If you watch American movies, you've probably been brought up thinking that the end of summer is a pretty big deal. Incessant sunshine gives way to milder weather, and carefree days become weeks and months of work and responsibility. Alas, that's rarely the case in Australia, particularly in Queensland. The temperature dips slightly, and… that's all, really. Don't tell the folks at Brewski that, though. The Caxton Street bar is always keen on throwing together a celebration — and as February comes to a close, they've found an occasion that fits the bill. To mark the change of season, the Petrie Terrace hangout is embracing the tart, sharp, sometimes bitter, sometimes biting, often fruity end of the beverage spectrum. Here, cooler climes means sourer suds, courtesy of six tipples that are certain to put a spring in your step. Mango-flavoured ale, a hybrid of beer and sake, or a brew made with sauerkraut, anyone?
Award-winning Brisbane author Ellen van Neerven brings together a panel of distinguished indigenous writers for an evening of discussion. At Indigenous Women Writing Their Stories, Mullumbimby author Melissa Lucashenko, Not Just Black and White's Tammy and Lesley Williams, and black&write editing intern Yasmin Smith will be sharing their experiences and views of the current state of indigenous women's writing. The evening has been organised in association with The Stella Prize and Black&write Indigenous Writing and Editing Project. Black&write is a first of its kind, national project developed to foster a significant indigenous writing community. The Stella Prize is a major literary award celebrating Australian women’s writing, and championing diversity and cultural change. Indigenous Women Writing Their Stories kicks of at Avid Reader this Wednesday at 6pm. Tickets are only $7.50 and can be purchased online.
You've been to West End, but have you been to West Village? Given that the latter hasn't opened yet, that's actually a trick question — but come May 1, you'll want to flock to Brisbane's newest hangout. With apartments, shops, offices, bars and wide-open public areas built around the old Peters Ice Cream factory, the Boundary Street Markets site is about to become even more of a vibrant community hub than it already is. And with an official launch to end all official launches, it's going to start its new life in the style locals have become accustomed to: funky and fun. Live music from Bree de Rome, Henry James and TJ Quinton will transform the space into a ready-made celebration, while state-of-the-art light projections will provide visuals to match the smooth sounds. Roving performances from the Ice Cream Crew and Jaran Indigenous Dance Group will help every inch of the place burst with entertainment, and there are shows by the Ultrafantastics and the Rooftops at the Motor Room, too. Welcome to the neighbourhood indeed.
Chances are, if you were born before the dawning of Bratz, your first BFF was a blonde-haired, busty chick with pin legs and a (quite literally) killer waist. And she probably went by Barbie. Now she's back with a little more height on her side in Little Black Dress Creatives' latest production, Babushka: Doll. The Babushka girls are reinventing your childhood bestie in a musical dream house for a very grown-up play date. Forget the old Barbie and her childish catchphrases; these dolls have an endless drawstring and will be belting out tunes all night long. It'll be a little creepy, ocasionally cute and darkly comedic as they tackle opera, '80s pop, nursery rhymes and rock 'n' roll. Expect some Regurgitator and Offenbach in the mix. Whether you grew up with an Action Man, Cabbage Patch Doll or a bald Barbie because you were sure her hair would grow back, Babushka dolls will have you seduced, comforted and in touch with the sinister side of memory lane.
If ever there was a genre that demands to be seen in a cinema, it's the western. Wide-open plains that stretch as far as the eye can see, weary journeyers navigating harsh terrain, splashes of lush greenery that offer glimpses of hope: these are images made for the big screen. They're also the kind of visuals Slow West makes its own, from dense scrubland to dusky wooden huts, and from golden fields to inky nighttime scenes. There's no wondering why writer/director John Maclean chose to relay the bulk of his debut feature through its sights, rather than through dialogue. There's no wondering why the film won the World Cinema Grand Jury Prize at this year's Sundance Film Festival, either. Slow West describes both the pace and the direction that Jay (Kodi Smit-McPhee) favours, the 16-year-old Scotsman ambling along upon his arrival in America. The time is 1870, the place is Colorado and his mission is to find his childhood love, Rose (Caren Pistorius), who fled their homeland with her father (Rory McCann) after an unfortunate incident. Jay is driven by emotion and lacking in Wild West wiles, as made clear when lone rider Silas (Michael Fassbender) saves him from certain death at the hands of some unfriendly fellows. It's in his best interests to pay the sharpshooter to remain as his guide — and it's in both of their best interests to avoid the bounty hunter (Ben Mendelsohn) and his posse on their trail. This is Maclean's first stint directing a movie, and what a striking debut it is. As a former musician with the Beta Band, he demonstrates a delicate sense of rhythm, which is quite a feat in a film that's slow by name and by nature. Or, perhaps patient better fits, with the feature never in a rush to reveal its details. Instead, it takes its time to build drama. It lets the interrupting outbursts of both violence and comedy feel like just that. And it allows ample opportunity to enjoy its scenic views, too. Such surges of action include a spectacular general store altercation early on, and the inevitable — but never plodding or routine — big finale. Maclean isn't only talented with his imagery and timing, but with balancing a mood of contemplation with explosive yet artistic displays of gunfire. He shows a similar knack for casting, the small but substantial lineup of actors always impressive. Fassbender's stoic antihero and Smit-McPhee's lovesick teen might not be fleshed out in the script, but they never feel flimsy, thanks to their performances. The same can be said for Mendelsohn, clearly enjoying his recent surge of playing assholes. Yes, the trio fall into the usual western roles — the innocent needing help, the conflicted veteran and the dastardly villain — however, nothing about Slow West could really be described as usual. It's not just its visuals that make the film a stunning example of cinema, or of its genre, though they're always a treat to look at. A wandering western, this is a movie that both embraces and reinvents the expected, as all movies should.
If smooth, often improvised sounds get your toes tapping, then the Brisbane International Jazz Festival probably gets your heart racing. Where else can you celebrate experimental melodies and witness some of the best musicians in the world? Or move and groove to what just might be one-off performances. That's the joy of jazz: no show is ever the same. There's so much in the festival's third-year program that you probably won't get to test that — but you will get to enjoy the talents of an impressive array of performers from Norway, Poland, South Korea, Japan and, of course, Australia. Jazz luminaries including the Tord Gustavsen Quartet, the Near East Quartet and the Hiroyuki Minowa Trio are certain to be a highlight. In a lineup that includes a longer list of free sessions than you've ever seen on a music festival schedule, you can also jam with other jazz fans, watch Brisbane's own Enthusiastic Musician’s Orchestra blow their own horns, and celebrate one of the city's hottest nightspots from 1957.
Bringing together three celebrated documentary photographers, The Hold Artspace's newest exhibition is life photography at its finest. Interruptions is a collection by Isaac Brown, Tammy Law and Nina White that link memory and place as an expression of family. Interruptions provides three different insights into family relationships and human stories from three photographers who've utilised their craft almost exclusively to document just that. Brown is a photography lecturer who has photographed for the Museum of Brisbane and Frankie and has worked extensively on his own projects that create an effective narrative in photographic representation. Law's work has appeared in Monocle, Jetstar Magazine, The Saturday Paper, Asia Geographic and The Big Issue, and inquires into the larger social context of the stories within people's lives. White is a Brisbane-based photographer who tells "stories visually in a way that makes people take notice." Interruptions runs from April 15 to 18, with opening night April 17 at 6pm, and artist talks April 18 at 10am.
Ever been to New York? Well now you never have to, because earlier this year 24 students from QCA jetted over, and now they’re showing off this great city at The Hold Artspace. West 35th and 8th is a multimedia exhibition that showcases the individual projects that articulate the students' experiences as the discovered the city that never sleeps. The group were based on West 35th and 8th, though their experiences spill into all gaps and crevices of this vast and exciting city. The group itself is a diverse one, with the students coming from creative advertising, social documentary and art practices.
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
It doesn't matter how good your cast is if you don't give them a compelling story to tell. That's the lesson of My Old Lady, the motion picture debut of playwright Israel Horovitz. An obvious stage-to-screen adaptation that shows little consideration to the differences between the two, it's a film so stuffy and slow-moving that it makes its geriatric headliner look positively spritely by comparison. The great Maggie Smith plays the old dame in the title, a 92-year-old British expatriate named Mathilde Gerard, who lives in a spacious Parisian apartment thanks to a peculiar French real-estate law called a viager. Under the arrangement, Madame Gerard receives regular cash instalments from a buyer, who will eventually gain full ownership of the property when the old lady finally dies. It's a fantastic deal for her, but a right pain in the arse for Matthias Gold (Kevin Kline), a deadbeat New Yorker who inherits the building in his estranged father's will. So Matthias skulks around Paris, trying to figure out a way to sell his newfound property while contending with his stubborn new tenant and her hostile adult daughter, Chloe (Kristen Scott Thomas). But soon the comic setup gives way to something much more serious. Information comes to light regarding the relationship between Matthias' father and Gerard, unscrewing the lid on a can of Daddy Issues in the process. It's interesting subject matter, to be sure. The problem is that Horovitz doesn't know how to translate his material to the screen. A vast majority of the truly relevant action takes place inside Gerard's apartment — and no number of aimless shots of Paris can disguise the film's origins on the stage. The dialogue itself feels better suited to the theatre as well, with a number of theatrical monologues in the movies' second half running unnecessarily long. At least it goes without saying that all three of the film's main actors are fantastic. Frankly, it's hard to think of a single bad performance across their entire combined body of work. In truth though, none of their characters are particularly easy to like, each one of them consumed by a mixture of blind entitlement and self-pity. That's the other lesson to be learned from My Old Lady. When a film's central conflict comes down to bickering over a $9 million deed, it's difficult to feel much sympathy for anyone involved.
In conjunction with the G20 Summit comes the G20 Cultural Celebrations, for which Brisbane is flaunting a bunch of cultural exhibitions and hands-on activities. Colour Me Brisbane is just one of these events in which you can interact with the best-known and beloved parts of Brisbane. Signature landmarks and architectural icons will be drenched in luminous effects, turning buildings into art. Immerse yourself in the spectacle at one of the Paint Your City touchscreen terminals, where you can select your own designs and see the skylines transform before your eyes. Don't forget to check out the map to get the most out of the event.
Leave your Hunters and your oversized sunhat behind to spontaneously frolic and make out with strangers. Pepa Knight, Jinja Safari's co-frontman, is launching his solo career with the announcement of a 2015 album release. But fans won't have to wait until next year to take off their shoes and enjoy that unmistakably JS-popularised brand of atmospheric, drum-thumping pop. On Friday, November 28, the first collection of Knight's solo recordings, Hypnotized Vol. 1, will be released — following on from his two critically-acclaimed singles 'Rahh!' and 'Clams'. Throughout November, Knight will be performing a series of headline shows to celebrate this first half of his highly-anticipated double album. Presented by Artists Voice and Rare Finds, the confirmed dates include appearances in Melbourne, Sydney, Central Coast, Newcastle and this free show in Brisbane. Yep, totally free. In the coming weeks, Knight will also be releasing another single in support of the tour, giving fans a further insight into the infectious, whimsical sounds of his debut solo effort. https://youtube.com/watch?v=Ysx8lssBeIE
Ahead of Abbott and Putin's showdown at the G20 summit in Brisbane, get your fix of Russian entertainment at the 2014 Russian Resurrection Film Festival. Although not exactly the most popular of global citizens right now, Russia is still a superpower when it comes to the world of movie-making, as the lineup at this year's festival can attest. The program begins with Vasilia, a sweeping historical drama set against the backdrop of the Napoleonic invasion circa early 1800s. In a similarly epic vein comes the WWII movie Stalingrad, about the bloody urban battle between Germany and Russia that marked a major turning point in the war. Dialogue-free arthouse film Test depicts the country's first successful atom bomb detonation, and was a big winner at the Sochi Open Film Festival earlier in the year. Perhaps a little more accessible, not to mention family friendly, is the animated kids film Space Dogs 2. Of course, it's entirely possible that without having seen the original Space Dogs you won't be able to make heads nor tails of the story... although somehow, we suspect you'll be okay.
The release of a shiny new album, Strange But Nice, was a good time as any for Sydney trio Step-Panther to take their show back on the road. Collaborating with long-time buds, Bearhug, the lads will be embarking on an East Coast album launch for the so-called New Arrivals tour. For those of you playing at home, Step-Panther are a homegrown garage-pop-rock outfit, with a sound described as 'slacker-pop'. Indeed, Step-Panther's lo-fi sound makes the perfect soundtrack for a lazy afternoon at a mate's house, preferably paired with an inflatable pool filled with ice and tinnies. Bearhug have a dreamier sound, sporting the unavoidably-dubbed 'indie' vibe without being douchey. Also hailing from Sydney, the band are also celebrating an album released — their recently-dropped second album, So Gone. Guitar-heavy with infectious melodies — these guys are onto something good. Also supported by Hound. and Tape/Off. https://youtube.com/watch?v=2y4goxKYj7M
Look, we’re not above this kind of humour — and, let’s be honest, neither are you. Comedian Jon Bennett isn’t either, and he’s beginning to make a blossoming career out of it, collecting awards on the international comedy circuit from San Diego to Perth. The show’s title may say it all, and his more than 15,000 Facebook fans already know and love it; however, there’s more to Pretending Things Are a Cock than photos of phallic shapes made prominent for puerile amusement. Expect a slew of heartwarming stories, and a healthy slice of insight into looking at the world differently. Still, mostly dicks though. Pretending Things Are a Cock is part of Wonderland at the Powerhouse. Check out our top five picks of the festival.
Even if you think that spoken word isn’t your thing, Scott Wings’ latest offering, Icarus Falling, just might prove otherwise. A one-man aural assault, his raw and personal hour of performance poetry rumbles like rap but resonates like only the best, blistering stories can, delivered with poignancy and stunning physicality. As the clearly title intimates, the famed ancient Grecian myth provides his starting point, and is intertwined with an account of the impact of mental illness through the contemplation of flight. Humour and lyricism combine in a mesmerising effort that comes back to Brisbane for the first time after proving a standout of the Edinburgh Fringe. Icarus Falling is part of Wonderland at the Powerhouse. Check out our top five picks of the festival.
Like a distant aunt of an overzealous neighbour, the fine folks of The Good Ship are welcoming you into their evening of Christmas celebrations with open arms. They’ve come off the back of a big year, with a mass of shows and new tracks, and they are currently in recording mode, which is the craziest time to catch up with a band on account of intense bouts of cabin fever and a diet of snack food, so you know you’re in for some fun. Like any gracious hosts, they are providing some killer entertainment with stellar company — Suicide Swans, Sports Fan and Folklore are in support. There will be no idle swaying near the punchbowl for you, awkward gathering-goer. You will be in the thick of it as the excitement swells, the friends are near, and 2014 goes inching around the corner.
Guy Blackman, Joe Alexander and Lawrence English might just be the brightest guys in the Australian music industry. Each pinpointed a demand in the national music market and went ahead and filled it by making their own labels. Now, Blackman is founder of Chapter Music, Alexander is the boss at Bedroom Suck and English is leading the charge at Room 40. And, in this rare event at Brisbane's Institute of Modern Art, they're all coming together for a public conversation. Each of these labels boasts a collection of Australian bands you've probably danced to, or at least heard on the radio more than once. Chapter Music, founded in 1992, manages the likes of Dick Diver, Wagons, Twerps and a heap more. Bedroom Suck, based right here in Brisbane, has Bitch Prefect, Full Ugly and Scott & Charlene's Wedding, amongst other local goal kickers, and Room 40 manages John Chandler, Chris Herbert and a few more classics out of Brisbane's South. Ergo, these guys absolutely know what they're talking about when it comes to Australian music. Entry is free, and the evening kicks off at 6pm. Whether you're in a garage band with your younger brother or want to be the next Michael Chugg, this is a must see.
Like Christmas, Easter brings a wealth of family film fare to cinemas — but not all flicks seemingly targeted at kids are created equal. Not all movies find their story in Mexican and Latin American culture in general, and in Día de los Muertos (or the Day of the Dead) specifically, for example. And not all all-ages efforts are produced by Pan's Labyrinth and Pacific Rim's Guillermo del Toro. If you haven't already guessed, The Book of Life isn't much like other offerings aimed at viewers young and old, and the reasons keep on coming. Though it tells a tale of adventure and romance, it also plunges into worlds laced with death and filled with souls lurking beyond the grave. It may stick with the usual trick of using celebrity voices, but they're not your standard selections, nor do their vocals overwhelm the visuals. And it certainly doesn't look like anything else you've seen before, with its distinctively animated frames depicting the bulk of the characters as intricately crafted marionettes. Instead, The Book of Life is an entertaining feast for the eyes and for the heart, both beautiful to watch and to become immersed in. It starts with school students bored with a museum tour, then sparked into intrigue by a savvy guide (Christina Applegate). The story she shares centres on two warring spirits — La Muerte (Kate del Castillo), ruler of the Land of the Remembered, and Xibalba (Ron Perlman), ruler of the Land of the Forgotten — who make a bet over the control of their realms. Three friends draw their attention: the feisty Maria (Zoe Saldana), who refuses to conform to customary female roles just because it is the done thing; the guitar-playing Manolo (Diego Luna), who is expected to follow in his father's bullfighting footsteps; and the headstrong Joaquin (Channing Tatum), the son of their town's famed but fallen protector. La Muerte wagers that the sensitive Manolo will win Maria's love, while Xibalba backs the bandit-fighting Joaquin. Now, don't go dismissing the film for its formulaic focus on men tussling over a woman, because that's only the broad outline of the narrative. No one in the feature adheres to type, just like the movie itself. Everyone has to open their minds to finding their right path. Everyone has stereotypes to overcome. Indeed, experienced animator turned first-time feature writer and director Jorge R. Gutiérrez oozes affection for departing from the tradition of family fare everywhere he can, including ramping up the gothic, del Toro-esque touches, playfully bathing dark material in an abundance of colour, rendering villains in metal in contrast to the wooden heroes, and using Ice Cube as a hip hop overseer of all life. It's the little things like this that make The Book of Life as fun as it sounds — and it already sounds incredibly fun. Far removed from the usual movies of the season, this is one magically macabre cinema outing.
Sometimes, it's fun to hang out underground. And sometimes, it's just as fun to head on up to street level. Brooklyn Standard has fast become known for its cosy hiding spot underneath Eagle Lane, but it's about to bring the revelry up to the surface. Every fortnight between April and June, the bar is turning the end of the week into a laneway celebration. That's seven shindigs in three months, for those keeping count, so mark April 2 and 17; May 1, 15 and 29; and June 12 and 26 in your diaries. This being an outdoor event in Brisbane, food trucks are a given, with three different mobile eateries offering up their delicious meals at each event. There'll also be drinks from Young Henrys and The Brooklyn Brewery, and tunes spun by old school DJs. Now, that's how you make a Brooklyn Standard Laneway Party the hottest free ticket in town.
Nestled away in Woollongabba’s cool Logan Road strip of intimate establishments, Canvas is a great place to go any night of the week, and New Year’s Eve is certain to prove no different. Suiting their year-round vibe of vintage allure, there’s a fitting theme in place for the ultimate night of merriment: the Roaring Twenties. With the price of admission including an arrival cocktail as well as a food and drinks package, you’ll be primed to hark back to a time of flappers, the Charleston and all things art deco. Dressing up and having your very own The Great Gatsby moment isn’t mandatory, but it is all part of the fun. You could even win a prize for donning the best outfit.
How do some Mooloolaba king prawns with chilli pork floss sound? Or fresh-out-of-the-oven arancini balls? Paired with an Aperol Spritz or Pimms Cup and some sun-struck live music? Sound like your perfect Australia Day? Then why not have a whole weekend of it! River Quay’s finest restaurants – Aquitaine Brasseries, Cove Bar & Dining, Popolo and Jetty — are popping up food stalls in the area across the whole long weekend (Friday to Monday), showing off their finest treats. River Quay is that little, vibrant, riverside hot spot on the Southbank side of the Goodwill Bridge. Check out the line up of music, and prepare your stomach for the best.
Put one foot in front of the other, keep going, and you’re on a journey — and sometimes an adventure that captures attention. Add a few interesting incidents, and/or intentions fuelled by self-discovery, and you might just have a book and then probably a film. In fiction, it worked for Forrest Gump; in reality, it worked for Into the Wild. It is in the footsteps of the latter, not the former, that Wild follows, as it turns the true trek of Cheryl Strayed into a cinematic hike. In 1994, Strayed (Reese Witherspoon) was 26 and struggling with her lot in life, lingering grief inspiring a raft of destructive decisions. With her marriage in tatters, and her daily routine in the doldrums, she opted to take time out to achieve what seemed an impossible feat: walking the 1770 kilometres of the Pacific Crest Trail alone, and truly coming to terms with her identity and existence in the process. Of course, helmer Jean-Marc Vallée and scribe Nick Hornby don’t just jump from point A to point B in telling Strayed’s tale on screen, nor is the considerable physical feat the point of their film. As might be expected from the linear-averse director of Cafe de Flore, as well as the emotionally astute screenwriter of An Education, flashbacks during Strayed’s wander prove as crucial as the walk itself. The usual array of dire events and moments of discovery furnish the familiar storyline, one that continually emphasises its message of persevering regardless of the circumstances. So too do glimpses of the naturalism that flavoured Vallée’s last feature (and one also based on real-life circumstances), Dallas Buyer’s Club, as well as Hornby’s witty way with words. There may be few surprises in the movie that evolves as a result, but that doesn’t mean that the voyage it depicts isn’t worth taking. Expressive cinematography and fine-tuned editing help immerse the audience in Strayed’s fractured yet persistent mindset and rough yet picturesque surroundings, creating an offering of style and sensitivity in charting a predictable triumph over adversity. As awards bodies have duly noticed, however, Wild is less remarkable for the plight it portrays and its manner of doing so, and more worthy of praise for the accompanying performances. Eschewing glamour, playing a real figure and inhabiting a gruelling experience are all common fodder for accolades and attention, yet Witherspoon is as committed to getting to the heart of her endeavour as the character she plays. Laura Dern radiates empathy and earnestness in the role of Strayed's mother, even if her scenes are tinged with tragic cliches. Indeed, that’s the film from the start of its travels until the end: weighty but always apparent, contemplative while laced with truisms, and making more than a modest attempt at striving for something beyond the usual.
From Woody Guthrie telling us whose land is whose, to the Black Eyed Peas asking where the love is, the protest song is one that transcends generations and genres as the ultimate tool against oppression. Joan Baez, Bob Dylan, Jimi Hendrix and just about every band with a slither of social conscience has tried their hand at writing one, and now to celebrate a collection of songs that could make a genre of their own, The Triffid will be showcasing some of the best. Children of the Revolution: The History of the Protest Song will be held on the January 17, two days after what would have been the 86th birthday for civil rights leader Martin Luther King. The night will feature performances by Jackie Marshall, Luke Peacock (with his full band), Sahara Beck, Kahl Wallis of The Medics, CKNU, Lucy Star of Satellite and Celestino. All artists will be performing pieces of protest and passion that have inspired them. Between singers will be speakers to clue you in, with drinks will on tap until the night wraps up.
A crotchety old man gets a new lease of life when he becomes the reluctant babysitter to the 12-year-old kid next door. Sounds pretty unbearable, until you factor in that the old man is played by Bill Murray. Pushing 65, the star of Ghostbusters, Stripes and Groundhog Day is looking a little on the tired side but soon proves he's lost none of his caustic charm. In St Vincent he's vinegar, adding just enough acidity to a screenplay that without him would have been sickeningly sweet. Vincent MacKenna (Murray) is a classic movie curmudgeon. He drinks like a fish, smokes like a chimney, and gambles like a man who has nothing left to lose. The closest thing he has to a friend, aside from his Persian cat Felix, is a foul-mouthed Russian prostitute (Naomi Watts), who may or may not be pregnant with his child. He's an unfeeling bastard, and the last person in the world you'd want taking care of your impressionable primary school-aged son. Unfortunately for his new next door neighbour Maggie (Melissa McCarthy), he's literally the only choice she has. St Vincent isn't what you'd call a groundbreaking holiday comedy. First-time writer-director Theodore Melfi has no shortage of funny dialogue but shows little interesting in straying away from his conventional narrative formula. Friendships are made. Lessons are learnt. Obvious set-ups lead to unsurprising payoffs, and everyone gets home in time for dinner. What sets the movie apart, primarily, is the quality of its cast. After years of retreading her Bridesmaids shtick, McCarthy finally gets the chance to play an actual human being; her turn as Maggie helps keep the film grounded, sympathetic but still genuinely funny. Chris O'Dowd, meanwhile, gets some great lines as a glib Catholic priest — and although Watts' Russian accent is pretty unconvincing, it's always fun to see her trying her hand at a comedy. Unsurprisingly, however, the highlight of the film is Murray. While this is a character the actor could comfortably play in his sleep, there's never the slightest indication that Murray is phoning it in. His dynamic with newcomer Jaeden Lieberher makes for one of the most enjoyable on-screen pairings of 2014; frankly, what kid wouldn't want Bill Murray for a babysitter? Yet despite first appearances, this is not a purely comedic performance. There's a loneliness to Vincent that Murray absolutely nails; a pair of scenes in which he visits his dementia-afflicted wife may very well bring audiences to tears. So too the ending, which although incredibly predictable, is so damn well executed that it's difficult not to forgive. And really, that's this movie in a nutshell. Like Vincent himself, you love it in spite of its obvious flaws.
Irish-French singer Camille O’Sullivan left a burgeoning career as an architect after embracing the cabaret on display in Berlin and Dublin. Since then she’s won international acclaim for her singular interpretations of the songs of artists like Nick Cave, Kurt Weill, Tom Waits and Jacques Brel, drawing on the German tradition of “art song”, and the narrative music of Weimar composers. In O’Sullivan’s modern incarnation, this tradition manifests itself in radical retellings of classic songs — her rendition of Nick Cave's 'The Ship Song' is well worth a listen. On tour in Australia, for her show at the intimate Fairfax Studio at the Arts Centre O’Sullivan will be playing songs from her album Changeling, including works from Radiohead, David Bowie and Arcade Fire.
Whether vintage fashion defines your style or kitsch antiques make your house a home, one thing is certain: everyone has fallen head over heels for everything deco and retro. And art nouveau-style trinkets, 1950s throwbacks, and all other types of mid-20th century paraphernalia too. Just like every other trend, there’s now an event catering for this communal outpouring of affection. Focusing on items from the 1920s to the 1970s, the Everything Deco to Retro Fair will bring more than 40 dealers together to flaunt their wares. Think clothing, jewellery and accessories, of course, as well as homewares, furniture and other odds and ends. Basically, anything cool, cute, offbeat and one-of-a-kind you might come across from the period. Want more? Well, that’s not all. The fair’s Facebook page gives plenty of sneak peeks of all the rad retro things you’re going to want to take home with you.
So much to see, so little time: it’s the festival attendee’s perennial problem. Or maybe your wallet just isn’t flush with enough money to see all the funny folks that you want to. This year, there’s a solution for the time-poor and cash-strapped alike. Head along to The Biggest Comedy Show on Earth and see ten comedians take the stage in one show. Ronny Chieng, Rhys Nicholson, Katrina Brown and Tien Tran are just some of the talent on display in this fast-paced showcase of non-stop laughs. Expect something more than your average set, and expect special guests, too, as comedy takes over Brisbane City Hall.
When is a flute recital not just a flute recital? Stick with us here. Brisbane-based flautist Janet McKay is dedicated to bringing new music to a wide audience, and her latest performance — Dreams, Layers, Obsessions — does just that. The award-winning contemporary musician takes the works of three fascinating and diverse young American composers, turning them into a triptych. It’s not just the sounds of their arrangements that take centre stage, nor the high level of collaboration between composer and performer. In their world premieres, each piece also goes on a visual and electronic journey. Then there’s the diversity of themes, topics and styles, in an eclectic mix if ever there was one. Jen Wang’s composition riffs on concepts of time derived from novel Einstein’s Dreams, Nomi Epstein’s piece plays with textured looping effects, while Jenny Olivia Johnson’s arrangement takes the perspective of an '80s sitcom fan. That this is no ordinary flute recital couldn’t be more clear.
If you drink beer, you’ve heard of hops. Even if you don’t drink beer, surely you have as well. Knowing the term is one thing — but do you really know what they are? And how they look, feel, smell and taste? Or what the secret is to 'New World' hops? And why there’s so many varieties available? Wonder no more, thanks to Milton’s favourite dive bar. The fine folks at The Scratch don’t just have a passion for pouring tasty brews but for teaching their patrons all about them as well. From that enthusiasm, Alementary was born. Each weekend, beer aficionados can learn the basics, as the series covers a variety of topics. On March 14, Croft Brewing head brewer Gavin Croft will step through everything hops-related, in the best excuse anyone has ever had to get up early on a Saturday morning and head to a bar. Yes, it’s educational. Yes, learning and drinking go hand in hand. Yes, you won’t only be talking shop — you'll also be sampling different beers to help put the theory into practice.
No sugar. Less fat. Organic. Locally grown. Seasonal. When it comes to what we eat, these are the things we’re used to thinking about. The fairness of how food makes it to our plate may not always cross our minds, but that’s where Food Connect comes in. Under the guidance of ex-dairy farmer Robert Pekin, they’ve been aiming to create a better food system since 2005. Ten years later, Food Connect is still going strong — and they’re throwing a real food street party to prove it. Think local bands, food-based trivia, and apple bobbing. Also think food and drink stalls spanning everything from gourmet ice blocks to Stone & Wood brews, as well as a celebrity chef cook-off pitting Matt Golinski against Josh Lopez from GoMA Bistro. Celebrating Food Connect’s role in pioneering the paddock to plate movement is the main attraction, and there’s plenty on offer for those interested in delving into the details behind their work. For $25, you can also attend a ticketed session, with TIME Magazine’s ‘World Number 1 Farmer’ Joel Salatin talking sustainability in the food industry. You’ll be thinking about food in a whole new way.
After critical accolades at the Next Wave festival in 2014, James Welsby's evocative dance production Hex is making its way north for MELT. Partly inspired by this controversial HIV/AIDS awareness ad from 1987, Welsby's show uses movement, music and allegorical imagery to chronicle the gay community's relationship with the devastating disease. To the tunes of Queen, Liberace and Michael Jackson, three dancers move fluidly through the gay scene of the early '80s, the onset of the AIDs crisis, all the way up to present day. In doing so, the hour-long show pays tribute to the countless lives lost to illness, while exploring its impact on young gay men today. HEX is one of our top six picks of MELT Festival. See the other five here.
Want to know what the future of art and design looks like? Just look to the present. No, don’t worry, we don’t think that times won’t change. What we do think is that today’s students are tomorrow’s innovators — because they are. QUT’s aptly titled annual SHAPE of Things to Come exhibition clearly thinks so too, showcasing the university’s most recent graduating class. The Creative Industries Faculty’s newly minted breed of artists, designers and creatives show their best work, and there’s plenty of it. Spanning acting, fashion, architecture, interactive and visual design, or visual arts, 2014’s batch of folks with a fresh bachelor’s degree know their stuff. 'Adapt or Die' is this year’s theme, investigating the very fitting notion of adaptability. It’s a necessary element for transformation, progress, innovation and sustainability, and one for artistry too. How these creatives will adapt over the course of their fledgling careers — well, that really is the future.
Chunky Monkey, Clusterfluff, New York Super Fudge Chunk. These are just some of the more popular flavours of Ben & Jerry’s Ice Cream, a leading cause of happiness around the world since 1978. While doctors in the future will no doubt tell me otherwise, we can’t think of many things better than gorging a giant tub of sweet, sweet ice-cream on a warm spring day, except for maybe getting some friends together and going to the movies. Well, it turns out Ben & Jerry’s can help us there as well. Staring on September 28 and running until early November, Ben & Jerry’s Openair Cinema, erected on Rainforest Green, South Bank, will combine recent releases like Begin Again, Magic in the Moonlight and Guardians of the Galaxy with some more nostalgic picks, including Point Break,The Princess Bride and a sing-along screening of Grease. Festivities start daily at 5.30pm on school nights and 5pm on Friday and Saturday, with two screenings squeezed in most nights and plenty of time to suss out the bar and stock up on snacks. Best of all are the Sunday ‘Sundae’ Sessions, which kick off an hour earlier with additional music, games on the lawn and free Ben & Jerry’s for all. For session times and more information, check out the event website.. Image: Tyler Alberti.
Wesley Enoch directs Black Diggers, a new play written by Tom Wright that uncovers the contribution of Aboriginal Diggers to Australia’s First World War effort. Featuring an all-male, all-Indigenous cast, the play draws upon extensive consultation and recent research to bring to light some truly exceptional stories of heroism forged out on the battlefields of Gallipoli, Palestine and Flanders. Marking the eve of the centenary of WWI, the piece aims to share an overlooked moment in Australian history. Following its acclaimed world premiere at the Sydney Festival, Black Diggers is presented here by the Brisbane Festival and Queensland Theatre Company, of which Enoch is the artistic director. It's a powerful piece of theatre that was nominated in the recent Helpmann Awards for Best New Australian Work.
Iceage have made a name for themselves over the past few years thanks to their aggressive yet melodic take on in-your-face punk rock. With a sound that caught the ears of critics and fans alike, the Danish four-piece wasted no time in capitalising on early success by signing record deals with established labels and putting out two acclaimed albums. The band formed in 2008 when the members were only 17 years old. Managing to find a sound and aesthetic this early in their career is astounding and speaks volumes about the talent of Iceage’s members. The group are hitting Australia to play a quick series of shows and we are lucky enough to have them stop in Brisbane to play the edgiest venue in town, The Brightside. Iceage will be supported by some great local bands including the brooding Occults and the cantankerous psych-fuzz band Cobwebbs. Buy your tickets before they are snapped up.
Nobody can resist a subtle jab at Tom Cruise, but Com Truise is known for more than just the pun. The New Yorker's been generating buzz ever since appearing on the electronic music scene four years ago. Now, Truise, aka Seth Haley, is touring Australia for the first time, taking him across Melbourne, Brisbane, Perth and Sydney in a series of intimate sets. Like his name, Com Truise's music is fun and energetic, hailing back to an era of luscious '80s synth. Haley's most recent release, Wave 1, from the faultless Ghostly International label, is a trademark to his signature style — slick production which transforms the otherwise monochrome sounds of today's pop with an eclectic mix of sci-fi sounds, funk beats and drenching bass. It's music that everything feel textured, fuzzy, lo-fi and somewhat rainbow-coloured. Just go with it. Com Truise is one of our top ten picks from this year's Brisbane Festival. Check out the entire list here.
Fall in love with movies Italian style, at the latest glamorous edition of the Lavazza Italian Film Festival. Hosted once again in Palace Cinemas around the country, this year's festival features more than 30 features and docos, plus a breathtaking restoration of one of Italy's all-time classics. The 2014 festival opens with Marina, a light biopic about singer, songwriter and world-famous accordion player Rocco Granata, produced by Luc and Jean-Pierre Dardenne. Other exciting titles include impressionistic Cannes Jury Prize winner The Wonders and Asia Argento's semi-autobiographical new film Incompresa. But the best of the fest will be saved until last. This year's closing night film is none other Marriage Italian Style, beautifully restored in time for its 50th anniversary. Sophia Loren is dazzling as the mistress of a wealthy Italian businessman determined to lock down a marriage proposal. A quintessential comedy about the battle of the sexes, it puts most modern-day rom-coms to shame. https://youtube.com/watch?v=IeD7rBVAQQo
It’s not super hard to be cool – all you’ve got to do is grow a beard, get heaps of cryptic, messy tattoos and cuff your jeans like the floods are coming. Or you could get Beats by Dre's and sport expeno nikes, drink beer out of brown paperbags, or sit on milk crates instead of real, life chairs. Your options are endless, but if you’re a after a quick fix to being cool then free up this Friday night – Alhambra Lounge is getting ice cold. As an unofficial element next to the BIGSOUND showcases, they’ll be having a bit of a ‘cool’ party that showcases some pretty ‘cool’ musicians, and some pretty ‘cool’ DJs and some pretty ‘cool’ attendees (you could be one). Anthony Fantano DJ Set (aka The Needle Drop), Oscar Key Sung, Oisima, Tincture and Fossils are just a few of the bands/DJs that will be creating dance music to do your cool moves to. We suggest you split the dance floor, get all eyes on you, and attempt the Elaine – that would be very very cool. There’s free entry for Bigsound delegates, and tickets are $5 for passholders and $10 for the general public – that’s dirt cheap for the talent on show. Go be cool.
Madonna Staunton is one of Queensland’s greatest living artists. Her creations are eloquent, filled with weighty insights and present a level of commitment that is seldom seen today in figurative painting. It’s no surprise then that QAGOMA has nabbed her work for the exhibition Out of Clear Blue Sky, an exploration of Staunton's art from the 1960s to now. Alike to her creations, Staunton as an artist is rarely static – she’s known for her remarkable capacity to change and adapt, reintroduce and renew. Her use of unconventional materials, and the practice of collage makes her two and three dimensional assemblages a tactile means of reflection. The old, faded and battered discards Staunton uses for her pieces are so carefully and strikingly put together they give remarkable, and somewhat stark new life to the once castoffs. Out of a Clear Blue Sky will be at QAGOMA until March next year, with a poetry reading by Staunton’s close friend Nathan Shepherdson taking place at the exhibition on September 7 as part of the Brisbane Writers Festival.
Once puberty wraps up, chances of touching your toes again are kind of nigh, so it’s best to join the circus while you’re young, right? Control Alt Delete is the latest performance by the Flying Fruit Fly Circus – the only circus troupe parents should happily let their kids run away to. This production is put on by some of Australia’s best young physical artists who’ve taken the traditional concept of the circus and boiled in down to a high-octane performance that stands, flips and delivers. Through circus acts, physical theatre and dance to an original soundtrack by Australian hip-hoppers Morganics, Control Alt Delete delves into the ideas and emotions of its performers. Every trick has a meaning, and every routine is a reflection – sure it’s all pretty impressive, but there’s underlying persuasions and plots to the remarkable acts on show here. Pay attention. Tickets range from $20 to $39, with family packages available – grab them here. Then, find out what you’re really in store for by checking out the preview for Control Alt Delete right here.
Mortality is a topic most people would rather not face, but Margi Brown Ash has turned the transience of existence into theatre. In He Dreamed a Train, a writer and her entrepreneur brother face his premature death, their reactions informing an emotional roller-coaster ride. Brisbane stalwart Brown Ash takes inspiration from the book of same name by her brother, David A. Brown, and performs alongside her son, Travis Ash. The compelling and beautiful show is as much a family affair as it is a look at life’s joy’s and challenges, conveyed through a combination of digital projection and old-fashioned storytelling under the direction of Circa’s Ben Knapton. He Dreamed a Train is the first performance to be presented as part of Brisbane Powerhouse’s inaugural SWEET creative development program. Flaunt by Claire Marshall will premiere in November, followed by De Profundis by David Fenton and Brian Lucas in April 2015.
Good news for those of the hardcore punk generation — or those who wish they were. After the disappointment felt due to the cancellation of their scheduled 2013 tour, Dead Kennedys are returning with their Bedtime for Democracy tour, playing a comprehensive string of shows around the country. Dead Kennedys — in all their changing forms — have been galvanising the masses against political apathy since 1978. The current lineup is East Bay Ray, Klaus Flouride, D. H. Peligro and Ron 'Skip' Greer, who'll take tunes from the group's extensive back catalogue. Show them your support (and your utter disdain for The Man) at The Hi-Fi on October 3, and be more punk than anyone else you have met in your life. https://youtube.com/watch?v=Ds_TRSoQkJ0
Think your recorder skills in Year 6 were pretty enviable? London high school buds Jack Steadman, Jamie MacColl, Suren de Saram and Ed Nash actually lived the School of Rock dream when they were offered a record deal just after finishing their studies. Fast-forward a few years, a few albums and more than a few shows, Bombay Bicycle Club (albeit with less cherub-looking faces) are still rocking it. For the first time in almost two years, the British four-piece will grace Australia's east coast. Blessed with an ability to bounce between genres, their latest self-labelled 'dance' record released in February of this year, So Long, See You Tomorrow, is the group's fourth album in five years. For their Australian gigs, expect a little bit of psychedelia of 2011's A Different Kind of Fix, a little bit of acoustic goodness from 2010's Flaws, and a whole lot of Londony vibes. Supported by East. https://youtube.com/watch?v=JwlgC-jSPTk
Gravity isn't just that Oscar-winning space film with George Clooney and Sandra Bullock that everyone was talking about back in 2012. It's also the force that keeps us anchored to the earth, and the one humanity is constantly trying to thwart. Artist Mira Oosterweghel understands this, as her latest exhibition, Unstable Moments, shows. Once again exploring the relationship between the body and its surroundings, she uses performance, play, sculpture and installation to tap into our psychological desire to exceed our physical bounds. The way people navigate sites and structures is her particular point of interest, as she puts to good use at Metro Arts. The gallery is more than just place to display her work, though it does that rather well, of course. The space is also a part of the presentation, as Oosterweghel engages with the architecture. How else can she create a situation steeped in our dreams of flying free, and in the reality of coming crashing back to earth?
The most electrifying new movies from Spain and Latin America will heat up Palace Cinemas around the country once again this autumn. The much-loved Spanish Film Festival will celebrate its eighteenth birthday in 2015, with the festival's most diverse and exciting lineup yet. From smash-hit romantic comedies to Oscar-nominated tales of revenge, there’s a film in this year’s program to suit every conceivable cinematic taste. The festival begins with Spain’s biggest ever box-office success, the upbeat rom-com Spanish Affair. From there, audiences can choose between more than three dozen titles, including Goya Award-winning crime film Marshlands, Cannes-selected indie drama Beautiful Youth and the darkly comedic horror flick Shrew’s Nest. Further highlights include a documentary about soccer superstar Lionel Messi, and a movie that brings Bollywood dance numbers to the streets of Barcelona. Closing night film Wild Tales is another major standout, combing six outrageous short stories about people who are driven to the edge — each one funnier and more twisted than the last. For the full Spanish Film Festival lineup, visit the festival website.
And the best thing about cooking with beer? Once you’ve cracked one open, you’ll have to finish the bottle. Snack, simmer and sip on this feast of knowledge, beer and food. Join the Goat Pie Guy and Mountain Goat Beer in this hands-on cooking class that’ll show you how to make the most of beer in everything from marinades to mussels, relishes and roasted rumps. BYO frilly apron.
It’s 1982, Amsterdam, and tough economic times are hitting hard. So what’s a ragtag gang of close-knit friends to do to make a living — especially when they can’t get a bank loan to pursue legitimate business interests? Abducting a beer baron might not be the obvious answer, but it is the course of action Cor Van Hout (Jim Sturgess) and his brother-in-law Willem Holleeder (Sam Worthington) take. They’ll need to rob a bank to finance their ingenious get-rich-quick idea, and they’ll need the help of some pals (fellow Aussies Ryan Kwanten and Thomas Cocquerel, plus Dutch actor Mark van Eeuwen) to put their plan into action. Welcome to Kidnapping Mr Heineken, a snatch-and-grab caper that can only tell a true tale. This isn’t the first time these circumstances have earned the big screen treatment, with 2011’s De Heineken ontvoering from The Netherlands doing the same. The capture of Alfred Heineken for what was the largest ransom ever at the time made headlines in its day; however, that was three decades ago. Now, it’s a footnote in history, and even with several movies reliving the saga, that’s likely the way it will stay. Journalist Peter R. de Vries turned the entire affair into a book in 1987, his investigative attitude coming through in the film adaptation. Kidnapping Mr Heineken maps the planning and the aftermath in standard crime procedural fashion, more concerned with the perpetrators and their fraying friendship — 35 million Dutch guilders is a lot of money to share, after all — than the plight of their victim. Perhaps director Daniel Alfredson, a veteran of The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest, just wanted to showcase his younger stars, all strangely keeping their native accents. Perhaps it’s just because, apart than the initial abduction and the inevitable downfall, not much happens — other than squabbling and sitting around waiting. As is often the case, what Van Hout and Holleeder thought was a sure path to easy money quickly proves otherwise. After capturing Heineken (Anthony Hopkins) and his driver (David Dencik), neither the police nor the beer company plays ball. Cue an average dramatisation of actual events, with the usual backstories and complications. Everyone has issues: Holleeder’s father previously worked for Heineken, his sister (and Van Hout’s wife) is pregnant, one of the group has a family to care for, no one really likes another of their so-called friends. Alfredson is workman-like in bringing it all together, ensuring the movie looks sleek while matching the 1980s period, and even throwing in a few great car chases. His cast does the same, each hitting their marks, though nothing bubbles under the surface of their characters — or the film. It’s a fitting approach for a feature that doesn’t try to be anything more than a faithful, sometimes emotional retelling of real-life circumstances, but it is also unfulfilling. Alas, Kidnapping Mr Heineken is content with just showing us what happened, rather than telling us anything that inspires more than a passing interest.
In the ballad of the Barden Bellas, it's time for another verse. That gang of college pals is back — aspiring record producer Becca (Anna Kendrick), group stalwart Chloe (Brittany Snow) and outspoken Australian Fat Amy (Rebel Wilson) included — and they're trying to sing their way to supremacy once more. Is their second outing a toe-tapping rehash of their catchy debut tune, or does it drag on past the natural fade-out point? The answer is both. Pitch Perfect 2 alternates between the cinematic equivalent of the catchy melody you don't mind having stuck in your head, and the earworm you quickly grow tired of. Just three short years ago, an a cappella comedy was considered a gamble, but now we don't just have a repeat effort — we have a ready-made formula to follow as well. With mashups of songs old and new, rivalries getting heated, against-the-odds challenges to overcome, and one-liners a plenty, there's not much that's different, save for a new character setting up for a potential third instalment. That'd be freshman Emily (Hailee Steinfeld), a wannabe Bella since birth thanks to her ex-member mother. Fresh blood aside, everyone is older this time around, given that three years have passed in the film as well. They're also clouded in scandal, after an important show exposes too much of Fat Amy, leaving the Bellas banned from performing as punishment. Chloe finds a loophole that will see them on stage again, but only if they can beat their stereotypically tough-talking German counterparts at the world championships. Becca's focus is elsewhere, though, as she's thinking of life beyond study and competitive singing. It was the jukebox-like playlist of tracks and the loveable cast playing quirky characters that helped Pitch Perfect hit the high notes the first time around, so here, it isn't surprising to see a whole lot of doubling down on both. Expect an eclectic compilation of Beyoncé, Taylor Swift and Miley Cyrus tunes, as well as '90s hiphop jamz and songs about butts. Expect Kendrick and the group cycling through sing-offs, fall outs, bonding sessions and realisations about what's really important — and copious amounts of harmonising. What you shouldn't expect is anything beyond a more is more approach — more music, actors, complications and reminders that it's all about a singing sisterhood, that is. If it sounds routine, that's because returning screenwriter Kay Cannon, once again taking inspiration from the book Pitch Perfect: The Quest for Collegiate A Cappella Glory, doesn't stretch anything very far. Pushing boundaries is left to Wilson, who steals the show all over again. In a lineup that includes Arrested Development's David Cross, Key and Peele's Keegan Michael-Key, Snoop Lion and the Green Bay Packers (yep, the American footballers), it helps that she's the only one who doesn't seem like she's just going through the motions. Of course, it's always difficult for a sequel to a breakout hit to pave its own way, a problem Pitch Perfect 2 clearly struggles with. Sitting in the director's chair as well as popping up again as sarcastic commentator Gail, Elizabeth Banks bubbles over with enthusiasm, but not with flair. She's pitch-slapping audiences and staying in key; however, her film isn't a fun new must-listen track — it's more like movie karaoke. The verdict (sing it with me): aca-average.
Peace aren't the kind of typical, indie rock band who want to make every party a downer. In fact, they really hone in on the sweet stuff, and the proof is in their debut album In Love and their recently released follow-up Happy People. Known for their indie anthems and youthful zing, Peace have really set themselves up nicely in the international indie scene. They hit the gold by working on their latest album, Happy People, with Jim Abbiss, who has worked with The Arctic Monkeys, Kasabian and Bombay Bicycle Club. This ten-track album has transformed these Birmingham lads into a band demanded by music fans around the world — and they're giving in to the demands of Brisbane fans this Wednesday. Peace will be supported by locals Rolls Bayce, and tickets will be for sale at the door for $50 (they're a little cheaper online though).
