This year hasn't involved wearing as much smart casual and business attire as we imagined — come on, we all wore PJs out of frame in at least one Zoom meeting. Right? But with society starting to open back up at different rates across the country, our neglected wardrobes are going to be back in rotation very soon. And, if you've realised that you didn't really miss your 'nice' clothes during lockdown, it may be a sign you need to do a little outfit rejig. Big fan of signs? Here's another one: menswear label M.J. Bale is hosting a huge two-week sale. The Australian fashion house focuses on producing timeless pieces that'll last beyond the seasonal trends, and this month you can get your hands on some high-quality, suave styles for an absolute steal. We're talking suits for just $399 (for one week only, between September 14–20), plus casual attire like jackets for under $199, trousers for under $99 and shirts for under $69 — it's all up to a whopping 50 percent off. The sale is running from Monday, September 14 to Sunday, September 27. You can jump online here to check out what's on offer. If you live in NSW or Queensland, you can also go to your closest M.J. Bale store. The M.J. Bale Spring Bale Sale is running between September 14–27, both online and at its stores (besides Victoria).
A love of Woody Allen courses through Fading Gigolo, his influence evident in his inclusion amongst the film's cast but his distinctive footprint also felt in its themes and moods. Though John Turturro is the feature's guiding force as its lead actor, writer and director, the inspiration he has taken from his co-star is obvious. His fifth effort as a filmmaker offers a light homage to the type of easy and breezy New York comedies Allen is synonymous with. To saddle Turturro's protagonist with the waning prostitute descriptor of the film's title is to overstate his enthusiasm for his new-found line of work; for Fioravante — also known by his gigolo pseudonym of Virgil Howard — making money making love is a reluctant sideline to his floristry job. His friend, failed bookseller Murray (Allen), convinces him to test out the world's oldest profession with dermatologist Dr Parker (Sharon Stone). Positive reports from their first satisfied customer motivate Murray to start actively scouring for other clients, including Hasidic widow Avigal (Vanessa Paradis). The relaxed attitude that marks Fioravante's take-it-or-leave-it approach to benefiting from his bedroom skills also flavours the entire film. It's a movie that saunters with fondness rather than marches with purpose. Affection is its primary motivation — for its New York setting, for eclectic characters that careen through eccentric circumstances, for the brand of emotional sweetness and slapstick silliness too rarely offered with any intelligence, and for the continual mysteries of life and love. If it all seems familiar in that warm and witty way of Allen's directorial efforts, that's because it is, especially with the auteur in the thick of the amiable ensemble antics. In his best acting role in many years (and in a part obviously written for him), he relishes the expected affable neuroses of his accepted screen presence. And yet, his biggest feat and the feature's biggest surprise is his double act with Turturro. Where Allen provides the anticipated patter, Turturro is an engaging, alluring enigma. He sells the facade of Fioravante's sexual appeal and sensitive outlook but leaves audiences ever intrigued and always wanting more. The duo fit in perfectly in the caper-like creation that Fading Gigolo becomes, as do their well-cast supporting players; however, the hijinks-laden atmosphere stems as much from a persistent jazz score and a storyline that sees Murray tailed by a jealous neighbourhood watch cop (Liev Schreiber) and Fioravante pursued for a menage a trois with Dr Parker and her friend Selima (Sofia Vergara). Following such comic paths proves purposely frivolous and recognisable but also pointedly earnest. With a slightness of touch, Turturro whips his Allen-esque meanderings into a modest but melodious tapestry of offbeat observations and off-kilter charm. https://youtube.com/watch?v=_pdlbI4TuGY
Break out the martinis and prepare for a shaken but not stirred Boxing Day — Bond, James Bond, is coming to your lounge room. On Wednesday, December 26, Stan will become home to all 24 official films in the espionage franchise, which means one massive movie marathon is on the cards. Sean Connery smouldering his way through everything from Dr. No to Diamonds Are Forever, Roger Moore stepping into 007's shoes between Live and Let Die and A View to A Kill, Timothy Dalton's two-film run in The Living Daylights and Licence To Kill — they're all included. So is Pierce Brosnan's stint as the secret agent between GoldenEye and Die Another Day, and Daniel Craig's four contributions to date since Casino Royale. Aussie actor George Lazenby's one-movie appearance as Bond in On Her Majesty's Secret Service is also on the bill. A 25th movie, Never Say Never Again, will also hit Stan on the same date. Made in 1983, it stars Connery as the suave spy. But, because it was made by a different company from the rest of the Bond movies, it's not considered part of the official franchise. If you're particularly keen to rove your eyes over every single detail — and every villain, Bond girl, gadget and opening credits sequence too — Stan is streaming the flicks in 4K. And even if you're not wowed by revisiting the franchise in an impressive resolution, this marks the first time the entire franchise has made its way to an Aussie streaming platform. Find the Bond franchise on Stan from Wednesday, December 26,.
The further you get from the city centre, the more exciting it becomes to find an excellent brunch spot. When we set out on a road trip to the D'Aguila National Park north of Brisbane, stopping by The Flying Nun Cafe in Samford proved to to be an unexpected highlight. Tucked off the main road, the cafe is set in an old church, renovated with a massive deck that winds between large trees where a cool breeze blows by. It's a hot day, and the first thing on the tempting specials board is a watermelon, apple and mint frappe — it hits just the spot. As does the caramel malt milkshake. You read right, we've found a place that still serves malt — a rarity indeed. When we open the menu, we find one of the best breakfast selections we've seen in a while. While they've got a whole page for eggs benny and big breakfasts, the main menu includes the likes of scallops with fennel and red wine sausage, and a mushroom bruschetta done two ways. Even the avo on toast is stacked so high, the green smash is taller than the fat sourdough toast itself. The potato and Persian feta hash cakes with poached eggs, a chorizo crumb and carrot puree sounded like a winner, and didn't disappoint. A wooden board arrived laden with three short, fat potato cakes and the eggs resting in a nest of chorizo crumb. Despite the cafe being a busy hive of activity on a Sunday morning, the staff still made the time to make us feel at home —cracking jokes, and running to the kitchen to get the hash cake order in before another waitress snagged the last one for someone else. We lucked it with timing and were able to grab a walk-in table, but we recommend booking on weekends. Samford is only a half hour drive from the city, but it feels like a lifetime away from the hustle and bustle. Next weekend, embark on your own mini road trip and make The Flying Nun your first port of call. At least try the incredible-looking homemade lemon meringue pie for us. We couldn't find the room.
They say you should never stop learning new things — and with the great range of classes on offer at Laneway Learning, why would you want to? Case in point: Plastic Fantastic – Christmas Presents with a Difference. That’s your stockings stuffed and sorted. Recycling a humble everyday item everyone has too many of (yes, we know what’s under your sink), this crafting session teaches all the tricks for turning plastic bags into ecologically conscious gifts. Jewellery, placemats, coasters: they’re just a few of the items and accessories you can make by melting and fusing together this overlooked, abundant resource. The festive fun doesn’t stop there, with the next few weeks filled with ways to spread more Christmas cheer and find some seasonal bliss. Reduce stress with your own essential oils, whip up some super-healthy vegan chocolate truffles, and calm your mind by making your own Mandala. You know you want to.
After playing host to Brisbane's decadent Lobster Shack pop-up, Petrie Terrace is now home to the city's newest American-themed eatery and watering hole. Open in the spot formerly known as Sandy's Goodtime Bar, Fat Belly Jack's is the inner-city area's new home of fried chicken, bourbon, whisky and beer. The new venture actually comes from the folks behind the aforementioned short-term lobster and Champagne venture. Indeed, they were so impressed with its success that they decided to settle into 48 Petrie Terrace for the long haul. This time around, though, they're all about Nashville-style poultry pieces cooked in a southern-style batter, then dunked in spicy coatings that range from mild to 'really fucking hot', as well as specially paired boilermakers. Food-wise, patrons can choose from burgers, wings, tenders, and either quarter or a half birds, which all come with bread, pickles and a choice of sides. And as far as those accompaniments go, Fat Belly Jack's is slinging bacon-fried greens, Memphis slaw, creamed corn, mac 'n' cheese and crinkle cut fries. With bare brick walls on display, neon signs a-blazing, and a soundtrack of American blues, rock, soul, funk and country music, the venue leans into its theming; however, other than the chook, it's the huge back bar that's the focal point. A sizeable range of American spirits sits alongside a rotating lineup of US beers, plus Fat Belly Jack's special boilermaker menu. Spanning from high-end to more affordable options, the lineup includes the likes of the Baller Boiler, pairing Deep Creek IPA with five-year-old Willet Pot Still Reserve whiskey, as well as the Poor Boy, which combines a can of Pabst Blue Ribbon with a shot of Jameson.
Remember those childhood days sat in front of the television, watching your beloved Disney flicks over and over? Of course you do. While you were binging on The Lion King or The Little Mermaid on repeat, you probably weren't thinking about your future adult self partying to 'Hakuna Matata' or 'Under the Sea' — but The Brightside is about to blow your inner kid's mind. From Beauty and The Beast to Aladdin to Frozen, if it's a piece of music from a Disney flick, you'll likely hear it on Saturday, February 5. The soundtrack will also span a heap of Disney TV shows and their stars, plus hits by former Mouseketeers. Think Hilary Duff, The Jonas Brothers, Britney Spears, Justin Timberlake and Christina Aguilera — and back on the movie front, High School Musical obviously. Kicking off at 11pm, this Disney Party will get you dancing to your Disney faves and belting out many a tune while you do so. Tickets cost $15.30, and are on sale now.
You shouldn't really need an excuse to celebrate Australia's vibrant music scene, but it's nice to have one. The Haunt and 4ZZZ are bringing together local and national musicians to celebrate the last weekend of Brisbane Live Music Week with their annual, one-night music festival, Happyfest. Since 2012, 4ZZZ's Happyfest has sported a collection of up-and-comers who've since gone on to conquer international music circuits — namely Blank Realm, Lost Animals, Kirin J Callinan and Bitch Prefect. This year they've snagged Sydney rockers The Friendsters, locals Kitchen's Floor, Bent, Clever, California Girls, Raus and Astral Skulls. Happyfest kicks off at 7pm this Friday, with $10 entry for the general public and $7 for 4ZZZ members. Also, extra perk, The Caxton has $10 meals at their street cafe every Sunday, so get on down, grab a parmy and check out some ridgy-didge rock.
Festival season is well and truly upon us, with the Woodford Folk Festival the latest event to announce its program. If you fancy seeing out 2019 and welcoming in 2020 while catching a heap of bands, wandering between arts performances and getting a little muddy across a grassy patch of southeast Queensland, the fest has you covered for its whopping 34th year. Taking place at Woodfordia about 90 minutes north of Brisbane, this year's event will be held for six days between Friday, December 27, 2019 and Wednesday, January 1, 2020 — with Amanda Palmer, Lior, Horrorshow, The Herd, Kate Miller-Heidke, Electric Fields, Emma Louise, Archie Roach with Paul Grabrowsky, and Kasey Chambers among its high-profile talent. In total, over 2,000 artists will put on more than 1600 shows across the festival's 25 stages, all in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots. With the lineup featuring everything from music, art, circus and cabaret to yoga, dance and comedy, there's plenty of other highlights — including a spoken word, comedy and performance program that tasks American Gods and Stardust author Neil Gaiman with reading from his work as the sun sets on the first day of the new year. Elsewhere, Woodford's 2019–20 bill spans arts, dance and meditation workshops, plus a heap of circus and cabaret shows. And, if you're bringing littlies, the event's Children's Festival within the broader fest is also returning. Or, you can explore Woodfordia's rainforest plants on a guided tour, eat a feast of bush foods, play a real-life fantasy game and soak in the flames at the fest's annual closing fire ceremony. Fancy celebrating New Year's Eve with an Elton John sing-along? Woodford won't go breaking your heart, because that's on the agenda also. While the annual Queensland festival has weathered an uncertain future in recent years, it remains a staple of the state's end-of-year calendar — and visit will also boast a whole heap of stalls around the grounds (195 in 2018–19), turning the site into a mini-village for its duration. That includes everything from bars, cafes and restaurants, to an on-site doctor's surgery and two general stores. As always, camping is available at one of the fest's multiple campgrounds, or you can nab a ticket just for the day. Either way, expect to have company, as around 132,000 people attend each year. The 2019–20 Woodford Folk Festival runs from Friday, December 27, 2018 and Wednesday, January 1, 2019 at Woodfordia on the Sunshine Coast. To view the program and buy tickets, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
When Brisbane first got all revved up about Speed: The Movie, The Play a few years back — and more than a few times since — it was just the beginning of the city's love affair with comical stage interpretations of famous 90s films. And while there's sadly no blank-faced Keanu driving a bus in the other immersive and amusing adaptation that's known to float into town, there's something just as good. Titanic: The Movie, The Play is back to take on the tragic romance of Kate and Leo — as well as the just-as-tragic collision of a boat and some frozen water. Yes, your heart will go on as two lovestruck ship-dwellers attempt to overcome their different backgrounds, ignore any rules about getting hot and steamy in someone else's car, and try to avoid a pesky iceberg. And, chances are you'll still laugh along — even though you know how it all turns out. Actually, maybe you don't; if anyone was going to work in Winslet's revelation a few years back that there was actually room for DiCaprio on the door that proved so pivotal to the movie's final scenes, it's this spirited bunch. If you fancy being king of the world for a night, the show hits Brisbane Powerhouse between Thursday, August 19–Sunday, September 12.
It's the ice cream mix-in you'd more than happily eat by itself, even if your mum would never let you whenever she was baking. And, it's now the main thing on the menu at Fortitude Valley's new hole-in-the-wall, which is dedicated to the gooey goodness that is cookie dough. At DoughLord, patrons won't have to enjoy their uncooked bikkies in scoops of creamy, frosty dessert, although you can if you'd like. If you're just eager to gorge on a cup full of the tasty stuff by itself, that's the number one attraction. And, unlike the mixture you make at home — or that comes in store-bought cookie packages — there's no eggs included among the ingredients, which means its safe to devour. As well as serving up a storm of different flavours from Brunswick Street since December 18, DoughLord's deliciousness is also available via UberEATS, in case you're keen for the sweet treat but can't be bothered leaving the house. Varieties and specials change regularly, but expect chocolate chip, salted caramel and peanut butter brownie, among others — all with optional toppings, and with milkshakes also on offer to wash it all down. Find DoughLord at 364 Brunswick Street, Fortitude Valley. Head to their website and Facebook page for further details.
There's the truth, and then there's the tale that is told, a divide Kill the Messenger acknowledges. Driven by journalistic duty, Gary Webb (Jeremy Renner) unearths a scandal, though once his report is published, the press turns their attention to him over the facts. The surrounding film falls prey to the same trick, presenting an intriguing character study but skirting over the damage done. Webb is a small-time player for a small-time paper, yet unafraid of turning big leads into big headlines. In California in 1996, he receives a tip about a deal involving the nation's intelligence agency and crack dealers in South Central Los Angeles. Covertly supporting the Nicaraguan Contras in their fight against their country's socialist rulers, the CIA is accused of assisting their US drug racket. Webb scours through sources from South America to Washington to substantiate his story, all ignored when governmental denial thrusts him into the spotlight. With Mary Elizabeth Winstead and Oliver Platt as Webb's editors, Rosemarie DeWitt as his wife, and Michael Sheen, Andy Garcia and Ray Liotta as furtive figures, a competent cast fills in the details, in what remains a portrait of Webb's rise and fall. As compelling as he has ever been, Renner retains focus, matching his physicality to the transformative plight of a determined crusader victimised for doing the right thing. Often framed from afar or shown in hand-held close-ups, his recreation of Webb constantly looks over his shoulder with good reason. "We would never threaten your children," he is told in his only official face-to-face meeting with the CIA, and the feature's best display of tension. Based on Nick Schou's 2006 book of the same name, alongside Webb's own 1998 manifesto Dark Alliance, Kill the Messenger harks back to a host of conspiracy thrillers and whistleblower dramas in its newsreel compiles offering background information and incendiary montages setting the emotional tone. Better known for helming episodes of Dexter and Homeland, director Michael Cuesta sticks to the standard in evoking an air of unease and flitting between episodic jaunts in a quest for justice, his feature fervent in sentiment but fleeting in impact. All eyes stay on Renner's rising rage in his potent portrayal; however, the feature's message remains murky, swelling in telling of personal conflict but fading in spanning the extent of the scenario. That the most damning revelations are told as a post-script may indicate the difficulty of condensing the complicated true tale, but it also speaks to the same selectivity the film ostensibly rallies against. Kill the Messenger shouts the story of someone who refused to be silenced, yet favours an impassioned underdog account over a thorough consideration of its central media machinations. https://youtube.com/watch?v=14tFIJIp1bs
Another year, another excuse to head into colourful surroundings, take a heap of photos and pack your social feeds with colourful snaps. First, the Sugar Republic team brought its original pop-up dessert museum to Brisbane. Then, it set up The Selfie Lab, recognising exactly why people flock to such supremely photogenic surroundings. Now, for two weeks to end winter and start spring, the same crew is setting up Colour in the City. The overarching theme this time: dazzling hues and plenty of them, all to add some brightness to this time of year. And, as the installation's name also makes plain, it's heading into the CBD, setting up shop in and around Queen Street Mall from Friday, August 26–Friday, September 9. To enjoy this one — and to take a year's worth of Instagram pics while you're at it — you'll be embarking upon a walking trail, hitting up a number of empty shopfronts that are getting quite the temporary makeover. In total, there'll be seven spaces to wander through, as well as a pop-up funhouse in the Wintergarden called the Pastel Palace. First, the shopfronts. Some will sit on Adelaide Street, too, and you'll also want to make a trip to Edward and Albert streets. And, if you haven't scoped out the lower-ground levels of the Myer Centre and Queens Plaza, add them to your list as well. That's where you'll find smiley faces beaming, a pink-hued floral wonderland, glowing neon art and street poster art that's been given a positive twist. Or, you can peer at a traditional candy shop, or channel some optimism against a Singin' in the Rain backdrop. And, there'll also be a hidden plant wall to hunt down. Once you've moseyed to all of the above Colour in the City stops, wrapping things up at the Pastel Palace will give you more reasons to grab your camera. There, you'll be greeted by a pastel ball pit, a confetti shower and a positive message wall, as well as a rainbow-coloured shaggy hanging that'll sit outside. While you'll probably remember forking out an entry fee for Sugar Republic's past installations, this one is completely free. And if you're wondering why it's popping up, the aim is to attract more folks into the city to eat, shop and stay as well — just like the free metered parking deal did earlier this year. Colour in the City will pop up in and around the Queen Street Mall, Brisbane, from Friday, August 26–Friday, September 9. For more information, head to the Sugar Republic website.
Noosa's beaches and laidback vibes are legendary. It's little wonder that the spot has also given rise to its own brewery, too. When you're soaking in this scenic corner of southeast Queensland, a locally made cold one goes down even more smoothly than it normally would. That's especially the case when it's made for easy drinking, which — along with minimising its environmental impact — is firmly Land & Sea — Noosa Brewing Company's focus. Expect a variety of options, with this Noosa Heads outfit's craft beer selection spanning pale ales, IPAs, mango sours, rice lagers and kolschs. Head by the brewery's tap room, and you can also take a tour — not only of Land & Sea, but of the Fortune distillery. Running on Saturdays from 11am–12.30pm, the $55-per-person tours also include a craft beer tasting paddle and a spirits tasting paddle.
After an epic ticketing hack spoiled everything for hyperventilating punters on release day, Splendour in the Grass has rectified the situation with a fresh batch of tickets. Initially released in early May, Splendour tickets found themselves both the target of more festival-seekers than ever in Splendour history and hackers who charged said ticket buyers thousands in sneaky fees. Attempting to put smiles back on the dials of festivalgoers and shareholders alike, Splendour and North Byron Parklands applied for a capacity increase of 2500 tickets. Prompting high fives Australia-wide, the Department of Planning and Environment have approved the increase. The new load of tickets will go on sale at 9am AEST on Thursday, June 12 via Moshtix. Splendour are releasing a mixture of three-day, single-day and camping tickets. If you miss out on this predictably chaotic bid for tickets, Splendour's Re-sale facility allows ticketholders who bail on Byron plans to offload their ticket to anyone who missed out. The Re-sale will be open through Moshtix from 9am AEST Monday, June 16. Splendour is pleading with punters to avoid buying through online auction sites or dodgy-looking creeps outside the front gate. Your name and DOB will be printed on your ticket. The Splendour in the Grass lineup and more details are over here.
Flicked through all of your various streaming queues, watched everything that takes your fancy and wondering what to feast your eyes on next? On Friday, March 27, let the folks at Static Vision and Prototype do the choosing for you. One usually specialises in weird, wonderful and cult cinema screenings around Sydney, while the other is an e-newsletter dedicated to new experimental art and short films — and they're joining forces to put on Lockdown: An Interactive Livestream. Beamed to viewers online from 6pm AEDT (5pm AEST), Lockdown will screen six hours of movies — including three features and three shorts programs, plus e-chats, Q&As and interviews. As for exactly what you'll be watching, the program is top secret until the night, with being surprised by the lineup choices all part of the fun. Lockdown will be setting up an online screen room for the event; however you can decide just how interactive you'd like your experience to be. Natter along with other viewers in the live-text chat, or hit full-screen mode simply sit back and watch — it's up to you. To register your participation — and to receive updates — head to the event's Eventbrite page.
Many an hour spent in many a school history lesson has taught us all that history doesn't change. But, what if it does? Sure, the words written in record books years ago still remain the same today, but the past isn't just an account of what happened — it's shaped by our knowledge and understanding of what happened. Accordingly, unearthing new information can always cast everything we thought we knew in a different light. With his latest exhibition taking the title Our Mutable Histories, it's clear that Perth-born, Brisbane-based Indigenous Australian artist Robert Andrew feels the same way — and from March 3 to July 16, Brisbanites have the chance to discover why. Walking through his free showcase at the Museum of Brisbane is like stepping into a shifting landscape designed to reflect the space where the country's Anglo-European and Australian Indigenous cultures and histories come together. Don't take the shifting part literally, of course. Nothing moves here other than your perception. Using materials such as natural ochres, oxides and chalks in conjunction with contemporary technologies, Andrew aims to unearth the evolving identities that lurk beneath, with his pieces acting as a response to his own once-hidden family heritage.
Early in Good Will Hunting, a maths professor (Stellan Skarsgård) tries to convince his therapist friend (Robin Williams) that a troubled janitor (Matt Damon) is actually a genius. To make his case, he mentions Srinivasa Ramanujan, a self-taught Indian prodigy who compiled thousands of theories at the beginning of the twentieth century. For many viewers, that's probably the only time they've heard his name — and they may not even remember it. Stepping through Ramanujan's story, The Man Who Knew Infinity endeavours to explain why he's held in such high esteem, and to bring the mathematical pioneer to wider attention. Given that Ramanujan taught himself complex equations, earned the intrigue of academics on another continent and then proved his prowess to even the most skeptical of onlookers, he's certainly worthy of acclaim and recognition. As played by Dev Patel, his tale is filled with extraordinary achievements, spanning his childhood in Madras, his acceptance into Cambridge and his bond with his mentor, G.H. Hardy (Jeremy Irons). Sadly, it's also blighted by the prejudice of his peers, as well as numerous physical, emotional and spiritual struggles along the way. There are only so many ways that a film can cycle through the life and times of people of note, with biopics often judged on three factors: how closely they stick to the usual formula, whether they're based around a convincing central portrayal, and if they manage to shine a spotlight on little-known facts or under-appreciated figures. While The Man Who Knew Infinity is guilty of the former in the most dutiful and conventional of ways, it's also boosted by Patel's measured yet moving performance, as well as the feature's earnest and noble attempt to pay tribute to Ramanujan. Just as the groundbreaking maths wiz benefited from his working relationship with Hardy, however, Patel is at his best when Irons is by his side. The Slumdog Millionaire star might be working with his most significant role since his breakthrough appearance, but it's his veteran co-star who threatens to steal the show. As Irons exudes a mix of world-weariness, tenacity and elegance in every scene, Patel rises to match him. Of course, they're not merely playing their tweed-suited, teacher and student parts. Here, art is clearly imitating multiple layers of life. Accordingly, as a showcase for its two key talents and as a celebration of its subject, The Man Who Knew Infinity never proves less than interesting — although writer-director Matt Brown doesn't always seem to realise that. In fact, in adapting the biographical book of the same name, the second-time filmmaker could've used a little of Ramanujan's dedication and enthusiasm, not to mention Patel's passion and Irons' charm. Preferring the slow, steady and sentimental approach, he makes all the obvious storytelling and stylistic choices, including keeping everything as polished as possible. Thankfully, the broader details win out over the overall method of delivery.
It just got real dark in Brisbane. And in Brisbane during the warmer months, that only means one thing: a storm is coming. So if you're currently reading this from somewhere dry, warm and cosy, we suggest that you keep it that way for the rest of your Thursday night. And not just any old wet weather, either. The Bureau of Meteorology has reported that damaging winds and large hail is on its way — and it's looking like it'll affect a big chunk of Queensland, too, with Brisbane City, Ipswich, Logan, Gold Coast, Redland City and parts of Somerset, Scenic Rim and Moreton Bay Council Areas all set to be hit. Three serious thunderstorms are currently in the region and, taking a peek at the BOM's nifty colour-coded map, below, it looks like Brisbane's CBD is going to be hit head-on. https://twitter.com/BOM_Qld/status/1184712712644898817 Winds of over 80 kilometres per hour have already been recorded at Gatton and Warwick, too — and with winds that strong come falling trees (and sometimes falling powerlines), so Queensland Fire and Emergency Services has advised Brisbanites to secure loose outdoor items and stay inside. Their number is 132 500 if you need SES assistance. https://twitter.com/QldFES/status/1184691032975261696 The wild weather looks like it will continue into the evening, but tomorrow is set to be a sunny, rain-free 28. Stay dry out there. And remember to check Live Traffic, Translink and BOM for warnings and updates.
Something extraordinary is happening in Brisbane this year, with the city playing host to the AFL Grand Final on Saturday, October 24. This is the first time that the code's biggest game has been held outside of Melbourne, so it's a huge deal — and, as well as the match itself, Brisbane is also welcoming the traditional AFL Footy Festival. Part of the pre-GF celebrations, the festival will take over a variety of Brisbane locations in the lead-up to the big game. Heading to the Brisbane City Botanic Gardens between Thursday, October 22–Saturday, October 24 is particularly recommended, however, as that's when you'll be able to tuck into bites to eat, pal around with footy stars and take part in a heap of family-friendly activities. The inner-city spot will be pumping with entertainment, kids' activities and food — including currywurst, Sri Lankan dishes and ice creams — from 9am–3pm Thursday and Friday, and 9am–10pm on Saturday. If you'd like to watch the game, you can also mosey over to the Brisbane Riverstage and catch it on the big screen on Saturday evening. [caption id="attachment_787112" align="aligncenter" width="1920"] Martin Keep/AFL Photos[/caption] South Bank's Streets Beach is also hosting activities, food and a big screen from 4–10pm on Saturday, if you find yourself over on that side of the river. Disclaimer: even though you might want to, you will not be allowed to drink your drinks out of a Premiership Cup. Top image: Brisbane City Council via Flickr.
Seven years ago Dustin Hoffman, himself a former chemist, issued a stinging rebuke of the increasingly 'dumb' science fiction movies making their way onto our screens. Laziness was at the heart of his complaint, as he accused writers of opting for meaningless techno-babble instead of taking the time to invent intelligent solutions to their characters' scientific problems. Hoffman even went so far as to help sponsor the Science and Entertainment Exchange in order to promote films deemed to respect scientific principles and debunk those which are unrealistic. It wasn't that sci-fi movies couldn't have action in them, he explained, they just needed to ensure the sci remained the prevalent part. Arrival, the new film by Sicario and Prisoners director Denis Villeneuve, is a movie of which Hoffman would be proud. Beginning conventionally in the vein of an Independence Day or The Day The Earth Stood Still, the film opens with the sudden arrival of twelve mysterious alien spaceships in various locations around the world. Yet rather than launch an attack, they sit curiously idle, as the humans debate their origin and intent. Rather than focusing on action, Arrival instead veers much more towards the themes of Sphere (which starred Hoffman) or Contact, in that the world's scientists, rather than its soldiers, form the core team around which the story revolves. Fronting the US team are Dr Louise Banks (Amy Adams), America's foremost linguistics expert, and Ian Donnelly (Jeremy Renner), a theoretical physicist. Their goal is singular, yet phenomenally complex: figure out how to communicate with the aliens and convey one simple, critical question: "what is your purpose here on earth?" What follows is a fascinating study in language, history and non-verbal communication, where variables and complexities in even the most rudimentary grammatical expressions become seemingly insurmountable obstacles. Add to that the paranoia of military and CIA liaisons (Forest Whitaker and Michael Stuhlbarg, respectively) whose focus rarely extends beyond fears of an invasion, along with the vicissitudes of international diplomacy wherein sharing and cooperation are considered hallmarks of weakness, and you find in Arrival an intensely engaging, cerebral and often gripping sci-fi thriller. Based on the cult novella "Story of Your Life" by Ted Chiang, Arrival blends sumptuous cinematography with weighty abstractions that, for the most part, land with an assured touch. Glimpses into Louise's personal life raise questions about time and our linear perception of it, and only rarely does the script indulge in the kind of corny musings traditionally found in freshman philosophy essays. Adams's performance is the clear standout, around which her supporting cast plays it with impressive reserve. The score by Jóhann Jóhannsson, meanwhile, shifts effortlessly between beautiful and bombastic. Intelligent and restrained, Arrival is a welcome addition to the sci-fi canon that wows you with its brains rather than simply its special effects. https://www.youtube.com/watch?v=tFMo3UJ4B4g
Were you the type of kid who spent too much time trying to win prizes from claw machines? Are you now the kind of adult who likes your spirits with an amber hue? In great news for everyone who falls into both categories, Whisky Whisky combines the two — because who said that sipping drams and testing your hand-eye coordination to win whisky-themed prizes can't go hand in hand? Taking place across two sessions, from 1–3.30pm and 4.30–7pm on Saturday, October 19, 2024 at Fish Lane, Whisky Whisky comes from the folks behind Supping Club. As the event's name makes plain, this afternoon is all about whisky appreciation. With your ticket, which starts at $149, you'll be able to taste your way through more than 100 different local and international whiskies from 30-plus brands, including varieties from Bladnoch, Amber Lane, Archie Rose, Starward and Kilchoman. That's plenty to say cheers to, clearly. You'll also get your own glass to keep, and a lunchbox of pan-Asian-inspired eats from Hello Please to line your stomach. And, you'll score a token for one top-shelf dream dram of your choosing as well. When you're not sampling whisky — or vying for prizes at the claw machine — you can opt for beers and non-boozy beverages, although they'll all cost you extra.
When an art and design festival sweeps into Brisbane, as Brisbane Art Design is throughout May, checking out exhibitions and browsing for impressive wares comes with the territory. There's more to this fest than just the basics, however, no matter how stunning its showcases are — and how much perusing and purchasing you're keen to do. Fancy learning about ceramics, then tucking into a two-course banquet with paired wines? That's also on the BAD agenda. For one night only, Southside and Mas & Miek are teaming up on a dinner that'll showcase the former's food and vino, plus the latter's hand-crafted items, and also celebrate the link between tableware and the feasts adorning them. Across two sittings on Thursday, May 25 — at 5.30pm and 7.45pm — mother-daughter duo Mieke and Charlie from Mas & Miek will first unpack their hand-building process during a masterclass. You'll put your hands all over fine white porcelain, and you'll discover how 'pinch pot' vessels are created. After that, this Southside x Mas & Miek dinner will use Mas & Miek's wares to plate up hiramasa kingfish, wasabi chicken and chives dumplings, and wakame potato and truffle spring rolls, as well as wok-fried pork belly and macadamia steamed market fish. In addition to the class, food and wine, your $169 ticket also includes a handmade glazed and fired plate that'll be used while you dine, and that you can take home afterwards.
No one has ever just wanted to eat one lonely little chicken wing. Few among us have ever stopped at two, three or less than half a dozen, for that matter. One of the easiest dishes to consume copious amounts of, wings have inspired many a dedicated eatery — and all-you-can-eat joint Chook Wings and Beer is Brisbane's latest such establishment. The newest eatery from the folks behind Phat Elephant, Phat Boy, Chapter IV, Asian Republic and Brisbane Chai Thai, this chicken haven is the city's new go-to for endless piles of its eponymous food. Opening in The Hamptons' former site on Gerler Road at Hendra on Friday, January 24, it'll serve up all the pieces you can handle (and, let's be honest, probably more pieces than you should) for $21.90. You'll also be feasting on unlimited sides as part of the buffet, which includes fries, fried rice and salads. And for covering and dipping those wings, eight sauces will be available, with buffalo, barbecue, and sour cream and chive all featuring on a lineup that's still being finalised. Fancy something other than wings? A range of burgers and sliders will also be on offer separately. Yes, chicken will feature heavily. And, with beer also part of Chook Wings and Beer's name, it'll be serving up a hefty selection of brews — think James Squire, VB, Corona and more, plus a selection of ciders. Find Chook Wings and Beer at 49 Gerler Road, Hendra from Friday, January 24.
Roll up, roll up, it's show time — and not just in the obvious spot. The Ekka is back for 2024, but it isn't the only place for games and fun in August. Indeed, it's not even the only place in and around Fortitude Valley, with Netherworld arcade game bar upping the ante for nearly two weeks of the month. From Saturday, August 10–Sunday, August 18, the St Paul's Terrace hangout is hosting its very own Netherworld Sideshow as it does every year, combining the usual offerings with a few extra special inclusions. Expect its existing array of tables, machines and consoles, plus added carnival games, guest machines, fairy floss — and even creepy clowns. We'll let you decide if that last one is a good or a bad thing. [caption id="attachment_605033" align="alignnone" width="1280"] Sarah Ward[/caption] The onsite cafe, aka the Hellmouth Diner, will also be cranking out carnival-style fare, so your stomach can get in on the action as well. And, you'll be able to buy Netherworld showbags filled with merchandise and goodies. Entry is free, but you'll need your wallet to eat, sip and play. [caption id="attachment_622335" align="alignnone" width="1920"] Sarah Ward[/caption] Top image: Cole Bennetts.
When a French store slashed the price of Nutella a couple of years ago, customers went wild. Brawling and rioting was reported. So, yes, it's safe to say the chocolate hazelnut spread has more than a few fans. Here in Australia, we've had a Nutella food truck, a Nutella festival and a Nutella dessert bar. And, from Friday, April 10 to Sunday, April 12, a dedicated Nutella menu at Salt Meats Cheese as well. Available for delivery from the chain's Drummoyne and Cronulla stores in NSW, and Surfers Paradise and Newstead stores in Queensland, the seven Nutella-filled items are here just in time for the Easter long weekend (which most of us will be spending predominantly indoors eating Nutella, it seems). Fancy a Nutella calzone, in both peanut butter ($14) and Oreo ($18) varieties? Nutella and banana-topped pizza? Nutella panna cotta ($14)? Nutella Toblerone cocktails? A half-litre ($30) of Nutella espresso martini? Of course you do. To order, you'll need to download Salt Meats Cheese's new app and pray you're in the delivery zone. The Nutella menu is available for delivery from Salt Meats Cheese stores in Cronulla and Drummoyne in NSW, and Surfers Paradise and Newstead in Queensland.
Sometimes, your tastebuds crave something special. They hanker for the kind of dish you're not going to eat every day, aka a treat yo'self type of culinary experience. Here are three things that they'd likely demand in that situation: lobster, truffles and champagne. If that sounds like your idea of an indulgent meal, Lobster & Co has you sorted this winter, which is when it's returning to the Gold Coast for a new stint of decadence. As always, you'll find those three aforementioned items on the core menu, with the Lobster & Co van all about serving lobster rolls with truffle fries and flutes of Pommery champagne. You'll pay $50 for the food combo, which features a whole confit lobster tail served warm on a caramelised brioche bun with buttermilk fennel slaw, plus a side of parmesan truffle fries. A chilled glass of the champers will cost you $20 extra. Also on offer: a second roll, a Thai fusion number, which includes cabbage, green papaya and sriracha mayo — and lobster, obviously — on a brioche bun. Lobster & Co's latest southeast Queensland stint will hit up Pacific Fair in Broadbeach on the Gold Coast from Monday, July 18–Sunday, August 7 — and if you can't make it then, it'll also head north and stop off at the Moreton Bay Food and Wine Festival from Friday, August 19–Sunday, August 21. Images: Karon Photography.
Beer festivals can happen anywhere, because events dedicated to showcasing and sinking brews are all about the drinks, not the location. Host a beer fest in stunning surroundings, however, and it's a sure-fire way to level up an already enticing celebration. That's what Range Brewing's Gerard Martin and Matt McIver decided back in 2022, when the pair gave Brisbane a brand-new booze event that's all about independent beers. That festival? Juicy. And its glitzy locale? The one and only Fortitude Music Hall. That initial event was clearly a hit, because the Range crew are back to do it all again in the eye-catching Valley Mall venue. 2023's Juicy Beer Festival takes place on Saturday, March 11, this time with up to 90 different brews from 20-plus brewers ready to be sampled beneath Fortitude Music Hall's chandeliers. As it did last year, it'll host two sessions: an afternoon slot from 12–4pm and an evening one from 6–10pm. As well as getting attendees sipping beers under those chandeliers, this one-day event pairs yeasty beverages with a soundtrack, all as part of a ticketed affair that covers everything you'll taste for that one price. Martin and McIver took inspiration from overseas, then decided to bring it home — and give Fortitude Music Hall its first-ever beer festival in the process. So, you'll pay your entry fee — with tickets on sale from 9am on Thursday, January 19 — then get your glass and start enjoying all the brews on offer — without needing to worry about paying for drinks as you go. Each beer is served up in the event's exclusive tasting glasses, and every single one on offer in 2023 will be different to the lineup in 2022. Breweries getting some love at Juicy's second fest include Sydney's Wildflower, Melbournian's Hop Nation and Brisbane's Sea Legs, as well as everywhere from Grifter and Molly Rose to Garage Project and Working Title. Yes, Range features as well, naturally. DJ Ebony Boadu, DJ Sampology and select DJs from Fortitude Valley's QUIVR DJ School will provide the tunes — and to help line the stomach, Shucks Oyster Bar will be slinging seafood, Southside will serve up its Asian cuisine and Baja is bringing the Mexican bites. Also on offer, and a perfect beer accompaniment: steak and frites.
Two days. One sprawling venue. No animal products in sight. That's what's on the agenda when the Brisbane Vegan Expo hits up the Brisbane Showgrounds across Saturday, September 14–Sunday, September 15. If adding more plant-based options to your diet gets your tastebuds salivating, then you'll be in the right spot. If you're keen to only purchase cruelty-free wares, you will be too. The 2024 lineup includes a hefty list of options — from vegan pies and pastries to plant-only pizzas, the list goes on, spanning clothing, skincare, healthcare and household goods as well. Other edible options include vegan burgers, bowls, cupcakes, brownies, cookies, smoothies, ice cream and chocolate. No one is leaving here hungry. In addition to food, other goodies to purchase and a range of cooking demonstrations, Brisbane Vegan Expo will also feature an array of guest speakers, such as MasterChef alum Simon Toohey — and showcase Farm Animal Rescue, the Australian Justice Party and Sea Shepherd among other vegan charities.
Do you ever find yourself wondering what is inside some of Brisbane's most iconic buildings? Brisbane Open House is here to illuminate the answer. Held on October 8 and 9, this weekend-long, free event invites you inside some of the city's prized buildings to allow the architecturally fascinated and generally curious the opportunity to poke around behind some otherwise closed doors. Some of the buildings set to open their doors to the public include Brisbane's City Hall, Old Government House at QUT, Customs House, QPAC and a host of the stunning churches populating the Brisbane skyline, as 2016's impressive list of locations shows. Get the fully immersive experience by taking part in tours, attending concerts, taking in the photography film competition and all up reacquainting yourself with this city of secret treasures.
One thing is for sure: Avenue Q is not your average puppet show. It follows the story of recent college graduate Princeton, who moves to a drab apartment on the colourful street of Avenue Q in New York to follow his dreams. As they say, if you can make it there, you can make it anywhere. Along the way, Princeton meets girl-next-door Kat,; the neighbourhood Republican named Rod, an internet sexpert called Trekkie, and Lucy, who has a bit of a street corner reputation. They help him along the way, teaching him the ways of the Big Apple, as well as discovering what Princeton was meant to do with his life. This Tony Award-winning act has circled the globe, and returns to Brisbane Arts Theatre's stage for the fifth time after sell-out shows of the past. While the whole escapade is one big nod to Sesame Street, the target audience is nostalgic, quarter-life-crisis-having adults, and the show is not recommend for children. Hit songs from the soundtrack include 'Everyone's A Little Bit Racist' and 'The Internet Is For Porn'. Avenue Q runs from Thursday–Sunday between November 10 and December 22.
When amateur photographer Alfred Elliott's glass plate slides were discovered under a Red Hill house in 1983, the world of turn-of-the-century Brisbane came vibrantly to life. Something of our own answer to Vivian Maier, Elliott had a knack for capturing the poetry of the mundane and the special moments in everyday life. Elliott’s work, spanning 50 years, is now accessible through this Museum of Brisbane exhibition. On show is not just the work, but the changing times — a period of explosive population growth was upon us, technological advances and the tumult of the World Wars. Distant and foreign, yet comforting and surprisingly relatable, Elliott also lets us into his personal life, offering snippets of family and home, altogether creating a wholesome and intriguing insight into the times. Make your way to the Museum of Brisbane for a rare glimpse at where we came from and how far we’ve come.
Another year, another excuse to head into colourful surroundings, take a heap of photos and pack your social feeds with colourful snaps. First, the Sugar Republic team brought its original pop-up dessert museum to Brisbane. Then, it set up The Selfie Lab, recognising exactly why people flock to such supremely photogenic surroundings. Now, for two weeks to end winter and start spring, the same crew is setting up Colour in the City. The overarching theme this time: dazzling hues and plenty of them, all to add some brightness to this time of year. And, as the installation's name also makes plain, it's heading into the CBD, setting up shop in and around Queen Street Mall from Friday, August 26–Friday, September 9. To enjoy this one — and to take a year's worth of Instagram pics while you're at it — you'll be embarking upon a walking trail, hitting up a number of empty shopfronts that are getting quite the temporary makeover. In total, there'll be seven spaces to wander through, as well as a pop-up funhouse in the Wintergarden called the Pastel Palace. First, the shopfronts. Some will sit on Adelaide Street, too, and you'll also want to make a trip to Edward and Albert streets. And, if you haven't scoped out the lower-ground levels of the Myer Centre and Queens Plaza, add them to your list as well. That's where you'll find smiley faces beaming, a pink-hued floral wonderland, glowing neon art and street poster art that's been given a positive twist. Or, you can peer at a traditional candy shop, or channel some optimism against a Singin' in the Rain backdrop. And, there'll also be a hidden plant wall to hunt down. Once you've moseyed to all of the above Colour in the City stops, wrapping things up at the Pastel Palace will give you more reasons to grab your camera. There, you'll be greeted by a pastel ball pit, a confetti shower and a positive message wall, as well as a rainbow-coloured shaggy hanging that'll sit outside. While you'll probably remember forking out an entry fee for Sugar Republic's past installations, this one is completely free.
Music festival lineups are always cause for excitement, but sometimes spending a whole day at a fest doesn't fit into your schedule. Thankfully, life found a way to ensure that you can still see your favourite acts: festival sideshows, which a heap of talent on the 2024 Groovin the Moo lineup just announced. Can't head to Newcastle, Canberra, Bendigo, Adelaide Showground, the Sunshine Coast and Bunbury this April and May to catch GZA, Claire Rosinkranz, Kenya Grace, Stephen Sanchez and The Beaches? All five have announced their own gigs while they're Down Under. In great news for folks in Sydney, Melbourne and Brisbane, they're all playing all three cities. Perth gets a few sideshows as well; however, if you're elsewhere, you'll have to travel. Wu-Tang Clan's GZA is taking to the stage with full live band The Phunky Nomads, on their Liquid Swords Live Australian tour — starting at Sydney's Liberty Hall, then heading to 170 Russell in Melbourne, The Triffid in Brisbane and Magnet House in Perth. And yes, the set usually includes a heap of the tunes that GZA is best-known for, because Wu-Tang Clan covers ain't nuthing ta f' wit. Rosinkranz has her debut 2023 album Just Because to play through at Max Watts in Melbourne, Oxford Art Factory in Sydney, The Zoo in Brisbane and Perth's Rosemount Hotel. Making her first trip to Australia, 'Strangers' artist Grace will play Melbourne's The Night Cat, Fremantle's Freo.Social, and also Oxford Art Factory and The Zoo just like Rosinkranz. After hitting our shores last year, Sanchez returns to bust out 'Until I Found You' again, this time at Enmore Theatre in Sydney, Forum Melbourne, The Tivoli in Brisbane and Perth's Astor Theatre. And Toronto's The Beaches have dates at The Lansdowne, The Zoo and Howler in Sydney, Brisbane and Melbourne, respectively. [caption id="attachment_939692" align="alignnone" width="1920"] Caity Krone[/caption] Groovin the Moo 2024 Sideshows: GZA + The Phunky Nomads Thursday, May 2 — Liberty Hall, Sydney Friday, May 3 — 170 Russell, Melbourne Tuesday, May 7 — The Triffid, Brisbane Friday, May 10 — Magnet House, Perth Claire Rosinkranz Tuesday, April 30 — Max Watts, Melbourne, Wednesday, May 1 — Oxford Art Factory, Sydney Tuesday, May 7 — The Zoo, Brisbane Friday, May 10 — Rosemount Hotel, Perth Kenya Grace Tuesday, April 30 — The Night Cat, Melbourne Thursday, May 2 — Oxford Art Factory, Sydney Wednesday, May 8 — The Zoo, Brisbane Saturday, May 11 — Freo.Social, Fremantle Stephen Sanchez Monday, April 29 — Enmore Theatre, Sydney Tuesday, April 30 — Forum Melbourne, Melbourne Monday, May 6 — The Tivoli, Brisbane Wednesday, May 8 — Astor Theatre, Perth The Beaches Wednesday, May 1 — The Lansdowne, Sydney Monday, May 6 — The Zoo, Brisbane Thursday, May 9 — Howler, Melbourne Groovin the Moo is touring Australia in April and May 2024. For tickets and more information, head to the festival's website. The festival's sideshows are touring across the same months, with presale and general sale dates varying — head to the tour pages for GZA, Claire Rosinkranz, Kenya Grace, Stephen Sanchez and The Beaches for all the details. Top image: Azuree Wiitala.
Australia's loudest week in music is officially back. From Tuesday, September 2 to Friday, September 5, BIGSOUND will take over Brisbane's Fortitude Valley with live music, networking and a stacked music industry conference program. From Flume and Thelma Plum to Tash Sultana and Rufus Du Sol, BIGSOUND has long been the stage where global careers kick off. This year, more than 130 breakout and export ready artists will perform over three nights, across 18 different venues. Look out for some names you might know, including WAFIA, Kaiit, The Southern River Band, Hatchie and Polish Club and some you're going to want to know, including Azure Ryder, Letters To Lions, Le Shiv, Lazy Ghost, and potentially their youngest showcasing artist ever, Perth/Boorloo hip-hop artist Inkabee. [caption id="attachment_1016349" align="alignnone" width="1920"] BIGSOUND Conference[/caption] By day, you'll get the chance to take a peek behind the hood of the Australian music industry. The BIGSOUND Conference will feature an exciting lineup of speakers and networking events, including sessions with Briggs, Tash Sultana, Dave Rowntree (Blur), Darcus Bees (Sabrina Carpenter, Amy Winehouse), Virgin Music Group US's Cindy James and Coachella's Rene Contreras. The First Nations-led Goolwal Goolwal program will also return, spotlighting incredible artists and cultural leaders. Whether you're here to find your next favourite act or to shape the future of the industry, BIGSOUND is where it all happens. See the full lineup and get tickets at bigsound.org.au.
Get your wish, This That fans: come November, the coastal festival will return for the first time since early 2022 with another impressive lineup. US singer, songwriter and producer Porter Robinson leads the just-dropped roster of talent for the two-city touring event, which hits up Brisbane and Newcastle, joined by Australian favourites Gang of Youths. Queenslanders, you're heading to Sandstone Point Hotel on Saturday, November 4 to dance to 'Goodbye to a World' and 'Let Me Down Easy'. Music lovers of New South Wales, make a date with Wickham Park in Newcastle on Saturday, November 11. Also on the first This That 2023 lineup announcement: Peking Duk, Hockey Dad, Alex Lahey, Slumberjack, Set Mo and The Presets doing a DJ set, plus Lola Scott, Trophy Eyes, Dear Seattle, Chillinit, Hooligan Hefs, Jesswar, Sophiya, Godlands, Kinder, Alice Ivy and more. This That has traditionally taken place in spring, but that time of year wasn't happy for the fest, or for Newcastle and Brisbane folks planning to dance their way through the music festival, in 2022. The event had to pull the plug on its October and November dates "due to a combination of issues", organisers advised; however, it always promised that it'd be back in 2023. Some of this year's acts were also on last year's cancelled lineup, such as The Presets, Winston Surfshirt, Chillinit, Hockey Dad and Jesswar. This That 2023 will take place across three stages: the This stage, complete with fireworks; the That stage, the go-to for DJs and rappers; and the Other stage, which is about art, immersion and sensory installations. THIS THAT NOVEMBER 2023 DATES: Saturday, November 4 Sandstone Point Hotel, Sandstone Point, Queensland Saturday, November 11: Wickham Park, Newcastle, New South Wales THIS THAT NOVEMBER 2023 LINEUP: Porter Robinson Gang Of Youths Alex Lahey Alice Ivy Chillinit Dear Seattle Eliza & The Delusionals Godlands Hockey Dad Hooligan Hefs Jesswar Kinder Kita Alexander Lola Scott Peking Duk The Presets [DJ set] Set Mo Slumberjack [Live] Sophiya Trophy Eyes Winston Surfshirt + Triple J Unearthed winner Newcastle only: Made On Sunday DJs Ned Bennett Who Is Arcadia Daydreaming Soundsystem Queensland only: Rory Tolsher Sammy G Jess Toasty This That will return in November 2023, playing Sandstone Point in Queensland and Newcastle in New South Wales. For more information, and for pre-sale tickets from 8am on Tuesday, August 1 and general sales from 8am on Thursday, August 3, head to the festival's website. Images: Mitch Lowe / Jordan Munns / Zagexma via Wikimedia Commons.
Maybe you really love Patrick Swayze. Perhaps you've always loved terracotta or ceramics. Or, the idea of pottering around a clay-based showcase and taking home standout pottery pieces could just be your idea of a great time. Whichever category you fall into, coast on over to the Clayschool shop and Clayschool: Current and Alumni, both of which are celebrating ten years of works made out of its chosen medium during 2023's massive Brisbane Art Design festival. Even if you've never tinkered yourself, you might be familiar with the Brisbane clay institution thanks to its seasonal shows and markets. With its latest excuse to get shopping from Wednesday, May 3–Sunday, May 28, you'll be heading to West End's Vacant Assembly to browse and buy from 10am–5pm Wednesday–Friday and 10am–4pm Saturday–Sunday. Then, across three days from Friday, May 26–Sunday, May 28, the Current and Alumni exhibition focuses on celebrating not only the best of the best, but also the full range of Clayschool's output. So, you'll see pieces from beginners and professionals. Jewellers and ceramic artists will be covered as well. And, there'll be potters that've won major art awards, plus creatives who've featured in galleries elsewhere. In total, more than 40 potters will have works on display, names such as Ray Cavill, Ky Curran, Laura Pascoe and Jennifer Hillhouse included. Entry to the exhibition is free, with opening night running from 6–9pm, Saturday's session spanning 10am–4pm and Sunday's from 10am–2pm.
The shock of unkempt hair, the Irish brogue, the misanthropic attitude: there's no mistaking Dylan Moran for anyone else. It was true in beloved British sitcom Black Books, when his on-screen alter ego abhorred mornings, ate coasters and claimed that his oven could cook anything (even belts). And it's definitely true of the comedian's acerbically hilarious live shows. Moran is no stranger to Australia, but if you haven't guffawed at his bleak wit live, he's coming back to Brisbane — to the QPAC Concert Hall, in fact — in 2023 to give you another chance. As always, expect the kind of deadpan gags, wine-soaked insights and blisteringly sharp one-liners that've kept him in the spotlight since 1996, when he became the youngest-ever winner of the Edinburgh Fringe's Perrier Award. On Thursday, May 4–Saturday, May 6, Moran will roll out his latest show We Got This, bringing his grumpily lyrical musings on love, politics, misery and the everyday absurdities of life to the River City. This marks his first full standup show since 2019's Dr Cosmos, which also came our way — and was available to stream earlier in the pandemic, too. Given this tour's title, it's hardly surprising that Moran will be reflecting upon these chaotic times. That might sound like a standard comedy gig these days, but nothing about Moran's comedy is ever standard.
Steak and frites is a very straightforward pairing, but a great one. Some of the best combinations keep things simple, after all. It's also on the menu once a week at Emporium Hotel's Belle Époque — and the French joint has something particularly special on offer. Head by on a Thursday night between 5–9pm, and you'll be able to tuck into a 200-gram black angus sirloin as topped with Cafe de Paris butter. You'll also get frites — and they're bottomless. We all know the feeling of munching through your fries, wanting more and being disappointed, so with this deal, you can eat as many as you want. Also included is a glass of vin de table — aka red wine — with the whole dinner costing $32 per person. If you're dining with someone who doesn't fancy steak, Belle Époque's is also serving up soup of the day, oysters, charcuterie and cheese, plus house-made pies, crispy skin confit duck leg, mussels and cauliflower gratin. And, unsurprisingly, bookings are essential by contacting the venue. Updated February 1, 2021.
Electronic festival Let Them Eat Cake managed an eight-year run of tune-filled New Year's Day parties before COVID-19 hit pause on its 2021 edition. But, you can bet it's making up for that skipped beat, announcing today that the festival will return for a huge comeback outing on Saturday, January 1, 2022. The much-loved music and arts celebration returns to its Werribee Mansion home in just over six month's time. It is Australia's first New Year's Day festival that has been announced since the pandemic hit. Organisers, Novel — the same minds behind Pitch Music & Arts and Smalltown — are yet to reveal full details about the event's music lineup, though they're aiming high, with festival director Daniel Teuma saying, "We want to ensure this is our best one yet." Teuma also hinted that the musical offering will be largely local, saying "with the uncertainty around international borders re-opening, we decided to take a more sensible approach to the lineup. We can't say too much, but we are confident our 2022 edition will have something for everyone." The crew at Full Throttle Entertainment will be making the music side of things extra memorable, installing what's set to be the biggest sound system in town on New Year's Day. There'll also be a diverse lineup of food vendors, curated specifically to complement the tunes, artworks and visuals under the organisers' new, more cohesive approach. Delivering a finely tuned COVID-Safe festival has been top of the planning agenda — Let them Eat Cake 2022 will activate the sprawling Werribee Mansion grounds in a whole new way, with improved traffic flow and more opportunities for exploration beyond the main stage set-up. Under current public health guidelines, the new-look event would be allowed to safely host up to 7500 attendees. Let Them Eat Cake will descend on Werribee Mansion on Saturday, January 1, 2022. Pre-registration for tickets opens from 4.30pm Tuesday, June 22, with pre-sale tickets up for grabs on July 6 and general tickets available from July 7. The full program will be announced in September — hit the website for details and to buy tickets. Top Image: Duncographic
Ah, gluten. Scourge of coeliacs, this humble wheat protein has been making life difficult for as long as we've been eating sliced bread. But fortunately for all the folks out there with gluten intolerances, VEND Marketplace in Virginia will be a gluten-free zone for two days — again. After a first run back in February, this Gluten-Free Festival returns from 8am–2pm on both Saturday, May 27 and Sunday, May 28. On the menu: mobile food vendors setting up their stalls and rolling in their trucks to sling tasty treats without a single bit of wheat, rye or barley in sight. At the debut fest, SoCal Tacos, The Dagwood Dog Guy, King of the Wings and Big J Woodfired Pizza were among the eateries making an appearance, alongside OMG Donuts, Roll It Ice Cream, Golden Churros and Mama Mac's Macarons — and others. There'll also be a number of stalls selling a variety of gluten-free products to take home, so you can stock your pantry as well. The dog-friendly event will let you take advantage of VEND's usual 130-plus small businesses, too, for a stint of shopping with your gluten-free eats. Entry is free, but reserving a spot online is recommended.
If gin's your thing, that undying love is being pushed front-and-centre at your new favourite event: the Brisbane Gin Festival. Hosted by the Australian Gin Distillers Association and headed to Lightspace for its 2022 go-around, the three-day festival will bring 27 craft gin distillers from around the country under one roof between Friday, May 13–and Sunday, May 15. Apart from bottomless tastings, punters will also have the chance to chat directly with the makers. Stallholders will be hawking over 100 gins, including Never Never Distilling Co, Broken Heart Spirits and Prohibition Liquor Co, plus Gingle Bells, Australian Distilling Co, Wolf Lane and Nostferatu. And, once you've picked your favourite, you can purchase bottles for takeaway. Tickets cost $70, with five tasting sessions to choose from: 1–4pm and 5–8pm on both Friday and Saturday, and just the 1–4pm session on Sunday. While you'll clearly find plenty of gin on offer, there'll also be a coffee bar and snacks to fill your stomach — although they'll cost extra.
UPDATE, February 1, 2023: Black Panther: Wakanda Forever is available to stream via Disney+ from Wednesday, February 1. Black Panther: Wakanda Forever isn't the movie it was initially going to be, the sequel to 2018's electrifying and dynamic Black Panther that anyone behind it originally wanted it to be, or the chapter in the sprawling Marvel Cinematic Universe that it first aimed to be — this, the world already knows. The reason why is equally familiar, after Chadwick Boseman died from colon cancer in 2020 aged 43. At its best, this direct followup to the MCU's debut trip to its powerful African nation doesn't just know this, too, but scorches that awareness deep into its frames. King T'Challa's death starts the feature, a loss that filmmaking trickery doesn't reverse, no matter how meaningless mortality frequently proves when on-screen resurrections are usually a matter of mere plot twists. Wakanda Forever begins with heartbreak and pain, in fact, and with facing the hard truth that life ends and, in ways both big and small, that nothing is ever the same. Your typical franchise entry about quick-quipping costumed crusaders courageously protecting the planet, this clearly isn't. Directed and co-written by Ryan Coogler (Creed) like its predecessor — co-scripting again with Joe Robert Cole (All Day and a Night) — Wakanda Forever is about grief, expected futures that can no longer be and having to move forward anyway. That applies in front of and behind the lens; as ruminating so heavily on loss underscores, the movie has a built-in justification for not matching the initial flick. The Boseman-sized hole at Wakanda Forever's centre is gaping, unsurprisingly, even in a feature that's a loving homage to him, and his charm and gravitas-filled take on the titular character. Also, that vast void isn't one this film can fill. Amid overtly reckoning with absence, Coogler still has a top-notch cast — returnees Letitia Wright, Angela Bassett, Danai Gurira, Lupita Nyong'o and Winston Duke, plus new addition Tenoch Huerta, most notably — drawing eyeballs towards his vibrant imagery, but his picture is also burdened with MCU bloat and mechanics, and infuriating bet-hedging. The emotional tributes to T'Challa and Boseman hit swiftly, after the former's tech-wiz sister Shuri (Wright, Death on the Nile) agonises over not being able to save him. In a swirl of song, dance, colour, movement, rhythm and feeling on par with the first instalment, but also solemn, Wakanda erupts in mourning, and the film makes plain that the Black Panther audiences knew is gone forever. A year later, sorrow lingers, but global courtesy wanes — now that the world knows about the previously secret country and its metal vibranium, everyone wants a piece. Such searching incites a new threat to the planet, courtesy of Mesoamerican underwater kingdom Talokan and its leader-slash-deity Namor (Huerta, Narcos: Mexico). The Atlantis-esque ocean realm has vibranium as well, and it's not keen on anywhere else but Wakanda doing the same. If Queen Ramonda (Bassett, Gunpowder Milkshake), Shuri and their compatriots don't join Namor to fight back, Namor will wage war against them instead. Given Coogler and Cole's basic premise, bringing back Okoye (Gurira, The Walking Dead), head of the Wakanda's formidable Dora Milaje warriors, is obviously easy. The same applies to fellow soldier Ayo (Florence Kasumba, Tatort), and to introducing Aneka (Michaela Coel, I May Destroy You). Straight-talking tribal leader M'Baku (Duke, Nine Days) makes a seamless comeback and, although she's working in a school in Haiti, former spy Nakia (Nyong'o, The 355) does the same. Even excusing seeing CIA operative Everett Ross (Martin Freeman, Breeders) again is straightforward enough, but keeping overarching Marvel saga cogs turning means a pointless reappearance for another character familiar from the broader series but new to Black Panther movies. And, it results in the clunkiest of kickoffs for "young, gifted and Black" college student Riri Williams (Dominique Thorne, Judas and the Black Messiah), the star of upcoming MCU Disney+ TV show Ironheart, who is needlessly shoehorned in on the big-screen. Serving itself first and foremost, rather than the behemoth of a franchise it's in, was one of the OG Black Panther's many glorious delights. That picture felt alive, unique, rich and impassioned — and dedicated to standing out, including via its Afrofuturism — in a way that nothing else in the MCU has. While the colours lensed by cinematographer Autumn Durald Arkapaw (Loki) are more muted now, befitting the tone of mourning, the grand visual spectacle and love for everything Wakanda stands for thankfully remains in the second go-around; however, 30 films in instead of 18, Wakanda Forever sadly isn't allowed just to be concerned with its own patch. Worse, that box-ticking, piece-connecting switch comes with an unwillingness to be truly bold where it matters: the future of Black Panther. The women of Wakanda get their time to shine here, and to show they deserve the spotlight. Alas, then arrives an end-credits scene that's sentimental where the rest of the flick firmly isn't, and gives Marvel a convenient way to change course if Wakanda Forever sparks a manchild backlash. Coogler knows that viewers will watch wondering what Wakanda Forever might've been if it was the movie originally intended. Indeed, grappling with that within the film itself will always be its smartest move. Accordingly, come for the meaningful musing on grief and lost possibilities, and a heartfelt tribute. Come, too, for plenty that made the initial Black Panther engaging and resonant: the cast and their stellar performances, especially Wright and Bassett; Wakanda's look, vibe and sound; and the commanding yet nuanced and fleshed-out antagonist, with Huerta nailing his MCU debut (and following capably in Michael B Jordan's footsteps). There's also the inherent commentary, this time pointing out battles over the earth's resources, and how colonial powers push people who should be aligned into conflict among themselves. And, yes, come for brief flashbacks of Boseman — although in a better all-round film, they wouldn't be as key a highlight. Staying — and with a 161-minute duration, viewers are in for an overlong sitting — heralds much that's simply standard, far less impressive, curious or a missed opportunity, though. Some examples: the workmanlike climax despite eye-catching action beforehand, shortchanging Wright and Bassett's scenes together, too many easy comic-book tropes, too many subplots, trying to do to many things, all the blue and undersea dives so close to Avatar: The Way of Water's release, and failing to give T'Challa's death a named cause. (Imagine how potent it would've been to say that cancer claimed this mighty superhero, as it does to too many ordinary folks every single day, and also to recognise the disease that took Boseman.) When Wakanda Forever is at its most by-the-numbers, too, it plays like Marvel dragging its most diverse and distinctive arm down rather than lifting it up. Of course, the film tells you how it wants you to respond to its struggles and messiness, because it acknowledges that they're a part of mourning. But forging through can resemble treading water — it does have the wing-footed villain for it.
UPDATE, January 15, 2021: Ride Your Wave is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. In the type of scene familiar from many a film, 19-year-old Hinako (voiced by Rina Kawaei) frolics around a seaside spot with her boyfriend Minato (Ryota Katayose). In the scenic Japanese city of Chiba, the pair chat, laugh, stroll and sightsee, as plenty of couples have in similar situations. Actually, this duo does so twice. The first time plays out exactly as everyone expects but, occurring well into Ride Your Wave, the lovestruck duo's repeat romantic rendezvous comes with a twist. In the kind of image that can only really be brought to the screen via animation, Hinako isn't spending time with Minato in the flesh the second time around — instead, she's dragging around an inflatable porpoise filled with water that, when she hums the pair's favourite song, manifests her boyfriend's spirit from beyond the grave. Basically, Hinako is now dating a ghost in the guise of a blow-up aquatic mammal — a spectre that can appear in anything else that's wet, such as a glass of water and even a toilet bowl, too. It's a heartfelt yet clearly strange sight, and it's an image that filmmaker Masaaki Yuasa builds his whole sweet, sensitive and charming movie around. Already known for offbeat and distinctive animated efforts such as Night Is Short, Walk on Girl and Lu Over the Wall, the Japanese director blends his fondness for weirdness with a perceptive exploration of love and loss that belongs in the same company as huge recent global hits Your Name and Weathering with You. As brought to life, vocally, by former Japanese pop idol Kawaei and fellow local pop star Katayose (whose boy band, Generations from Exile Tribe, provides the film's pivotal — and extremely catchy — tune), Hinako and Minato's story begins much earlier. Initially, she's a surf-obsessed newcomer arriving in town to study oceanography, while he's a dutiful local firefighter. They cross paths on several occasions — she frequently hits the waves near his fire station, as he just-as-frequently notices — but they don't properly connect until Minato comes to Hinako's rescue when her apartment building is set ablaze. And, if tragedy didn't strike, perhaps they would've simply lived happily ever after. As Ride Your Wave astutely realises, though, those kinds of blissful, uncomplicated tales aren't the norm for everyone. Japan's plethora of big-screen animated gems have always received ample praise for their visual prowess; given how gorgeous and glorious everything from Studio Ghibli's greats to Yuasa's own filmic back catalogue looks, that's understandable. But movies such as Ride Your Wave don't surf their way into viewers' hearts based solely on eye-popping imagery alone. At their best, these films ripple with emotional depth and resonance — and while there's much about Ride Your Wave that threatens to veer into cheesiness at times, it remains an insightful, moving and charming example of the genre. On the surface, it might appear to be just another supernatural teen romance; however from the moment that Hinako is forced to face her future alone, this is a thoughtful, delicate and observant portrait of a woman struggling with one of the worst things that can happen. As whimsical as it might sometimes seem — and as it definitely sounds on paper — there's a rich vein of melancholy in Hinako's escapades with Minato's spirit. As she continues to hold onto him in any way she can, Yuasa and screenwriter Reiko Yoshida (A Silent Voice, Okko's Inn) show a raw and profound understanding of grief, its all-encompassing impact and the reality that, to those in mourning, absolutely everything reminds them of the person they're missing. Everyone who has lost someone has returned to places they once visited together and seen memories of happier times linger at every corner. Everyone in the same position has felt their heart skip a beat when a significant song plays, too. As well as being cute and quirky, the literal inflatable porpoise in Ride Your Wave's frames gives these common and relatable experiences a physical dimension. Don't go expecting this film to receive a live-action remake any time soon, of course, not that any animated movie ever needs one. Disney might currently be obsessed with turning its cartoon hits into flesh and blood (or photorealistic approximations), but Japan's animators are well aware that their chosen medium is far more expressive — especially when it comes to matters of the heart. There's a rhythm, flow and glow to Ride Your Wave that perfectly captures its protagonist's complicated situation, and that simply wouldn't translate to any other format. There's also the feeling that, through its seemingly fanciful narrative gimmick, Ride Your Wave tackles tough emotional terrain with unflinching, heart-swelling honesty. https://www.youtube.com/watch?v=RMB7SpEvxOI Image: ©Ride Your Wave Film Partners.
UPDATE, December 9, 2020: McQueen is available to stream via Stan, Doc Play, Google Play, YouTube Movies, iTunes and Amazon Video. Glamour meets the grotesque in the couture of designer Alexander McQueen. Indeed, it's not by accident that a recent hit museum retrospective showcasing his work took the moniker Savage Beauty. For two decades as the enfant terrible of British fashion, he crafted clothing that didn't just make a statement, but screamed it down the catwalk, splashed it across glossy magazine pages and shouted it at the world at large. "I don't want to do a show that you walk out feeling like you've just had Sunday lunch," he once said. "I want you to walk out feeling repulsed or exhilarated — as long as it's an emotion." That telling soundbite joins many others in McQueen, the film that ostensibly unpacks the life, career and death of its titular working-class lad turned tailoring apprentice turned provocative toast of the town. But, making their first full-length documentary, directors Ian Bonhôte and Peter Ettedgui do much more than that. Theirs is a movie made in McQueen's image, keen to show more than tell even though it doesn't shy away from talking heads. The filmmakers are well aware that everyone already knows its rise-and-fall story, with the man called Lee by his friends ultimately committing suicide in 2010. Instead of pretending that it's telling viewers something new, the movie focuses on how it approaches its subject as much as it does the specific details of McQueen's story. Cue chapters that take their names from his famous runway shows, in a segmented yet still cohesive film that takes its concept from another of McQueen's own comments. (In one of his trademark displays of cheek, he dubs his own candid home videos 'The McQueen Tapes'.) Each part stitches together a narrative about his fashions — from both his own label and his time at Givenchy — and the context surrounding each highlighted collection. The end result isn't as obvious as it might sound, of course. McQueen refuses to simply state that one particular aspect of McQueen's experiences gave rise to a specific element in his work. Rather, it explores the fabric of his life while demonstrating how he wrangled fabric in bold ways in his designs. The documentary doesn't need to blatantly connect the dots, as each sartorial series makes its own statement. With names such as Jack the Ripper Stalks His Victims and Highland Rape, and challenging pieces within each collection to match, how could they not? Throughout it all, McQueen remains a constant presence thanks to archival footage, while his family members, friends and colleagues offer their intimate recollections and reflections. Even for those unfamiliar with the minutiae, there's much that's recognisable. Never seeming the typical fashionista, McQueen parlayed his talent, artistic eye and hard work into a thriving career from the early 90s onwards. But with success, attention and notoriety came drugs, depression and despair, matters that the movie perhaps doesn't touch on in as much depth as it could've. Still, even when it somewhat skirts over a few areas, the documentary proves revelatory in how it captures McQueen's complicated essence. The designer's clothing pieces were always going to feature prominently, but with its incredible detail, intricate construction and willingness to get dark, the film they're in feels like it was cut from the same cloth. If one scene in McQueen particularly stands out, it's one that's all McQueen's doing. More than that, it's one that he staged with as much theatricality, spectacle and flair as he ever displayed: his 1999 spring show. In a stunning sight to behold, model Shalom Harlow wears a white strapless dress made voluminous with layers of tulle, spins on a rotating platform like a jewellery box ballerina, and is sprayed with paint by two adjacent robots. As a depiction of life splattering and changing something luminous, it's vivid, almost violent and certainly intoxicating, all as its creator intended. McQueen was clearly relaying a message and, in both featuring the runway moment within the film and adopting its attitude, Bonhôte and Ettedgui ensure that McQueen sports the same force and power. https://www.youtube.com/watch?v=yKwCd6WLPdE
UPDATE: May 10, 2020: Fast & Furious Presents: Hobbs & Shaw is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Here's one of those sentences you never expect to see yourself writing: Hobbs & Shaw makes The Fate of the Furious look like gritty realism. Think about that for a moment. That film ended with a crew of street-racers-turned-international-super-spies being pursued by both Russian separatists and a remote-control driven nuclear submarine across an icy Siberian tundra...in Lamborghinis. And it still offered more realism and nuance than this spin-off. How is that even possible? It's better not to ask. Hobbs & Shaw is an offering that might finally have pushed things too far in a franchise defined by its ability to stretch things (plot, stunts, singlets and micro-shorts) to seemingly impossible levels. Escalation has always been the name of the game for the Fast & Furious franchise, the filmmakers forever seeking new and inventive ways of delivering essentially the same story. Like Mission: Impossible crossed with The Italian Job, each instalment sees our ragtag crew of racers tasked with pulling off ludicrous heists with fast cars and fancy driving. The villains grew larger and more megalomaniacal (from rival street racers to drug cartel bosses and Dr Evil-esque world destroyers), the cars gained enormous value (from a 1999 Nissan Skyline to the US$2 million Nissan IDx NISMO) and the cast began to approach Avengers levels of celebrity. Two of those additions were Dwayne Johnson as Luke Hobbs and Jason Statham as Deckard Shaw. Both entered the franchise as pseudo-villains, only to then be drawn into the "family" by its patriarch Dom, played by the ever-growling Vin Diesel. As Hobbs and Shaw's popularity grew, a spin-off seemed inevitable. But whilst the demand was undoubtedly there, the delivery falls well short of expectations. This movie feels like the output of an AI that was fed the data set of the franchise but was incapable of identifying its humanity (and, dare we say, heart). Yes, it features insane stunts, amazing vehicles and unceasing bromance, but none of it ever gels. In particular, the supposed friction between the two leads lacks all substance, especially since The Fate of the Furious already saw them mostly resolve their differences and become buddies. Thrust together here and told to work together like the Russian and American agents from The Man from U.N.C.L.E, Hobbs and Shaw must track down Shaw's sister (The Crown's Vanessa Kirby) after she infects herself with a deadly virus to keep it from falling into the villain's hands (played this time around by Idris Elba). Borrowing heavily, then, from Mission: Impossible 2, the story sees the trio fight against time to extract the virus before it takes hold and wipes out most of humanity. Why? Remember, we asked you not to ask questions. Ever. Because you see, very little stands up to scrutiny. Why do Hobbs and Shaw actually hate each other? Unclear. Why are they tasked with this job when the agencies that recruit them are far better equipped and motivated? Unclear. Why is Hobbs able to pull a Blackhawk helicopter down from the sky when only moments earlier he and four other fully-laden cars weren't able to do it? Jeez, get off my back already. And sure, this is a series that not only invites you to suspend belief, but actively requires you to do so. Until now, audiences have willingly obliged. Here, though, it's one step too far. The heroes and villains are invulnerable, the plot is beffudling and logic has straight up Nos'd itself into the atmosphere. It's a pity, because there's so much to like about Johnson and Statham in these roles, especially when they work as a willing duo defined by their differences rather than simply bickering with forced (and unbearably unfunny) insults. Ultimately, Hobbs & Shaw may not have killed off the franchise, but it's certainly done it no favours. It's also a perfect example of the risk of branching too far from a clearly winning formula. https://www.youtube.com/watch?v=b736ZM_KfEk
Brisbanites, if you've ever tried to stop for an impromptu brunch at Picnic Cafe, you'll have experienced the Camp Hill spot at its busiest. This eastside favourite is always jam-packed mid-morning, although its all-day breakfast and lunch menu repeatedly draws a crowd all day long. So, you've probably stood outside on Martha Street, chatting to your pals and scoping out the local dogs trotting past while you're waiting for a table. That's all part of the experience — but if you'd like to try your luck elsewhere instead, Picnic has just launched a sibling venue. Meet Picnic West End, the newest addition to the inner-city suburb's growing West Village precinct. Opening its doors on Thursday, September 23, and operating seven days a week from 7am–5pm — so, staying open later each day than the OG Picnic — it's West End's new breakfast, brunch and lunch go-to; however, you won't find exactly the same menu on offer here. On the brekkie lineup, which is served from 7am–2pm, highlights include haloumi, fried egg and spinach on a brioche bun; cream cheese pancakes topped with fresh fruit salsa, berry compote and salted caramel sauce; and the pork bulgogi benny, complete with a mushroom, leek and potato croquette, plus poached eggs. Or, there's the wagyu scotch egg, which is quite the eye-catching dish — and comes with a pickle salad and hash browns. For lunch, you can opt for a chicken burger coated with 25 spices, or udon noodles done pasta-style with tiger prawns and chorizo. There's also a snack range that includes fried haloumi sticks, popcorn chicken, and salt and pepper squid, which you can tuck into from 2–4pm daily. Here, drinks are a big focus, too — bringing over the Camp Hill cafe's lattes, chais, long blacks and mochas over ice, as well as the coffees and chocolates over ice cream and cream. A selection of cold press juices and smoothies have made the jump, but you can also pick from seven different cocktails. Obviously, the Biscoff martini stands out, given that it includes Irish cream, coffee liqueur, Biscoff spread, Lotus crumbs and whipped cream. The Toblerone does as well, thanks to its blend of Baileys, Kahlua, Frangelico, creme de cacoa, cream, honey and whipped cream — and two options, the Lady Lavender and Lychee Crush, both come in either boozy or alcohol-free versions. Coffee fiends will be sipping Paradox Coffee Roasters' Paper Moon Blend, and everyone can take advantage of the light and airy look and feel. Think: pastel hues, timber tables, stone tiling, and big splashes of green both plant-wise and in the colour scheme. Find Picnic Cafe at West Village, 45 Mollison Street, West End — open 7am–5pm seven days a week.
No longer confined to children's birthday parties, bouncy castles, inflatable obstacle sources and blow-up labyrinths have become hot property for adults (and their inner kids, of course). And the next blow-up event to return to Brisbane is big. Really big. Dubbed 'The Big Bounce Australia', it's an inflatable theme park made up of the world's biggest bouncy castle — as certified by the Guinness World Records — plus a 300-metre long obstacle course and a three-part space-themed wonderland. You're going to need a lot of red cordial to bounce your way through all of this. Set to take over the Eagles Sport Complex in Mansfield between Friday, September 24–Sunday, September 26 and Friday, October 1–Sunday, October 3, The Big Bounce is open to both littl'uns and big'uns, but there are a heap of adults-only sessions — so you don't have to worry about dodging toddlers on your way through. Tickets for adults will set you back $55, which gives you a whole three hours in the park. Yes, you'll need it. Inside, you'll encounter the aforementioned bouncy castle — aptly named The World's Biggest Bounce House — covering a whopping 1500 square metres and, in some spots, reaching ten metres off the ground. In this house, you'll encounter a heap of slides, ball pits, climbing towers, basketball hoops and (if you can believe it) a stage with DJs, confetti cannons and beach balls. Then, there's The Giant, with 50 inflatable obstacles, including giant red balls and a monster slide. [caption id="attachment_825374" align="aligncenter" width="1920"] Sarasota Experience[/caption] Before you hit the final, three-part section of the extremely OTT theme park, you may need to pause, down some red frogs and maybe even have a nap. Or not, as you do only have three hours to explore it all. Next up, is AirSpace, where aliens, spaceships and moon craters collide with a five-lane slide, some more ball pits and an 18-metre-tall maze. After that, you'll certainly need a nap. The Big Bounce hits Brisbane between Friday, September 24–Sunday, September 26 and Friday, October 1–Sunday, October 3. For more information, or to buy tickets, head to the event's website.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DOG One of the many 80s comedies on Tom Hanks' resume, Turner & Hooch has already been remade in 2021 as a low-stakes streaming series with nothing worth wagging one's tail about to show for it. Still, it gains a big-screen spiritual successor in Dog, Channing Tatum's return to cinemas after a five-year absence (other than a brief cameo in Free Guy, plus voice-acting work in Smallfoot and The Lego Movie 2: The Second Part). Sub out a police investigator saddled with a canine witness for an Army Ranger transporting a dead colleague's ex-working dog; swap Hanks' uptight everyman for Tatum's usual goofy meathead persona, obviously; and shoehorn in a portrait of America today that aims to appeal to absolutely everyone. The result: a good boy of a movie that Tatum co-directs, isn't without its likeable and affecting moments, but is also a dog's breakfast tonally. Like pouring kibble into a bowl for a hungry pooch each morning, Dog is dutiful with the basics: a man, a mutt, an odd-couple arrangement between seeming opposites with more in common than the human among them first thinks, and an emotional journey. Comedic hijinks ensue along the way, naturally, although Turner & Hooch didn't involve anyone getting cock-blocked from having a threesome with two tantric sex gurus by its four-legged scamp. Given that Tatum's Jackson Briggs needs to take Belgian Malinois Lulu 1500 miles from Montana to Arizona by car — she won't fly — Dog is also a road-trip film, complete with episodic antics involving weed farmers and fancy hotels at its pitstops. That's all so standard that it may as well be cinema's best friend, but this flick also reckons with combat-induced post-traumatic stress disorder of both the human and animal kind, and ideas of masculinity and strength attached to military service. When Dog introduces Briggs, he's working in fast food by necessity — think Breaking Bad's fate for Saul Goodman, with Tatum even channelling the same stoic demeanour — as he waits to get redeployed. All he wants is to head back on active duty, but his higher-ups need convincing after the brain injury he received on his last tour. But his direct superior (Luke Forbes, SWAT) throws him a bone: if Briggs escorts Lulu to their former squad member's funeral, after he drove himself into a tree at 120 miles per hour, he'll sign off on his re-enlistment. Lulu has also been changed by her service, so much so that this'll be her last hurrah; afterwards, Briggs is to return her to the nearest base where she'll be euthanised. Given that Dog is exactly the movie it seems to be, its ending is never in doubt. Accordingly, fretting about Lulu is pointless. The journey is the story, of course, so Tatum and co-director/screenwriter Reid Carolin — also making his helming debut, and reteaming with the former after penning Magic Mike and Magic Mike XXL (and the upcoming Magic Mike's Last Dance) — endeavour to make the small moments matter. That's a line of thinking on par with Briggs' readjustment to civilian life, and similarly howling through his burgeoning bond with Lulu past simply playing chauffeur. Yes, Dog is that obvious. An emotional throughline doesn't need to be novel to strike a chord, though, and this film yaps the message loud and clear. That said, it also trades more in concepts than in fleshed-out characters, making an already-broad story even broader. Read our full review. ANONYMOUS CLUB With her song and record titles — her lyrics as well — Courtney Barnett has long found the words to express how many people feel. It's a knack, talent and gift, and it's helped her rocket to Australian fame and global success within a decade of releasing her debut EP in 2012. As thoughtful and captivating documentary Anonymous Club shows, it's also something she's frequently asked about in interviews. But expressing those lines and the emotions behind them with a guitar and microphone as weapons, plus a riotous melody as armour, is different to sharing them quietly one on one. Directed by her long-time collaborator Danny Cohen, who has helmed a number of her music videos, Anonymous Club begins with this reality. Barnett can pour her heart, soul and observations about life's chaos into the tunes that've made her a household name, achieving something that few others can; when she's on the spot, however, she's as uncertain and awkward as the rest of us. Barnett's way with words and wordplay in her work, and her lack thereof elsewhere, thrums through Anonymous Club like a catchy riff. The subject doesn't fade, burrowing into the film as an earworm of a song inside a listener's head does, and feature first-timer Cohen doesn't want it to. His movie was shot over three years, starting in 2018, which places it between Barnett's second studio album and her third — and knowing that makes the phrases from their titles, and from her debut record also, echo with resonance throughout the doco. Anonymous Club could've been called Sometimes I Sit and Think, and Sometimes I Just Sit, like its subject's first album in 2015. Tell Me How You Really Feel from 2018 would've worked as well. And, yes, Things Take Time, Take Time would've been apt, too, concluding a line of thinking that the film invites anyway — ultimately finding its moniker in a Barnett track from 2014, before all those releases. Across two tours spanning Europe, the US and Asia, plus stints in Melbourne, Anonymous Club watches Barnett sit and think, and sometimes just sit. It tasks the singer/songwriter with telling how she really feels, and shows her realising the truth that things take time. All of the above is captured on glorious 16-millimetre film and, even within a mere 83 minutes, the backstage documentary is overwhelming comprised of these ruminative, reflective moments — of snatches of Barnett's life caught as she hops between rooms that aren't her own, be it stages or green rooms or hotels or homes she's housesitting. Her thoughts and feelings come via brief chatter in front of the lens (or, more accurately, with the unseen Cohen behind it, shooting with a camera customised to record synchronised sound), and from overlaid snippets of the audio diary he asked her to keep. That's a job she tussles with — more words, more on-the-spot candour rather than deliberated-over lyrics, more struggles — but she still stuck at it for the project's duration. Frank, earnest and honest, so much of what's uttered is as revelatory as everything that Barnett has sung over the years. She confides in the fly-on-the-wall film via her Dictaphone recordings; as a result, a highly poised, posed, image-conscious portrait, this isn't. "I don't know what the fuck I'm talking about anymore. I just feel like I'm going around in circles and digging myself a deeper hole," she says at one point, and many other statements have the same tone. Jumping from America to Japan to Germany and elsewhere, life on the road gets to her. Back in Australia, life without a fixed space to call her own after spending so long touring has a similar impact. "My heart is empty, my head is empty, the page is empty," she offers, another telling statement. "It feels like I'm being part of this scripted performance of what we think we're supposed to see on stage, and it just feels really pointless," she also advises. Read our full review. PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME Will they or won't they? Do they or don't they? Every time that romance and relationships are portrayed on-screen, at least one of these questions always echoes. In the entrancingly moody and astute Preparations to Be Together for an Unknown Period of Time, it's the latter. Whether Hungarian neurosurgeon Márta Vizy (Natasa Stork, Jupiter's Moon) and fellow doctor János (Viktor Bodó, Overnight) will end the film in each other's company still remains a pivotal part of the plot, but if there's ever been anything between them — or if it's all simply in Márta's head — is the far more pressing concern. She's a woman smitten, so much so that she's returned home from a prestigious job in the US just for him. But his behaviour could be called vague, rude or flat-out ghosting, if he even remembers that they've crossed paths before — and, if they ever actually have. Preparations to Be Together for an Unknown Period of Time first introduces Márta as she's unloading her János-sparked romantic woes upon her therapist. What could've been a standard rom-com or romantic drama setup soon twists into something far more alluring and intriguing, however. Indeed, as writer/director Lili Horvát (The Wednesday Child) ponders the role of memory in affairs of the heart, her film just keeps inspiring more trains of thought. How can we ever know how someone else really feels about us? How long will any romantic emotions last, and can they last? Is it ever truly possible to trust whoever our hearts fall or, or our hearts to begin with? And, can we genuinely believe those intense memories of love that implant themselves inside our brains, refuse to leave and inspire life-changing decisions — or is love too subjective, no matter how deep, real, shared and strong that it feels? These queries all spring from Márta's homecoming, after she meets János at a conference in New Jersey, then pledges to do so again a month later on a Budapest bridge. She shows, but he doesn't. Worse: when she tracks him down at his work afterwards, he says that he doesn't know her. While tinkering with memory is a familiar film and TV concept — see: everything from Memento and Eternal Sunshine of the Spotless Mind to Mulholland Drive and Severance — Preparations to Be Together for an Unknown Period of Time is interested in the emotional fallout from János' claims to have zero knowledge of Márta first and foremost. Confused, unsettled and still wholeheartedly infatuated, she just can't bring herself to return stateside, and also can't get János out of her mind in general. Scripted with empathy and precision by Horvát, and also shot and styled like a waking dream, Preparations to Be Together for an Unknown Period of Time isn't easily forgotten either, siding its viewers with Márta over János. This is a haunting and beautifully acted psychological drama that lays bare just how all-encompassing, obsessive, intoxicating and mind-melting love can feel, all as it plays with recollection and its ability to shape our perspectives. The tone is loaded but uncanny — sweet but uncertain, too — and Horvát has fun getting both emotional and cerebral while having her characters cut open brains. The latter happens literally and yes, there aren't many movies quite like this one. Cinema doesn't boast too many performances like the exceptional Stork's, either, which draws viewers into every feeling, question, and pang of both intense affection and shattering uncertainty that flows through Márta. Preparations to Be Together for an Unknown Period of Time opened in Melbourne from February 24, and screens in Sydney and Brisbane from March 17. IT SNOWS IN BENIDORM Forty-four years have passed since Timothy Spall first graced the silver screen — and what a gift he's given both cinema and television since. He won Cannes Best Actor prize for Mr Turner, earned five BAFTA nominations in five years between 1997–2002, popped up in lively Aussie crime flick Gettin' Square, stole every scene he was in in The Party and recently proved formidable in Spencer. He has everything from multiple Harry Potter movies to playing Winston Churchill in The King's Speech on his resume, too, and also routinely improves whatever he's in with his presence alone. In fact, he does exactly that with It Snows in Benidorm, which'd be a mere wisp of a film otherwise. Following a just-made-redundant bank employee to Spain, this meandering drama frequently mistakes mood for depth — and while Spall can't polish away its struggles, he's always the key reason to keep watching. A fan of the weather and little else, Spall's Peter Riordan has given decades of his life to his employer, and is so settled into the routine he's fashioned around his job that it's as natural and automatic to him as breathing. Accordingly, when he's unceremoniously let go, he finds it difficult to adjust. He's told that being freed from the monotony of his work is a gift, allowing him to retire early — so in that spirit, he heads off to the Mediterranean coast's tourist mecca to spend time with the brother he otherwise rarely talks to. But upon his arrival, Peter finds his sibling conspicuously absent. He still stays in his high-rise apartment, but what was meant to be a family reunion-style holiday now becomes a detective quest. Helping him is Alex (Sarita Choudhury, And Just Like That...), who worked with Peter's shady club-owning brother, might know more than she's letting on about his whereabouts, and also welcomes her new pal's tender companionship the more that they spend time together. Spall has spent his entire career being described by one well-meaning term: character actor. Here, he's centre stage in a character study instead. He's marvellous in the role — more so in the film's early scenes, where conveying both weight, importance, security and dreariness of Peter's lonely niche relies heavily upon his measured performance, but also whenever sharing moments with the always-luminous Choudhury as the complicated Alex. That said, as written and directed by Spanish filmmaker Isabel Coixet (Elisa & Marcela), It Snows in Benidorm proves as thin as the chance of an avalanche in its sunny setting. The script is more interested in contrivance than letting its characters' thoughts and feelings stew naturally, and revels in a ruminative tone that's ponderous rather than revelatory. It's a holiday photo of a complicated getaway given two hours of focus, in other words, and it's as flimsy as waving around a strip of negatives. Coixet helms with emotion rather than story in mind, to the detriment of both. There's such a concerted effort to make audiences share Peter's listlessness at home and his awakening abroad that every second feels forced, and the narrative's leaps and languishing never seem authentic. Thanks to Spall, the end result fares better than Coixet's last English-language effort, 2017's abysmal The Bookshop — but the director's latest can't reach the heights of 2003's My Life Without Me and 2008's Elegy. It Snows in Benidorm's reliance upon comedy rarely hits its marks either, other than when dwelling in the British expat-filled hellscape that is Benidorm's nightlife scene. Indeed, its lasting imprint is a 'what if?', because Pedro Almodóvar and his brother Agustín Almodóvar sit among the movie's producers. Being left wondering what wonders might result if Spall and Choudhury teamed up for the Parallel Mothers auteur isn't a ringing endorsement of their current project, though. DEADLY CUTS The Full Monty wasn't the first to do it, and it definitely hasn't been the last. But for the quarter century since that crowd-pleasing comedy became an enormous worldwide hit, British movies about underdogs banding together to save their livelihoods and communities have no longer been scrappy battlers themselves. Irish film Deadly Cuts is the latest, joining an ever-growing pile that also includes everything from Calendar Girls to Swimming with Men — and first-time feature writer/director Rachel Carey knows the formula she's playing with. Each such picture needs to be set in a distinctive world, follow a close-knit group, see them face an apparently insurmountable task and serve up a big public spectacle that promises redemption, and every step in that recipe is covered here. But a movie can stick to a clear template and still boast enough spirit to make even the creakiest of plot inclusions feel likely and entertaining enough, and that's this low-budget affair from start to finish. It does raise a smile that AhhHair, the glamorous hairdressing contest that Deadly Cuts' main characters want to enter and win, is all about innovation in its chosen form. The movie itself would never emerge victorious at such a competition, but it's filled with broad, blackly comic fun along the way, even if it boasts about as much subtlety as a mohawk. The setting: Piglington, Dublin, an as-yet-ungentrified corner of the Irish capital, where the titular salon is a mainstay. The aim: saving the shop from being torn down and replaced with shiny new apartments. The wholly predictable complications: the determination of corrupt local politician Darryl Flynn (Aidan McArdle, The Fall) to forge ahead with the development, which'll boost his bank account; and the suburb-scaring thugs led by the overbearing Deano (Ian Lloyd Anderson, Herself), who throw their weight around at every chance they get. While lead stylist Stacey (Ericka Roe, another Herself alum) has her heart set on AhhHair glory — a dream that her colleagues Gemma (Lauren Larkin, Love/Hate) and Chantelle (Shauna Higgins, Dating Amber) share — their boss Michelle (Angeline Ball, perhaps best known for The Commitments three decades back) is much less enthused. In another of the script's obligatory choices, the latter has a far-from-joyous history with the event and its head judge D'Logan Doyle (Louis Lovett, Moone Boy), and remains reluctant even when basking in the contest's fame and acclaim might be the only thing that'll keep her salon and Piglington itself going. Of course, movies like Deadly Cuts always find ways to get their characters to the big dance, especially when the odds are overwhelmingly stacked against them. Once there, their mission doesn't get easier. "You've got about as much chance as a dark brunette going to a platinum blonde in one step without her hair falling out," one rival spits at them. There's pluck to Stacey and her hair-snipping crew as they sharpen up their scissors, unfurl their curlers and do everything they must to whip up show-stopping styles to dye/die for — and yes, Deadly Cuts does take its name seriously. As a result, there's the same verve to the movie itself, which dips itself not only in the usual underdog formula, but in twisted OTT crime comedy as well. Patchiness comes with the territory, including in quick-fire gags that don't always land and lines of dialogue that are blunter than rusty clippers, but Carey's film still strives forth with ambition and confidence. Buoyed by game performances, it's the movie equivalent of rocking a by-the-book do and an outrageous hue at once, even if it's far better when it's skewing darker. 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 November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3 and March 10. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow and The Souvenir: Part II.
