Spending more time at home is much easier to stomach with a hefty range of desserts on hand, or at least that seems to be Gelato Messina's long-running pandemic motto. The gelato chain keeps spoiling our tastebuds with specials, with everything from decadent cookie pies to 40 of its best flavours and full tubs of its indulgent limited-edition desserts on offer over the past year or so. It has also whipped up its own take on that vanilla and chocolate-layered ice cream cake everyone considered the height of extravagance as a child, too — and now it's bringing that tasty take on Viennetta back for another round. If you've been indulging your sweet tooth as a coping mechanism lately — frozen desserts were subject to strict item limits last March, so plenty of folks clearly went big on sugary comfort food — then consider yourself primed for this super-fancy version of the nostalgic favourite. It's another of Messina's limited releases, with tubs of the rippled gelato creation available at all its stores for a very short period. There's a twist this time, however, with this Messinetta (as Messina calls its Viennetta) also inspired by its take on Golden Gaytimes. If you've tried a scoop of the brand's popular Have a Gay Old Time flavour, then imagine that, but turned into Viennetta. This limited-time-only dessert combines layers of caramel and milk gelato, then covers it with chocolate-covered biscuit crumbs, and finally tops it all with ripples of vanilla and caramel chantilly cream. And yes, the end result looks like the dessert you know and love, but in a caramel colour for a change. The latest release in Messina's new 'Hot Tub' series, the Have a Gay Old Time Messinetta can only be ordered online at 9am on Monday, August 2, with a one-litre tub setting you back $35. You can then go into your chosen Messina store to pick up your tub between Friday, August 6–Sunday, August 8. If you're in Sydney, just remember that you'll now need to be headed to a store within ten kilometres of your house. Gelato Messina's Have a Gay Old Time Messinetta tubs will be available to order at 9am on Monday, August 2, for pick up between Friday, August 6–Sunday, August 8 from all stores except The Star — keep an eye on the Messina website for further details.
In a Venn diagram of people who love musical theatre and awe-inspiring acrobatics, the ideal audience for Pippin sits in the centre. The Tony Award-winning revival of the 1972 musical first burst onto Broadway in 2013 and amassed critical attention for its extraordinary stunts — from jumping through hoops to balancing on medicine balls and dangling from death defying heights. Its new look won the production four Tony Awards including Best Musical Revival. [caption id="attachment_784142" align="alignnone" width="1920"] Terry Shapiro[/caption] The musical tells the story of Pippin, a medieval prince searching for his place in the world. The play within a play is told by a travelling troupe of actors and acrobats who often address the audience directly. And, in addition to the edge-of-your-seat action, it's also packed with memorable tunes like 'Corner of the Sky', 'No Time at All' and 'Magic to Do', all composed by Oscar- and Grammy Award-winning composer Stephen Schwartz (Wicked and Godspell). This summer, Australian audiences can experience the entertaining Australian production for themselves when Pippin comes to Sydney Lyric at The Star. As we live in uncertain times, there are flexible ticket options available, which might suit those planning to travel to Sydney especially for the show. Sydney Lyric at The Star also has a COVID-19 safety plan in place, in accordance with NSW Health. Pippin is showing exclusively in Sydney from November 24 to January 31. Tickets start at $69.90. Top image: Joan Marcus
UPDATE, January 15, 2021: Widows is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. Widows begins with images of both passion and peril, contrasting intimacy with anarchy and the everyday with the extreme. Against crisp white sheets in their well-appointed Chicago penthouse, Veronica (Viola Davis) and Harry Rawlings (Liam Neeson) embrace. In a van filled with stolen cash, Harry also leads a gang of thieves that are being pursued by the police. Directing his fourth film, Steve McQueen jumps between the two scenes throughout Widows' opening moments, letting blissful domesticity and a chaotic chase clash together. It's an effective juxtaposition for many reasons, including the technical flair on display from McQueen's regular cinematographer Sean Bobbit (On Chesil Beach) and returning editor Joe Walker (Blade Runner 2049). It also couldn't better encapsulate this stunning heist movie. When Harry's job goes wrong, Veronica is left a widow. So are the wives of his accomplices, though mother-of-two Linda (Michelle Rodriguez) and Polish transplant Alice (Elizabeth Debicki) don't know each other, let alone Veronica. But this trio of women from different backgrounds has more in common than just their grief. The lives they previously knew explode in the hail of gunfire that claims their husbands, leaving them all struggling to get by. Moreover, they become targets for a local crim turned aspiring politician (Brian Tyree Henry), who needs the $2 million that Harry pilfered to battle his corrupt opponent (Colin Farrell) at the polls. Pierce the veneer of normalcy, and desperation follows. That's Veronica, Linda and Alice's shattered situation in a nutshell, with tough times calling for tough decisions and deeds. To deal with the mess they're now in, the three ladies decide to stage their own heist, using plans left in Harry's secret notebooks. Remaking the 1983 British TV series of the same name, writer-director McQueen teams up with Gone Girl's Gillian Flynn to paint a portrait of women doing what they have to to get by. That the uncaring, unjust and inequitable world has led them to this juncture never escapes attention. Nor does the fact that these ladies — including hairdresser-turned-getaway driver Belle (Cynthia Erivo) — are all too accustomed to society turning them a blind eye. A slick thriller with much to show, just as much to say and plenty of grim, purposeful swagger, Widows achieves what few heist flicks manage. When it comes to the nuts and bolts of the genre, it glides forward with exacting precision and bristling tension. When it comes to giving resilient, enterprising but far-from-perfect women their due — and in a testing situation, too — the film builds complex, capable and compelling characters. And when it comes to making a statement, McQueen and Flynn don't hold back. They're subtle more often than not, knowing that the most potent tool in their arsenal is simply depicting what these ladies are going through. That said, they also know when nuance isn't enough. A moving #BlackLivesMatter moment packs a blunt but powerful punch, for example. In short, Widows is the sum of its parts in the best, smartest and most entertaining possible manner. McQueen's knack for devastating drama, as so exceptionally deployed in Hunger, Shame and 12 Years A Slave, meets Flynn's knack for twisty female-driven tales — and both meet the well-oiled crime plot of Lynda La Plante, who scripted the original television show. The combination gives Widows a layered, lived-in feel that makes its quiet moments of mourning land hard and its action scenes land even harder. 2018's other caper about light-fingered ladies, aka Ocean's 8, this decisively isn't. Men play their part here, in the form of Neeson's criminal mastermind, Farrell and Henry's warring politicos, and Daniel Kaluuya as the latter's vicious enforcer brother. As the title suggests, however, Widows is firmly about women who've had much taken away — and who are fighting to survive the latest blows life has sent their way. The movie's lead actors are all fighting too, putting in career-best work across the board. Like their characters, there's much that connects Davis, Rodriguez and Debicki, who all say as much when they're not speaking as when they're uttering the film's smart dialogue. But perhaps the thing that binds them best is the multifaceted picture of womanhood that they offer. They're fragile and fierce, confident and uncertain, and messy and motivated all at once. Singling out one of their performances is no easy task, although Davis leads the charge. If you encountered her commanding, heartbroken protagonist in real life, you'd likely follow her. https://www.youtube.com/watch?v=qbKgqY3Fv9k
A film so light on its feet, yet so insightful in every frame, Let the Sunshine In could only be the work of one filmmaker. Never one to avoid trying new things, the great French writer-director Claire Denis makes her first romantic-comedy, but it's also an anti-romantic comedy of sorts. Love may be the movie's subject, and a long line of lusty encounters might await its lonely protagonist, however Denis understands one thing that upbeat on-screen amorous affairs tend to ignore. While connecting intimately with someone can feel like the most fulfilling thing in the world (even when it only lasts mere moments), everything involved with chasing that sensation — and it's always a constant chase — rarely inspires the same emotions. Giving a straightforward story more heft and depth than most labyrinthine plots, Denis' sophisticated and soulful take on love follows the romantic escapades of Parisian artist Isabelle (Juliette Binoche). In her 50s and freshly divorced, she has no shortage of suitors — from the banker (Xavier Beauvois) she's in bed with when the film starts, to an actor (Nicolas Duvauchelle) who crosses her path, to the ex (Laurent Grévill) that she's not quite done with. The list goes on, with Isabelle's affairs of the heart sharing much in common with the movie's sex scenes, and with sex in general. Limbs tangle and so do lives, as each of her rendezvous veers back and forth between the messy and the sublime. Conversation helps fill in the gaps, in a film overflowing with honest and authentic dialogue. In fact, candour proves Let the Sunshine In's driving force as it dissects the ups and downs of dating and desire. Co-writing the screenplay with novelist Christine Angot, and loosely taking inspiration from Roland Barthes' A Lover's Discourse: Fragments, Denis lets her movie move with the moment. It glows with the story's disarming delights in one scene, then fades with Isabelle's devastating lows in the next. But this isn't a portrait of yearning. It's not about searching for 'the one', or only feeling complete in someone else's arms. It's a frank account of a mature woman trying to find someone she's truly happy to share her time, heart, body and mind with, and working out what she really wants out of life in the process. Both defiant and vulnerable, there's no one better to play Isabelle than Binoche. The acclaimed actor is as vivid, magnetic and complex as she's ever been on screen, willingly embracing the many conflicts and contradictions evident in a character who always feels like flesh and blood. Astonishingly, Let the Sunshine In marks Binoche's first collaboration with Denis. It went so well that they quickly paired up again for a film that's just as stellar yet couldn't be more different: the soon-to-be-released dystopian sci-fi picture High Life. Binoche's performance in the latter movie is something else entirely, but there's a potency and freedom to her work with Denis in general, as if they're opening the floodgates to a world of women at once. Perhaps surprisingly for a romantically inclined film, though not for Denis' oeuvre, Let the Sunshine In is also visually striking. Always one for showing as much as telling — even in a movie with plenty of chatter — the director ensures her frames are as multifaceted as the protagonist within them. Indeed, it's possible to sense Isabelle's internal state just by soaking in the distinctive auteur's stylistic choices, as lensed with intimacy and empathy by her regular cinematographer Agnès Godard. Across a filmography that includes military exploits in Beau Travail, erotic horror with Trouble Every Day and immigration drama courtesy of 35 Shots of Rum, Denis has seared many an image onto the retinas of her viewers. The rich and resonant Let the Sunshine In is no different. https://www.youtube.com/watch?v=0w_thDNw8Ww
Here in Melbourne, pub grub is something we hold pretty dear to our hearts, and it's that love affair that's set to be the star of the show at the Melbourne Food and Wine Festival's inaugural Smorgasburb celebrations. Hosted by Sand Hill Road — the same guys behind some of your all-time favourite pub feeds — this promises to be one tasty afternoon. They'll be pulling together the likes of Bossam pork belly tacos from the Terminus Hotel, a sardine katsu brioche sandwich from the Prahran Hotel, kombu- cured cobia from the Garden State, and the Bridge Hotel's toasties. It's all being served up against that iconic backdrop of the Bridge Hotel's interior laneway, and teamed with a hefty drinks list worthy of any great pub sesh. Pre-purchase your tickets and you'll get tokens to use on food and drink on the day.
If your end-of-month plans included a trip to the Gold Coast to see Travis Scott, Logic, Chvrches and Carly Rae Jepsen, then we have bad news: Sandtunes, the new festival with all three leading the lineup, has been cancelled. The event has endured a tumultuous run since it was first announced in July, when it was billed as a two-day seaside music fest at Coolangatta Beach. In September, "after listening to responses from the local community", organisers moved the festival to the definitely not-by-the-shore Metricon Stadium. But it seems that patrons weren't impressed with the change of venue, even when ticket prices were slashed to help reignite interest. As the event notes, "without sand between our punters' toes, the very notion of the beachside festival in a stadium meant low sales". As a result, the debut fest won't be going ahead — on its scheduled dates of Saturday, November 30 and Sunday, December 1, or at all. https://www.facebook.com/SandTunesFestival/photos/a.352133325459956/410100329663255/?type=3&__xts__%5B0%5D=68.ARApmpGdy5jXx8Xi-9m6RCcZxSnRhY1fQxz9d-ZUZpM7EGPBFrtO1wf-gOYL8tJ0qZ-nxEwmhqno3z-rlZM-1sSPnoKyC5l7CHaq6J3pSmrLQJIrBQeGrziAYhbHJ5qYUVDLaE9HMU8sR6BvffsvLOyKj-cqCrTvjyqnZ0tgaCJJGEe_A9cL_17b23XlTQ3vUg5ZYjn2tqg7MInBAQmSmgVc84QzoHWNgXd7QloG2ER7vWs4JS7GH35iCwI9kS34Fj6jcSGwONORmWpmiUJbF3zmmzzTifplLQWUUoq4rAk-chmpA1emaWuC3FsBe-MsT0GUvOHyEE1oq0wZH3r3dGU&__tn__=-R That also means that the fest's plans not just to run this year, but to become an annual part of southeast Queensland's event calendar, have fallen by the wayside. "This whole concept started with bringing a great music festival to the beach which we see happening the world over in major locations like Spain (Barcelona Beach Festival) and Alabama (Hangout Music Festival). I'm disappointed because I believed this could have grown year-on-year into something really big but unfortunately, we weren't even able to get it off the ground here," said Paul Dainty, president and CEO of promoters TEG Dainty. While it's hardly surprising that the change of location away from the beach dampened music fans' enthusiasm, Sandtunes' timing in general wasn't fantastic, with the fest's dates overlapping with part of Schoolies. The rest of event's lineup was also slated to feature Juice WRLD, Dean Lewis, Sampa the Great, Tkay Maidza, Cub Sport, Kait, Kwame, WAAX, Kian, Alice Ivy, Genesis Owusu and Saint Lane. For folks keen to see Scott, it's especially unwelcome news — Sandtunes would've been the Texas-born rapper's only Australian performance this year. It seems that Carly Rae Jepsen's Aussie tour will still go head, just not in Queensland, with tickets for her Sydney and Melbourne shows still on sale at the time of writing. As for Logic, Sydney and Melbourne ticket sales have "been postponed while we work through some tour logistics", although co-presenter Triple J reports that his visit won't be going head. Sandtunes ticketholders who purchased by credit or debit card will receive refunds automatically within ten working days, while those who purchased in an agency will be contacted by phone with a fortnight to make refund arrangements. For more information about Sandtunes' cancellation, visit the festival website.
Victorians have become accustomed to a specific pattern over the past few months. When Premier Daniel Andrews takes the podium at a press conference to announce the latest easing of restrictions, he often reveals just when he'll next be hopping behind the microphone to do it all over again. So, since Sunday, November 22, the state's residents have known that more information would be coming today, Sunday, December 6. On the agenda: a heap of new changes, with most coming into effect tonight at 11.59pm. As keeps proving the case at each stage, you'll be able to gather in more places with more people with fewer limits, including at home and in public gatherings with your friends and family outdoors; at cafes, bars and restaurants; and at entertainment venues. Last month, Premier Andrews revealed that Victorians would be able to host more people in their houses before Christmas, with the cap going up from 15 to 30 (and from any number of other households). That's a daily limit, so you can only have 30 people over across one whole day, even if they come at different times in different groups — but it'll now kick in a week earlier than initially planned, from 11.59pm on Sunday, December 6. It's important to note that your home also includes your front and back yards, though. Fancy heading outdoors with your nearest and dearest elsewhere, beyond your own patch of land? In good news, public outdoor gatherings will increase to 100. So your next trip to the beach or the park with your mates can now feature quite the crowd. Also, travel-wise, you'll be able to head out of town in line with the private at-home gathering cap (so in groups of 30 people from any number of other households). https://twitter.com/DanielAndrewsMP/status/1335375495131660289 In the hospitality sector, all venues are moving to a density quota only, rather than a strict numbers limit. One person will be allowed for every two square metres of space both indoors and outdoors, including at food courts. For smaller venues, they can welcome in up to 25 people before the density quotient applies. The above is only permitted to come into effect in tandem with electronic record-keeping for contact-tracing purposes, though — so if there's no QR codes to track who is in a venue, the one-person-per-four-square-metres rule applies. Oh, and standing service is now allowed. Places with a dance floor will also have a stricter limit applied to said space for making shapes. One person will be allowed to show off their fancy footwork per four square metres of dance floor, up to a maximum of 50 people. Yes, that includes nightclubs — which'll be permitted to serve drinks to standing patrons. Both indoors and outdoors, seated entertainment venues (such as cinemas and theatres) will be able to up their capacity to 75 percent, maxing out at 1000 people at a density of one person per two square metres. Again, that's contingent on venues using QR codes. So, again, if they don't, the one-person-per-four-square-metres rule kicks in. Indoor non-seated entertainment venues, like galleries, can move to 50-percent capacity, up to 1000 people, at a density of one person per two square metres — and again, that's only with QR codes. Outdoors, it's just the one-person-per-two-square-metres rule that has to be abided by, with no patron limit. Gyms and fitness studios will increase to a maximum of 50 people per class, with one person per four square metres. Indoor pools can have one person per four square metres, while outdoor pools can host one person per two square metres. And religious gatherings, weddings and funerals will be able to have one person per two square metres with no caps — unless they're in a private residence, where the 30-person limit kicks in. Regarding masks, the rules are changing there as well. You'll need to keep wearing them only in certain situations, such as large and busy indoor indoor shops, and on public transport. You will always need to carry one with you, though. Work-wise, offices in the private sector can increase the number of employees working onsite to 50 percent of workers from January 11, and to 75 percent from February 8. The public sector will move to 25 percent of workers in the office from January 11 and to 50 percent from February 8. Running through all of the above, Premier Andrews noted that Victoria is now at a phase the government is calling a "COVID-safe summer", and that it'll "be in place until at least the end of January, giving Victorians a bit more certainty about what the next couple of months will look like". As always, the usual rules regarding hygiene, social distancing and getting tested if you display any possible COVID-19 symptoms all still apply as restrictions keep easing. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website — and for further details about Victoria's steps for reopening, head to the roadmap itself. Top image: Kate Shanasy.
December, 2005. Two cars circle the beachside Sydney suburb of Cronulla, each filled with hotheaded locals looking for a fight. In one vehicle, the aggressive Jason (Damon Herriman) and his Ned Kelly-worshipping pal Ditch (Justin Rosniak) take the well-meaning but not-so-bright Shit Stick (Alexander England) and his kind-hearted Down Syndrome cousin Evan (Chris Bunton) in search of folks of Middle Eastern descent to bash. In the other, Hassim (Lincoln Younes) tears himself away from his studies to scour the streets for his missing brother – though his pals Nick (Rahel Romahn) and D-Mac (Fayssal Bazzi) and his devout uncle Ibrahim (Michael Denkha) are all keen to cause some physical damage to the area's ocker residents along the way. It's a scenario inspired by reality, in a film filled with harsh truths. If you're feeling a little awkward or even confronted by a comic take on the Cronulla race riots, that's okay. You're supposed to be. Like British terrorism satire Four Lions before it, Down Under addresses a subject everyone is aware of but no one wants to talk about, in perhaps the only way that it can. Feeling like you shouldn't be laughing at what you're seeing is part of the point. Thinking about why you're laughing is as well. Accordingly, the plot of Down Under offers a peek at the ugly side of Australian life. Conflict, discrimination and violence is inescapable in this film, as is the sense of discomfort by those watching. In his polished, purposefully provocative return to feature filmmaking after 2003's Ned, writer-director Abe Forsythe revels in the controversial nature of a situation that no one in the country can claim is unrealistic. After all, we all saw the scenes that made the news just over a decade ago; in fact, that's the footage Down Under begins with. As the two groups spend a day and a night driving around searching for weapons and arguing amongst themselves, the film manages to find the delicate balance between making a statement and making you laugh. Gags that stress the similarities between both sides provide many of the film's funniest and most astute moments, while Forsythe's clearly committed cast ensures that the characters never feel like mere caricatures – even when they're spouting idiotic, bigoted crap. Ultimately, Down Under isn't simply attempting to get viewers cackling about an uncomfortable topic. Forsythe is primarily trying to highlight the nation's deep-seeded intolerance, as well as the pointlessness of spewing hate based on cultural differences. It's little wonder that the film that results isn't just a comedy, but a tragedy as well. And given the current political and media landscape, this movie and its message really couldn't be more timely.
Take a trip back in time at this impossibly cute miner's cottage, built in the 1860s. When you're not soaking in your cedar hot tub filled with steaming hot rainwater or snuggling up in front of the fire, you can explore the fragrant surrounds or watch an old black-and-white film in the openair theatre room. Outside of the cottage, you'll discover that you're actually at a working biodynamic micro-farm. Dozens of heritage roses are grown here with as little interference as possible. They're powered instead by natural elements: sunshine, water, bees and compost. And during your stay, if you're keen to cook up a storm, you can help yourself to whatever produce you find. The property also hosts events throughout the year, including horticultural workshops and days when guests can pick their own roses.
There's something fishy going on at Apollo Bay this weekend. The seaside town's seafood extravaganza returns to the Great Ocean Road for three big days from February 15–17. You don't want to miss the Saturday morning 'off the boat' seafood market where the you'll have the chance to buy the morning's catch directly from the fisherman. There will be food stalls brimming with oysters, caviar and prawns from 8–10am. Then, at midday, the live music kicks off, along with plenty of craft beer, wines and cocktails to sweeten the deal. If you've got a bit of extra cash, nab a ticket to the Friday night 'ocean to plate' gala feast where executive chef of Melbourne seafood fine diner The Atlantic Nick Mahlook and his expert team will serve up an eight-course taste of local seafood. Each dish will be matched with wine and dessert will be crafted by Om Nom's executive chef Jo ward. Tickets are $185. On Sunday, the festival will round off with Conversations in the Littoral where guest speakers and experts will discuss the sustainability, science and harsh realities of the fishing industry. Tickets cost $50 to this one and include lunch. Otherwise, you can join at 5pm for Champagne, oysters and more discussion for just $25.
It just wouldn't be a celebration of Melbourne food culture without a big ol' BBQ feast and this year's Melbourne Food and Wine Festival is set to play host to a very special, low-waste porcine project. For a while now, the sustainable food warriors at Grown & Gathered have been raising a pig on scraps from the Fancy Hank's kitchen and grain by-product from their local brewery. Fast forward to April 3, and this little pig is going the whole hog, as the Fancy Hank's team prepares a feast using the entire animal, cooked over charcoal and open flame. That'll be teamed with a hearty spread of sides, salads, and preserved goodies from Grown & Gathered's own cookbook, natural wines from their farm, and even a brand new seasonal beer from a Melbourne brewery.
Another Paul Schrader film, another lonely man thrust under a magnifying glass as he wrestles with the world, his place in it and his sense of morality. The acclaimed filmmaker has filled the screen with such characters and stories for more than half a century — intense tales of men who would not take it anymore — as evidenced in his screenplays for Martin Scorsese's brilliant Taxi Driver and Bringing Out the Dead, and also in his own directorial efforts such as Light Sleeper and First Reformed. You can't accuse Schrader of always making the same movie, however, as much as his work repeatedly bets on the same ideas. Instead, his films feel like cards from the same deck. Each time he deals one out, it becomes part of its own hand, as gambling drama The Card Counter demonstrates with potency, smarts and a gripping search for salvation. The film's title refers to William 'Tell' Tillich (Oscar Isaac, Dune), who didn't ever plan to spend his days in casinos and his nights in motels. But during an eight-year stint in military prison, he taught himself a new skill that he's been capitalising upon after his release. His gambit: winning modest scores from small-scale casinos. If he doesn't take the house, the house won't discipline his card-counting prowess. The money keeps him moving, but each gambling den could be the same for all that Tell cares. His motel-room routine, which involves removing all artwork from the walls, making the bed with his own linen, and covering every other surface and item with carefully tied cloth — making each space as identical as it can be, and resemble incarceration — lingers between fierce self-discipline and a stifled cry for help. Assistance arrives in two forms, not that Tell is looking or particularly receptive to having other people in his life. The regimented status quo he's carved out so meticulously is first punctured by fellow gambler-turned-agent La Linda (Tiffany Haddish, Like a Boss), who backs other punters and believes they should team up to profit big on the poker circuit. That'd bring Tell more visibility than he'd like, but it'd also increase his pay days, which would come in handy for his second new acquaintance. In Atlantic City, he meets the college-aged Cirk (Tye Sheridan, Voyagers), who has proposes a quest for revenge. Tell shares a grim past with Cirk's dad, and the twentysomething wants to punish the retired major-turned-security expert (William Dafoe, The Lighthouse) that he holds responsible — which Tell is eager to discourage. Isaac doesn't ask his reflection if it's looking in his direction. And, given that The Card Counter joins a filmography overflowing with exceptional performances — including Scenes From a Marriage already this year — it won't define his career as Taxi Driver did for a young Robert De Niro. Still, it's the highest compliment to mention the two in the same breath. At every moment, this blistering film is anchored by Isaac's phenomenal portrayal, which is quiet, slippery and weighty all at once. As conveyed with a calculating glare that's as slick as his brushed-back hair, here is a man who dons a calm facade to mask the storm brewing inside, revels in routine to avoid facing change, and anaesthetises his pain and past deeds with the repetition he's made his daily existence. Here is a man desperate to paper over his inner rot with time spent amid meaningless gloss, preferring to feel empty than to feel anything else, until he has an innocent to try to save and a clear-cut way to rally against the soulless world. In Isaac's case, here is a man surrounded by other impressive actors, too. Haddish is in career-best form, regardless of her comedy successes, and cleverly builds that confident, sharp-talking experience into La Linda's persuasive attitude. Sheridan is tasked with the most blatantly written character of the film's core trio, although that doesn't make Cirk any less riveting or pivotal. Across six decades now, Schrader has probed how America holds up, or doesn't, by using his protagonists as one-man case studies; however, due to Sheridan's single-minded, gun-ho and determined part, The Card Counter sports two examples of how the nation's decay is currently manifesting and spreading — and across two generations as well. Perhaps its plainest to see Schrader's commitment to the same themes — masculinity that's expected to brood stoically, a society that values ease over substance, a world with an ends-justify-the-means mentality, and the trauma, guilt and pursuit of redemption that all three inspire — as a filmmaker taking snapshots of the passing years. The notions he's so profoundly fascinated with are timeless, sadly, so each of his features steeps them within the US as it then exists. In The Card Counter, that also involves scrutinising American military might, the country's self-proclaimed status as the globe's leader and the horrific atrocities undertaken in its name. Indeed, the movie's most potent sequences take Tell back to his time as a guard in the Abu Ghraib prison complex following the 2003 invasion of Iraq. History has established why that's such a haunting choice, and why so much torment lingers deep in Isaac's eyes. When Schrader's now three-time cinematographer Alexander Dynan (Dog Eat Dog, First Reformed) isn't shooting those flashbacks like several layers of feverish nightmares — captured with an ultra-wide lens, warped like a carnival mirror and staged like a relentless onslaught, they're a masterclass in hellishness — The Card Counter takes ample time to peer patiently and intently. It surveys its leading man, eating up his hypnotic fastidiousness. It stalks through the faux casino glitz and lets it tarnish its own veneer, as one of the best gambling films ever made, 1974's California Split, also did. It sees not just lonely men, but sparse spaces, hollow dreams and vacuous ideals. In one short slip into a softer mode, it lets Isaac and Haddish's chemistry — and the sensuous joy of vibrant colours and lights — pose an alternative, too. Going all in on the power and passion of Schrader's lifelong cinematic obsessions and convictions, The Card Counter is another of the writer/director's aces — hands down.
2021 swarmed with historic achievements for women in film, including Nomadland's Chloë Zhao becoming the first woman of colour and only second woman ever to win the Oscar for Best Director, that category's nomination of two female filmmakers for the first time in its then 93-year history and the Cannes Film Festival awarding the Palme d'Or to a woman — Titane's Julia Ducournau — for only the second time. But before all of that, Kosovo-born writer/director Blerta Basholli achieved something at the Sundance Film Festival that'd never been done either: winning the US fest's World Cinema Dramatic Competition Grand Jury Prize, Audience Award and Best Director gong for Hive. It was a well-deserved feat for a movie that'd stick in memory even without such an achievement, and it's easy to see why Sundance's jurors and viewers responded with such a show of support. A powerhouse of a true tale that's brought to the screen with a devastatingly potent lead performance, Hive is simply unshakeable. In Basholli's first feature, to peer at star Yllka Gashi (Kukumi) is to look deep into a battler's eyes. Hive directs its attention her way frequently. The also-Kosovan actor plays Fahrije Hoti, a woman who has never been allowed to stop fighting, although the men in her patriarchal village would prefer she'd keep quiet. They wish she'd just attend to her duties as a mother and do what's expected. They think she should be a silent, compliant wife, although there's a significant problem with that idea. With her husband missing for years due to the Kosovo War, she can't be a meekly obedient spouse even if that was in her nature — which it isn't — because the man she loves is gone, no sign of him either dead or alive has been recovered, and she's trapped in limbo as she waits, tries to keep caring for her family and endeavours to go on. Those dismissive, misogynistic attitudes flung at Fahrije by her community join the litany of roadblocks that she's forced to rally against with every word, thought and breath she has. In her husband's absence, her father-in-law Haxhi (Çun Lajçi, Zana) is eager to maintain the status quo, but Fahrije has been trying to make ends meet anyway, all in a town — and amidst a male-dominated culture — that couldn't be more unsympathetic to her plight. She isn't alone, however, with many of the locale's other women also widowed due to the conflict, and similarly expected to survive without upsetting traditional gender roles. So, with the beehives that she dutifully attends to unable to keep providing enough income to pay her bills, the enterprising Fahrije and her friend Nazmije (Kumrije Hoxha, The Marriage) decide to start a female-run co-operative to make and sell ajvar, a pepper relish. A picture of stinging resilience, unflappable fortitude and baked-in sorrow, Gashi is phenomenal as Fahrije. Not only does Hive keep gazing her way but, thanks to the raw compulsion of her performance, viewers eagerly do the same. The skill required to play stoic but also persistent, passionate and simmering with internalised pain can't be underestimated, and watching Gashi navigate that balance like it's the only thing she knows — because, for Fahrije after her husband's disappearance, it now is — is affecting on a gutwrenching level. Lived-in fury and resolve buzzes through every facet of her portrayal, all as the woman whose shoes she's walking in weathers derision, violence and attempted sexual assault for daring to dream of attempting to support herself. It comes as no surprise that various film festival prizes have been sent Gashi's way among Hive's collection of accolades, with ample merit. Such masterful and moving work is never an actor's alone, though — and, behind the lens, Basholli puts in just as magnificent an effort in making Fahrije's story, and Gashi's performance along with it, so commanding and all-consuming. Both the filmmaker and her lead play with reality, drawing upon the real-life Hoti's stirring and inspiring experiences; however, Hive could never be mistaken for a standard biopic. Basholli's script may trace a familiar narrative arc, as many tales of rallying against adversity and oppression do, but nothing about her film feels as if its beats are being faithfully hit to chart a straightforward path and evoke an easy emotional reaction — not at any time, and not even once. Instead, the meticulous care that's been put into every exactingly staged and observed scene is evident at every moment, resulting in a movie that's not just rousing but thoroughly lived-in. Understated in its style and unfurling of its story alike, if the blistering Hive shares similarities with any other features, it's with the work of Basholli's fellow Kosovan filmmakers who've also used their movies to grapple with the impact of the war, the way women have historically been treated, the dynamics within relationships as a result, the reality of life in the post-conflict Balkan republic and/or bits of all of the above. Perusing the country's list of Academy Award submissions paints that picture clearly, including 2014's Three Widows and a Hanging, 2018's The Marriage and 2019's Zana — all films that are as culturally specific about their setting as any can be. But, again, Hive is its own achievement. Perhaps it's more accurate to see Basholli's film as building upon the portrait that past features have started to shade in of her homeland, complete with its own layers and colours. It also adds to the snapshot-within-a-snapshot that've depicted what it means to be a woman on Kosovan soil as well. Defiance, determination, sporting both in the face of dispiriting and overwhelming forces that want the opposite of what's truly in your best interests, rebelling against convention and the patriarchy, doing just what needs to be done: that's what pulsates through Hive, Gashi's performance and Basholli's directorial choices. So does a shatteringly astute exploration of wading through grief so thick that it may as well be an ocean — of honey or ajvar, take your pick. That's where this deeply resonant film's intimate stares in its protagonist's direction pierce even sharper, seeing everything she's feeling, and just her in general, when so few in her midst will. It's why its scenes of Fahrije and her fellow widows disregarding everything they're told, soldiering on despite the backlash they receive physically and emotionally, and just sitting and making their pepper relish are so fierce and unforgettable, and yet also hopeful, too.
Victoria's Chief Medical Officer Professor Brett Sutton has today, Monday, June 29, said that reintroducing lockdowns will be considered in the "next couple of days" as the state records 75 new cases of COVID-19 — the highest number of new cases in three months (since March 30). As the state's number of active cases has started to increase again over the past couple of weeks, the State Government extended its State of Emergency for four more weeks and tightened some gathering restrictions — including reintroducing smaller caps on at-home groups, gatherings out of the house and the numbers of patrons allowed in venues. Late last week, Premier Daniel Andrews also announced a testing blitz that would focus on ten Melbourne hotspot suburbs where the state is experiencing high levels of community transmission. These suburbs are: Keilor Downs, Broadmeadows, Maidstone, Sunshine West, Albanvale, Hallam, Brunswick West, Reservoir, Pakenham and Fawkner. Victoria's Health Minister Jenny Mikakos said the 75 new cases are "overwhelmingly concentrated" in these suburbs. While no tightening of restrictions were announced today, Sutton said potential lockdowns or stay-at-home orders will be discussed this week. "What we are seeing is transmission across settings because people are still going out with symptoms," Sutton said. "So whether or not a legal direction I think is a conversation to be had over the next couple of days. We are not there yet. But we do know that the solution is there already." The possibility of lockdowns — specifically for the aforementioned hotspots — was also raised by the Premier last weekend when he said, "I cannot rule out and I won't rule out the notion of hotspots where we see substantial community transmission being subject to lockdowns." https://www.facebook.com/VicGovDHHS/photos/a.175487589211626/3088030587957297/?type=3&theater Over the next couple of days, Sutton has warned that the number of new cases will continue to increase as the testing blitz continues. "I think it'll get worse before it gets better," Sutton said. While the recent Victorian numbers are "concerning" according to Sutton, he's said there's still an opportunity to turn it around. "There is still an opportunity for that to turn around. If it isn't, absolutely, the public health directions changing the law is something we have to consider because we have to do whatever is required to turn this around," Sutton said. At the moment, Victorians are allowed to go out to restaurants, bars and museums with limits of 20 people and one person per four square metres, up to five visitors in their homes and gatherings of up to ten people outside. They must continue to work at home if they can and the government has reiterated the importance of staying at home if they are sick — even if symptoms are mild. "We absolutely want people to get the message that if they have symptoms, they shouldn't be going and visiting other people, they shouldn't be going out to any other setting, including work, because that is where we are seeing transition at the moment," Sutton said. If you are sick, you should also get tested. The Government has launched a number of new testing sites, including drive-through testing facilities. You can check out the full list over here. For more information about the status of COVID-19 in Victoria, head to the Department of Health and Human Services website.
When a film or TV program struggles, flounders or flat-out bombs, it often gets its audience wondering exactly what the folks behind it were thinking. HBO series Betty has the opposite effect. Within minutes of starting the New York-set show's six-episode first season, it's easy to see why filmmaker Crystal Moselle wanted to tell this story — and why she wanted to not only spend her own time with its characters, but also to share their exploits with the world. That feeling proves true even if you don't know Betty's history, because it was true of the show's predecessor as well. In 2018 film Skate Kitchen, Moselle followed five friends who spent their days ollying, kick-flipping, shredding, grinding and nose-sliding around NYC. The entire quintet was female, and the fact that they all loved to skateboard — a male-dominated pastime not just historically, but also still now — coloured their lives' many ups and downs. And, while Skate Kitchen unfurled a fictional story, it took its name from a real-life all-female skateboarding crew, used its members as the movie's stars and crafted its narrative by fictionalising their real-life experiences. Betty brings the group's tale back to the screen, both extending and expanding it at the same time. The central young women remain the same, and the same main talent all return — Skate Kitchen's biggest name, Jaden Smith, is nowhere to be seen though — but the show tinkers with some of the details. Camille (Rachelle Vinberg) is no longer a skateboarding novice, but a girl who feels more comfortable hanging out with the guys, for instance. The dynamic between the always-outspoken, often-stoned Kirt (Nina Moran), no-nonsense vlogger Janay (Ardelia Lovelace), wealthy but weed-dealing Indigo (Ajani Russell) and shy wannabe filmmaker Honeybear (Kabrina Adams) has also been massaged, as have the specifics of each character. You could see Betty as Moselle's attempt to bring a bit of skateboarding into her filmmaking, rather than just depicting it in front of the lens. No matter how often a skater does a manoeuvre, it's always bound to differ slightly from the last time — which is exactly the mindset that helps Betty glide away from Skate Kitchen's shadow. The two share much in common, of course. The director's eagerness to relay her characters' escapades via warm, dreamy visuals hasn't subsided, and nor has the pervasive vibe that manages to make everything within Betty's frames feel both of-the-moment and nostalgic all at once. But, with no criticism meant towards the excellent Skate Kitchen, it now plays like the teaser for Betty, in the same way that the movie itself was preceded by 2016 short film That One Day. Story-wise, each episode of Betty sprawls and scampers as its characters do the same. The plot's main thrust often remains straightforward — Camille leaves her bag at the skate park, and Janay helps her run around town trying to find it, for example — but Moselle and her team of co-writers aren't afraid to see where every element of every story takes them. Accordingly, the show bobs and weaves back and forth between its main players, letting the mood and the moment guide each episode where it needs to. In other words, Betty not only lets its viewers tag along, but styles and structures each episode like it's a hangout session itself. Moselle is no stranger to mining the connections between art and life. It's what drove her first feature-length film, acclaimed 2015 documentary The Wolfpack — which focused on seven home-schooled NY siblings who staged elaborate recreations of their favourite flicks because their parents would rarely let them leave the house. Viewers should watch Betty with that in mind, actually, which the TV show openly invites. This astute and engaging series offers a window into a world that has long seemed like a dream for teenage girls. It lets the audience step inside, skate along, hang out and try it on (or imagine what might've been for those whose all-girl skateboarding crew days feel long behind them). Betty doesn't ever over-stress the point, but it knows it's doing something revolutionary. Its scenes of female-only skate sessions through the city and primary school-aged girls jumping on boards for the first time are joyous, and Camille, Kirt, Janay, Indigo and Honeybear's fight to be seen as skaters first and foremost is ferocious. Indeed, Moselle is acutely aware that she's the only one telling this tale — examining the realities that female skaters face, and also celebrating their efforts and even their existence — and she does so exceptionally well. Check out the trailer for Betty below: https://www.youtube.com/watch?v=cCP1zqmdGs0 All six episodes of Betty's first season are available to stream via Binge. Images: Alison Rosa/HBO.
In a brief, early sequence, Dead Men Tell No Tales appears to achieve something quite remarkable. Immersing Captain Jack (Johnny Depp) in a bank heist, it feels like the filmmakers have cottoned onto something that helmers of previous Pirates sequels never managed to grasp: a little bit of Sparrow goes an awfully long way. Yes, even here, the rum-swilling pirate remains as ridiculous as ever. But as his crew drags a safe through the streets while he tries to evade capture, you at least get the feeling that his latest adventure will be about more than just him. Sadly, it doesn't last. The truth is, time has not been kind to Depp since the first Pirates of the Caribbean hit back in 2003 and earned him an Oscar nomination. Or, to be more accurate, Depp has not been kind to Depp. Audiences have been accosted by his Sparrow shenanigans not only in Dead Man's Chest, At World's End and On Stranger Tides, but in almost everything else he's made in between. From Alice in Wonderland to The Lone Ranger to the nigh unwatchable Mortdecai, Depp's penchant for outlandish overacting has kept him firmly in the same mode. If it was beginning to grate a decade ago, it's positively painful now. Point is, make sure to enjoy this movie's early moments while they last. While the fifth film in the franchise ostensibly endeavours to switch its gaze to the next generation, the fact remains that an overabundance of Sparrow threatens to sink the whole ship. The wobbling seafarer finds himself in demand, with young upstart Henry Turner (Brenton Thwaites) and mysterious astronomer Carina Smyth (Kaya Scodelario) both requiring his help in their hunt for Poseidon's trident. Meanwhile, ghostly pirate hunter Salazar (Javier Bardem) is also on Sparrow's trail, hungry for revenge. Captain Barbossa (Geoffrey Rush) pops up, as do a few family ties, although the plot isn't really the main focus of this dip back into choppy waters. Just as amusement park attractions are more about thrills and theme than narrative, so too is Dead Men Tell No Tales. Taking the helm after impressing with the ocean-faring Kon-Tiki, directors Joachim Rønning and Espen Sandberg soon lose control of their vessel, serving up bland nautical action alongside their predictably unbearable protagonist. Given that this franchise has been surfing a downwards trajectory from the outset, we shouldn't really be surprised by the failure of this latest outing. An initial burst of energy, a couple of new faces and Bardem reliably playing the villain are all promising signs, but they're not enough to turn sea trash into treasure. Hold onto your hats though, me hearties, as it seems the franchise won't be walking the plank just yet. Like plenty of other big-budget sequels of late, Dead Men Tell No Tales appears as though it's just treading water for another installment. Next time, maybe follow Sparrow's lead and load up on rum. https://www.youtube.com/watch?v=8dhAxBe3uqk
Who isn't going to see Avengers: Age of Ultron? Since 2008, almost everyone has watched at least one movie in the Marvel Cinematic Universe, this being the 11th. It's the TV approach to film, with an episode or two released each year. By now, we've all consumed enough to get hooked on superhero shenanigans. Such a history might seem like a blessing, sending audiences to cinemas; however, it can also be a curse. Viewers know what Marvel excellence looks like; they've seen it, and they've laughed and cried along. They also know when a comic book adaptation doesn't make the grade. And, in good but not great efforts, they can spot the formula at work, see when a film is stuffed with a few too many characters, and recognise when it feels like it's going through the motions. That's where Avengers: Age of Ultron lands, a by-the-numbers outing not without its issues, but still enjoyable. Everyone's favourite gang of better-than-average folks is back, and this time they're responsible for their new worst enemy. That'd be the titular addition to the fold, a program with artificial intelligence created by Tony Stark (Robert Downey Jr) and Bruce Banner (Mark Ruffalo) in the name of world peace. Alas, after taking robotic form, Ultron (voiced by James Spader) has different ideas about how to protect the planet. Basically, it's the Frankenstein narrative, as the creation turns against its creator and the uncaring masses. It's not an original story, but it remains intriguing, exploring Iron Man, the Hulk, Captain America (Chris Evans), Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner) coming to terms with the reality of their powers, roles and ability to play god — and Thor (Chris Hemsworth), too, even though he genuinely is one. Joss Whedon being Joss Whedon, the returning writer/director dresses it all up with more than a few complications — think ideological clashes and romantic subplots — plus comic touches. He's simply doing what he does, as fans of his television shows like Buffy and Firefly will recognise. He crafts scenes of spectacular chaos and continent-hopping carnage thankfully given time to play out, and wraps up the standard set-pieces and fight sequences in pithy quips. Yes, you've seen and heard much of it before, and yes, the film can never quite shake that feeling. Instead, flitting from one drama to the next and giving everyone their moment, it relies upon the fact that you already know and love the characters, the actors and their camaraderie. While spending time with the bulk of the bunch and spotting other familiar faces is hardly a chore, veering off in different directions is certainly welcome, particularly when twins Pietro and Wanda Maximoff (Aaron Taylor-Johnson and Elizabeth Olsen) — aka Quicksilver and the Scarlet Witch — join the fold. That's where the entertaining yet never game-changing effort shines brightest, actually: in setting up the next offerings in a long list of Marvel movies, including two Avengers sequels already slated for 2018 and 2019 respectively. Age of Ultron may not be the best instalment so far, and you'll walk out well aware that what you just watched was only the latest chapter, but you're still enthused for things to come. Next stop: Ant-Man.
For the past two decades, Claire Lambe has been exploring notions of gender, sexuality, identity and class through abstract and theatrical works. In this major exhibition of Lambe's work, the Australian Centre for Contemporary Art hosts Mother Holding Something Horrific, which sees the English-born, Melbourne-based artist present several new works of sculpture, photography and experimental theatrical presentations. Lambe works intricately with the human form, finding ways to reconsider the human condition, demonstrate realities and give the audience a revelatory experience. Through a series of confronting sculptures and installations, the interior ACCA galleries are transformed through intimate and venereal works. Australian dancer and choreographer Atlanta Eke will further invigorate the space with a series of contemporary performances that occur throughout the exhibition's duration. A deeply psychological and profound exhibition, Claire Lambe's Mother Holding Something Horrific will show until June 25 in ACCA's main exhibition space. Image: Claire Lambe, Mother Holding Something Horrific (2016–7), production still.
Eye roll-inducingly terrible bumper stickers be damned; no one honks if they're horny in Titane. Revving when aroused is more this petrol-doused body-horror film's style, spanning characters both flesh and chrome. When she's seen writhing in fishnets atop a flame-adorned vintage Cadillac, the stony-gazed Alexia (debutant Agathe Rousselle) is working. She's titillating a Fast and Furious-style car crowd with her sexed-up display, but the car model still seems to hum with every gyration. After wrapping up, murdering a grab-happy fan with the metal chopstick keeping her hair up and then showering off the gooey, gory evidence, she's soon purring rhythmically inside that gleaming vehicle. Yes, in a plot detail that spilled the instant Titane premiered at this year's Cannes Film Festival, where it won the prestigious Palme d'Or, this is the French car sex flick. How does someone fornicate with an automobile? Not inside or on the waxed hood, but copulating with the vehicle itself? That's one of this pumping piston of a movie's least interesting questions, although Titane does go there. In her sophomore effort after the also-phenomenal teen cannibal film Raw, writer/director Julia Ducournau isn't too interested in those specifics. She splashes the bouncy sex scene across the screen with lights flashing, human and motor pulsating as one, and pleasure seeping like exhaust fumes, but it's hardly the picture's only point of interest. Titane isn't the first feature to flirt with carnality and cars — Ridley Scott's The Counsellor had a gas-fuelled rendezvous less than a decade ago; Crash, from body-horror godfather David Cronenberg, is also steeped in automotive eroticism. But Ducournau's addition to the parking lot shrewdly links mechanophilia with agency and control, particularly over one's feelings and body. First, before cylinders start lustily thrusting, Titane finds the initial growls of Alexia's four-wheeled fascination via a quick race through her childhood. As a seven-year-old (fellow first-timer Adèle Guigue), she enjoys audibly rumbling along with the engine. She also likes kicking the chair in front of her, exasperating her dad (French filmmaker Bertrand Bonello, director of Nocturama and Zombi Child) into an accident. For her troubles, she gets a plate of the titular element inserted in her cracked skull. That steely stare matches the alloy in her head even then. From the outset, Ducournau pairs blood and metal, reshaping her central figure while laying bare her vulnerabilities. She kicks her film into a gear it'll keep shifting into again and again, too, because this is a movie about modifications: physically, emotionally and while trying to claim one's own sense of self. Titane isn't just the French car sex film, clearly. It isn't merely a car sex movie about a woman partly forged from titanium, and with a penchant for piercing her way through those who block her road. Nor is it simply the French car pregnancy flick, with Alexia and the Caddy's tryst bearing fruit — a condition she tries to conceal, especially after more deaths lead her to Vincent (Vincent Lindon, At War), a fire chief who takes her in as his long-missing son. If Ducournau had made her script out of metal, she'd be moulding it in its molten form. She'd be letting it bubble; key to Titane's blistering appeal is its eagerness to let things boil, then brim over, because the feelings and ideas it works with are that scorching. If her feature was a car instead, it'd be that libidinous, fire-emblazoned Cadillac, which arrives with a bang, lures Alexia in and then lets loose. Actually, perhaps Titane would be the oily belly of the hulking vehicle that gets its biggest fan in the family way. Watching here resembles peeking under the bonnet with the engine running, seeing pulleys and belts in action, and feeling heat and energy radiate. That doesn't solely stem from the mechanical imagery, or the savage first half — where fluidly executed killing sprees, broken bodies and a watch-behind-your-hands incident of self-mutilation take on a mechanised air, too. And, it doesn't just emanate from Alexia's swelling stomach, the motor oil oozing from her breasts or, after binding down all signs of femininity in her new life, her scars. As set to both an eerie score and pitch-perfect needle drops, Titane evokes a sensation of witnessing moving parts grind, whirr, interlock and spark. The movie thrums, and it's intoxicating. It isn't always pretty, even with a neon-drenched look that'd do Drive director Nicolas Winding Refn proud, but popping the hood rarely is. As all filmmakers aim to, that's what Ducournau does with her car porn/serial killer/secret identity/gender-bending blend. She opens up her characters, exposes what makes them run and spies what lubricates their gears. Thanks to Rousselle's stunningly physical, near-silent performance, Titane lays bare the workings of a woman who has confronted the hyper-sexualised expectations of her gender by leaning in, and by stabbing. Alexia then grasps comfort by eschewing boundaries, and gaining a surrogate dad who's similarly trapped in his own way. As lensed with an exacting yet empathetic eye by Raw's Ruben Impens — even with its lurid blue and purple hues — Titane sees Vincent's battle to meet the macho standard, too. Shots of him injecting steroids to keep up with the younger firefighters are just as brutal as glimpses of Alexia's distended, strapped-down midsection, if not her bursts of violence. Titane is a ferocious and unflinching thriller, and also beautiful, tender and compassionate. Amid its visceral shocks, it gleans possibilities — in embracing connections, accepting change, breaking free of everything that the world throws at you and, crucially, in seeking power in transformation. Lindon's impact, and that of his soulful, sorrowful eyes, can't be underestimated; if Rousselle is the movie's fuel, he's its oxygen. Ducournau is always in the driver's seat, though. The second woman to ever win Cannes' highly coveted top prize, she packs the film's absurdities into the boot, straps her Raw-established fascination with bodies and identity into the passenger side, puts her pedal to the metal and speeds towards her own cinematic horizon. She veers, swerves and spins along the way, but never crashes — and takes her audience on one helluva ride.
Whether you're a lifelong NRL fan or just someone chasing sporting highs after the Women's World Cup-sized hole left in your life, this Friday's semi-final promises to be a thrilling watch that'll take the Melbourne-Sydney rivalry to new heights. It's a clincher for the Melbourne Storm and Sydney Roosters, who will either move on to the Preliminary Finals against the Penrith Panthers or be eliminated for the year. After a close 13-12 victory against the Cronulla-Sutherland Sharks, the Roosters will head to the Storm's home turf at AAMI Park for their fifth Finals face-off against the Melbourne team. It'll be a real nail-biter — the Storm previously defeated the Roosters 28-8 in round six, but were bested by the Broncos in a whopping 26-0 last week. You can expect some sparks on the field with former Storm player-turned Roosters' hooker Brandon Smith facing up against his old Storm teammate and close friend Harry Grant. It's also a clash between two of the most highly regarded coaches in the sport, though Roosters' coach Trent Robinson has the 2018 Grand Final and 2019 Prelim victories under his belt. Kickoff is at 7.50pm this Friday, September 15 at AAMI Park. With tickets starting from only $35 for adults and $25 for kids and concession, there's no excuse not to catch the action live. Get your tickets to the unmissable game at the NRL website.
Melbourne lead Australia into this awesome craft beer age we've found ourselves in — and there are so many great breweries in the city that we're truly spoilt for choice. But we bet you haven't considered how many more breweries there are outside of the city around Victoria. Jonesing for a road trip? What better trip to take than one that lands you with a fresh beer in hand. Here are the Victorian breweries worth road tripping for.
Classic flicks just keep making the leap to the stage, turning their big-screen tales into song-filled musical adaptations in the process. From 9 to 5 and Muriel's Wedding to Moulin Rouge! and Shrek, a hefty number of beloved movies have done just that — and now Adam Sandler's smash-hit film The Wedding Singer is joining them. The Wedding Singer: The Musical Comedy was originally due to hit Melbourne in June last year but, as we all know, the pandemic hit. Now it'll head to the city's Athenaeum Theatre from Friday, April 30, before hitting up the Gold Coast in June and Sydney in July. When it does finally hit the stage locally, The Wedding Singer: The Musical Comedy will deliver an all-singing, all-dancing stage show based on its hilarious namesake 90s flick. And it's from the same crew that propelled it to sell-out success on Broadway and across the UK, including the writer of the original movie, Tim Herlihy. This one promises to yank you right into The Wedding Singer's 80s world of big hair and classic wedding bangers, thanks to a toe-tapping score that's sure to prompt a few hearty crowd singalongs. It retells the story of party-loving wedding singer and wannabe rock star Robbie Hart, who's left stranded at the altar at his own nuptials. Heartbroken, he sets out to destroy every other wedding he's a part of, until a chance encounter with a waitress: Drew Barrymore's character Julia. Now, he just has to win over the girl... and somehow put a stop to her own upcoming marriage along the way. If you need a refresher, you can watch the OG nostalgic film trailer below: https://www.youtube.com/watch?v=8yjOXMTa6vA
A great bar isn't just about the tap count, but that figure can be a sign of a more-the-merrier situation for beer lovers. When the number is hefty, usually so are your drinks choices, including trying tipples that you mightn't have had a chance to otherwise. So when a 120-tap bar awaits, it really is a case of imagining the possibilities. The Great Australasian Beer Spectapular, aka GABS, loves getting creative with beers — and loves letting attendees at its annual festivals sip and sample over 100 different varieties each year. In 2025, when the fest returns to Melbourne in April, it'll set up that 120-tap bar, all in a straight line. Exactly 100 of those taps will pour beers, and the weirder and wilder the flavours, the better. The other 20 will feature spirits, cocktails and other beverages. For many of the brews on offer at GABS, this is either the first time or the only place that you can taste them. Think: sushi beer, cookie stouts and lollipop sours, which have featured in the past. Think of a foodstuff — peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum, doughnuts, red frogs and sour gummy bears, for instance — and there's likely been a brew made to taste exactly the same at GABS. This year, GABS is hosting two-day fests, including at Melbourne Convention and Exhibition Centre from Friday, April 4–Saturday, April 5. If you're a newcomer to GABS, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then it began spreading along Australia's east coast capitals, as well as to New Zealand. The event surveys both Australian and New Zealand breweries, plus sometimes some guests from further afield — Schlenkerla and Weihenstephan, both from Germany, are the first names on the list in 2025 — with more than 60 normally showcasing their wares annually. Also on the bill: other tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which usually spans a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders, plus local food trucks and vendors to line your stomach. And you might just find a ferris wheel or a mullet bar — yes, dispensing the haircuts — as well, as they've popped up in the past.
It's not every day a Michelin-starred name makes its way to Melbourne. So it's little surprise that the queues for Hawker Chan, the new Melbourne outpost from celebrated Singaporean chef Chan Hong Meng, have been a firm fixture since its doors opened in December. The restaurant is a spin-off of Meng's original Singapore food stall, which is one of just a few hawker eateries to ever win a Michelin star. That's right — you can now get your mitts on one of the world's cheapest Michelin-quality feeds right here in Melbourne. For his Lonsdale Street venue, Meng has recreated the feel of a classic Singaporean hawker centre. You order your meal at the front counter and collect it on a tray once your number flashes up on the big screen. The lights are bright, the tables are bare and there's a buzzy atmosphere that goes hand in hand with a cheap and cheerful feed. And cheap is kind of an understatement here. The menu is a celebration of simplicity and value for money, with just a handful of favourites headlined by the chef's famed signature dish of soya sauce chicken with rice ($6.80). It's mighty hard not to love the kitchen's trademark Cantonese-style chicken — tender, juicy meat that's been braised, skin and all, in fragrant stock and spices, then chopped to order. As with the menu's other protein dishes, you can pay a couple of extra bucks to switch the accompanying rice for a pile of springy thin noodles ($8.80) or house-made hor fun ($8.80) — flat rice noodles. Meng's also kicking goals with his finger-licking pork rib recipe, which'll have you shamelessly nibbling every last bit off the bones. If you're feeling extra carnivorous, try it teamed with chopped roast pork belly and char siew as part of the three-combination platter ($18). The lineup of sides is equally minimalist, including a fragrant wonton soup ($7.80) and a flavour-packed Thai-style tofu — fried and drizzled with sweet chilli sauce and crushed peanuts ($6). Throw in a serve of house-made chrysanthemum tea ($3) or sweet plum juice ($3) and you'll find it pretty easy to imagine you're actually worlds away, living it up in Southeast Asia.
Are you looking for an opportunity to battle with your friends, but lack the stamina for a high octane game of lawn bowls? In the answer is yes, sedentary friend, we've got a Good Beer Week suggestion that we reckon will be right up your alley. Kaiju! Beer is teaming up with CBD Japanese restaurant Izakaya Chuji for an evening of board games, beers and delicious Japanese food. From Risk to Settlers of Catan, there'll be games of every persuasion, and, of course, you're more than welcome to bring your own. No flipping the board in a drunken rage if you lose though.
Lapalux aka Stuart Howard is from Essex. If you’ve ever watched The Only Way is Essex you will get that this is kind of amazing, sort of like how Iggy Azalea came out of the rolling acres of Mullumbimby in regional NSW. The 25-year-old electronic music prodigy is currently the only British artist to be signed to the LA-based label Brainfeeder, the result of a spontaneous email by Howard that was returned with a personal response from Flying Lotus himself. So I guess Lapalux is kind of like electronic music’s answer to the self made YouTube success story of Justin Bieber? He has the beautiful bone structure and serious swagu to further substantiate the comparison. This Saturday night’s one off show will be supported by local acts Silent Jay, Fugitive and Nam. Image via soundcloud
There's never been a shortage of reasons to adore Better Call Saul. It's one of the best shows of the past decade, it's a rare spinoff that's as exceptional as the series it hails from — and, frequently it's even better — and its lets Breaking Bad fans spend even more time with Saul Goodman (Bob Odenkirk, Nobody) and Mike Ehrmantrout (Jonathan Banks, The Commuter), for starters. It also boasts the phenomenal Rhea Seehorn (Veep) as Saul/Jimmy McGill's girlfriend, never makes an obvious move even though we all know what's coming for its titular character, and continually proves television's greatest tragedy for the same reason. After a two-year break, Better Call Saul will finally return this month to start its sixth and final season — and, from the trailer, it's set to keep ticking all of the above boxes. That said, it is about to do something viewers knew would have to happen one day: bringing Walter White (Bryan Cranston, Your Honor) and Jesse Pinkman (Aaron Paul, Westworld) into the story. Better Call Saul showrunner and executive producer Peter Gould confirmed the news at a panel session held at PaleyFest LA, saying "I don't want to spoil things for the audience, but I will say the first question we had when we started the show was, 'are we gonna see Walt and Jesse on the show?' Instead of evading, I'll just say yeah." He continued: "how or the circumstances or anything, you'll just have to discover that for yourself, but I have to say that's one of many things that I think you'll discover this season." Of course, it's worth remembering Mike's words in the season six trailer right now: "whatever happens next, it's not gonna go down the way you think it is," he utters in his inimitable gravelly voice towards the end of this first sneak peek at the new season. So, while we all know now that the thing the show was always heading towards will occur, trust in this outstanding series — and in creator Vince Gilligan — to still deliver oh-so-many surprises. The same is bound to prove true of Jimmy-slash-Saul breaking bad and embracing his "s'all good, man" new persona as a criminal lawyer (and not just because he represents criminals) in Better Call Saul's final season. Again, that doesn't mean that we know exactly how the season will play out. The sixth season will arrive in two parts — with the first seven episodes airing from Tuesday, April 19 in Australia, and the final six arriving from Tuesday, July 12. We'll also see more of post-Breaking Bad Saul's story, where he's known as Gene. Best break out the cinnamon scrolls, obviously, amid all that Pinkman-inspired cheering about science and magnets. Check out the Better Call Saul season six trailer below: Better Call Saul's sixth season starts streaming in Australia via Stan and New Zealand via Neon from Tuesday, April 19. Images: Greg Lewis/AMC/Sony Pictures Television.
The Hotel Windsor's fancy afternoon tea is getting tweaked for Chinese New Year. Forget about finger sandwiches and scones with jam and cream, and instead scoff down dishes made with classic Asian ingredients, such as pastries with peach, lychee and kumquat, dim sum-inspired savouries, and a wide range of specially brewed teas. Hotel guests will also notice an array of Asian pastries making their way onto the hotel's dessert buffet — and frankly, we're thinking of checking in ourselves just so we can have a good feed. The Chinese New Year afternoon tea will be available for two weeks starting from Monday, February 8.
There's something very human about pulling up a chair to watch a sports final with cold drinks and hot food in hand until the last siren. Come grand final season (the best time of year), it's easy to watch the game at home, but squeezing the whole group onto one couch and keeping them happy with chips and party pies isn't what you want. Instead, why not venture out across town? These venues around Melbourne have unmissable offerings for the AFL Grand Final weekend. Head to any of the venues to watch any of the final matches or snag a booking to catch the big game on Saturday, September 28. If you can afford to be picky, pick The Terminus Hotel in Abbotsford. As always, the Terminus team is abandoning the classic grand final specials in favour of something bolder with the return of the annual AFL Grand Final Block Party. Flockhart Street will be closed for the day to play host to big-screen broadcasts, bottomless drinks, roaming canapés and live music before and after the game itself from $109pp. If you're a bit of a footy diehard, former Collingwood player Dane Swan will be visiting Imperial Hotel on Bourke Street for a breakfast meet and greet. Tickets are $95pp and include a breakfast package and guaranteed seats for the game later in the day. If the game is just part of the day for you, Garden State Hotel will offer a beverage package for $135pp that includes the game and live music until 3am (whether you're celebrating a win or recovering from a loss). Across the river, Hopscotch is offering a siren-to-siren beverage and share plates package for $109pp. The offerings continue all across town. The Espy will have the game screening in the Gerswhin Room alongside three hours of drinks and snacks for $110pp. Middle Park Hotel has a similar offer with its VIP package: a drink on entry, roaming canapés and premium reserved seating for $49pp. The Prince Alfred Hotel is making a whole long weekend out of the occasion — with live music and a DJ on Thursday the 26th from 4pm until late and an extended happy hour from 3–7pm on Thursday. Come Saturday, a DJ will follow the big game until late, and there's even live music from 2–5pm on Sunday the 29th. Finally, the Victoria Hotel in Yarraville will have the game playing on screens big and small throughout the beer garden and sports bar, perfect for enjoying the prime seating, welcome snack and complimentary beer included in the $45pp VIP package. The Local in Port Melbourne will be offering live music from 3pm on Friday, then a footy raffle entry and live music after the game on Saturday included in your $30pp ticket. If you find yourself in Melbourne's north on game day, our pick would be Brewdog Pentridge, where you can catch the game live and loud when it takes over the beer garden from 11am. For more information on any of these venues, visit the Australian Venue Co. website and download The Pass app to start exploring and claim exclusive rewards across these venues.
South Korean cinema has been thrust into the global spotlight in a big way over the past year, all thanks to the enormous success of Bong Joon-ho's Cannes Film Festival Palme d'Or-winning, Sydney Film Festival prize-winning and four-time Oscar-winning film Parasite. Of course, the country has been serving up stellar cinema for decades, which is great news for movie buffs — who can either revisit excellent flicks such as the 1960 standout The Housemaid, the Park Chan-wook-directed likes of Oldboy, Thirst and The Handmaiden, and even Bong's own hefty back catalogue; or watch all of the above and more for the first time. Add Yeon Sang-ho's instant classic Train to Busan to the list, too. First hitting screens back in 2016, the frenetic zombie-filled thrill ride became an instant classic, following a father (Gong Yoo) and daughter (Kim Su-an) forced to fend off the shuffling hordes while in mid-transit. Not only did the movie flesh out its protagonists more than most undead flicks manage, but it also painted a probing picture of modern-day South Korean society. And, it's part of a franchise, with fellow 2016 release Seoul Station exploring another aspect of the outbreak in an animated prequel. Now, as promised for years, a sequel to Train to Busan is coming to screens — set four years after the first film. While just when it'll hit theatres hasn't been announced (which is completely understandable given that cinemas around the world are currently shuttered), the action-packed first teaser trailer for Train to Busan presents: Peninsula has just dropped for cinephiles looking for more pandemic-based viewing options. This time around, former soldier Jung-seok (Gang Dong-won) is in the spotlight. With the Korean peninsula devastated by the outbreak, he has escaped overseas — but is given a secret mission to return to retrieve an object. Because that's the way these kinds of tales go, his trip back home throws up plenty of expected zombies, unexpected survivors and grim fights for survival in an abandoned, post-apocalyptic world. That said, with Yeon returning as the film's writer and director, it's unlikely that Peninsula is going to follow an easy formula. Check out the trailer below — and if you need to catch up with Train to Busan, it's available to stream on Netflix. https://www.youtube.com/watch?v=yVucSRLLeIM&feature=emb_logo Train to Busan presents: Peninsula doesn't yet have a release date — we'll update you when one is announced. Images: Well Go USA Entertainment
Whoever said bouncy castles were just for kids clearly never encountered The Beast. Clocking in at over 300 metres and boasting 40 different obstacles, this thing is calling itself the world's largest inflatable theme park. Oh, and it's casually touring Australia next summer, hitting up Sydney, Melbourne, Brisbane and Perth. Setting up in yet-to-be-announced locations in the hot months of 2020, The Beast is the bouncy castle experience of your wildest kidult dreams. Punters are invited to run, jump, dance and scramble their way through the course, which is opening predominantly for adults (with a limited number of sessions for littluns in each city). The obstacles you'll conquer in the bouncy theme park include a 20-metre Mega Slide and the ominously named Bouncy Cage of Doom. There's also something called the House of Hell, which, while suitably vague, we think may make you fear bouncy castles for life. Attempting to run from clowns, ghosts and ghouls in an unpredictably bouncy corridor is what nightmares are made of. Dates are not yet announced and details are slim, but we do know that the pop-up will be heading to each of the above cities for at least a few days. You can sign up for pre-release tickets here, which you best do because space will surely be limited.
The Murray River flows right through the heart of Tocumwal, and 24 riverside beaches within close proximity to town ensure you can make the most of every sunny day. With this stretch of Australia's longest river lined with shady red gums and native bushland, there's a quiet patch of shoreline with your name on it. Finley Beach sits within Tocumwal Regional Park, and is the perfect spot for swimming, kayaking and camping. Nearby, there's both Tocumwal Beach and Apex Beach, which are both stellar options too. Image: Emily Godfrey, Visit Victoria
Bartenders and brewers have collided to recreate the flavours and aromas similar to iconic beers from around the world. These beer-inspired cocktails have been made without a dash of beer in sight. Seriously, there's no beer. Join one of their 90-minute sittings, and be prepared to be as stirred and shaken as you sip away on their yeast-free fabrications. This event is part of Good Beer Week's 2015 program, running from May 16-24. For more festival picks, click here.
Attention ghostbusters and costume enthusiasts: your favourite season is fast approaching. Trick or treating might not have exactly caught on here, but after a couple of years sans socialising, we'll be damned if we won't use this Halloween as an excuse for a celebration. If your only experience with Halloween shindigs is hot and crowded parties filled with half-assed costumes, throw those preconceived notions aside. In 2022, we're all about sophisticated-yet-spooky soirees. We turned to the devilish experts at Devil's Vine for help on how to host the ultimate Halloween dinner party — complete with on-theme food offering and of course, delicious (and affordable) drops. SET THE SCENE Any great Halloween dinner party relies on one thing — atmosphere. Concrete Playground's Halloween aficionados have two rules: no tacky decorations (we don't want to see even a hint of a plastic lantern) and vibes on from entry. That means going all out and using all the tools you have at your disposal. Maybe you tape the front section of your house off with crime-scene tape, have fake blood tricking out of the bathroom sinks and doors, or use carefully placed dry-ice canisters to create a smoke-filled scene. The pièce de résistance is of course the dinner table, where you can really let your imagination run wild. Your theme? Elegance meets eeriness — think of the dinner party thrown in a hunted mansion, with sexy candlelight and Addams Family vibes (Morticia and Gomez are couple goals, after all). We recommend showing your guests to their spots with blood-splattered name cards written in delicate cursive. For your table setting, opt for contrasting gold and black cutlery and crockery topped with one single stemmed red rose for horror Bachelor-realness. Scatter the rest of the table with a mix of candelabras, roses and bottles of Devil's Vine wine — you could even drip candle wax down the sides of the bottles before guests arrive. Then not only do you have a bold red ready for your guests to sip, you have an elegant (but spooky) scene setter. That's what we call a win-win. EAT OR BE EATEN Embrace the opportunity to impress your friends with your cooking prowess (be it newly learned or well-honed). This is not the time to bung a plate of saussy rolls down and call that dinner. Instead, you'll be providing a delicious and impressive three-course meal, while having a little fun playing with the food offering — sorry, mum. Kick things off with an array of finger foods for nibbling: think on-theme snacks like smoky pumpkin devilled eggs, a 'gory guts' tear-and-share pizza bread and of course, charcuterie and cheese boards to accompany your Devil's Vine vino — just make sure you get an extra-mouldy blue option on there to add a deliciously ghoulish twist to proceedings. When serving the main course, keep things simple: a rare bloody scotch fillet and a delicious roast jack-o'-lantern pumpkin salad are sure to please the crowd. Or take things to the dark side by opting for a squid ink linguine — the contrast of black pasta on a white plate creates a striking scene with minimal effort. For dessert, serve a decadent dark chocolate cake, bloody jam desserts and a candy station with goody bags for trick-or-treating — adult style. More important are the beverages — any good dinner party can really ride or die on the drink selection. For your signature cocktail, whip up this impressive-looking but actually very easy 'bloody' Halloween sangria, using one of the bold South Australian varietals from Devil's Vine, such as a shiraz, cab sauv, merlot or red blend. The slightly sweet yet intense flavour lends itself perfectly to a sangria — as does the wine's sub-$15 price tag. If you have the time and energy, you can also try your hand at creating a toil-and-trouble atmosphere with a smoked cocktail like this unorthodox old fashioned — to finish things off, serve digestifs in vials like you're a crazed scientist (rather than just a slightly tipsy one). WOULD YOU LIKE TO PLAY A GAME? While the main attraction at your dinner party will be the scintillating conversation, it doesn't hurt to have a few entertainment options up your sleeve. Keep the atmosphere rolling with a groovy horror-themed playlist — the one below is our personal favourite. It's also a great idea to have some camp horror films on in the background — leave them on mute with subtitles on, then turn up the more iconic scenes for everyone to enjoy. Some of our faves include What We Do in the Shadows, Beetlejuice, Shaun of the Dead, the OG Ghostbusters and Ghostbusters II, Ready or Not and Hocus Pocus. Once the dining portion of the evening is done, it's time for a game or two. Keep things simple and effective with the forehead detective game where every guest is a different horror creature or scary villain — think Ghostface, the Boogieman, Jigsaw, Patrick Bateman from American Psycho…you get the gist. If you want to really impress, invest in hiring a specialist company to run a murder mystery evening. With someone due to die during dinner, all the dinner party guests must figure out the killer using their new personas. You can run it yourself using a guide like this one, but we're guessing it might be less stressful to sit back and let someone else handle the admin. Then you sit back, sip your sangria and admire your dinner party festivities feeling satisfied — and start planning next year. Image credit: Chester Newling This Halloween, make a date with the Devil's Vine. Available for RRP$11.99 per bottle at Dan Murphy's and RRP$14.99 at per bottle at BWS, head online or in-store to check it out.
When the final season of Game of Thrones aired, it earned its fair share of detractors. So, around a million people hopped online and signed a petition asking for the show's last batch of episodes to be remade. That might seem like a silly and implausible reaction but, when it happened in 2019, that kind of fan outcry wasn't new. Just a couple of years earlier, DC Comics aficionados had tried to get Rotten Tomatoes shut down when the reviews for Suicide Squad weren't as positive as the'd like — or positive at all. They're just two examples of fan responses to either beloved properties going awry in their eyes, or not getting the treatment they think they deserve — and of entitlement-driven campaigns asking for those supposed misdeeds to be corrected or punished. Another big instance over the past few years involves fellow DC Extended Universe flick Justice League, which wasn't well-received when it first hit cinemas back in 2017, and deservedly so. The superhero team-up movie definitely isn't the best entry in its franchise. It was also plagued by struggles before it reached the screen, including the replacement of director Zack Snyder with Joss Whedon during post-production. Accordingly, there's been an online push for Snyder's version of the movie to be released — and, because that's the kind of world we live in, it's actually happening. The director also filmed new footage for what's now being called Zack Snyder's Justice League, and the four-hour end product is dropping in March. In the US, HBO Max will be streaming the film; however, given that the service isn't available Down Under, just how Australian viewers would get their chance to see the flick hadn't yet been revealed. Until now, that is, with Aussie streaming platform Binge announcing that it'll add Zack Snyder's Justice League to its catalogue at the same time that it drops in America. Whether you actually liked the original and are keen to see what's changed, you completely hated it and you've been eager for a new version, or you're just bemused and/or bewildered by the fact that the Snyder Cut — as it has long been called online — has actually come to fruition after years of internet pleading, you can head to Binge from 6pm AEDT on Thursday, March 18 to check it out. Following on from the events of 2016's Batman v Superman: Dawn of Justice — including how that film ended for Superman (Henry Cavill, ) — Zack Snyder's Justice League sees Bruce Wayne (Ben Affleck) join forces with Diana Prince (Gal Gadot) to band together DC Comics' superheroes to stop a potentially world-ending threat. As well as Batman and Wonder Woman, Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) all make an appearance, teaming up to try to save the planet from a trio of villains. And, as the trailer shows, Jared Leto's version of the Joker also pops up. Check out the trailer for Zack Snyder's Justice League below: https://www.youtube.com/watch?v=1r_EQ_8JPyU&feature=youtu.be Zack Snyder's Justice League will be available to stream via Binge from 6pm AEDT on Thursday, March 18.
A cosy session at the pub is made even better with the addition of some great local brews, a little friendly competition and a few rowdy games. And that's exactly what you'll find when Richmond boozer the Cherry Tree Hotel teams up with Gippsland brewery Sailors Grave for a Good Beer Week afternoon of fun and shenanigans. On Saturday, May 15, swing past the free Sailors Grave Regatta party, where you and your mates can battle it out with a program of mini-games and other fun challenges, ranging from corn hole to a lively ring toss situation. Of course, unleashing your competitive side can be thirsty work, so Orbost-based Sailors Grave will be bringing along a few kegs of their finest for the occasion. They'll be pouring eight different taps across the day and, while the lineup's staying under wraps for now, you can expect a solid mix of core beers and limited-edition releases. Perhaps the Drowned Man IPA, the lemon meringue cream-inspired sour, or the new Dark Emu dark lager? The day's fun wraps up with the main event, the Sailors Grave Regatta, which will see players racing remote-controlled boats for a shot at glory — and plenty of sweet beery prizes.
UPDATE: June 18, 2020: Spider-Man: Far From Home is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Here's the great thing about the recent batch of Spider-Man movies: they are, like their protagonist, smaller, friendlier and far more humble than their superhero contemporaries. Crucially, they're about a teenage boy firs, and superhero stuff second, which not only keeps them grounded in about as much reality as films of this genre can hope for, but also provides for an endless source of conflict as the two themes inevitably clash. The extreme version of that incompatibility was explored in the original (Tobey McGuire) franchise, with Spidey declaring he was "Spider Man no more". Far From Home takes one step back from that level of angst, compelling Tom Holland's character not to retire the suit but leave it hanging in the closest while he goes on a European field trip with his classmates. Fair enough, too, since he and the other Avengers did just save the universe from annihilation. Who are we to begrudge him a little down time? Of course, the aftermath of the recent Avengers films (especially the 'snap') lingers long in the memories of everyone on earth, both for those who never left, and those who became dust and then returned. That divide is given a neat comedic angle in Far From Home, too, by virtue of some of Peter Parker's classmates now being five years older and more mature — which proves especially problematic in the case of Australian actor Remy Hii who emerges as a handsome rival for Peter's romantic crush, MJ (Zendaya). For Peter, though, the impact of the Endgame conflict vests squarely in the loss of his friend, mentor and father-figure, Tony Stark. To make matters worse, not only does he have to grapple with that loss in virtual secret solitude, he's also constantly being asked whether he is to be Tony's heir-apparent in replacing Iron Man as the lead Avenger. A Venetian/Parisian holiday alongside MJ and his best friend Ned (Jacob Batalon) looks to be the perfect way to leave all these worries behind for a while. That is until world-destroying monsters rear their giant heads and imperil his friends and strangers alike. This time, however, Spidey isn't alone. A mysterious new hero with remarkable powers emerges in the form of Mysterio, played by a terrific Jake Gyllenhaal. Mysterio and Peter seem like kindred spirits, blessed as they are with extreme intelligence, reluctant heroism and sensitive souls. As with the previous Spidey movies, and indeed the MCU at large, it's these intimate, quiet connections that continue to drive this universe forward far more so than the bombast of the battles and special effects wizardry. Which isn't to say there aren't still some phenomenal effects in Far From Home, including an intensely trippy, mind-bending sequence that comfortably rivals its equivalent in Dr Strange. Holland remains the perfect casting for Peter Parker: baby-faced and eminently likable, he absolutely captures the sweaty awkwardness of a teenage crush absent the confidence to actually act upon it. Zendaya, too, gets much more screen time in Far From Home, and immediately proves she's worthy of it with a witty, nuanced and really quite tender performance. Some old hands also return to bolster the supporting cast list, including Nick Fury (Samuel L. Jackson), Aunt May (Marisa Tomei) and the man who started this whole thing off back with the original Iron Man, Happy Hogan (Jon Favreau). Their presence, along with the constant allusions to Tony Stark, remind us that this is still an MCU movie, but never so much that it loses its distinct and unique feel. Its "Spidey sense", if you will. Overall, Far From Home isn't quite as polished as Homecoming, nor as resonant as Endgame. But it makes up for it in humour and heart, serving as both a fitting end to Marvel's Phase 3 and a launch pad for the new era to come. https://www.youtube.com/watch?v=Nt9L1jCKGnE
If you're keen to see the winner of the Best Performance Award at 2017's Melbourne Fringe, you'd better be prepared to don a bathrobe. Wiradjuri dancer and choreographer Joel Bray will be holed up in a luxe hotel room at the Sofitel on Collins Street with a small group of strangers he met in the bar downstairs — including you. What starts as a casual conversation begins to gather speed in the form of physical expression. Bray ranges through the intimate space and the room loses its drabness and uniformity. Using the Dreamtime story of the biladurang (platypus) to loosely frame his own unique tale, Bray has been packing out single suites across the country. Funny, dark and steeped in the vulnerability of the personal, by all accounts the surcharges on this room are purely emotional. Biladurang is part of Dance Massive, a 13-day showcase of 15 contemporary dance works from Aussie choreographers.
If we had to come up with a shortlist of sentences that we don't think we'll ever get tired of writing, "Melbourne is getting a brand new burger joint" would definitely be close to the top. Which is lucky, because frankly, it's something we have to write a lot. Case in point: restaurateur Dani Zeini is firing up the grill at Royal Stacks Brunswick, his second American-style fast food eatery to open this year. With a resume that includes Dandenong Pavilion, Grand Trailer Park Taverna, Easey's and Truck Stop Deluxe, it's safe to say that when it comes to hamburgers, Zeini is no slouch. The first Royal Stacks opened in the CBD in January, and this offshoot will use high quality Australian ingredients, including beef free from GMO, hormones and antibiotics. And, in a point of difference to the CBD restaurant, Brunswick will have halal options on the menu. "We're very excited to launch a Royal Stacks in Brunswick that offers a options for those who want to eat halal," says Zeini. "Catering for the local community has always been a big part of all the venues I've been involved in." The wildly popular burgers that have been going gangbusters at the CBD venue will naturally be at Brunswick too, including the Double Stack, the Prince Harry and The King (that's the one with the mac 'n' cheese croquettes). Burgers and fries aside, there's also the insane honest-to-God frozen custard machine. New flavours like rosewater and pistachio, baklava and kunafeh (a sugar-soaked cheese pastry) will also make an appearance at the new store.
They say everything in moderation but not this season. How can you keep things in check when ice cream festivals, seafood markets and pig parties are happening around the state? You can't. So lean in and get amongst it. Throughout February and March, all of these food fests are happening a short drive out of town — and you can do them in a day, or make a weekend of it.
Juliette Binoche stars as an actress adapting to the expectations of her age, Kristen Stewart argues the merits of mainstream entertainment, and Chloë Grace Moretz arrives as the next big thing. In Clouds of Sils Maria, art may appear to imitate life — and it does, and it knows it — but there's more to Olivier Assayas' film than that. Much more. Binoche plays Maria Enders, a screen veteran who first came to fame in the play Maloja Snake by Wilhelm Melchior. Twenty years later, she's poised to pay tribute to the writer and director at an event in Zurich; however, mid trip, news arrives of his death. Supported by her assistant, Valentine (Stewart), she reluctantly agrees to participate in a new staging of Melchior's production, co-starring rising starlet Jo-Ann Ellis (Moretz). Once Maria was the hot young ingénue of the piece; now she's the obsessed older woman. The film may spend much of its time in the titular region — one known, yes, for cloud formations that weave through the mountains like a serpent — yet where Clouds of Sils Maria clearly resides is in the space between then and now in the abstract sense. The past and the present clash furiously before Maria's eyes, as she copes not only with her friend's passing but with saying goodbye to her youth. In scenes between Binoche and Stewart, this couldn't be more apparent, even though the latter is her employee rather than her rival. As Valentine helps Maria run her lines, as they argue over whether Maria should do the play, and as they debate the state of modern filmmaking, they're discussing the gap between the old and the new over and over again. Their interplay also mirrors the tension at the heart of Maloja Snake in its power struggles, its flitting between closeness and distance, and its undercurrent of yearning. Clouds of Sils Maria is a conversation-heavy movie, and not all of that conversation works, particularly anything that stems from the play (the dissections of the material within the material are much more effective). Instead, it is savvy casting that helps Assayas' point come across, and not just in reflecting Binoche, Stewart and Moretz's off-screen realities, but in their talents. The savviest stroke of casting, and the film's best performance, belongs to Stewart. She won a César Award for her role — and became the first American actress to do so in the process. It's not that the Twilight star is a revelation, more that her skills are just so perfectly suited to the part. When the camera isn't focusing on the film's three leading ladies, it has plenty of location eye candy to rove over, and rove it does. Assayas creeps and sweeps through the setting just like the clouds lingering above, the frame — and the feature — always seeming like it is floating. Perhaps that's why Clouds of Sils Maria feels like it washes over the viewer, instead of just being watched. As it uses nature to comment on authenticity and well-known stars to comment on celebrity, perhaps that's why it also feels immersive yet just out of reach, as well.
At the 2024 British Film Festival, when you're not watching movies starring Saoirse Ronan, Andrew Garfield, Florence Pugh and Barry Keoghan, you'll be catching the latest performances from Ralph Fiennes, Jude Law, Pierce Brosnan and Helena Bonham Carter. There's never any lack of big-name talents gracing the screen at Australia's annual celebration of the UK's latest and greatest contributions to cinema, but this year's is particularly jam-packed — so much so that there's not just one feature boasting Ronan among its cast, but two. Blitz, which sees the Foe, Little Women and Ammonite actor team up with 12 Years a Slave, Widows and Small Axe filmmaker Steve McQueen, is the British Film Festival's 2024 opening-night film. Playing Down Under fresh from also launching the London Film Festival, the period drama heads back to World War II, and starts the fest's month-long run at Melbourne's The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino and Pentridge Cinema from Wednesday, November 6–Sunday, December 8 with one of the year's must-see movies. At the other end of the festival, the also highly anticipated We Live in Time will close out the event. Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) lead the romance from Brooklyn filmmaker John Crowley, which follows a couple's relationship across a decade. The second Ronan-led flick on the full 2024 British Film Festival comes courtesy of page-to-screen adaptation The Outrun, where the four-time Oscar-nominee plays a recovering addict — and there's plenty more highlights on the program from there. Hard Truths sits in the fest's centrepiece slot, reuniting iconic director Mike Leigh (Peterloo) with his Academy Award-nominated Secrets & Lies star Marianne Jean-Baptiste (Surface). Also boasting the coveted pairing of an impressive helmer and an exceptional on-screen talent: Bird from Andrea Arnold (American Honey), which is where Keoghan (Saltburn) pops up. As for Fiennes (The Wonderful Story of Henry Sugar), he stars with Juliette Binoche (The New Look) in The Return, a British spin on Homer's Odyssey — and also in papal thriller Conclave with Citadel's Stanley Tucci, Killers of the Flower Moon's John Lithgow and Spaceman's Isabella Rossellini. Law (Peter Pan & Wendy) plays King Henry VIII opposite Alicia Vikander (Irma Vep) as Katherine Parr in Firebrand, while Brosnan (The Last Rifleman) and Bonham Carter (One Life) feature in romance Four Letters of Love. Other standouts include the century-hopping dark comedy Timestalker from Garth Marenghi's Darkplace alum Alice Lowe, the Gillian Anderson (Scoop)- and Jason Isaacs (Archie)-led The Salt Path, Julia Louis-Dreyfus (You Hurt My Feelings) facing death in Tuesday, and Kelly Macdonald (Operation Mincemeat) and Damian Lewis (Billions) in vampire comedy The Radleys. For music fans, there's a dedicated themed sidebar featuring both Blur: To the End and Blur: Live at Wembley Stadium — one about the band's most-recent chapter, the other a two-hour concert film — as well as the Led Zeppelin-focused The Song Remains the Same and The Rolling Stones-centric The Stones and Brian Jones. This year's British Film Festival is also peering backwards via retrospective sessions of Ratcatcher, the debut feature from You Were Never Really Here's Lynne Ramsay; the Bonham Carter- and Dame Maggie Smith (The Miracle Club)-starring A Room with a View; and classic British historical dramas such as A Man for All Seasons, Heat and Dust, The Lion in Winter and Kenneth Branagh's (A Haunting in Venice) Henry V.
Sometimes Apple TV+ dives into real-life crimes, as miniseries Black Bird did. Sometimes it mines the whodunnit setup for laughs, which The Afterparty winningly achieved. The family feuds of Bad Sisters, Servant's domestic horrors, Hello Tomorrow!'s retrofuturistic dream, the titular take on work-life balance in Severance — they've all presented streaming audiences with puzzles, too, because this platform's original programming loves a mystery. So, of course The Big Door Prize, the service's new dramedy, is all about asking questions from the outset. Here, no one is wondering who killed who, why a baby has been resurrected or if a situation that sounds too good to be true unsurprisingly is. Rather, they're pondering a magical machine and what it tells them about themselves. That premise isn't merely a metaphor for existential musings, although everyone in The Big Door Prize does go down the "what does it all mean?" rabbit hole. When the Morpho pops up in the small town of Deerfield, it literally informs residents of their true potential — for $2, their palm prints and social security number. Adorned with a butterfly symbol and glowing with blue light, the contraption looks like an arcade game. There's nothing to play, though, unless it is playing everyone who sits in its booth. Participants receive an also-blue business card for their troubles, proclaiming what they're supposed to be doing with their life in bold white lettering. Is it a bit of fun? A modern-day clairvoyant game? A gag? Somehow spot-on? Also, where did the machine come from? Who brought it to the local grocery store? Can it be trusted? The longer that folks share their existence with the Morpho, the more queries arise. As seen in the first three episodes that dropped on Wednesday, March 29, with the story then continuing weekly for the show's ten-episode first season — a second has just been greenlit as well — not everyone in Deerfield is initially fascinated with the locale's new gadget. The series opens as high-school history teacher Dusty Hubbard (Chris O'Dowd, Slumberland) turns 40, marking the occasion with that many gifts from his wife Cass (Gabrielle Dennis, A Black Lady Sketch Show) and teenage daughter Trina (Djouliet Amara, Devil in Ohio). Some presents he likes, such as the scooter and helmet. Others he's perplexed by, including the theremin. He's also baffled by all the talk about the Morpho, the new reason to head to Mr Johnson's (Patrick Kerr, Search Party) store. As school principal Pat (Cocoa Brown, Never Have I Ever) embraces her inner biker because the machine said so, and charisma-dripping restaurateur Giorgio (Josh Segarra, Scream VI) revels in being told he's a superstar, Dusty claims he's happy not joining in. Lines sprawl down the street in a town that only really has a main street, and a high school, as Deerfield's inhabitants are drawn in by the Morpho's promise: "Discover Your Life Potential". For someone who keeps saying he's sitting it out, Dusty sure does love obsessing over why everyone else is upending their routines because 80s-esque technology spat out their destiny. His parents announce that they're splitting, for instance, with his dad (Jim Meskimen, American Auto) pursuing male modelling and his mother (Deirdre O'Connell, Outer Range) heading to Europe after the machine advised that she's a healer. When Dusty points that his mum is already a doctor, it falls on deaf ears. So goes the entire town, making snap decisions and grabbing the opportunity to reinvent themselves, mix up lives that didn't ever seem like they'd change and reassess what they truly want. The Big Door Prize itself hasn't appeared out of nowhere, adapting MO Walsh's book of the same name. On-screen, it boasts David West Read as its creator — a writer and producer who knows a thing or two about pursuing alternate storylines thanks to penning stage musical & Juliet, which gives Shakespeare's Romeo and Juliet a revisionist twist and continuation, and is also well-versed in small-town hijinks after winning an Emmy for Schitt's Creek. He's in far less overtly comic territory than the latter here; The Big Door Prize is still amusing, but rarely laugh-a-minute, although The Other Two delight Segarra could walk straight out of this and into Read's past hit. Still, this is also about a family disrupted while navigating small-town life, the assorted people who populate such spots, the rituals and gathering points that communities congregate around, and the quest to find significance in the cards you've been dealt. Making the most of its strong ensemble cast, each of the show's first eight episodes focuses on a particular Deerfield citizen and their potential, while keeping Dusty, Cass and their marriage in view, plus Trina's grief over her boyfriend's recent death and his identical twin Jacob's (debutant Sammy Fourlas) efforts to cope. All four earn their own chapter, as does Cass' mother and town mayor Izzy (Crystal Fox, Big Little Lies), Jacob's western-loving dad Beau (Aaron Roman Weiner, Suspicion), aforementioned NHL star-turned-Italian eatery owner Giorgio and school chaplain Father Rueben (Damon Gupton, Your Honor). This approach helps The Big Door Prize get not just philosophical but universal, because the Morpho's fortune-telling means different things to different people, yet sparks ripples that flow over everyone. While only bartender Hana (Ally Maki, Hacks) genuinely opts out, there's a tale around that as well. From the get-go, the Morpho nabs viewers' intrigue — and so do the strange cobalt dots, matching the machine's chosen palette, that appear early on Dusty's rear. There's no shortage of small mysteries in Deerfield, just as there's no lack of quirks (see: the town's staycation spot, aka "the number one nautical-based hotel in Deerfield", plus the canal and gondola inside Giorgio's eponymous restaurant). But like The Twilight Zone-meets-The Box but lighter, with nods to Schitt's Creek and sharing Wes Anderson's love of visually magnifying the everyday, The Big Door Prize gets its audience ruminating over two main questions. The first, in classic Apple TV+ mystery-style: what's really going on? The second: if a machine could advise how to best spend your days, possibly shattering your long-held dreams but maybe confirming your deepest desires, what would you do? In lieu of physically slipping into Dusty and co's shoes, then facing The Big Door Prize's scenario themselves, viewers should watch. Wanting to solve the show's key mystery makes this addictive viewing — and if you start thinking about Lost, or even the theory that Schitt's Creek was happening in purgatory, that's understandable. As written so convincingly across O'Dowd's expressive face, though, The Big Door Prize isn't about delivering instant answers. The likeable The IT Crowd, Bridesmaids and Moone Boy star plays a man who has never actively sought any himself, but just complied with the done thing, a path that's beginning to unravel. Easy proclamations now surround him; however, alongside his fellow townsfolk, he's learning that life's mundanities and enigmas alike don't fit neatly and nicely into any one box — and nor does this engaging series. Check out the trailer for The Big Door Prize below: The Big Door Prize streams via Apple TV+.
Each filmmaker sits in the shadows of all who came before them — and as cinema's history lengthens, so will those penumbras. With Bergman Island, French writer/director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and the creative wonders our minds conjure up. Her central duo, two filmmakers who share a daughter, literally tread where the great Ingmar Bergman did. Visiting Fårö, the island off Sweden's southeastern coast that he called home and made his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't dream of trying, as they're each searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. Bergman's Scenes From a Marriage has already been remade, albeit in a miniseries that arrived on the small screen a couple of months after Bergman Island premiered at the 2021 Cannes Film Festival — but across one half of Hansen-Løve's feature, that title would fit here as well. Her resume has long been filled with intimate looks at complicated relationships, including in 2009's Father of My Children and 2011's Goodbye First Love, with her movies both peering deeply and cutting deep as they unfurl the thorny intricacies of romance. Accordingly, when Chris and Tony find themselves sleeping in the bedroom where Bergman shot the original Scenes From a Marriage, it's a loaded and layered moment several times over. That said, the thing about willingly walking in someone else's footsteps is that you're not bound to taking the exact same path — as Bergman Island's characters learn, and as the filmmaker that's brought them to the screen clearly already knows. Turning in finessed and thoughtful performances, Krieps and Roth bring a lived-in dynamic to the film's first key couple, with the chaos that swirls from being in the same line of work but chasing disparate aims not just flowing but bubbling in their paired scenes. He's the kind of Bergman fan that's adamant about going on the Bergman safari, a real-life thing that all visitors can do, for instance, while she prefers being shown around informally by young film student Hampus (acting debutant Hampus Nordenson). But their Fårö escapades only fill half of Bergman Island, because the movie also brings Chris' budding script to life. She tells Tony the tale, seeking his assistance in working out an ending, but he's too immersed in Bergman worship to truly pay attention. The feature itself, Hansen-Løve and the audience all savour the details, though — eagerly so. There, in this film-within-a-film, 28-year-old director Amy (Mia Wasikowska, Blackbird) visits an island, too — "a place like this," Chris advises, and one that visibly resembles Fårö. She dances to ABBA to cement the Swedish ties, and also spends her time on the locale's shores wading through matters of art and the heart. The catalyst for the latter: her ex Joseph (Anders Danielsen Lie, The Worst Person in the World). They're both attending a wedding of mutual friends, and their lengthy, passionate and volatile history quickly pushes to the fore. While they've each moved on, they're also forever connected, especially when placed in such close quarters. Accordingly, that tumultuous relationship is as bedevilled by other creative endeavours, and also by the thrall of history, as Chris' quest to put pen to paper. And, via the movie-inside-a-movie concept, there's an evocative sense of mirroring that couldn't spring any firmer from Bergman himself. Again, Hansen-Løve hasn't merely made her version of a Bergman film. As her screenplay-in-progress comes to life in the Wasikowska-led segments, Chris hasn't either. Rather, both muse on how fine the lines are between life, love and the myriad of influences that come everyone's ways — and if you know anything about Hansen-Løve herself, who was previously in a long-term relationship with fellow filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper), it's easy to see yet another level of links between her situation and those played out in the movie. Perhaps that's why Bergman Island proves as savvy and soulful as anything in the director's career so far, including the stellar Eden and Things to Come, and as personal and profound as well. Not all helmers use their work to sift through parallels in their own existence, whether in fictionalised or semi-autobiographical form, but few do so as well as this. Naturally, it helps when an actor as talented as The Phantom Thread standout Krieps is on hand to play Hansen-Løve's potential on-screen surrogate, and when the equally exceptional Wasikowska then arrives as the latter's own equivalent. The similarities between the two are counterbalanced by their contrasts, but they're constantly in sync either way — sharing mannerisms and reactions at times, juxtaposing different responses and actions at others, but consistently feeling like two halves of a whole. Individually and combined, their performances do what the very best manage, letting audiences into their characters' headspace and hearts alike. Of course, that's a skill that Hansen-Løve's quiet, patient, perceptive and expressive directorial style has always heightened, including her way with music; in mood and impact, that aforementioned ABBA scene sits up there with Eden's revelatory EDM-soundtracked moments. Also essential: the mischievous vibe that floats through Bergman Island like a soft sea breeze, as aided by cinematographer Denis Lenoir (Eden, Things to Come) and editor Marion Monnier (a veteran of the same two films, and of Assayas' Clouds of Sils Maria and Personal Shopper, too). They shoot and edit with an enthralling sheen and rhythm that's part-dream, part-memory, part-emotional whirlwind — and, assisted by repeated props and costumes that pop up across its two sections, they each help the movie toy with where lines are blurred, what's pinned together and when various aspects nest like matryoshka dolls. Reality and fantasy weave in and out here, and in multiple ways. In a feature that unpacks the stories that surround relationships, careers, cinema and creativity, especially where celluloid reveries and the people behind them are involved, that's as natural as idolising auteurs like Bergman. Exactly who authors our lives, hope and ambitions, how and why, and what thrall we let them hold: that's another question this entrancing and ingenious filmic getaway also astutely contemplates.
Whoever said bouncy castles were just for kids clearly never encountered The Monster. Clocking in at 270-metres and boasting 30 different obstacles, this thing takes the title of the world's largest inflatable obstacle course. Oh, and it's just casually coming to Melbourne next month, as part of its own three-day 18+ festival of fun. Taking over the Grand Pavilion at Melbourne Showgrounds across the Australia Day long weekend, The Monster is the bouncy castle experience of your wildest kidult dreams. Punters are invited to run, jump, dance and scramble their way through the course, with sessions running from noon–10pm each day. It'll likely take you somewhere between five and 20 minutes to complete, depending on speed, coordination and how indulgent your festive season was. What's more, the fun extends beyond the final bounce, with the festival also pulling together a program of DJs, street food vendors and pop-up bars to see you sticking around long into the night. Melbourne's just the first stop on The Monster's soon-to-launch Aussie tour, with organisers TEG Life Like Touring expected to announce more cities next year. The Monster arrives in Melbourne from January 26–28, with access to the obstacle course from 12–10pm daily. Tickets are $39.90 and available from Monday, December 18. You can buy tickets at themonster.com.au.
Portuguese filmmaker Miguel Gomes' latest outing, Tabu, is a beguiling slow burn of love, melancholia and crocodiles. Shot in nostalgic black and white and bisected, Tabu tells the tale of a woman's life filled with romance, longing and a great deal of hand-wringing. Part one: Paradise Lost is preceded by an introduction, a film within a film that sets up the motifs that will reappear throughout. The kind-hearted Pilar (Teresa Madruga) is watching in modern-day Lisbon and despite keeping busy with her human rights work and unwanted advances from a friend, she is becoming increasingly worried about her neighbour, Aurora (Laura Soveral). Frail but bolshy, Aurora has gambled away her life at the casino, suffering from the same curse as her father. Convinced that her maid Santa (Isabel Cardoso) is not just working for her but for the devil, too, she turns to Pilar for help. The disconsolate Aurora asks to be put in touch with a man named Gian-Luca. Part two: Paradise is the story of Aurora and the enigmatic Gian-Luca in their African youth. Aurora’s father has done well for himself in this new landscape, exporting exotic ostrich feather cushions, while the young Aurora (Ana Moreira) has made a name for herself as a rifle-slinging big game hunter, both thriving from colonialism. Described by her tea plantation husband as having a slight "bipolarity", Aurora enters a new state of entitled listlessness when she becomes pregnant. Her langour is soon soothed by noted heartbreaker Gian-Luca, summoned to catch her as-yet-unnamed pet crocodile. Their illicit affair is set against a backdrop of both the fateful Mount Tabu and the burgeoning Portuguese Colonial War. As the white interlopers relax into their own distractions, their African workers tend to their every whim. Paradise is told only through narration, a conceit that unfolds beautifully. Memories, myths and truths all melding together. For a film set in two parts, Tabu sits as a cohesive object, as if a semicolon is dangling between the two, despite the switch from dialogue to monologue. It's funny, melancholic, dark and romantic and its beauty is only ever a stone's throw from the realities of invasion, ownership and war. There are deft anachronistic touches throughout — Gian-Luca's band play a cover of 'Baby I Love You' at a party but it’s the Ramones version — which nicely sets the film apart from being a mere biopic of the time. A rare, dreamy, cinematic excursion, Tabu is a must see while it's still on the big screen. Image credit TABU.
Suicide Squad is essentially a remake of 1967's The Dirty Dozen, with two key differences. Firstly, it uses comic book villains instead of WW2 soldiers as its heroes. Secondly The Dirty Dozen was actually good. On premise at least, the two films are identical: in order to defeat a great evil, the US Government takes the worst of the worst from its own prisons and sends them on a suicidal mission with the promise that – should anyone come back – their sentence will be reduced. In substance, though, Suicide Squad is such a red hot mess that all other comparisons to Dozen only serve to highlight the anti-superhero movie's countless, crippling flaws. Start with the characters. Dirty Dozen's dozen were legitimately bad people: rapists, murderers and certifiable psychopaths who never hesitated to indulge their predilections whenever the opportunity presented itself. Suicide Squad purportedly boasts similarly terrifying evildoers, but its cushy M Rating (PG-13 in the States) results in almost all instances of their villainy either being spectacularly watered down or the cameras cutting away just before shit hits the fan. Worse still, they're all ultimately presented as inwardly decent souls seeking redemption and a close-knit family unit, rendering them more babysitters club than actual suicide squad. The best of the worst is Margot Robbie as fan-favourite Harley Quinn, aka the Joker's girlfriend. Decked out in a 'Daddy's Lil Monster' t-shirt like some sort of terrifying by-product of a BDSM fantasy taken to its nightmarish conclusion, Robbie's Quinn is the only character to gleefully embrace the chaos, making her the only one worth watching for most of the movie. Even then, the majority of her few good lines (as with the rest of the film) were given away in the trailer, leaving little else to celebrate. Alongside her stand some genuinely bargain-basement bad guys. There's Deadshot (Will Smith), the hitman who never misses; Killer Croc (Adewale Akinnuoye-Agbaje), the guy who's kind of a crocodile; Slipknot (Adam Beach), the guy who is good at climbing things and Boomerang (Jai Courtney), the Aussie who…well...uses a boomerang. The only other one to hold court with Robbie is Jay Hernandez's character Diablo, whose incendiary powers are almost inevitably untouched for most of the movie because of his determination to never again use them. Together, they battle waves of literally faceless henchmen with all the vim and vigour of a second-rate video game as they come up against Cara Delevingne's Enchantress, whose legitimately spooky behaviour is tragically reduced to stock-standard 'Big Bad' status just as she's hitting her straps. Then, finally, there's the Joker, arguably the greatest villain in comic book history. Played by Jared Leto, his screen time is limited, but that can't hide the fact that the actor's performance is inescapably dull. Compared to Jack Nicholson's whimsical psychotic, or Heath Ledger's unhinged anarchist, Leto plays the character like a pantomime gangster whose only threatening quality is the possibility of more scenes. Everything about Suicide Squad feels rushed, underwritten and overproduced. Additional characters pop up like afterthoughts (most notably Karen Fukuhara as Katana), scenes come and go with neither purpose nor continuity, and the stakes are so absent you don't even know when to be concerned, or what to be concerned about. Don't let the trailers fool you: this is one of the biggest disappointments of the year. https://www.youtube.com/watch?v=D9TpswDIBS8
Praise be, Handmaid's Tale fans. The series' third season is due to hit the small screen in June, and the first proper trailer has arrived. Blessed be not only the fruit but the sneak peek, obviously. Revolution looks set to sweep the fictional society of Gilead in the two-minute-long clip, which follows on from the teaser released in February during the Superbowl. That fiery preview told us that it's time to wake up, and it looks like that's exactly what's happening when we rejoin this dystopian world, its creepy and oppressive way of life, and the chaotic existence of Offred/June (Elisabeth Moss) and her fellow subjugated women. Of course, meaty details about the third season are as scarce as a happy woman in red — but expect to spot Yvonne Strahovski's Serena Joy, Joseph Fiennes' Fred Waterford, Ann Dowd's Aunt Lydia, Max Minghella's Nick and new series regular Bradley Whitford as Commander Lawrence, as well as plenty of handmaids. Given how the second season wrapped up, expect the story to get even darker, too. The 13-episode series will hit soon, airing on SBS and becoming available to stream on SBS On Demand at 8.30pm on Thursday, June 6, then continuing weekly. Lucky for us Down Under, this is the same time as it'll be dropping on Hulu in the States, so hopefully no spoilers will crop up. And, there's plenty more Handmaid's Tale bleakness to enjoy this year (well, not that enjoy is necessarily the right term). Margaret Atwood, author of the original 1985 novel that started it all, is releasing a long-awaited sequel. Called The Testaments, it'll hit bookshelves comes September. Check out the new Handmaid's Tale season three trailer below — under his eye: https://www.youtube.com/watch?v=Ig3h2JdQDI0 The Handmaid's Tale's third season will screen on SBS and SBS On Demand in Australia, airing weekly from 8.30pm on Thursday, June 6.
This November and December, take a tour of Japanese film history — all from the comfort of ACMI. Running as part of this year's Japanese Film Festival, JFF's 2018 classics program will showcase movies from both the Japanese Golden Age and the Japanese New Wave. That covers flicks from the 50s through until the 70s — aka the kind of films you really won't see on a big screen elsewhere. Highlights include The Pornographers from Cannes Palme d'Or-winning filmmaker Shohei Imamura, which steps into the titular business post-World War II; queer melodrama Manji: The Goddess of Mercy, about two society ladies following their feelings for each other; and Nihonbashi, the first colour movie by Cannes jury prize-winning director Kon Ichikawa. In total, six films will screen between November 22 and December 2, all focused around the theme of passion and obsession. And, in particularly ace news, the whole classics program is free.
Sometimes, a film's premise is all there in its name. In 2008's Kung Fu Panda, a cuddly animal tried to master a skill he didn't appear all that suited for. His exploits blended an underdog story with physical comedy, wrapped up in vibrant animation and leaning on the voice talents of Jack Black. Of course, the movie that resulted hit all the anticipated beats: the training montages, the heart-warming journey from uncertainty to self-confidence, and the repeated sight-gag silliness of a panda showing off his martial arts prowess. Two films later, and not much has changed. Just as you can expect a movie called Kung Fu Panda 3 to feature 'Kung Fu Fighting' on its soundtrack, you can also expect it to stick to the established formula. That's how franchises are made, after all — if it ain't broke, don't fix it, as the old saying goes. When a series is built on little more than a one-joke concept boosted by its cuteness and saddled with a feel-good message, however, it's hardly surprising when it wears thin a few installments in. Po (Black) might have accepted his unlikely status as the Dragon Warrior — the sole kung fu master capable of harnessing limitless power — yet he's still not that comfortable in the role. In fact, he's daunted when he's told by his teacher, Master Shifu (Dustin Hoffman), that he'll now be training his pals (voiced by Jackie Chan, Lucy Liu, Seth Rogen, Angelina Jolie and David Cross), and is thus happily distracted when his long-lost biological father, Li Shan (Bryan Cranston), arrives to whisk him back to a secret panda village. But when the menacing Kai (J. K. Simmons) breaks free from the spirit world with a mission to capture other kung fu warriors' chi, Po has to find a way to believe in himself, unleash his full potential and save his friends. With Po's adopted (James Hong) and birth dads jostling for attention, and a pretty panda (Kate Hudson) vying for his affection, there's plenty going on in the Alessandro Carloni and Jennifer Yuh Nelson-directed effort — though the fact that the duo have worked on the series before, as have writer-producers Jonathan Aibel and Glenn Berger, is telling. The stakes might be raised, and many more pandas thrown into the mix, but even younger viewers will be able to see where it's all going, and how they're supposed to feel about it. As too often proves the case with all-ages animated fare, it's left to the film's images to brighten things up with colour and movement, and to add some personality in the process. Kung Fu Panda 3 may not offer up a new narrative, but it tries — and almost manages — to compensate with lively 3D visuals. The voice acting attempts to inject the same kind of energy, although a little bit of Black goes a long way. That said, if another round of laughing at pandas busting kung fu moves and listening to a message about being yourself is your idea of easy, undemanding entertainment, then the film's been-there, done-that approach won't worry you.
