You don’t call a movie 10 Cloverfield Lane without trying to get your audience guessing. With JJ Abrams in the producer's chair, there's an immediate game afoot. Just how will it connect to Cloverfield, the 2008 found footage creature feature he was also involved in? That's just one of the questions the movie inspires, though in truth it might be the least interesting. Given that the film spends the bulk of its time in a bunker with a suspicious Mary Elizabeth Winstead and a possibly hostile John Goodman hiding from what may or may not be an apocalyptic attack, there are plenty of other things to contemplate. Here's two: is Howard (Goodman) telling the truth when he tells Michelle (Winstead) that he's keeping her underground for her own safety? Or is the paranoid doomsday fanatic using his survivalist obsession for more nefarious means? When an accident brings the two together, Michelle can't help doubting Howard's true motives after she wakes up injured, semi-clad and chained to the wall. He spins a story about global devastation, which fellow cellar dweller Emmett (John Gallagher Jr.) backs up. However, even when the trio settles into a tentative routine of dinners and board games, she can't shake the feeling that something isn't right. Indeed, Michelle might pretend otherwise — and prove determined and resourceful when needed — but there's no mistaking her anxiety and uncertainty. Those emotions aren't hers alone, with 10 Cloverfield Lane forcing viewers to share in her uneasiness. Hiding as much as they make plain, first-time director Dan Trachtenberg and writers Josh Campbell, Matthew Stuecken and Damien Chazelle (Whiplash) sustain a pressure-cooker atmosphere and an air of mystery. Through canny camera placement, fine-tuned framing, savvy editing, a foreboding score and a willingness to take its time, the claustrophobic thriller has great fun teasing its audience. Maintaining a balance of playfulness and suspense also helps counter any similarities to Room or even The Unbreakable Kimmy Schmidt — and while shades of everything from Psycho to War of the Worlds are also evident, the film's path is its own. Forget the shaky visuals and sprawling nature of its predecessor, too. In an effort Abrams has labelled a "spiritual successor" to Cloverfield rather than a sequel, the images are stable, the focus tight and confined, and the menace more psychological than monstrous. Of course, Goodman ensures the threat of physical terror never quite dissipates, in his most substantial role in years. His richly textured performance is only one part of the on-screen equation though, with Winstead's reactions equally as precise and persuasive. Watching the two face off over what's going on and why they're there — with a mostly affable Gallagher in the middle — makes it easy to forget that there's the bigger puzzle of the feature's name to ponder. They're so effective, as is the film in keeping the mood tense and the surprises coming, that 10 Cloverfield Lane proves gripping irrespective of any monster movie ties.
Hightail it down to Bruzzy's Farm in Tallarook and shake it all weekend long. Celebrating its tenth anniversary in raucous style, this fittingly named boutique music festival is back for another year, for three straight days of dancing under the stars. The lineup is as eclectic as ever, with American headliner Jason Isbell joining his countrymen Endless Boogie and Spiral Stairs, Spain's Los Chicos, and homegrown talent such as Bad//Dreems, Emily Ulman and Henry Wagons & The Only Children.
An important topic, tied into a heartbreaking plight, deserves a film that does it justice. In tackling the equality of homosexual partners through the true tale of New Jersey police detective Laurel Hester and her spouse Stacie Andree, Freeheld isn't that film. Instead, it's a feature that knows the significance of the story it's telling and the subject it's covering, but remains happy staying in movie-of-the-week territory. When Freeheld opens, Laurel (Julianne Moore) is one of Ocean County's best cops, giving her job her all alongside fellow officer Dane Wells (Michael Shannon). She's also the type to keep her professional and personal lives separate, until an advanced lung cancer diagnosis forces her hand. Wanting to ensure that Stacie (Ellen Page) can remain in their home when she passes away, Laurel applies for her pension benefits to go to her registered domestic partner. The powers-that-be — the board of chosen freeholders, or the county governing body — decline her request, which inspires Laurel to fight for her civil rights. Though director Peter Sollett (Nick & Norah's Infinite Playlist) and writer Ron Nyswaner (The Painted Veil) approach their topic with noble intentions and an obvious, earnest dose of sincerity, there's a difference between being sympathetic and being simplistic — and sadly, their efforts strive for the former but side with the latter. Even with a legal fight at the centre of the narrative, there are few complications in Freeheld, and those that exist are designed to push emotional buttons. As a result, the script cycles through a checklist of the expected elements — hospital scenes, unsupportive colleagues, courtroom arguments and an ambitious activist lawyer (Steve Carell) among them — with little in the way of nuance. Audiences aren't ever in the dark about what they're supposed to be feeling, given that the film's soft tones offer a visual reminder of the gently moving territory it's trying to play in. Of course, Freeheld's generic air and approach isn't really conducive to wringing tears out of viewers, although that's what it is clearly trying to do — and what an account of the real-life circumstances should result in. Thankfully, the bulk of the cast fares better. Moore might remain in the same illness-centric territory that won her an Oscar this year for Still Alice, but in early scenes that show the way Laurel has to manage the different parts of her life, she makes the character more than a beacon for a cause. Page makes the most of a smaller part, even though she's very much the supporting player. In fact, she is often overshadowed by the excellent Shannon in a much quieter turn than he's frequently asked to give, and who becomes the feature's preferred point of focus. That's yet another of the odd choices Freeheld makes in its unsatisfying attempt to bring Laurel and Stacie's story to the screen, in an effort that has its heart in the right place, but not much else. For those looking for a film that actually does their tale justice, the short, Academy Award-winning 2007 documentary of the same is a much better choice, with fact winning out over a sentimental, dramatic version.
It starts and ends with the recognisable sounds of 'Holiday Road', and fills the time in-between with repeated refrains. It follows a formula established 32 years ago, and touches upon the same characters. The film in question is Vacation, the fifth and latest in the series. That it trades upon nostalgia is a given. That it doesn’t do a good job of doing so sadly is as well. Indeed, Rusty Griswold (Ed Helms) similarly relies upon his ill-thought-out fondness for things and times gone by to spark the feature’s story. Though he’s devoted to his wife, Debbie (Christina Applegate), and kids, James (Skyler Gisondo) and Kevin (Steele Stebbins), he can sense they’re not as excited as he is about their upcoming holiday. To facilitate some big-time family bonding, he changes their plans, hiring a mini-van and plotting a course across the country to theme park Walley World. Rusty is also driven by another reason: the trip to come, and the destination, mirrors the memorable jaunt he had with his parents (Chevy Chase and Beverly D'Angelo) and sister (now played by Leslie Mann) three decades earlier. That writing-directing duo John Francis Daley and Jonathan M. Goldstein shoehorn in a discussion about the pointlessness of rehashing past territory prior to the Griswold’s escape doesn’t really justify the episodic mess to come. Using a tongue-in-cheek exchange of dialogue to signify the script’s recognition of the weakness in trying to relive former glories is one thing; making a genuine effort to avoid falling prey to the laziness that often comes with such do-overs is another, and one the feature shows no evidence of trying to achieve. So it is that Vacation cycles through incident after incident, and throws nonsensical gags — a ridiculous Albanian car and a repeated shout-out to Seal’s 'Kiss from a Rose' among them — into the mix. When brief appearances by bit-players, such as Keegan-Michael Key, Nick Kroll and It's Always Sunny in Philadelphia's Charlie Day and Kaitlin Olson, command more attention and interest than the leads and narrative, you know that everything is far from ideal. Playing up his attractive appearance, Chris Hemsworth becomes the movie’s star player simply by proving the most committed. Though his character, Stone Crandall, the weatherman husband to Rusty’s sister, is largely saddled with mentioning faucets, his dedicated delivery makes the absurdity amusingly stick. There could be a message in the fact that the folks the Griswolds cross paths with along the way to their ideal getaway make more of an imprint, and the film certainly tries to push the theme of appreciating what you’ve got; however, overthinking the material gives the movie too much credit. Mostly, it remains content to strand the usually enjoyable Helms and Applegate in embarrassing situations and have them utter crude jokes. Vacation also remains content with looking like a sleek but messy holiday video. Actually, that's exactly what the feature delivers: a clumsy compilation that's supposed to capture better days. That you'll be pleased every time 'Holiday Road' pops up — because it means that this cinematic road trip is making its way towards its destination — makes the most telling statement.
Fourteen years ago, two planes struck the Twin Towers in New York City, and the world was changed forever. In the time since, we've all grown accustomed to the drumbeat of fear and the hum of government surveillance. We've resigned ourselves to the loss of personal privacy, often giving it up willingly through our use of smart phones and social media. Presented by St Martins Youth Arts Centre as part of their residency at Malthouse Theatre, I Saw The Second One Hit explores the social and political fallout from the 9/11 attacks through the eyes and experiences of twin sisters who have never known anything different. Teenage actors Juliette and Madeline Hemphil were born in 2001 and have grown up in a world shaped by that one fateful day in Manhattan. Conceived and directed by Clare Watson, this thought-provoking play asks us to consider the genetics of power, with one Australian family serving as stand-in for the entire Western world.
Keen on journeying around the globe through film? Then prepare to make the Arab world your next stop. At the Arab Film Festival Australia, you can speed around the streets of West Bank and venture across the Arabian Desert, thanks to its small but vibrant program. The Australian premiere of Lebanese effort Ghadi ranks among the festival's highlights, in a heartwarming exploration of the realities of families with special needs children. Cairo Time changes the mood in a collection of six characters and three stories across the Egyptian capital, while In the Sands of Babylon contemplates Iraq after the Gulf War. In its twelfth year, the community-based and -driven film festival not only showcases the best in contemporary Arab cinema to Australian audiences, but provides a unique opportunity for cross-cultural exchange. The movies featured attempt to address the frequent misrepresentation of the Arab culture — all while offering entertaining, engaging and thought-provoking viewing experiences, of course.
Grab yourself a bargain and a slice of pepperoni to go, at Lazerpig's latest garage sale and record fair. Starting from noon on Sunday, Collingwood's favourite pizza parlour will be crawling with savvy Melburnians rummaging through piles of old vinyls and vintage threads looking for a saving. There'll be clothes, shoes, bags and sunglasses, as well as handmade accessories, jewellery and candles. Music-lovers, meanwhile, can flick through records from the collections of DJs Tom Moore, Andee Frost, Misty Nights and many others. If you get tired from all the shopping, you can refresh yourself with $8 Aperol Spritzes and $10 Margaritas — and we imagine that the pizza oven will be firing as per usual. No need to feel guilty about the carbs, either, since you can work them off right there on the Lazerpig dancefloor.
Many a movie attempts to cause its audience to wonder what they'd do in certain circumstances. In the likes of Open Hearts, Brothers and In A Better World, Danish director Susanne Bier has contemplated the aftermath of accidents, war and childhood spats, all with repercussions rippling through ordinary lives. As they witness her tales of heartbreak and hard choices, viewers have been asked to do the same. In A Second Chance, Bier explores the dilemma that arises when a father faces tragedy and a detective spies a chance to stop another — and when both men are one and the same. Andreas (Nikolaj Coster-Waldau) dotes on his wife, Anne (Maria Bonnevie), and their infant son, Alexander, while trying to stop drug-addicted ex-con Tristan (Nikolaj Lie Kaas) and his girlfriend Sanne (May Andersen) from neglecting their baby. An unfortunate turn in one situation sparks an extreme decision in the other. The events the feature chronicles are best discovered while watching, though to say that Andreas's disheveled, often-drunk partner Simon (Ulrich Thomsen) starts to seem like the more sensible of the two gives an indication of the darkness that's in store. A large leap of faith is required to stick with the scenario that eventuates, one that attempts to justify a selfish deed through several layers of personal and professional desperation. In fact, while playing with heightened moral circumstances steeped in melodrama is what Bier and her regular collaborating screenwriter Anders Thomas Jensen do time and time again, here they threaten to stretch their usual questions too far. Whether anyone viewing the film would follow the same path as the protagonist is definitely debatable. Thankfully, that conflicted character is the feature's highlight, even if he is stranded within a dubious plot. Or, perhaps more accurately, Coster-Waldau stands out in his return to his native filmmaking and in playing against his Game of Thrones type. The man known to many as Jaime Lannister once again experiences significant family troubles, of course. Here, however, A Second Chance gives him much more room to display both range and subtlety than his small-screen role usually affords. Coster-Waldau's prominence isn't at his co-stars' expense, with Lie Kaas in particular also strong; nor is it at his director's. If his performance helps make the incredulous seem empathetic, then Bier's helming tries to strip back an unwieldy story and shape it into thriller territory. Sometimes she is successful, with the feature certainly looking the cool, steely part, and also making a strong statement about class assumptions. Sometimes, the material gets the better of her, such as when it tries to toy with its title. A Second Chance poses many such opportunities, but audiences unable to buy into the central source of drama may not go along with them.
Get down to the Collingwood Masonic Centre this Saturday and party like it's 1939. Hosted by The Boon Companions, Goodbye Wartime is part public dance, part immersive stage show, transporting guests back to the eve of Australia's entry into World War II. Enjoy the night while you can, because you'll be shipping out first thing in the morning. Goodbye Wartime is the latest event from The Boon Companions, an anonymous pair of party planners who specialise in immersive theatre events — such as their faux Wedding Reception earlier in the year. Ticketholders will be expected to dress the part in their best pre-war finery, while the crowd will consist of both guests and actors in character. There'll also be a bar (cash only) serving drinks all night long, so you can send your friends and loved ones off in style.
Your mouth has never been more important in determining what other people should eat, thanks to The Village who are hosting a Food of Origin series over five weekends in August, showcasing cuisines from different continents. Each weekend, The Village (formerly the Belgian Beer Garden) will bring together some palate-packing delights from North America, Central & South America, Europe and Asia. Your role? Go famished. Get fuelled up. Then vote for your favourite. The weekly winner will be invited back for the final Trailer Park showcase in the last weekend in August. For the fourth week of the Trailer Park's Food of Origin, the showdown rests close to home with a selection of Asian feeds. Pork sliders and fresh spring rolls are coming at you from White Guy Cooks Thai while the portable Hammer & Tong Food Truck has got your bigger buns filled with soft shell crab and Sriracha mayo. Nuoc Mama's beef and kimchi fries are rethinking the poutine game, thanks to their Vietnamese take on a Canadian creation. The street hustle is topped off by Gorilla Grill, who are infusing the tastes of an American kitchen with the streets of Asia. Think creamy, crunchy coleslaw served with Korean pork belly. Drink specials (including The Village Moonshine) will also be served in undercover bar, The Arbor. Want more? Whet those appetites further with these trucks that will be parked and waiting for you over the five weekends: August 1-2 - North America: Mr Burger, Smokin Barrys, TOASTA, Jay's Yogurt. August 8-9 - Central & South America: Taco Truck, Iv's Burritos, La Revolucion, Señor Churro. August 15-16 - Europe: Greek Street Food, Happy Camper Pizza, Jakob's Kitchen - Gourmet Sausages, The Brûlée Cart. August 22-23 - Asia: White Guy Cooks Thai, Hammer & Tong Food Truck, Nuoc Mama's, Gorilla Grill. August 29-30 - Best Of: The four chosen weekly winners will come back for the Trailer Park Showcase.
Very few filmmakers, or indeed artists in general, are as prolific as Woody Allen. Since he first began making movies back in 1966, the New York native has released 46 films, at a rate of almost one per year. Of course, not all of them have been particularly spectacular — the less said about Curse of the Jade Scorpion, the better. Still, you don't break Oscar's record for the number of Best Original Screenplay nominations on quantity alone. In celebration of Allen's incredible career, the team at The Astor Theatre are hosting a mini-retrospective, screening four of the writer-director's most critically-acclaimed films. The marathon begins with his 1973 sci-fi comedy Sleeper, followed by ensemble dramedy Hannah and Her Sisters, quintessential rom-com Annie Hall, and monochrome masterpiece Manhattan. It's $30 at the door for all four films, or you can pick and choose from $15.50 per session.
The team that bought you the pun-tastic Game of Rhones and Pinot Palooza are launching their latest event: Meat Your Maker. Proudly hosting some of this state's finest artisan farmers, growers and makers on Sunday, August 7 at Abbotsford Convent, the event will give ethically-conscious foodies the opportunity to meat (yep, we went there) and greet Melbourne's best meat producers. With a focus on education, the one-day event will feature four foodie-friendly sections including a Meat Market, Meat Out, Meat Sweats and Milk Bar. Patrons can sample some of the best seasonal produce, listen to panel discussions and enjoy cooking demonstrations from the likes of Meatsmith's Troy Wheeler and Pope Joan's Matt Wilkinson. Expect a selection of wine, cheese, milk, butter, yoghurt and — of course — plenty of fresh Australian meat. Tickets for Meat Your Maker are $25 each. This will get you access to the Milk Bar, Meat Market and Meat Out areas. For Meat Sweats sessions, you'll have to book in separately.
No prizes for guessing where Peter, Bjorn and John are travelling from. The Swedish trio's main claim to fame is the creation of the catchiest whistling tune ever created, 'Young Folks'. More recently, they took a little break, during which they built a studio, founded a record label and wrote a bunch more cracking pop songs. April 2015 marked their triumphant return, with the release of single 'High Up (Take Me To The Top)' and, in June 2016, the launch of seventh LP Breakin' Point. Rolling Stone's James Jennings called it "their glossiest, poppiest album yet," without an ounce of negativity, adding that "the group have crafted a consistently enjoyable album that casually tosses off killer choruses like it's no big thing." There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
At long last, Band of Horses, the gentle, bearded rockers from South Carolina, have dropped their fifth album, Why Are You OK?. Staying true to form, even the meaner songs sound a bit like Neil Young if he hadn't discovered anger. Now, as part of this year's Splendour sideshows, the denim-clad daydreamers are descending on The Forum. Billed as a "transformative display of pure guitar-driven anthems", the Concert Hall seems an ideal location for the band to let loose their hazy, swirling, laidback ballads. For those overdue for a 'Casual Party', book. Book now. There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
"For some reason, everything has become a metaphor," newly widowed investment banker Davis Mitchell (Jake Gyllenhaal) writes in a letter to a vending machine company. Uttered in voiceover partway into Demolition, it's not just a cringe-worthy piece of dialogue designed to provide an insight into his grieving mindset. It's also a dangerous sentiment for a character in a film to express — particularly in a feature that dedicates the bulk of its running time to becoming the movie equivalent of this statement. Davis' life has been torn apart by a car accident that claimed his wife (Heather Lind), though he managed to escape without a scratch. Barely shaken by the tragic turn of events — and clearly not visibly upset enough to satisfy his father-in-law and boss, Phil (Chris Cooper) — Davis begins to see everything around him as a reflection of his predicament. When he's not pouring his thoughts onto the page, initially trying to obtain compensation for a packet of undispensed peanut M&Ms but really just looking to share his lack of pain, he takes to dismantling the physical objects around him. A phone call from pot-smoking customer service representative Karen (Naomi Watts) proves similarly disruptive. Director Jean-Marc Vallée might be known more for his style than his subtlety, but the aptly titled Demolition takes blatant expressions of emotional states to a new level. Gone is the evocative earnestness and thematic texture that made the Quebecois filmmaker's French-language fare such as C.R.A.Z.Y. and Café de Flore work so well, even when they veered into heavy-handed territory. Instead, it's the contemplative simplicity of his most recent English-language efforts — AIDS drama Dallas Buyers Club and soul-searcher Wild — that's on display, coupled with a fondness for obviousness. Accordingly, Demolition proves an elegantly shot and deftly edited but ultimately empty series of scenes depicting its titular process in various forms: the initial crash, the destructive manner in which Davis behaves in the aftermath, and more than a few instances of both items and relationships being smashed to pieces, often in slow motion. While there's truth behind the broader observations Vallée is keen to stress, there are few new insights on offer. That screenwriter Bryan Sipe also penned the script for this year's Nicholas Sparks' adaptation The Choice gives an indication of the level of depth — or absence thereof. Alas, Demolition isn't a film that can be saved by its cast either. Gyllenhaal is solid and convincingly imparts some much-needed levity, but demonstrates exactly the amount of nuance he's asked to. While it shouldn't be surprising that yet another movie about a man's attempt to find himself wastes its female talent, Watts' nothing part is still disappointing. Playing Karen's teenage son, it's actually relative newcomer Judah Lewis (TV's Game of Silence) that fares best. His story arc might be designed to increase drama, but he conveys his character's journey without resorting to the movie's favourite tool, on-screen and off: a sledgehammer.
Love art, or just need a hefty tome to decorate your coffee table? Either way, the Melbourne Art Book Fair has you covered. Following on from the considerable success of last year's inaugural event, the sophomore edition of this literary luau will see more than 60 stalls take over the Great Hall at NGV International, showcasing art books, independent zines, limited edition prints and more. The fair begins on Friday, April 29 with the International Symposium on the Future of Design for Publishing, featuring a litany of guest speakers including South Korean graphic designer Na Kim and London-based artist and publisher David Blamey. That event will be followed by a ticketed evening preview, complete with live music, food and a pop-up bar. The main event, meanwhile, kicks off on Saturday, April 30, and consists of two straight days of workshops, panels and more than 20 separate book launches. For the complete program visit ngvartbookfair.com.
Some people have called him a hero. Others think of him as a criminal and a traitor. Still, regardless of your personal feelings about NSA whistleblower Edward Snowden, no one could deny that he'd be an interesting person to listen to. As it just so happens, that's exactly what this event is all about. For one night only at the Melbourne Convention and Exhibition Centre, the man who blew the lid off the biggest surveillance program in history will appear live via video to talk about what turned him from an anonymous computer analyst to one of the most wanted men in the world. We're sure he'd love to appear in the flesh, but...y'know. Presented by Monash Uni and Amnesty International, the event will begin at 7pm and run for approximately an hour and a half, and will include a Q&A with the audience.
Catch The Bard on the big screen in ACMI this July, as the British Film Institute and the University of Melbourne present Shakespeare on Film. Commemorating four centuries since the playwright's passing, this specially curated film program will showcase more than a century's worth of Shakespeare adaptations, from the seminal to the downright strange. Leading the two week lineup are a number iconic titles, including Laurence Olivier's Hamlet, Franco Zeffirelli's Romeo and Juliet, and Kenneth Branagh's Henry V and Much Ado About Nothing. Also on the program is last year's stunning Macbeth adaptation, followed by a Q&A (via Skype) with director Justin Kurzel. For those after something a little more obscure, ACMI will also screen campy '70s horror film Theatre of Blood, featuring Vincent Price as an actor who uses the murders in Shakespeare's plays as inspiration in his quest to bump off the theatre critics of London. But perhaps the most intriguing session is a collection of silent short films, including 1899's King John, believed to be the first Shakespearean screen adaptation ever made.
Light up the night with a party on the run. After successful events in Hong Kong, Singapore and the Gold Coast, Illumi Run is on its way to Melbourne. Come nightfall on Saturday, February 27, revellers will run, walk and dance their way along a 5-kilometre racecourse while being splattered with neon paint. And just when you thought you'd never run a marathon. The (strictly non-competitive) race will be held in Yarra Park by the MCG. Participants will be given a T-shirt, protective LED goggles, an LED foam stick and a swag bag full of goodies. Once you've crossed the finish line, you can make your way to the Illumi afterparty, featuring DJs, dancers and canons capable of firing more than 50 litres of paint at a time. There'll also be food and beverage on offer, to help you refuel and rehydrate after your workout.
Retail addicts rejoice, for The Creators Market is back. Held every few months, this homegrown event aims to bring together some of the cleverest designers and small business owners in Melbourne. Whether you like jewellery, clothes, beauty products, stationery or just want something to snack on, you're sure to find plenty of tempting items to separate you from your hard-earned cash. This first Creators Market of 2016 will be held at Prahran Town Hall on Saturday, February 27. Pick up some sweet treats from Made by Marlene, new threads from Honest Studios and a scented candle or two from The Natural Flame. All in all there'll be close to 40 different stallholders on site, and doors open 10.30am and close 4pm. Can't make it? Future markets are set for May 14, August 27 and November 26.
The plight of India's poverty-stricken conveyed through a quest for pizza? Yes, you read that correctly. Tamil language film The Crow's Egg endeavours to journey through the harsh lives of two young brothers by sending them in search of a slice of a fast food staple, and aims to present a combination of social realism and upbeat fable. If it sounds like an awkward combination, that's because it is. It's also clumsy in packaging weighty considerations within kid-focused shenanigans, unconvincing when it attempts to work farcical aspects into the mix, and falls on the wrong side of all things cute and enthusiastic as a result. The statements director M. Manikandan tries to make about the vast chasms between the haves and the have-nots, corporations and individuals, and the western and developing worlds are certainly sound, but they're hardly helped by his preference for slightness and sweetness over subtlety. What The Crow's Egg does have, however, is ample amounts of spirit – which is to be expected when a movie charts a couple of pint-sized characters on a mission. Here, the children in question are known only as Big Crow's Egg and Little Crow's Egg (Ramesh and J. Vignesh). The reason for their untraditional names is simple: that’s what the Chennai slum-dwelling siblings usually eat. As their main source of food illustrates more than their attitudes, life is tough for the twosome. Their mother (Iyshwarya Rajesh) works in a factory to amass enough money for their imprisoned father's legal fees, leaving the pair to spend their days scouring for fallen coal along the railway tracks that they can then swap for a handful of rupees. They dream of better things, including the meals served by the new eatery in their neighbourhood. Italian cuisine seems as exotic as it does appetising, and they desperately want a taste. Following their efforts and spending time with their cheeky personalities is endearing enough, as are the many musical montages, even if they're peppered throughout quite loudly and repetitively. Alas, the seesawing into darker territory is much less convincing. Of course, the overall disjointedness the movie suffers from could be said to mimic the excited minds of protagonists as they cycle through one adventure after another; however that might be a case of being too kind to a film that's clearly well-meaning, but just as clearly a bit too messy in bringing its intentions to fruition. Besides, the engaging duo of child actors at the centre of The Crow's Egg achieve that sense of exuberance all by themselves – which is why they're the feature's strongest element. Well that, and the relatable yearning for a piece of pizza.
In By the Sea, a couple retreats to a scenic ocean-side spot, their motivation as apparent as their baggage. Roland (Brad Pitt) is a writer struggling to put pen to paper, while Vanessa (Angelina Jolie Pitt) is a former dancer bearing emotional wounds from a past tragedy. Their individual troubles feed into a larger, common issue: the inertia in their marriage. The couple continue to look the part, but they're just going through the motions. He wears partially unbuttoned shirts, wanders around with a drink constantly in his hand, and spends more time with a local barkeep (Niels Arestrup) than with his wife. She smokes behind oversized sunglasses, stretches out on their balcony, and speaks as little as possible. They're not confronting their woes — they're avoiding them. Stepping behind the lens for her third stint as a director, Jolie Pitt explores the struggling state of a stale relationship in a script of her own making — and that she's taking on a starring role, alongside her actual husband, is by no means insignificant. Just don't expect an insight into the personal lives of one of the most famous couples on the planet. Instead, Jolie Pitt toys with the concept of being watched – something the real-life duo is no doubt familiar with, both on-screen and off. Vanessa finds a peephole into an adjacent room, discovers that she enjoys peering into the lusty bliss of a honeymooning couple (Melvil Poupaud and Mélanie Laurent), and eventually shares the experience with Roland. They gaze at the private moments of others, the audience observes them in turn, and more is seen than said. By the Sea convincingly conveys the unspoken elements of voyeurism; the forbidden becomes thrilling, whether spying on a neighbour or reading accounts of celebrity relationships. The film also shows how becoming invested in the life of someone else from afar can both mask and amplify the problems of those doing the looking, such as unhappiness and alienation. Indeed, while this may be the first time the couple have shared the screen since 2005's Mr. and Mrs. Smith, it's not just a case of lovers jetting off to a picturesque setting and sulking around a nice hotel. Jolie Pitt's feature is astute and incisive in its examination of the ebbs and flows of long-term bonds, and owes a debt to big screen melodrama and minimalism. The ghosts of great '70s European cinema – of character-based theatrics allowed to unfold slowly, and of pain rippling beyond composed faces and lavish surroundings – can be felt in every frame. Director of photography Christian Berger, a veteran of Michael Haneke's films such as Cache and The White Ribbon, certainly assists in evoking a throwback vibe and a sense of closeness. Nevertheless, it's the two leads who remain the true stars of the show. They weather some trying dialogue as well as an unsatisfying late revelation, and help the movie's repetition and tension become rhythmic and immersive. Their performances are also the reason that, even when the feature doesn't quite come together, it still remains hard to forget. In presenting a tale of intimacy and scrutiny, they're a pair no one can tear their eyes away from.
Freshly Ground Theatre presents a brand new stage comedy about one of the most talked about pastimes on earth. We're talking, of course, about infidelity. For as long as human beings have been coupling up, their eyes, hands and other bits have been wandering where they don't belong. A modern interpretation of the time honoured bedroom farce, Affair Play follows two couples over the course of a single dinner as they attempt to scheme, sleaze and sweet-talk their way into each other's pants. Written and directed by long-time FGT members Sam Lloyd and Max Barker, respectively, Affair Play will premiere at the Brunswick Mechanics Institute on Wednesday, December 9. It's the latest in a series of original stage comedies from the Melbourne-based theatre company, which has been performing since 2008. Image: Ella Palij.
The 19th annual Queenscliff Music Festival is swiftly approaching — and, boy, is there a lot to celebrate. As always, the line up is an exquisite mix of homegrown heroes and international talent. Angus and Julia Stone are taking the reigns as headliners this year, and they'll bring the festival to a close on Sunday night. Other acts to look forward to include Hoodoo Gurus, Paul Dempsey, Kate Miller-Heidke, Augie March, John Williamson, Hollie Smith, Melbourne Ska Orchestra, and Lior will be performing a very special 10th anniversary show of his beloved album, Autumn Flow. They're down to their last round of tickets, and you can either get a pass for the whole weekend or just for a day/night if there's something special you can't possibly pass up. This a prime music event for those who like to kick back and soak up the friendly atmosphere of a well-organised festival just before the madness of summer hits. If this sounds like something you can get down with, hit up QMF.
Looking for a nice, romantic date movie? In that case, steer well clear of Monster Fest 2015. Home to the sickest, strangest, most twisted pictures around, Melbourne's bloodiest film festival is back with a vengeance. Don't say we didn't warn you. Taking over their new home at Hawthorn's Lido Cinemas, this year's Monster Fest kicks off with the world premiere of Scare Campaign, the latest Aussie horror flick from Charlie's Farm directors Colin and Cameron Cairnes. From there, strap yourself in for three straight days of gruesome genre cinema. Some of the entries we're most excited for include Atomic Eden, Excess Flesh and Bunny the Killer Thing — and that's just going by the titles. Closing night will see the Melbourne premiere of Eli Roth's latest feature Knock Knock, in which Keanu Reeves is terrorised by a pair of seductive psychopaths. Poor Keanu. https://www.youtube.com/watch?v=ti6S3NZ5mKI On top of their regular screenings, this year's program features a number of special events, including a midnight-to-breakfast 'blaxploitation' marathon — complete with a Q&A with legendary actor Fred 'The Hammer' Williamson, no less — and a horror movie trivia night, featuring the likes of scream queen Dee Wallace and Wolf Creek star John Jarratt. For more information including the full Monster Fest program and ticketing deals, visit their website.
Art, theatre, mathematics and opera combine in an eclectic, electric new work opening at Theatre Works in St Kilda. RICERCAR is the brainchild of Present Tense Ensemble's Nathan Gilkes and Bryce Ives, who've recruited pop violin and drums duo The Twoks, instrumentalist Rosie Westbrook, visual artist Jennifer Tran, actors Laura Burzacott and Daniel Han, and opera singers Shauntai Batzke and Simon Gilkes. You'd never guess it was inspired by the genius of Johann Sebastian Bach. Running from Tuesday, November 24 until Saturday, December 12, everything in RICERCAR — from the music to the choreography — is inspired by mathematical loops and patterns. Gilkes and Ives took this idea from Bach's six voiced fugue entitled Ricercar a6, which the composer created in response to a challenge from Frederick the Great. Whether RICERCAR lives up to the pedigree, you'll have to wait and see.
If 2015's slate of documentaries has taught audiences anything — and filmmakers, too — it's the value of personal recordings, private scribblings and lost tapes. Kurt Cobain: Montage of Heck, Amy and Listen to Me Marlon all used previously unheard ramblings, unread notes or unseen footage as their basis, all to great effect. Their accounts of famous subjects unfolded in the best manner possible: in their own unguarded words. Sourcing its treasure trove of audio from a shoebox stashed in a basement for decades, Peggy Guggenheim: Art Addict endeavours to do the same as it peers back at the achievements of its titular socialite and collector. Indeed, her musings, all immortalised in the late 1970s by her biographer, provide the highlights of an otherwise cursory film. Guggenheim is a fascinating figure who lived a life most can only dream of, and her personality drips through in her voice and recollections. The material assembled around it, while plentiful, can only feel ordinary in comparison. It traces over the same details, rather than filling in the gaps. Meanwhile, Guggenheim's own mutterings and the accompanying chats, clips and images, seem content with offering description rather than depth. They still tell quite the tale, of course. Born into one of New York's wealthiest Jewish families, the daughter of Titanic victim Benjamin and niece of museum namesake Solomon, Peggy eagerly took on the role of rebel and black sheep, with her refusal to conform to expectations one of the strengths of her ventures in the art world. In Paris in the 1920s, she started buying pieces that caught her eye, and continued to do so until her death in Italy in 1979. In between, she befriended many an artist, founded galleries in Europe and the US, saved pieces from the Nazis and unearthed emerging talent such as Jackson Pollock. When director Lisa Immordino Vreeland isn't letting Guggenheim do the talking, she's compiling the usual mix of archival footage and interviews, with Marina Abramovic and Robert De Niro among those featured. It's the same tactic the filmmaker used in her last effort, Diana Vreeland: The Eye Has to Travel — but while both movies are straightforward in their approach, there's considerably less energy and personality this time around. Vreeland's struggle with tone — never quite knowing whether to interrogate the gossip that surrounded Guggenheim's personal affairs or to simply recount the rumours — certainly contributes to the film's lack of liveliness, as does its insistence on serving up a standard biographical documentary instead of a true reflection of its subject. It still makes for pleasant-enough viewing, particularly for art addicts themselves, but it never manages to fully do Guggenheim justice. In fact, it's only her vocal presence that stops the movie from amounting to little more than an interesting video of a Wikipedia listing.
Not everyone is lucky enough to spend Christmas with their nearest and dearest, and sometimes you just find yourself riding solo. Thankfully, the spirit of Christmas is strong in the city, at our favourite little shipping container-turned-bar. On Christmas Day from midday, Section 8 is welcoming orphans from far and wide to their special Christmas BBQ and shindig to sip Stone & Wood, fill their bellies with some tasty treats, and boogie on down to French maestro's Mr Pitiful DJ beats.
When writer Herman Melville (Ben Whishaw) knocks on the door of retired sailor Thomas Nickerson (Brendan Gleeson), he's chasing a white whale. The year is 1850, and the author is writing a novel that he'd like to base on his own time at sea as well as another true tale. When Nickerson eventually agrees to share the story of the ship he worked on three decades earlier, he's fleeing the same beast. The Essex, a Nantucket whaler, had dallied with the giant sea creature — and Nickerson had refused to talk about it since. So starts In the Heart of the Sea, Ron Howard's account of the real-life events that inspired Moby-Dick. Based on the non-fiction book that gives the film its name, the movie both searches for and tries to escape the monstrous animal in its midst. In the narrative, it tells of men charging forward and then retreating — though as anyone familiar with Melville's epic would be aware, the whale isn't the only thing they're seeking or running from. In the feature's approach, it rises and falls in its energy and bobs and sways in its style, ensuring that the to-ing and fro-ing of story comes through in the mood and visuals. The Essex had set off in 1819 to gather barrels of oil, with melted-down whale blubber the preferred source at the time. Two men led the crew: the untested Captain George Pollard (Benjamin Walker), who received his position due to his family name, and first officer Owen Chase (Chris Hemsworth), who boasted plenty of experience but lacked a wealthy pedigree. Their clashes rocked the boat figuratively and literally, leaving the likes of young Nickerson (Tom Holland) and second mate Matthew Joy (Cillian Murphy) caught in the middle. Keen to complete the job and get away from each other as soon as possible, Pollard and Chase ventured 10,000 leagues along the equator to find a pod of sperm whales, ignoring warnings about an unfriendly mammal that had terrorised other vessels. While In the Heart of the Sea is framed as a showdown between Pollard and Chase, their combined foe becomes that cinema cliché — the third character in their battle. Thankfully, Howard and screenwriter Charles Leavitt (Seventh Son) know that less is more, teasing the impact of the animal more than they show it. Though the film doesn't miss a chance to flaunt its use of 3D or the aesthetic jerkiness that stems from its watery setting, this isn't a creature feature. Instead, it’s seafaring fare that's littered with more than a few arresting moments, while remaining more concerned with the trouble the whale both causes and amplifies than it does with the whale itself. With Hemsworth playing up the drama that results, it makes for a brooding clash of egos and a blustering tale of humanity versus nature. His accent may waver, but he's a solid lead, even if he's often shouting, scowling and staring out to sea. With Gleeson, he's also an anchoring presence in a film that swims between a drunken retelling, unleashing the chaos and the fury of the ocean; and showing the kind of drifting seen in other recent seafaring films like Unbroken, All is Lost and Life of Pi. A rough but most rousing journey.
The Brunswick Street Gallery has once again set the challenge for artists everywhere, with their 40x40 art competition. The rules are simple: the artwork can be of any medium, theme or style, but it must be no larger than 40cm by 40cm in size. Interstate and international artists are also welcome to enter — in fact, you can enter up to 10 times — and all works will be exhibited for the duration of the exhibition. As you can imagine, when the rules are so few the artwork exhibited is likely to be a wonderful mix of the beautiful and the bizarre. The exhibition runs until January 16, so drop by before then and decide for yourself who should take home the $2000 cash prize.
There is no denying that bacon is damn delicious and on some mornings nothing short of a lifesaver. But in today's artisan climate, it's no longer enough to get joy from eating it — so, what if you could make it yourself? Enter Adrian MacGeraghty and his Makin’ Bacon workshop, during which you will learn what happens, scientifically speaking, during the process of curing. Once the basics are down, you can start talking flavoured bacon, from Sriracha hot sauce, to bourbon, and even coffee. You’ll get to sample the goods as you create your own flavour, and — in even better news — you get to take home your own personalised bacon. All you have to bring along is some excited tastebuds and you're good to go.
We all have a list of things that, before 2020 happened, we never would've even dreamed could occur. In January 2021, you can add something new to that tally: driving inside the Melbourne Convention and Exhibition Centre, parking in its exhibition bays and watching a movie. From Thursday, January 7–Tuesday, January 26, MCEC will become an indoor drive-in — which is why the pop-up event is called Drive In(Door) Cinema. You know what seeing a movie while sat in your car entails already, but this excuse to catch a few flicks also keeps you safe from the summer weather (and helps with social distancing, too). Running day and night, it's screening family-friendly fare while the sun is shining, then going retro with adult-oriented titles in the evening. So, you can see The Wizard of Oz, Space Jam, Mrs Doubtfire, Labyrinth and The Little Mermaid — or opt for Speed, The Shining, Step Brothers, Get Out, Goodfellas, Mad Max: Fury Road and Clueless. The list goes on, and includes Saturday night late sessions of Bill and Ted's Excellent Adventure, The Rocky Horror Picture Show and Scream, too. Entry costs $40 per car, and you can buy snacks on top — including not only popcorn and choc tops, but also ice cream and doughnuts from Nitro 196 Below and The Dough Truck. https://www.youtube.com/watch?v=8piqd2BWeGI
Talented pooches have been barking their way to big screen stardom since the birth of the medium, and Cannes Film Festival even gives out awards for ace pupper performances. Now, Australia has a dog-themed cinema showcase — and while it pops up around the country every year, it's heading to Moonlight Cinema in 2021. At the Top Dog Film Festival, doggos and puppers cement their status as humanity's favourite movie stars in a program of pooch-centric shorts. Viewers will watch dogs will leap across the screen in a curated selection of heartwarming flicks about humanity's best friend — think films about dog-powered sports, dogs in space, dogs hiking through the desert, senior dogs and more. The festival hits Moonlight Cinema in Melbourne's Royal Botanic Gardens on Saturday, January 30, and rushing after tickets the way your best four-legged friend rushes after a frisbee is recommended. Given how much we all love watching dog videos online, not to mention attending pupper-centric shindigs in general, this one-night-only under-the-stars event is certain to be popular. Also, in exceptional news for pooch-loving movie buffs, you can take your pupper along.
With 17 successful years under its belt, the annual Share the Spirit, or Balit Narran, Festival is back again. It's run by Songlines Music Aboriginal Corporation and aims to increase the recognition of, and celebrate, contemporary Aboriginal music — so, naturally, the festival showcases a range of Indigenous artists. Multi-genre singer Mojo Juju, hip hop group Brothers in Arms and folkt female duo Stiff Gins are some of the performers on the 2019 lineup, with genres ranging from folk to country, blues to soul, and funk and hip hop. As well as music, the free event, which takes place on Saturday, January 26, features a Welcome to Country and smoke ceremony, art stalls, craft and cultural workshops and dance performances, all in Melbourne CBD's Treasury Gardens. Share the Spirit Festival runs from 1–5pm.
At Boho Luxe Market (their words, not ours), Byron Bay comes to Melbourne. Well, the beachy New South Wales spot's general vibe does at least. Forgoing the trappings of the city for bohemian fashion, jewellery, homewares and the like is on the market's agenda, with events taking place across the past two years — including a three-day market and glamping festival, which is returning in 2019. Clearly Melburnians responded well to Boho's dreamcatchers and flower crowns. If you were one of them — or, if getting some glamping inspiration sounds like your kind of thing — block Friday, August 30 to Sunday, September 1 out in your diary. The second Boho Luxe Market and Glamping Festival will once again head to the Royal Exhibition Building for a weekend of browsing and buying, food trucks, live music and workshops. There'll be plenty of stalls featuring all of the essentials: eats and drinks (including an 100-percent vegan secttion), fashion and jewellery, a kombi display and glamping providers tempting you into booking your next holiday. Drop by and pretend you're somewhere quiet and coastal on Friday from 6–10pm, Saturday from 10am-5pm, and Sunday from 10am–4pm.
For more than four decades, Storm Boy has been an essential part of the Australian primary school experience. If you didn't read Colin Thiele's novella, losing yourself in its pages, then you watched the wonderful 1976 film adaptation. Perhaps you did both — or maybe you saw the stage version from the 90s onwards. Both then and now, Storm Boy has always told a timeless tale, but its 2019 remake might've benefited from arriving a few years earlier. The central narrative remains just as affecting, focusing on a young boy and the lively pelican he comes to call his best friend. The movie's new additions and its big-name star, however, don't fare as well. In much of the film, the story of a pre-teen Mike Kingley (Finn Little) scampers across the screen, just as the boy himself scampers along South Australia's sandy Coorong coastline. Other than his fisherman dad "Hideaway" Tom (Jai Courtney), Mike's days are largely free from human contact. When he meets another of the region's reclusive figures in local Indigenous man Fingerbone Bill (Trevor Jamieson), he makes a rare pal. The two bond over a trio of other lonely creatures: three baby pelicans whose mother is shot and killed by hunters. Naming them Mr Percival, Mr Proud and Mr Ponder, Mike takes the helpless chicks under his wing, cares for them and watches the birds grow. From Lassie's yearning to return home, to Kes' combination of a kid and a kestrel, to the recent version of Pete's Dragon, accounts of humanity's connection with animals have long inspired movie magic. In pictures such as E.T. the Extra Terrestrial and the recent Transformers prequel Bumblebee as well, the same themes and emotions apply. Sometimes the genre tugs a little too hard on the heartstrings, and sometimes it's happy being a tad too cheesy, but when it works, it brings tears and tender feelings in equal measure. And in Storm Boy, it works. Watching Mike escort his grown pelicans back into the wild, then watching Mr Percival make his return, proves moving in all of the right ways. The path their tale charts from there also evokes a genuine reaction. There's a sunny but never blindly optimistic glow to these 1950s-set scenes, as paired with warm performances from the effortlessly naturalistic Little, Courtney putting in his best work in years, and the engaging Jamieson stepping into David Gulpilil's shoes. Making his first movie since 2008's Two Fists, One Heart, director Shawn Seet finds the right mood and tone even when he dials up the sentiment to obvious heights, while also filling the main section of the film with sweeping images. Alas, unlike its predecessor, the young Mike's exploits with Mr Percival only comprise part of the picture. Wrapped around Storm Boy's compassionate core is a contemporary story, following Mike as a weary, wealthy grandfather played by Geoffrey Rush. Summoned to a board meeting for the family company that's now run by his son-in-law (Erik Thomson), the ageing character relays his childhood memories to his teenage granddaughter (Morgana Davies), who's firmly against her father's latest plans. These additions by screenwriter Justin Monjo (Jungle) come saddled with a well-meaning environmental statement that brings modern-day relevance, but the end product is as forceful and clumsy as it sounds. They also push Rush to centre stage for a significant portion of the movie, a move that feels unnecessary given how engaging the flashback scenes are — and also feels uncomfortable after the recent allegations of sexual harassment levelled against the actor, which he denies. As a result, Storm Boy is both a gorgeous film and a wayward one. Its soaring heights are a delight, and its awkward depths are an unwanted distraction. One will melt even the hardest of hearts, the other will test even the most patient of viewers. Our advice: focus on the titular tyke and the pelican, although you'll wish the filmmakers had heeded the same words. https://www.youtube.com/watch?v=6cBOvn18yeQ
Just when you thought no more of your teenage dreams could come true, there's yet another juicy serve of musical nostalgia heading our way this February. The next edition of RNB Vine Days is set to deliver a lineup that'll have you throwing back hard to the good ol' days. The one-day festival differs a little from the aforementioned arena spectaculars — instead of being held in a stadium, the concert will take over a winery in Geelong. It makes sense — the tour comes from the same minds that brought you A Day on the Green. Similarly, RNB Vine Days will be all ages and bring with it a star-studded cast of old-school music icons. Hitting the stage this time around is none other than UK pop royalty Craig David, who'll be performing alongside his full live band. Brit-Canadian girl group All Saints will send you tripping back in time as they revisit smooth hits like 'Never Ever' and 'Pure Shores', while renowned rapper Nelly will be getting the crowd 'Hot In Herre' as he throws down previous gems like 'Dilemma', 'Ride Wit Me' and 'Just A Dream'. Singer-songwriter Amerie and RnB Fridays Live resident DJ YO! MAFIA round out the lineup, to be be enjoyed alongside a day of sunshine, gourmet eats and the venue's own signature wines.
Deploying comedy as a coping mechanism, Vice turns an entire chapter of US history into a joke — of sorts. You could say that the George W. Bush administration achieved that very feat itself, but that's not the gag. Rather, Anchorman, Step Brothers and The Other Guys' filmmaker Adam McKay adopts the "well you might as well laugh" approach. The period spanning 2001 to 2009 was rife with deeds and decisions that still rightfully evoke ire today, so Vice bundles it with humour to explore what really went on. It worked for The Big Short to the tune of an Oscar win and four other nominations, including a best director nod for McKay. But it's nowhere near as effective in the writer-director's similarly topical follow-up. Honing its gaze not on the famously laidback Bush (Sam Rockwell), but on his Vice President Dick Cheney (Christian Bale), Vice is an entertainingly made picture. Like its predecessor, it's impassioned, irreverent, designed to get audiences angry about both the past and the present, and so stuffed with stylistic tricks that it's almost overwhelming. Sometimes an intermittently seen narrator (Jesse Plemons) delivers insights to viewers. Sometimes text splashes information across the screen in varying fonts. Mid-movie, credits even start rolling over a fake happy ending to satirise standard biopic conventions. The flourishes keep coming, raising a smile each time, including a scene where the government's main players decide how to carve up Iraq by ordering from a menu rattled off by Alfred Molina. Unfortunately, McKay is so busy telling his tale in an amusing, ironic, gimmick-ridden fashion that he forgets to do more than state the obvious. Seen swigging drinks as a college dropout, then snaking his way through the political ranks, then scheming to expand and consolidate his influence, Cheney is a slippery figure in Vice. Long before he's the Vice, his vice is alcohol — but an ultimatum from his sweetheart Lynne (Amy Adams) puts him on the path to several offices in the White House. His mentor Donald Rumsfeld (Steve Carell) helps, though it's Cheney's ability to work any situation to his advantage that keeps his star rising. Two specific moments seen in the film sum up his evolution. On his first day as a congressional intern, he aligns himself with the Republican party solely because he's impressed with Rumsfeld's buffoonery. Decades later, when asked to become Bush's running mate, he only agrees after ascertaining just how much power he'll be able to usurp. Ruthless, opportunistic, manipulative and determined to advance his own interests above all else: that's Vice's portrait of Cheney, and it's far from pretty. As portrayed by Bale, however, the Machiavellian figure is a sight to behold. Sporting a hunch and a paunch, speaking in gravelly grunts and side-eyeing everyone around him, the ever-committed actor turns in another transformative performance. Indeed, it's a performance that makes viewers feel as if they know what makes Cheney tick beyond his unspoken lust for control, glory and pulling everyone's strings. With Adams suitably steely as Cheney's wife, Rockwell as loose as a Florida party as Dubya and Carell channelling a smarter, more obnoxious version of The Office's Michael Scott as Rumsfeld, Bale is also in very good company. Still, Vice doesn't reach the heights that it's clearly aiming for, or those reached by its stars. Spinning a story about a man who fell just short of his country's highest office, that almost seems fitting. There's an air of smugness about the film, which makes many compelling points but does so in much too self-satisfied a manner. And, as engaging as the movie's romp-like style may be, it makes its case in much too cartoonish a manner too. Virtually at the outset, McKay tells the audience that American citizens just don't want to concern themselves with the ins and outs of government, which is partly how the country's political mess came about. And yet, he both points out and perpetuates that exact same idea. A gleeful surface-level examination of Cheney's chicanery, Vice assumes that viewers who didn't already know the details couldn't — and wouldn't — care without the movie's glossy, jaunty packaging. https://www.youtube.com/watch?v=5i_iDqkQqtI
Baby, she's back — and she's ready to party. State of Grace recently reopened on King Street after pouring last cocktails at its popular Collins Street bar in late-2016. So, to celebrate its triumphant return, State of Grace is set to host an extravagant New Year's Eve event befitting its new look — think old-world decor meets European flair. On Monday, December 31, the venue will host a Prohibition-era style party dedicated to legendary New York haunt, The Cotton Club. You'll experience the roaring 20s in all its sophisticated glory through one of three special packages on offer. Splash out at the Dining Package ($175) to experience a four-course dinner in the street-level restaurant — think whisky-smoked duck breast with crispy kale and blackberries or green pea ravioli with spinach and zesty mint. Or graze and sip in the secret cellar bar with the Fall from Grace package ($150), which includes roving canapés for you to tuck into. But if you want to be at the centre of the action, the Rooftop Party Package (from $100) is the way to go. Not only do you get a view of the city skyline — prime viewing for the fireworks when the clock strikes midnight — you'll also get plenty of canapés. Plus, a DJ will be spinning tracks until 3am, so you can dance the night away. And in true Prohibition party style, State of Grace is offering five hours of free-flowing drinks across all packages, including spirits, bubbles, wine and beer. To ring in the new year in style, head to the State of Grace website to book your ticket.
For the second time in just a few months, one of Lady Bird's boyfriends has turned to illicit substances. For the second time in his four-movie filmmaking career, Peter Hedges explores a black sheep's holiday homecoming. Both of these statements require some unpacking, but they demonstrate just how well-worn much of Ben Is Back feels. As Timothée Chalamet did in Beautiful Boy, fellow Lady Bird co-star Lucas Hedges portrays a young man grappling with drug dependence and disappointing the devoted parent who just wants him to get clean. And as the elder Hedges did in 2003's Pieces of April, the writer-director charts the drama of an awkward family reunion. There's another layer of familiarity to Ben Is Back, too: Peter and Lucas Hedges are father and son. As well as the movie's similarities to other accounts of addiction and reconvening relatives, perhaps that's why it largely seems like the product of folks firmly in their comfort zones. The plot rides the usual emotional rollercoaster, ending exactly where everyone expects. With the film's tone, Peter Hedges tries to find a balance between sensitive and tense, and between heart-wrenching and sombre as well. Visually, the picture makes the most of grey hues and anguished close-ups, each adding to the recognisable mood. And although Lucas Hedges' performance is reliably raw and multifaceted, the impressive young actor never quite reaches the heights that he demonstrated in Manchester by the Sea and Boy Erased. Still, Ben Is Back has a spark to it, with Julia Roberts proving the picture's powerhouse package. Wearing the weight of a mother's unconditional love in every patient step and searching gaze, she plays suburban mum-of-four Holly Burns. Arriving home from Christmas Eve church choir practice with her excited pre-teen kids (Jakari Fraser and Mia Fowler), she suddenly shares their enthusiasm when she spies Ben (Lucas Hedges) standing on their snowy doorstep. Only high-schooler Ivy (Kathryn Newton) is wary — thanks to his complicated history, her older brother is supposed to be in rehab, as paid for by Holly's second husband Neal (Courtney B. Vance). But Ben promises that he's happy, healthy and has his habit in check, which Holly chooses to believe, imploring the rest of the family to follow suit. With reminders of his past mistakes littered around both his home and his hometown, Ben's pledge to his mother and Holly's faith in her son each prove hard to maintain. While there's little that's surprising about Ben Is Back's story (even when it endeavours to chart its own path into near-thriller territory), Roberts remains a source of continual astonishment. A much rarer presence on cinema screens of late than in her 90s heyday, she steps into her second doting mum part in as many movies, after 2017's Wonder. And yet, nothing about her performance paints by the numbers. Indeed, this is really her film, and it tells her character's tale. Holly has experienced a life tougher than her well-appointed two-storey house makes plain, although not as rough as the places that Ben's return takes her to — and Roberts makes that difficult clash evident without needing to explain it in words. Also present in Roberts' fine-tuned portrayal is a narrative that everyone knows, yet is scarcely given such nuance and attention. Ben Is Back tells of parental sacrifice, as evident in everyday choices rather than grand or tragic gestures. It's a story about the cost of caring — the toll a mother willingly pays when always offering a shoulder to cry on, lending a helping hand, trying to see the best in her children and endeavouring to do what's right for one kid when she has three others at home. Hedges' script attempts to thread this idea into a broader statement on suburban addiction, and, specifically, the destructive influence of prescription drugs. It's a noble quest, and one of the movie's more ambitious moves. Ultimately, however, Ben Is Back works best when it focuses on the quietly expressive Roberts, and lets her commanding work turn an intimate snapshot into a bigger story. https://www.youtube.com/watch?v=KQI_hkFKlHc
UPDATE, March 19, 2021: Assassins is available to stream via Docplay. If a Hollywood screenwriter had cooked up the story at the centre of Assassins, they would've been told that it's too far-fetched. The plot likely wouldn't have even made it into the many direct-to-streaming action flicks that wear their over-the-top narratives as a badge of honour, and probably only would've reached screens in an Armando Iannucci-style satire. Indeed, this is the type of tale that can only be true. Not that the world needs any additional reminders, but it's yet more proof that real life really is far stranger than fiction. And, while this exceptional documentary from filmmaker Ryan White (The Keepers) won't be the only movie to bring the story to the big screen — dramatised versions are guaranteed to follow, and other flicks are certain to mine its minutiae as well — it'll always remain one of the best. On February 13, 2017, at the Kuala Lumpur International Airport, a man was assassinated in broad daylight. While standing by the self check-in kiosks at around 9am, he was approached from behind by two women. After they each rubbed their hands across his face, he was dead within the hour. For a plethora of reasons, the attack garnered global news headlines. Such a brazen murder, carried out not only in public but also in full view of the Malaysian airport's security cameras, was always going to receive worldwide attention. The use of extremely deadly chemical weapon VX obviously demanded scrutiny — and so did the fact that the victim was Kim Jong-nam, the estranged elder half-brother of North Korean leader Kim Jong-un. But, despite the onslaught of newsprint, pixels and airtime devoted to the incident when it happened, the full details behind it took time to unfurl. As Assassins explores, those facts are fascinating, gripping and distressing in equal measure. Across 104 minutes, White asks the question that was on everyone's lips four years ago: why? That query has many layers. It starts with wondering why two women in their 20s — one from Indonesia, the other from Vietnam — with no clear political affiliations would kill an exiled North Korean who was once expected to lead his nation. From there, it expands to contemplate why Malaysian law enforcement officers and prosecutors were so content to believe that culprits Siti Aisyah and Doan Thi Huong acted without any involvement from North Korea, and why a number of the latter country's citizens were interviewed, but then released and allowed to return home without facing any legal repercussions. Aisyah and Huong certainly weren't afforded the same treatment. Charged with Kim Jong-nam's murder, they were put through a long trial, and faced the death penalty if convicted. The pair, who didn't know each other beforehand, pled their innocence from the outset. Both women were adamant that they had each been hired to make prank videos for a YouTube show and, as far as they knew, their efforts in Kuala Lumpur were part of their latest production. For those who haven't followed the case in the media, Assassins meticulously steps through the ins and outs. Even if you are familiar with the specifics, the film provides an exhaustive summary. Via interviews with Aisyah and Huong's attorneys shot as the trial was unfolding, it offers an evolving perspective on the two women's situation. For additional detail, it checks in with local Bloomberg reporter Hadi Azmi as he's covering the case. In chats that look back rather than happened as the legal proceedings occurred, it gets the Washington Post's former Beijing bureau chief Anna Fifield to fill in the gaps, including about North Korea's political history, how Kim Jong-nam came to be the black sheep of his family and the hopes some had that he could one day be installed as an alternate leader. Assassins also features discussions with Aisyah and Huong's friends and families, the prank show clips that were central to the duo's defence and audio from their time in court. Returning again and again to CCTV footage of the attack, it turns two well-worn true-crime doco staples — security vision and animated re-enactments — into must-see viewing. From its opening moments, the documentary couldn't be more methodical; however, its tone is just as important as its wealth of material. Assassins tells an unmistakably and inescapably wild tale. As the film works through the attack and its aftermath, White knows that he's in prime thriller territory, too. But, even though this story has more genuine twists, turns and conspiracies than the best works of fiction, it's compiled in an edge-of-the-seat yet never sensationalistic fashion. That's essential not only to accurately survey all the relevant details, but to treat Aisyah and Huong with empathy — and, as the movie explains, no other approach would be suitable. In fact, as remarkable a job as Assassins does in examining the incident in its spotlight, it's even more exceptional at showing how disturbingly easy it was to lay the blame upon a single mother and a cocktail waitress. Accordingly, what starts as a jaw-dropping murder tale becomes a globe-hopping account of exploitation, manipulation and gaslighting — and an equally chilling and infuriating one in the process. Assassins doesn't shout its sense of outrage, but the film is both thorough and incensed, as it needs to be. Given the troubling overall picture that it convincingly paints, nothing else would've sufficed. After all, this is a documentary about a world where a country's agents might've gotten away with murder, all because too many people were willing to buy a flimsy cover story that pointed the finger at two vulnerable women. https://www.youtube.com/watch?v=LNkmnVd9wHM
You'd be hard-pressed to find a better World Pizza Day feasting situation than hitting up an all-you-can-eat pizza banquet and downing as many cheesy slices as you can handle. And that's exactly what awaits you at award-winning pizza joint 400 Gradi on Tuesday, February 9. The chain's Brunswick, Eastland, Essendon and Crown venues are dishing up a bottomless feed — for 90-minute sessions, and only for one day. You'll spend just $45 to enjoy a free-flowing feast of 400 Gradi's top-notch pizza, including unlimited slices of 11 different types. Yes, the '154 Formaggi', which uses 154 different varieties of cheese, is one of them. There'll also be a special pizza that'll be whipped up just for the day, too. Bookings are recommended, but you can also simply mosey on in. And, in terms of caveats, everyone at your table has to opt for the bottomless menu — and you'll get one pizza per person on the table at all times during your session. You can't get takeaway, and you can't ask for additions or changes to the slices, either.
The Melbourne International Film Festival didn't go ahead in its usual form in 2020. Its physical event was cancelled early in the pandemic — smartly so, given that the city was under lockdown for the second time when MIFF's usual August period rolled around. So, it ran a virtual fest instead, which proved a huge success; however, there's no denying the power of a seeing a movie on a big screen with an audience. Cinephiles across the city are obviously crossing their fingers and toes that MIFF runs as normal in 2021. In the interim, though, the fest is taking up a summer residency at Bunjil Place. On select evenings in February, you can head along and check out a selection of past MIFF flicks on the site's outdoor screen — with tickets costing $10, or up to $32.50 if you'd like to pre-order platters, arancini or rice paper rolls. Even if you don't opt for a big bite to eat, your ticket price includes your choice of a choc top or popcorn tub with a non-alcoholic drink, or a glass of wine, beer or champagne sans snacks. As for what you'll be watching, the Friday, February 5 session is family-friendly, and features a compilation of shorts plus warm-hearted Aussie feature H is for Happiness. On Sunday, February 7, you can watch Daniel Radcliffe get stranded in the Bolivian rainforest Jungle, too. The next weekend, on Sunday, February 14, it's time for homegrown sci-fi flick The Death and Life of Otto Bloom — and, on Sunday, February 21, you can peer at glowing lights thanks to documentary Neon. https://www.youtube.com/watch?v=cjAhCbu-i9U
Did your New Year's resolution involve eating more of the things you love? Do cheese, charcuterie and pretzels fall into that category? If so, The Bavarian has an all-you-can-eat special that'll tempt your tastebuds — because a bottomless feast is on the menu. Throughout January and February, the German-themed chain is serving up all-you-can-eat meat and cheese boards. They come stacked with German cheeses, Prager ham, schinkenspeck, lyoner, berliner, liverwurst, pretzels, gherkins, Kühne mustard and remoulade — and once you've finished your board, you'll get a new serving. You have 90 minutes to eat as much as you'd like, and it'll cost you $25 per person. There is a two-person minimum, so you'll need to take your fellow meat- and cheese-loving partner or pal along with you. You'll find The Bavarian at Knox. And if you want to pair your boards with German brews — which is understandable — you'll pay extra for the drinks.
If seasonal change has left you in a dizzy headspin of new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is coming back to Melbourne for four days this March. The name pretty much says it all. This thing is big. You'll find thousands of lush items from past collections, samples and one-offs from over 50 cult Australian and international designers, both well-known and emerging, including Ellery, Phillip Lim, Alexander Wang, Lanvin, Romance Was Born, Isabel Marant, Opening Ceremony and more. With discounts of up to 80 percent off, this is one way to up your count of designer while leaving your bank balance sitting pretty too. Prices this low tend to inspire a certain level of ruthlessness in all of us, though, so practise that grabbing reflex in advance. This is every person for themselves. The Big Fashion Sale will be open 9am–6pm Thursday, 9am–8pm Friday, 9am–6pm Saturday, and 10am–4pm Sunday.
A 90s-style thriller that'd sit comfortably alongside Single White Female, Greta boasts one major attraction. It's never a chore to watch the great Isabelle Huppert on screen, and it's hardly unusual to see the 2017 Oscar nominee dive into unsettling territory, but this stalker tale adds more than just another title to her resume. For anyone who's ever wanted to witness the French acting icon being wheeled out of an upmarket New York restaurant in a straightjacket, spit gum menacingly at Chloë Grace Moretz or dance gleefully in stockinged feet while waving a gun around, this is the film for you. And while Greta never lives up to its star's efforts, or to its twisty, pulpy, trashy potential, it's just unhinged enough to mostly entertain — as long as you're willing to go along with it. As co-written by director Neil Jordan (Byzantium) and screenwriter Ray Wright (The Crazies), Greta's story is simple, involving a new NYC resident, a green handbag and a good deed gone wrong. When Frances McCullen (Moretz) spots an abandoned purse on a subway seat, she does the right thing and tracks down its owner. "Where I come from, that's what we do," the Boston native tells her incredulous roommate Erica (Maika Monroe), who suggests pocketing the contents instead. Serving up a fresh pot of coffee as a thank you, the eponymous Greta Hideg (Huppert) is immensely grateful for Frances' efforts, and a surrogate mother-daughter relationship springs between the two women. All's fine and well when they're rescuing a stray dog from the pound, catching up in the park and eating dinner together. But when Frances starts to doubt Greta's motives, the situation gets creepy very quickly. The loneliness of 21st-century city living is a fascinating and endlessly relevant topic — we've never been more crowded physically and more connected virtually, yet feeling isolated has hardly been relegated to the past. A thematically slight film, that's not Greta's main concern, even as it follows two characters who are well acquainted with the aforementioned sensation. Greta and Frances' general emotional wellbeing barely troubles the movie, and nor do their backstories, other than giving the duo absent family members that they're clearly trying to replace with each other. Here, what's happening is more important than the reasons behind it. Indeed, why the titular character behaves the way she does is given much less attention than her crazy actions and reactions — and let's just say that she doesn't respond nicely to discovering that her new friendship is under threat. As a result, Greta favours the mechanics of its cat-and-mouse narrative over any potential meaning. Really, the latter is straightforward: don't trust strangers. No really, don't. Not every film needs to overflow with depth, and there's a valuable truth in the movie's refusal to justify its craziness — sometimes horrible things happen without a satisfactory or extraordinary explanation, and sometimes seemingly ordinary, benign people are anything but. Still, the effect can be distancing. Although Huppert and Moretz both put in committed performances, there's very little reason to get invested in Greta's characters, their fight or their fates. Seasoned horror fans know this predicament well, with plenty of routine scary movies simply fine to journey from point A to point B without worrying about much of substance. To go through the motions, in other words. What makes Greta engaging isn't the film's story, which is sparse overall while also proving off-kilter and even preposterous at times. Rather, it's the fact that Jordan knows exactly what he's doing. A standard handbag that's made well still catches the eye, after all, as Frances learns and Greta uses to her advantage. With genre flicks such as The Company of Wolves and Interview with the Vampire to his name, the Irish filmmaker is happy to make the most of genre conventions, executing the expected twists and slick, moody style with a confidence that occasionally veers into winking at the audience. He's taking his cues from his antagonist: leaving something average yet alluring enough in plain view and tempting audiences to try their luck. https://www.youtube.com/watch?v=IK5pUVT-Sy4
When a filmmaker keeps chiselling away at the same niche, they're called repetitive. When they swap what they know for something new, they're accused of straying past their limits. The supposed ideal seems to sit somewhere in the middle, with directors expected to remain unwaveringly reliable while also serving up constant surprises — even if that very concept defies basic human nature. So what's an acclaimed auteur to do when he appears to be settling into a well-worn groove, as his underwhelming last picture made plain? In Asghar Farhadi's case, he explores the contradiction of trying to be the same yet different, baking the notion into his latest release. With the Spanish-language Everybody Knows, one truth is immediately evident: you can take the Oscar-winner out of his native Iran, but you can't take the familiarity out of his work. The man behind About Elly, A Separation, The Past and The Salesman delights in delving into disharmony in close quarters — into relationships, friendships and family situations where what's left unspoken is as important as what's said, and where complication reigns supreme. The scenarios, characters and narratives vary, and occasionally the countries that his films are set in do as well, however the writer-director's deep dive into complex interactions continues. All of the above proves accurate in this recognisable domestic drama, which is dressed up as a kidnap thriller while shot in sunny hues and scenic locales. If that last sentence seems like a clash of contrasts, that's partly the point, with Everybody Knows examining the foolishness of simultaneously wanting things to change and hoping they remain exactly as they always were. Returning to her Spanish village after establishing a life in Argentina, Laura's (Penélope Cruz) homecoming should be a happy one. She's back for her younger sister Ana's (Inma Cuesta) nuptials, she has her teenage daughter Irene (Carla Campra) and adolescent son Diego (Ivan Chavero) in tow, and everyone from her elderly father Antonio (Ramon Barea) to her ex-lover Paco (Javier Bardem) is delighted by her presence. Of course, no one could've anticipated that Irene would disappear during the lively wedding reception, or that a significant ransom demand would set everyone on edge. When Laura's husband Alejandro (Ricardo Darin) belatedly arrives, he steps into a tempest of flaring tempers and fraying emotions as the close-knit group endeavours to work through their darkest hour. With a name like Everybody Knows, Farhadi's eighth film was always going to hinge upon twists and secrets — of the type that, as the title makes plain, aren't all that twisty and secret at all. For viewers of the director's past work, the minutiae borders on routine, as characters argue about past dalliances, long-held grievances, whispered rumours and deep-seated jealousies, plus a contentious land deal that helped Paco become a successful winemaker. But with Laura's desperation growing, Paco committing to assist however he can, and Alejandro becoming quietly envious of their previous relationship, something else fascinates. In thoughtful and insightful fashion, the movie's main players are all caught between a past they've painted in rosy colours, a present that's fraught with pain, and an idealised future that may never eventuate. Pondering the ripples caused by previous deeds has become a Farhadi trademark, as has upsetting a comfortable vision of life with a challenging alternative, yet the turmoil is both smartly and aptly handled in Everybody Knows. Still, while there's substance behind Farhadi's story and themes, not to mention purpose behind his usual flourishes, Everybody Knows is rarely more than a striving but standard entry on his resume. What helps lift the movie considerably is another of the filmmaker's regular touches, with Farhadi particularly accomplished at wringing excellent performances out of his actors. In roles written specifically for them, Cruz and Bardem show why they've become the English-language film world's go-to Spanish stars, throwing up surprises in their multi-faceted portrayals long after the narrative has stopped doing so. Elsewhere, the soulful Darin demonstrates why he belongs in their company, and there's no false moves among the rest of the cast either. Alas, even with such stellar assistance and intentions, Farhadi often feels as if he's caught between two impulses — between simply doing what he's always done, and giving his fondness for familiarity extra weight and meaning. https://www.youtube.com/watch?v=NYMBGiWXoUc
Which do you love more: picking up a haul of new plants at bargain prices, enjoying that much cherished weekend sleep-in or having a few brews? If your answer is all three, you'll be pleased to know you can have your cake and eat it too when Moon Dog Brewery plays host to a couple of after-dark plant sales later this month. Greenery-loving pop-up Wandering Jungle invites punters to drop by after work, pick up some lush new foliage for their collections and then party on into the night. Kicking off at 4pm on both Wednesday, March 13 and Thursday, March 14, the event will showcase a variety of indoor plant species for you to browse and buy, from birds of paradise to plenty of cacti to the good ol' fiddle leaf fig. To round out the evening shopping experience, Moon Dog will be slinging pizza, nachos and share platters, while local DJ work their magic on the decks. And drinks-wise, the brewery will be serving up its usual selection of tasty libations — including ten beers on tap, wines, ciders and cocktails. And you can bring your pooch along, too, it's a pet-friendly event. Wandering Jungle Nighttime Plant Sale runs from 4–10pm.
Converted CBD carpark bar Whitehart is celebrating its second birthday next Saturday, March 16. The free entry party will run through the afternoon and into the night with lots of live music and importantly, free pizza from the bar's new residents Primo Street Pizza between 4–7pm. The birthday celebrations will include music from electronic veteran Mark Pritchard, and live sets from Zeitgeist Freedom Energy Exchange and a host of other DJs. As always, the shipping container bar will be doling out summery cocktails like its take on a Tommy's margarita (with blueberry and coconut) and a concoction of rosé, rum, sugarcane juice and pineapple. This could be a great way to start your Saturday night — the event kicks off at 2pm and will run until late.
Given the current state of the world, it's impossible to dismiss historical accounts of power, conflict, bureaucracy serving the wealthy and the masses fighting to be heard as mere chapters from the past. The same applies to medieval-style television fantasies about squabbling over a throne, too, but true tales bite harder than Game of Thrones ever has. Peterloo is the perfect example. Chronicling an infamous clash between ordinary workers and the government-backed militia near Manchester in 1819, the period piece harks back to 200 years ago yet remains scarily, unsettlingly relevant today. Of course, that's part of filmmaker Mike Leigh's point — there's a reason that the 76-year-old veteran British director has just now turned his attention to this bloody battle for voting rights. After spending a dozen years tussling with Napoleon's armies, the British people were tired, poor and hungry as the 19th century neared its third decade. Work was hardly reliable, food was scarce, industrialisation was taking its toll, distressed ex-soldiers were a common sight and even the pettiest of crimes could see someone shipped off to Australia. To make matters worse, few had a say in the country's path, with less than three percent of the population eligible to cast a ballot. It's this agitated climate that Peterloo explores, all to show how its brutal namesake event came about. The rich, the religious and the ruling classes wanted to retain the status quo. Charismatic reformers riled up everyday folks to fight for their rights. In the resulting physical skirmish — during a peaceful demonstration led by orator Henry Hunt (Rory Kinnear) — 18 people were killed and up to 700 injured among the 60,000-strong crowd. Writing as well as directing, Leigh emphasises the scale and impact of the Peterloo massacre in an effective fashion, stepping through the wants, needs, emotions and motivations of the various players before unravelling the climactic confrontation. But there's a fire in his belly from the outset, as is made clear when he opens the film with the Battle of Waterloo, and those flames don't subside. Spending time with characters of all stations and piecing together vignettes of their experiences, he crafts a patchwork of a picture, each scene stitching on another crucial square with palpable urgency. Some of the people within his view scoff and laugh, while others struggle to get by. However it's the atmosphere of chaos, inequity, opportunism, exploitation and duplicity that was part and parcel of life at the time that earns the filmmaker's sharpest rebukes. That, and the eventual human fallout on the path to changing British democracy. For a film based around such a violent event, more talk than action results; of course, as Leigh knows, words can cut just as deeply as weapons. Indeed, it's because Peterloo takes the time to survey the state of the nation at the time — including clear-eyed, unsentimental dissections of both camps in the government-versus-workers divide — that the massacre, when it comes, feels so punishing and relentless. There's a difference between a slog and an onslaught and, while the movie clocks in at 154 minutes, its speech-heavy and fight-fuelled portions still fall into the latter camp. Likewise, there's a difference between wallowing in misfortune (or, worse, romanticising it) and showing it like it was, and again Peterloo finds the right side. What the film also finds is a fitting way to tell such a detailed and complicated story — not only in its narrative approach, but in its visuals. While Leigh's last release, the applauded Mr Turner, explored the life of a great 19th-century British artist, the term 'painterly' equally applies here. With cinematographer Dick Pope lensing his 11th title for the director, Peterloo's frames are alive with minutiae yet remain carefully composed. Pitch-perfect but never glossy costuming and production design helps. So too do solid performances across the board, including from the ever-reliable Kinnear, as well as Maxine Peake as a weary mother doing what's needed for her family. But it's Peterloo's look and feel that truly hammers home Leigh's intentions. To understand why the movie's real-life basis is so important, and to see the parallels between then and now, requires peering as closely as possible — staring steadfastly at the whole picture, warts and all. https://www.youtube.com/watch?v=AlvLWaueD_o
