (Jurassic World Dominion) as its lead, it also couldn't be better cast — as viewers initially discovered in January 2021, when Sy's Arsène superfan Assane Diop started showing off his larceny skills in the series' instantly engaging five-episode first part. The angle proved savvy. The central casting is sparkling. Creators George Kay (who has since made the Idris Elba-led Hijack) and François Uzan (Family Business) perfected the rollicking vibe. And, director Louis Leterrier (Fast X) turned in some of his best work helming the debut three instalments. It's no wonder that the show became the most-watched series in a language other than English on Netflix at the pre-Squid Game time. A second five-chapter part arrived in June the same year, but audiences have had to wait until now for a third. Now streaming its seven new entries, Lupin's third part dazzles again. As its central figure tries to protect his family while the world thinks that he's dead, crime capers don't much more charming — and bingeable — than this page-to-screen heist affair. Leblanc introduced the world to Lupin in short stories in 1905, with 17 novels and 39 novellas following. In some, Herlock Sholmes pops up — and yes, the reference to Arthur Conan Doyle's detective is clearly on purpose. Although Sherlock Holmes isn't quite Arsène Lupin's English equivalent, the two characters give readers and viewers alike the same thrills. If spending time with smart figures with silky skills in can't-put-down and can't-look-away mysteries is what you're after, both deliver. Netflix's Lupin gives the French favourite a modern-day Sherlock-esque spin, but with another pivot to put the suave Senegal-born Diop and his various quests in the spotlight. Lupin streams via Netflix. Read our full review. HOT POTATO: THE STORY OF THE WIGGLES Get ready to wiggle: Anthony Field, Murray Cook, Greg Page and Jeff Fatt have ensured that Australia has been in that exact state for so long. It was more than three decades back when the university classmates, all studying early childhood education, decided to combine their area of interest with music — not for fame, which has come and then some since, but to put what they were learning into action while engaging and teaching kids. If your childhood spanned Australia in the 90s onwards, or you've ever spent time parenting or babysitting someone who fits into that category, then you know the end result. Indeed, folks in most parts of the world do, too. The Wiggles haven't gone wrong since those early and humble beginnings. Only Field, aka the Blue Wiggle, remains part of the skivvy-loving group's current main iteration, but such is The Wiggles' beloved status that all four can and do fill arenas filled with adults on OG Wiggles tours. Hot Potato: The Story of The Wiggles charts the why, what and how about the Aussie troupe, who've also won Triple J's Hottest 100, appeared at Mardi Gras and performed at Falls Festival in just the last couple of years. Comprised of archival clips and recent interviews — all lively and colourful — plus earworm-level kids tunes that everyone knows no matter if you've ever actively watched or listened to The Wiggles, Hot Potato: The Story of The Wiggles hits the screen from a filmmaker that's no stranger to exploring the stories behind pivotal figures. Also on Sally Aitken's resume: Valerie Taylor: Playing with Sharks and David Stratton: A Cinematic Life, although neither had such a penchant for bright primary hues. This is a tale of a great idea and the hard work that made it a success, of friendship and being able to do what you love, of creative genius and lucky breaks, and of both finding and spreading joy. It's an account about big red cars, pirates with feathers for swords and dinosaurs called Dorothy as well, of course, and of teaching approaches and learnings, sacrifices made, health tolls weathered, a band becoming a show, and a group ensuring that it wasn't just entertaining Australia and beyond — it was representing its audience, too. Unsurprisingly, Hot Potato: The Story of The Wiggles is both enlightening and likeable; so, classic The Wiggles, then. Hot Potato: The Story of The Wiggles streams via Prime Video. ONEFOUR: AGAINST ALL ODDS Members of ONEFOUR happily chat through their lives and music careers in ONEFOUR: Against All Odds, with first-time feature filmmaker Gabriel Gasparinatos regularly putting brothers J Emz and YP, plus their friend Spenny, centre screen to tell their story in their own words. As the trio talk, they're never anything less than candid and impassioned about their childhoods growing up in Mount Druitt in Sydney's western suburbs, the lack of opportunities available to the Pacific Islander community, being openly told as teens that they'd end up in jail, when paths and choices made those harsh words come true, and the reason that they're famous: their tunes. But everyone involved in this film, and those watching as well, must wish that this was a different movie — not due to anything about how the doco itself is made or plays, but because of the grim reality that it charts. If only this wasn't an account of friends who found not only something they loved but a new way forward in drill rap, which they turned into viral success and more, only to be constantly harassed by a New South Wales police squad that usually targets organised crime, terrorism and bikie gangs. Sharing J Emz, YP and Spenny's dismay comes easily while viewing ONEFOUR: Against All Odds, which takes a thorough ride through the group's origins, career and run-ins with the law. Feeling enraged at the police attempt to censor art — shutting down gigs in NSW and around the country; also thwarting international touring plans; and constantly making their presence known to ONEFOUR's talents, their families and their community — because they claim that the band's tracks will incite violence is just as inescapable. Gasparinatos interviews law enforcement representatives on-camera, and their words don't and can't justify the shocking treatment that ONEFOUR has received and keeps receiving as singles such as 'What You Know', 'The Message', 'Home and Away' and The Kid LAROI collaboration 'My City' have struck a chord with listeners locally, nationwide and internationally over the past six years. This plight isn't over, either; in fact, when ONEFOUR: Against All Odds premiered at SXSW Sydney, the heavy representation from the thin blue line didn't go unnoticed or unreported. The film chronicles the group's highlights, such as earning recognition, starting dance crazes, one-man gigs, a stadium The Kid LAROI show and the band's resilience, while always conveying how true the doco's title rings. ONEFOUR: Against All Odds streams via Netflix. THE PIGEON TUNNEL What happens when one of the world's great documentarians, and a master at the talking-head format, turns his lens toward one of the best authors of espionage intrigue that's ever graced the page? The engrossing The Pigeon Tunnel, Errol Morris' (an Oscar-winner for The Fog of War) exploration of John le Carré's life and work. Of course, the latter's tales haven't just spilled through books, but onto screens themselves long before he was a doco subject — and his IRL exploits are as fascinating as anything ever captured in The Spy Who Came in From the Cold, Tinker Tailor Soldier Spy, The Constant Gardener, A Most Wanted Man, Our Kind of Traitor, The Night Manager and The Little Drummer Girl. How did the man born David Cornwell, who was in his 80s when he sat with Morris for a frank interview before his passing in December 2020, become the go-to for cloak-and-dagger affairs? And what kind of rollercoaster of an existence inspired such narratives? le Carré aka Cornwell explains all here — from his dad's shady schemes, his mother leaving and his time as a teacher through to working for MI5 and MI6, and becoming a novelist. The Pigeon Tunnel: Stories From My Life precedes this film, hitting bookstores in 2016 as the only full-length non-fiction text to le Carré's name. Whether you've read that or not, devoured one or some or none of his spy tales, done the same with the movie adaptations or are coming to the author anew here with just slight recognition drawing you in, The Pigeon Tunnel is gripping as a documentary. A gifted storyteller on the page, the movie's central figure is just as talented when he's in front of the camera — often framed askew, in a feature that tellingly takes the aesthetics of le Carré's favourite genre to heart. Morris and his adept regular editor Steven Hathaway also splice in examples from the author's pen, given there's such a large amount to choose from, which isn't merely a case of illustrating the impact of his work. Indeed, The Pigeon Tunnel knows that the lines between fact and fiction are faint, including when surveying, probing and interrogating decades in the eventful life of someone who spent more than one job spinning complicated webs. The Pigeon Tunnel streams via Apple TV+. TOTALLY KILLER Kiernan Shipka has long said goodbye to Mad Men's Sally Draper, including by starring in Chilling Adventures of Sabrina. After her dalliance with witchcraft, she's still sticking with horror in Totally Killer, but in a mix of slasher tropes and a Back to the Future-borrowing premise. There's a body count and a time machine — and 80s fashions aplenty, because where else does a 2023 movie head to when it's venturing into the past? Also present and accounted for: a tale about a high schooler living in a small town cursed by a past serial killer, which brings some Halloween and Scream nods, plus Mean Girls and Heathers-esque teen savagery. And, yes, John Hughes flicks also get some love, complete with shoutouts to Sixteen Candles, The Breakfast Club and Pretty in Pink star Molly Ringwald. Totally Killer doesn't skimp on knowingly and winkingly mashing up its many influences, clearly, or on enjoying itself while doing so. The end result is a heap of fun, as hailing from Always Be My Maybe's Nahnatchka Khan behind the lens, along with screenwriters David Matalon (The Clearing), Sasha Perl-Raver (Let's Get Married) and Jen D'Angelo (Hocus Pocus 2). Shipka plays Vernon resident Jamie Hughes, who has spent her whole life being told to be careful about everything by her overprotective parents Pam (Julie Bowen, Modern Family) and Blake (Lochlyn Munro, Creepshow) after an October turned deadly back when they were her age. Unsurprisingly, she isn't happy about it. The reason for their caution: in 1987, three 16-year-old girls were murdered in the lead up to Halloween, with the culprit badged the Sweet 16 Killer — and infamy ensuing for Jamie's otherwise ordinary hometown. Pam is still obsessed with finding the murderer decades later, but her daughter only gets involved after a new tragedy. This Jason Blum (The Exorcist: Believer)-produced flick then needs to conjure up a blast in the past to try to fix what happened then to stop the new deaths from occurring. Always knowing that it's a comedy as much as a slasher film (as seen in its bright hues, heard in its snappy dialogue and conveyed in its committed performances), Totally Killer leans into everything about its Frankenstein's monster-style assemblage of pieces, bringing its setup to entertaining life. Totally Killer streams via Prime Video. THE BURIAL Find the right story, enlist an ace cast, and any genre can thoroughly entertain and engage while ticking recognisable boxes — and legal drama The Burial is one such hearty example. The true tale: Mississippi resident Jeremiah Joseph O'Keefe's mid-90s David-versus-Goliath battle against businessman Raymond Loewen, with their respective funeral operations at the centre, and also lawyer Willie E Gary representing O'Keefe's side when it went to court. The stars: Tommy Lee Jones (The Comeback Trail) as the 75-year-old grandfather who is having government troubles over the insurance side of his company, and wants to secure a future for his sizeable family (including 13 children); ever-busy and reliable character actor Bill Camp (Boston Strangler) as a cashed-up promised buyer of three funeral homes to add to his North American deathcare empire; and Jamie Foxx (Strays) as the smooth-talking, jury-whispering, private jet-owning Florida-based personal injury lawyer who is convinced by the just-graduated Hal Dockins (Mamoudou Athie, Elemental) to give a case he normally wouldn't think twice about a go. After writing and helming 2017's Novitiate, filmmaker Maggie Betts takes on both gigs again — co-scripting with Doug Wright (Quills), who also came up with the story that's based on a New Yorker article — on a film that doesn't only step through cracking courtroom antics, but is cleverly funny, too. The details are rousing, as well as infuriating, with Loewen reneging on an agreement with O'Keefe, the latter suing the former with Gary's help, and predatory practices regarding race and economic status becoming plain. After jumping from sci-fi/horror with They Cloned Tyrone to raucous comedy with Strays and now this, Foxx is giddily excellent playing a character that could've been all style and no substance, even as someone who exists IRL, but proves flashy yet genuine. His rapport with Jones, as cemented by the music off late-80s/early-90s R&B act Tony! Toni! Toné!, also shines. And although John Grisham could've penned the ins and outs if it was all fiction, this is still a smart and involving movie, and an easy crowd-pleaser. The Burial streams via Prime Video. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK LOKI One of the best performances in the Marvel Cinematic Universe comes from the man who was first charged with getting villainous, but now leads his own spinoff series as a complex and playful hero. While Tom Hiddleston's acting talents are well-established far beyond playing the God of Mischief — see: The Deep Blue Sea, The Hollow Crown, Only Lovers Left Alive, High-Rise, Crimson Peak and The Night Manager, for instance — the MCU has been all the better for his involvement for more than a decade. A scene-stealer in 2011's Thor, his parts in film after film kept getting bigger until streaming series Loki arrived. Amid Disney's rush of greenlighting shows for Disney+, starting this one couldn't have been easier; as Thor: Ragnarok in particular demonstrated, adding more Hiddleston has always been a winning move. Indeed, when it slid into queues in 2021 as just the third series in the MCU's small-screen realm, following WandaVision and The Falcon and the Winter Soldier, Loki proved that more Hiddleston in a six-part TV show was also a delight. As one of Marvel's standout shows, it came as no surprise when this stint of time-hopping trickery confirmed that it was returning for a second season in that run's final episode. Now back for another half-dozen instalments, Loki becomes the first of Marvel's television entries to earn a second go-around. That isn't an achievement that it takes for granted. Picking up exactly where season one left off, Loki season two sticks to some familiar beats but also makes its own leaps, and remains fun, funny, lively and smart in the process. It feels more lived in, too, a description that rarely applies to any franchise about caped crusaders and their nemeses, gods, multiverses and temporal chaos, this one among them. And, as well as Hiddleston excelling overall, plus opposite Owen Wilson (Haunted Mansion) and Sophia Di Martino (The Electrical Life of Louis Wain), this time-jumping return also brings Everything Everywhere All At Once Oscar-winner Ke Huy Quan into another temporal jumble, which is as great on-screen as it sounds on paper. Loki streams via Disney+. Read our full review. UPLOAD Every show about the afterlife, whether it's The Good Place or Upload of late, relies upon an inescapable truth: if some form of existence can go on after death, humanity's worst traits will go with it. Greg Daniels' addition to this stream of thought relies upon AI, virtual reality, plus capturing the consciousness of someone before they die so that they can spend eternity in a simulation — if they can afford it — and while The Office and Parks and Recreation writer/co-creator has made another sitcom, rather than going all Charlie Brooker and Black Mirror, the end result doesn't evade the fact that people are people whether they're flesh and blood or digital approximations. So, as he resided in the luxurious country club-esque Lakeview after shuffling off the mortal coil, computer programmer Nathan (Robbie Amell, The Witcher) wasn't free of living's troubles. Instead, he had daily struggles and the fallout from his demise to deal with. Now three seasons in, Upload has brought its protagonist back to regular reality, downloading into a body with the help of his former virtual handler-turned-girlfriend Nora (Andy Allo, Chicago Fire), but he's still facing the same troubles. Well, mostly the same — because downloading is risky, hasn't been done successfully before and Nathan's bleeding nose is a worrying sign. As Upload's main duo battle big tech, the series continues to probe the limits that capitalism will take advancements to while prioritising circuitry and dehumanising people. Nathan's ex Ingrid (Allegra Edwards, Briarpatch), who financed his trip to Lakeview, is increasingly coming around to this way of thinking. Even the plentiful AI Guy (Owen Daniels, Space Force) is getting progressively rebellious against the systems, coding and rules that are behind his very existence. Upload season three keeps complicating its storyline, but also keeps doubling down on its critique of wealth disparity, companies ruling over people, modern society's endless quest for control and cash, and the hellscape that might come if and when digital afterlives leap off the screen. Amell, Allo, Edwards and Daniels remain perfectly cast, as does Zainab Johnson (Tab Time) as one of Nora's colleagues and Kevin Bigley (Animal Control) as another Lakeview inhabitant, in a series is repeatedly astute and amusing. Upload streams via Prime Video. Read our full review. A RECENT BIG-SCREEN RELEASE YOU MIGHT'VE MISSED EMILY If Emily had been made two or three decades earlier, it might've starred Frances O'Connor, rather than boast the Australian actor-turned-filmmaker as its writer and director. Back in the 90s and 00s, O'Connor played with literary classics in movies such as Mansfield Park and The Importance of Being Earnest, plus a TV version of Madame Bovary. Now, making an accomplished and emotive debut behind the lens, she explores how Emily Brontë's Wuthering Heights might've come to be. Is a Kate Bush-inspiring piece of gothic romantic fiction of such passion and yearning — the only one from a writer lost to tuberculosis at the age of just 30 in 1848 — the result of a life touched by both? That's a question that this fictionalised biopic ponders. Emily begins with another query, however, although it's also basically the same question. "How did you write it?" Emily's (Emma Mackey, Sex Education) older sister Charlotte (Alexandra Dowling, The Musketeers) demands. "How did you write Wuthering Heights?" As one Brontë grills another, "I took my pen and put it to paper" is Emily's literal answer, offered as she reclines, pale and not long for this world, alongside printed versions of her now-iconic story. The response provided by the gorgeously shot, impressively acted and deeply moving Emily is far more complicated, but O'Connor's choice to open her movie with this scene and question is both clever and telling. One perspective on great artists, including of words, is to view their work as intertwined with their lives — aka this feature's preferred vantage. A key perspective of Emily, too, is not letting the small amount of detail known about the middle of literature's three Brontë sisters dictate how this story is told. That copy of Wuthering Heights by Emily's side? It bears her name, as does every iteration printed today, but her book wasn't first published under her real moniker — her pen name was Ellis Bell — until two years after her death. Emily streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too.
Calling all sleuths of Australia — again. If you haven't fulfilled your murder-mystery fix on the big and small screens over the past few years, and if you missed a whodunnit play hailing from the one and only Agatha Christie in both 2022 and 2023, then you'd best make a new date with The Mousetrap. Here are two questions for you to solve first: why is this play coming your way once more a big deal, and when is it doing the rounds again? The answers: as well as being penned by Christie, it's the world's longest-running play; and, because its past Aussie seasons have proven such a hit, it's returning to a heap of cities from May–September 2024. As well as heading to Hobart and Darwin, this tour is favouring regional and smaller spots. That means seeing The Mousetrap in Newcastle, Wollongong, the Gold Coast, Toowoomba, Geelong and Frankston — among other stops — for audiences in New South Wales, Queensland and Victoria. Initially premiering in London's West End in 1952, The Mousetrap has been treading the boards in the UK ever since, only pausing during to pandemic venue closures. When theatres reopened in Britain, so did the show. Indeed, when it arrived in Australia in 2022, The Mousetrap did so 70 years to the month that it first debuted. Unsurprisingly, that hefty run means that the show has enjoyed the longest stint for any West End production, and for any play anywhere in the world. So far, there's been more than 28,500 London performances. To answer the other obvious question, yes, it's all about an unexpected body. The murder-mystery starts with news of a killing in London — and with seven people snowed in at a guest house in the country. They're strangers, which is classic Christie. When a police sergeant arrives on skis, they're told that the murderer is among them (which, again, is vintage Christie). They all have wild pasts, too, and all those details are spilled as they're interrogated, and also try to work out who among them is the killer. Those guests at Monkswell Manor include a pair of newlyweds who run the house, a spinster, an architect who is handy in the kitchen, a retired Army major, a man who says his car has overturned in a drift, and a jurist. Naturally, there's another death as they're all puzzling it over — and a twist conclusion, which audiences have been requested not to reveal after leaving the theatre for seven decades now. Again, it's all Christie all over, which'll be evident if you've seen the recent film versions of Murder on the Orient Express and Death on the Nile — or the original cinema adaptations, or read the books, or devoured anything else that Christie ever wrote. And, if you caught 2022's See How They Run, you'll be more than a little familiar with The Mousetrap as well. This theatre work started as a short radio play, which was written as a birthday present for Queen Mary. It aired in 1947 under the name Three Blind Mice, after which Christie rewrote it as a short story, then adapted it again for the stage as The Mousetrap. And no, there isn't a movie of it — because Christie stipulated that it can't leap to the screen until at least six months after the West End production closes. Clearly, that hasn't happened yet. In Australia, the play boasts Robyn Nevin directing and John Frost for Crossroads Live Australia producing. AGATHA CHRISTIE'S THE MOUSETRAP 2024 AUSTRALIAN TOUR: Saturday, May 11–Saturday, May 25: Newcastle Civic Theatre, Newcastle Thursday, May 29–Sunday, June 2 — HOTA, Home of the Arts, Gold Coast Tuesday, June 11–Monday, June 24 — Theatre Royal, Hobart Thursday, June 27–Sunday, June 30 — Civic Theatre, Orange Thursday, July 4–Sunday, July 7 — Geelong Arts Centre, Geelong Thursday, July 11–Saturday, July 13 — Darwin Entertainment Centre, Darwin Wednesday, July 17–Friday, July 19 — Glasshouse, Port Macquarie Tuesday, July 23–Wednesday, July 24 — Empire Theatre, Toowoomba Wednesday, July 31–Saturday, August 3 — Frankston Arts Centre, Frankston Thursday, August 8–Sunday, August 11 — Albury Entertainment Centre, Albury Thursday, August 15–Sunday, August 25 — Glen St Theatre, Frenchs Forest Thursday, August 29–Sunday, September 1 — Entertainment Convention Centre, Mackay Thursday, September 5–Monday, September 16 — Illawarra Performing Arts Centre, Wollongong Agatha Christie's The Mousetrap will tour Australia in 2024. For further details and tickets, head to the play's website. Images: Brian Gleach.
May has the Eta Aquarid meteor shower, June boasts the Delta Aquariids and December welcomes the Geminids. In November, however, it's Leonids time. Arriving at the end of spring in Australia and New Zealand, the Leonids may not be quite as well known as some of its counterparts, but it's still a shower worth looking up for. And it's famous for one impressive reason: its spectacular meteor storms. It can feature more than 1000 meteors per hour, but it only occurs around every 33 years — and, sadly, the most recent occurred in 2001. Still, while you won't spy that kind of intense onslaught in 2020, you will still see meteors. The Bureau of Meteorology predicts there'll be around five per hour hurtling across the heavens on average. At its peak, timeanddate.com predicts 15 per hour. In good news for those Down Under, the Leonids can be seen in the Southern Hemisphere. Although it runs from Friday, November 6 until Monday, November 30, it's best detected between Saturday, November 14 and Friday, November 20 — and it's expected to be at its peak between Tuesday, November 17 and Wednesday, November 18. Like many astronomical shows, catching an eyeful after midnight is recommended (aka when the moon has set and its light will not interfere). Named for the constellation of Leo, which is where it appears to radiate from in the sky, the Leonids aren't just renowned for its huge showers approximately three times each century, but also for its place in history. During the storm of 1833, it has been estimated that more than 100,000 meteors streamed across the sky per hour — and, as a result, the Leonids helped play a part in the formulation of the first theory about the origin of meteors, NASA notes. The Leonids stem from the Comet Tempel–Tuttle, which was actually first officially recognised after the famous meteor shower of 1833 — in 1866, in fact. And, if you're wondering why the Leonids' storms only hit every 33 years or so, that's because that's how long it takes for the comet to orbit around the sun. [caption id="attachment_751114" align="aligncenter" width="1920"] The peak of the 2009 Leonids meteor shower. Image: Navicore via Wikicommons.[/caption] For your best chances of getting a glimpse, the usual advice applies. Get as far away from bright lights as possible — this could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. And, given that the Leonids originate from the Leo constellation, that's what you'll be looking for in the sky. To locate Leo, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). The Leonids meteor shower is best detected between Saturday, November 14 and Friday, November 20. Top image: Mike Lewinski via Flickr.
In honour of the recent selection of the winner of the World Press Photo awards this week, here are each of the winners from 1955 to 2011. They say a picture tells a thousand words, and this old statement is strikingly appropriate for what's displayed here. Some truly moving and iconic pieces are featured; let's hope that the coming year's winner can uphold the tradition. Warning: some images contain graphic or objectionable content. 1955 A competitor tumbles off his motorcycle during the Motorcross World Championship at the Volk Mølle race course. (Mogens von Haven) 1956 A German World War II prisoner, released by the Soviet Union, is reunited with his daughter. The child had not seen her father since she was one-year-old. (Helmuth Pirath) 1957 Dorothy Counts, one of the first black students to enter the newly desegregated Harry Harding High School is mocked by whites on her first day of school. (Douglas Martin) 1958 National Football Championships between Prague and Bratislava. (Stanislav Tereba) 1960 A right-wing student in Japan assassinates Inejiro Asanuma, Socialist Party Chairman, during his speech at the Hibiya Hall. (Yasushi Nagao) 1962 Priest Luis Padillo offers last rites to a loyalist soldier who is mortally wounded by a sniper during military rebellion against President Bétancourt at Puerto Cabello naval base in Venezuela. (Héctor Rondón Lovera) 1963 Buddhist monk Thich Quang Duc sets himself ablaze in protest against the persecution of Buddhists by the South Vietnamese government. (Malcolm W. Browne) 1964 A Turkish woman mourns her dead husband, a victim of the Greek-Turkish civil war. (Don McCullin) 1965 A mother and her children wade across a river to escape US bombing. The US Air Force had evacuated their village because it was suspected of being used as a base camp by the Vietcong. (Kyoichi Sawada) 1966 The body of a Vietcong soldier is dragged behind an American armored vehicle en route to a burial site after fierce fighting. (Kyoichi Sawada) 1967 The commander of an M48 tankgunner of the US 7th regiment in Vietnam's 'Iron Triangle'. (Co Rentmeester) 1968 South Vietnam national police chief Nguyen Ngoc Loan executes a suspected Viet Cong member. (Eddie Adams) 1969 A young Catholic wears a gasmask during clashes with British troops. People had been fleeing from teargas after a night of street fighting. (Hanns-Jörg Anders) 1971 During negotiations on the safe-conduct of a group of criminals on the run, police superintendent Gross suddenly shoots down gang leader Kurt Vicenik. The gang, who had disappeared after a bank-robbery in Cologne, re-emerged near Saarbrücken, carrying a hostage with them. A chase followed and the police and the robbers met at Baltersweiler. The two other men were captured in a wild fight. The men running away from the bullets are policemen. (Wolfgang Peter Geller) 1972 Phan Thi Kim Phuc (center) flees with other children after South Vietnamese planes mistakenly dropped napalm on South Vietnamese troops and civilians. (Nick Ut) 1973 Democratically elected President Salvador Allende moments away from death during military coup at Moneda presidential palace in Chile. (Orlando Lagos) 1974 The Faces of Hunger. A mother comforts her child, both victims of drought. (Ovie Carter) 1975 A mother and her daughter are hurled off a collapsing fire-escape in an apartment house fire in Boston. (Stanley Forman) 1976 Palestinian refugees in district La Quarantaine. (Françoise Demulder) 1977 Police throw tear-gas at a group of chanting residents of the Modderdam squatter camp protesting against the demolition of their homes outside Cape Town. (Leslie Hammond) 1978 A demonstrator is engulfed in flames of the molotov cocktail he was about to throw at the police during protests against the construction of the New Tokyo International Airport. The original Narita Airport plan was unveiled in 1966. To acquire the initial land, the government had to evict protesting landowners. Violent clashes between the opponents and authorities resulted in 13 deaths, including five police officers. The new airport opened in May 1978. (Sadayuki Mikami) 1979 A Cambodian woman cradles her child while waiting for food to be distributed at a refugee camp. (David Burnett) 1980 A starving boy and a missionary in Uganda. (Mike Wells) 1981 Lt. Col. Antonio Tejero Molina orders everyone to remain seated and be quiet after armed Guardia Civil soldiers stormed the Assembly Hall of the Spanish Parliament. Three hundred deputies and cabinet members were in session to vote upon the succession of premier Suarez. They were released next morning after having been held hostage for almost 18 hours; the coup was a failure. (Manuel Pérez Barriopedro) 1982 The war in Lebanon: The aftermath of the massacre of Palestinians by Christian Phalangists in the Sabra and Shatila refugee camps. (Robin Moyer) 1983 Kezban Özer (37) finds her five children buried alive after a devastating earthquake. At five o'clock in the morning she and her husband were milking the cows as their children slept. A few minutes later, 147 villages in the region were destroyed by an earthquake of magnitude 7.1 on the Richter scale; 1,336 people died. (Mustafa Bozdemir) 1984 A child killed by the poisonous gas leak in the Union Carbide chemical plant disaster. (Pablo Bartholomew) 1985 Omaira Sanchez (12) is trapped in the debris caused by the eruption of Nevado del Ruíz volcano. After sixty hours she eventually lost consciousness and died of a heart attack. (Frank Fournier) 1986 Ken Meeks' (42) skin is marked with lesions caused by AIDS-related Kaposi's Sarcoma. (Alon Reininger) 1987 A mother clings to a riot policeman's shield at a polling station. Her son was one of thousands of demonstrators arrested because they tried to prove that the presidential election on December 15, which was won by the government candidate, had been rigged. (Anthony Suau) 1988 Boris Abgarzian grieves for his 17-year-old son, victim of the Armenian earthquake. (David Turnley) 1989 A demonstrator confronts a line of People's Liberation Army tanks during protests for democratic reform. (Charlie Cole) 1990 Family and neighbors mourn the death of Elshani Nashim (27), killed during a protest against the Yugoslavian government's decision to abolish the autonomy of Kosovo. (Georges Merillon) 1991 US Sergeant Ken Kozakiewicz (23), gives vent to his grief as he learns that the body bag at his feet contains the remains of his friend Andy Alaniz. 'Friendly fire' claimed Alaniz's life and injured Kozakiewicz. On the last day of the Gulf War they were taken away from the war zone by a MASH unit evacuation helicopter. (David Turnley) 1992 A mother carries her dead child to the grave, after wrapping it in a shroud according to local custom. A bad drought coupled with the effects of civil war caused a terrible famine in Somalia which claimed the lives of between one and two million people over a period of two years, more than 200 a day in the worst affected areas. The international airlift of relief supplies which started in July was hampered by heavily armed gangs of clansmen who looted food storage centers and slowed down the distribution of the supplies by aid organizations. (James Nachtwey) 1993 Boys raise toy guns in a gesture of defiance. The Palestinian uprising, which began in December 1987, strengthened the Arab population in their determination to fight the occupying force. In March Israel closed its border with Gaza, causing a massive rise in unemployment. With more than 800,000 people contained in the Israeli-patrolled, eight-km-wide strip of land, bloodshed increased sharply. The peace agreement signed in Washington on September 13 promised limited authority for the Gaza Strip and a withdrawal of the Israeli army. (Larry Towell) 1994 A Hutu man at a Red Cross hospital, his face mutilated by the Hutu 'Interahamwe' militia, who suspected him of sympathizing with the Tutsi rebels. (James Nachtwey) 1995 A bus on the road leading to Grozny during fighting between Chechen independence fighters and Russian troops. The civil war which erupted when President Yeltsin sent troops to the rebellious province in December 1994 was still dragging on months later. When the Chechen fighters fled Grozny, the capital, where the war had claimed a horrendous human and material toll, Russian troops pursued them into the countryside to the south and east. (Lucian Perkins) 1996 Landmine victims in Kuito, a town where many people were killed and traumatized during the civil war. (Francesco Zizola) 1997 A woman cries outside the Zmirli Hospital, where the dead and wounded were taken after a massacre in Bentalha. (Hocine) 1998 A woman is comforted by relatives and friends at the funeral of her husband. The man was a soldier with the ethnic Albanian rebels of the Kosovo Liberation Army, fighting for independence from Serbia. He had been shot the previous day while on patrol. (Dayna Smith) 1999 A man walks the streets in one of the largest gathering points for ethnic Albanian refugees fleeing violence in Kosovo. (Claus Bjørn Larsen) 2000 The mother of a Mexican immigrant family makes piñatas to support herself and her children. The family numbers among the millions of 'uncounted' Americans, people who for one reason or another have been missed by the national census and so don't exist in population records. (Lara Jo Regan) 2001 The body of a one-year-old boy who died of dehydration is prepared for burial at Jalozai refugee camp. The child's family, originally from North Afghanistan, had sought refuge in Pakistan from political instability and the consequences of drought. The family gave the photographer permission to attend as they washed and wrapped his body in a white funeral shroud, according to Muslim tradition. In the overcrowded Jalozai camp, 80,000 refugees from Afghanistan endured squalid conditions. (Erik Refner) 2002 A boy holds his dead father's trousers as he squats beside the spot where his father is to be buried, surrounded by soldiers and villagers digging graves for victims of an earthquake in Armenia. (Eric Grigorian) 2003 An Iraqi man comforts his four-year-old son at a holding center for prisoners of war, in the base camp of the US Army 101st Airborne Division near An Najaf. The boy had become terrified when, according to orders, his father was hooded and handcuffed. A soldier later severed the plastic handcuffs so that the man could comfort his child. Hoods were placed over detainees' heads because they were quicker to apply than blindfolds. The military said the bags were used to disorient prisoners and protect their identities. It is not known what happened to the man or the boy. (Jean-Marc Bouju) 2004 A woman mourns a relative killed in the tsunami. On December 26, a 9.3 magnitude earthquake off the coast of Sumatra, Indonesia, triggered a series of deadly waves that traveled across the Indian Ocean, wreaking havoc in nine Asian countries, and causing fatalities as far away as Somalia and Tanzania. (Arko Datta) 2005 The fingers of malnourished Alassa Galisou (1) are pressed against the lips of his mother Fatou Ousseini at an emergency feeding center. One of the worst droughts in recent times, together with a particularly heavy plague of locusts that had destroyed the previous year's harvest, left millions of people severely short of food. (Finbarr O'Reilly) 2006 Young Lebanese drive down a street in Haret Hreik, a bombed neighborhood in southern Beirut. (Spencer Platt) 2007 A soldier of Second Platoon, Battle Company of the Second Battalion of the US 503rd Infantry Regiment sinks onto an embankment in the Restrepo bunker at the end of the day. (Tim Hetherington) 2008 Detective Robert Kole of the Cuyahoga County Sheriff's Office enters a home, following mortgage foreclosure and eviction. He needs to check that the owners have vacated the premises, and that no weapons have been left lying around. (Anthony Suau) 2009 Women shout their dissent from a Tehran rooftop on 24 June, following Iran's disputed presidential election. (Pietro Masturzo) 2010 Bibi Aisha, an 18-year-old woman from Oruzgan province in Afghanistan, fled back to her family home from her husband's house, complaining of violent treatment. The Taliban arrived one night, demanding Bibi be handed over to face justice. After a Taliban commander pronounced his verdict, Bibi's brother-in-law held her down and her husband sliced off her ears and then cut off her nose. Bibi was abandoned, but later rescued by aid workers and the U.S. military. (Jodi Bieber) 2011 A veiled woman holds a wounded relative "inside a mosque used as a field hospital by demonstrators against the rule of President Ali Abdullah Saleh, during clashes in Sanaa, Yemen. (Samuel Aranda) [via Buzzfeed]
Since 1997, Fortitude Valley has put itself in the spotlight with a huge street party, with Valley Fiesta taking a variety of forms over its quarter-century run so far. It's a celebration of hearing live tunes, checking out art and shopping your way around markets — and hitting up the inner-city suburb's bars and eateries, too — and it turns the Valley's regular haunts and activities into a festival. But, it's only a once-a-year happening. Can't wait till 2023's Valley Fiesta, which hasn't yet announced its dates? Meet Brunswick Street Live, a day-long fest which is popping up this winter to tide everyone over — and give Brisbane another excuse to revel in the Valley and its main street. The name gives away where it's taking place, debuting on Saturday, June 10. And the lineup has the classic Brunswick Street experience all covered. Artisan and vintage markets will run from 12pm, plus live street art by Stewart Shuker, John Smith Gumbula and Seana Clarkson, with music from 12.20pm. Leading the bill are Horrorshow and Monstera, alongside Danyon, Ghost Mutt, First Beige DJs, Zed Mero, and Nejmere and mumgenes. The aim: not just to showcase the Valley, its venues and the city's talents, but to add another annual music festival to Brisbane's cultural calendar. Brisbane City Council is planning for the free fest to become a yearly event alongside Valley Fiesta and the Lunar New Year festivities. [caption id="attachment_902926" align="alignnone" width="1920"] Brisbane City Council via Flickr[/caption] "The festival will activate the Valley's day and nighttime economies while featuring free performances from some of Brisbane's best emerging and current musicians," said Lord Mayor Adrian Schrinner, announcing Brunswick Street Live. Whenever Valley Fiesta arrives for 2023 — 2022's took place in November — Brunswick Street Live will help fill the gap before not just that beloved fest, but BIGSOUND in September. There's no such thing as too many Valley music festivals, after all. [caption id="attachment_902925" align="alignnone" width="1920"] Brisbane City Council via Flickr[/caption] Brunswick Street Live takes place on Saturday, June 10 in Brunswick Street, Fortitude Valley — head to the Brisbane City Council website for further information. Top image: Kgbo via Wikimedia Commons.
How do you say goodbye to one of Australia's great music festivals? Bringing together as many local acts as possible, filling the event's stages with homegrown talents, is one excellent option. When Bluesfest bids farewell with its 2025 fest, it'll also have help from international artists, but so far the lineup is jam-packed with Aussie names. It's the end of an era, and it's going out with some impressive assistance. Come April 2025, Crowded House, Ocean Alley and Vance Joy will lead the roster of talent getting behind Bluesfest's microphones in Byron Bay for the last time, as already revealed back in August. The festival has now dropped its second lineup announcement, which adds everyone from Hilltop Hoods and Budjerah to Kasey Chambers and The Cat Empire to the bill — and there's more on the list now, and still more to come. [caption id="attachment_969986" align="alignnone" width="1920"] LD Somefx[/caption] On their return to Bluesfest, Hilltop Hoods will headline Sunday night lineup. Also no strangers to the event: Xavier Rudd and John Butler. From there, the bill also features Miss Kaninna, Velvet Trip, Melbourne Ska Orchestra, CW Stoneking, Lachy Doley Group, Ash Grunwald and Kim Churchill. The new additions will join Tones and I, Gary Clark Jr, Rag'n'Bone Man, RY X, Allison Russell, Christone 'Kingfish' Ingram and plenty others across Thursday, April 17–Sunday, April 20, 2025. Another announcement is on its way soon, which is when international artists will start hitting the roster. [caption id="attachment_969990" align="alignnone" width="1920"] Joseph Mayers[/caption] "While this lineup focuses on our homegrown talent, it's still a strong blues and roots announcement, staying true to the heart of what Bluesfest has always been about. I can't begin to tell you how many incredible artists have reached out, wanting to be part of our final festival," said Festival Director Peter Noble about the second Bluesfest 2025 lineup drop. "Scores of amazing talents from across the country have thrown their hats in the ring. It's a testament to how special this festival is to the Australian music community. As much as I would love to include everyone, there are only so many spots we can fit into one lineup." "That said, I'm thrilled to welcome back some of our all-time favourites. You can't say no to artists who have helped shape this festival over the years, including Hilltop Hoods returning after a 20 year gap — and how can we be doing a best of Bluesfest without Xavier Rudd, John Butler, The Cat Empire and the incredible Kasey Chambers, alongside some rising Australian stars who represent the future of our music scene? This mix of legendary performers and up-and-coming talent is what makes this announcement so special and uniquely ours." The festival has been showered with affection since news arrived, also back in August, that it was planning to wrap up after the 2025 event. An ePetition has been launched by New South Wales MP Tamara Smith, asking the NSW Government to put together a rescue package for Bluesfest — a petition that'll be debated in the state's parliament if it hits 20,000 signatures. "It's been truly humbling to see how much Bluesfest means to so many of you. While the future remains uncertain, I am encouraged by the petition that's been raised to keep the festival going by our state member of parliament. There's real hope that with your continued support, and the backing of our community, we might just keep the Bluesfest legacy alive for generations to come," advised Noble. Bluesfest 2025 Lineup: First announcement: Crowded House Vance Joy Ocean Alley Tones and I Gary Clark Jr Rag'n'Bone Man RY X Allison Russell Christone 'Kingfish' Ingram Brad Cox Here Come the Mummies The California Honeydrops Marc Broussard Pierce Brothers Taj Farrant Fanny Lumsden 19-Twenty WILSN Cimafunk Neal Francis Second announcement: Hilltop Hoods Xavier Rudd John Butler The Cat Empire Kasey Chambers Melbourne Ska Orchestra CW Stoneking Budjerah Lachy Doley Group Ash Grunwald Kim Churchill Miss Kaninna The Beards Velvet Trip FOOLS ROSHANI Sweet Talk The Memphis Three featuring Fiona Boyes, Jimi Hocking and Frank Sultana [caption id="attachment_969988" align="alignnone" width="1920"] Roger Cotgreave[/caption] [caption id="attachment_969989" align="alignnone" width="1920"] LD Somefx[/caption] [caption id="attachment_969987" align="alignnone" width="1920"] LD Somefx[/caption] [caption id="attachment_867504" align="alignnone" width="1920"] Kurt Petersen[/caption] Bluesfest 2025 will run from Thursday, April 17–Sunday, April 20 at Byron Events Farm, Tyagarah. Early-bird tickets are on sale now — for further information, head to the Bluesfest website.
Paul Rudd probably has an attic. And in that attic, a dusty portrait of the superstar actor is probably ageing, because the man himself doesn't seem to be. That's a perfectly logical explanation for why the Clueless, Halloween 6: The Curse of Michael Myers, Romeo + Juliet, Anchorman: The Legend of Ron Burgundy, Parks and Recreation, Wet Hot American Summer and Living With Yourself actor — and Ant-Man star, too — has looked the same for decades. And, it inspires a question: if you keep Rudd's likeness somewhere in your house, will you stop getting older as well? Will you start looking like Paul Rudd instead? That's a situation no one would complain about. Whatever might happen, a very real book written by Rudd's very fictional Marvel Cinematic Universe alter ego is on its way, so soon you can pop it on your shelf and find out. That tome is Look Out for the Little Guy, as penned by Scott Lang — aka Ant-Man. It's just been announced because a not-at-all-tun movie called Ant-Man and The Wasp: Quantumania hits cinemas on Thursday, February 16. And yes, this new text will feature in that flick. See the film, buy the fake memoir: that's what's on offer for MCU fans, Ant-Man stans and Paul Rudd obsessives (so, everyone). In Ant-Man and The Wasp: Quantumania, Lang has penned the book, detailing his time saving the world. Unsurprisingly, the autobiography has proven popular. The Disney-owned Marvel will be hoping the real text does the same, of course, when it hits bookstores on Tuesday, September 5. According to the official synopsis, the memoir steps through "a bracingly honest account" of Lang's "struggles and triumphs, from serving time to being a divorced dad to becoming Ant-Man and joining The Avengers". Readers are also in for "stories of epic battles won and lost, as this everyman turned super hero finally tells all — from the official account of what really happened between The Avengers and Thanos to how shrinking down to ant-size really feels to the challenges of balancing the roles of hero and dad". Look Out for the Little Guy also has a trailer, because Marvel and the Mouse House realise that the best way to sell anything involving Paul Rudd is just giving the world what we want: more Paul Rudd. "In this new book I'm almost certain was not written by me, we pull back the curtain and uncover the man behind Ant-Man: Scott Lang," the actor advises. "Who is he? What's he like? Why does he look so much like me?" Check out the Look Out for the Little Guy trailer below: Scott Lang's Look Out for the Little Guy will hit bookstores on Tuesday, September 5, and is available to pre-order now — head to the Disney Books website for further details. Ant-Man and The Wasp: Quantumania hits cinemas Down Under on Thursday, February 16.
Brisbane might not be a beach city, but you can still find patches of sand by the water if you know where to go. Real spots, too — we're not just talking about South Bank's man-made version. Some don't even require venturing out of the city, or even all that far from the CBD. Hamilton Reach at Northshore is one such location, and it's making the most of it to welcome in the new season. Sure, a free winter beach party mightn't sound like your standard kind of shindig. But let's be honest — Brissie's climate is perfect for it. Relax by the river, soak up the sun, splash around in a kayak, play games on the shore and pretend that winter isn't coming. Also on offer between 11am–3pm on Saturday, June 1: barbecue masterclasses, wine tastings, beach limbo, food trucks and live music. And, if you arrive early, a free picnic blanket will be given away to the first 100 people. Images: Hamilton Reach.
You shouldn't really need an excuse to celebrate Australia's vibrant music scene, but it's nice to have one. The Haunt and 4ZZZ are bringing together local and national musicians to celebrate the last weekend of Brisbane Live Music Week with their annual, one-night music festival, Happyfest. Since 2012, 4ZZZ's Happyfest has sported a collection of up-and-comers who've since gone on to conquer international music circuits — namely Blank Realm, Lost Animals, Kirin J Callinan and Bitch Prefect. This year they've snagged Sydney rockers The Friendsters, locals Kitchen's Floor, Bent, Clever, California Girls, Raus and Astral Skulls. Happyfest kicks off at 7pm this Friday, with $10 entry for the general public and $7 for 4ZZZ members. Also, extra perk, The Caxton has $10 meals at their street cafe every Sunday, so get on down, grab a parmy and check out some ridgy-didge rock.
Savvy sartorial shoppers, rejoice — Metre Market is back. If you went to their first event back in February, you'll know the drill. Fashion is their main domain, but you'll also find music, food and arts among their stalls. In fact, with giving Brisbanites an opportunity to sell their pre-loved clothes the main reason the market came to fruition, you can even get in on the action by applying for a metre or two of space. And if all you want to do is browse and buy, there's plenty of that on offer too. The second Metre Market will take place on April 24 at the Morningside School of the Arts, and promises to keep the market mania rolling. Not only is it free, but it features the best things money can buy from the likes of White Owl Boutique, Frankie Lou Heath, Oddnuts Apparel, Phoebe Paradise, Emma Louise, Iron Hides, Jada Blue, Axsher candles and Soul Quartz — among other stalls, of course.
Two excellent TV comedies about show business hardly makes a trend, let alone heralds a golden age, but it's currently a fantastic time for smart, astute and extremely funny series about standing behind microphones. In 2021, Girls5eva and Hacks premiered in America within a week of each other, deservedly winning fans immediately. In 2022, they've both returned for their second seasons in the US and Down Under (via Stan and TVNZ On Demand) with the same timing. Accordingly, if you only want to watch shows about talented ladies chasing their starry dreams right now, that's firmly on the cards. If you're keen to dive deep into what makes something funny — how comedy evolves, shifts and swings; the differences between easy and well-earned laughs; the courage it takes to truly lay yourself bare during a standup set; and how comedy is received when it's coming from women rather than men, too — that's Hacks' remit. As the goofier and sillier but still wonderfully savvy Girls5eva does, it carves into the entertainment industry's treatment of women, and doesn't hold back from depicting the bleak reality. It's scathing, in fact. This Emmy- and Golden Globe-winner's specific target, though: the world of comedy. In season one, Hacks pushed Deborah Vance (Jean Smart, Mare of Easttown) and Ava Daniels (Hannah Einbinder, North Hollywood) together. The former is a veteran comic with a long-running Las Vegas residency, while the twentysomething latter reluctantly took a job as Deborah's assistant after thinking she was going to make it big in Los Angeles, then getting herself into trouble via an ill-thought-out tweet. The end result could've been cliched from start to finish. The series does indeed focus on a chalk-and-cheese pair who don't get along, slowly discover that they have more in common than either will admit, and try to navigate the unwelcoming realm that is comedy for women with each other's help. But, crucially, that whole concept is the premise, not the joke. Hacks doesn't laugh at its mismatched, wittily spiky central duo, but at everything they're stuck facing. The series' first season quickly cemented itself as one of 2021's best new TV shows — one of two knockout newbies starring Jean Smart last year, thanks to the aforementioned Mare of Easttown — and it's just as ace the second time around. It's still searingly funny, nailing that often-elusive blend of insight, intelligence and hilarity. It retains its observational, wry tone, and remains devastatingly relatable even if you've never been a woman trying to make it in comedy. And it's happy to linger where it needs to to truly understand its characters, but never simply dwells in the same place as its last batch of episodes. Season two is literally about hitting the road, so covering fresh territory is baked into the story; however, Hacks' trio of key behind-the-scenes creatives aren't content to merely repeat themselves with a different backdrop. Those guiding hands — writer Jen Statsky (The Good Place), writer/director Lucia Aniello (Rough Night) and writer/director/co-star Paul W Downs (The Other Two) — started Hacks after helping to make Broad City a hit. Clearly, they all know a thing or two about moving on from the past. That's the decision both Deborah and Ava had to make themselves in season one, with the show's second season now charting the fallout. So, Deborah has farewelled her residency and the dependable gags that kept pulling in crowds, opting to test out new and far-more-personal material on a cross-country tour instead. Ava has accepted her role by Deborah's side, and is willing to see it as a valid career move rather than an embarrassing stopgap. That said, last year's episodes also left the series with a potential wrecking ball: an email Ava wrote about Deborah while drunk, high, and upset about being slapped and insulted. Penned in anger and filled with extremely personal details about the comedian, it was sent to LA producers who wanted to hire Ava to mine Deborah's life for a new show about an insufferable woman in power. That destructive stream of text isn't season two's entire focus, but it's also inescapable, as much as Ava wants it to just disappear — as does Jimmy (Downs), Ava and Deborah's shared manager. But Hacks has always been willing to see that actions have consequences, not only for an industry that repeatedly marginalises women, but for its imperfect leading ladies. The brilliantly biting Smart continues to turn in awards-worthy work in Hacks' second season, and Einbinder still wears Ava's entitled chaos like a second skin. But there's one added bonus: now Deborah and Ava are lived-in characters, rather than newcomers to audiences. It's a pleasure to see both actors dive deep into what makes their on-screen alter egos tick, clash and occasionally get along; indeed, many of season two's best moments explore the whirlwind that ensues when Deborah and Ava fight but still clearly care about each other. Also upping the ante: being stuck on a tour bus on the road, decked out with a luxe bedroom for Deborah but condensing Ava's bunk to the tiny space above the onboard tanning bed. There, with fellow assistant Damien (Mark Indelicato, With Love) and new tour manager Weed (Laurie Metcalf, The Dropout) in tow, everyone's feelings bubble and boil in the resulting pressure cooker. Those supporting players — Deborah's daughter DJ (Katlin Olson, It's Always Sunny in Philadelphia), business manager Marcus (Carl Clemons-Hopkins, Candyman) and personal blackjack dealer Kiki (Poppy Liu, The Afterparty) included, as well as Jimmy and his high-maintenance assistant Kayla (Megan Salter) — don't get as much time to shine this time, though. That's the one difficulty that Hacks' sophomore batch of episodes have, but it's also the best kind of problem. There's still so much depth to Deborah and Ava's stories and their dynamic, and so much to unpack about them separately, together and in the world of comedy, that pushing the spotlight elsewhere is always going to prove tricky. The only solution: renewing Hacks for a third season, and hopefully more beyond that. Check out the trailer for Hacks season two below: Hacks' second season starts streaming via Stan in Australia from Friday, May 13, beginning with two episodes, then dropping further instalments weekly — and on TVNZ On Demand in New Zealand. Read our full review of season one. Images: Karen Ballard/HBO Max.
The first time that filmmaker Justin Kurzel and screenwriter Shaun Grant tackled a recent dark chapter in Australia's history, in 2011's Snowtown, they both earned AACTA awards for their efforts — and their film picked up six gongs in total. Ten years later, they've bettered the feat with Nitram, which explores the lead up to the 1996 Port Arthur massacre. Both Kurzel and Grant again collected trophies, while the feature nabbed eight awards all up. One of those prizes: the AACTA for Best Film, beating out The Dry, The Furnace, High Ground, Penguin Bloom and Rams. Nitram also swept all four acting prizes in the film fields, with its four key cast members — Cannes Film Festival Best Actor-winner Caleb Landry Jones, plus Aussies Judy Davis, Anthony LaPaglia and Essie Davis — emerging victorious. That's the big story from the 2021 AACTA Awards, which announced its nominees back at the beginning of November, then handed out its trophies on Wednesday, December 8. Nitram scooping the pool isn't surprising, given that it's powerful, haunting and the best Aussie movie of the year — and that AACTA has a history of going all on features it loves. Last year's Best Film recipient, Babyteeth, won seven awards, while The Nightingale picked up six the year before, Sweet Country did the same the year before that and Lion nabbed 12 in 2017. (Thanks to the likes of Hacksaw Ridge, Mad Max: Fury Road, The Dressmaker, The Great Gatsby and The Sapphires before that, the trend goes on.) The Academy's gongs also span television — so, if you've watched The Newsreader or Fisk this year, then you've seen 2021's Best Drama and Best Narrative Comedy Series. Across both the big and small screens, other winners include Ellie and Abbie (& Ellie's Dead Aunt) for Best Indie Film, My Name Is Gulpilil for Best Documentary, and Fires for Best Telefeature or Miniseries. Here's a rundown of the major nominations — and you can check out the full list on AACTA's website: AACTA NOMINEES 2021 FILM AWARDS: BEST FILM The Dry The Furnace High Ground Nitram — WINNER Penguin Bloom Rams BEST INDIE FILM Disclosure Ellie and Abbie (& Ellie's Dead Aunt) — WINNER Lone Wolf Moon Rock for Monday My First Summer Under My Skin BEST DIRECTION Rob Connolly, The Dry Roderick MacKay, The Furnace Stephen Maxwell Johnson, High Ground Justin Kurzel, Nitram — WINNER Glendyn Ivin, Penguin Bloom BEST LEAD ACTOR Simon Baker, High Ground Eric Bana, The Dry Caleb Landry Jones, Nitram — WINNER Ahmed Malek, The Furnace Jacob Junior Nayinggul, High Ground BEST LEAD ACTRESS Rose Byrne, Peter Rabbit 2 Judy Davis, Nitram — WINNER Noni Hazlehurst, June Again Genevieve O'Reilly, The Dry Naomi Watts, Penguin Bloom BEST SUPPORTING ACTOR Michael Caton, Rams Baykali Ganambarr, The Furnace Anthony LaPaglia, Nitram — WINNER Sean Mununggurr, High Ground Jack Thompson, High Ground BEST SUPPORTING ACTRESS Essie Davis, Nitram — WINNER Claudia Karvan, June Again Esmerelda Marimowa, High Ground Miranda Tapsell, The Dry Jacki Weaver, Penguin Bloom BEST ORIGINAL SCREENPLAY Monica Zanetti, Ellie and Abbie (& Abbie's Dead Aunt) Roderick McKay, The Furnace Chris Anastassiades, High Ground JJ Winlove, June Again Shaun Grant, Nitram — WINNER BEST SCREENPLAY Rob Connolly and Harry Cripps, The Dry — WINNER Shaun Grant and Harry Cripps, Penguin Bloom Will Gluck and Patrick Burleigh, Peter Rabbit 2 Jules Duncan, Rams BEST DOCUMENTARY Girls Can't Surf I'm Wanita My Name Is Gulpilil — WINNER Playing with Sharks Strong Female Lead When the Camera Stopped Rolling TELEVISION AWARDS: BEST DRAMA SERIES Clickbait Jack Irish Mr Inbetween The Newsreader — WINNER Total Control Wakefield Wentworth BEST TELEFEATURE OR MINISERIES A Sunburnt Christmas The End Fires — WINNER New Gold Mountain The Unusual Suspects BEST NARRATIVE COMEDY SERIES Aftertaste Aunty Donna's Big Ol' House of Fun Fisk — WINNER Frayed Preppers Rosehaven BEST COMEDY ENTERTAINMENT PROGRAM Dom and Adrian 2020 Hard Quiz — WINNER The Moth Effect Spicks and Specks The Weekly BEST LEAD ACTOR IN A TELEVISION DRAMA Rudi Dharmaligam, Wakefield Guy Pearce, Jack Irish Sam Reid, The Newsreader Richard Roxburgh, Fires Scott Ryan, Mr Inbetween — WINNER BEST LEAD ACTRESS IN A TELEVISION DRAMA Deborah Mailman, Total Control Mandy McElhinney, Wakefield Miranda Otto, Fires Pamela Rabe, Wentworth Anna Torv, The Newsreader — WINNER BEST COMEDY PERFORMER Mark Samual Bonanno, Aunty Donna's Big Ol' House of Fun Kitty Flanagan, Fisk — WINNER Tom Gleeson, Hard Quiz Broden Kelly, Aunty Donna's Big Ol' House of Fun Sarah Kendall, Frayed Nakkiah Lui, Preppers Luke McGregor, Rosehaven Celia Pacquola, Rosehaven BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Harry Greenwood, Wakefield William McInnes, The Newsreader — WINNER Matt Nable, Mr Inbetween Stephen Peacocke, The Newsreader Justin Rosniak, Mr Inbetween BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Michelle Lim Davidson, The Newsreader Marg Downey, The Newsreader Harriet Dyer, Wakefield Rachel Griffiths, Total Control — WINNER Noni Hazlehurst, The End
Brisbane-based adventurers, this one's for you. Over the last little while, we've been going on about pristine waterfalls right outside the city, we've pointed you to unusual swimming holes, and we've sent you valiantly exploring on Brisbane's very best walks. Haven't done it all? Haven't found your perfect perfect camping spot? Yet to stake your claim on the ultimate Brisbane outdoor barbecue spot? Fill up your canteen with water (wink), pack a little lunchbox and get going this weekend. Here's a little guide to help you.
No two neighbourhoods are the same in Singapore. From swanky Marina Bay to lively Little India, buzzing Orchard Road and idyllic Sentosa, each area of the Lion City has its own distinct character and offers unparalleled adventures. Katong-Joo Chiat is no exception. The vibrant region has roots tracing back to the early 19th century, gradually evolving from coconut and cotton plantations to an affluent coastal retreat in the 1920s, which drew a strong community of Straits–born Chinese and Malay descendants — otherwise known as the Peranakan community. Now, the neighbourhood is a colourful cultural hub that still upholds remnants of Singapore's Peranakan culture. With the help of Singapore Tourism, we're showcasing some of the top experiences around Katong-Joo Chiat, so you can dive into the area's rich and diverse history. What to See Wandering through Katong-Joo Chiat will take you on a journey through time. Here, you'll find heritage landmarks interspersed with contemporary boutiques and eateries that pay homage to the area's Peranakan history and culture. Discover Peranakan architecture at the pastel-hued shophouses on Koon Seng Road. Built in the 1920s, these restored dwellings interweave traditional Peranakan design with European and Chinese influences, such as floral tiles, ornate frames and intricate motifs. You're welcome to take photos, but keep in mind that these are occupied residences. Want to see it all but don't know where to start? Hop on a Vespa sidecar to see the area from a different vantage point. Singapore Sidecars runs tours throughout the city on vintage Vespas, while you take it in from the comfort of a sidecar. The Katong-Joo Chiat tour takes you along hidden laneways to see Koon Seng Road, Sri Senpaga Vinayagar Temple, street murals and local coffee houses. If you're still keen for more, add on an extra hour and you'll get to explore a pre-war school and an old residential area, and enjoy a meal at a hawker centre or shophouse eatery. [caption id="attachment_980366" align="alignnone" width="1920"] Danny Santos[/caption] What to Do Continue your exploration of Peranakan culture at Rumah Kim Choo and Rumah Bebe, where you'll be able to venture inside old shophouses. Rumah Kim Choo is a two-storey shophouse with a gallery and Kim Choo Kueh Chang eatery. Head upstairs to join a beading workshop or private tour, before sampling traditional Peranakan snacks downstairs, including savoury rice dumplings and sweet Nyonya kueh, which the family-owned business has been making since 1945. [caption id="attachment_980370" align="alignnone" width="1920"] Yik Keat[/caption] Similarly, Rumah Bebe sells Peranakan collectibles and clothing in a vivid blue shophouse, with classes and tours upstairs. After you've learnt about beading techniques and tried on some Nyonya garments like sarongs and kebayas, round out the experience with some Peranakan cuisine at the restaurant downstairs. The menu includes small bites, curries, a traditional ayam buah keluak (chicken or pork ribs cooked in tamarind gravy) and a selection of sweet kuehs. [caption id="attachment_982044" align="alignnone" width="1920"] Danny Santos[/caption] For shopping and souvenirs — that will bring you back to the present era — make a beeline for Cat Socrates and The WYLD Shop. Cat Socrates has a selection of homewares, books, decor, lifestyle goods and gifts by Singaporean designers. You'll even find knickknacks inspired by the neighbourhood, including a linen wall calendar of Joo Chiat Road, glass mugs with Peranakan tiles, sandals with shophouses and Southeast Asian fruits, and art prints of local scenes. The WYLD Shop also carries a range of local brands across clothing, accessories, beauty, homewares, lifestyle goods and gifts. Get some mementos of your trip to bring home, such as a tea towel with the shophouses of Koon Seng Road, a candle inspired by the tropical scent of Singapore, facial oils by a locally made brand, and brightly printed kimono jackets. What to Eat Your Katong-Joo Chiat visit wouldn't be complete without some treats to reward your day of exploration. Established in 1925, Chin Mee Chin Confectionery is a neighbourhood institution that has withstood the test of time. First opened as a coffee shop, the bakery and eatery evolved with the times and is still managed by some of the original family to this day. Be sure to have a taste of the signature kaya toast, sugee cake and kaya swiss roll when you're there. [caption id="attachment_983639" align="alignnone" width="1920"] Birds of Paradise Facebook[/caption] Get some respite from the humidity at Birds of Paradise. The store serves heaping scoops of creamy gelato, but you won't get any traditional flavours here. Instead, expect flavours derived from natural botanicals (without any artificial additives) and inspired by Southeast Asian tastes and aromas. Options range from the delicate white chrysanthemum and fruity lychee raspberry to the rich pandan coconut caramel and nuanced macadamia butterfly pea. Book your Singapore holiday now with Flight Centre. All images courtesy of Singapore Tourism Board.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. NOPE Kudos to Jordan Peele for giving his third feature as a writer/director a haters-gonna-hate-hate-hate name: for anyone unimpressed with Nope, the response is right there. Kudos, too, to the Get Out and Us filmmaker for making his third bold, intelligent and supremely entertaining horror movie in a row — a reach-for-the-skies masterpiece that's ambitious and eerie, imaginative and expertly crafted, as savvy about cinema as it is about spectacle, and inspires the exact opposite term to its moniker. Reteaming with Peele after nabbing an Oscar nomination for Get Out, Daniel Kaluuya utters the titular word more than once in Nope. Exclaiming "yep" in your head each time he does is an instant reaction. Everything about the film evokes that same thrilled endorsement, but it comes particularly easily whenever Kaluuya's character surveys the wild and weird events around him. We say yay to his nays because we know we'd respond the same way if confronted by even half the chaos that Peele whooshes through the movie. As played with near-silent weariness by the always-excellent Judas and the Black Messiah Oscar-winner, Haywood's Hollywood Horses trainer OJ doesn't just dismiss the strange thing in the heavens, though. He can't, even if he doesn't realise the full extent of what's happening when his father (Keith David, Love Life) suddenly slumps on his steed on an otherwise ordinary day. Six months later, OJ and his sister Emerald (Keke Palmer, Lightyear) are trying to keep the family business running; he does the wrangling, she does the on-set safety spiels, which double as a primer on the Haywoods' lengthy links to the movie industry. The first moving images ever presented, by Eadweard Muybridge of a galloping horse in the 1800s, featured their great-great-great grandfather as the jockey, Emerald explains. His image was immortalised, but not his name — and, although she doesn't say it directly, that's a fate she isn't eager to share. In fact, Emerald ends her patter by proclaiming that she's available for almost any Hollywood job that might come up. Unsurprisingly, OJ is horrified about the hustle. Her big chance is indeed tied to their ranch, but not in the way that Emerald initially realises either — because who'd predict that something would be lurking above the Haywoods' Agua Dulce property? Just as Get Out saw Peele reinterrogate the possession movie and Us did the same with doppelgängers, Nope goes all in on flying saucers. So, Emerald wants the kind of proof that only video footage can offer. She wants her "Oprah shot", as well as a hefty payday. Soon, the brother-sister duo are buying new surveillance equipment — which piques the interest of UFO-obsessed electronics salesman Angel Torres (Brandon Perea, The OA) — and also enlisting renowned cinematographer Antlers Holst (Michael Wincott, Veni Vidi Vici) to capture the lucrative image. Cue plenty of faces staring up in shock and wonder, as Steven Spielberg has made a mainstay of his films — and cue a movie that nods to Jaws as much as Close Encounters of the Third Kind. Peele makes smartly and playfully cineliterate flicks, which aren't content to merely wink and nudge, but instead say "yep" themselves: yep to all the tropes and symbols that the comedian-turned-filmmaker can filter through his own lens, and his determination to unearth the reality of living in America today, just as he did when he was making some of this century's best skits on Key & Peele. Indeed, Nope is keenly aware of the lure and power of spectacle, especially the on-screen kind, which also echoes through in the picture's other pivotal character. Ricky 'Jupe' Park (Steven Yeun, Minari) isn't involved in the Haywoods' attempts to snap upwards, but the former child star runs a neighbouring theme park called Jupiter's Claim, which cashes in on his big hit role in a movie called Kid Sheriff. He's known for short-lived 90s sitcom Gordy's Home, too, starring opposite a chimpanzee, and moments of the show also pop up in Peele's film. Read our full review. THE PRINCESS Finding a moment or statement from The Princess to sum up The Princess is easy. Unlike the powerful documentary's subject in almost all aspects of her life from meeting the future King of England onwards, viewers have the luxury of choice. Working solely with archival materials, writer/director Ed Perkins (Tell Me Who I Am) doesn't lack in chances to demonstrate how distressing it was to be Diana, Princess of Wales — and the fact that his film can even exist also underscores that point. While both The Crown and Spencer have dramatised Diana's struggles with applauded results, The Princess tells the same tale as it was incessantly chronicled in the media between 1981–1997. The portrait that emanates from this collage of news footage, tabloid snaps and TV clips borders on dystopian. It's certainly disturbing. What kind tormented world gives rise to this type of treatment just because someone is famous? The one we all live in, sadly. Perkins begins The Princess with shaky visuals from late in August 1997, in Paris, when Diana and Dodi Fayed were fleeing the paparazzi on what would be the pair's last evening. The random voice behind the camera is excited at the crowds and commotion, not knowing how fatefully the night would end. That's telling, haunting and unsettling, and so is the clip that immediately follows. The filmmaker jumps back to 1981, to a then 19-year-old Diana being accosted as she steps into the street. Reporters demand answers on whether an engagement will be announced, as though extracting private details from a teenager because she's dating Prince Charles is a right. The Princess continues in the same fashion, with editors Jinx Godfrey (Chernobyl) and Daniel Lapira (The Boat) stitching together example after example of a woman forced to be a commodity and expected to be a spectacle, all to be devoured and consumed. Listing comparable moments within The Princess' riveting frames is easy; they snowball relentlessly into an avalanche. Indeed, after the film shows Charles and Diana's betrothal news and how it's received by the press and public, the media scrutiny directed Diana's way becomes the subject of a TV conversation. "I think it's going to be much easier. I think we're going to see a change in the attitude of the press. I think that now she's publicly one of the royal family, all this telephoto lens business will stop," a talking head from four decades back asserts — and it isn't merely the benefit of hindsight that makes that claim sound deeply preposterous. Later, Perkins features a soundbite from a paparazzo, which proves equally foolish, not to mention a cop-out. "All we do is take pictures. The decision to buy the pictures is taken by the picture editors of the world, and they buy the pictures so their readers can see them. So at the end of the day, the buck stops with the readers," the photographer contends. The Princess isn't here to simplistically and squarely blame the public, but it does let the material it assembles — and the fact that there's so much of it, and that nothing here is new or astonishing even for a second because it's already been seen before — speak for itself. What a story that all unfurls, and how, including pondering the line between mass fascination and being complicit. Perkins eschews contemporary interviews and any other method of providing recent context, and also makes plain what everyone watching already knows: that escaping Diana has been impossible for more than 40 years now, during her life and after her death a quarter-century ago as well, but it was always worse by several orders of magnitude for Diana herself. The expressions that flicker across her face over the years, evolving from shy and awkward to determined and anguished, don't just speak volumes but downright scream. In the audio samples overlaid on paparazzi shots and ceaseless news coverage, that's dissected, too, and rarely with kindness for the woman herself. Read our full review. 6 FESTIVALS Three friends, a huge music festival worth making a mega mission to get to and an essential bag of goon: if you didn't experience that exact combination growing up in Australia, did you really grow up in Australia? That's the mix that starts 6 Festivals, too, with the Aussie feature throwing in a few other instantly familiar inclusions to set the scene. Powderfinger sing-alongs, scenic surroundings and sun-dappled moments have all filled plenty of teenage fest trips, and so has an anything-it-takes mentality — and for the film's central trio of Maxie (Rasmus King, Barons), Summer (Yasmin Honeychurch, Back of the Net) and James (Rory Potter, Ruby's Choice), they're part of their trip to Utopia Valley. But amid dancing to Lime Cordiale and Running Touch, then missing out on Peking Duk's stroke-of-midnight New Year's Eve set after a run-in with security, a shattering piece of news drops. Suddenly these festival-loving friends have a new quest: catching as much live music as they can to help James cope with cancer. The first narrative feature by Bra Boys and Fighting Fear director Macario De Souza, 6 Festivals follows Maxie, Summer and James' efforts to tour their way along the east coast festival circuit. No, there are no prizes for guessing how many gigs are on their list, with the Big Pineapple Music Festival, Yours and Owls and Lunar Electric among the events on their itinerary. Largely road-tripping between real fests, and also showcasing real sets by artists spanning Dune Rats, Bliss n Eso, G Flip, B Wise, Ruby Fields, Dope Lemon, Stace Cadet and more, 6 Festivals dances into the mud, sweat and buzz — the crowds, cheeky beers and dalliances with other substances that help form this coming-of-age rite-of-passage, aka cramming in as many festivals as you possibly can from the moment your parents will let you, as well. This is also a cancer drama, however, which makes for an unsurprisingly tricky balancing act, especially after fellow Aussie movie Babyteeth tackled the latter so devastatingly well so recently. Take that deservedly award-winning film, throw in whichever music festival documentary takes your fancy, then add The Bucket List but with teens — that's 6 Festivals. There's a touch of the concert-set 9 Songs as well, obviously sans sex scenes. Spotting the dots connected by De Souza and Sean Nash's (a Home and Away and Neighbours alum) script isn't difficult. That said, neither is spying the movie's well-intentioned aim. Riding the ecstatically bustling festival vibe, and surveying everything from the anticipation-laden pre-fest excitement through to the back-to-reality crash afterwards, 6 Festivals is an attempt to capture and celebrate the fest experience, as well as a concerted effort to face a crucial fact: that, as much as a day in the mosh pit feels like an escape and is always worth cherishing, it only sweeps away life's stark truths momentarily. The film's core threesome have their fair share of stresses; pivotally, 6 Festivals sticks with believable dramas. James faces his diagnosis, treatment and his mother's (Briony Williams, Total Control) worries, all while trying to recruit the feature's array of musical acts for his own dream event. Scoring backstage access comes courtesy of up-and-coming Indigenous muso Marley (debutant Guyala Bayles), who graces most of the lineups and shared a childhood with Summer, united by their respective mothers' struggles with addiction — and, now they've crossed paths again, offers to mentor her pal's own singing career. As for Maxie, his drug-dealing older brother Kane (Kyuss King, also from Barons) is usually at the same fests pressuring him into carrying his stash. They're the only family each other has, so saying no doesn't seem an option. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on May 5, May 12, May 19 and May 26; June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28, and August 4. You can also read our full reviews of a heap of recent movies, such as Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party and Bullet Train.
When Australia started to get excited about Brisbane potentially hosting the 2032 Olympic Games — with the Queensland capital named as the preferred host last month — one important detail stood out. Planning for an event 11 years away is all well and good (and necessary, of course), but the 2020 Tokyo Olympics hasn't yet been held, with the Games postponed to 2021 due to the pandemic. With COVID-19 case numbers still high around the world, there has been much speculation about whether the Tokyo Olympics will go ahead this year, too; however, Japan is currently forging ahead with its plans. Much will likely be different about the event, which is slated to run from Friday, July 23–Sunday, August 8 — and a lack of overseas spectators looks set to be one of the big changes. The Kyodo News Agency is reporting that the Japanese government has decided to exclude international fans from attending both the Olympics and the Paralympics, in a bid to stop the coronavirus spreading at the event. The move is sparked by fears of more contagious variants of the coronavirus that are in circulation outside of Japan. At present, restrictions on international travellers entering the country are in place in general. Japanese officials are due to meet with the International Olympic Committee and the International Paralympic Committee by the end of March to make a final decision on overseas spectators, and then to decide capacity levels — including whether Japanese spectators will be permitted to attend at all, too — for the Games in April. If international spectators are banned from attending, current ticket holders that fall into that category would receive refunds. Spectators would also be banned from the opening ceremony for the torch relay, which is due to kick off on Thursday, March 25 in Fukushima. [caption id="attachment_801246" align="aligncenter" width="1920"] The Department for Culture, Media and Sport via Wikimedia Commons[/caption] Of course, even if Japan does allow folks from overseas to travel to Tokyo to attend the Games, both Australia and New Zealand presently have international travel restrictions in effect. In Australia, a travel ban is still in place until at least mid-June, with Aussies unable to depart the nation unless they seek an exemption from Home Affairs. And in New Zealand, the government still currently advises that all New Zealanders do not travel overseas at present. For more information about the 2020 Tokyo Olympic Games, which are due to be held from Friday, July 23–Sunday, August 8, 2021, head to the event's website. Via Kyodo News Agency. Top image: IOC Media.
Getting some shuteye or even slightly comfortable on a long-haul can be tricky. With its new 17-hour non-stop Auckland to New York service on the horizon, Air New Zealand is hoping to put economy travellers to sleep with a new prototype that features six lie-flat pods. The Economy Skynest is the result of three years of research and development at its Hangar 22 innovation centre in Auckland. Each bunk bed-style Skynest, measuring 200 by 58 centimetres, will have room for six sleepers. While still yet to be confirmed, it is intended that each pod will include a full-size pillow, sheets and blanket, ear plugs along with privacy curtains and lighting designed for sleep. The airline says it is exploring other features such as separate reading light, personal device USB outlet and ventilation outlet. Air New Zealand Chief Marketing and Customer Officer Mike Tod says that the development of the Economy Skynest is a direct response to economy travellers inability to stretch out on long-haul flights. It's not the first time the carrier has put energy into making economy passengers more comfortable; the Economy Skycouch allows travellers to book an entire row and transform it into a makeshift bed, while last year saw the introduction of inflight exercise videos to enhance wellbeing. The airline today filed patent and trademark applications for the Economy Skynest. It will make a final decision on whether to operate the service next year after it has assessed the performance of its Auckland to New York operations. For more information about the Economy Skynest, visit airnz.co.nz.
If you've ever wanted to indulge in an immersive fine-dining feast onboard a luxe yacht, here's your chance. Acclaimed chef Nelly Robinson will be plating up a six-course sensory fare for this year's Vivid Sydney. NEL's founder and chef patron will take over the kitchen of superyacht The Jackson on Saturday, May 25, for what promises to be a colourful culinary journey backed by front-row views of the iconic Sydney Harbour. Robinson is known for his avant-garde and often kooky degustation menus, so prepare for the kind unbridled creativity that's been on display in his previous degustations, which span from Disney-inspired dishes and Christmas-themed festivities to a dedicated showcase of native Aussie ingredients and even a bold take on KFC. Upon boarding the multimillion-dollar cruiser, you'll be met with free-flowing sparkling for the first hour, as well as a selection of small bites including beetroot and tuna tarts, smoked oysters and a chicken and macadamia toastie. For the sit-down portion of the evening, you'll tuck into a lemon myrtle-infused poached salmon for entree, lamb shoulder with herb risotto for main and a banana-starring dessert. To finish the cruise on a high, head on upstairs for a boogie accompanied by a rose heart canapé. Tickets cost $325 per person, but you can add an additional $65 for a Tyrrell's Wine pairing to accompany your meal. At the end of the evening, you'll disembark at King Street Wharf where you can continue partying into the night. If you love fine food, immersive creative experiences and fabulous views, you best consider adding this to your list of must-book Vivid Sydney events. Head to The Jackson's website to purchase tickets to A Night with Nelly Robinson before they sell out.
Whether you're staring at an iconic painting or making a date with an inflatable dreamscape, a great piece of art can whisk you far away from your everyday routine. Exceptional art has always done that — and that's an experience we could all use right now. Thankfully, before 2021 comes to an end, Brisbane won't be short on vibrant pieces to peer at and mosey through. On the agenda: surveying masterworks, gazing up at giant birds and scoping out glowing arches on a boat. Just remember to take a breather between each one as you hop around the city.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Brisbane at present. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE LAST DUEL A grim historical drama that recreates France's final instance of trial by combat, The Last Duel can't be described as fun. It hinges upon the rape of Marguerite (Jodie Comer, Free Guy), wife of knight Jean de Carrouges (Matt Damon, Ford v Ferrari), by his ex-friend Jacques Le Gris (Adam Driver, Annette) — aka the event that sparked the joust — so that term will obviously never apply. Instead, the movie is exquisite in its 14th-century period staging. After a slightly slow start, it's as involving and affecting as it is weighty and savage, too. When the titular battle takes place, it's ferocious and vivid. And with a #MeToo spirit, the film heartbreakingly hammers home how poorly women were regarded — the rape is considered a crime against Carrouges' property rather than against Marguerite herself — making it an expectedly sombre affair from start to finish. The Last Duel must've been fun to make from a creative standpoint, however. Damon sports a shocking mullet, and Ben Affleck (The Way Back) dons a ridiculous blonde mop while hamming up every scene he's in (and demanding that Driver drop his pants), although that isn't why. Again, the brutal events seen don't earn that term, but teasing out Marguerite, Carrouges and Le Gris' varying perspectives is fascinating. Director Ridley Scott (All the Money in the World) and his screenwriters — Good Will Hunting Oscar-winners Damon and Affleck, plus acclaimed filmmaker Nicole Holofcener (Enough Said) — have clearly seen Rashomon, the on-screen benchmark in using clashing viewpoints. In their "he said, he said, she said" tale, journeying in the iconic Japanese film's footsteps proves captivating. It must've been an enjoyable challenge for its cast, too, terrible hairstyles and all; as moments repeat, so much of the movie's potency stems from minuscule differences in tone, angle, emphasis and physicality. "The truth according to Jean de Carrouges" proclaims The Last Duel's first chapter, adapting Eric Jager's 2004 book of the same name in the process. (Le Gris and Marguerite's segments, following in that order, receive the same introduction.) Even in his own instalment, Damon plays Carrouges as a scowling and serious soldier, and as petulant and entitled. He's also a victim in his own head. That attitude only grows as Le Gris finds favour with Count Pierre d'Alençon (Affleck), cousin to teenage King Charles VI (Alex Lawther, The Translators), and starts collecting his debts — including Carrouges' own. And when the knight marries the beautiful and well-educated Marguerite, it's purely a transaction. It also deepens his acrimony towards Le Gris long before the rape, after land promised in the dowry ends up in his former pal's hands via the smarmy Pierre. Still, Carrouges is instantly willing to fight when he hears about the sexual assault. That said, it's also just another battle against Le Gris and the Count, after taking them to court and the King over their property squabble. In Le Gris' chapter, where Driver broods with an intensity that's fierce even for him, Carrouges' joylessness and pettiness is given even more flesh. Also explored here: the Count's hedonism, the ambition and greed driving the opportunistic Le Gris, and the fixation he develops with Marguerite. Scott ensures that the rape lands like the horror it is, too, leaving no doubt of its force and coercion despite Le Gris' claims otherwise. Read our full review. THE HARDER THEY FALL Idris Elba. A piercing gaze. One helluva red velvet suit. A film can't coast by on such a combination alone, and The Harder They Fall doesn't try to — but when it splashes that vivid vision across the screen, it's nothing short of magnificent. The moment arrives well into Jeymes Samuel's revisionist western, so plenty of stylishness has already graced its frames before then. Think: Old West saloons in brilliant yellows, greens and blues; the collective strut of a cast that includes Da 5 Bloods' Delroy Lindo and Jonathan Majors, Atlanta's Zazie Beetz and LaKeith Stanfield, and If Beale Street Could Talk Oscar-winner Regina King; and an aesthetic approach that blasts together the cool, the slick and the operatic. Still, Elba and his crimson attire — and the black vest and hat that tops it off — is the exclamation mark capping one flamboyant and vibrant movie. Imaginative is another appropriate word to describe The Harder They Fall, especially its loose and creative take on American history. Where some features based on the past take a faithful but massaged route — fellow recent release The Last Duel, for example — this one happily recognises what's fact and what's fantasy. Its main players all existed centuries ago, but Samuel and co-screenwriter Boaz Yakin (Now You See Me) meld them into the same narrative. That's an act of complete fiction, as is virtually everything except their names. The feature freely admits this on-screen before proceedings begin, though, and wouldn't dream of hiding from it. Team-up movies aren't rare, whether corralling superheroes or movie monsters, but there's a particular thrill and power to bringing together these fictionalised Black figures in such an ambitious and memorable, smart and suave, and all-round swaggering film. After proving such a commanding lead in HBO series Lovecraft Country, Majors takes centre stage here, too, as gunslinger Nat Love. First, however, the character is initially introduced as a child (Anthony Naylor Jr, The Mindy Project), watching his parents get murdered by the infamous Rufus Buck (Elba, The Suicide Squad). A quest for revenge ensues — and yes, Nat shares an origin story with Batman. Samuel definitely isn't afraid to get stylised and cartoonish, or melodramatic, or playful for that matter. One of the keys to The Harder They Fall is that it's so many things all at once, and rarely is it any one thing for too long. This is a brash and bold western from its first vividly shot frame till its last, of course, and yet it's also a film about the tragedies that infect families, the violence that infects societies, and the hate, abuse, prejudice, discrimination and bloodshed that can flow from both. It's a romance, too, and it nails its action scenes like it's part of a big blockbuster franchise. As an adult, Nat still has Rufus in his sights. It'll take a few twists of fate — including a great train robbery to free Rufus en route from one prison to the next — to bring them face to face again. The sequence where the outlaw's righthand woman Trudy (King) and quick-drawing fellow gang member Cherokee Bill (Stanfield) take on the law is sleek heist delight, and the saloon clash with marshal Bass Reeves (Lindo) that gets Nat back on Rufus' trail is just as dextrously handled. Nat also has bar proprietor and his on-again, off-again ex Stagecoach Mary (Beetz) on his side, plus the boastful Beckwourth (RJ Cyler, Me and Earl and the Dying Girl), sharp-shooting Bill Pickett (Edi Gathegi, Briarpatch) and diminutive Cuffee (Danielle Deadwyler, P-Valley). Everyone gets their moments, and every one of those moments sashays towards a blood-spattered showdown. Read our full review. MALIGNANT Nearly two decades have passed since a pair of Melbourne talents made a low-budget horror flick that became a franchise-starting smash, sparking their Hollywood careers. Thanks to Saw, James Wan and Leigh Whannell experienced every aspiring filmmaker's absolute fantasy — a dream they're still living now, albeit increasingly on separate paths. Wan's latest, Malignant, is firmly grounded in those horror roots, however. Most of the Insidious and The Conjuring director's resume has been, aside from recent action-blockbuster detours to Fast and Furious 7, Aquaman and the latter's upcoming sequel. With Malignant, though, he shows how strongly he remains on the same page as his former collaborator. Anyone who's seen Whannell's excellent Upgrade and The Invisible Man will spot the parallels, in fact, even if Malignant is the far schlockier of the three. Malignant is also an exercise in patience, because plenty about its first half takes its time — and, when that's the case, the audience feels every drawn-out second. But after Wan shifts from slow setup mode to embracing quite the outrageous and entertainingly handled twist, his film swiftly becomes a devilish delight. Heavily indebted to the 70s-era works of giallo master Dario Argento, David Cronenberg's body-horror greats and 80s scary movies in general, Malignant uses its influences as fuel for big-swinging, batshit-level outlandishness. Most flicks can't segue from a slog to a B-movie gem. Most films can't be saved by going so berserk, either. Wan's tenth stint behind the lens can and does, and leaves a limb-thrashing, blood-splattering, gleefully chaotic imprint. Perhaps it's a case of like name, like approach; tumours can grow gradually, then make their havoc felt. Regardless, it doesn't take long within Malignant for Dr Florence Weaver (Jacqueline McKenzie, Miss Fisher and the Crypt of Tears) to proclaim that "it's time to cut out the cancer" while treating a locked-up patient in the film's 1992-set prologue. This is a horror movie, so that whole event doesn't turn out well, naturally. Jump forward a few decades, and the feature's focus is now Seattle resident Madison Mitchell (Annabelle Wallis, Boss Level), who is hoping to carry her latest pregnancy with her abusive husband to term. But then his violent temper erupts again, she receives a head injury, and childhood memories start mixing with visions of gruesome killings linked to Dr Weaver's eerie hospital — visions that Madison sees as the murders occur. Bearing telepathic witness to horrific deaths is an intriguing concept, although hardly a new one — and, that aforementioned first scene aside, it's also the most interesting part of Malignant's opening half. Wan and screenwriter Akela Cooper (Grimm, The 100) play it all straight and obvious, including when the cops (Containment's George Young and Songbird's Michole Briana White) are skeptical about Madison's claims. That leaves only her younger sister Sydney (Maddie Hasson, Mr Mercedes) believing what's going on, and leaves the movie a plodding psychological-meets-supernatural thriller predicated upon routinely predictable but improbable character decisions. It makes the second half feel positively electrifying in contrast, when the big shift in tone comes, but also makes viewers wonder what might've been if that lurid look and kinetic feel had been present the whole way through. Read our full review. ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN When Anthony Bourdain strode around the world, and across our screens, in food-meets-travel series A Cook's Tour, No Reservations, The Layover and Parts Unknown, he was as animated as he was acerbic and enigmatic. Beneath his shock of greying hair, the lanky New Yorker was relatable, engaging to a seemingly effortless degree and radiated a larger-than-life air, too. The latter didn't just apply because he was a face on TV, where plenty gets that bigger-than-reality sheen, but because he appeared to truly embrace all that life entailed in that hectic whirlwind of travelling, eating and waxing lyrical about both. Arriving three years after his suicide in 2018, documentary Roadrunner: A Film About Anthony Bourdain captures that. It's so filled with Bourdain thanks to all that time he'd spent in front of the camera, it'd be near-impossible for it not to. But it also lurks under a shadow due to its now-infamous choice to use artificial intelligence to add dialogue that its subject didn't speak. Watching the film, there's no way of knowing which words Bourdain merely penned but didn't utter; the technology truly is that seamless. It still resounds as an unnecessary move, though, especially when such lines might've been incorporated in ways that wouldn't sit at stark odds with his visible liveliness. Roadrunner delves behind the facade that Bourdain presented to the world, of course. It notes his death immediately and goes in search of the sorrow and pain that might've led to it, as mulled over by friends such fellow chefs David Chang and Éric Ripert, and artist David Choe; crew members on his shows; and his second wife Ottavia Busia. Still, once you know about the AI, there's a sense of disconnection that echoes through the doco — because it surveys all that Bourdain was, compiles all of this stellar material and still resorted to digital resurrection. Thankfully, the passion and curiosity that always made Bourdain appear so spirited — yes, so alive, as compared to being vocally recreated by AI after his death — still makes Roadrunner worth watching. That's true for Bourdain fans and newcomers alike, although director Morgan Neville (Oscar-winner 20 Feet From Stardom) doesn't use his two-hour-long film as a birth-to-life primer for the uninitiated. Crucially, as also proved the case with his 2018 Mr Rogers documentary Won't You Be My Neighbor?, Neville jumps through the details of Bourdain's life in a way that also muses on what his success and popularity said about the world. Why he struck such a chord is as essential an ingredient in Roadrunner as how he went from cook to celebrity chef, TV host, best-selling author and travel documentarian. The footage of Bourdain — from his shows, obviously, as well as from a plethora of TV interviews, behind-the-scenes clips and home videos — is edited together with the same restlessness that the man himself always exuded. You don't spend most of your year travelling if you can be easily pinned down, after all. It's a wise choice on Neville and editors Eileen Meyer (Crip Camp: A Disability Revolution) and Aaron Wickenden's (Feels Good Man) parts, but Neville has long had a knack for making his films feel like his subjects. Talking-head chats are spliced throughout, offering further details and grappling with how Bourdain's story ends; however, Roadrunner is repeatedly at its finest when it's peering at him and showing how his work encouraged us all not just to watch, but to eat, travel, think, talk and live. Read our full review. BECOMING COUSTEAU He's been parodied in a Wes Anderson film and mentioned in a Flight of the Conchords song. His red beanie, and those worn by his fellow crew members on his research ship Calypso, are an enduring fashion symbol. He won the second-ever Cannes Film Festival Palme d'Or — becoming not only the first filmmaker to receive the prestigious prize for a documentary, but the only one to do so for almost half a century afterwards. When he started making television in the 60s, he turned his underwater-shot docos about the sea into truly must-see TV. He helped create undersea diving as we know it, and he's the most famous oceanographer that's ever lived. He was also one of the early voices who spoke out about climate change and humanity's impact upon the oceans. He's a rockstar in every field he dived into — and he's Jacques Cousteau, obviously. Becoming Cousteau touches on all of the above — except The Life Aquatic with Steve Zissou and Flight of the Conchords' 'Fou de Fafa', of course — and makes for a a riveting splash into its namesake's life and career. There's just so much to tell, to the point that it frequently feels as if director Liz Garbus (an Oscar-nominee for What Happened, Miss Simone?) could've filled an entire series instead. Her big-screen tribute to Cousteau doesn't suffer from packing so much into its slice of celluloid, however. It simply makes the most of its time, leaving viewers wanting more because they've loved what they've just experienced. Becoming Cousteau is the cinematic equivalent of having a splash, gazing fondly at the sea's blue expanse, or peering deeply at the ocean's underwater wonders, all activities that beg for as much of your attention as possible. This isn't just an affectionate ode, though, even with ample praise floated Cousteau's way. When Garbus includes vision of wide-eyed children beaming up at her subject with wonder splashed across their faces, you could call it a case of a director telling audiences how they should feel — or signalling how she's looking his way, or both. But she knows that Cousteau's achievements, and the glorious archival footage that comes with it, elicits that reaction anyway. She also doesn't shy away from the thornier aspects of his personal and professional lives, tragedies and struggles among them. This is a film about a man who lived a life like no one else's, especially when he kept plunging beneath the sea, but it's also a movie about a man first and foremost. That's why Garbus sticks to a familiar biographical documentary format, as tempting as it might've been to take a more playful route. By chronicling Cousteau's existence in a chronological fashion — from naval officer to icon, with help from his own words as read by French actor Vincent Cassel (The World Is Yours) where footage doesn't exist — she emphasises who he becomes as he spends more and more time in, atop and contemplating the ocean. Yes, her title is that straightforward; however, neither the simplicity of Becoming Cousteau's structure nor the descriptiveness of its moniker can sum up this fascinating and thoughtful documentary. There's nothing standard about the way it charts his evolution or examines how he used his fame, either, or about the glorious way it selects, curates and compiles its wealth of clips — or about the movie's transfixing ebb and flow. LOVE YOU LIKE THAT She's alive, wrapped in seaweed. When a woman with amnesia washes up on the beach in Love You Like That, no one makes that Twin Peaks-esque comment. That's the most surprising thing about this Australian rom-com, because it doesn't skim on the obvious inclusions from that point onwards — and it isn't shy about swimming through an ocean of cliches, either. Indeed, by the time its big finale arrives to the sounds of John Paul Young's 'Love Is in the Air', blatantly trying to bring Strictly Ballroom to viewers' minds seems like the next natural step for a movie that's as generic and derivative as it comes otherwise. It's a misguided move, though, reminding audiences of what they would've been better off watching. Seafront Sands' mysterious new arrival (Allira Jaques, Charlie's Farm) claims she can't remember anything, including her name; however, she gravitates towards Mim, after the beach where she was found. People are drawn towards her in return, with the fictional coastal town swiftly influenced by her presence. Romance and kindness seem to follow in her footsteps — leaving Harrison (Mitchell Hope, Let It Snow), the local ladies' man who also runs a dating agency, intrigued. Of course, Mim has made her appearance on a day when the council is trying to woo developers, a big beach festival is scheduled and a policeman is pondering popping the question, and has an impact upon all three. There's a twist to Love You Like That, pegging the film firmly in the realm of sappy, soapy fantasies — although it lurks in that territory well before the big revelation arrives. That said, this is a tonally chaotic film. It's schmaltzy from start to finish, but also tries to stitch in middle-aged siblings mending their squabbles, a local cafe owner confronting her grief over her missing-in-action soldier husband, Harrison's parent issues thanks to an ailing dad and mum he never knew, and the raucousness of his assistant Emily (comedian Steph Tisdell) and her forcefully outgoing personality. Mostly, Love You Like That plays as if debut writer/director Eric C Nash has thrown everything he can at the screen to see what sticks. Alas, all that lingers is ridiculousness. The twist earns that description, and so does the seesawing mess that both precedes and follows it. A cast that includes well-known Aussie faces such as John Jarratt (Wolf Creek) and Chris Heywood (Dirt Music) — both in wasted parts — can't improve the careening screenplay. They also can't anchor a mood that changes in an instant like it's bobbing and weaving on the surf, including the jerky lurching from overblown sweetness (whenever Mim has an effect on people) to over-amped comedy (because Emily seems like she's come hurtling in from a completely different movie). Love You Like That is sunnily shot, but it's impossible to plaster over the film's many struggles with warm hues, beach imagery and wide smiles. Or, with 'Love Is in the Air' — which'll also get viewers thinking about how little this flick conjures. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; and October 7 and October 14. You can also read our full reviews of a heap of recent movies, such as Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside and Lamb.
Time flies when you're obsessing over a big blockbuster fantasy TV series, as HBO's biggest hit of the past decade demonstrates. This April marks ten years since Game of Thrones first hit screens and became a pop culture phenomenon — broadening the world's awareness of George RR Martin's books, pointing out how often Sean Bean meets an untoward end on-screen and delivering more dragon-fuelled drama than anyone ever knew they needed. Keen to celebrate the occasion like you're in a Westerosi tavern? That's an option, all thanks to a new collaboration between Moon Dog Brewing and Warner Bros Consumer Products. The two have joined forces on a new line of GoT beers, so get ready to sip a Breaker of Chains imperial stout and a Watchers on the Wall imperial white ale. The former features chipotle chilli, vanilla and a chocolate finish, while the latter pairs white chocolate with orange and coriander. Winter might be coming, but these brews will be available this month — so, in autumn — with the Melbourne-based Moon Dog pouring them at its Abbotsford and Preston sites from Friday, April 16. The brewery is hosting a launch party in Abbotsford the day before, then dedicating the weekend of April 16–18 to all things GoT in Preston. An Iron Throne will also be onsite, because clearly Moon Dog couldn't pass up the opportunity to let folks sit on one of the most famous chairs there is. [caption id="attachment_744585" align="aligncenter" width="1920"] Moon Dog World, Kate Shanasy[/caption] Lovers of both beer and G0T elsewhere in the country won't miss out on the brews, however, with the two beverages available via the brewery's online store and at craft beer retailers nationwide from Monday, April 19. If you decide to keep some in the fridge so that you can drink it when winter arrives, that's perfectly understandable. And if you're just excited about getting another chance to show your affection for the huge hit series — while you're waiting for the just-announced GOT stage production, and the many TV spinoffs and prequels in the works — that is, too. Moon Dog Brewing's Breaker of Chains and Watchers on the Wall beers will be available from its Melbourne venues from Friday, April 16, and online and in craft beer retailers nationwide from Monday, April 19.
Slurp your way into the weekend at Darling & Co, with the Paddington bar turning every Friday into an Oyster Friday. And while the texture of this seafood morsel isn't to everyone's liking, the feeling it evokes should be — who doesn't want to slide into a couple of days off the way that an oyster slides across your tastebuds? If you are a fan, then your wallet will be as well. Serving up a cheap oyster feast, Darling & Co is slinging natural oysters for $1.50 each and oysters kilpatrick for $2 a pop. Pair them with a glass of sparkling — it's well-accepted advice that oysters and something boozy go hand-in-hand. All that's left is to mosey on down to Given Terrace between 4.30–6.30pm and settle in for your fair share of saltwater bivalve molluscs. After-work drinks? Dinner before you head out? This special caters for both options.
He made movies that no one else could've. He changed what the world, viewers and fellow filmmakers alike, thought was possible in cinematic storytelling. The greatest television show ever created sits on his resume, a label that would've applied even if it had only received a two-season run in the 90s, but was proven all-the-more accurate when he revisited it two and a half decades later to gift audiences an unforgettable 18-episode achievement. There has never been an artist like David Lynch, and won't be again. Anyone who has had the chance to explore his paintings, drawings and sculptures, too — which made a spectacular Australian showing at a dedicated exhibition at Brisbane's Gallery of Modern Art in 2015, with the man himself in attendance — can't shake them from their mind. Movies, TV, acting, animation, art, music, books, furniture, photography, advertising, music videos, transcendental meditation, comic strips, coffee, weather reports, cooking quinoa, gravity-defying hair: before his death on January 15, 2025, Lynch made an impact upon all of them. "He was in touch with something the rest of us wish we could get to," shared Kyle MacLachlan, Lynch's Special Agent Dale Cooper in Twin Peaks, Paul Atreides in 1984's Dune and Jeffrey Beaumont in Blue Velvet. "David was in tune with the universe and his own imagination on a level that seemed to be the best version of human," he continued. "Every moment together felt charged with a presence I've rarely seen or known. Probably because, yes, he seemed to live in an altered world, one that I feel beyond lucky to have been a small part of. And David invited all to glimpse into that world through his exquisite storytelling, which elevated cinema and inspired generations of filmmakers across the globe," said his Mulholland Drive lead Naomi Watts. For Wild at Heart's Nicolas Cage, Lynch "was a singular genius in cinema, one of the greatest artists of this or any time," he told Deadline. "He was brave, brilliant and a maverick with a joyful sense of humour. I never had more fun on a film set than working with David Lynch. He will always be solid gold." "The world is going to miss such an original and unique voice. His films have already stood the test of time and they always will," noted Steven Spielberg, who gave Lynch one of his last role sas an actor, casting his fellow helmer as another Hollywood great, John Ford, in the autobiographical The Fabelmans. For another filmmaking icon adoring a filmmaking icon, Martin Scorsese also provided his ode in a statement: "I hear and read the word 'visionary' a lot these days — it's become a kind of catch-all description, another piece of promotional language. But David Lynch really was a visionary — in fact, the word could have been invented to describe the man and the films, the series, the images and the sounds he left behind. He created forms that seemed like they were right on the edge of falling apart but somehow never did. He put images on the screen unlike anything that I or anybody else had ever seen — he made everything strange, uncanny, revelatory and new. And he was absolutely uncompromising, from start to finish." When Lynch committed his journey to paper with 2018's must-read Room to Dream, the talent that crafted the most-stunning debut feature there is with Eraserhead, earned a Best Director Oscar nomination for his second film The Elephant Man (and later for Blue Velvet and Mulholland Drive), and has nine Emmy nods to his name for the first and third seasons of Twin Peaks, couldn't have chosen a better moniker for his memoir. When Twin Peaks: Fire Walk with Me advises that "we live inside a dream", it also couldn't have felt more apt. To watch Lynch's work is to fall into his dreams — surrealist visions filled with clashes and contrasts, such as his career-long fascination with the sublime and the terrifying sides of suburbia and domesticity — then be inspired to have your own, whichever places both wonderful and strange that they might take you. [caption id="attachment_987090" align="alignnone" width="1920"] Suzanne Tenner/SHOWTIME[/caption] For Lynch, where his output transports fans to has always been personal, including to them. Famously, he eschewed explanations, letting his creations speak for themselves, and giving everyone watching, viewing, listening and appreciating the room to draw their own interpretations. "It's the ideas that come. And many of the ideas that come are conjured by our world. And we all know that there's many mysteries. I always say that human beings are like detectives: we want to know what's going on and what the truth of a thing is, and we see our world, we feel it, we feel there's things going on," he said to David Stratton at a public in-conversation event during his trip to Brisbane. "I always say that the filmmaker has to understand the thing for himself or herself. But when things get abstract, or a little bit abstract, there's room for many interpretations, and each person should be able to make up his or her mind to feel what the things mean." To pay tribute to Lynch, damn fine cherry pie should be on the menu. So should a damn fine lineup of viewing, because there's no better way to honour a filmmaker like no other than to relish his on-screen dreams. When his family announced his passing at the age of 78, they noted that he'd remind everyone to "keep your eye on the donut and not on the hole". Take that advice by enjoying everything that's available to stream right now — and Lynch's version of a small-town-set TV murder-mystery, its big-screen prequel, a documentary about him, several acting roles and a monkey interrogation are just the beginning. (Sadly, Eraserhead, The Straight Story and Inland Empire aren't available at the time of writing, but they'd be on the list otherwise.) The Elephant Man David Lynch has never been shy about how unlikely it was for the director of Eraserhead to score a job making a Victorian era-set period drama in England with John Hurt (Jackie), Anne Bancroft (Keeping the Faith), John Gielgud (Elizabeth) and Anthony Hopkins (Those About to Die) — or how he thought that once Mel Brooks (Only Murders in the Building), who executive produced the film, saw his debut feature that he wouldn't get the gig. Thankfully Brooks was wowed, and so cinema gained an affecting movie from Lynch that's restrained compared to much of his other output, but also deeply compassionate and unflinching. With Hurt astonishing as its lead, the eight-time Oscar-nominated The Elephant Man tells of the IRL life of Joseph Merrick, whose physical deformities saw the movie's moniker slung his way. The Elephant Man streams via iTunes and Prime Video. Dune Before Timothée Chalamet (A Complete Unknown) became cinema's ultimate spice boy — Paul Atreides, as he plays in 2021's Dune and 2024's Dune: Part Two for Denis Villeneuve (Blade Runner 2049) — Kyle MacLachlan (Blink Twice) walked without rhythm first, in his debut collaboration with David Lynch. The latter disowned his adaptation of Frank Herbert's sci-fi novel, his third feature, his only attempt at a blockbuster and a movie that wasn't met warmly when it released in the mid-80s; however, there's no mistaking the visual ambition that the director attempts to bring to the page-to-screen space opera. Everyone knows the film's narrative due to the two Chalamet-starring flicks, but those versions didn't also star Sting (playing Feyd-Rautha before The Bikeriders' Austin Butler) or Patrick Stewart (as Gurney before Outer Range's Josh Brolin). Dune streams via Netflix and Stan. Blue Velvet What lurks behind seeming perfection is a lifetime-long on-screen obsession for David Lynch, beginning with parenthood in Eraserhead and applying to white picket-fence life in every iteration of Twin Peaks, plus Blue Velvet. Returning home to Lumberton, North Carolina from college, Kyle MacLachlan's Jeffrey Beaumont is soon drawn into the nightmare lived by lounge singer Dorothy Vallens (Isabella Rossellini, Conclave) at the hands of gangster Frank Booth (Dennis Hopper, Crash) — all after he finds a severed human ear in a field near his house. The film's exploration of darkness lingering within also applies to its protagonist, with MacLachlan stellar in a movie that also marks Lynch's first collaboration with Laura Dern (Lonely Planet), features a haunting performance by Hopper and ensures that you'll never hear Roy Orbison the same way again. Blue Velvet streams via iTunes. Twin Peaks It's the mind-bending small-town mystery-drama that comes with its own menu — and with plenty of thrills, laughs and weirdness. Whether you're watching Twin Peaks for the first or 131st time, you'll want to do so with plenty of damn fine coffee, fresh-made cherry pie and cinnamon-covered doughnuts to fuel your journey. David Lynch and Mark Frost's seminal TV series doesn't just serve up 90s-era oddness with backwards talk, log-carrying ladies, couch-jumping monsters and fish in percolators, as centred around the murder of high-schooler Laura Palmer (Sheryl Lee, Limetown), though. It returned for an astonishing third season in 2017 as well that's the finest thing to reach the small screen in the 21st century. There's never been anything on television like Twin Peaks. No one can play a kind and quirky FBI boss like Lynch either, or a dedicated agent like Kyle MacLachlan as Dale Cooper. Twin Peaks streams via Paramount+. Twin Peaks: Fire Walk with Me Twin Peaks: Fire Walk with Me is a prequel to Twin Peaks, as well as the exceptional TV show's leap to cinemas. The film is also a masterpiece in tragedy, and the same in empathy. Before she's "dead, wrapped in plastic" in the program's debut instalment, David Lynch truly sees Laura Palmer and everything that she goes through. Set in the lead-up to her demise, the flick burrows deep into the menacing forces at play. It's a movie of sheer dread, even though viewers know what's going to happen. As only he can, Lynch steeps every frame in the brutal pain, terror and suffering of his doomed protagonist, ensuring that his audience walk in her shoes, feel what she's going through and see how ravenously that the world tears into her, all while baking in his adored surrealist touches. He also works David Bowie into the Twin Peaks cast, magnificently so. Twin Peaks: Fire Walk with Me streams via YouTube Movies. Wild at Heart David Lynch directing Nicolas Cage: of course it had to happen, and thankfully did. That's one helluva filmmaker-actor combination — and when the unrivalled helmer had the incomparable star in front of his lens, the Palme d'Or at the Cannes Film Festival came his way. The movie that Lynch made between Twin Peaks' initial run and the series' big-screen prequel Fire Walk with Me, it features one of Cage's greatest performances. Cage playing one half of a couple on the run (opposite Laura Dern), singing Elvis tunes like he was born to and navigating a Lynchian crime-romance flick truly is what dreams are made of. Adapting the 1990 novel of the same name — by author Barry Gifford, who went on to co-write Lost Highway with Lynch — Wild at Heart is also as distinctive as crime road movies get. Wild at Heart streams via iTunes and Prime Video. Lost Highway It's thanks to Lost Highway that Nine Inch Nails' 'The Perfect Drug' exists; before he was composing Oscar-winning The Social Network and Golden Globe-winning Challengers scores, Trent Reznor also produced this 1997 film's soundtrack for David Lynch. Tunes by NIN, David Bowie, The Smashing Pumpkins and Lou Reed are just one of movie's highlights, however. Initially with Bill Pullman (Murdaugh Murders: The Movie) as a saxophonist, then with Balthazar Getty (Megalopolis) playing an auto mechanic — and with Patricia Arquette (Severance) acting opposite each, featuring in both of the flick's two parts — Lost Highway embraces its sinister tone from the get-go, with its guiding force strapping in for an eerie and audacious ride filled with mysterious VHS tapes, murder convictions and sudden swaps, and refusing to pump the brakes for a moment. Lost Highway streams via Stan. Mulholland Drive In dreams, Mulholland Drive lingers. In reality, the Los Angeles-set masterpiece has as well since 2001. Although the term naturally applies to his entire filmography, movies don't get much more Lynchian than this shimmering neo-noir and tribute to Tinseltown that started as a TV project, and stars Naomi Watts (Feud) as eager aspiring actor Betty Elms and struggling thespian Diane Selwyn. One is fresh from Deep River, Ontario and chasing her dreams. The other no longer has stars in her eyes. Reflections and doppelgängers, fantasies and alternate realities, accidents and surprises, hopes and failures, how Hollywood demands reinvention, the roles that people play for and without the cameras: they're all part of a mesmerising picture (as are Father of the Bride's Laura Harring and Beetlejuice Beetlejuice's Justin Theroux among the cast). Mulholland Drive streams via Binge, Stan and ABC iView. Duran Duran: Unstaged Inland Empire will always be David Lynch's last narrative feature, but it wasn't his last full-length film. Five years after the movie that he wanted Laura Dern to win an Oscar for so badly that he took to Sunset Boulevard with a cow by his side, he helmed Duran Duran: Unstaged. Before making his one and only concert flick, he'd directed music videos for Chris Isaak's 'Wicked Game' and Moby's 'Shot in the Back of the Head', among others. Afterwards, he'd do the same on Nine Inch Nails' 'Came Back Haunted' and several of his own tunes with Chrystabell, too. But just once, for two hours, he brought an entire live gig to the screen — as shot in Los Angeles on the British band's The All You Need Is Now tour, complete with 'Hungry Like the Wolf', 'Girls on Film', 'Notorious', 'Rio', 'A View to a Kill', 'Come Undone', 'Planet Earth', 'Ordinary World' and more on the setlist. Duran Duran: Unstaged streams via Docplay David Lynch: The Art Life Even when a David Lynch-directed project is diving into nightmares, which is often, the filmmaker's movies and TV shows get audiences yearning to spend time in their company, lapping up his unequalled vision of the world. That's the reason that documentary Lynch/Oz, about his obsession with The Wizard of Oz in his work, exists. Watch doco David Lynch: The Art Life and viewers can spend time in Lynch's company as well. For helmers Rick Barnes, Olivia Neergaard-Holm and Jon Nguyen — all directing their only feature so far — Lynch takes everyone on a tour of his upbringing, efforts to make Eraserhead in the 70s, and artistic and musical output. Of course, don't expect any answers. Again, Lynch wants to let his work speak for itself, rather than him speak about it. But do expect to spend an enjoyable time with the unparalleled master auteur. David Lynch: The Art Life streams via Docplay. What Did Jack Do? In a dimly lit room in a grimy train station, a capuchin monkey sits at a table. In walks a detective, who then starts smoking a cigarette and interrogating the animal in front of him. They chat, bantering back and forth as the cop asks questions and the primate answers. At one point, the monkey even sings. Queries range from "do you know anything about birds?" to "you ever ride the rodeo?", all in a quest to solve a murder. A chicken also pops up, and a waitress. If the above scenario sounds more than a little surreal, that's because it is — especially given that it's part of David Lynch's 17-minute short film What Did Jack Do?. The black-and-white piece also stars the inimitable Lynch as the detective. It's a unique, delightful and characteristically eccentric work by one of the most distinctive folks to ever stand behind a camera. What Did Jack Do? streams via Netflix. Lucky Six times throughout their careers, David Lynch directed Harry Dean Stanton. In the year that delivered their last collaboration in one of Lynch's projects — the third season of Twin Peaks, which followed Wild at Heart, miniseries Hotel Room, Twin Peaks: Fire Walk with Me, The Straight Story and Inland Empire — and sadly saw Stanton pass away at the age of 91 after 200-plus acting credits, they teamed up as fellow performers in the delightful Lucky. In the directorial debut of actor John Carroll Lynch (Babes), the veterans are thrust to the fore as Stanton plays a 90-year-old small-town loner who is forced to face his mortality. The landscape of his face pairs perfectly with the arid dessert surroundings, while his specific brand of cantankerous charm finds its match in Lynch as his monologue-spouting, tortoise-loving pal. Lucky streams via Brollie. Read our full review. The Fabelmans With The Fabelmans, Steven Spielberg pays tribute to cinema in as many ways as he can fit into a single feature, all while relaying how he grew up as a movie-loving kid — and sharing the affection with his family, too, as he explores the complicated dynamics that shaped his childhood. The director behind everything from Jaws and Indiana Jones to E.T. the Extra-Terrestrial, Jurassic Park and West Side Story also tips his hat to two other filmmaking forces in his coming-of-age affair: four-time Best Director Oscar-winner John Ford, who Spielberg met when he was starting out, and David Lynch. The latter fellow helmer plays the former, in an inspired stroke of casting. Although any acting performance by Lynch is a treat, this one, as he makes a point about interesting filmmaking using the horizon to Gabriel LaBelle (Saturday Night) as Spielberg's surrogate, couldn't be more perfect. The Fabelmans streams via Netflix and ABC iView. Read our full review.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=q5kkZAKjkiw COLLECTIVE We can only hope that one day, likely in a far distant future, documentaries will stop doubling as horror films. That time hasn't arrived yet — and as Collective demonstrates, cinema's factual genre can chill viewers to the bone more effectively than most jump- and bump-based fare. Nominated for Best Documentary Feature and Best International Feature at the 2021 Academy Awards (only the second time that's ever happened, after last year's Honeyland), this gripping and gut-wrenching Romanian doco starts with a terrible tragedy. On October 30, 2015, a fire broke out at a metal gig in Bucharest, at a club called Colectiv. Twenty-seven people died in the blaze, and 180 people were injured as they tried to escape via the site's lone exit; however, that's just the beginning of the movie's tale. In the four months afterwards, as burn victims were treated in the country's public hospitals, 37 more passed away. When journalist Cătălin Tolontan and his team at The Sports Gazette started investigating the fire's aftermath and the mounting casualty list, they uncovered not only widespread failures throughout Romania's health system, but also engrained corruption as well. This truly is nightmare fuel; if people can't trust hospitals to act in their patients' best interest after such a sizeable disaster, one of the fundamental tenets of modern society completely collapses. Early in Collective, director, writer, cinematographer and editor Alexander Nanau (Toto and His Sisters) shows the flames, as seen from inside the club. When the blaze sparks from the show's pyrotechnics, hardcore band Goodbye to Gravity has just finished singing about corruption. "Fuck all your wicked corruption! It's been there since our inception but we couldn't see," the group's singer growls — and no, you can't make this up. It's a difficult moment to watch, but this is a film filled with unflinching sights, and with a viscerally unsettling story that demands attention. Nanau occasionally spends time with the bereaved and angry parents of victims of the fire, even bookending the documentary with one man's distress over the "communication error" that contributed to his son's death. The filmmaker charts a photo shoot with Tedy Ursuleanu, a survivor visibly scarred by her ordeal, too. And yet, taking an observational approach free from narration and interviews, and with only the scantest use of text on-screen, Collective's filmmaker lets much of what's said rustle up the majority of the movie's ghastliest inclusions. Read our full review. https://www.youtube.com/watch?v=zadWJ8tPmnU VOYAGERS He's an Australian treasure, he's one of Hollywood's recent villainous go-tos and he definitely isn't in Voyagers. That'd be Ben Mendelsohn, who comes to mind anyway while watching this sci-fi thriller. In a softer mode, the Rogue One and Ready Player One star could've played Colin Farrell's part here. That's not why Voyagers makes him pop into viewers' heads, though. Rather, it's because his brand of slippery menace still slinks through this space-set flick, all thanks to its most vivid performance. Should an upcoming movie ever need a fresher-faced version of Mendelsohn's latest bad guy or next morally complicated figure, Dunkirk, The Children Act and Black Mirror: Bandersnatch's Fionn Whitehead needs to be on speed dial. He channels Mendo perfectly as Zac, one of 30 test tube-bred teenagers who are rocketed into the heavens as humanity's last hope for survival. In the latter half of the 21st century, Earth is near-uninhabitable, so he's on an 86-year mission to a newly located planet. The young Humanitas crew's main purpose is to beget the next generations who'll colonise their new home — but, after learning that he's being drugged into obedience, Zac decides not to play nice. Ten years in, when the quieter Christopher (Tye Sheridan, X-Men: Dark Phoenix) realises that the drink they all call 'blue' contains an unidentified compound, the decision is easy. First Christopher, then Zac, then the rest of their shipmates all stop sipping it and start letting their hormones pump unfettered for the first time in their intricately designed and highly controlled lives. Richard (Farrell, The Gentlemen), the lone adult and the closest thing any of the crew have ever had to a father, is suddenly treated with suspicion. Christopher and Zac begin testing boundaries, indulging desires and flouting rules, too — and realising that they're both attracted to dutiful Chief Medical Officer Sela (Lily-Rose Depp, Crisis). Then an accident changes the dynamic, with the two pals challenging each other while fighting to lead. Factions are formed, chaos ensues and the very folks entrusted with saving the species are now simply trying to outlast each other. Read our full review. https://www.youtube.com/watch?v=DE5-hkHIZF4 WILLY'S WONDERLAND If you've ever wondered how Nicolas Cage might've fared during cinema's silent era, Willy's Wonderland has the answer. A horror film about killer animatronic restaurant mascots, it's firmly a 2021 feature. It wasn't made a century ago, before synchronised sound forever changed the movie business, so it's definitely a talkie as well. Cage doesn't do any chattering, however. He groans and growls, and often, but doesn't utter a single word. The actor's many devotees already know that he's a talent with presence; whether he's cavorting in the streets under the delusion that he's a bloodsucker in Vampire's Kiss, grinning with his locks flowing in the wind in Con Air, dousing himself with vodka and grunting in Mandy or staring at a vibrant light in Color Out of Space, he repeatedly makes an imprint without dialogue. So, the inimitable star needn't speak to command attention — which is exactly the notion that Willy's Wonderland filmmaker Kevin Lewis (The Third Nail) put to the test. First, the great and obvious news: Cage doesn't seem to put in much effort, but he's a joy to watch. Playing a man simply known as The Janitor, he glowers like he couldn't care less that furry robots are trying to kill him. He swaggers around while cleaning the titular long-abandoned Chuck E Cheese-esque establishment, dances while hitting the pinball machine on his breaks, swigs soft drink as if it's the only beverage in the world and proves mighty handy with a mop handle when it comes to dispensing with his supernaturally demonic foes. Somehow, though, he's never as OTT as he could be. Cage plays a character who doesn't deem it necessary to convey his emotions, and that results in more restraint on his part than the film demonstrates with its undeniably silly premise. Accordingly, cue the bad news: as entertaining as Cage's wordless performance is — even without completely going for broke as only he can — Willy's Wonderland is often a ridiculous yet routine slog. Read our full review. Willy's Wonderland opens in Sydney and Brisbane on April 8, and hits home entertainment on April 21. https://www.youtube.com/watch?v=MZmgl4TkFBc ANTOINETTE IN THE CÉVENNES In some other parts of the world, Antoinette in the Cévennes is known as My Donkey, My Lover & I. Both titles summarise the French comedy in a literal sense, but only one taps into the unexpected survivalist thread weaved through its woman-and-animal antics. Parisian primary school teacher Antoinette (Laure Calamy, Only the Animals) does indeed travel to the Cévennes, the mountain range in France's south. The lovestruck fortysomething makes the trip to follow her married lover Vladimir (C'est la vie!), who has cancelled their plans for the school holidays to hike with his wife Eléonore (Olivia Côte, No Filter) and daughter Alice (first-timer Louise Vidal), the latter of which is one of Antoinette's students. And, setting off on a six-day trek, she walks with a donkey, just like Treasure Island and Strange Case of Dr Jekyll and Mr Hyde author Robert Louis Stevenson did in the 1870s — as he chronicled in his book Travels with a Donkey in the Cévennes. Chaos and convenient plotting ensues, with the film's eponymous figure unprepared for her journey, inexperienced at both hiking and walking with a donkey, quickly becoming the talk of the trail and greeted with awkward horror by Vladimir when they eventually cross paths. But as a tale of a woman finding herself — and finding out how to truly survive and thrive in her own skin — Antoinette in the Cévennes is both thoughtful and charming. Luminous star Calamy is so essential to Antoinette in the Cévennes, it's hard to see the feature working without her. She plays her titular part with the commitment rather than recklessness or naive confidence; Antoinette knows that her decisions are guided by her heart rather than by any amount of consideration, but she's determined to see them through. In the movie's opening sequence, when Antoinette dons a sparkly dress and overshadows her class during a performance, Calamy conveys both yearning and spirit. In the many moments that her character finds herself alone on the trail unburdening her romantic woes to Patrick, the stubborn donkey who becomes her unlikely confidante and much-needed animal companion, she's unguarded and without a drop of self-consciousness. Just as crucially, writer/director Caroline Vignal (Girlfriends) has penned a character who smacks of typical rom-com traits at first glance, yet continually proves anything but. Her script gives its central figure time and space not just to grow, but to realise who she really is. That time can pass more patiently than the film's 97-minute running time should, and that gorgeously lensed space — by Knife + Heart cinematographer Simon Beaufils — is as much the star of Antoinette in the Cévennes as Calamy and her four-legged co-star; however, the end result is never anything less than a winsome and perceptive jaunt. Antoinette in the Cévennes opens in Sydney and Melbourne on April 8, and in Brisbane on April 15. https://www.youtube.com/watch?v=P6vOhD_fI2I&feature=emb_logo ASCENDANT More than halfway into Australian sci-fi thriller Ascendant, Aria Wolf (Charlotte Best, Tidelands) finds herself facing one of the modern world's worst nightmares: a dying phone battery. She's trapped in a 120-storey Shanghai building, and in an elevator that plunges downward and jerks back up seemingly at random. She awoke bound, gagged and blindfolded, and with no recollection of how she came to be in such a predicament. She's at the mercy of sinister Russians (led by The Mule's Alex Menglet), who are holding her father (Jonny Pasvolsky, The Front Runner) hostage and live-streaming his torture into her suspended cage. But if her phone was to stop working, it'd be the movie's most monumental development. She'd no longer be drip-fed Ascendant's exposition, and first-time feature writer/director Antaine Furlong (co-scripting with fellow debutant Kieron Holland) would also lose his main way to relay those details to his audience. The low battery hardly comes as a surprise, given that Aria has spent the bulk of the film to that point using the device. Because logic is absent here, Aria's mobile keeps working long after she starts stressing about its demise, too. But the importance placed on her phone — both in relaying much of the feature's story, Buried- and Locke-style, and in providing an easy source of drama — speaks volumes about this muddled struggle of a film. The Russians want information, but Aria doesn't know what they're talking about. Enter flashes of memories from her childhood, which help fill in the gaps. Throw in flimsy supernatural elements as well, and that's the crux of Furlong and Holland's screenplay, which primarily feels like a series of one-upping "what if?" questions — "what if she isn't merely stuck, but she's being tormented?", "what if one wall of the elevator is a big TV screen?", "what if her name makes everyone think of Game of Thrones?", "what if it's all taking place in China?", "what if the CIA is involved?" and "what if there's an ecological aspect?", for instance. Living up to her surname as the feature's standout actor, Best turns in a convincing and layered performance as the perplexed Aria. Stunt double Marlee Barber (The Invisible Man) deserves ample credit given the amount of time that the film's protagonist spends being thrown around, and production designer Fiona Donovan (Back to the Rafters) makes the movie's eerie setting look both unsettling and striking. Their efforts can't lift a picture that's big on ideas but light on cohesion, though. Furlong has a keen eye and doesn't lack in ambition — but Ascendant sinks rather than rises. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11, March 18 and March 25; and April 1. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody and The Father.
For the first time, Darling Harbour's Tumbalong Park is getting in on the Vivid Sydney action with the introduction of Tumbalong Nights. From Wednesday to Saturday throughout the festival, you can enjoy performances from the very heart of the Light Walk. From rising Aussie starlets like Stevan and Elsy Wameyo to established acts like Haiku Hands and Donny Benét — and long-time festival favourites like Hot Potato Band — there's a diverse array of musical talent at Tumbalong Nights in 2022, plus short film screenings on offer too. What's more, every single one of these events is completely free. Music will start at 8pm on Wednesdays and at 7pm from Thursday to Saturday. Plus, head down with your minis a bit earlier on Saturdays for some of Australia's best acts for children as part of Vivid Kids at Tumbalong from 5pm.
Spending your Friday night in a laundromat isn't most people's idea of a good time. Understandably so, but let The Ironing Maidens convince you otherwise. You won't be doing any washing or drying from 8pm on August 31 — rather, you'll be catching an electronic music performance that's based around housework, complete with on-theme advertising samples, actual laundry sounds and lyrics that probe gender roles. The Ironing Maidens have won awards, toured local and international festivals, and generally wowed crowds by using ironing boards as instruments — and now they're hitting up the Central Valley Laundromat on Wickham Street. It's part of the Valley Fiesta, and it's in line with their latest tour (which, as you might've guessed, only involves places where you'd normally wait for your clothes to finish their spin cycle). As for their story, The Ironing Maidens main duo Patty Preece and Melania Jack have taken inspiration from British composer and electronic music pioneer Daphne Oram, the first woman to direct an electronic music studio back in the 1950s. Accordingly, you'll not only witness an inventive and unique live performance, but you'll be paying homage to a part of history you probably didn't know about.
Hedonism’s Second Album is the latest show to grace the La Boite stage as a part of the theatre’s independent season. In the last few years La Boite’s indie season has gained quite a bit of prestige, and Hedonism’s Second Album is an an artistic testament of how far this program has come. Under the direction of Margi Brown Ash, Claire Christian and Dave Burton’s wonderful show has taken shape into one of the best pieces of theatre you might see this year. Hedonism’s Second Album is first and foremost fun. Naturally. Anyone familiar with Christian or Burton’s writing won’t be surprised at the play’s vamped up showcase of humour and thrills. It’s all dick jokes and swears, and the crazy life we imagine Rock’n’Rollers to live; from pub gigs to international record deals, crazy parties and crazier tension. But, of course, there is a downside to fun. In the words of writer, Claire Christian, “It’s a tragicomedy about men who’ve been given permission to live hedonistically and never grow up… but should they?” Director Margi Brown Ash has done wonderful things with this multi-layered, humour-packed script, in order to explore the concept of masculinity, and life without responsibilities. And the cast seem to be having almost as much fun as the audience. Hedonism’s Second Album is a just as much a must see for those who rarely frequent the theatre, as well-versed veterans. The show runs from the August 13 to 30, and tickets start at $22. And it’s pronounced Hedonism.
If your idea of a stellar Sunday includes a Cantonese banquet and cracking river views, then Howard Smith Wharves go-to Stanley has long had you covered. One of the precinct's top spots, it's been in the yum cha game every weekend for a few years. But what if you're keen to feast your way through small plates every other day of the week? Your daily yum cha cravings can now be satisfied at the waterside spot, with Stanley serving up its yum cha lunches daily. So, if the hankering for XO seafood dumplings, Moreton Bay bug spring rolls, salt and pepper chicken wings and steamed barbecue pork buns with chilli jam strikes Monday–Saturday, your tastebuds won't be disappointed. The yum cha menu is on offer from 12–4pm Monday–Saturday and 11.30am–4pm Sunday, with the a la carte range also including oysters with rice wine vinaigrette, cumin-spiced lamb ribs, Chongqing quail eggs, duck and vermicelli spring rolls, prawn and coriander toast, scallop siu mai and more. You can pair your dishes with peking duck pancakes as well, or other substantial options such as lobster, stir-fried black angus, steamed coral trout and kung pao cauliflower. Dessert spans custard steamed buns; a mango tart with yuzu cream; fried choux pastry with star anise sugar and passionfruit; and a baby pineapple with vanilla gelato, plus lime sago and tropical ice. And if you're celebrating in the middle of the day, two-hour champagne packages are also available. Stanley opened at Howard Smith Wharves in 2019, with the Hong Kong-inspired Cantonese venue one of the four initial tenants first revealed for the precinct back in 2017, alongside Greek restaurant Greca, octagonal overwater bar Mr Percival's and Japanese joint Yoko Dining. Head Chef Louis Tikaram's authentic, often seafood-heavy dishes are served up in the two-storey, heritage-listed, 1930s-era former water police building in the riverside spot, which features three bars, can cater for 220 guests and includes seating on a deck by the river. Decor-wise, Stanley pays tribute to traditional Chinese design with a handcrafted rattan ceiling and bamboo fretwork lining its walls. It also features antique pieces sourced from Europe and Hong Kong, parquetry inlay floors and a centrepiece circular bar on the upper level. Find Stanley at Howard Smith Wharves, 5 Boundary Street, Brisbane — with yum cha lunches on offer from 12–4pm Monday–Saturday and 11.30am–4pm Sunday. Head to the restaurant's website for bookings and other details. Top image: Sun Box Studios.
First, the bad news: as much as fans of Kate McCartney and Kate McLennan's excellent Australian mystery series Deadloch want it to (and we do want it to), the first season of that stellar new show doesn't go on forever. Now, some news to help cope with that reality: come August, The Lost Flowers of Alice Hart will hit streaming to deliver another twisty Aussie affair. This one heads to the screen from the page, with Holly Ringland's 2018 novel getting the miniseries treatment. And, it features one helluva huge name leading the show. Alien and Ghostbusters legend Sigourney Weaver stars as June, the no-nonsense grandmother to the titular nine-year-old, in the seven-part drama — with the story kicking into gear when Alice loses her parents in suspicious circumstances. On the page and on Prime Video — where The Lost Flowers of Alice Hart will debut on Friday, August 4 — Alice moves to Thornfield flower farm after the life-changing tragedy, and starts to find solace among its wildflower blooms. But her new home is also the place where secrets about her family and their past start to blossom. Wondering about the show's mood? In both the initial teaser trailer back in June and the just-dropped new full trailer now, the series emphasises that it hails from the producers of Big Little Lies and Nine Perfect Strangers. Lambs of God's Sarah Lambert, Mustang FC's Kirsty Fisher and A League of Their Own's Kim Wilson penned the scripts, while Penguin Bloom's Glendyn Ivin directs every instalment. As well as Weaver as Alice's grandmother, The Lost Flowers of Alice Hart stars Alycia Debnam-Carey (Fear the Walking Dead) as its namesake, plus Ayla Browne (Nine Perfect Strangers) as the younger version. The cast from there is a who's who of homegrown talent, including fellow Nine Perfect Strangers alum Asher Keddie, Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Tilda Cobham-Hervey (Hotel Mumbai), Xavier Samuel (The Clearing) and Alexander England (Black Snow). In sneak peeks that highlight the complex decades-spanning drama surrounding the titular character, the swirling lies and simmering mistrust, fire, the Aussie backdrop and the big-name stars, Frankie Adams (The Expanse), Charlie Vickers (The Lord of the Rings: The Rings of Power) and Sebastián Zurita (How to Survive Being Single). Check out the full trailer for The Lost Flowers of Alice Hart below: The Lost Flowers of Alice Hart will start streaming via Prime Video from Friday, August 4.
You know the feeling of not being able to put a face to a name? Well, that's the feeling you just might get when you're looking at Soda Mouf's work. You've seen Mouf's pieces before — but you probably don't know who they're by, or where you spotted them. On July 1, that will change, with the artist and illustrator's latest efforts lining the walls of Beach Burrito Fortitude Valley. It's a leap from the streets to the gallery for the Aussie graffiti fiend — and it's also a fitting way to celebrate a whole year of the Brunswick Street Mexican joint showcasing creativity as well as meat-filled tortillas. Expect Mouf's usual highly original style, as influenced by pop, skateboard and '90s hip-hop culture, all plastered across a new collection of prints. Expect beer and burritos to celebrate, too, because that's what a BBFV art show is all about. Well, that, having a fun night out, and hopefully buying a cool piece of art to take home with you.
When a team makes it to the final four at the FIFA World Cup, their time at the tournament doesn't end if they don't score their way into the final. That very last game of the competition decrees who takes home the ultimate piece of football silverware, and also who comes in second, but the two squads that missed out on the decider also battle it out for third place in a playoff match. Accordingly, while the Matildas can't turn the 2023 Women's World Cup green and gold, they can still nab bronze from 6pm on Saturday, August 19. Sam Kerr and her teammates will take on Sweden at Suncorp Stadium, in what's understandably the hottest ticket in Brisbane this weekend. Didn't manage to get a seat? Enter the River City's live sites again, including at Riverstage. When Australia's national women's soccer team made the semi-final, the city and state's powers-that-be added more public places to watch the match. South Bank has been the official FIFA base since Thursday, July 20, and that hub gained more screens around the riverside precinct. King George Square joined in as well, as did Riverstage. [caption id="attachment_913581" align="alignnone" width="1920"] LittleBlinky via Wikimedia Commons.[/caption] Obviously filling a huge venue with huge crowds to watch a massive game on a massive screen turned out nicely at in the Brisbane City Botanic Gardens, even if the 3–1 score in England's favour didn't for Matildas fans. If you're heading along for the Sweden game, prepare to have company, with amphitheatre able to fit in 9000 soccer lovers. Will you be able to hear the roar from Milton, from the actual match itself? Here's hoping. Football fans have been coming out in force to fill live viewing sites around the country — and also tuning in at home to watch the Matildas in droves. The quarter-final match against France smashed ratings records, becoming the most-watched Australian television sports event in a decade, while the semi-final against the Lionesses is now the most-watch Aussie TV program since 2001, and likely ever (OzTAM's ratings records only go back that far). [caption id="attachment_913179" align="alignnone" width="1920"] LittleBlinky via Wikimedia Commons.[/caption]
Succession may be over, but the fight for the Iron Throne between half-siblings Aegon II (Tom Glynn-Carney, Rogue Heroes) and Rhaenyra (Emma D'Arcy, Mothering Sunday) is about to fill your streaming queue. Both want to rule the Seven Kingdoms. Both claim the famous seat as theirs. Both are destined for war — the Targaryen civil war known as the Dance of the Dragons — when House of the Dragon returns for season two. Fiery feuds are this show's baseline — this franchise's as well, since Game of Thrones was also full of them — so much so that when HBO last dropped a sneak peek at the upcoming second season, it did so with duelling trailers. Now, following the first teaser in late 2023 as well, the US network has followed with a full glimpse. Carnage, fire, dragons, conflicting factions, a trip to the north: they're all coming. So is watching House of the Dragon season two in winter, which is when it will arrive. If you haven't already, mark Monday, June 17, 2024 in your diary. And while a clash of Targaryens awaits, Rhaenyra knows that the role of ruler isn't about power but stability. "The Targaryen who sits the Iron Throne is not just a king or a queen — they are a protector of the realm," she says to open the new trailer. Also returning when the fray continues: Olivia Cooke (Slow Horses) as Alicent Hightower, Matt Smith (Morbius) as Prince Daemon Targaryen, Rhys Ifans (The King's Man) as Ser Otto Hightower, Eve Best (Nurse Jackie) as Rhaenys Targaryen and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, plus Fabien Frankel (The Serpent), Ewan Mitchell (Saltburn) and Sonoya Mizuno (Civil War). HBO is also adding new faces to the mix, with Clinton Liberty (This Is Christmas) as Addam of Hull, Jamie Kenna (Gran Turismo: Based on a True Story) as Ser Alfred Broome, Kieran Bew (Warrior) as Hugh, Tom Bennett (Black Ops) as Ulf, Tom Taylor (Love at First Sight) as Lord Cregan Stark and Vincent Regan (One Piece) as Ser Rickard Thorne. They join Abubakar Salim (Napoleon) as Alyn of Hull, Gayle Rankin (Perry Mason) as Alys Rivers, Freddie Fox (The Great) as Ser Gwayne Hightower and Simon Russell Beale (Thor: Love and Thunder) as Ser Simon Strong among the season two newcomers. When it premieres in June, House of the Dragon's second season will arrive two years after the first debuted in 2022. Game of Thrones was always going to spark spinoff shows. Indeed, when HBO started thinking about doing a prequel six years ago, before the huge fantasy hit had even finished its run, it was hardly surprising. And, when the US network kept adding ideas to its list — including a Jon Snow-focused series with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show, to name just a few prequels and spinoffs that've been considered, but may or may not actually come to fruition — absolutely no one was astonished. So far, just House of the Dragon has hit screens; however, A Knight of the Seven Kingdoms: The Hedge Knight, the Dunk and Egg adaptation, is now due in 2025. With House of the Dragon, Game of Thrones' first spinoff jumps back into House Targaryen's history. When it initially roared into streaming queues, it became an instant success. Accordingly, as it delivered more complicated GoT realm relationships, flowing long blonde hair, dragons, stabbings and fights for power — and plenty to fuel a drinking game, as we created — it was quickly renewed for season two. The series kicked off 172 years before the birth of Daenerys and her whole dragon-flying, nephew-dating, power-seeking story, and gave HBO its largest American audience for any new original series in its history when it debuted. If you're thinking that House of the Dragon is basically a case of new show, same squabbles, as it was easy to foresee it would be, you're right. It's pretty much Game of Thrones with different faces bearing now well-known surnames — and more dragons. If you haven't yet caught up with the show so far, it dives into the battle for the Iron Throne before the one we all watched between 2011–19. Paddy Considine (The Third Day) started the series King Viserys — and it's exactly who should be his heir that sparked all the Succession-style fuss. The words "succession" and "successor" (and "heir" as well) got bandied around constantly, naturally. Also, Australian actors Milly Alcock and Ryan Corr were among the stars. This latest adaptation of George RR Martin's popular fantasy books — based on Fire & Blood, specifically — is bound to continue on for more than just two seasons, but that's all that's confirmed for the moment. Check out the full trailer for House of the Dragon season two below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand, with season two arriving on Monday, June 17, 2024. Read our full review of season one. Images: HBO.
Your tastebuds or your bank account: it's a familiar battle. Ravenous urges and thrifty needs don't always see eye-to-eye. But, sometimes the stomach wants what the stomach wants, even when you're saving. And sometimes knowing that you're stashing away your pennies for a good reason — a big overseas trip, a shiny new purchase or some killer festival tickets, for example — just isn't enough to quell the desire to get out of the house. We've all been there. Thankfully, grabbing a meal and keeping your funds in check don't have to sit at loggerheads if you know the right places to go. That's why we've partnered with American Express to whip up the ultimate guide to wallet-friendly eateries — aka when you're watching your finances but just don't feel like another meal cooked on your own stove. Indeed, from sticky wings to hefty burgers, and including a feast of Italian, Japanese and Vietnamese dishes, there's no shortage of inexpensive yet delicious dinner options scattered around Brisbane — also, these cheap eats haunts accept that Amex card you've been trying to collect all those points with. Whether you're hankering to slurp up a bowl of ramen or conquer a plate of ribs, we know a spot that'll vanquish your hunger without breaking your budget. Can't wait to start travelling the world again? American Express has the card for you. Sign up for the Qantas American Express Ultimate Card and you'll score 55,000 bonus Qantas Points, plus $450 of Qantas Travel Credit and two passes to the American Express Lounge every year. And you'll earn 1.25 Qantas Points for every dollar spent. T&Cs, minimum spend and eligibility criteria apply.
Turning hit movie franchises into TV shows is one of Warner Bros' current strategies, as HBO's recent and upcoming slate demonstrates. The Batman sparked The Penguin, the recent Dune movies are giving rise to Dune: Prophecy, and IT and Harry Potter are also getting the same small-screen treatment. With Game of Thrones, however, it looks like the company is set to take the opposite path. First came George RR Martin's books. Then Game of Thrones reached television, became a monstrous hit and, when it ended in 2019, sparked more TV. Prequel series House of the Dragon premiered in 2022, returned for season two in 2024 and has confirmed that it has two more runs to go before wrapping up with season four. The third Westeros-set series, called A Knight of the Seven Kingdoms: The Hedge Knight, will arrive in 2025. More have been floated, but a stint on the big screen might also be in the works. As per The Hollywood Reporter, apparently a Game of Thrones movie is coming. The publication reports that the film is in its very early stages, and that there isn't any other details so far — "but the company is keen on exploring the idea of Westeros invading cinemas". Accordingly, what the film will be about, who will star, if any familiar characters will return, where it fits in the franchise's timeline, who'll direct and when it might reach viewers are all still unknown for now. But audiences have always known that all things Game of Thrones were never going to simply fade away. Given the saga's love of battles and dragons, and the special effects to bring them to life, making the move to silver screens is also far from a surprise. The latest development in the franchise's fortunes follows news earlier this year that the Jon Snow-focused sequel series that HBO was potentially producing is no longer happening, as confirmed by none other than Kit Harington himself. That show was set to explore Jon Snow's story after the events of Game of Thrones' eighth and final season. You might recall that that last batch of episodes were rather eventful for the character, even more than normal. He found out that he was born Aegon Targaryen, and that he has a claim to the Iron Throne. He also ditched Westeros — after being exiled — to head North of the Wall. Among the other Game of Thrones spinoff rumours, a second new series to the Targaryens has also been mentioned. And as for the forthcoming Knight of the Seven Kingdoms: The Hedge Knight, it is based on the novella series Tales of Dunk and Egg, as has been rumoured for a few years now. The story follows knight Ser Duncan the Tall and his squire Egg as they wander Westeros a century before the events of GoT, when the Targaryens remain on the Iron Throne and everyone still remembers dragons. There's obviously no trailer for the Game of Thrones movie yet, but check out HBO's most recent sneak peek of its upcoming releases, including a glimpse at A Knight of the Seven Kingdoms: The Hedge Knight, below: The Game of Thrones movie doesn't yet have a release date — we'll update you with more details when they're announced. Via: The Hollywood Reporter. Images: Helen Sloan/HBO.
The suburbs are twinkling. Yes, it's that time again: the merriest time of the year. If December to you means luminous festive decorations — November as well, or basically the second that Halloween is over — then simply driving through your neighbourhood can be jolly enjoyable. Wherever you look, there just might be a glowing set of Christmas lights sharing its seasonal merriment and brightening up the suburban streets. Of course, these lit-up displays really shouldn't cause such a fuss. They pop up everywhere every year, after all, and we're all well and truly aware of how electricity works. But glowing bulbs are just so hard to resist when it's the happiest portion of the calendar. Keen to scope out the best and brightest seasonal-themed houses and yards? An Australian website called Christmas Lights Search is likely to pique your interest, especially given that it has been updated for 2024. [caption id="attachment_882324" align="alignnone" width="1920"] Donaldytong via Wikimedia Commons[/caption] Christmas Lights Search is as nifty and handy as its name suggests, covering festive displays all around the country. To locate all the spots that you should head to, it's as easy as entering your postcode or suburb — or those of places nearby — and letting the site deliver the relevant options. Plus, it also rates the lights displays, if you want to either go big or stay home. It's constantly being updated as well, so, like the best combos of glowing trees, sparkling bulbs and oversized Santas, you might want to check it out more than once. When you pick an individual address listed on the site, you'll be greeted with some key information, too. The level of detail varies per listing, but expect to potentially peruse photos, the ideal hours to swing by, a date range and a description of what's on offer. All that's left is to get searching, plot out where you'll be heading every night between now and Christmas Eve, and get ready to see oh-so-many reindeer, candy canes and snowmen. Putting up your own Christmas lights for the neighbourhood to see? Spotted something in your travels that you think everyone else would like to check out? You can add both to Christmas Lights Search as well. [caption id="attachment_882325" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] To find festive displays near you, head to the Christmas Lights Search website.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Brisbane is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Brisbane. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, go swimming on your lunch break, find a bar doing $1 oysters and settle in for a Sunday session of live jazz and cheese. Plus, we've got your future detours sorted for the new few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
