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.
We firmly believe that no one should ever have to settle for weak tea bags, cheap toiletries or anything less than a well-stocked bar downstairs when booking a hotel stay. Thankfully, New Zealand is teeming with boutique hotels that are high on class and have everything you want for a special overnight stay. We've rounded up the boutique hotels and plenty of newcomers that are worth your time. The thick of a global pandemic seems like an unlikely time to open a brand new hotel, but the past few months have seen a surprising number of boutique properties pop up across New Zealand. That's great news for locals, and also for Australians looking for an excuse to take advantage of the trans-Tasman bubble on their next holiday. If you're looking for some inspiration for your next getaway, how about booking a room at Auckland's striking new brick-clad hotel? Dunedin also has its own new five-star boutique worthy of a visit, and there's an attractive design-led property in Wellington, too — and they're just a few of the new places to consider. NAUMI STUDIO HOTEL, WELLINGTON This eclectic new boutique hotel in Wellington's Cuba Street precinct showcases the work of local artists and designers. The 116-room Naumi Studio Hotel Wellington is the fourth property to arrive from Singapore-based private hospitality label Naumi Hotels in New Zealand and, like its sister properties, the Wellington outpost is an absolute feast for the eyes, with bold spaces "inspired from seafaring, the literary world and an enduring love." Guests will see the work of several New Zealand artists and designers. A large-scale floral backdrop in the reception area was created by Art Dep't NZ and is completely covered in gold leaf. Underfoot the botanical theme is brought to life by rugs from painter Karl Maughan, while the lobby features a larger than life floral sculpture from light artist Angus Muir. There are six room types to choose from, and the onsite bar serves up the likes of lychee mojitos and bourbon sours. THE HOTEL BRITOMART, AUCKLAND The striking brick-clad Hotel Britomart was officially the country's first 5 Green Star hotel when it opened last year. That certification marks a commitment to sustainability during the build and the use of eco-friendly materials. It offers 99 guest rooms and five suites — three of which have lush sky gardens and front-row seats overlooking the Waitemata Harbour. Cheshire Architects, who also master-planned the Britomart neighbourhood, looked after the new hotel both inside and out. Inside are "cocoon-like" rooms with timber-lined walls, tiled bathrooms and built-in sofas. Smaller touches include hand-made ceramics, bronze-and-paper table lamps and minibars full of locally sourced treats. You don't have to walk far for a first-class meal, either. The ground floor is home to several new food and beverage offerings, including a seafood-focused restaurant from the Orphans Kitchen team, the new 70-seater from top chef Michael Meredith, and the refreshed outpost of Cafe Hanoi. HOTEL FITZROY, AUCKLAND Privately owned hotel group CPG Hotels is currently in the process of opening a collection of boutique five-star hotels across New Zealand. One of the first under the Fable banner is Hotel Fitzroy. Located just a short walk from the main strip of Auckland's shopping and dining precinct, Ponsonby, the property takes over a historic two-storey villa. A contemporary black-panelled building stands behind the property, bringing the room count to ten. Inside, each guest room has been outfitted with premium soft furnishings, linens and amenities. There's also an intimate library for guests to unwind or enjoy complementary snacks and fine wine. Hotel Fitzroy offers custom experiences including a dedicated host service and tailored activities. While the property doesn't offer an on-site restaurant, guests can order continental or cooked tray service breakfast direct to their room. The complimentary mini-bar is also replenished daily, while the room service menu is available 24 hours. THE DAIRY AND THE CENTRAL PRIVATE HOTEL, QUEENSTOWN The folks from Naumi Hotels haven't only brought their bold, design-led approach to the capital. Queenstown also welcomes two new eye-catching properties from the Singapore-based private hospitality label. Rustic glamour and old-world charm meet in Queenstown's The Dairy Private Hotel, while sister property The Central Private Hotel brings a fresh take on retro postmodernism. At both boutique properties, guests can take their pick from 14 spacious rooms — every space comes with its own bright cacophony of colour. Each property comes equipped with an inviting lounge area and its own complementary drinks hour serving award-winning New Zealand wines. With a nod to its past as Queenstown's original 'dairy' (corner store), The Dairy also offers an old-fashioned sweet selection. Here, you'll also find an outdoor jacuzzi with views across the picturesque Remarkables. FABLE DUNEDIN, DUNEDIN Dunedin's historic Wains Hotel has been given a new lease on life under the new masthead Fable Dunedin. The boutique five-star opening, found just a short walk from the Octagon, brings the Victorian-era hotel into the modern age without losing the glory of its past. Guests are welcomed by a concierge in a top hat and tails, before being guided to one of 50 luxurious rooms or suites that come lined with vibrant, custom-designed carpets and specially commissioned tartan blankets paying homage to the city's Scottish ties. The Press Club restaurant and bar is led by Fable Group executive chef, Jinu Abraham. Abraham has prepared a menu sourced heavily from local suppliers alongside an extensive whisky menu. There's slow-cooked lamb shoulder served with miso-glazed pickles, Otago wild fallow with venison boudin noir, and pork belly matched with scallops. OHTEL, WELLINGTON Just a skip, hop and a jump from Wellington's iconic Oriental Bay, Ohtel is New Zealand owned and operated and was architecturally designed and built by Alan Blundell. After being inspired to create a baby 'design hotel' following a trip to New York in 2000, Alan set about bringing the 10 room, four-storey structure to life. Ohtel is known for its locally-sourced menu offerings, such as freshly baked goods from Pandoro some 300-odd metres down the road, and organic dairy products from Zany Zeus in Lower Hutt. Keep your eyes peeled for their sister site which has recently opened in Auckland's Viaduct. THE INTREPID HOTEL, WELLINGTON New kid on the block and dubbed the 'traveller's hotel', The Intrepid Hotel brings the wide world to Wellington, without the MIQ requirements. Having just undergone earthquake strengthening, the former Cadbury chocolate warehouse, built in 1909, is situated on Ghuznee Street, which means it has some of the city's best bars and restaurants at your fingertips. On that note, be sure to venture around the corner to Pomodoro Pizza, then satisfy your sweet tooth at Lashings. As an added draw, you can forego the kennels and bring your beloved pooch with you because The Intrepid Hotel has set aside a special room — complete with a designer dog bed — to accommodate you and your furry friend. THE MARTINBOROUGH HOTEL, WAIRARAPA A self-proclaimed "beautiful old girl", the Martinborough Hotel is the perfect place to stay once you've braved the sketchy Rimutaka Hill road from central Wellington. This hotel began as a way station for prosperous travellers to and from the South Wairarapa's huge isolated sheep stations back in the 1880s. The hotel was restored back in 1996 to become a hotspot, known for its bar and restaurant, among locals and tourists alike. In the heart of the town centre, this is an easy place to crash after a few glasses of Pinot Noir on your tour of the local vineyards (via crocodile bike, of course). PLUME VILLAS MATAKANA, AUCKLAND CITY If the fast-paced city life is driving you to a near on meltdown, then a peaceful country escape may be just the ticket. An hour drive north from Auckland (depending on the state of the traffic) brings you to the up-and-coming town of Matakana. Here you'll find the quaint-yet-modern Plume Villas. Joining the already established vineyard, restaurant and conference centre, Plume Villas is the latest addition to the family and it is evident that the owners have poured their love into the properties. Plume has all the basic amenities, as well as a petanque court, swimming pool and even a wine library. A great place to stay for a weekend of wine tastings, and of course eating your way around the local Saturday markets. HOTEL DEBRETT, AUCKLAND Hotel DeBrett is an art deco-style, luxury hotel located smack bang in the middle of Auckland City. The hotel offers a range of room styles, each uniquely decorated with eclectic interiors, and the in-house restaurant, DeBretts Kitchen, is also worth a visit, even if just to scope out the grand glass atrium roof overhead. Although, this boutique inner-city hotel is arguably best-known for its decadent 1920s-themed high teas, where the dress code is 'Flappers and Dappers'. Don't fret if your suitcase doesn't include any Great Gatsby-esque attire, because for just $15 you can deck yourself out in a house-provided costume kit containing faux pearls, a feather boa and more. So, in short, there's no excuse for party poopers. THE BOATSHED, WAIHEKE ISLAND If you're wanting a piece of laidback island time luxury then The Boatshed on Waiheke Island is the place for you. This 5-star boutique accommodation is tastefully nautical and there is a range of modern sea-themed rooms to choose from. Each room boasts magnificent panoramic views of the ocean but if you're looking to celebrate a special occasion, we suggest you opt for the Owner's Cottage, which sleeps four. Here, stretching across a generous 210 square metres, you will find three fireplaces, a full chef's kitchen, BBQ, heated pool and to top it all off; a grand piano. QT, WELLINGTON Part art gallery, part eclectic collector's showroom, checking into the QT Wellington is a surreal experience. Situated on Cable Street, opposite Te Papa Museum, this swanky hotel is a treasure trove of oddities. Despite Wellington's fantastic hospitality scene, you're forgiven if you don't want to venture out of the hotel into the wind gusts that whip around Tory Street. There are three stellar options to eat and drink on site. And it's worth noting that the hotel's French-inspired Hippopotamus Restaurant and Cocktail Bar does an exquisite high tea. This is a great activity to schedule for your next weekend away.
If one person's trash is another man's treasure, then a trunk full of junk may as well be a treasure chest. Suitcase Rummage gets that when it comes to shopping, secondhand reaps the best bang for your buck. For years, it has been hosting regular events around town — and, although the past few years have been a bit chaotic, it's still going strong in 2022. Next unpacking its bags from 12pm on Sunday, July 2 and Sunday, July 17 at Brisbane Square, Suitcase Rummage will feature a crowd of open suitcases filled with the type of clothes, knick-knacks and craft you probably don't need but definitely deserve. If you can't make it now, try again on the first and third Sundays of each month. And, if you've got a pile of unwanted bits and pieces that someone else could love, you could always take your own suitcase along. Those who wanting to sell their wares must register — and it'll cost $33 for a 'stall'. You can bring up to three suitcases, so you can lug in all those shoes you've been promising to wear but certainly will not. [caption id="attachment_760661" align="aligncenter" width="1920"] Suitcase Rummage[/caption] Top image: Yan Chen via Suitcase Rummage. Updated June 29.
On most weekends, somewhere in Brisbane is hosting a beer festival. They might not happen every single weekend, but they definitely pop up with frequency. Only one is called the Great Australasian Beer Spectapular, however, and dedicates itself to weird, wild, wonderful and inventive varieties that are made exclusively for the booze-fuelled party. And that very fest is back for 2023. If you're a newcomer to GABS, as the festival is known, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then, it started spreading along Australia's east coast capitals, as well as to New Zealand. Now, its 2023 plans will see it return for its Brisbane event on Saturday, June 10 at the Convention and Exhibition Centre. Attendees can look forward to an event that's considered to be one of the best craft beer and cider festivals in the Asia Pacific region. And, you can grab tickets from the GABS website from 3pm on Friday, March 3. One big reason: it'll pour at least 1200 kegs — which in past years have been inspired by breakfast foods, savoury snacks, desserts, cocktails and more — from 240 taps. In 2022, peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum and sour gummy bears all got a whirl. The event surveys both Australian and New Zealand breweries, plus folks from the US and UK, with more than 120 set to be pouring their wares this year. Also on the bill: other types of tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. In fact, Archie Rose, Monkey Shoulder Whisky and Yellow Tail Wines will all be making their GABS debuts. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which'll span a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders in 2023, as well as local food trucks and vendors to line your stomach. Yes, that includes the Mountain Goat air guitar championship, the Balter tins of glory, the Atomic wheel of pourtune and the Black Flag skate ramp. Updated March 3.
"Your nose like a delicious slope of cream / And your ears like cream flaps / And your teeth like hard shiny pegs of cream." Le Diner en Blanc — like Howard Moon's poem — will have you in all white. But sorry, Booshers: the eighth edition of this Brisbane event is just for the sophisticated. Now on five continents, the Diner en Blanc began in Paris three decades ago thanks to François Pasquier and friends. This year, around 3000 of Brisbane's creme de la creme will once again dress in all-white on Saturday, November 23, with the event held at a predictably stunning location that remains secret until the very last moment (over the last few years, the beautiful banks of the Brisbane River at Portside, Roma St. Parklands, the Brisbane Botanic Gardens, the Exhibition Grounds and New Farm Park provided welcoming venues). Following an evening of elegance, fine dining and live music, the foodies then pack up their crystal, dinnerware, tables, chairs and litter. Like ghosts (white 'n' all), they leave behind no sign of their rendezvous (but don't get any ideas, a white sheet thrown over your figure will not do for an outfit). Le Diner en Blanc guests must either be invited by a member from the previous year, or get on the waiting list for a ticket — with the latter open for registrations now. Here's what happened in 2014: Image: Mish Photography.
With summer just around the corner, many Brisbanites are looking for ways to adopt healthier eating habits hoping to shed those kilos that always magically appear over the cooler months. Usually one might want to focus on carbohydrate intake and counting calories to accomplish this, but if you eat la manière française*, you may not have to worry about these things. Instead, you can focus on enjoying your food and savouring the flavour until you feel full. *To eat the ‘French way’ is to eat what you wish, but in moderation. Here are Concrete Playground’s top 5 spots for embracing the French eating style. C'est Bon At C'est Bon you literally feel like you are dining in Paris. The ambiance, the decor, the size of the restaurant, not to mention the sublime service just makes dining here parfait! The head chef, the hostess, and the wait staff are all French, so you feel like you are in good hands. They serve escargot (6 servings for $17 and 12 servings for $34) as an entree and the souffle au chocolat ($16) is served nice and hot. For the main we recommend the canard à l’orange ($37), crispy organic free range duck, twice cooked in the oven, served with an orange and Grand Marnier sauce with creamy sweet potatoes and braised red cabbage. C'est Bon does lunch on Wednesday, Thursday and Friday, and dinner on Tuesday to Saturday. 609 Stanley St, Woolloongabba; 07 3891 2008; www.cestbon.com.au/brisbane Le Bon Choix Located on the corner of Eagle and Queen Streets, Le Bon Choix is the perfect place for a lunch out of the office. The staff here are French and friendly and patrons are always greeted with a bright smile and a cheerful “bonjour!” There is a pyramid of macarons with flavours ranging from coffee, blueberry, orange, lemon, strawberry, pistachio and chocolate. Lunch choices are aplenty with baguettes, quiches, and sinful pastries on offer. For dessert there are beautifully decorated cakes such as the Miroula ($7 each). Patrons can take a seat or make their colleagues jealous by taking their meal back to the office. 379 Queen Street, Brisbane; 07 3229 9260; www.lebonchoixbakery.com.au French Martini Tucked away along Little Stanley Street in South Bank, this restaurant has many dishes to cater to your three course meal. For example, for the starter course you can have the Camembert Rôti au Pistou et Pain Grille ($15), a toasted baguette with camembert baked in the oven with pesto or you can have a nice Soup du Jour ($9). Then you can have the fillet de poisson du jour sauce au beurre blanc ($21; the fish of the day served with a white wine and butter sauce) with a glass of Pinot Blanc ($12 glass or $59 bottle). Their crème brulee ($10) is a good choice for dessert. As for seating options you can either sit inside beside the bar or outside on Little Stanley Street. Little Stanley Street, South Bank, Brisbane. 07 3844 5541 www.frenchmartini.com.au Piaf Bistro Situated on a corner in Southbank, Piaf Bistro is good spot to escape the business of Grey Street at any time of the day. This cafe has its own bar with an extensive wine list, where you can order a Petit Chablis wine ($12 glass or $55 a bottle) or a Bordeaux ($12 glass or $55 a bottle). As for seating options and overall dining experience, you can either choose to sit at the bar and socialise with your friends over some wine, share a meal inside or get some fresh air outside. Open from 7am until late, seven days a week, Piaf Cafe does breakfast, lunch and dinner. 5/182 Grey Street, Southbank; 07 3846 5026; www.piafbistro.com.au French Twist Located down a small alley on Melbourne Street in South Brisbane, French Twist is a great cafe to grab a coffee and a French treat. The decor is gorgeous as is the artistic way in which they present their baked goods. You can spend all day looking at the bread in the front window. Sit and enjoy a light snack like toast with ham and mustard, or the granola with yoghurt and berries. 104 Melbourne St, South Brisbane; 07 3217 2366
Trust Good Food Month to combine two of Brisbane's favourite things: degustation dinners and Luke Nguyen. And with the celebrity chef's celebrated Queensland signature restaurant Fat Noodle the city's pride and joy, there's only one place this alchemy can happen. You'll not only eat ten courses that showcase Nguyen's acclaimed cooking skills — you'll also watch him make them. And, afterwards, he'll join you for more chats at the dinner table. With all that on offer, $79 actually seems a small price to pay.
These days, we're all aware of the impact plastic shopping bags have on the environment, but what about another popular disposable item that everyone uses and no one thinks about? If you've enjoyed a cold beverage somewhere other than your home recently, odds are that you've probably sipped it through a straw (or you were given one). From now on, that won't be the case at Brisbane's Crowbar. Because little things can make a big difference, the Brunswick Street haunt has adopted a "say no to straws" policy and will no longer be serving them with their drinks unless specifically requested. "We are conscious of the environmental impact of plastic and are taking steps to reduce our footprint," the venue advised in a Facebook post announcing the new move. Further expanding upon Crowbar's plans in an interview with The Music, manager Tyla Dombroski explained that they're currently assessing biodegradable options for punters that can't kick their straw fix, and that their efforts won't stop there. If they can work with an organisation that focuses on marine or wildlife conservation, Crowbar would like to implement a donation-for-a-straw scheme. "Even though we're already cutting back our usage, we can also be giving back," said Dombroski. "And hopefully it makes more people think about their use of plastic in everyday life." Here's hoping that Crowbar's efforts also inspire other bars to follow suit — and other industries. Just two months ago, France passed legislation to ban all plastic plates, cups and cutlery from 2020; however Australian laws still haven't caught up with the single-use plastic bag backlash, with only Tasmania, South Australia, ACT and the NT banning them at present. Via The Music.
When it comes to getting to the heart of what life is like during wartime, Vera Brittain literally wrote the book. You may not have heard of the English writer, though you really should've. A century ago, she was crusading for her right to make her own decisions and rallying against the future that was supposed to await all women. Getting married and playing house was the done thing, but it was far from her dream. Instead, she wanted to study at Oxford and pursue a career — until the First World War broke out, changing everything. Brittain's first memoir, Testament of Youth, offers a record of the devastation that followed, including loss and destruction anyone who has ever read or seen anything about war will instantly recognise. Her recollections are more than just accounts of the horrors she witnessed while volunteering as a nurse in London, Malta and France, however; they're a portrait of a generation forever shaken by the experience, as told from the female perspective. Think about the wealth of movies you've seen about men marching off to battle, then think about how many truly depict what such times were like for women. That's just one of the reasons that Brittain's story — and the film that brings it to the screen — demands attention. She might not have been on the front lines, but she was fighting for a cause in any way she could. After striving to further her education, she willingly chose to put her life on hold, head to the conflict and do her part to support those in the thick of combat. Rising star Alicia Vikander plays Brittain as a determined figure in a dark era, yet never a merely dutiful one, which is an important distinction. It is certainly disappointing that the film pays so much attention to the influence of the men in Brittain's life — her initially disapproving father (Dominic West), her charming brother (Taron Egerton) and the poet she falls in love with (Kit Harington, because every film these days seems to have to cast someone from Game of Thrones) — but Vikander's convincing and complex portrayal ensures she's always the real star of the show. Thanks to director James Kent, the movie is also as handsome as it is heartfelt, his fondness for period details apparent. Audiences have seen warm-toned, softly lit scenes like his before, and romanticised and restrained war films, too, but when they're this intricate and earthy, it is hard to get tired of watching them. Indeed, that sentiment also fits Testament of Youth as a whole. So much looks and feels familiar in the way Brittain's real-life plight has been adapted for the screen, and even if the movie doesn't do its inspiration justice, there's always something — a refreshing point of view, a stellar performance, an elegant image — that keeps sparking interest in this wartime chronicle.
Calling all dumpling fiends: among the many highlights on the BrisAsia 2024 lineup, a festival devoted to these tasty parcels is up there with the best of them. On Sunday, February 4, the Southside Dumpling Festival will take over both its namesake restaurant and Fish Lane Town Square. Obviously, you already know what's on the menu. Southside's Sous Chef Benny Lam is taking attendees on a tour of delicious dumplings, har gow, gyoza and dim sums. Pop-up kitchens will also be part of the fest, which is slinging tickets for $25, as will live performances. Here's how it works: when you arrive, you'll receive a tasting steamer, which will be filled with three of the eatery's signature dumplings. Contained inside: prawn and truffle har gow; chicken siu mai with shiitake mushroom and black garlic; and peking duck and bamboo shoot dumplings with smoked hoi sin. You can then also pick what you like to purchase, with options including lobster and chive har gow with smoked salmon caviar, plus wagyu xiao long bao with madeira and pickled ginger — and, although it isn't a dumpling variation, truffle prawn toast. While the day runs from 10am–4pm, entry is timed, starting at 10am, 12pm and 2pm. But, once you're there, you can stay as long as your stomach demands. If you have vegan, gluten-free and dairy-free dietary requirements, let the organisers know when you're booking.
If the way that cinema depicts cancer was plotted out on a scale, Babyteeth and Me and Earl and the Dying Girl could easily demonstrate its extremes. One sees its protagonist as a person first and a patient last; the other uses terminal illness as a catalyst for other people's sorrows and struggles (the "dying girl" part of its moniker, right there at the end, is oh-so-telling about how it regards someone with cancer as little but an afterthought). Nowhere Special thankfully sits at the Babyteeth end of the spectrum. That said, its premise screams weepie, and being moved by its story happens easily. But there's an enormous difference between earning that response through an intimate and delicate story about a person's plight — and, here, their quest to provide for the person dearest to them after they're gone — and merely treating their life-and-death tussle as easy grist for the tear-jerking mill. Nowhere Special follows a 35-year-old single father in Belfast, John (James Norton, Little Women), who needs to find an adoptive family for his four-year-old boy (first-timer Daniel Lamont). His cancer has progressed, and now the doting dad and window cleaner's days are numbered, so he's determined to save his son Michael from more sorrow than his absence will naturally bring — in a situation that's pure emotion-courting fodder, but never manipulatively treated as such. Indeed, writer/director Uberto Pasolini opts for understatement and realism, including over overtly endeavouring to incite the kind of non-stop waterworks that most movies with this premise would eagerly turn on. The filmmaker's last feature, 2013's Still Life, was also just as beautifully measured and tender without mawkishness. Although the gap between his two latest pictures is sizeable time-wise, Pasolini hasn't lost his touch for making sensitive and affecting cinema. Suffering an illness that's turned fatal, and possessing little energy to get through everything that comes with being a single father, John's own fate isn't his primary concern. Nowhere Special takes time to dwell in the routine that marks its protagonist's remaining days — washing panes of glass, making the most of the time he has left with Michael, trying to secure his son new parents, feeling exhausted by all of it but still soldiering on while he can — which seems both mundane and extraordinary in tandem. The always-unspoken fact that life goes on even when it doesn't lingers throughout the film, as stark as a freshly cleaned, newly gleaming window, and contributes to the prevailing bittersweet mood. That's Nowhere Special's baseline. As it charts John's efforts to get Michael the best future he possibly can without himself in it, it soaks in the ups and downs of the pair's life together, recognising that it's both ordinary and remarkable — because all lives are. The search at hand is a difficult one, even when pursued with the best of intentions — by John and with the help of social worker Shona (Eileen O'Higgins, Misbehaviour). Unsurprisingly, finding the right people, or person, to entrust your child to forever is a heartbreaking job, and the weight of what John grapples with never fades from the film's emotional landscape. Features that treat ailing characters so considerately may be uncommon, and they are; however, pictures that willingly face the complicated questions, worries and fears that come with knowing your existence is about to end are rarer still. It might come as little surprise that Pasolini found his tale in reality, reportedly after reading a newspaper article about a man in the same circumstances as John, but how gracefully, attentively and still unflinchingly Nowhere Special fleshes out its story never fails to astonish. Both visually and in his storytelling, Pasolini's approach is to dwell on small moments, as well as times shared in passing that might be forgotten by many but mean the world to John. See: the type of mirrored behaviour that a young son adopts from his dad, the sight of them walking around in matching baseball caps, and the joy that Michael gets from washing his toy truck — doing what his dad does in a way that he can, and showing how he idolises his father without needing to voice it. There's an unfussy, unsentimental but always empathetic feel to the Northern Ireland-set movie, and every shot, including in John's mission to relish every second that remains, and with his interviews with prospective new parents both doting and disastrous. While a lesser movie would've used the latter for comedic purposes, that's never part of Nowhere Special's remit. With windows such a key focus — being cleaned and peering into homes that might become Michael's — it's also little wonder that viewing Nowhere Special resembles gazing into a slice of life that isn't just poignant but cherished. Perhaps better known for his television work to-date courtesy of Black Mirror, McMafia, Grantchester and Happy Valley, Norton offers a glimpse into John's soul via his exceptional performance, which conveys a world of devotion and sorrow even when he isn't saying anything. In fact, Pasolini uses dialogue sparingly between his two main characters, knowing that this father-son duo don't always require words to express what they mean, and also recognising that finding the right thing to utter is arduous on both sides. With the also-magnificent Lamont, Norton inhabits scenes of comfortable and treasured silence. Also made plain as a result: that Michael's young mind will only keep the haziest of memories from these times, so it's the loving mood that truly matters above all else. Nowhere Special is easy to sum up: in contrast to its name, it's something outstanding. Its potency also springs from the lens it turns on the kind of character that's infrequently given such thoughtful attention, with or without terminal cancer. Every dollar counts for John, but it's clear that he spends what he has on Michael — as seen in the kid's new clothes and bedding — rather than himself. He's had his own experiences in the social-services system, which beats at the heart of his quest to lock in his son's future. He's been robbed of most of life's opportunities, and he's devoted to ensuring the same doesn't happen for his boy. He's also still wounded by Michael's mother leaving without providing any contact details in her absence, and he's as doting a dad that anyone could ask for. Thanks to both Pasolini and Norton, John is a fleshed-out portrait of someone on the margins, even before his illness factors in. Feeling for his plight isn't just a case of heartstring-tugging; here, it comes as naturally as breathing.
One of Sydney's favourite Italian eateries has arrived in Brisbane, and it's giving everyone a pizza-filled treat. Now trading on Skyring Terrace, the long-awaited Salt Meats Cheese Gasworks isn't just serving up gelato cocktails — it's holding $20 all-you-can-eat pizza nights every Monday from 5pm. "Does this look like someone who's had all they can eat?" isn't something you'll be saying when you devour as many slices as your stomach can handle, so calm your inner Homer Simpson. The only catch is that you'll have to buy a drink as well, but you can choose from both boozy and non-alcoholic options. If you go for the former and order a bellini, Espresso Freddo or Kaffirinha, you'll find peach sorbet, Baileys gelato and kaffir lime sorbet among the ingredients, as supplied by La Macelleria in Teneriffe. As for the 'za lineup, the venue's pizza bar boasts eight tomato- and six white-based varieties, plus two calzones. Don't have an afternoon snack beforehand, obviously.
Anyone who has spent time in an outback Australian pub will recognise The Royal Hotel's namesake watering hole, even if they've never seen this particular bar before. The filming location itself doesn't matter. Neither do the IRL details of the actual establishment that stands in for the movie's fictional boozer. What scorches itself into memory like the blistering sun beating down on the middle-of-nowhere saloon's surroundings, then, is the look and the feel of this quintessentially Aussie beer haven. From the dim lighting inside and weather-beaten facade outside to the almost exclusively male swarm of barflies that can't wait to getting sipping come quittin' time, this feature's setting could be any tavern. It could be all of them. That fact is meant to linger as filmmaker Kitty Green crafts another masterclass in tension, microagressions and the ever-looming threats that women live with daily — swapping The Assistant's Hollywood backdrop and Harvey Weinstein shadow for a remote mining town and toxic testosterone-fuelled treatment of female bartenders. Making her second fictional feature after that 2019 standout, and her fourth film overall thanks to 2013 documentary Ukraine Is Not a Brothel and 2017's Casting JonBenet before that, Green has kept as much as she's substituted between her two most recent movies. Julia Garner stars in both, albeit without breaking out an Inventing Anna-style drawl in either — although comically parroting the Aussie accent does earn a brief workout. Green's focus remains living while female. Her preferred tone is still as unsettling as any scary movie. The Royal Hotel is another of her horror films, but an inescapable villain here, as it was in The Assistant, is a world that makes existing as a woman this innately unnerving. This taut and deeply intelligent picture's sources of anxiety and danger aren't simply society; however, what it means to weather the constant possibility of peril for nothing more than your sex chromosomes is this flick's far-as-the-eye-can-see burnt earth. Backpacking Down Under by partying their way through Sydney, Hanna (Garner, Ozark) and Liv (Jessica Henwick, Glass Onion: A Knives Out Mystery) swap boat shindigs on the harbour for a rust-hued expanse for one reason: money. With their cash drying up, the only option available to make more is a gig where the local pool is equally dusty. "Will there be kangaroos?" is their main initial question. If this pair have seen Wake in Fright, it hasn't left an imprint. They'll soon be living in their own version. Dirt, dirt and more dirt greets them fresh off the bus, then no-nonsense pub cook Carol (Ursula Yovich, Irreverent) and gruff drunk owner Billy (Hugo Weaving, Love Me), then a trial-by-fire night behind the taps to send off English tourists Jules (Alex Malone, Colin From Accounts) and Cassie (Kate Cheel, The Commons), who they're replacing. The Royal Hotel as the picture's prime locale might double for every typically Aussie watering hole, but both the setting and The Royal Hotel as a film take their cues from one specific pub. Western Australia's Denver City Hotel was immortalised in Hotel Coolgardie, the fly-on-the-wall documentary about two Finnish women who worked behind its bar and experienced the very worst of Australian drinking culture — and seeing that movie inspired writer/director Green to dive into this aggressively misogynistic world. "Fresh meat" adorns the boozer's chalkboard after Hanna and Liv arrive. Billy has barely spoken multiple sentences to them before he's dropping "cunt" with belittling force. Sexist jokes from the sozzled and arrogant customers rain down among eerie stares, brazen pick-up attempts, predatory demands and arguments between blokes over which woman they're claiming as theirs, like The Royal Hotel's latest faces have no say in it. To most of the pub's patrons, they don't. The comments, jibes and advances come from a cross-section of culprits, with Green and co-writer Oscar Redding (Van Diemen's Land) purposeful in showing that there's not only one kind of stereotypical guy whipping up discomfit. Toby Wallace's (Babyteeth) Matty knows how to charm, and how to rile up the male crowd by making women the butt of the gag. While James Frecheville (The Dry) plays the quieter, protective Teeth, those traits don't buff away his edges. With Daniel Henshall's (Mystery Road: Origin) Dolly, menace doesn't need words — and sinister entitlement drips from almost everything that he says or, to be precise, orders. There isn't just one way that women can be made to feel uneasy in male-heavy environments where they're expected to be at every guy's beck and call, and in general, as The Royal Hotel meticulously demonstrates. There definitely isn't a lone version of this gut-wrenching nightmare, nor a single way of coping when every waking minute is an exercise in monitoring your behaviour to get a job done, and just exist, without attracting the wrong attention. It's there in Hanna and Liv's varying reactions to the pub's clientele and their manners, or lack thereof; the difference between Hanna's distress and Jules and Cassie's carefree approach; and the range of factors that get Matty, Teeth, Dolly, Billy and company inciting alarm: the array of ways that Green's exceptional cast pack The Royal Hotel's powderkeg, that is. Only two things spark a straightforward read in Green's feature. The first is the eponymous everypub where nothing regal has ever graced its peeling walls and sticky floors. The second is the dread that pours out faster than visiting bartenders can pull pints. Actually, there's a third, because Kylie Minogue bopping through the soundtrack is a glorious choice. The uncertainty of this jittery environment otherwise — that someone can seem like a friend in one light and a sleaze in another, or a perturbed reaction can feel wholly justified by one of the bar's visiting women and overkill to another, for instance — only heightens the film's agitated mood. There's no one better at conveying this storm than Green, or at ripping it from reality and into her films. To watch Hanna especially is to achingly apprehend when and how often you've stood in her shoes. Green should keep Garner standing before her lens in as many movies as possible. With The Assistant and now The Royal Hotel, they're a dream team. Garner's flawless knack for conveying how life in Green's chosen scenarios is an incessant navigation and negotiation is as finely tuned as the director's; it's what made her so outstanding at playing Anna Delvey as well. As Green's now four-time cinematographer Michael Latham roves over blazing landscapes and gets claustrophobic in the tavern's dank indoors, and as composer Jed Palmer (back from Ukraine Is Not a Brothel) sets his score to faintly but still formidably jarring, that sense of steering your way through fraught terrain while trying to secure your survival proves as familiar as the outback venue at the centre of it all. With episodes of TV series Servant on her resume, Green can embrace horror traditionally, but the terrors that she digs into on the big screen aren't just frightening tales — they're piercing reflections of too much that's easy to recognise.
UPDATE, December 20, 2021: Happiest Season is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Heading home for the holidays and stepping into a sea of interpersonal dramas is a familiar on-screen set-up, as a new movie every Christmas or so reminds us. By now, then, we all know the formula. Adult children make the pilgrimage to their parents' place, rivalries and animosities flare up, secrets are spilled, chaos ensues and, by the end of the film's running time, everyone has learned something. Happiest Season fits the template perfectly. With the merriest time of the year in full swing, the Caldwells converge on the Pennsylvanian family home, with their celebrations given an extra edge due to patriarch Ted's (Victor Garber, Dark Waters) mayoral campaign. His fastidious wife Tipper (Mary Steenburgen, The Book Club) insists on snapping every moment for his Instagram feed, all as stern eldest daughter Sloane (Alison Brie, GLOW) arrives with her husband (Burl Moseley, Crazy Ex-Girlfriend), two children (Asiyih and Anis N'Dobe) and plenty of unspoken tension in tow; zany middle sister and aspiring fantasy writer Jane (Mary Holland, Between Two Ferns: The Movie) is largely ignored; and Pittsburgh-based political journalist Harper (Mackenzie Davis, Irresistible) returns with the girlfriend, Abby (Kristen Stewart, Charlie's Angels), that none of her relatives know about because she hasn't come out to them yet. If someone other than The Faculty, Girl, Interrupted, Veep and The Handmaid's Tale actor-turned-filmmaker Clea DuVall had made Happiest Season, the above paragraph would accurately reflect the feature's character hierarchy — because Sloane would take centre stage, and Harper and Abby would hover around the narrative's edges. But DuVall did make Happiest Season and, with co-writer Holland, she flips the movie's focus, even while still sticking with a well-worn general premise. Accordingly, this festive flick resembles a comfy sweater that often gets a wear, but seems welcomely different on this particular occasion. As Aussie queer teen rom-com Ellie and Abbie (and Ellie's Dead Aunt) also demonstrated this year, it shouldn't be so subversive to take an overused genre that's heavy on recognisable tropes, then strip away the engrained heteronormativity. But it is, in both high school-set romances and movies about meeting your partner's parents over eggnog. After filling the credits with details of the formative stages of Harper and Abby's relationship, the feature introduces them properly as they're touring local Christmas lights. The towering Harper is giddier than one might expect of someone of her age, but the calmer Abby isn't fussed about the season after losing her parents when she was a teenager. When the former asks the latter to come home with her for Christmas, though, Abby gets excited. She wants to pop the question anyway, and figures there's no time or place better to make the festive-loving Harper her fiancée — although her best friend John (Dan Levy, Schitt's Creek) points out that asking Harper's dad's permission beforehand is hardly a progressive step. It isn't until Happiest Season's central couple has almost reached the Caldwells' that Abby discovers Harper's subterfuge. Not only do Ted, Tipper and company not know that Harper is gay and in a relationship, but Abby is asked to pretend she's straight as well (yes, one gag literally places her in a closet, because of course that happens). In the broad strokes, the movie doesn't serve up any surprises. But like moving its focus to Harper and Abby, this Christmas rom-com is all about the details. Amid the sibling struggles, the re-emergence of old flames both male (Jake McDorman, What We Do in the Shadows) and female (Aubrey Plaza, Parks and Recreation), and the always-hectic whirlwind that surrounds every seasonal family affair — and every attempt to run for political office, too — Happiest Season explores two crucial themes in a meaningful way. First, it unpacks the performative nature of human existence, where too often we're all trying to match other people's perceptions and expectations without consistently remaining true to ourselves. And, it also interrogates how coming out isn't a simple or straightforward act, even in seemingly loving circumstances. These are weighty ideas and, while Happiest Season is light and jovial overall, it doesn't sugarcoat its heavier moments. It doesn't devote all of its running time to them either, but DuVall and Holland's script finds a delicate balance — with the part played by Holland herself at first seeming to be the movie's most overtly exaggerated role for comedic effect, but eventually proving more thoughtful, for instance. It's easy to see how the screenwriting pair could've turned this into a different picture, with the initially tentative friendship that springs up between Abby and Plaza's Riley, and the commonalities they feel as women who've been pushed aside so Harper could maintain a lie, 100-percent begging for an entire movie of its own. But DuVall never forgets the task that she has clearly set herself: to make a queer meet-the-parents Christmas comedy. The film's warm-hued, Hallmark-style imagery never lets the audience overlook the fact that Happiest Season willingly sticks to a formula in order to update it, either. Also apparent is just how well Stewart and Davis anchor the movie's generic and more soulful elements alike. This shouldn't come as a surprise, with Stewart picking most of her post-Twilight roles astutely (see: Clouds of Sils Maria, Certain Women, Personal Shopper and Seberg), and Davis always a memorable addition to any cast. In their hands, their characters feel lived-in. So does Happiest Season's central relationship, especially as it navigates considerable ups and downs, including an ongoing series of questionable decisions by Harper. Steenburgen, Plaza, Levy, Brie, Garber — they're all reliably great, too, but it's likely this LGBTQIA+-friendly dose of merriment wouldn't have found the right mix of festive familiarity and emotional substance with other leads. https://www.youtube.com/watch?v=j_jjELPpKkk
Civil War is not a relaxing film, either for its characters or viewers, but writer/director Alex Garland (Men) does give Kirsten Dunst (The Power of the Dog) a moment to lie down among the flowers. She isn't alone among the movie's stars on her stomach on a property filled with Christmas decorations en route from New York to Washington DC. Also, with shots being fired back and forth, no one is in de-stressing mode. For viewers of Dunst's collaborations with Sofia Coppola, however — a filmmaker that her Civil War co-star Cailee Spaeny just played Priscilla Presley for in Priscilla — the sight of her face beside grass and blooms was always going to recall The Virgin Suicides. Twenty-five years have now passed since that feature, which Garland nods to as a handy piece of intertextual shorthand. As the camera's focus shifts between nature and people, there's not even a tiny instant of bliss among this sorrow, nor will there ever be, as there was the last time that Dunst was framed in a comparable fashion. Instead, Civil War tasks its lead with stepping into the shoes of a seasoned war photographer in the middle of the violent US schism that gives the movie its name (and, with January 6, 2021 so fresh in everyone's memories, into events that could very well be happening in a version of right now). The US President (Nick Offerman, Origin) is into his third term after refusing to leave office, and the fallout is both polarising and immense. Think: bombed cities, suicide attackers, death squads, torture, lynchings, ambushes, snipers, shuttering the FBI, California and Texas inexplicably forming an alliance to fight back, Florida making its own faction, journalists killed on sight, refugee camps, deserted highways, checkpoints, resistance fighters, mass graves and, amid the rampant anarchy, existence as America currently knows it clearly obliterated. (Asking "what kind of American are you?" barely seems a stretch, though.) The front line is in Charlottesville, but Dunst's Lee Smith is destined for the White House with Reuters reporter Joel (Wagner Moura, Mr & Mrs Smith), where they're hoping to evade the lethal anti-media sentiment to secure an interview with the leader who has torn the country apart. That Dunst's character, nor anyone, will never be able to shake the chaos observed and experienced, no matter the no-nonsense demeanour sported, couldn't be more evident from Civil War's opening. This is a raw and deeply resonant movie about trauma, sources for which fill its chillingly realistic visuals constantly, as Garland and cinematographer Rob Hardy (returning from all of the filmmaker's past helming work, including Ex Machina and Annihilation) bring to the screen with haunting immediacy. It's also about desensitisation to that onslaught, for Garland's players and audiences alike. Combine both, even if Lee ignores the personal impact, and you get someone who'll never feel the calm that should accompany lying on a lawn in different circumstances — because the time when she'd soak that in, and the person who could do just that, are long gone. You also get someone so accustomed being surrounded by nightmarish horror that she's no longer aware of what she's lost. Garland's fourth film behind the lens is a probingly complex character study as well. It's a snapshot of a dystopia with far more potential to come immediately true than most such tales — and it gives America and its volatile political reality the filmic treatment usually reserved for almost anywhere else — but it's always also an unpacking of what it means to spend your life immortalising humanity at its worst; pics and it definitely did happen. Navigating the ethics of the gig, Lee is adamant that the job is to chronicle, not to intervene. "We take pictures so others can ask these questions," she advises. Everything about the performance behind not just the line but the figure lives and breathes that idea. That said, she's also as firm in her belief that what she does should spark pause. "Every time I survived a war zone, I thought I was sending a warning home: don't do this," Lee says to Sammy (Stephen McKinley Henderson, Beau Is Afraid), a New York Times veteran and fellow member of the movie's travelling party. "But here we are," she continues with a sigh. Garland gives Dunst another contrast beyond referencing one of her prior roles: Spaeny's Jessie. (That Civil War arrives so soon after Priscilla, which Dunst recommended Spaeny to Coppola for, adds inescapable emphasis.) Introduced being saved by Lee when they first meet in the thick of a brutal fray, the green as green — and keen as keen — wide-eyed 23-year-old freelancer is similarly snapping the conflict, learning as she's going and convincing Joel to let her tag along. Her vast range of emotions couldn't be in greater opposition to Lee's dispassion. "I've never been so scared in my entire life. And I've never felt more alive," Jessie notes after the movie's most intense scene, an unforgettable nerve-shredder where the foursome and a couple of colleagues (Ahsoka's Nelson Lee and The Brothers Sun's Evan Lai) cross paths with a cruel group of soldiers (led by Dunst's IRL husband Jesse Plemons, Killers of the Flower Moon). No one needs to be familiar with Dunst and Spaeny's cinematic history, and their echoes, to feel the weight of what Civil War is portraying. Spotting the array of cast members from Garland's 2020 sci-fi/thriller TV series Devs — Spaeny, Henderson, Offerman, Sonoya Mizuno (House of the Dragon) as an embedded British correspondent, Jin Ha (Pachinko) as a sharpshooter and Karl Glusman (The Idol) as a spotter — also isn't a must to understand that the author-turned-filmmaker is in his element. Garland has always been fascinated by how folks react to humanity's inherent lust for control and power, whether perpetuating it, fleeing it, being victimised by it or getting it on the record. That was true when he was writing novel The Beach, then penning the screenplays for 28 Days Later, Sunshine, Never Let Me Go and Dredd, too. Indeed, as Lee watches on and documents, Dunst virtually plays her director's in-film surrogate. For all of the ways that Civil War can be linked back to now, to recently, to not mere fiction or conjecture, Garland isn't here to overtly connect dots or take sides; he also began writing his script in 2020, pre-dating the Capitol attack. He knows as a given, as he gleans that everyone will, that fractures have become an entrenched part of the US. As intelligent as it is urgent, Civil War is a cautionary tale, then, but never a source of answers. What it sees is the loss, the toll and the consequences when democracy shatters, all through people, aka Lee and company, including the devastation of such grimness becoming a normality. Making The Virgin Suicides come to mind serves the picture in another way, reminding of a stunning Dunst performance laced with unflinching pain just as she's giving another one at the heart of this arresting and searing feature.
Looks like a few Black Keys-lovin' Bluesfest ticketholders will be reconsidering their Easter long weekend plans, The Black Keys have cancelled all Asia Pacific shows due to injury. Drummer Patrick Carney has sustained a serious shoulder injury, so the duo have cancelled all forthcoming concerts in Australia, New Zealand and Japan, part of their Turn Blue world tour, cancelled up until April 23. "We are very sorry to have to cancel our upcoming performances through April 23," the band said in an official statement. "Patrick sustained a dislocated and broken shoulder in January that required surgery. Working with the doctors, surgeons and physiotherapists since January, we had expected Patrick to be ready to return to touring in April. The recovery process and physical therapy has taken longer than anticipated and unfortunately Patrick is still unable to perform and needs additional time to heal. We thank all of our fans for their ongoing support and we look forward to getting back on the road as soon as possible.” "We were incredibly excited about the shows that were about to happen but there is no way around cancelling the tour with the extent of Pat’s injury," said Brian Taranto from Love Police Touring. "You just can’t have The Black Keys with no drums. We sincerely apologise for the hassle this cancellation will cause fans.” The cancellation isn't good news for Bluesfest in particular, coming just weeks after headliner Lenny Kravitz also pulled out of Bluesfest and his Australian shows due to conflicting touring commitments. All tickets (outside of Bluesfest Byron Bay) will be refunded — wherever you bought them from. Rescheduling ain't happening. For Bluesfest refund policies, visit bluesfest.com.au. CANCELLED TOUR DATES April 2 Riverstage - Brisbane, Australia April 3 Bluesfest - Byron Bay, Australia April 5 Rolling Green - Rochford Wines Yarra Valley, Australia April 7 Margaret Court Arena - Melbourne, Australia April 10 Qantas Credit Union Arena - Sydney, Australia April 11 Rolling Green - Bimbadgen Winery Hunter Valley, Australia April 14 Red Hill Auditorium - Perth, Australia April 16 Entertainment Centre Theatre - Adelaide, Australia April 18 Horncastle Arena - Christchurch, New Zealand April 19 Vector Arena - Auckland, New Zealand April 22 Studio Coast - Tokyo, Japan April 23 Studio Coast - Tokyo, Japan
As happens every year, more than a few Australian films will reach local screens in 2021. Some have already proven exceptional, others have earned the exact opposite description, and more flicks to come will fall into both camps. But great, average and terrible movies alike, no homegrown title that hits cinemas and/or streaming this year will garner as much attention as Nitram. It's the first Aussie feature to play in the Cannes Film Festival's coveted competition in a decade, it's one of the big local premieres at this year's Melbourne International Film Festival, and it's headed to Australian cinemas and then Stan after that. Read the movie's moniker backwards, however, and you'll see why it has already attracted controversy. Reuniting Snowtown and True Story of the Kelly Gang filmmaker Justin Kurzel with screenwriter Shaun Grant, who penned both movies, Nitram steps through the lead up to the events in Port Arthur 25 years ago. Caleb Landry Jones (Three Billboards Outside Ebbing, Missouri) plays the eponymous figure, who lives with his mother (Judy Davis, The Dressmaker) and father (Anthony LaPaglia, Below), and finds a friend in a reclusive heiress named Helen (Essie Davis, Miss Fisher and the Crypt of Tears). Of course, while the film isn't specifically about the tragedy of April 28 and 29, 1996 — promotional materials stress that it's about the time leading up to those dates — every Australian knows where the story goes from there. Before anyone has seen the feature, Nitram has already sparked debate about whether any film should explore this traumatic chapter of Australia's past. Thanks to their last two collaborations, Kurzel and Grant have an impressive history when it comes to tackling the nation's darker and thornier moments, however — and if Snowtown especially is any guide, the result will be difficult but must-see viewing. From the just-dropped first trailer, too, audiences look set for a haunting movie. In response to the conversation already surrounding the film, the filmmakers have advised that "Nitram was written as a response to the proliferation of regular mass shootings across the world and is an exploration of the issues and events that led to this atrocity, rather than a re-enactment of it, to bring the gun control debate to the fore and to try to ensure history does not repeat itself." Check out the trailer below: Nitram will have its Australian premiere at the 2021 Melbourne International Film Festival, and will release in local cinemas afterwards — and stream via Stan — with exact dates yet to be announced.
Fancy yourself a thriller fan? Mesmerised by mysteries? Do you spend your time reading page-turners and trying to piece together the culprit — or, when your head isn't buried in a book, daydreaming about solving real-life cases in stately mansions? If so, Playing Agatha Christie is the Brisbane Writers Festival 2015 event for you. Though a chat about the famous author with psychological crime fiction writer Sophie Hannah — who offered her own entry into the Hercule Poirot cannon in 2014 — already sounds like fun, that's not all this evening promises. At Brisbane's oldest surviving residence, you're encouraged to don pearls, feathers, monocles and moustaches to really get into the good ol' fashioned whodunit spirit. Image via Kgbo.
It's mid-August, so you should probably start getting your New Year's Eve plans in order. Victorian NYE festival Beyond the Valley has just announced the lineup for their celebrated four-day festival in Lardner, Victoria and it's pretty bloody good, so could be a solid option. Just four festivals old, the Victorian festival is still pretty fresh on the New Year's circuit, starting out in 2014. Despite this, they've managed to secure a rather colossal lineup, featuring charismatic rap headliner Schoolboy Q, Sydney electro legends The Presets, falsetto-flaunting folk favourite Matt Corby, UK grime gem Stormzy, East London 'wonky funk' singer Nao and 21-year-old Channel Islands-born producer Mura Masa. Beyond the Valley takes over Lardner Park, Warragul, Victoria from December 28 to January 1. Anyway, here's what you came for. BEYOND THE VALLEY 2017 LINEUP: Schoolboy Q The Presets Matt Corby Stormzy Mura Masa Stephan Bodzin (live) Little Dragon 2MNANY DJs (DJ Set) Adana Twins Âme (live) Amy Shark Andhim The Belligerents B.Traits Crooked Colours Cub Sport Cut Copy Dean Lewis DMAs Dom Dolla FKJ GL George Maple Harvey Sutherland & Bermuda Hayden James Hot Dub Time Machine Ivan Ooze Jack River Lastlings Late Nite Tuff Guy Marek Hemmann Meg Mac NAO Patrick Topping Pleasurekraft The Preatures Princess Nokia Ruby Fields Sampa The Great San Cisco Skegss Beyond the Valley is happening December 28 to January 1 at Lardner Park, Warragul, Victoria. Presale tickets on sale Wednesday, August 16, with general tickets on sale Thursday. August 24, from www.beyondthevalley.com.au. Images: Beyond the Valley.
They're called twin films: two movies with a similar idea that reach screens around the same time. Think Deep Impact and Armageddon, Dark City and The Matrix, and The Prestige and The Illusionist — plus The Raid and Dredd, Upgrade and Venom, and Skate Kitchen and Mid90s. Yes, the list goes on (and on and on). The same concept applies on the small screen, too, as two of 2020's new shows are demonstrating. Earlier in the year, Netflix debuted Space Force, which starred Steve Carell as a military man tasked with establishing the space-focused new branch of the US armed forces. Now, via US network Showtime — and streaming service Stan in Australia — Moonbase 8 is also trying to turn the quest to leave earth into a sitcom. Featuring Fred Armisen, John C Reilly and Tim Heidecker, and set to start dropping from Sunday, November 8, Moonbase 8 follows three men who are eager to take part in a lunar mission. Skip (Portlandia's Armisen), Rook (Tim and Eric Awesome Show, Great Job!'s Heidecker) and Cap (Reilly) are the epitome of enthusiastic, in fact, and they're doing their absolute best to complete their training at NASA's Moon Base Simulator in the desert in Winslow, Arizona. But whether they'll stay sane through the process is another matter entirely. The show's three stars also serve as Moonbase 8's executive producers, while the series is penned by Heidecker with Portlandia and Tim and Eric Awesome Show, Great Job! writer — and Baskets creator — Jonathan Krisel. And, based on the just-dropped first trailer, the new comedy promises plenty of stir-crazy silliness between three characters living in close quarters — something immensely relatable in 2020, obviously. Check out the trailer below: https://www.youtube.com/watch?v=KECl99n-DI0 Moonbase 8 starts streaming in Australia via Stan on Sunday, November 8. The New Zealand streaming date is yet to be confirmed — we'll update you with further details when they come to hand. Top image: Courtesy of A24 Films/SHOWTIME.
Lurking behind every 18th birthday, beyond the alcohol legally drunk and nightclubs gleefully danced through, is an unspoken truth: life only gets more chaotic from here. That realisation doesn't usually spring during the celebrations, toasts and happy speeches of the big day itself — or necessarily within weeks, months or even a few years afterwards, either — however, it's inescapable nonetheless. In To Chiara, it blazes brightly for the movie's eponymous teenager (Swamy Rotolo). It shatters her sense of normality, too. But she isn't the one hitting the milestone that every adolescent yearns for. Instead, the party that helps start this Italian drama is actually for the 15-year-old's elder sister Giulia (Grecia Rotolo), with the pair's friends and relatives alike marking the occasion as countless other families have: with dinner, festivities and delighted emotions. As captured with a raw, fluid and naturalistic style like everything that both precedes it and follows, Giulia's birthday is a portrait of exuberance — until, for Chiara, it isn't. She plays up a garden-variety case of sibling rivalry, including during a performative dance contest. She revels in still being her doting dad Claudio's (Claudio Rotolo) favourite. And she thinks nothing of sneaking outside to have a smoke, only slightly worrying if her father will find out. But it's there, cigarette in hand, that Chiara watches her uncles get into a verbal scuffle outside. Then, in the aftermath, she spies her doting dad rushing off to deal with the fallout. Also, later that evening, perturbed by the feeling that something isn't quite right, it's Chiara who witnesses the family car explode outside their home, and spots Claudio fleeing under the cloak of darkness. The newest neo-realist film by Italian American writer/director Jonas Carpignano, To Chiara is also his third set in the Calabrian region, in the small coastal town of Gioia Tauro. It's the latest entry in a series that explores the area's mix of residents, segueing from refugees from North Africa in 2015's Mediterranea to the Romani community in 2017's A Ciambra, and now to the 'Ndrangheta. Call the latter the mafia, call them an organised crime syndicate, call them just part of living Southern Italy — whichever you pick, Chiara has always just considered them her loved ones without knowing it. Learning how her dad pays the bills and why he's now a fugitive, gleaning that her mother (Carmela Fumo) must be aware, trying to uncover where Giulia stands, attempting to cope with everything she thought she knew crumbling in an instant: that's what this gripping and moving film has in store for its young, headstrong, understandably destabilised protagonist from here. From the moment that Chiara begins to make her big discovery — piecing together the details stubbornly, despite being warned that her questions won't have welcome answers — it's easy to recognise why such a tale fascinates Carpignano. It's the story that sits in the shadows of other gangster flicks and shows, because so many are also about the bonds of blood; in decades gone by, it could've been Mary Corleone facing the same situation in The Godfather franchise or Meadow Soprano doing the same in The Sopranos. To Chiara also unfurls the ultimate tale of innocence lost, forever fracturing the bubble of an idyll that Chiara has spent her life inhabiting without ever realising, and causing her to now see the parent she has always adored in a completely different light. Nothing signals leaving childhood behind, no matter your age, more than having the entire foundation for your existence shift, after all. As gleams fiercely in its phenomenal lead's eyes, nothing is more devastating, either. Working with cinematographer Tim Curtin, as he did in A Ciambra — actors from which also pop up here, too, when Chiara starts expressing her shock via destructive outlets — Carpignano rarely ventures far from his protagonist. While film doesn't merely play out in close-ups, it'd be something else entirely without the deep and intimate gaze it holds with the teen, and the way it lets audiences stare into her soul as a result. Sometimes gliding, sometimes jittery, the handheld camerawork matches Chiara's inner state. Whether she's demanding answers from Giulia or following secrets into hidden spaces, every visual touch is aligned with her energy and her emotions, in fact. The score by Dan Romer (Dear Evan Hansen) and Benh Zeitlin (Carpignano's Mediterranea, and also his own Beasts of the Southern Wild) vibrates on the same wavelength as well, but To Chiara is always a movie about perception — and how it observes its titular figure, and also mirrors how she discerns the world around her, is oh-so-crucial to the feature's stunning impact. And, from its heady early moments to its poignant ending, this is indeed a stunning film. It's also a picture anchored by a remarkable lead performance — a jewel among a glimmering cast, all nonprofessional actors, as Carpignano has drawn upon for this entire trio of movies. As their names make plain, the talents behind To Chiara's main characters are all related, and all let that inherent comfort with each other calm and complicate their on-screen dynamic. Swamy Rotolo is nothing short of revelatory, though. Playing someone who once felt like she was sliding smoothly through the world, only to find that her fortunate status quo is slick not from luck, love or joy but the spoils of the criminal underworld, she's sincerely dogged and desperately uncertain at once. She sports the invincibility of youth, and also the pain when that facade fractures. That she often looks and feels like she could've stepped out of another female coming-of-age gem, Mustang, is the highest of compliments. Just as convincing: the slow-burning feature's delicate balancing act, with To Chiara careful not to judge or champion anyone's choices, or the path that's led some Gioia Tauro locals to the 'Ndrangheta, or to make its namesake a hero or a victim. Weighing up the two sides of the equation — the privilege and prejudices that Chiara didn't openly know she had and their sources, plus the stakes, costs and future ramifications of living a life tainted by crime — is the movie's central figure's task, which she navigates through emotional outbursts, tense glimpses inside her town's underbelly, on-the-ground forays into her father's reality and legally mandated foster-care arrangements alike. Accordingly and fittingly, when another 18th birthday party rolls around to bookend the deserving Cannes Film Festival 2021 Best European Film-winner, the idea that adulthood is chaos takes on a different tone. To Chiara never shakes that notion or tries to dispel it, but instead grapples and lives with it, and makes for potent and resonant viewing in the process.
Picture this: you're having a lazy evening at home in front of Netflix, and you promise yourself you'll power through just one — and only one — more episode before tapping out for the night. How many times have you broken that promise? Let's face it, you'd probably prefer not to count. And if you're like us, you probably also reach for the Ben & Jerry's for a quick sugar fix to keep you going. Convenient it may be, but healthy? Not so much. Next time you're planning a lazy night in, level up your snack game with something more wholesome (and equally delicious). We've teamed up with Yumi's to compile a collection of quick, easy and delicious alternatives to your favourite couch-time snacks. Here's what to dig into next time you're doing Netflix and chow. INSTEAD OF CHARCUTERIE...ASSEMBLE A GRAZING PLATTER Look, there's nothing wrong with a well-prepared charcuterie board — piles of delicious deli meats, indulgent cheeses, pâté and preserves, salty crackers, and the odd smattering of fruit. Add some variety with crunchy crudites — and, of course, dip. Yumi's have a huge range of dips that are all dairy and gluten free, and packed with real ingredients. We love the classic sweet potato and cashew dip, while the classic hommus is also excellent — variations like the rocket and almond pesto are also winners. They're great paired with fresh veggies (think carrots and cucumber), but perhaps even better with Yumi's selection of preservative-free and ready-to-eat falafel or veggie bites. We recommend zapping them in the microwave for a minute. INSTEAD OF ICE CREAM...MAKE SORBET Real talk: telling yourself that you're having just one more scoop of ice cream is the same as telling yourself you'll only watch one more episode before heading to bed. Before you know it, it's an ungodly hour and you're staring at the bottom of an empty tub. Lessen the lactose by making a swap for an easy, refreshing homemade sorbet — no churning required. You'll need to dice and prefreeze your favourite fruit — mango, cherries, pineapple or banana always work a treat, while store-bought, prefrozen berries are great for a quick win. Then, pop a cup (or two) in a blender with three to four tablespoons of sugar or maple syrup, and blitz until smooth. You can balance out the sweetness with a hint of lemon or lime juice, too. [caption id="attachment_815090" align="alignnone" width="1920"] Margarita Zueva (Unspalsh)[/caption] INSTEAD OF PIZZA...MAKE BRUSCHETTA An evening on the couch with a juicy series lined up and a big, cheesy pizza — is there a better way to Netflix? Perhaps not — but there are healthier ways (that also don't rely on Uber Eats). Making your own pie is simple as can be, especially with so many types of premade bases available in just about any supermarket, including ones that cater for just about every dietary requirement. Crank up the oven and lather your base with tomato paste (you can even make your own, should you wish), cheese and your choice of toppings. Feel like something more refreshing? It's hard to go wrong when you make your own bruschetta. Pick up a crusty baguette, whack it under the grill, give it a rub with some olive oil, garlic and salt, and then load it up with fresh diced veggies, herbs or deli meats. It's an easy — and delicious — way to make sure you get in your five a day. [caption id="attachment_815095" align="alignnone" width="1920"] Charles Deluvio (Unsplash)[/caption] INSTEAD OF SALTY CHIPS...MAKE VEGGIE CHIPS Love the salty crunch of potato chips? Us too — so we also know how hard it is to know when to stop. For a healthier alternative, leave the prepackaged morsels in the supermarket aisle and pick up some sweet potato or kale instead. It couldn't be more simple to get snacking, either. Just slice up your veg, toss it in some olive oil and pop it in the oven until crispy. Kale is full of good things, from beta-carotene to help eyesight, and Vitamins C, K and E. As for sweet potato, it's loaded with antioxidants, fibre and Vitamin A — it's also lower GI than a regular potato. Want some extra flavour? Kale chips are even better when tossed in a bit of za'atar, while sweet potato and paprika is a spicy match made in heaven. Dip liberally in some hummus and you've got yourself a serious snack. [caption id="attachment_815092" align="alignnone" width="1920"] Anshu A (Unsplash)[/caption] INSTEAD OF BIKKIES...MAKE OATMEAL COOKIES We stan a Tim Tam as much as the next sweet tooth. And don't get us started on our ongoing love affair with an Iced Vovo. But of course, they're not the healthiest treats to snack on. If you too have trouble keeping your mitts out of the bikkie tin, try your hand at making your own oatmeal cookies. They're surprisingly easy to put together and will easily satisfying any sweet cravings. The benefits of trading sugar for oatmeal are plentiful — oats are higher in fibre, can stabilise blood sugars and are loaded with vitamins and antioxidants. There's also the added benefit of the warm aroma of freshly baked goods waiting through your house. [caption id="attachment_815093" align="alignnone" width="1920"] Abbie Whiddett (Unsplash)[/caption] INSTEAD OF CAKE...MAKE CACAO BALLS There's a better way to get your gooey chocolate fix. Enter date and cacao balls. They're ridiculously easy to make, and they last longer than cake does, too (though if they disappear from the fridge quickly, we won't blame you). There are a heap of health benefits, too — dates are high in antioxidants and fibre, and can also improve bone health, while cacao has been shown to help lower blood pressure and improve blood flow. For more wholesome snacking, check out the full range of Yumi's falafels, veggie bites and dips.
For more than a decade, CIRCA have showcased Brisbane's circus skills to the world, thanks to performances in 39 different countries. For their latest, they're not only unleashing their acrobatic feats on home turf, but taking inspiration from it. Headed to South Bank's new Flowstate precinct from March 6 to 25, Aura endeavours to capture the spirit — and the sounds and vision — of this great city of ours. Guided by a collaboration between director Darcy Grant and sound designer Daryl Wallis, the all-ages effort has been described as "a physical love letter to Brisbane". Yep, unlike your usual ode, this one will literally leap to life in front of you. It'll also echo through your ears, with attendees wearing headphones so that they can experience the immersive sound mix — one that includes everything from buses, trains and bikes to feet walking and car horns honking. And, as part of Flowstate's first year of operation, it's absolutely free; however you will need to register for your selected date and session.
Building a business is similar to making a sandcastle. Getting started is easy — all you need is a bucket, sand and a big idea. But, if you want to turn that building into an empire, you'll need to get serious. That includes hiring a team, engaging an accountant and maybe moving out of your home office. Basically, it means scaling up. To do that, you'll need cash and some smart strategies. Luckily, you're not the first person to scale up a business — and there are heaps of people that you can go to. So we've teamed up with Westpac to tap into the minds of some entrepreneurs who have successfully scaled up. Here, we've nabbed some golden words of wisdom from four guns that have steadily increased their cashflow and turned their hospitality venues into varied businesses. Read on for four hacks they've used to successfully (and sustainably) grow their businesses. [caption id="attachment_724984" align="alignnone" width="1920"] Kitti Gould[/caption] STREAMLINE YOUR BUSINESS TECH It's no secret that Luke Powell, renowned head chef and owner of LPs Quality Meats, knows how to grow a business. The mastermind behind his 110-seat Sydney eatery always knew he'd need oversight to keep his business thriving. With the opening of his second venue — Newtown pizzeria Bella Brutta — last year, it was time to invest in tools that would put valuable analytics at his fingertips. "We have used a few different point of sale (POS) systems since we opened," Powell explains. "We now use Kounta for all the venues and find it very insightful and useful with all the information it can provide." Consolidating stats for both of his venues means Powell can make informed business decisions in real time. Not only has this saved him huge chunks of time but also means he's able to explore and invest in new revenue streams — like starting a wholesale smallgoods business on the side. [caption id="attachment_712428" align="alignnone" width="1920"] Milton Wine Shop.[/caption] ALWAYS CONSIDER WAYS TO BROADEN YOUR OFFERING Milton Wine Shop's Lyndon Kubis is first and foremost a wine nerd. As wine bar operators, Kubis sees himself and his team as "the DJs of the wine world" — they don't make the wines, but they serve them "with passion". In order for the hits to keep playing, it's important that the point of sale process runs smoothly — Kubis uses Kounta point-of-sale software, which offers great insights for detailed reporting and directly integrates with Presto, Westpac's payment terminal. Kubis says this has helped the business to achieve "super easy end-of-day reconciliations" that feed "directly into [their] accounting software". With the reconciliation process taken care of, Kubis was able to focus on broadening the shop's offering — making it more than just a one-trick pony. The shelves may be donned with bottles of high quality wines from niche producers, but, now, it also now delivers a thoughtful selection of beer and spirits, too. This has diversified the offering and customer base of Milton Wine Shop, making it more broadly accessible and financially sustainable. LET YOUR CUSTOMERS DO THE TALKING If you've never visited a Devon Cafe outpost – in either Sydney or Brisbane — chances are you've seen it on Instagram. With dishes like the truffle sundae and brioche french toast, its menu is made for food blogger flatlays. Owner Derek Puah has always embraced the power of social media to grow his business, and an active online presence enabled him to reach and build a network of loyal customers. "We find a lot of our biggest fans are on Instagram and they love to share photos of their experiences," Puah explains. Re-sharing images not only means that Devon has readymade content (with very little investment) — but it also serves to attract new customers and keep diners coming back for specials. Plus, those searching for a brunch spot can hear first-hand from other customers about what they can expect. [caption id="attachment_734827" align="alignnone" width="1920"] Trent van der Jagt[/caption] TREAT TIME AS YOUR MOST VALUABLE RESOURCE William Edwards, founder of Sydney distillery Archie Rose, watches his time. Very seriously. For Edwards, every hour of his day is planned with purpose. "My calendar is my bible — if there's something in there, I'll be there. If there's not, I won't be there," he says. "I schedule when I wake up, when I check email, when I perform certain types of tasks, leave work, get ready for bed, go to sleep, etc. and what days are work vs meeting vs admin days." Sound pretty hardcore? Even Edwards admits it's not going to work for everyone, but, at its core, it's about visualising your day, taking responsibility for your schedule and how much time you allocate to building your business. Now that you have some top tips, it's time to take the first steps towards scaling up your business. And when it comes time to set up your payment technology, look to Westpac's Presto Smart terminal. It's made for speedy payments, busting queues, reducing keying errors and seamlessly connecting to a range of Point of Sales systems, including Kounta, to help you keep track of cashflow. Please note that the above information is intended to be general in nature and should not be relied upon for personal financial use. To request more info and speak to Westpac, head here. Top image: Kitti Gould.
UPDATE: SEPTEMBER 23, 2020 — Black Widow has moved its release date again, and will now hit cinemas on Thursday, April 29, 2021. This article has been updated to reflect that change. UPDATE, APRIL 4: Disney has announced a new release date for Black Widow, with the film now hitting cinemas on November 5, 2020. UPDATE, MARCH 18: Due to concerns around COVID-19, Disney has announced that Black Widow will no longer release on its initially scheduled date of Thursday, April 30, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Over the course of 23 films in 12 years, the Marvel Cinematic Universe has grown into a big-screen behemoth. Just this year, Avengers: Endgame became the biggest worldwide box office hit of all time — and all three other Avengers films also sit in the global top ten, with Black Panther coming in at number 11. Basically, the MCU has become the Thanos of the cinema world, decimating its competition with ease. But, over all that time, all those movies and all that success, it has taken nearly a decade to give Black Widow her own standalone film. When it comes to pushing women to the front, the MCU's track record isn't great. As everyone knows, Captain Marvel, the Disney-owned company's first movie solely focused on a female character, only came out this year. Now Marvel is following that up with a film that really should've eventuated years ago — Natasha Romanoff, the highly trained ex-KGB assassin known as Black Widow and played in the MCU by Scarlett Johansson, first debuted on-screen in 2010's Iron Man 2 after all. Perhaps it's a case of better late than never. Perhaps, if Black Widow had been made earlier, it mightn't have attracted the extra scrutiny that's certain to follow given Johansson's track record when it comes to misguided public comments of late. Either way, thanks to Endgame, the film is obviously a prequel — as the just-dropped first teaser trailer makes plain. Also starring Florence Pugh (Midsommar, Fighting with My Family), Rachel Weisz and Stranger Things' favourite David Harbour, Black Widow jumps back a few years, setting the bulk of its story just after the events of 2016's Captain America: Civil War. On the run, Romanoff is forced to face her complicated (and violent) past, as well as a new masked opponent. We're sure a few familiar MCU faces will also show up. When it hits cinemas Down Under at the end of April 2021 — after a year delay due to COVID-19 — Black Widow will close a considerable gap for the MCU in more ways than one — not only will it finally give one the Avengers figure a solo moment to shine, but it'll mark the first Marvel film since mid-2019's Spider-Man: Far From Home. Behind the scenes, the movie boasts another reason to get excited, with Australian filmmaker Cate Shortland (Berlin Syndrome, Lore, Somersault) in the director's chair. And, she's actually the first female filmmaker to helm a Marvel flick solo (after Anna Boden and Ryan Fleck co-helmed Captain Marvel). Check out the Black Widow trailer below: https://www.youtube.com/watch?v=RxAtuMu_ph4 After being delayed from its original release date of April 30, 2020, Black Widow will now open in Australian cinemas on April 29, 2021.
Australian Venue Co — one of the country's largest hospitality groups which operates 94 venues in Queensland, 70 in Victoria, 26 in Western Australia, 18 in South Australia, 10 in New South Wales and 2 in the Northern Territory — announced on Monday, December 2, that it will no longer host Australia Day celebrations on January 26 at any of its more than 200 outposts. January 26 is a contentious date for many. Commemorating the arrival of the First Fleet at Sydney Cove in 1788 and the beginning of European settlement on the Australian continent, it is a day of enduring collective trauma for First Nations communities and their allies who know it as Invasion Day or Survival Day rather than its traditional name. [caption id="attachment_908540" align="alignnone" width="1920"] Morris House, Melbourne[/caption] In a statement supplied to The Herald Sun, an Australian Venue Co spokesperson said of the decision to bar events on January 26: "Australia Day is a day that causes sadness for some members of our community, so we have decided not to specifically celebrate a day that causes hurt for some of our patrons and our team," Since 1994, all Australian states and territories have enjoyed a public holiday on January 26, but calls to move the country's national day to another less controversial date have gained momentum in recent years. In 2017, radio station Triple J made the decision to move its annual Hottest 100 rankings to January 25 and earlier this year, major supermarket brands Woolworths and Aldi both pledged to no longer stock Australia Day merchandise in its stores. Across Australia, January 26 has also created opportunities to show solidarity with First Nations communities. More than 80 councils around the country no longer hold citizenship ceremonies on January 26 and Invasion Day rallies attract thousands of peaceful protesters every year. For a full list of the Australian Venue Co venues effected by the January 26 event ban, visit the Australian Venue Co website.
Since winding up the breakfast show at Triple J last year, comedian Tom Ballard has not slowed down in the slightest. Sure, he might not have to get up so early every weekday morning, but in between nationally touring his stand-up comedy shows, writing op-eds and returning to radio for a six-week Chatback stint, Ballard is one busy lad. Now he's set to launch and host his own show on ABC TV called Reality Check, which will look exclusively at the bizarre world of reality TV. Before that all happens, we were lucky enough to pull him over for a quick chat about his stand-up comedy career, Dry July, Thorpie and RuPaul's Drag Race. Congrats on the new show. What made you want to explore the world of reality TV? Ahhh, the money? Since I left Triple J breakfast I'm destitute and living on the street, so having a regular paycheck is pretty good! But it's also a bonus that it's a really fascinating topic that we don't talk about enough, and I get to do it with CJZ [the merger of Cordell Jigsaw Productions and Zapruder's Other Films, independently responsible for shows such as The Gruen Transfer and Go Back to Where You Came From] and ABC who make pretty awesome TV together. There is a wealth of material that hasn't been mined yet, there's a shitload of really important, moving stuff, but there's obviously a ton of jokes as well. It's the perfect sweet spot for me. You'll be joined by previous reality TV 'stars' — I use that term very loosely! Who are you most excited to have on the panel? (Slyly giggles to himself) Well, I have to be a bit boring and tell you we're keeping that one close to our chest at the moment. We've had a bunch of producers whose names you may not know, but they're actually responsible for huge reality TV hits, as well as previous judges and contestants. We've spoken to some people who have been the voice of Big Brother, some people who have won a major series, and people who have worked in the UK and America who have batshit crazy shows so it's really fascinating talking to them. Every week there will be names who are very familiar to reality TV addicts but also people who only follow it on the periphery. We worked really hard on getting some good names who can give us a lot of insight on the shows and the issues we want to talk about. https://youtube.com/watch?v=RmfHMNkhtn8 What reality TV shows did you watch growing up? Or are there still some that you watch now? Australian Idol was huge for me. I watched the first series. I was a big MasterChef head as well. I love RuPaul's Drag Race as well, and that is a really funny show. Come Dine With Me, and just stupid shit like the Kardashians. For this show we've watched a shit-ton of stuff and looking at the crazy moments that have happened in other countries like Nigeria's Got Talent and China's Got Talent, Big Brother Houses in other countries, one which was full of short-statured people. There's a UK show called Tourettes: Let Me Entertain You, which was basically a talent search for young people with Tourettes, just insane shit like that. I'm really excited about bringing that to the fore and laughing and celebrating all that stuff we get to see. You have just wound up your return to Triple J with Chatback: What was it like being back? It was great. It was really lovely, I was starting to miss everyone quite a lot so I got to go in on Thursdays and say hello to everyone. It reminded me how much I love radio and all the cool and crazy stuff that station does. There were also a few of your famous friends calling in under aliases, did any of them give you a heads up about their characters, or did they just let you have it? Yeah, we workshopped them all, a lot of that stuff was pre-recorded. We went back and forth with a few ideas, and then characters that people really liked, like Rebecca or Dr Jangles, came back in later weeks. It was really fun to have a character on twice because people were really keen to hear more from them and find out how their lives are going. I just think radio like this is underutilised. At the BBC in the UK the amount of comedy radio out there is amazing and I'd love to see more of that in Australia, because there's just so much fun you can have on a very low budget. It's just messing with peoples minds. That's what Chatback was — it was funny how worked up people got who thought they were real people. You also wrote a great op-ed recently about Thorpie coming out and why that was so important. It's no secret you're an opinionated young man, but what has to happen for you to decide, right, I'm going to write an op-ed about this? Well, to be honest a friend of mine who works at Fairfax called me and they wanted a young gay person's perspective on the issue. But honestly I did think about it, because there were a million think pieces and even for the next two days everyone and his dog had an opinion on the whole situation. I felt like I had something to say that I hadn't seen in many other media outlets so I thought that was a good chance. I want to be a comedian, that's what I want people to think of me as so I don't want to get on my high horse too often, but it is something that's really important to me. I'm really passionate about the mental health of young queer kids, and I wanted to remind people that when someone comes out, we should be happy. Yes we can have our criticisms about it, but ultimately it's a good news story. Have you enjoyed having more time to focus on your stand-up comedy this year? Although to be fair, it looks like you've had a million other side projects going. The first six months of the year had a lot of touring, so I wasn't being very visible on other media. It was all about getting out there and doing a whole bunch of stand up which was really fun. The truth of the matter is if you want to make a living from being a stand-up comic in this country you do need to push your media profile to make sure people are aware of you from other areas. It's kind of a balancing act. I am really excited about this show, I think it's going to be super fun, but I'm also excited about the fact that hopefully more people will come see me live and laugh at my jokes in front of me. Finally, how did your Dry July go? [Tom was on a team called 'Alco-Hellllll No!' with Megan Washington, and Triple J staff including Zan Rowe and Kyran Wheatly] Hahaha! Ummm…. Bad? I've raised money and it's been great not drinking, I feel a bit healthier and it's for an awesome cause, but it's much tougher than I thought it would be! Reality Check premieres on ABC TV on Wednesday, August 13, at 9pm.
Did the title of this Brisbane Writers Festival session make you think? Good. It should. Writing While Female tackles a topic that really shouldn't still be an issue, with writers Candice Fox, Kylie Kaden, Anita Heiss and Natasha Lester sharing their experiences. They know more than a thing or two about it, with outback thrillers, friendship-focused mysteries, indigenous non-fiction and tales of fleeing to the seaside among the group's output. Even if you haven't read any of their work, you'll want to hear their thoughts about this important subject. This event is one of our five picks for Brisbane Writers Festival. Check out the whole list.
The 21st-century has not been kind to the vampire. Between Stephenie Meyer's sparkling high schoolers, the leather-clad killers of the Underworld series and whatever the hell those things in I Am Legend were meant to be, the once noble creatures of the night have been reduced by pop-culture to cringeworthy caricatures. Bela Lugosi must be turning in his grave. Enter Jim Jarmusch, director of Dead Man, Ghost Dog and Broken Flowers, to name just a few. One of the enduring figures of the American indie film movement, Jarmusch has made a career out of minimally plotted, post-modern genre subversions, and his latest work is no exception. Mixing traditional vampire mythology with the director's distinctively aloof brand of cool, Only Lovers Left Alive is a handsome, compelling, meditative take on the lives of the eternal undead. An appropriately gaunt and pasty Tom Hiddleston plays Adam, a centuries-old bloodsucker living on the outskirts of Detroit. A reclusive figure, Adam's only human contacts are a crooked hospital doctor (Jeffrey Wright) who provides him with fresh batches of O-negative, and a wide-eyed rock 'n' roll fan (Anton Yelchin) from whom the vampire buys vintage guitars. Aside from his music, the one thing Adam cares about is his wife, Eve (Tilda Swinton), with whom he is reunited not long after the movie begins. For a while, the immortal lovers live in peace, only to find their solitary existence shattered by the arrival of Eve's impulsive younger sister (Mia Wasikowska). Like many of Jarmusch's films, Only Lovers moves along at a languid pace, with large stretches of the movie unfolding in which very little actually happens. Nevertheless, viewers willing to give the film their patience will be rewarded by its rich, intoxicating atmosphere. Synonymous both with rock 'n' roll and America's crumbling economy, Detroit's empty streets and abandoned buildings are the perfect stalking ground for Jarmusch's silent camera, which finds an eerie kind of beauty in moonlit vistas of urban decay. Electronic guitar chords flow despondently across the soundtrack, ringing in perfect harmony with the images projected on the screen. The protagonists are drawn with fascinating detail. Late-night musings, on music, art, science and the various historical figures that Adam and Eve once knew, are underlined by a sardonic sense of humour, informed by centuries of bitterness and disappointment. Detached from the world around them, there's an air of tortured disinterest to the duo, like ageing rock stars, or unkillable hipsters (and isn't that a terrifying concept?) Emphasising mood over story, Only Lovers Left Alive is the cinematic equivalent of one of Adam's melancholic rock songs. It washes over you, absorbing through your skin. Jarmusch has brought dignity back to the vampire, in his own unmistakable style. https://youtube.com/watch?v=ycOKvWrwYFo
Prepare to spend more time scrolling through streaming queues from this November onwards — that's when Apple's new film and television platform will arrive. Called Apple TV+, announced earlier this year and just revealing that it'll launch on November 1, the new subscription service will feature a heap of new original television shows, movies and documentaries. They'll all be available ad-free and on demand, with access via the company's existing Apple TV app and the Apple TV+ website. The platform will debut just a few weeks before Disney's new streaming service, Disney+. And, like the Mouse House's foray into the world of online viewing, Apple TV+ will come relatively cheap. Australian viewers will be able to subscribe for $7.99 per month, while New Zealanders can sign up for $8.99 per month. While Apple doesn't have its own decades-old library of content to draw upon, like its sizeable competitor, it is investing a heap of cash into new shows. The company has revealed a sizeable lineup of new original series it hopes will attract your TV-loving eyeballs — and plenty of stars to go with them. https://www.youtube.com/watch?v=BVsM4gvkQXo Fancy watching Reese Witherspoon, Jennifer Aniston and Steve Carell navigate the world of morning television in the appropriately titled drama series Morning Wars? Jason Momoa in a new sci-fi show called See, which is set in a world where humans are born blind? A reboot of 90s kids favourite Ghostwriter? A new docu-series from Oprah — and the return of her book club? They're all on the way, and will be available from the outset. Most series will premiere with three episodes, then roll out one new instalment per week afterwards — although some will drop full seasons at once. At launch, the above shows will also be joined by Dickinson, with Hailee Steinfeld playing poet Emily Dickinson, plus Snoopy in Space, a new Peanuts production about the beagle's desire to become an astronaut. Or, you can look forward to documentary The Elephant Queen, exploring the animal species and their proximity to extinction, and For All Mankind, which'll ponder what could've happened if America was still literally reaching for the stars. https://www.youtube.com/watch?v=7Rg0y7NT1gU Down the line, Apple TV+ will also be home to Servant, a new psychological thriller from M. Night Shyamalan; Truth Be Told, which is based on a novel about true crime podcasts and features Octavia Spencer and Aaron Paul; and Samuel L. Jackson and Anthony Mackie-starring flick The Banker, about two African American entrepreneurs trying to make it in the 50s. The list goes on, spanning a revival of Steven Spielberg's Amazing Stories anthology series; crime thriller Defending Jacob, starring Chris Evans; and a TV remake of Terry Gilliam's film Time Bandits, with a pilot directed by Taika Waititi. There's also a comedy set in a video game development studio from the folks behind It's Always Sunny in Philadelphia, a yet-to-be-named CIA undercover agent series starring Brie Larson, and new series from La La Land director Damien Chazelle. As well as being available on iPhones, iPads, Apple TV and the iPod touch, the Apple TV app is accessible via select Samsung smart TVs, and will hit Amazon Fire TV, LG, Roku, Sony and VIZIO platforms sometime in the future, too. Apple TV+ is set to launch on November 1. For more details, or to sign up for future updates, visit the streaming platform's website.
Whether they were painted centuries ago, snapped in a shopping centre photography studio in the '80s, or graced the pages of a recently published fashion mag, many portraits of women use the same poses. Perhaps the lovely lady in the frame is turned sideways and smiling. Maybe she's pouting while looking over her shoulder. Sometimes, she's staring enigmatically off into the distance. Yep, they're the kind of pictures everyone has seen countless times, but few people stop to contemplate in depth. By combining portrait photography and expressionist painting, Jess Cochrane's latest exhibition, FearLess, aims to inspire audiences to ponder why these images recur, what their repeated use says about perceptions of femininity, and the role the male gaze has played throughout history. That might be a considerable task; however it's surprising just how exaggerating and amplifying commonly seen images with splashes of paint and colour can spark many a train of thought. With the show representing Cochrane's attempt to create "space for the honest, powerful, raw and violent beauty that is all-inclusive", after seeing her pieces, you'll never look at a portrait the same way again.
Diehard fans of The Simpsons will remember season three, episode ten — the one in which bartender Moe steals Homer's secret, cough medicine-filled cocktail recipe and starts selling it at his bar as the 'Flaming Moe'. If a cough syrup-induced haze has always sounded like your kind of fun (or you're just a huge Simpsons fan) you're in luck. This classic episode will come to life this April when the Flaming Moe's Pop-up Bar opens its doors in Sydney, Brisbane and Melbourne. It'll be an immersive experience with 'Moe' behind the bar slinging bottomless cocktails and all of the show's best characters in attendance, too. We doubt the bar's namesake cocktail will actually contain the grape-flavoured, children's cough medicine depicted in the show, but no information on the recipe has been revealed just yet. If its purist Simpsons, the drink will at least include some unholy combination of tequila, peppermint schnapps and creme de menthe — all lit on fire for good measure. For beer drinkers, Duff-inspired brew will be on tap as well. And, to round out the night, there will also be Simpsons trivia, with themed prizes up for grabs. Dates are not yet announced and details are slim, but we do know that the pop-up will open for just one day in each city. You can sign up for pre-release tickets here, which you best do because space will surely be limited.
There ain't no party like a BIGSOUND party — and there ain't no party like a free BIGSOUND party, either. As a warm up to the real deal, indie record labels Spunk and Rice is Nice are teaming up to throw one heck of a free-for-all. Not only will walking in the door cost you zilch, but enjoying a beer won't bother your wallet either. For those more concerned about the music, get excited about a lineup that features Angie, Aldous Harding, Darts, Donny Benet, Gold Class, The Ocean Party, Shining Bird and Us The Band. This event is one of our top five picks of BIGSOUND. Check out the other four here. Image: Damien Melchiori
Recognised nationwide, the Marie Ellis OAM Prize for Drawing is a significant event on the Brisbane arts calendar. Hundreds of entries are submitted for consideration, showcasing the amount of depth and imagination within our artistic community. Now in its fifth year, the prize exhibition will be one of the best yet. Marie Corella Ellis OAM was an important figure in the creation of Jugglers Art Space (one of Brisbane’s most loved arts hubs), as she resided in the Brunswick Street address, where Jugglers is now situated, for more than 60 years. The 2014 exhibition is directed by Holly Riding (founder of Nancy Zine) and Peter Breen, and will run until the 18th of August. The opening night festivities will include the announcement of the winner and a vote for the People’s Choice Award. This is an important night for many, and everyone is encouraged to attend to support all the selected artists and to witness Brisbane art history in the making. The exhibited artists are as follows: Jeremy Eden, Greer Townshend, David McLeod, Sean Hutton, Anna Bishop, Geoffrey Vagg, Luke Brook, Caity Reynolds, Jude Roberts, Aaron Butt, Lauren Edmonds, Cherie Durant, Bernadette Buscacci, Noel Miller, Tim Fitzpatrick, Birgit Jordan, Erin Kennedy, Tracey Choyce, Kathryn McGovern, Zoe Porter, Xiao Deng, Michelle Roberts, Mattaas Jakku, Lily Halton, Craig McKenzie.
It's no secret that Australians are always up for a bit of magical fun and frivolity, with Harry Potter-themed events and pop-ups a pretty regular occurrence these days, like the muggle that transfigured a Great Hall for brunch, a huge Harry Potter store, two-day movie marathons and boozy Wizard's Cauldron potions classes. Next on your Hogwarts timetable is the Wizard's Beer Festival, where you'll sip brews in a wizarding wonderland, while making your way between wand-making classes, DJs and tarot card readers. There's no word yet on exactly what beers you'll be drinking — local numbers? international favourites? alcoholic butterbeer? — but your ticket does include a 12-ounce (355-millilitre) brew on entry, and five tokens you can use on beers and the aforementioned activities. Previously slated to run in March and November 2020, you can now mark the date down in your calendar as Sunday, February 7, 2021, when the magical beer fest will apparate into a soon-to-be-announced Brisbane location. Folks in costumes pretending to be Hermione, Dumbledore and others isn't really our idea of a magical HP experience, but perhaps a few boozy butterbeers will get you in the right mood. Ticket prices start from $55 and can be purchased here. Updated November 2, 2020. Top image: Wizard's Brunch.
If relaxation is like a foreign word to you, then it's time to enlist the help of the professionals. Slide into next level chill at Beyond Rest with a private floatation experience. As you step into your flotation room, you'll be faced with what looks like a big, enclosed bathtub. This is your floatation pod, designed to eliminate all distractions, including sights, sounds, tactile sensations and even gravity. After a few moments in the pod, you'll feel like you're floating through space since the salt water is buoyant enough to support you entirely. The water is also heated to body temperature, so you can't tell where you end and the water begins. Floaters report increased energy, feelings of calm and total relaxation. Life is nuts, take time for you and float away all your stress.
Peruse a list of 2019's big movies, and you could be forgiven for feeling like Hollywood is living in the past. When it's not serving up Dumbo, Aladdin and The Lion King remakes, it's extending the Godzilla, X-Men, Men in Black, Child's Play, Toy Story, Spider-Man and Terminator franchises — and putting together a sequel to The Shining. The list goes on, with the new Charlie's Angels the latest to join the fold. Hello, nostalgia- and action-loving movie-goers, obviously. Back in 2000 and 2003, the world didn't really need a couple of films based on the 1976–81 television series of the same name, even if Cameron Diaz, Drew Barrymore and Lucy Liu made a great team. Almost two decades later, the world probably doesn't need a third Charlie's Angels movie about a private detective agency, its formidable ladies and their globe-trotting hijinks, either. But the new flick — which both revisits the franchise's familiar scenario with new faces, and reportedly continues on from both the TV show and the the first two films — does boast more than a few potential highlights. Cast-wise, Charlie's Angels circa 2019 stars Kristen Stewart, Aladdin standout Naomi Scott and British up-and-comer Ella Balinska. Like her Twilight co-star Robert Pattinson, Stewart has made some savvy film choices since farewelling the vampire romance saga, including Clouds of Sils Maria, Certain Women and Personal Shopper — and while this upbeat action flick about kick-ass ladies saving the world clearly shares little else in common with her recent dramatic roles, here's hoping it continues her good run. Elsewhere, Elizabeth Banks sits the director's chair, co-wrote the script and features on-screen as Bosley. Well, one of them — Patrick Stewart and Djimon Hounsou both play Bosley, too. Music fans can also look forward to the soundtrack, with Ariana Grande, Miley Cyrus and Lana Del Rey all collaborating on a song, as the film's first trailer reveals. That's a bit of a throwback of its own, given that 2000's Charlie's Angels also featured a killer track, aka Destiny's Child's 'Independent Women'. Catch a glimpse of the new Charlie's Angels in the initial clip below: https://www.youtube.com/watch?v=RSUq4VfWfjE Charlie's Angels releases in Australian cinemas on November 14, 2019.
The Pebble E-Paper Watch campaign, run in April last year, is the most highly funded in Kickstarter history. Having set their initial goal at $100,000, the creators raised a whopping $10,266,845. The second most successful, if you're curious to know, is that of 'OUYA: A new kind of video game console'. Selling itself as 'the first watch built for the 21st century', the Pebble is compatible with both iPhone and Android. It's also fully customisable. The wearer can choose from an array of watch faces, making changes as often as desirable. The designers write that they 'strove to create a minimalist yet fashionable product that seamlessly blends into everyday life'. The selection of apps is growing all the time, from biking and running monitors to golf rangefinders to music software. Bluetooth enables connection with a nearby smartphone, which means that the Pebble can access GPS, and communicate notifications from social networks and email accounts. The phone weighs in at 32 grams and its black and white screen offers a resolution of 144 x 168 pixels. Drawbacks include the tendency to reduce a smartphone's battery life, by up to 10%. Plus, owners of a Blackberry, Windows 7 or Palm phone don't have any chance of compatibility yet. Following delays, the first Pebbles were shipped to Kickstarter supporters in January this year. On July 7, they (the watches, not the supporters) became available on shelves in America's consumer electronics store, Best Buy. [via mashable]
For a place named after somewhere hellish or hidden, Netherworld is all rather inviting. Shelves of board games. Rows of arcade games. A wall of old-school consoles with retro televisions to match. Daytona given pride of place. The sound of The Simpsons' theme filtering through the playing space. Brisbane's first arcade game bar is sure to become your new favourite hangout. From the moment you walk into Netherworld, you'll notice a laidback vibe — and games a plenty, unsurprisingly, all urging you to leave your workweek woes at the door. If you like hitting flippers, smashing buttons and passing go, all while eating juicy burgers and downing homemade sodas, you'll like it here. Trust us.
Usually when a festival dedicated to espresso martinis pops up, it takes over one place. Such boozy fests only tend to run for a day or so, or a weekend, too. But one of Australia's big hospitality chains is ditching both of those norms, because this drink needs a whole week and more than 200 pubs countrywide to truly get buzzing. Who needs sleep when there's caffeinated cocktails to sip and celebrate? The event: ALH Hotels' Espresso Martini Festival, which'll take over venues in New South Wales, Victoria, Queensland, South Australia, Western Australia and the Northern Territory from Monday, March 13–Sunday, March 19. If you're wondering why, the reason is the same that most food- or drink-themed fests pop up. Yes, there's an occasion dedicated to the beverage in question, with World Espresso Martini Day upon us on Wednesday, March 15. For the week around the espresso martini-fuelled date, ALH Hotels will pour Grey Goose espresso martinis no matter what time you drop by. Fancy a pick-me-up over lunch? After-work bevvies with your colleagues? A cruisy weekend session giving you some extra perk? They're all options — just don't expect to be tired afterwards. Among the venues taking part in NSW, Sydneysiders can hit up the Summer Hill Hotel, Kirribilli Hotel, New Brighton Hotel, The Ranch and Harlequin Inn. Victoria's list spans Young and Jacksons, Moreland Hotel, Elsternwick Hotel, The Croxton and Balaclava Hotel, too. In Queensland, options include Breakfast Creek Hotel, Brunswick Hotel, Oxford 152, Indooroopilly Hotel, Stones Corner Hotel and the RE in Brisbane, plus spots both up and down the coast. The full list also features pubs in SA such as the Watermark Glenelg, Royal Oak and Esplanade Hotel; venues in WA, complete with Hyde Park, the Belgian Beer Cafe and the Albion Hotel; and four places in the NT. [caption id="attachment_870392" align="alignnone" width="1920"] Breakfast Creek Hotel, Andrew S (Flickr)[/caption] ALH Hotels' Espresso Martini Festival runs from Monday, March 13–Sunday, March 19 at venues around the country — head to the pub chain's website for the full list and further details.
In 2010, director Matthew Vaughn gave us his tongue-in-cheek take on the superhero genre with the hyperactive action-comedy, Kick-Ass. Five years later, he turns his attention to the spy movie, with similarly electrifying results. Adapted, as was Kick-Ass, from a graphic novel by Mark Millar, Kingsman: The Secret Service is popcorn entertainment at its finest: funny, exciting and immaculately paced, never once bogged down by grit or self-importance. Colin Firth crackles as Agent Harry Hart, a gentleman spy for a privately run espionage agency operating “at the highest levels of discretion”. After the death of a colleague, Hart finds himself on the trail of nefarious billionaire Richmond Valentine (a lisping Samuel L. Jackson), whose plan to save the planet may come at the expense of the people living on it. At the same time, Hart also finds himself mentoring teenaged hoodlum Eggsy (Taron Egerton), in whose defiant eyes he sees a glimmer of Kingsman potential. Vaughn shoots the film with the giddiness of a 12-year-old, one who just stepped out of his very first spy movie with dreams of saving the world. The antithesis of the Craig-era Bond flicks, Kingsman never tries to justify its own absurdity, but rather rockets along with such irreverent energy that you can’t help but get caught up in all the fun. Explosions of over-the-top violence dominate the second half, although it’s all far too cartoonish to cause any serious offence. The action is propelled by a rousing orchestral score, courtesy of regular Vaughn collaborators Matthew Margeson and Henry Jackman. The movie’s cast is excellent across the board. Firth could play a suit-clad toff in his sleep, but he also makes for a surprisingly convincing action hero — and listening to him drop F-bombs while dispatching thugs with his umbrella is a singular pleasure no other film can provide. Jackson is a job as the villain of the piece, while young Egerton has the makings of a star. Mark Strong and Michael Caine round out the ranks of the secret service, although it’s a shame that the latter isn’t given a little bit more to do. After a January packed with high-minded Oscar films, Kingsman: The Secret Service is a much needed blast of fresh air. If you’re looking for a fun night out at the movies, don’t hesitate to pick up a ticket.
If you're a fan of Mariah Carey, then this is a vision of love and also a sweet, sweet fantasy come true, baby: 11 years after she last toured Australia, the iconic singer is returning in 2025 to headline Fridayz Live. For its big comeback this year, the festival boasts a lineup led by the music megastar. If all you wanted for an early Christmas is this, it's quite the gift. Mariah is celebrating 20 years since her 2005 album The Emancipation of Mimi released — and based on recent set lists, get ready to hear everything from 'Emotions', 'Dreamlover' and 'Hero' to 'Without You', 'Always Be My Baby', 'Honey' and 'Heartbreaker'. She'll have company on the Fridayz Live bill, because this event's blend of R&B, hip hop and nostalgia always brings a heap of big names our way. For 2025, Pitbull, Wiz Khalifa, Lil Jon, Eve, Tinie Tempah and Jordin Sparks are also on the lineup. 'Give Me Everything', 'Timber', 'Fireball', 'Black and Yellow', 'See You Again', 'Young, Wild and Free', 'Get Low', 'Turn Down for What', 'Let Me Blow Ya Mind', 'Who's That Girl', 'Girls Like', 'Miami 2 Ibiza', 'No Air', 'One Step at a Time': expect to hear them all too, then. In Brisbane, Fridayz Live has a date with Brisbane Showgrounds on Friday, October 17. Fridayz Live 2025 Lineup Mariah Carey Pitbull Wiz Khalifa Lil Jon Eve Tinie Tempah Jordin Sparks Mariah Carey images: Raph_PH via Flickr. Wiz Khalifa image: Daniel Kelly.
A taste of the Middle East has arrived at King Street, with The Pine Kitchen the latest eatery to join the ever-growing Bowen Hills food hub. Expect Lebanese dishes alongside meals influenced by other countries in the region, but also prepare for an Australian twist. Indeed, while plenty of places throw the term 'fusion' around, The Pine Kitchen's menu is working hard to make it stick. Take dessert: combining two beloved treats — meringue and Turkish delight — the concoction of meringue topped with spiced crème fraîche and Turkish delight pieces is a combo we're happy to indulge (fusion or otherwise). Open for breakfast, lunch and dinner, the share plate-heavy range also features shakshuka, falafel burgers, spiced lamb kofta, and cardamom and beetroot-marinated wagyu beef rump. Doubling as a coffee spot too, they're serving up cups of coffee, tea and rosewater hot chocolates within their open, airy, greenery-filled confines — think white walls, timber furnishings, and plants across the walls and ceiling. For those keeping track, King Street's bustling lineup of restaurants already includes Sushi & Nori, Il Verde, Super Combo and The Lamb Shop. That's Japanese, Italian, burgers, souvas and now Lebanese cuisine all catered for, plus Vietnamese fare as well when Melbourne's Banoi opens its first Brisbane joint in May. The Pine Kitchen is now open on King Street, Bowen Hills. For more information, head to their Facebook page.
This year hasn't been great for anyone; however, if you're a Parks and Recreation fan, a few tiny slivers of happiness have poked through. First, the Amy Poehler and Nick Offerman-hosted crafting series Making It finally hit screens Down Under. Then, the entire Parks and Rec main cast reunited for a one-off, COVID-19-related new episode. And now, Making It is returning for a second season. Premiering in the US in 2018 but only airing its first season on Australian screens via Foxtel earlier in 2020, Making It sees Poehler and Offerman them step into the competitive reality TV show realm. That domain isn't for everyone, but even if you usually completely abhor the genre, its manufactured dramas and its saturation across the small screen, you'll be smiling heartily at Poehler and Offerman's kind-hearted, extremely likeable and all-round nice show. Focusing on DIY crafting, and celebrating both great craftsmanship and genuine camaraderie, it's basically Project Runway — but hosted by Leslie Knope and Ron Swanson. With Poehler and Offerman leading the charge, it's warm-natured, filled with crafting puns and other gags, and showcases folks trying to do their best, helping each other and enjoying themselves. Basically, it's the feel-good, light-hearted viewing we could all use at the moment. And, when there's a stereotypical moment of heightened tension, it's because Making It is overtly making fun of reality TV's usual theatrics. When you're not watching Poehler and Offerman hang out in a tiny house — yes, really — viewers can soak in the talents of contestants who happen to be handy with a glue gun, great at woodworking, skilled at working with felt and other such crafty endeavours. The competitors complete two tasks per episode, with one person sent home at the end of each episode. The last person standing at the end of the season is crowned the show's 'Master Maker' and wins $100,000. If you watched the first batch of episodes and instantly wanted more, Making It's eight-episode second season will start streaming via Binge from Friday, July 31, with new episodes dropping weekly — and, like season one, this is a case of better late than never. Expect the show's contestants whip up everything from mailboxes and costumes to holiday wreaths and pet homes, and to laugh quite often at Poehler and Offerman's jokes. While the star duo do the hosting — and do it well, naturally, even picking up an Emmy nomination for their efforts — the judging falls to Etsy trend expert Dayna Isom Johnson and window-dresser and fashion commentator Simon Doonan. Check out the second season trailer below: https://www.youtube.com/watch?v=NhWFiFfrbY0 Making It's second season will be available to stream via Binge from Friday, July 31, with new episodes dropping weekly. Top image: Making It.
The Scandinavian crime fixation currently sweeping non-Nordic nations shows no signs of abating, every piece with big screen potential — TV series, book or otherwise — seemingly earning a filmed adaptation. Jussi Adler-Olsen's Department Q series provides the latest instance, a four-instalment-to-date police procedural setting a duo of detectives in search of answers to dead cases. The Keeper of Lost Causes is the first feature to result. All the usual elements exist in director Mikkel Nørgaard and writer Nikolaj Arcel's version of the novel. (They're both veterans of the burgeoning genre with resumes that encompass television's Borgen and the Swedish-language The Girl with the Dragon Tattoo as evidence.) An odd couple, an against-the-odds task, brooding backstories, a pretty prey and a cat-and-mouse game with the perpetrator furnish a feature that stays within the confines of the expected — except for one significant deviation. As well as tracking the law enforcement quest to uncover the truth, the film gifts viewers with the victim's perspective, her tale told as a parallel to the investigation. So it is that the taciturn Carl Mørck (Nikolaj Lie Kaas) and lively Assad (Fares Fares) trawl through discarded clues about the disappearance of personable young politician Merete Lynggaard (Sonja Richter), long considered a suicidal jumper who consigned herself to a watery end five years prior. The inter-spliced chronicle of Merete's plight provides a different account, one that the police must piece together as they delve deeper into her mystery. Though the choice to reveal what would've otherwise been a considerable source of dramatic tension is questionable (albeit, a decision that remains faithful to the book), The Keeper of Lost Causes evokes the requisite ominous atmosphere through its appearance and performances. The customary grey aesthetic colours every scene to cement the creepy mood, just as the main pairing fittingly bristles with discomfort even as Mørck and Assad work towards an accord. Cinematographer Eric Kress impresses in the film's shadowy imagery, a feat also achieved by Kaas and Fares. Adopting a chalk and cheese approach to their portrayals, the two actors bounce off each other with an earned rapport that makes their standard contrasting characters all the more interesting. Indeed, as beholden to formula and the familiar as The Keeper of Lost Causes is, Nørgaard endeavours to invest intrigue into the assembly of predictability the movie becomes. Where it all threatens to come undone is in the feature's inability to overcome its overt status as a set-up for further films. In an episodic manner obviously better served on television, The Keeper of Lost Causes wallows in the establishment more than the outcome. What eventuates is an entertaining enough initial chapter in a what will hopefully evolve into a more satisfying saga. https://youtube.com/watch?v=68sO1s9Hy70
We download movies onto tiny laptop screens and watch them hunched over in our beds, spilling Red Bull on the keyboard when Ryan Gosling says sexy things like 'Hey' and switching over to check Gmail when he's not onscreen. It's sad, it's solitary, and the suspension of disbelief is, at most, fleeting. What happened to the glory days of yore, when moviegoing was an event? When you were truly transported? Sensing the aching pit in your soul, on December 11-14, World Movies is bringing its Secret Cinema event to a mystery location in Brisbane, in association with the inaugural Brisbane Asia Pacific Film Festival. You don't know what film you'll be seeing, and the location is revealed by text the day of the screening. Secret Cinema pushes a traditional medium into a new level of experiential entertainment. Live performance as well as themed food and drinks tie in with the world of the film. Examples of performative screenings from overseas have included London's 2010 version which re-created LA's Chinatown in 2019 for Bladerunner (two actors dangled from the ceiling during the climactic 'tears in rain' scene) and a 1950s Algerian casbah for The Battle of Algiers. In Sydney, Secret Cinema moviegoers were conveyed by ferry to Goat Island and subjected to a series of 'survival games' before seeing Japan's cult classic Battle Royale, forerunner of The Hunger Games. That event sold out in 15 minutes and drew a crowd of hundreds. Even bigger things were planned for Sydney's most recent event, though it ultimately had to be cancelled after issues with the venue, meaning this Brisbane incarnation marks a bit of a comeback for the WMSC team. What type of venue theming will be going on in Brisbane? This one's a classic: Roaring Twenties. Go back to the decadent and dramatic days of the pre-stock market crash 1920s. Tickets are $55 (plus booking fee) and go on sale at 9am on Thursday, November 6, via qtix. More info is available on World Movies' Facebook page.
This isn't new news to anyone, but 2020 has been a big year for television. With everyone spending more time indoors due to the COVID-19 pandemic, TV has been a trusty go-to to help while away the hours, days and months — whether it's beamed into your home the old-fashioned way or streamed to your chosen device. If you've spent the past few months bingeing your way through a dark superhero tale, stepping back to 50s and 60s-era New York and watching a media mogul's personal and professional dramas, it seems that this year's Emmy Awards are on the same wavelength. Announcing the nominees for the 2020 ceremony, the Television Academy showered plenty of love on Watchmen, The Marvelous Mrs Maisel and Succession, which notched up 26, 20 and 18 nods respectively. Also doing well was Ozark, which scored 18 nominations — while The Mandalorian, Saturday Night Live and Schitt's Creek all earned 15 nods apiece. From there, everything from The Crown, Westworld and The Handmaid's Tale to Unorthodox, What We Do in the Shadows and even Tiger King earned a mention. It's worth noting that the Emmys hand out a hefty number of awards, with its full nominee list spanning 61 pages — and Netflix picking up a huge 160 nominations across the entire spectrum — so odds are that your favourite show popped up somewhere. Notably for talent from Down Under, Hugh Jackman was recognised for Outstanding Actor in a Limited Series or Television Movie, for Bad Education; Cate Blanchett received a nomination for Outstanding Actress in the same category for Mrs America; and Toni Collette nabbed a Outstanding Supporting Actress nod, also in the same field, for Unbelievable. Plus, Succession's Sarah Snook earned a nomination for Outstanding Supporting Actress in a Drama Series, Hannah Gadsby's Douglas picked up noms for Outstanding Variety Special (Pre-Recorded) and Outstanding Writing for a Variety Special, and Taika Waititi scored an Outstanding Character Voice-Over Performance nod for The Mandalorian. Both on the local front and in general, there were snubs, too. It wouldn't be a list of newly revealed award nominees without them. Russell Crowe's performance in last year's The Loudest Voice went unrewarded — and the fact that Better Call Saul's Bob Odenkirk, Rhea Seehorn and Jonathan Banks were ignored for their exceptional work isn't just surprising, but astonishing. This year's nominations did recognise The Good Place's Ted Danson and William Jackson Harper, though, as well as Brooklyn Nine-Nine's Andre Braugher. So, like all awards nominations from all awards bodies every single time they're announced, it's a mixed bag. [caption id="attachment_756726" align="alignnone" width="1920"] Succession[/caption] The 72nd Emmy Awards will take place on Monday, September 20, Australian time. Here's a rundown of the major nominations — and you can check out the full 61-page list of nominees on the Emmys' website: EMMY NOMINEES 2020 OUTSTANDING DRAMA SERIES Better Call Saul The Crown The Handmaid's Tale Killing Eve The Mandalorian Ozark Stranger Things Succession OUTSTANDING COMEDY SERIES Curb Your Enthusiasm Dead to Me The Good Place Insecure The Kominsky Method The Marvelous Mrs Maisel Schitt's Creek What We Do in the Shadows OUTSTANDING LIMITED SERIES Little Fires Everywhere Mrs America Unbelievable Unorthodox Watchmen OUTSTANDING TELEVISION MOVIE American Son Bad Education Dolly Parton's Heartstrings: These Old Bones El Camino: A Breaking Bad Movie Unbreakable Kimmy Schmidt: Kimmy vs The Reverend OUTSTANDING ACTOR IN A DRAMA SERIES Jason Bateman, Ozark Sterling K. Brown, This Is Us Steve Carell, The Morning Show Brian Cox, Succession Billy Porter, Pose Jeremy Strong, Succession OUTSTANDING ACTRESS IN A DRAMA SERIES Jennifer Aniston, The Morning Show Olivia Colman, The Crown Jodie Comer, Killing Eve Laura Linney, Ozark Sandra Oh, Killing Eve Zendaya, Euphoria OUTSTANDING ACTOR IN A COMEDY SERIES Anthony Anderson, Black-ish Don Cheadle, Black Monday Ted Danson, The Good Place Michael Douglas, The Kominsky Method Eugene Levy, Schitt's Creek Ramy Youssef, Ramy OUTSTANDING ACTRESS IN A COMEDY SERIES Christina Applegate, Dead to Me Rachel Brosnahan, The Marvelous Mrs Maisel Linda Cardellini, Dead to Me Catherine O'Hara, Schitt's Creek Issa Rae, Insecure Tracee Ellis Ross, Black-ish OUTSTANDING ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE Jeremy Irons, Watchmen Hugh Jackman, Bad Education Paul Mescal, Normal People Jeremy Pope, Hollywood Mark Ruffalo, I Know This Much Is True OUTSTANDING ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE Cate Blanchett, Mrs America Shira Haas, Unorthodox Regina King, Watchmen Octavia Spencer, Self Made Kerry Washington, Little Fires Everywhere OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES Giancarlo Esposito, Better Call Saul Bradley Whitford, The Handmaid's Tale Billy Crudup, The Morning Show Mark Duplass, The Morning Show Nicholas Braun, Succession Kieran Culkin, Succession Matthew Macfadyen, Succession Jeffrey Wright, Westworld OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES Laura Dern, Big Little Lies Meryl Streep, Big Little Lies Helena Bonham Carter, The Crown Samira Wiley, The Handmaid's Tale Fiona Shaw, Killing Eve Julia Garner, Ozark Sarah Snook, Succession Thandie Newton, Westworld OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES Andre Braugher, Brooklyn Nine-Nine William Jackson Harper, The Good Place Alan Arkin, The Kominsky Method Sterling K. Brown, The Marvelous Mrs Maisel Tony Shalhoub, The Marvelous Mrs Maisel Mahershala Ali, Ramy Kenan Thompson, Saturday Night Live Daniel Levy, Schitt's Creek OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES Betty Gilpin, GLOW D'Arcy Carden, The Good Place Yvonne Orji, Insecure Alex Borstein, The Marvelous Mrs Maisel Marin Hinkle, The Marvelous Mrs Maisel Kate McKinnon, Saturday Night Live Cecily Strong, Saturday Night Live Annie Murphy, Schitt's Creek OUTSTANDING SUPPORTING IN A LIMITED SERIES OR TELEVISION MOVIE Dylan McDermott, Hollywood Jim Parsons, Hollywood Tituss Burgess, Unbreakable Kimmy Schmidt: Kimmy vs The Reverend Yahya Abdul-Mateen II, Watchmen Jovan Adepo, Watchmen Louis Gossett Jr, Watchmen OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE Holland Taylor, Hollywood Uzo Aduba, Mrs America Margo Martindale, Mrs America Tracey Ullman, Mrs America Toni Collette, Unbelievable Jean Smart, Watchmen Top image: Watchmen, Mark Hill/HBO
Enough of the Dan Brown franchise. It was fun while the going was good, but, please…no more. The original film, The Da Vinci Code, ended up being surprisingly watchable, with director Ron Howard combining rollicking pace and genuine intrigue to keep audiences' hearts pumping from go to woe. Even the sequel, Angels and Demons, proved solid enough, albeit a film distinguishable from its predecessor more by scale than originality. By Inferno, however, it's more than clear that the well has truly run dry. Again we find our hero Robert Langdon (Tom Hanks) in Italy, accompanied by a much younger female companion (Felicity Jones). Together they solve riddles and anagrams as they scramble from monument to monument, whilst dodging assassins from a mysterious organisation and passing implausibly through both heavy security and lines of queueing tourists. It's Dante this time, not Da Vinci, but the rest feels far, far too familiar. Even the film's ticking time bomb is again an actual time bomb, with only its contents (a world-destroying virus instead of anti-matter) being the point of differentiation. Hanks, fresh off his fantastic work in Sully, oscillates between looking bored, tired and confused – and not just because the script calls for it. The rest of the cast, meanwhile, seems far too blasé for a group possessed of the knowledge that the end of the world may be just a few short hours away. So are there any redeeming features? No, not really, although the film does raise one interesting idea: international audio guides for tourists narrated by Academy Award winner Tom Hanks. The only moments of note in the movie are those where, once again, Hanks's character offers clumsily inserted pieces of historical trivia into the narrative. They're crow-barred in, but remain undeniably interesting, and when coupled with Hanks' avuncular tone you can't help but indulge in the ad hoc history lessons. If Ron Howard needs a new project, we'd suggest just strapping a go-pro to his favourite leading man and letting him roam wild in the galleries and gardens of the world's grandest estates, pointing out tidbits and factoids as they arise. https://www.youtube.com/watch?v=RH2BD49sEZI
"One more thing, Manson is small, like, really small — try not to stare," talkative serial killer Ed Kemper (Cameron Britton) warns FBI agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) in the new trailer for Mindhunter season two. If you didn't know, Charles Manson was only 157 centimetres tall (just under 5"2), which is short — especially in comparison to Kemper's towering 206-centimetre (6"9) frame. In this season of the show — which finally drops on Netflix on Friday, August 16, returning two years after the series first hit the platform — the agents are hoping Manson (Damon Herriman) will help them solve the Atlanta child murders. For the uninitiated, across 1979–81, at least 28 kids, teens and adults were killed — and this second trailer for the show's new season shows the reaction in Georgia, the agents desperately trying to solve the case and some particularly gruesome murders. This time round, expect more criminal profiling and psychological thrills, obviously, with the show based on the excellent non-fiction book Mindhunter: Inside the FBI's Elite Serial Crime Unit. Expect more meticulous Fincher magic as well, as the Seven and Zodiac filmmaker continues his on-screen fascination with serial killers. He has company behind the lens, thanks to Australian director Andrew Dominik (Chopper, The Assassination of Jesse James by the Coward Robert Ford) and US helmer Carl Franklin (Devil in a Blue Dress, Out of Time). Get creeped out by the second trailer for Mindhunter season two below (and the first here, if you haven't already): https://www.youtube.com/watch?v=PHlJQCyqiaI Mindhunter season two drops on Netflix on Friday, August 16.
Just hours after its series finale aired, Prime Video has confirmed that The Summer I Turned Pretty will conclude with a feature film. Announced on Thursday, September 18, the adaptation of Jenny Han's bestselling trilogy will wrap up with a movie written and directed by Han herself. "The Summer I Turned Pretty has struck a chord with audiences everywhere, creating moments of joy, nostalgia, and connection that have made it a global sensation," Courtenay Valenti, head of film, streaming and theatrical at Amazon MGM Studios, and Vernon Sanders, Global Head of Television at Prime Video and Amazon MGM Studios, said in a joint statement. "We're proud of the series' extraordinary success and couldn't be more excited to partner again with Jenny Han to bring fans an unforgettable next chapter." Han added: "There is another big milestone left in Belly's journey, and I thought only a movie could give it its proper due. I'm so grateful to Prime Video for continuing to support my vision for this story and for making it possible to share this final chapter with the fans." Since premiering in 2022, The Summer I Turned Pretty has become a global phenomenon. Its second season, released in 2023, more than doubled the first season's viewership within its first three days. Season three debuted in July 2025 and was streamed by 25 million viewers worldwide in its first week, becoming Prime Video's fifth most-watched returning season. The series has also helped launch the careers of stars Lola Tung, Jackie Chung, Christopher Briney, Gavin Casalegno, Rachel Blanchard, Sean Kaufman and Rain Spencer. No release date has yet been set for the film. Images: Erika Doss | Amazon
