More than three decades since it was first published, the Watchmen series of comics is still considered one of the all-time greats of the medium. Brought to the page by writer Alan Moore and artist Dave Gibbons, the premise says plenty: in an alternative version of the world we all live in, superheroes definitely exist — but their presence has drastically altered history. Here, the Cold War turned out differently, caped crusaders largely work for the government and anyone else enforcing law and order while wearing a costume has been outlawed. Now, imagine that tale told with a satirical edge that deconstructs the superhero phenomenon, and you can see why it has hordes of devotees. Back in 2009 when comic book flicks were just starting to pick up steam — and when 23-film franchises were a mere dream — Watchmen was turned into a movie by Zack Snyder (who was fresh from 300, but hadn't made the jump to Batman v Superman or Justice League yet). Sequels clearly didn't follow; however, HBO is now hoping that the story will flourish on the small screen, enlisting Lost and The Leftovers co-creator Damon Lindelof to make it happen. Obviously, with Game of Thrones all done and dusted (at least until its prequels start hitting the screen), the network is in the market for a new pop culture phenomenon. This isn't just a straight adaptation. Apparently the ten-part series "embraces the nostalgia of the original groundbreaking graphic novel of the same name while attempting to break new ground of its own," according to HBO. If you're wondering just how that'll play out, the program's trailers might help. Building on the first teaser from a few months back, the latest trailer serves up murky mysteries, complicated heroes and villains, and a fine line between the two — plus "a vast and insidious conspiracy". To help bring the above to the small screen, Watchmen boasts quite the stacked cast, which includes Jeremy Irons, Don Johnson, Tim Blake Nelson, this year's Best Supporting Actress Oscar winner Regina King, Hong Chau, Louis Gossett Jr and Aussie actress Adelaide Clemens. The big names don't stop there, with Trent Reznor and Atticus Ross providing the score. Check out the new trailer below: https://www.youtube.com/watch?v=-33JCGEGzwU Watchmen launches on October 21, Australian and New Zealand time — with the series airing weekly from that date on Foxtel in Australia. Image: Mark Hill/HBO
We usually associate the word 'diner' with some kind of hokey themed establishment, probably with singing wait staff, linoleum floors and greasy oversized portions. And though this brand new Windsor eatery may take its name from those other dubious incarnations of the word, Parlour Diner is thankfully nothing like them. This surely stems from the guiding hand of its owner, former Milky Joe's proprietor Adrian Van Lieshout. Choosing the tiny space next to Windsor station as his new outpost, Van Lieshout and business partner Dorian Padgham wanted to create a 'comfortable little space', and those words are crucial to the experience of Parlour Diner. Though the place is almost full to the brim once its few tables are occupied, there's a sense of camaraderie between the patrons, mostly a local crowd. Whilst cafes on Chapel Street have a tendency to be overpriced and overcrowded, Parlour Diner's tiny size keeps it grounded with a sense of community rather than commodity. The menu takes its cues from a 1920s rather than 1950s diner sensibility, which makes for heartier, healthier dining options, even on a meat-drenched menu. Carnivores will find their mecca here with options like buttermilk fried chicken chops (4 for $15) or BBQ ribs drenched in a smoky hickory sauce (six for $22.5). And then there's the burgers. There's a colourful list to choose from, ranging from classic to culturally inspired choices. You could play it safe and choose the simple but excellent Parlour Burger; a rich 8oz beef patty with the usual additions like fresh tomato, lettuce and pickles ($12) or take the road less travelled with options such as the Miss Saigon – which pairs a crunchy handmade fish patty with lemongrass and ginger to pack a spicy punch ($15) – or the Asian Pork Slider, a new take on the former incarnation at Milky Joe's ($12). There's even a tofu Earth Burger ($13) for the vegetarians out there, who could also go for the perfectly indulgent Mascarpone macaroni and cheese ($9). The generous breakfast options (as many eggs as you like, for $9.50) or the flat top hot dogs that feature adventurous toppings like chipotle and celery salt ($10) are worth a visit too. And then there's the onion rings ($5), lightly battered in Pale Ale and thick enough to satisfy as a snacking option. By elegantly tying together the popularity of American style dining with a Melbourne café mentality, Van Lieshout and Padgham have managed to combine the best of both worlds, creating an atmosphere that takes the humble diner restaurant well into the contemporary dining experience.
Earlier this week, the Australian Competition and Consumer Commission (ACCC) continued its court battle versus Apple; the controversy has been waging since the March release of Apple's latest iPad. Despite product advertising that markets the new iPad as equipped with "Wi-Fi + 4G", it has proven incompatible with Australia's 4G network. As such, the ACCC has asserted that Apple is currently engaging in false marketing and should change the title of the iPad (formally known as the iPad/4G) when it is sold locally. According to the SMH, Apple and the ACCC met on April 16 in Sydney at a mediation session which resulted in "no resolution". The pair were set to meet later that day in Melbourne for a directions hearing to determine the course of action going forward. As of right now, Apple has agreed to refund Australian customers who bought the new iPad under the illusion that they could utilise its 4G network. The company has also posted signage is stores where the device is sold to warn customers of its lack of 4G. The ACCC, however, is still pushing for an official device name change. This case could prove monumental to Apple, the technology company giant which has established a remarkably reputable name for itself. Not only will a court case loss force Apple to admit the shortcomings of one of its most-prized products, but it may set a precedent for how Apple markets is products in different parts of the globe. Already, in the UK, the advertising standards group ASA has begun exploring similar consumer complaints regarding the iPad's 4G capabilities. https://youtube.com/watch?v=BqbRxoF-Oc4
As far as cocktails go, mimosas rank among the easiest to whip up, even if you'll never give Australia's best bartenders a run for their money. But maybe you just never get the quantities of sparkling and orange juice right. Perhaps you always find either champers or OJ in your fridge, but not both. Or, you could love sipping mimosas at brunch picnics and aren't so fond of lugging around multiple different bottles. Whichever fits, new Australian brand mYmosa has a solution. It serves up mimosas in a can, all ready for you to enjoy without doing any mixing yourself. Pick up one of the label's tinnies and you'll be drinking Australian dry white wine paired with natural orange flavours, then carbonated — and you won't be doing any pouring yourself. If it sounds like the kind of tipple you now wished you'd thought of, you won't be surprised to hear that it came about after mYmosa founders Amanda Goddard and Bec Pini went on a work trip to New York City in 2017, found themselves sipping sparkling rosé out of cans — and mimosas at breakfast — and had a brainwave. The two Brisbane marketing and communications professionals then spent five years pursuing their mimosa-in-a-can idea, aided by a lull in work that came with the COVID-19 pandemic. Clearly, we now know how the duo spent lockdown. "Bec and I have always been known as the first to start a party and last to leave a party, so it just feels like a natural progression to create a beverage that can be enjoyed at any time of the day, anywhere and at any occasion," explains Goddard. "We are a classic start-up story, where the kitchen bench, a soda stream, ample variations of wine and orange became our laboratory," adds Pini. "Fast forward, and we have worked with a formulation team, a winery and a manufacturer to create our 'little darling'." mYmosa's 250-millilitre cans are vegan and gluten-free, and currently available via online bottle shop SIP'ER, retailing for $10 a tin or $34 for a four-pack. Or, you can nab cases of 16 via the mYmosa website for $128.40. While the brand has launched with one variety, Goddard and Pini are working through new formulations — so your canned drinks list might soon be growing. There's something to say cheers to, over an Aussie tinned mimosa of course. Find mYmosa cans on sale now via online bottle shop SIP'ER, retailing for $10 a tin or $34 for a four-pack.
After reintroducing stay-at-home orders for ten Melbourne postcodes last week and another two on the weekend — as well as hard lockdowns for nine public housing towers — the Victorian Government has today, Tuesday, July 7, announced that lockdowns will come into place (again) for the whole of metropolitan Melbourne, as well as Mitchell Shire, from tomorrow. The decision comes as Victoria records its highest ever new case totals for two consecutive days: 127 yesterday and 191 today. Coming into place at 11.59pm tomorrow, Wednesday, July 8 for six weeks, the new rules are very familiar. They're very similar to what were in place at stage three of the state's COVID-19 restrictions in late March. So, if you're in metropolitan Melbourne or Mitchell Shire, you'll only be able to leave your home for one of four reasons: for work or school (if you can't do this from home), for care or care giving, for daily exercise or for food and other essentials. Making the announcement today, Victorian Premier Daniel Andrews said the one difference to the last lockdown relates to daily exercise. There weren't strict limits on how far you could travel for exercise last time, but this time, you cannot leave metropolitan Melbourne. "You can't leave metropolitan Melbourne to get your daily exercise," Andrews said. "You can't be going on a four-hour bushwalk hundreds of kilometres away from Melbourne. You can't be going fishing outside the metropolitan area, down into regional Victoria." Andrews says the reason for this is that regional Victoria has "very, very few cases" and they hope to keep it this way. https://twitter.com/DanielAndrewsMP/status/1280372803363991552?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet Like last time, businesses in metropolitan Melbourne and Mitchell Shires will need to revert back to stage three rules, too. Which means, restaurants and cafes must offer takeaway only, and gyms, galleries, beauty parlours, swimming pools, libraries and theatres will all need to close. As Andrews acknowledges, this has the potential to further cripple many industries — including hospitality, music and the arts — that were hit hard by the first lockdown. "No one wanted to be in this position," Andrews said. "I know there will be enormous amounts of damage that will be done because of this. It will be very challenging. The alternative is to pretend it's over... But we can't pretend it's over. It is not over in so many parts of the world and it is not over in metropolitan Melbourne and to a certain extent right across Victoria." Melburnians and those in Mitchell Shire are now only allowed to leave their homes for one of the four aforementioned reasons and risk an on-the-spot fine in Victoria for going out for anything else. This means, non-essential travel outside of your homes, let alone across the border, is off the cards, but many states and territories, including Queensland, NSW and the ACT, have also recently introduced travel bans for Victorians. If you head into NSW, for example, you risk an $11,000 fine and six months in jail. Stay-at-home orders for all of metropolitan Melbourne and Mitchell Shire will come into place at 11.59pm on Wednesday, July 8 for at least six weeks. For more information, head to the Department of Health and Human Services website.
A new year has begun, and for us that means one thing — it's time to book new travel destinations for 2020. This time around, instead of searching for things like 'best beaches' or 'best cities', plan your travel from a different angle. An arts and culture angle, that is. Planning your calendar around the world's many festivals is a fun way to change up your regular trip routine. Think a biennale in India, a mountain burning festival in Japan and one celebrating 24-hours-of daylight in Russia. Here are seven lesser known arts/culture festivals to travel overseas for this year. [caption id="attachment_757197" align="alignnone" width="1920"] Jirka Matousek via Flickr.[/caption] PINGXI LANTERN FESTIVAL, PINGXI DISTRICT, TAIWAN Taking place just outside of Taipei, the Pingxi Lantern Festival marks the end of Chinese New Year with one stunning illuminated display. Visitors write a message and place it inside a paper sky lanterns, then set it aflame and release it into the night — alongside thousands of others. It's an impressive sight that holds an air of magic around it. While the lanterns float overhead, the streets are filled with folk performances, street carnivals and contests. The annual festival has been taking over Taiwan for over 2000 years, having begun during the Xing Dynasty. We can't think of a better way to ring in the (lunar) new year. When? February 1–8, 2020 KOCHI-MUZIRIS BIENNALE, FORT KOCHI, INDIA Every two years, the charming seaside town of Fort Kochi becomes a mecca for all things art in India. The Kochi-Muziris Biennale showcases contemporary Indian and international art in heritage properties around the city — this year includes a townhouse, project space, art cafe and converted warehouse. Each biennale is curated by an artist who is chosen by a committee of artists, scholars and collectors. Now in its fifth edition, the 2020 curator for the festival is artist and writer Shubigi Rao. She was born in India but is based in Singapore, and is known for her layered installations across mediums like books, etchings, drawings and puzzles. The festival runs for over three months each year, so you have a good window in which to book your trip, too. When? December 2020 – March 2021 [caption id="attachment_757203" align="alignnone" width="1920"] Nwhitely via Flickr.[/caption] WAKAKUSA YAMAYAKI, NARA, JAPAN For one seriously fiery sight, make sure you're in Nara, Japan on the forth January of the year. An ancient version of Burning Man festival, the Wakakusa Yamayaki festival sees the dead grass on Mount Wakakusayama set on fire — and that's followed by one big ol' fireworks display. No one quite knows the origin of the festival, leaving it shrouded in mystery. Some accounts claim the mountainside burning began due to boundary conflicts between the Kohfukuji and Todaiji Temples. Others claim the fires are meant to scare away wild boars, and even ghosts. Regardless of the origin, it's an impressive sight. The blazing mountain can be seen from any point in the city — with Nara Park being the best lookout. When? January 25, 2020 [caption id="attachment_757204" align="alignnone" width="1920"] This Is Edinburgh via Flickr[/caption] HOGMANAY, EDINBURGH, SCOTLAND Scotland's capital city of Edinburgh really knows how to ring in the new year. While parties happen all over the world on New Year's Eve, no one does it quite like the Scots — their celebration runs for two full days and features street parties, carnival rides, Christmas markets and a full on music festival to boot. The multi-stage festival takes place on December 31 straight into the new year, with at least five bands playing simultaneously. Alongside the festival is a torchlight procession on December 30. Also on the docket is an ice rink, ferris wheel, polar bear plunge in icy waters (dubbed he Loony Dook race) and even an arts festival that takes over nine unusual venues across the city. When? December 30, 2020 – January 1, 2021 ART FAIR PHILIPPINES, MANILA PHILIPPINES The Philippines' vibrant art scene is on full display each February when Art Fair Philippines transforms The Link carpark into a cultural marketplace. The weekend-long festival was only just founded in 2013, and has since become the top art event in the country. A wide range of contemporary art is available to view and purchase, ranging from paintings and sculptures to photographs and more experimental installations. All of the artists are on hand alongside their work, so you can chat to the makers of your favourite pieces. If you're travelling with a friend or partner, it's also a fun way to start out the evening — the exhibition stays open until 9pm each night and there are heaps of food and drink vendors available, so you can peruse with bubbly in hand. And entry tickets cost just a tenner. When? February 21–23, 2020 [caption id="attachment_757202" align="alignnone" width="1920"] Sandra Cohen-Rose and Colin Rose via Flickr.[/caption] WHITE NIGHTS FESTIVAL, ST PETERSBURG, RUSSIA While images of Russia's picturesque city of St Petersburg often depict a blanket of snow, the summer months actually see nearly 24 hours of daylight here. And the city celebrates these long days for three full months each year — specifically from mid-May through mid-July. Stars of the White Nights is a massive collection of arts and culture events spanning music, film, ballet and opera premieres (including at the Mariinsky Theatre, pictured above) and outdoor festivities. Many of the city's top museums stay open overnight during this period, too. Or simply wander along the River Neva, where gypsy bands, jugglers, fire eaters and other carnival acts can be seen performing all night long. When? May 22 – July 21, 2020 ART BASEL, MIAMI BEACH, USA Started over 40 years ago, Art Basel is considered to be the premiere art event of the year by many. It's held annually across Hong Kong, Basel, Switzerland and Miami Beach. The USA instalment takes place over three days in December and features works from over 250 leading galleries across North America, Latin America, Europe, Asia, Africa and even Australia. It showcases masterpieces from modern and contemporary artists, alongside exhibitions by emerging artists — and this year has partnered with KickStarter specifically to support up-and-comers. Art forms span paintings, sculptures and photographs, as well as large-scale installations films, and editions from master artists. And you have the added benefit of being next to one of the States' best beaches, too. When? December 3–6, 2020 Top image: Jirka Matousek via Flickr.
If you're the kind of beer lover who feels like they've tried every brew ever — or you've made it your mission to achieve that yeasty goal — then you're probably a big fan of the Great Australasian Beer Spectapular. For more than a decade now, since it started off as a Melbourne-only celebration of ales, lagers, ciders and more, the event has been serving up weird, wild, wonderful and inventive varieties, many of which are made exclusively for the booze-sipping shindig. In 2022, that's set to be the case once more, with the beer fest returning for a tour of Australia's east coast capitals in May. GABS is considered to be one of the best craft beer and cider festivals in the Asia Pacific region for good reason, and this year it has at least 120 of them, because that's how many brews will be on offer. Prepare to knock back beers inspired by breakfast foods, savoury snacks, desserts, cocktails and more when the event kicks off its 2022 run at the Brisbane Convention and Exhibition Centre on Saturday, May 7, then heads to Sydney's ICC Darling Harbour from Friday, May 20–Saturday, May 21, then finishes up its Aussie dates at the Royal Exhibition Building, Melbourne, over the weekend of Friday, May 27–Sunday, May 29. Some of the foods and drinks that this year's GABS brews are taking their cues from: peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum and sour gummi bears. Confirmed highlights include Brouhaha's Baked and Wasted, a sour which uses wasted baked goods; Capital Brewing Co's experimental Smooches, which pairs cocao nibs with a strawberry kick; Mismatch Brewing Co's We Love NY Cheesecake stout, in case you've ever wondered what cheesecake in a glass tastes like; and The Catchment Brewing Co's Ra Ra Raspoutine, another stout that, yes, is brewed from chips, cheese and gravy. The event surveys both Australian and New Zealand breweries, with more than 60 set to be pouring their wares in Brisbane, and 70-plus in Sydney and Melbourne. As well as the aforementioned outfits, this year they'll also include Balter, Range, Otherside, Black Hops, Ballistic, Your Mates, Mountain Culture, One Drop and Little Creatures, as well as Colonial, Mountain Goat and Bentspoke — and NZ's Garage Project and Panhead Custom Ale. Also on the bill: other types of tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines (including by 19 Crimes Snoop Dog Cali Red). GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which'll span a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders in 2022, as well as local food trucks and vendors to line your stomach. GREAT AUSTRALASIAN BEER SPECTAPULAR 2022 DATES: Saturday, May 7 — Brisbane Convention and Exhibition Centre, Brisbane Friday, May 20–Saturday, May 21 — ICC Darling Harbour, Sydney Friday, May 27–Sunday, May 29 — Royal Exhibition Building, Melbourne GABS takes place across Australia's east coast throughout May — head to the event's website for tickets and further details.
Smith Street is a constantly evolving entity. From grungy pub times to classy dinners at hip dining rooms to all-in brawls over gelato — it's one of those uber-gentrified areas that makes cynics roll their eyes and excitable hipsters rub their hands together in feverish anticipation. Now that evolution seems to have reached tipping point. The Underground Experiment, the latest addition to Collingwood's small suburban metropolis, opens next week as an experimental cocktail bar with a constantly changing theme. Riding the turbulent wave of global cocktail trends, the first form this bar takes is a strangely alluring mixture of '80s flamboyancy and Prohibition cool. The drinks are odd and outlandish, the tunes are strictly '80s or '90s, and the crowd is sure to be a little confused — but we feel like we need to go there immediately. In the bar's first form, the cocktail list is characterised by old classics with unexpected twists. The much-loved Sex on the Beach is accompanied by edible sand and Chambord caviar — what even? There's a Pina Colada, a Fluffy Duck, and a Blue Lagoon featuring "a swimming fish". Do they mean a live fish?! Who knows. I'm willing to give in to the magic of it and drink some dirty fish water if you are. The team behind this mayhem are Daniel and Kristin Lemura — the same people who launched The Noble Experiment Prohibition-style bar and restaurant just six weeks ago. This latest project sees them utilising the bar's downstairs space. The Underground Experiment is just that, really — a basement space with big and exciting plans. Whatever new themes and trends that are to follow, you can tell the bar's going to be a whole lot of fun. Where you might expect experimental cocktail bars to serve you whiskey in the form of a hand lotion or vodka as a flash of light, this one embraces the novelty of it all and slings you a fishbowl with a rubber ducky instead. The Underground Experiment is at 284 Smith Street, Collingwood and will open Friday and Saturday evenings from June 13.
While some people seem to want to make it harder to be a cyclist in the city (ahem, NSW Government), others want to make it easier. We could point to many European cities — for example, Amsterdam's solar powered bike path and London's cross-city cycle highway — as well these low-cost recycled cardboard bikes and this beautiful fold-up one from Lucid Design. But this time it's IKEA who are getting on board with urban cycling, creating a chainless bike for commuters. The bike, named SLADDA, is designed to be low maintenance so that anyone (i.e. the general population who don't know anything about chains and gears) can use and ride the bike without worrying about all the technical stuff. Instead of a chain it will have a corrosion-resistant, maintenance-free cogged drive belt that, according to IKEA, will be good for up to 15,000 kilometres. The whole concept of the bike, which was created by global design consultancy Veryday and has already won an award, has been "designed to fit an urban lifestyle". The bike's aluminium frame is lightweight, which makes it easier to carry up and down stairs and manoeuvre in and out of your house, as well as scratch-resistant and adjustable. It will also be integrated into a 'click system', which will allow you to buy accessories — like baskets, racks and even a small trailer — that simply 'click' onto the bike. The SLADDA is set to be available from August in Europe, with a worldwide release potentially following soon after. It will cost €699 (or about $1000 AUD). Via Core77.
As the brunch plague engulfs Melbourne further and further every week, it can be tricky choosing a cafe to dine at. Next of Kin makes the decision process easier — for southsiders, at least. Opening up on the quieter end of Glen Huntly Road earlier this year, the Elsternwick cafe is suave yet unpretentious, and it manages to nail the tricky combo while securing some much sought-after individuality too. Envision a culinary cafe built for food and design obsessives: you'll be hugged by lofty seats, overlooked by large copper bowl light fixtures, and a wall of bushy plants make you feel like you're dining in an urban rainforest. While the menu is small, it oozes with modern, healthy variety. Sceptics of fish for breakfast, snap out of it. The cured ocean trout with sweet potato croquettes, pickled beetroot and fennel salad ($19) is one of the cafe's specialties. For something nimbler, the sheep's milk yogurt panna cotta ($11) with summer fruits is one to consider. The lunch favourite is spiced lamb shoulder tacos with manchego, chipotle mayo and lime ($18.50). And it's happy news for coeliacs and gluten-challenged folk too, as half of the menu options are gluten-free. Of course, these creations haven't just appeared out of thin air. Next of Kin is owned by Nick Cocker of South Yarra's Cafe Gaia and headed by ex Press Club sous chef, Lance Mueller. Together they've created a menu that is both tasty and kindly considerate. Don't want the deliciousness to end? There's also a window of takeaway options including bagels, Bircher muesli, and a range of pastries you can carry on home. Naturally, Next of Kin boasts specialty coffee, which comes straight from Fitzroy roasters, Proud Mary. And if coffee doesn't do it for you, a Mork Hot Chocolate, Remedy Kombucha or a cup of Prana Chai will. Otherwise, a spirulina, avocado, kale, Medjool date, brazil nut and — breath — organic orange juice smoothie may entice the nutritiously conscious. Seriously, there couldn't be any more superfoods packed into that thing. Keeping to itself like the shy kid in class, Next of Kin is easy to miss from the outside. But don't underestimate it — because on the inside it's a talented freak, and it will blow you away if you just give it the chance.
Striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein have been a constant since the birth of moving pictures. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite in English. With Stone, examples come in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire (which made him a Best Director contender, too), and twin 2024 Golden Globe nods for their latest collaboration Poor Things as well as TV's The Curse. And as for the greatest gothic story there is, not to mention one of the most-influential horror and sci-fi works ever, the evidence spans traditional adaptations, plus debts owed as widely as The Rocky Horror Show and M3GAN (Blade Runner, The Fly, Re-Animator, Weird Science, Edward Scissorhands, Ex Machina, Upgrade, Little Joe and The Creator are also on the lengthy list). Combining Lanthimos, Stone and Shelley results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning and dazzling creation. As zapped to life with Lanthimos' inimitable flair, a mischievous air and Stone at her most extraordinary, Poor Things isn't just unique despite building on three shining successes — it's a treasure that's as audacious as it is subversive, and as breathtakingly willing to get wild as it is downright brilliant. Emotions, ideas, empowerment, twisting Shelley and Promethean myth into a pointed skewering of the societal expectations placed upon women, a committed ensemble, entrancing touches in every frame, a score that's equally jarring and jaunty, a dreamily macabre vibe, furious fearlessness: this film is alive with them all. That a tale about reviving the dead to grapple with mortality and the yearning to thwart it keeps inspiring new riffs has always been fitting, with each new storyteller undergoing that same process in their way, but this version is a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star becomes Bella Baxter in this suitably weird and wondrous adaptation of Alasdair Grey's award-winning 1992 novel, as penned by Australian screenwriter Tony McNamara (The Great, and another Academy Award-nominee for The Favourite). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body that's been resurrected with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match. Putting her comedic skills to excellent use but ensuring that Bella is never a joke, she does so while making each move, choice and feeling as organic as birth, living and death. The entire scope of Poor Things' protagonist is the kind of wish that actors mightn't realise they have because it's so remarkable. With Bella all impulses and curiosity at first, then buzzing with sexual desire and devotedly pursuing autonomy — and with a frenetic-but-stiff doll-like gait that's a marvel to watch, plus say-anything speech patterns — Stone turns the opportunity into an exquisite masterclass. The time and place when Poor Things kicks off: a fantastical steampunk vision of Victorian-era Europe. Although the film begins in colour as a woman ends her own life, Lanthimos and cinematographer Robbie Ryan (also back from The Favourite, and also with an Oscar nod to his name thanks to that flick) swiftly switch to black and white to meet what becomes of the suicidal person's body. It's due to the London-based, scar-faced Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) that Bella exists; even if she didn't call him God, he's been playing it, including with household pets and other animals. His new human creature toddles around, aiding with his unorthodox surgeries and indulging whatever takes her fancy — smashing plates, smacking visitors, and enjoying new discoveries and sensations with literal childlike glee. But regardless of her father figure's intentions or wants, freedom, horniness, the quest for independence and agency, wanting to know more than the protective world he's left her in and a lust for adventure all beckon. Accordingly, while Godwin tries to marry Bella off to kind and sincere medical student Max McCandles (Ramy Youssef, Ramy), she hatches other plans. With Poor Things joining Call Me By Your Name in its carnal use of fruit, Bella discovers "working on myself to get happiness" and "furious jumping" — that'd be masturbation and fornication, with her debut experience with the latter returning the movie's hues as well — and runs off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law) instead. Lisbon, a cruise that stops in Alexandria and Paris await. So does a survey of all that living can hold for women, both for the feature's reawakened force and viewers. Lanthimos' fascination for tearing into humanity's social constructions and pretences to expose its realities gets electrified again, as does his concurrent obsession with battling such structures and systems by forming insular worlds, and the need to escape that then springs. Portugal brings hot air balloons, a bewitching all-timer of a dance scene, just some of the flick's acrobatic thrusting, an attempt to enforce civic niceties and Bella steadfastly refusing to be anything but herself. The boat ride introduces books, friendship and the first real female advice that she's received via Martha (Hanna Schygulla, who came to fame half a century back for her work with Rainer Werner Fassbinder). It also sees cynicism and the world's suffering enter her understanding courtesy of Martha's companion Harry (Jerrod Carmichael, On the Count of Three). In France, a lack of cash finds her in the employ of madam Swiney (Kathryn Hunter, Andor) and leaning into socialism with fellow sex worker Toinette (Suzy Bemba, Everything Is Well). And when the past makes a comeback, it's with bullying and misogynistic power dynamics (and with Sanctuary's Christopher Abbott in a key role). As in The Favourite, the hefty use of fish-eye lenses has it: this lavish, libidinous and happily lewd deadpan delight isn't interested in the same old view of liberation, sex, life's transience and conflicts, defying the accepted order and patriarchal control that everyone has seen before, let alone a regular coming-of-age jaunt or a by-the-book Frankenstein iteration. While it splices together nods to gothic horror nakedly, it isn't routine or a patchwork there, either. As Bella goes on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey, Poor Things doesn't sport a standard perspective on anything, in fact. As seen in the efforts of a tour-de-force Stone, her co-stars, Ryan, composer Jerskin Fendrix (a film first-timer), editor Yorgos Mavropsaridis (Lanthimos' go-to since 2005's Kinetta), production designers Shona Heath (another feature debutant) and James Price (The Nest), and costumer Holly Waddington (also The Great), it eschews sticking with the typical everywhere. Richness abounds, then. The only thing that's paltry: even clocking in at 141 madcap and magnificent minutes, that Poor Things doesn't run forever.
In her book The Artist’s Way, Julia Cameron describes meeting people who are concerned about being too old to start learning an artistic pursuit. Her answer to the question, ‘But do you know how old I will be by the time I learn to really write or play an instrument or act?’ is ‘The same age you’ll be if you don’t learn to play at all.’ Hal Lasko is one artist who sees age as no barrier. Having just turned 98, and diagnosed as legally blind, he spends ten hours a day painting with Windows 95’s Microsoft Paint program. This year has seen his debut exhibition, and according to Colossal, his work has been described as a 'collision of pointillism and 8-bit art'. An array of pieces is available for sale online. Affectionately nicknamed Grandpa, Lasko was born in Taledo, Ohio, on July 28, 1915. After commencing work as a graphic designer, he was called to draft directional and weather maps for bombing raids during the Second World War. Once the bombing stopped, he returned to design, working for the likes of General Tire, The Cleveland Browns, Goodyear and American Greetings. Evenings would be spent painting. However, it wasn’t until retirement that Lasko could find enough time to focus entirely on art. And he was in his late 80s before he learnt how to use Microsoft Paint. Vision loss came in 2005, with the onset of wet macular degeneration. In the video below, documentary maker Josh Bogdan takes a journey through Lasko’s creative world. [via Mashable]
No matter where you are in Australia, you probably spent the majority of 2020 in your own state — and in your own bedroom — thanks to interstate border restrictions. Limits on domestic travel have still been popping up in 2021 so far; however, if you're still keen to see more than your own backyard this year, Virgin Australia is selling 1.9 million fares to destinations around the country. And, those cheap flights are starting at $75 for a one-way ticket. Hang on, Virgin? Yes. The same airline that, less than 12 months ago, entered voluntary administration. It has since been sold to US private investment firm Bain Capital, launched a comeback sale in early July and its voluntary administration officially ended on Tuesday, November 17. Virgin's current Let the Good Times Fly flight sale runs until midnight AEST on Monday, February 8 — or until sold out. In the sale, you'll find cheap flights on a heap of routes to destinations across the country, with travel dates spanning from March to September 2021. If you've been waiting to book your first getaway for the year, now might be the time. Discounted flights span both economy and business, and include seat selection and checked baggage. Some of the routes on offer include Sydney to Ballina from $75, Brisbane to Proserpine from $84, Melbourne to Hobart from $99, Brisbane to Darwin from $165, and Melbourne to Hamilton Island from $179. The discounted flight sale is timed to coincide with Queensland reopening its border to New South Wales, which came into effect on Monday, February 1. Virgin is also increasing the frequency of trips between the two states, including between Sydney and the Gold Coast, Sunshine Coast, Cairns, Hamilton Island and Brisbane. As we are still in the middle of a pandemic, flying is little different to normal. Virgin has introduced a range of safety measures, including hand sanitisation stations, contactless check-in and face masks provided to all passengers. Wearing masks on flights became mandatory in Australia in January. Virgin is also waiving change fees and allowing unlimited booking changes between now and June 30, 2021 — extending a scheme that was initially due to end at the end of January. Virgin's Let the Good Times Fly flight sale runs until midnight AEST on Monday, February 8 — or until sold out. Find out more about current interstate border restrictions over here.
2022 marks 90 years since the ABC first started broadcasting in Australia, beginning as a public radio service all that time ago. Over the decades, it has also made the leap of television, and been a source of news, entertainment, after-school kids shows, oh-so-much Doctor Who and late-night music videos to keep you occupied after a few drinks. And, it's home to Spicks and Specks, the Aussie music quiz show that no one can get enough of. So, it's fitting that as part of the network's celebrations for its big birthday, it has confirmed that Spicks and Specks will return again this year for a new ten-episode season. What's better than watching a heap of top Australian talent sit around and talk about music? Watching them do all of the above while answering questions, competing for points and just generally being funny, too. Yes, that's the concept behind Spicks and Specks. It takes a few cues from the UK's Never Mind the Buzzcocks, pits Aussie musos and comedians against each other, and has proven a hit several times over. It was a weekly favourite when it first aired between 2005–2011 — and, as it keeps being resurrected. As fans will already know, Spicks and Specks has been enjoying more comebacks than John Farnham of late, although that has meant different things over the years. When the program was first revived back in 2014, it did so with a new host and team captains, for instance. And when it started to make a return with its original lineup of Adam Hills, Myf Warhurst and Alan Brough, it first did so via a one-off reunion special. That 2018 comeback proved more than a little popular. It became the ABC's most-watched show of that year, in fact. So, the broadcaster then decided to drop four new Spicks and Specks specials across 2019–20 and, for 2021, to bring back Spicks and Specks in its regular format. In 2022, ten more new episodes await. It's expected that Hills, Myf Warhurst and Alan Brough will settle back into their old chairs — new eps, same stars has been a big focus in recent years, of course — but plenty about 2022's run has yet to be confirmed. That includes exactly when it'll start airing, and who'll be hitting buzzers among the program's guests. Still, you can add playing along with the show from your couch — again — to your plans before 2022 is out. Spicks and Specks will return to ABC TV for ten episodes sometime in 2022. You'll also be able to stream the series via ABC iView. We'll update you when an exact release date is announced.
You might not know that noted film banger of the 00s Bring It On has been made into a stage musical — and, having already done the rounds on Broadway in 2012, it's going to cartwheel into Melbourne in June this year. Responsible for the phrase "cheerocracy" and your unrealistic expectations of high school, it seems the original movie still has some decent cultural capital to give. If you've been wondering, in the last 18 years, what exactly the world of competitive cheerleading might have going on with it these days, this musical is for you. If you had a Kirsten Dunst poster on the back of your childhood bedroom door, this musical is for you. To be honest, if you've watched the film even just a few times, it's probably for you too. With music and lyrics by Tony Award-winning composer Lin-Manuel Miranda (of Hamilton fame) and the stage adaptation by Jeff Whitty (Avenue Q), the musical is only loosely based on the original film of 2000, which starred your girls Kirsten and Eliza Dushku. Unlike the five sequels that followed the movie — all of which went directly to VHS — the musical looks like it has a refreshing amount of sass, cutthroat rivalry and aerial stunts. Bust out your best spirit fingers and get them tapping on your keyboard if you want tickets — Bring It On: The Musical is making its way to Melbourne's Athenaeum Theatre in June, but it's only going to be step-pivot-split jumping around town for a strictly limited run of ten shows. And keep them fingers crossed the show decides to make its way around the country. Bring It On: The Musical will run from June 7–16, 2018 at the Athenaeum Theatre, 188 Collins Street, Melbourne. Tickets are on sale now via Ticketek.
Australia's cities are filled with must-try places for a bite, whether you're seeking out Sydney's very-best restaurants, Melbourne's top eateries or Brisbane's latest openings, but there's still nothing like a home-cooked meal. Alison Roman understands this. The Brooklyn-based food writer and chef may live in New York and have access to its thriving dining scene, but she's a big fan of eating in — and she has viral recipes such as #TheCookies, #ThePasta, #TheStew and #TheDip to prove it. Roman also has two cookbooks currently in bookshops, and possibly on your own shelves: Dining In: Highly Cookable Recipes and Nothing Fancy: Unfussy Food for Having People Over. Come April in Australia, Sweet Enough: Desserts for People Who Don't Do Dessert will join them. To launch the latter, and to make her first trip ever Down Under, Roman is hitting our shores on a three-city tour to get chatting about home cooking, those internet-famous dishes and why she adores her own kitchen. [caption id="attachment_894215" align="alignnone" width="1920"] Chris Bernabeo[/caption] The viral recipe queen and New York Times-bestselling scribe leads this year's Melbourne Writers Festival lineup, which is her first Aussie stop. She'll discuss her career and her journey to the dessert-focused Sweet Enough with Benjamin Law on Friday, May 5 at Melbourne Town Hall — plus her love of culinary imperfection. Next destination: a stint at Brisbane Powerhouse on Sunday, May 7, where she'll be in-conversation with Belinda Sweeney, touching upon everything from having her own CNN cooking show to releasing her first baking book. And, last but by no means least, Sydney Opera House will add Roman to its impressive list of 2023 guests — see also: Michael Sheen during Amadeus, Bikini Kill on their first trip to Australia in more than a quarter-century and the whole All About Women lineup — on Tuesday, May 9. In the Harbour City, she'll be talking with Melissa Leong, and expect her food newsletter A Newsletter and YouTube series Home Movies to also get a mention. "I was scheduled to come to Australia in March of 2020 but the world had other plans, so I am beyond thrilled to finally make it over," said Roman, announcing the tour. "A first-time trip to Sydney was already going to be special, but speaking at such a legendary venue as the Opera House is more than I could have dreamed of. I really, truly can't wait." ALISON ROMAN AUSTRALIAN TOUR 2023: Friday, May 5 — Melbourne Town Hall, Melbourne, as part of Melbourne Writers Festival Sunday, May 7 — Brisbane Powerhouse, Brisbane Tuesday, May 9 — Sydney Opera House, Sydney Alison Roman tours Australia in May 2023. For more information — and for tickets — head to the Sydney Opera House (for pre-sales from 8am AEDT on Thursday, March 23 and general sales from 9am AEDT the same date), Melbourne Writers Festival and Ticketek (from 9am AEST on Thursday, March 23) websites. Top image: Alison Roman by Chris Bernabeo.
Maleficent has a perception problem. Traditionally blamed for Sleeping Beauty's snoozing state, the evil fairy gained an on-screen backstory in 2014, which softened out her edges (but not her razor-sharp cheekbones, naturally). That leaves inevitable sequel Maleficent: Mistress of Evil in a tricky predicament. The movie's title dials up the character's supposedly unsociable ways; however, if Maleficent (Angelina Jolie) is now happily playing godmother to Princess Aurora (Elle Fanning), how nefarious can she really be? And if she's facing off against a seemingly kindly queen (Michelle Pfeiffer) who actually wants to start a genocidal war against all magical folk, well, she's hardly the most wicked creature in this film. You could say that Disney just chose the wrong name for this follow-up, but the movie's moniker is symptomatic of its generally muddled state of affairs. It's easy to see why this sequel exists — the first film made a quarter-billion dollars at the box office, and Jolie's casting as Maleficent is a dark fairytale dream — yet that doesn't explain why such little thought appears to have gone into it otherwise. Perhaps the powers-that-be assumed that audiences just want Maleficent to be somewhat evil, so they'll overlook the fact that the last flick (and the beginning of this one) establishes otherwise. Or, perhaps it was a case of trying to use the same formula by giving it the slightest of twists. Where Maleficent proved that its eponymous antiheroine wasn't really bad because she has a soft spot for Aurora, Mistress of Evil does the same by saying "hey, someone else is worse!" That someone, Pfeiffer's Queen Ingrith, comes into Maleficent's life when Aurora accepts Prince Phillip's (Harris Dickinson) marriage proposal. While Maleficent is wary at first, she's heatedly flapping her wings with disapproval after an awkward meet-the-in-laws dinner, where she's accused of working her wicked magic on King John (Robert Lindsay). Although Aurora is left distraught and confused, original screenwriter Linda Woolverton and newcomers Noah Harpster and Micah Fitzerman-Blue (TV's Transparent) ensure that viewers don't feel the same, spelling out exactly who's responsible for the sinister turn of events. After a run-in with a colony of fellow dark fairies (led by a wasted Chiwetel Ejiofor), the scene is set for Maleficent to do her worst against Ingrith — for the absolute best possible reasons. With its feuding royals, controversial nuptials and ill-motivated blonde queen, Mistress of Evil takes a leaf or several out of Game of Thrones' book — all while tasking its antagonist with trying to wipe out an entire race. Throwing homicidal xenophobia into the mix is designed to reflect today's times, rebuke toxic political structures and promote a message of harmony, but it's both bluntly and clumsily handled. This is a family-friendly flick, after all, so Disney doesn't seem to want to delve too deeply into such tricky terrain. It's still happy to use holocaust parallels to up the dramatic stakes, though. Under the direction of Pirates of the Caribbean: Dead Men Tell No Tales' co-helmer Joachim Rønning, the movie's visuals also prove dull and lumbering, unless you like overblown CGI onslaughts. Of course, Mistress of Evil isn't the first big fantasy blockbuster that's forgone subtlety and ramped up its battle scenes, but it never escapes attention that the film didn't need to turn out this way. Jolie is once again a commanding delight as Maleficent, a role she relishes even if it barely stretches her Oscar-winning acting skills. Pfeiffer is equally as mesmerising as her increasingly deranged adversary — and, as she did the first time around, Fanning wears innocence well. After fleshing out its titular figure's tragic past in the initial movie, this sequel could've just let its three main talents go head-to-head. Indeed, Mistress of Evil is at its strongest when Jolie and Pfeiffer are trading withering barbs and glares, or when Jolie and Fanning are exploring their characters' complex mother-daughter dynamic. Cast-wise, it helps that they're in fine company, with Lesley Manville, Imelda Staunton and Juno Temple returning as pithy pixies devoted to Aurora, and Sam Riley popping up again as Maleficent's shape-shifting offsider; however the film's three main ladies steal the show when they're just talking to each other. But, then the screensaver-like special effects start screaming for attention. The movie's swooping cinematography keeps repetitively flying over forests and castles, too. And, especially from its mid-point, Rønning repeatedly hits audiences over the head with the film's clunky themes. Instead of enchanting, it all just makes for average-at-best fairytale drama. Mistress of Evil is hardly cursed, but it won't send anyone leaping from their slumber. https://www.youtube.com/watch?v=MU9zRfcTI-k
For all the logicality of urban planners and architects, we often end up with some pretty weird conglomerations of concrete and steel around town. Once in a while, we all end up staring at a nonsensical urban nook while waiting at the traffic lights and thinking, 'why?'. Austrian choreographer Willi Dorner and his company take that reverie one step further with Bodies in Urban Spaces. They see an odd little city space and think: human Tetris. So how does it work? Dorner enlists a group of movement artists (whose skills are not solely focused on dance — he also hires climbers, martial artists and circus performers) and choreographs a performance that sees these 20 human bodies, clad in bright colour-blocked clothes, gracefully shove themselves into any sort of architectural gap they can find, hold their positions for several minutes and then effortlessly wriggle out of the tight spot and move on to the next. What it means for the passer-by is that your eyes fall on brightly colour-blocked human staying perfectly, magically still in an otherwise dead space. "Bodies in Urban Spaces is an invitation to let go, to take the time for a new look at the city, an opportunity to think so that we can form opinions about what makes a city a liveable space, and eventually make changes to achieve that goal," says Dorner. Bodies in Urban Spaces premiered in 2007 and has been co-produced by festivals and venues across Europe and the US ever since. It will be appearing in Sydney for Art & About on Friday, October 11, and Saturday, October 12, from 12.30-2pm. Check out more of their cheeky and surreal appearances around the world in the images below.
For Australian music fans, Triple J's Hottest 100 is the most important event of the calendar year — followed closely by the date Splendour in the Grass tickets go on sale. With so much at stake music-wise, nominating yourself as host for the Hottest 100 party — and deciding what to serve — can be a daunting task. So, we've teamed up with BWS to ensure you snag a sausage that pairs perfectly with your Hottest 100 picks — a banger for your banger, if you will. Plus, if you share a snap of your snags to Instagram (post or story) and tag BWS, the company will donate $1 for every sausage in the picture to GIVIT. How good. So, before you head to the shops to get the supplies, hit this list to make sure you select savoury cylinders that are as tasty as your favourite tunes. 'GET MY OUT' BY KING STINGRAY Fans of this track by King Stingray are likely to have found themselves in one of two circumstances in 2021: a seemingly unending lockdown in one of our major cities or in a garbage job that they were ready to give the middle finger to. In our opinion, lovers of a song called 'Get Me Out' deserve a snag that'll set them free. If that's you, we can't go past the free-range frankfurters from Paddock to Plate. 'HERTZ' BY AMYL AND THE SNIFFERS The high-octane energy of Amyl and the Sniffers requires a snag that'll live up to the band's turbo reputation and gets the job done without too much fuss. And, since we're matching it with a title that measures frequency, we believe quantity is important, too. Our pick for Sniffers fans is a value pack of snags that are a staple at all good sharehouse barbecues and Bunnings sausage sizzles — the 1.8 kilomgram value pack of thin snags from Woolies. These bangers have been proven to satisfy the masses and feel almost as good as fanging down a highway in a Hertz hire car. 'MAREA (WE'VE LOST DANCING)' BY FRED AGAIN.. AND THE BLESSED MADONNA If you voted for 'Marea (We've Lost Dancing)', there's a good chance you're the person at a party who dominates the dancefloor. Considering you'll be spending most of the day hurling your flesh prison all over the backyard, we recommend taking your snags in small doses to avoid tasting them twice. A 16-pack of chicken chipolatas are an ideal bite-size snag that you could probably woof down in one go if you really tried. Plus, given there are so many in the pack, you'll have plenty of fuel to sustain your dancing all the way to number one. 'LIE TO ME AGAIN' BY THE BUOYS If you're someone who wants to be lied to, a pack of the plant-based snags with the adjective 'beefy' in the title seem like the kind of misleading sausage that you'd be into. Unreal Co's six-pack of vegetarian beefy brats are perfect for people who want to feel hoodwinked by a sausage. Go on, gaslight yourself with this irresistible snag. It'll be just like when the person this song reminds you of did it, right? 'KIM' BY TKAY MAIDZA (FEATURING BABY TATE) A track that brings as much heat as 'Kim' by Tkay Maidza and Baby Tate calls for a snag that is as hot and spicy as the song itself. Our solution? The smoked chilli snags from Suzy Spoon's Vegetarian Butcher. These vegan sausages are both super delicious and pack a punch, much like the song in question. Big fan of chilli dogs? These are a quality meat-free alternative with a chorizo-like flavour for an added kick. 'GOLD CHAINS' BY GENESIS OWUSU Fans of Genesis Owusu aren't your run-of-the-mill music lovers. They boast a superior sonic palate and we suspect that this elite taste exists when it comes to the humble snag, too. Lovers of an award-winning artist will want an award-winning snag. And, if Kel Knight has taught us anything, winning sausage competitions is serious business. Our go-to is The Gourmet Sausage Company's award-winning artisanal pork and fennel bangers. 'STAY' BY THE KID LAROI AND JUSTIN BIEBER Voted for a collaboration this huge in the Hottest 100? You'll be needing a snag that has a minimum of three main ingredients in it for the countdown. There are plenty of combination sausages to choose from however we're of the firm belief that it's the chicken, feta and spinach variety that pairs perfectly with this sad banger. It's salty, smooth and surprisingly good — much like the Bieber x Laroi collaboration itself. 'DRIVERS LICENCE' BY OLIVIA RODRIGO So you spent 2021 rinsing Olivia Rodrigo's debut album Sour? Us too. And while we simply adored immersing in the rich teenage angst of the record, a track from an album with a title this tangy needs a sweeter snag to balance things out. We recommend a pack of honey-flavoured beef sausages. And if that's a touch too sugary for you, load them up with onions to ensure you get that all-important cathartic cry while slicing them up and belting out this tune. Want to support a good cause while you enjoy your bangers? Upload a snap of your snags to Instagram (post or story), tag @bws_au and use the hashtag #snagadonation to ensure a $1 for every sausage in the shot is donated to GIVIT. Just make sure your Instagram profile is set to public for your entry to be counted. For more information, visit the website. Images: Elliott Kramer.
This humble family-run bakery has quietly become a powerful player on the Melbourne bakery scene, with five shopfronts now pumping out some of the best bread and pastries in town. Little Sister lives by a simple philosophy: time-honoured recipes, executed with contemporary precision, to create beautiful bread for sharing. Little Sister focuses on classic French baking traditions and locally sourced natural ingredients — combined with Middle Eastern and Mediterranean flavours — to create their signature loaves, rolls, focaccias and sweet and savoury goodies. You can taste the care and time that has been put into each and every product at Little Sister. Whether it's 72-hour fermented sourdough or focaccia baked fresh every day, the proof really is in the pudding (or the bread) at Little Sister, with the consistent and excellent quality of the product proving no corners are cut in this kitchen. While everything at Little Sister tastes as good as it looks, signature items include the seeded focaccia, with an irresistible salty and crunchy exterior, and the Sofia loaf, which is a dark, dense and nutty bread made with wholemeal flour, mixed grains, seeds, fibre and a hint of honey. The bakery is renowned for its loaded savoury pastries and breads. Focaccias are topped with an array of moreish combinations such as cheese, mushroom and onion, zucchini and feta, and tomato and pesto. You can also find shakshuka or sabich (a traditional fried eggplant sandwich) stuffed inside doughy pockets, as well as cheese and za'atar twists, or thick and crusty slices of pizza. On the sweet front, Little Sister excels in everything from croissants to scrolls to cookies. The cinnamon scrolls often sell out before midday, the Portuguese egg tarts are some of the best in town, and the chocolate challah is a favourite weekly special. The bottom line is that while it may be hard to decide, you simply can't go wrong with any choice at Little Sister. Images: Supplied.
UPDATE, SATURDAY, MAY 23: Snowpiercer, the series, will hit Netflix Down Under from Monday, May 25. The below article has been updated to reflect this. On a futuristic earth that's been rendered a frozen wasteland, a constantly hurtling train plays host to the world's only remaining people. Humanity's attempts to combat climate change caused their dire predicament, leaving the speeding locomotive as their only solution — and instead of banding together, the residents of the Snowpiercer have transported society's class structure into the carriages of their new home. That's the story that drives Bong Joon-ho's 2013 film Snowpiercer, which marked the acclaimed South Korean writer/director's first English-language film, and one of the movies that brought him to broader fame before Netflix's Okja and 2019's Cannes Palme d'Or-winning and Oscar-winning Parasite. As well as boasting a smart, immersive and all-too-timely concept — and unpacking its underlying idea in a thoroughly thrilling and involving manner — the flick was a star-studded affair. Among the jam-packed cast: Chris Evans, Tilda Swinton, Jamie Bell, Octavia Spencer, John Hurt, Ed Harris and Bong's frequent collaborator Song Kang-ho. Given how great its premise is, it's hardly surprising that Snowpiercer has now been turned into a US TV series. First announced back in 2016, it'll finally speed across screens in May 2020 — including Down Under, where it'll drop new episodes weekly from Monday, May 25. While Snowpiercer, the series, doesn't feature any of the film's high-profile lineup, it does include a few big names of its own, such as Oscar-winner Jennifer Connelly and Tony-winner Daveed Diggs. Alongside Frances Ha's Mickey Sumner, Slender Man's Annalise Basso and The Americans' Alison Wright, they inhabit Snowpiercer's new world order. The planet outside the titular train may be a dystopia with a temperature of -119 degrees celsius, but everyone from the wealthy to the poor have been put in their place inside. Of course, that's until matters such as class warfare, social injustice and the politics of trying to survive start to fester almost seven years into the circling vehicle looping journey. Parasite is being turned into an American TV series, too, by HBO; however, that's a little further off — especially with film and TV production currently out of action during the COVID-19 pandemic. In the interim, revisiting the world of one of Bong's other excellent films will help fill the gap. And, if you need to watch or rewatch the original flick itself, Snowpiercer, the movie, is currently streaming on both Netflix and Stan. Watch the Snowpiercer series trailer below: https://www.youtube.com/watch?v=7lFMpmwn_hQ Snowpiercer, the series, will hit Netflix Down Under from Monday, May 25, with new episodes airing weekly. An exact start date hasn't been revealed yet — we'll update you with further details when they come to hand. Images: Netflix.
Come summertime, the celebratory spirit is taking over the entire state, thanks to massive events like ALWAYS LIVE. For the third year running, this festival celebrates the diversity of music in Victoria, with a mix of international headliners and local musicians taking to stages statewide from Friday, November 22, to Sunday, December 8. Some of the unmissable (and exclusive) events in ALWAYS LIVE are taking place on the final weekend. One of those is Yerambooee, a unique celebration of First Nations culture and community. This free event on Saturday, December 7 at 7pm, is hosted by elders and performers from Wurundjeri, Woi-Wurrung and Yolgnu peoples. The stage will be a nine-metre sand circle laid down in Fed Square — representative of a meeting ground filled with river sand — for a gathering unlike anything else on the festival program. Beginning with a welcome from Aunty Joy Murphy, performers will take to the stage with song, dance and music for a celebration that encourages the audience to join in — with music inspired by Djarimirri (Child of the Rainbow) — the final work of the late Yolgnu musician Geoffrey Gurrumul Yunupingu. Yeramboee will take place in Federation Square on Saturday, December 7. For more information, visit the Always Live website.
Drive-in meets rooftop at Melbourne's newest outdoor cinema, opening in Dockland's Harbour Town precinct on Boxing Day. The latest addition to the seemingly endless list of open-air screens around town (not that we're complaining, mind you), punters at The Backlot Rooftop Drive-In will enjoy new release films and 360-degree views of the city without ever having to get out of their car. Operated by the same team behind Backlot Studios, a private cinema and event space in Southbank, this modern-day drive-in will boast two separate screens, with each lot able to accommodate up to 65 vehicles. Tickets start at $50 per car — so depending on how many mates you can squish into the backseat and/or boot, this could prove to be a bit of a bargain. There'll also be a separate 'blue-deck' seating area, for movie-lovers who don't own their own car. Tickets for this section will be sold at $15 per head. The Backlot Rooftop is yet to reveal which movies they'll be showing, although we reckon you can expect blockbusters and plenty of them. Star Wars under the stars, for example, feels like it's probably a given. There'll also be pop-up takeaway stalls on-site, as well as a candy bar stocked with all the usual suspects including choc-tops and freshly popped popcorn. Speaking to The Age, co-founder Tony Ianiro confirmed that the cinema would operate "seven days a week, all-year round," and said they were also scoping out potential sites in Sydney, Brisbane and the Gold Coast. You can view the program as it's updated here.
There's the truth, and then there's the tale that is told, a divide Kill the Messenger acknowledges. Driven by journalistic duty, Gary Webb (Jeremy Renner) unearths a scandal, though once his report is published, the press turns their attention to him over the facts. The surrounding film falls prey to the same trick, presenting an intriguing character study but skirting over the damage done. Webb is a small-time player for a small-time paper, yet unafraid of turning big leads into big headlines. In California in 1996, he receives a tip about a deal involving the nation's intelligence agency and crack dealers in South Central Los Angeles. Covertly supporting the Nicaraguan Contras in their fight against their country's socialist rulers, the CIA is accused of assisting their US drug racket. Webb scours through sources from South America to Washington to substantiate his story, all ignored when governmental denial thrusts him into the spotlight. With Mary Elizabeth Winstead and Oliver Platt as Webb's editors, Rosemarie DeWitt as his wife, and Michael Sheen, Andy Garcia and Ray Liotta as furtive figures, a competent cast fills in the details, in what remains a portrait of Webb's rise and fall. As compelling as he has ever been, Renner retains focus, matching his physicality to the transformative plight of a determined crusader victimised for doing the right thing. Often framed from afar or shown in hand-held close-ups, his recreation of Webb constantly looks over his shoulder with good reason. "We would never threaten your children," he is told in his only official face-to-face meeting with the CIA, and the feature's best display of tension. Based on Nick Schou's 2006 book of the same name, alongside Webb's own 1998 manifesto Dark Alliance, Kill the Messenger harks back to a host of conspiracy thrillers and whistleblower dramas in its newsreel compiles offering background information and incendiary montages setting the emotional tone. Better known for helming episodes of Dexter and Homeland, director Michael Cuesta sticks to the standard in evoking an air of unease and flitting between episodic jaunts in a quest for justice, his feature fervent in sentiment but fleeting in impact. All eyes stay on Renner's rising rage in his potent portrayal; however, the feature's message remains murky, swelling in telling of personal conflict but fading in spanning the extent of the scenario. That the most damning revelations are told as a post-script may indicate the difficulty of condensing the complicated true tale, but it also speaks to the same selectivity the film ostensibly rallies against. Kill the Messenger shouts the story of someone who refused to be silenced, yet favours an impassioned underdog account over a thorough consideration of its central media machinations. https://youtube.com/watch?v=14tFIJIp1bs
It's widely known that New Zealand is a bit of a stunner of a travel destination. Overflowing with majestic terrain, impeccable wine and warm hospitality, there are a few reasons why this little corner of the world makes it onto many a bucket list. Whether you're seeking an adventure or want to wine and dine your way around, the South Island, in particular, is a mecca for visitors looking to indulge in the finer things in life. From helicopter flights over glaciers to sailing day trips, we've rounded up some of the South Island's most luxe experiences for when you're feeling a bit flash. SLEEP IN STYLE AT A LAKESIDE LODGE A great holiday starts with a great night's sleep and Whare Kea Lodge is the perfect spot to catch some quality zs during your South Island adventure. Nestled on the edge of Lake Wanaka, this luxurious, private retreat boasts eye-popping vistas of the lake and mountains. Whare Kea is small but perfectly formed, with each of its rooms offering postcard-worthy views that'll be the envy of all your friends back home. Relax and unwind in the stylish surrounds where you'll find loads of light-filled nooks and cosy spaces. On-site, you'll also find a massage room and an outdoor spa pool, so you'll slip into holiday mode in no time. The lodge offers a full kitchen so you can cook up a storm, too. Otherwise, you can treat yourself to a private chef for a real foodie experience. With its five-star views and home comforts, you won't want to leave. SIP TOP DROPS AT A STYLISH WINERY A visit to New Zealand wouldn't be complete without sampling some of the country's famous vino, and Central Otago is the perfect place to enjoy a grape escape. Head for The Shed, the gorgeous, new cellar door by celebrated winemakers, Cloudy Bay. Located in the heart of wine country, just an hour's drive from Queenstown, The Shed is a stylish sanctuary perched amongst stunning South Island scenery. With touches of rustic New Zealand charm, The Shed blends seamlessly into the landscape, and is an unforgettable spot to discover Cloudy Bay's wine range. Book a private tasting tour to get to know the wines and the story behind them. Take a stroll through the vineyards with a Cloudy Bay ambassador to learn about the terroir and the connection between the land and the brand. Afterwards, settle into the private tasting room to savour some of Cloudy Bay's finest, while lapping up the dazzling vistas of Lake Dunstan and the rugged ranges beyond. FORAGE FOR YOUR LUNCH ON AN EPIC HELI TOUR If you thought the South Island was mind-blowing from the ground, just wait until you see it from the sky. Take your trip to the next level with the ultimate experience for adventurous food lovers — a helicopter and foraging tour through the majestic, untamed landscapes of the remote south with Alpine Helicopters. Begin your adventure with a stop on the edge of Lake Wanaka, where you can try your hand at trout fishing. From here you'll be whisked into the Southern Alps, where you'll land smack bang on a glacier for the ultimate photo stop. After the obligatory selfies, fly out to the wild west coast to gather fresh crayfish for lunch. Next, you'll be flown deep into a lush valley for a lunch stop like no other — a Kiwi bush barbecue, featuring smoked trout and premium Te Mana lamb and washed down with local wine. With happy bellies, enjoy a final flight over more epic nature before returning to base. SAIL AWAY IN THE MARLBOROUGH SOUNDS Marking the gateway to the South Island, the Marlborough Sounds is a sparkling labyrinth of winding waterways and bush-clad hills. With its hard-to-reach bays and beaches, the best way to discover this scenic playground is from the water. Get your sea legs on and sail away for a day on a luxury yacht, hosted by Cloudy Bay. Cruise the turquoise waters of the Sounds, visiting quiet coves teeming with untouched nature. Be sure to keep your eyes peeled for dolphins along the way, too. Fancy yourself a bit of a sailor? Get stuck in and be part of the crew. Or if that doesn't float your boat, simply sit back and relax — with a glass of Cloudy Bay vino, of course. At lunchtime, tuck into delicious locally caught seafood with matching wines served against a backdrop of pure New Zealand beauty. GET BACK TO NATURE AT A SECLUDED RETREAT Nestled into a lush hillside, in a remote bay that's only accessible by boat, Bay of Many Coves is the retreat of your dreams. Luxury villas pepper the hillside, offering knockout views of pristine waters and bushy peaks. Stay a night or two to truly experience the magic of this secluded paradise. During the day, go for a dip, dine out on the water's edge, or get your walking shoes on to explore nature trails that teem with wildlife — don't worry, New Zealand's bush is proudly snake free. If that's just a bit too active, take it down a notch, listen to the bird song and relax in the serenity. It doesn't get more zen than this. ADVENTURE OFF-ROAD AROUND ONE OF MARLBOROUGH'S FIRST WINERIES If you're a wine enthusiast there's a mighty good chance you've heard of a wee region called Marlborough. Famous for its top-notch sauvignon blanc, Marlborough is the ultimate destination for any wine lover. Experience a taste of the region by visiting one of the very first wineries to put down roots here. The original Cloudy Bay Cellar Door is a chic spot to try the brand's diverse wines, from the iconic sauvignon blanc to the lively pinot noir and crispy Pelorus bubbly. Taste your way through the range in the spacious cellar door before grabbing a glass of your favourite and settling into a hanging egg chair in the leafy courtyard. For a unique adventure, take a vineyard tour by car — jump into a custom-restored 1985 Land Rover Defender and discover the vineyard sites with the Cloudy Bay crew as you learn how these distinctive wines make their way from grape to glass. Discover more about Cloudy Bay wines and the tailor-made experiences you can have in New Zealand here.
When it comes to art exhibitions, second chances aren't common. A big-name showcase may display at several places around the world, but it doesn't often hit the same venue twice. French Impressionism is an exception, then, returning to the National Gallery of Victoria in Melbourne in 2025 after initially gracing the institution's walls in 2021. When it was first announced for that debut Australian run, French Impressionism was set to be a blockbuster exhibition — and with 100-plus works featuring, including by Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Mary Cassatt and more, it's easy to understand why. But 2021 wasn't an ordinary year, like 2020 before it. Accordingly, when this showcase of masterpieces on loan from Boston's renowned Museum of Fine Arts opened Down Under, it was forced to close shortly afterwards due to the pandemic. Cue another season in this part of the world four years later, thankfully, with French Impressionism back at NGV International from Friday, June 6–Sunday, October 5, 2025. This is one of the largest collections of the eponymous art movement to ever make its way to Australia, complete with works that've never been seen here before. [caption id="attachment_977042" align="alignnone" width="1920"] Claude Monet, French, 1840–1926, Water lilies, 1905, oil on canvas, 89.5 x 100.3 cm, Museum of Fine Arts, Boston Gift of Edward Jackson Holmes Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] Again part of the Melbourne Winter Masterpieces exhibition series, French Impressionism isn't short on gems, especially given the array of artists with pieces on display, which also includes Camille Pissarro and Berthe Morisot. But one certain must-see is the presentation of 16 Monet pieces in one gallery, all in a curved display to close out the showcase — and focusing of his scenes of nature in Argenteuil, the Normandy coast and the Mediterranean coast, as well as his Giverny garden. In total, there's 19 Monet works in French Impressionism from the Museum of Fine Arts' collection (Water Lilies among them), and that still leaves the US gallery almost as many to display in Boston. Another section digs into early works by Monet and his predecessors, such as Eugène Boudin — and Renoir and Pissarro's careers also get the in-depth treatment. As the exhibition charts French impressionism's path across the late-19th century, visitors will enjoy three never-before-seen-in-Australia pieces, with Victorine Meurent's Self-portrait one of them. Ten-plus Degas works, as well as two pieces that were part of the very first exhibition of French Impressionism that took place in 1874, also feature. If you made it along to the showcase's first trip Down Under, you will notice changes, with the exhibition design reimagined for its latest presentation. [caption id="attachment_977038" align="alignnone" width="1920"] Camille Pissarro, French (born in the Danish West Indies), 1830–1903, Spring pasture, 1889, oil on canvas, 60 x 73.7 cm, Museum of Fine Arts, Boston Deposited by the Trustees of the White Fund, Lawrence, Massachusetts, Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] Top image: excerpt of Camille Pissarro, French (born in the Danish West Indies), 1830–1903, Spring pasture, 1889, oil on canvas, 60 x 73.7 cm, Museum of Fine Arts, Boston Deposited by the Trustees of the White Fund, Lawrence, Massachusetts, Photography © Museum of Fine Arts, Boston. All Rights Reserved.
If you've been using all these lockdown hours to plot your next regional Victorian escape, here's another reason to pop the Grampians on that itinerary. Up in the region's north, the town of St Arnaud has just unveiled a striking new cultural attraction: a towering silo artwork by local artist Kyle Torney, titled Hope. The latest addition to the renowned Silo Art Trail, the piece pays homage to the town's gold mining history, featuring a design of three faces that was selected by St Arnaud residents themselves. And this giant masterpiece was no mean feat to create, taking the artist over 800 hours from start to completion, and involving around 30 treks up and down the silo each day. The whole silo had to be cleaned and primed, before being decked out with a grid to help guide painting the faces' tricky proportions. Funded in part by the St Arnaud ArtSpace community centre and the Northern Grampians Shire Council, the artwork marks the sixth local mural painted by Torney, who himself is a sixth-generation St Arnaud native. The artist is well-known for his distinctive 'narrative portraiture' style, with works having graced spaces across Melbourne, Adelaide and Ballarat, as well as the walls of an art gallery in New York. It is hoped the new silo art will help boost tourism in the area following the heavy impact COVID-19 restrictions have had on regional travel. "Street art really brings the community together," said Torney in a statement. "I called the silo art 'Hope' which is reflective of the gold mining period but also resonates with the current climate." The Silo Art Trail is the country's largest outdoor gallery, covering over 200 kilometres. With this latest design, its collection now includes nine silo murals, featured in the stretch of towns from the Mallee's Patchewollock to St Arnaud. 'Hope' is located on McMahon Street, St Arnaud, Victoria. To learn more about the full Silo Art Trail, visit the website. Travel is restricted under metropolitan Melbourne's current stage four restrictions and regional Victoria's stage three orders. For the Victorian Government's latest advice, head to the Victorian Department of Health and Human Services website.
Stories involving someone's testicles (especially engorged ones like this) usually aren't very heartwarming. But 31-year-old Thomas Cantley is currently proving that assumption wrong. Over the course of this month, Cantley has been rolling a giant inflatable testicle across the USA to raise awareness of testicular cancer. Relying on people's kindness and support, he is currently travelling from California to New York and has been raising a lot of eyebrows along the way. Diagnosed with a stage three testicular cancer in 2009, Cantley started his ballsy mission in order to break some of the taboo surrounding the topic. "It's a 96 per cent survival rate if caught early," he told KSBW. "I want to prove you don't need billions of dollars or the promise of a cure to make a difference in the fight against cancer." His mission is instead about creating conversation. With his own cancer currently in remission, he's travelled more than 750 kilometres over the course of the month. People are inviting him to stay with them, buying him meals, and writing their own cancer-related stories on his giant testicle as he goes. With the Ball Push project now nearing its end, he's even earned himself the nickname of Mr Ballsy. Ever since Forrest Gump began running for the sake of running, we've had a fascination with these novel acts of endurance. Frankly, we're personally fascinated whenever anyone completes a regular marathon. What would compel someone to do that to themselves? But in the case of Thomas Cantley, the reason is very clear. Taking advantage of the humour all young men seem to find in their balls, Cantley is tactfully asking guys between 15 and 35 to "go check their nuts". And hey, if a cancer survivor can trek all the way across the USA dragging a very annoying inflatable ball, you can probably muster a quick fondle or trip to the doctor. Follow the rest of the journey via the Ball Push website or Facebook page. For more on the issue, check out the Testicular Cancer Awareness Foundation. Via A Plus and KSPW.
First, there were cat cafes, the cosy spaces where sipping a coffee and getting friendly with some cute felines go hand-in-hand. Next came pooch and pint sessions, where taking your doggo for a drink is heartily encouraged. While pubs that welcome puppers aren't all that rare in general, one US watering hole is taking all of the above concepts, combining them and turning it into their own animal haven. The end result is Fidos, an Oregon establishment calling itself the world's first dog tap house. With the words "Eat. Drink. Adopt." emblazoned on its walls, Fidos is part craft beer tap room, part foster home for shelter dogs, with the ultimate goal of rehoming the canines within its confines. Located outside of Portland, it encourages patrons to come in for a beverage and a bite — and, like a cat cafe, they'll will be able to play with the puppers — then take a new four-legged buddy home with them. Opening back in January, but holding a grand launch on February 13, Fidos boasts 40 rotating taps, a room dedicated to interacting with the doggos — which are provided by Oregon Friends of Shelter Animals — and dog videos playing on the onsite TVs. Events such as art shows and dog training demonstrations are planned, in an environment that's all about having a few drinks, celebrating man's best friend, and supporting dog and animal charities. For more information, visit www.ilovefidos.com. Via PR Newswire.
One-shot movies fall into two categories. Some hide their edits to make it appear as though they've been filmed in one continuous take, such as Alfred Hitchcock's Rope and the Oscar-winning Birdman. Others achieve the feat without resorting to cinematic trickery, including historical drama Russian Ark and Iranian thriller Fish & Cat. Either way, the intended effect is the same. By presenting an unbroken image free from cuts and interruptions, filmmakers try to plunge the audience so deeply into the on-screen action that they simply can't bear to tear their eyes away. Wandering from a Berlin nightclub to a cafe to a life or death bank heist, the adrenaline-fuelled Victoria joins the fold, unfolding in a single, unstaged take. Like all films that employ this technique, there's no denying the underlying technical wizardry on display in this heart-pounding German thriller. But writer/director Sebastian Schipper does more than simply jump on the latest movie-making bandwagon. Indeed, in his skilled hands, Victoria rarely feels like a gimmick. As the titular Spanish traveller (Laia Costa) catches the eye of the flirtatious Sonne (Frederick Lau) during a night out, and then tags along with him and his mates as they make the leap to the wrong side of the law, the uncut footage endeavours to take the audience along for the ride. Describing cinematographer Sturla Brandth Grøvlen's camera as one of the film's characters might be a cliché, but it's fitting. Victoria doesn't just want to make viewers watch its protagonist's wild night. It wants them to feel like they're in the thick of the frenzy, experiencing every single moment along with her. Here, variety and movement is key. While the screenplay crafts its own convincing dramas of the criminal and romantic kinds, it's not just the real-time story and changing locations that offer up a few unexpected elements. Equally unpredictable is the way Schipper uses the frame. Sometimes the visuals are claustrophobically precise and tight, while other times they're coasting and loose. The images lurch and circle, simultaneously going with the narrative's flow and creating their own momentum, and mimicking the feature's freewheeling mood while imparting their own urgency and personality as well. Of course, with the film clocking in at 138 minutes, Victoria's style does eventually threaten to overstay its welcome. Thankfully, Costa's naturalistic performance offers the pick-me-up fatigued audiences might need, even when she appears to be tired herself. The cast's improvised efforts add another layer of realism to a movie that could've just been the latest one-shot stunt. Instead, it's one of the most absorbing, surprising films we've seen in quite a while.
Disney is back in the fairy princess business, and by god it wants you to know it. Except, it doesn’t want young boys to know it, which is why this film is called Frozen instead of The Snow Queen. When Disney finally bought Pixar in 2006, the deal essentially saw Pixar's creative team taking control of Disney’s animated output. Given the strong quality control Pixar has over its products, this was no bad thing. But not all of the experiments worked. Determined to resurrect Disney's tradition of hand-drawn animation, they made The Princess and the Frog in 2009, a tremendously underrated film which moved the classic tale to 1920s New Orleans. The film’s undeserved financial failing made Disney gunshy, and their takeaway was this: stick to computer animation, and no more princesses in the titles. In fairness, this shift didn’t kneecap the quality of the films. 2009’s Rapunzel film Tangled is an outstanding work, with rich characters, beautiful animation and incredibly catchy songs. Tangled really worked, which is why it appears to be the template Disney has used for its newest animated feature, Frozen. Based loosely on Hans Christian Andersen’s The Snow Queen — a story Disney has been trying to adapt since the 1940s — the film follows Anna and her sister Elsa, two princesses who are left alone when their parents die at sea. The relationship between the two is difficult: Elsa has magical powers, which due to an unsatisfactorily explained plot contrivance, have been wiped from Anna’s memory. To keep Anna safe, Else keeps her at arm’s length as they grow up. But on the evening of Elsa’s coronation, she accidentally creates a permanent winter in the kingdom and retreats to a remote ice palace of her own making. It’s up to Anna to save her sister and her kingdom. The parallels with Tangled are striking. Both changed the name of their original story to a more marketable, generic title. Both feature a similar working-class man developing a love-hate relationship with a princess. Both have a crazy, anthropomorphised horse/moose for company. Both even feature a princess whose power is represented by a streak of colour through the hair. The comparisons, though superficial, reveal an attempt at a modern formula. And although Frozen is enjoyable enough, the characters aren’t quite as engaging as they ought to be, the songs not quite memorable enough. The animation, however, is superb. On a technical level, it’s a marvel. Frozen represent the middle of the bell curve in terms of animated features. It’s a far cry from the insufferable toy-selling, pop-culture spewing, catchphrase-ridden films churned out during at the beginning every school holiday period, but nor does it hit the heights of Disney’s best output. It is admirable, enjoyable, but ultimately unmemorable.
Just a week ago, Molly Rose Brewing announced it was calling in the liquidators, leaving the influential Collingwood spot as just the latest casualty of Australia's struggling craft beer scene. At the time, Founder Nic Sandery offered a glimmer of hope, saying the business would look to negotiate an agreement that would allow it to "continue serving our community with great beer and food." In an Easter miracle, these words have quickly come true, as Molly Rose Brewing has sent the liquidators packing after finding a solution to prevent its closure. While details of this solution are forthcoming, the fact that its doors have reopened is more than enough reason to celebrate. And in true Molly Rose style, this positive news is being met with a long weekend treat. From Thursday to Sunday over Easter, the brewery is pouring non-stop pints of its much-loved Little Hazy for $10. Serving as a "gesture of gratitude to the community," this party is perfect for an Easter catch-up with friends, or a well-earned pint after spending a little too long with the family between egg hunts and long lunches. As for the venue's immediate plans, some minor changes are afoot. Expect shorter hours and an approachable weekend snack menu featuring a new kids' offering. And, of course, the drinks list remains full of the Molly Rose beers you love. According to the brewery, further updates on trading hours, menu changes and upcoming events will be shared in the coming days. But for now, the mood around the place is looking rather bright. "This reopening isn't just about the beer or the food – it's about the people who make Molly Rose what it is. Our regulars, our neighbours, the folks who stop in for a quick sip and end up staying for hours, you!" said the brewery in a statement. Molly Rose Brewing's reopening comes after the business entered liquidation due to a combination of financial pressures, including rising operational costs and delayed expansion projects. With other breweries like Kaiju Beer and Black Hops Brewing having also emerged from the liquidation process in recent times with positive prospects, we're glad to see Molly Rose sticking around too. Molly Rose Brewing has reopened at 279-285 Wellington Street, Collingwood. Head to the website for more information. Images: Sarah Anderson.
Melbourne's CBD is no stranger to a fine diner — where some of the world's best chefs, bartenders and front-of-house staff come together to create spellbinding experiences. And one of the latest additions to this scene is MING Dining. Owner and Director Tony Yan (ex-Botanical Hotel) has set up the new Melbourne restaurant on the corner of Queen Street and La Trobe Street within a vast two-storey space. Entering from the street, you're met with a huge fish tank, projections of Aussie landscapes and a glass-walled vault of wines. Head down the staircase to the large basement dining room peppered with contemporary and traditional Chinese décor. Intricately detailed wooden screens break up the private dining spaces and marble artwork looms over some of the seating to create a sense of total opulence. The bar is huge with space for plenty to gather after work and spread out into the courtyard once the sun properly arrives in Melbourne. Food-wise, expect refined dishes that marry contemporary Australian cuisine and ingredients with Chinese-Canto influences. Pacific oysters are refreshed with an XO butter and kohlrabi dressing or drizzled with umami bitters and a spring onion relish. Among the small plates, chawanmushi is upgraded with Fraser Island crab and Yarra Valley salmon caviar; roasted bone marrow twisted with a ginger salsa verde and crispy shallots; and seared baby abalone served with translucent sweet potato noodles. You also might be fortunate enough to be there when the Hong Kong-style fried chicken is on the specials board. For this, they've taken out the bone, replaced it with chicken mousse and deep-fried it. It's then served with a classic egg yolk sauce that's absolutely divine. Elsewhere on the larger plates, charred Black Angus beef ribs pair perfectly with gochujang and beef tendon chips, while grilled bugs and pipis tossed through an XO sauce are a must-order. The wagyu steak served with a tangy shiitake glaze and pickled mushrooms is also a huge standout. Finish it all with the black sesame panna cotta that comes paired with a blood orange mousse and miso cookie crumbs. It's one of our favourite new Melbourne desserts. As you'd expect with any new fine dining establishment in the city, the wine list is extensive. MING Dining champions Aussie drops as well as a strong selection from both France and Germany. Classic cocktails are up for grabs, but the seasonal Cantonese-inspired offerings are a must-try. The Xuan Wu made with rum, longan fruit, oolong tea and a blooming osmanthus flower is the perfect balance of both light and earthy notes. And the Ivory Tiger could be a dessert in itself, made with whisky, black tea, coffee and a dash of milk and served with a house-made biscuit. Think of it like a clarified whisky and milk punch. And those wanting to lean right into the Chinese spirits can get around bottles of the Moutai. High flyers keen to try the unofficial national liquor of China will need to fork over a hefty $1,888 for the bottle. But you don't need to go full, balls-to-the-walls extravagant at MING Dining. You can easily pop in for some happy hour cocktails and a round of fried chicken or grab the express lunch menu ($38 for two courses and $49 for three courses of yum cha specials). This makes the new city restaurant significantly more approachable for those of us on a budget who still want to dabble in the world of Melbourne fine dining. Images: Jake Roden
Queensland has the Big Pineapple and Big Mango. New South Wales boasts the Big Prawn and the Big Merino, and you'll find the Big Lobster in South Australia. They're just some of Australia's 150-plus big things, because we sure do love giant versions of foods, animals and everyday items — and if you'd like to walk into a huge whale that's also an underwater observatory, that'll be on the cards from the end of 2022, too. Australia already has a couple of big whales, but not like this one. The animal-shaped structure will house the Australian Underwater Discovery Centre, and it'll sit right at the end of the Busselton Jetty in Western Australia. That means that it'll be located two kilometres out to sea — and, when it launches in December next year, it'll become the largest natural marine observatory in the country. The $30 million centre has been in the works since 2017, when Busselton Jetty started looking into ways to increase the capacity if its current underwater observatory — because it can only accommodate 44 people per hour. Now, however, the designs for the new site have been revealed. Marine contractor Subcon has appointed Baca Architects as the project's lead architects, and it's going with a cetacean design that resembles a whale. The design recreates the marine creature in an abstract but still noticeable manner, and will be made to look as if the concrete structure is raising its head over Geographe Bay. When the building comes to fruition, it'll span 900 square metres across multiple levels, and huge windows will be a big feature. Some will measure up to 5.5 metres tall and 12 metres long, letting visitors peer out at the area's marine life — including via a partially submerged window called the 'cetecean's eye'. Attendees will enter from the pier, which is 5.5 metres above the average sea level, then descend down through an art gallery and accompanying exhibition spaces to the observatory on the ocean floor level. Those galleries will mainly focus on new habitats for fish and coral, but underwater sculptures and marine art will be part of the project, too. And, if you'd like to eat beneath the ocean's depths, an underwater dining experience is also set to be included. Project engineers Core Marine have experience with restaurants under the sea, as the company also worked on Norway's Under. The Australian Underwater Discovery Centre will be designed to withstand cyclones and storm surges, including 6.5-metre-high waves, and will feature an outer surface that'll enable barnacles and algae to graft onto the outside, like they would with a real whale. And, as it'll be fabricated onshore, the centre will then get towed out to its location — which is planned to occur in tandem with 2022's annual whale migration. As for Busselton Jetty's current underwater observatory, it's set to become a marine research centre. It'll focus on promoting clean oceans and educating people about ocean climate change. The Australian Underwater Discovery Centre is set to open at the end of Busselton Jetty by December 2022 — we'll update you with an exact launch date when it's announced.
Founded in Helsinki in 1951, Marimekko has since become one of the world's most beloved design houses. Alongside many likeminded businesses, the brand's Melbourne outlet is located on Chapel Street, where you can explore a bold collection of timeless textiles, clothing, accessories and homewares. Sprawling across 200 square metres of space, Marimekko is a stylish maze of bright items that have been designed specifically to give your home a comfortable atmosphere. If you need another incentive to take a peek, most of Marimekko's range is sustainably produced from ethically sourced materials. Images: Parker Blain.
After filming two of his last four movies in Australia (Lion and Hotel Mumbai), and also stepping into a Dickens classic set in Victorian England (The Personal History of David Copperfield), Dev Patel is heading somewhere completely different. Jumping back to medieval times, he's delving into the fantasy genre, messing with Arthurian legend, and swinging around a mighty sword and a giant axe, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, the film casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris, Mission: Impossible — Fallout), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the giant green-skinned titular figure in an eerie showdown. As the poem explains, the Green Knight dares any other knight to strike him with an axe, but only if they'll then receive a return blow exactly one year and one day later. Based on the new, just-dropped trailer, this film adaptation looks to be sticking to that story rather closely — and the end result also looks more than a little moody, brooding and creepy. Patel is in great company, too, with The Green Knight also starring Alicia Vikander (Earthquake Bird), Joel Edgerton (Boy Erased) and Barry Keoghan (Calm with Horses). Games of Thrones' Kate Dickie pops up as Guinevere, while her co-star Ralph Ineson — who is also known from the Harry Potter flicks, The Witch and the UK version of The Office — plays the Green Knight. Originally set to release in 2020 until the pandemic hit, The Green Knight is the latest movie by impressive and always eclectic writer/director David Lowery. His filmography spans everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun — and, based on both the initial teaser and the new sneak peek, The Green Knight won't be like anything on his resume so far. Check out the new trailer below: https://www.youtube.com/watch?v=sS6ksY8xWCY The Green Knight will release in the US on July 30, but it doesn't yet have a release date Down Under — we'll update you when it does.
Size might not always matter, but when it comes to a sun-drenched rooftop? Well, that's when that saying about bigger being better most certainly rings true. And Melbourne's CBD is about to score a sizeable sky-high destination that's on track to be its biggest rooftop bar yet. The crew behind barbecue joint Fancy Hanks and openair upstairs sibling Good Heavens first revealed their expansion plans for the two Bourke Street venues back in late 2021, after acquiring multiple levels of the site next door. On the cards: a tripling of Good Heavens' sky-high footprint, a refreshed look for the space, and the addition of new bar and pub Springrock downstairs in the former Grand Trailer Park Taverna digs. While the project has been met with delays across the past 12 months, the build is now underway — and the team's dropped a few more details as to what we can look forward to when it's all done and dusted. [caption id="attachment_890060" align="alignnone" width="1920"] Mike Patrick and Kent Bell, by Eugene Hyland[/caption] Slated to open in June is Good Heavens' new and improved rooftop, occupying a record-breaking monster of a space above the corner of Bourke and Exhibition Streets. Under its next guise, executed by Ewert Leaf, the venue's set to embrace a modernised 70s look, sporting a central al fresco fireplace and brutalist-inspired bar façade. As hinted last year, an expanded bar offering will include up to 40 taps, celebrating beer, spritzes and cocktails for all palates. Good Heavens will remain open as normal while the works continue. The wait will be slightly longer for the next phase of the expansion, Springrock, which is set to launch towards the end of the year. Here, the owners are out to offer a destination dedicated to "uncomplicated fun" — a casual, unpretentious pub-style haunt that'll have a 3am license, footy on the big screens and live tunes playing until late. Springrock's menu will take some cues from the taverns of NYC, while also taking advantage of Fancy Hanks' impressive smoker. It's a playful, creative lineup set to feature the likes of crab cake sandwiches, hotdog beef tartare, chicken nuggets paired with Yarra Valley caviar, and a nod to the age-old favourite banana split. Local wines and a hefty range of Long Island iced tea varieties will headline the drinks list. In the meantime, Fancy Hanks is kicking on as usual. Once the whole project is complete, the three venues will work as separate haunts, although you'll be able to easily hop between them all. [caption id="attachment_635010" align="alignnone" width="1920"] Fancy Hanks[/caption] The next phase of Good Heavens will open at Level 2, 79 Bourke Street, Melbourne, from June. Springrock is set to open in late 2023. Top image: Chip Mooney.
Strachan Lane's La Chinesca was but a short-lived operation, and already we're welcoming a newcomer in its place. Unveiled a couple of months ago, Peruvian-inspired Harley House comes courtesy of the same four owners (including noted artist, Vincent Fantauzzo) yet charges in an entirely different direction — dishing up modern Peruvian fare in a edgy New York-style basement setting. Decor-wise, the moody, subterranean space makes all the right noises, combining generous Chesterfield-style booths, polished concrete and exposed brickwork with a selection of Fantauzzo's artwork, evoking just the right amount of darkness. While the picanteria-style Peruvian dishes being plated up by the kitchen are a touch more light-hearted, they're every bit as well executed, full of bold South American flavours and begging to be shared. They're also surprisingly friendly on the hip pocket. Navigate the menu on your own terms, or relinquish $49 (along with all responsibility) and let the native chef send out the highlight reel collection. You'll get a delicious introduction to the food and flavours of Peru — and you definitely won't leave hungry. Warm bread rolls made from tapioca flour and cheese ($9 for four) are an addictive opening note, sided by grassy pisco olive oil and a crunchy popped corn that goes by the name of canchita chulpi. Follow them with sweet and tender grilled scallops — served in a saltado sauce and dolloped with mayonnaise ($21 for four) — and you're off to a salivating start. In true Peru style, the seafood options here are bountiful. For a flavour and texture hit, try the ceviche of local white fish, which pulls together tender, barely-battered squid, crisp cos lettuce and that same crunchy corn, all bathing in a lime and chilli-infused sauce ($22). The traditional grill, or parilla, gets a serious workout, between various cuts of beef, a whole spatchcock and some Peruvian skewers called anticuchos. But if it's meat you're after, don't overlook the so-called burgers ($16): these housemade Asian-style steamed buns filled with clever flavours are deserving of a far more exciting name. Get your mouth around the pork belly option, a perfectly balanced creation that teams succulent meat with slivers of red onion, thinly sliced sweet potato and a punchy yellow pepper paste called aji amarillo. As well as a global selection of beer and wine, the bar offers a solid cocktail lineup (featuring plenty of pisco and rum, mind you), and it's not hard to imagine the space transforming effortlessly into hip, late-night drinking den. Bring your crew, take advantage of those big, comfy booths and dig into Harley House's menu — even if it's your first taste, it won't be long before you're hooked on Peruvian cuisine.
Since 2014, White Night has brightened up Melbourne with an all-night arts festival each February. When summer comes to an end in 2019, however, the city won't be sparkling with light and culture. Instead, the popular evening is shifting to a new winter berth. While the exact dates and program won't be revealed until closer to the event, White Night will make the move to August as part a huge new winter festival, the Victorian Government has announced. The after-dark spectacle itself will still only run over a single evening, but the broader fest will be a three-day affair, complete with music, design, film, food, performance and street art events. Part of the move is inspired by Melbourne's long mid-year nights, with the lengthier stint of darkness allowing White Night's luminous activities to kick off earlier — meaning that artists have more hours to play with, and families can enjoy an earlier start time. Aiming to become one of Victoria's signature events, the overarching multi-day festival will build upon 2018's bigger White Night program. "This reimagined event will create unique and exciting opportunities for artists, performers, cultural practitioners and institutions with a broader program and more nights to experience it," said White Night artistic director David Atkins.
If it wasn't for Violet Crumbles, the world wouldn't have quite a few things. Firstly, we wouldn't have the pleasure of biting into those chocolate-honeycomb bars themselves, and tasting that delicious flavour combination. We also wouldn't have the slogan "it's the way it shatters that matters", which is up there with the catchiest advertising lines of all time. And, Bertie Beetles wouldn't exist, because the showbag favourite was initially created to use the pieces of honeycomb left over from making — you guessed it — Violet Crumbles. Thankfully, no one needs to live in a world without either Violet Crumbles or Bertie Beetles — or, thanks to your next must-try cocktail, without Violet Crumble espresso martinis, too. The latter has just hit the market thanks to the Melbourne-based Feminaè Beverage Co, and it is indeed exactly what it sounds like. Now it's the way your caffeinated boozy tipple shatters that matters, too. Sold in hefty two-litre ready-to-drink casks, the VC espresso martinis are made with cold-drip coffee, vodka and Australian cream, and then infused with Violet Crumble honeycomb, caramel and chocolate flavours. A box will set you back $79.90, and includes 24 standard drinks — for parties, or just to keep in the fridge for when the urge strikes. You'll also get a Violet Crumble bar to shatter over the cocktails — or just to eat if you'd prefer. (Let's face it, if you're keen on this kind of espresso martini, you're already a fiend for the chocolate bar itself.) Feminaè is only releasing a limited run, which means ordering sooner rather than latter is recommended — and they're already shipping the casks out. The company also has a passionfruit and pavlova cosmo in its range — now sold out, sadly — if you're already thinking about what other sweet treats deserve to be turned into cocktails. Our suggestion: Bertie Beetles, naturally. Feminaè Beverage Co's Violet Crumble espresso martini casks are available to buy online for $79.90 while stocks last.
While it feels like much of your year has been spent cooped up at home and dining in instead of out, a bunch of local and interstate names have been busy plotting and planning; cooking up their next big hospitality ventures to join Melbourne's celebrated food scene. And trust us — there's a lot to look forward to. From a world-class vegan dining hub courtesy of the unstoppable Shannon Martinez, to multimillion-dollar coastal pub makeovers and inner-city Italian haunts, we've pulled together some of the tastiest openings coming soon to Melbourne. Get excited for these new restaurants, bars and pubs, all very deserving of a spot on your must-visit list.
Usually a bustling hub of shoppers and diners, Southgate has been much quieter of late with much of the city working from home and the country closing its borders to international tourists. But come next year, it could be a hive of activity once again, with new plans underway to for an ambitious multimillion-dollar transformation of the riverside precinct. ARA Australia, which currently owns and manages the precinct, has just submitted its $800-million development application to the Department of Environment, Land, Water and Planning. If approved, the precinct could have a new 21-storey tower, 2000 square metres of elevated parkland and a reimagined dining and entertainment precinct as early as November 2023, with construction hoped to kick off in early 2021. While Southgate is already home to a plethora food and drink spots, ARA is hoping to open a range of new casual and formal dining options, as well as a food hall, supermarket and exhibition space. Its proposed sprawling park, which will be located on top of the food and retail precinct, will have prime Yarra views, too, and will be directly accessible from the river promenade, Arts Precinct and St Kilda Road. [caption id="attachment_772040" align="alignnone" width="1920"] Render courtesy of ARA Australia[/caption] The 21-storey tower, designed by Fender Katsalidis architects, is hoped to be sustainable, with the company aiming for 5-star Green Star and 5.5 star National Australian Built Environment Rating System ratings. Before any of this happens, of course, the development application needs to be approved by the DELWP — we'll let you know if and when that happens. To find out more about ARA's plans for Southgate, head to the Southgate website. Top image: Render courtesy of ARA Australia
If you woke up this morning and got yourself a hankering for one of the best TV shows ever made, here's some good news: a big-screen prequel to The Sopranos is on its way. Fourteen years after HBO's hit mobster drama cut to black, creator David Chase has penned The Many Saints of Newark, which jumps back to Tony Soprano's formative years in the 60s and 70s. And, because family was always a huge part of the influential drama, the film's central role is played by Michael Gandolfini (The Deuce, Cherry) — son of the late, great James Gandolfini. The Many Saints of Newark hops into Soprano's story when he's a teen in the titular New Jersey city — a place under the sway of the DiMeo crime family, struggling with race relations and about to be caught up in the race riots of 1967. Young Anthony plans to go to college, but he also has a strong relationship with his uncle Dickie Moltisanti (Alessandro Nivola, The Art of Self-Defense). Fans of The Sopranos will recognise the name, with Dickie the father of series regular Christopher Moltisanti. As the just-dropped first trailer for The Many Saints of Newark shows, Anthony's connection to his uncle will have a huge impact on his life — and on his path to becoming the ziti-loving, panic attack-suffering, hot-tempered mob boss that The Sopranos followed for six seasons between 1999–2007. Leaving a significant imprint on the film: the casting of the younger Gandolfini. Even from just this initial sneak peek, it's impossible to imagine this movie being made without him stepping into his dad's shoes. Whether director Alan Taylor, a veteran of The Sopranos, gives Journey's 'Don't Stop Believing' a whirl in the feature is yet to be seen. It doesn't pop up in the trailer, though. Of course, when the film releases in cinemas in September, The Sopranos aficionados can definitely look forward to spending time with a few familiar characters other than Young Anthony — including Corey Stoll (The Report) as Uncle Junior, Vera Farmiga (The Conjuring: The Devil Made Me Do It) as Anthony's mother Livia, and Billy Magnussen (Made for Love) and John Magaro (First Cow) as his future righthand men Paulie Walnuts and Silvio Dante. Leslie Odom Jr (One Night in Miami) and Jon Bernthal (Those Who Wish Me Dead) also co-star, while seeing Ray Liotta (Marriage Story) jump back into the gangster genre immediately conjures up memories of Goodfellas — the Martin Scorsese classic that also charted the rise of a young man within the mob. Check out the trailer below: The Many Saints of Newark releases in Australian cinemas on September 23.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE BATMAN When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. Why so serious? That question is answered quickly. Also, badging Pattinson's turn in the cape and cowl 'emo Batman' is 100-percent accurate. It's meant to be, because violence isn't just about experiencing or inflicting pain, but also about processing the emotions stirred up. Apply the label to The Batman's unrelentingly dark and rainy aesthetic as well and, once again, it suits. Lensed with such an eye for the absence of light by Australian cinematographer Greig Fraser (a Dune Oscar-nominee) that he's painting with the shadowiest of shadows, this is a grimmer Batman than Christopher Nolan's trilogy, moodier than Ben Affleck's stint, and gloomier than the Michael Keaton, Val Kilmer and George Clooney-starring movies (not to mention the upbeat and campy 60s TV series that gave us the Batusi). Like teen shows, the tone of any given Batman entry reflects the surrounding times, and the tenor here is bleak, bruised and battered. Call the prevailing batmosphere cinema's own bat-signal and that's oh-so-fitting, too. Batman is bruised and battered himself in The Batman. He flinches when jumping from skyscrapers in his winged batsuit, grimaces upon impact and sports contusions beneath his mask before that. In spurts of Taxi Driver-style narration — where he could be one of screenwriter Paul Schrader's lonely men wrestling with the world (see also: The Card Counter) — he seethes about his self-appointed task, past and the state of Gotham, exposing his psychological scars as well. That doesn't change when a serial killer who dubs himself The Riddler (Paul Dano, Okja) and must love David Fincher movies (Seven and Zodiac especially) commits The Batman's opening murder, the first in a chain targeting the city's elite. This other angry mask-wearing vigilante is also waging a war on Gotham's corruption, and leaving puzzles to be solved along the way — with Batman assisting police lieutenant Jim Gordon (Jeffrey Wright, The French Dispatch), and being aided by nightclub waiter-cum-cat burglar Selina Kyle (Zoë Kravitz, Kimi) in turn. Read our full review. BLIND AMBITION When Dolly Parton sang about pouring herself a cup of ambition in the giddily catchy 80s hit '9 to 5' — the song that accompanied a film of the same name four decades back, now echoes in a stage musical as well and will never, ever get old — she wasn't talking about wine. But Zimbabwean quartet Joseph Dhafana, Tinashe Nyamudoka, Marlvin Gwese and Pardon Taguzu have lived up to those lyrics one glass of top-notch vino at a time, despite not drinking alcohol as Pentecostal Christians. Clearly, these men have quite the story to tell. It starts with fleeing their homeland under Robert Mugabe's rule, and then sees them each make new homes at considerable risk in South Africa, where they all also eventually found themselves working with the grape. In the process, they discovered a knack for an industry they mightn't have ever even dreamed of contemplating entering otherwise — and, in 2017, they took Zimbabwe's first-ever team to the World Wine Blind Tasting Championships in Burgundy, France. In the words of the always-great and ever-quotable Parton again, Joseph, Tinashe, Marlvin and Pardon waited for their ship to come in, and for the tide to turn and all roll their way. '9 to 5' doesn't actually have a single thing to do with Blind Ambition, the film that splashes through the Zimbabwean sommeliers' story, but their against-the-odds journey is equally infectious and uplifting. The Australian-made documentary about the foursome has also been likened to another on-screen underdog tale, this time about Black men seeking glory in a field that isn't typically associated with their country of birth. Blind Ambition isn't the wine version of Cool Runnings for numerous reasons — it hasn't been fictionalised (although it likely will be at some point) and it isn't a comedy, for starters — but the comparison still pithily sums up just how rousing this true story proves. The reality is far more profound than a Disney flick, of course. Making their second wine-focused doco of the past decade, Warwick Ross and Rob Coe — the former the co-director of 2013's Red Obsession, the latter its executive producer, and both sharing helming credits here — decant emotion aplenty from the moving and inspiring Blind Ambition. It flows freely from Joseph, Tinashe, Marlvin and Pardon's plights, which the film begins to drip out individually, harking back to before the quartet had even met, then blends together. Getting across the border was especially harrowing for Joseph, for instance, while ensuring that his new life honours his parents back home is particularly important for Pardon. Overcoming poverty and adversity echoes through their stories, as does the hope that their newfound affinity for wine brings — including via Tinashe's desire to plant vines on his grandfather's land one day. From those histories grows a keen eagerness to turn vino into their futures, and amid those dreams sits the World Wine Blind Tasting Championships. The activity that gives the competition its name is serious business; the first word isn't slang for getting black-out drunk or even just knocking back drinks to the thoroughly sozzled stage of inebriation, but describes how teams sample an array of wines without knowing what's rolling over their palates. Every national squad, all with four people apiece, is given 12 drops. From the six red and six white varieties, they must pick everything they can just by sipping — the grape, country, name, producer and vintage — to earn points. And, they also need to spit out the answers quickly, within two minutes of taking a taste. Yes, it's an event that you need to train for. No, it doesn't involve getting sloshed. Read our full review. MISS MARX Daughter of Karl Marx, a socialist activist in her own right, a translator of Henrik Ibsen's The Wild Duck and Gustave Flaubert's Madame Bovary, and first seen in Miss Marx giving her father's eulogy in 1883, Eleanor Marx was many things — but she wasn't a fan of punk music. She simply couldn't have been, thanks to the gap between the timing of her life and the genre's arrival, with seven decades separating them. Still, that doesn't stop filmmaker Susanna Nicchiarelli (Nico, 1988) from soundtracking her biopic about the youngest Marx with rollicking punk tracks courtesy of current rockers by Downtown Boys, including a cover of Bruce Springsteen's 'Dancing in the Dark'. Such a decision is anachronistic in fact but not in spirit, Miss Marx contends, and it's a savvy observation. In much about her life — her willingness to break free of her father's and society's expectations, her anti-establishment activism, and her rejection of mainstream norms among them — Eleanor fits the tunes. If only Miss Marx moshed into cinemas with more than that smart idea layered over an otherwise by-the-numbers period drama — one that, despite its namesake's progressive quest for women's wrights, better working conditions for the masses and education across both genders, focuses on her ties to men, too. It boasts two particularly marvellous and playful scenes, one involving that punk soundtrack and an opium-fuelled dance by star Romola Garai (Suffragette) for the ages, the other toying with the dynamic between Eleanor and her paramour Edward Aveling (Patrick Kennedy, The Queen's Gambit), but a willingness to break the mould, thrash outside the lines and upset the status quo is rarely part of the movie. Eleanor's existence was defined by her dad since birth, of course. It was then linked to the already-married Edward when she decided to live with him as wife in all but the paperwork. But bringing her tale to the screen with such a focus feels not only much too straightforward, but also reductive. There's method and meaning in this choice, too; writing as well as directing, Nicchiarelli hones in on Eleanor's bonds with the two pivotal men in her life on purpose. The aim: to examine how someone who toiled for such pioneering causes still routinely put herself second to her father and her partner, and to being a caregiver in general. It's a juxtaposition that Eleanor sees herself, and more than once. She's dismissive when her friend, acclaimed South African writer Olive Schreiner (Karina Fernandez, Killing Eve), offers a word of warning about Edward, but both Nicchiarelli's script and Garai's portrayal convey that Eleanor spies the contrast between her rhetoric and her behaviour. Alas, the answer is as simple as it always is, and treated as such: her love for her dad, for the fellow Marxist activist she tried to spend her life with, and for everyone else she lends her time to. Out of them all, only her young nephew Jean (debutant Célestin Ryelandt) seems to understand her, proving accommodating about her need to travel, research, spread the word and follow her work. As Eleanor, Garai gives a deeply committed and thoughtful performance that makes viewers wish that the movie itself matched her, mirroring the same sentiments that Miss Marx's punk soundtrack inspires. She's the spark that keeps the romantic and domestic dramas as alight as they can be, and the politics-heavy sections of the film that explore her ideas and deeds as well — whether Eleanor is opening by farewelling Karl with her words ("he died in harness, his intellect untouched," she shares), arguing with Edward as they perform The Wild Duck or weathering the fallout from her unhappy relationship. In a feature that's always handsomely shot, far less engaging is the subplot involving the relationships surrounding Friedrich Engels (John Gordon Sinclair, Traces), her father's The Communist Manifesto co-author. It helps add extra strokes to the overall portrait of how women and family members around lauded men are treated, but it too is a stock-standard inclusion in a movie that openly pines to be otherwise. RUBY'S CHOICE When The Father tackled dementia, it won Anthony Hopkins an Oscar. When Still Alice had Julianne Moore grapple with early-onset Alzheimer's disease, it earned her an Academy Award, too. Led by Live and Let Die and Dr Quinn, Medicine Woman star Jane Seymour, Ruby's Choice follows in their footsteps thematically; however, it won't nab its lead actor the same shiny trophy. The Australian drama's high-profile star turns in a committed performance as the movie's eponymous figure, whose memory has begun to recede without anyone realising, but it's also a portrayal that ticks every expected box. The feature she's in garners the same description as well; getting a famous face to explore an illness on-screen is a formula that spreads well beyond on-screen depictions of neurodegenerative conditions, of course, but Ruby's Choice sticks to a template that's been trotted out so many times that it'll always be recognisable. Following Ruby and her family as they wade through the consequences of her faltering mental faculties, this is also a film designed to raise attention, with 50 percent of its profits set to be donated to dementia research. Clearly, it champions a worthy and important cause, and also takes the job of conveying the experience of both suffering from dementia and having a loved one afflicted with it as seriously as it can. But unlike The Father and Still Alice, Ruby's Choice peers on rather than plunges in. It presents how dementia looks from the outside rather than diving deep enough to express how it truly feels. It still makes it plain that this is a condition no one wants, and that dealing with it is immensely difficult — and, in its on-screen postscript about donating funds, that more cash for more research is needed — but it's a case of telling far more than showing. The titular Ruby (Seymour, The War with Grandpa) has spent five years living alone since the death of her husband and, attitude-wise, remains fiercely independent — but she also thinks that her deceased partner is just perennially away on a business trip. Her daughter Sharon (Jacqueline McKenzie, Malignant) plays along with the pretence because it is kinder than seeing her mum mourn her dad anew again and again, and also thinks it's harmless. Then Ruby forgets that she's driven her car to the library, starts a fire at home after forgetting she's cooking lamb chops and, after temporarily moving in with Sharon, her husband Doug (Stephen Hunter, The Tourist) and teenage daughter Tash (Coco Jack Gillies, Mad Max: Fury Road), forgets what she's doing several times over when left in charge of feeding pets and other household tasks for a day. Soon, Ruby's family can't deny that she needs help, but doing what's best — caring for her 24/7, contemplating whether finding a nursing facility is the better solution and affording either option — is hardly straightforward. From Never Too Late and June Again to A Stitch in Time and now Ruby's Choice, Australian cinema has turned its attention towards ageing protagonists and the reality that comes with their advancing years with frequency of late. And, excluding the first flick on that list, it has done so with sensitivity. Director Michael Budd (Life of the Party) and screenwriters Paul Mahoney (Mainland Tonight) and Ellen Shanley (a feature first-timer) are compassionate here, but also schematic. Layering on complications — including the arrival of Doug's brother Ken (Brendan Donoghue, June Again) and his teen son Ned (Rory Porter, The Dressmaker), fresh from their own troubles at home; issues with Tash, Ned and bullies at school; and family secrets let slip as Ruby increasingly thinks she's stepped back decades — they too bluntly try to tug harder at heartstrings that are already given a workout. Ruby's Choice still tackles an important subject with empathy, but also with as much force and formula as care. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3, February 10, February 17 and February 24. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive and Studio 666.
When word arrived in 2021 that Australia was getting a new European-focused film festival, it couldn't have been better news for movie lovers. Europa! Europa is all about showcasing flicks from across the whole continent, so you can see the latest and greatest titles from France, Spain, Italy, Romania and more all at the one event — and, ahead of its February debut in Sydney and Melbourne, the fest has just revealed its full inaugural 2022 program. In total, 43 features from 42 countries will grace the festival's screens during its runs in both capitals, which'll kick off on Friday, February 4 and play through until Sunday, February 27 — at Sydney's Ritz Cinemas in Randwick, and Melbourne's Classic Cinemas in Elsternwick and Lido Cinemas in Hawthorn. If you can't wait till the nation's country-specific fests arrive later in the year, such as the standalone French and Italian events, or until Sydney Film Festival and the Melbourne International Film Festival roll around for 2022, there's plenty to tempt you into a darkened theatre this summer. Opening the lineup is The Souvenir Part II, sequel to 2019's exceptional The Souvenir — which means that Europa! Europa is launching with the new team-up between rising star Honor Swinton Byrne and her mother Tilda Swinton. The follow-up picks up where the first movie left off, with Swinton Byrne's aspiring filmmaker attempting to cope with the tragic events of the last flick, all while she shoots her next project. Once again directed by British helmer Joanna Hogg, it'll start the festival in sublime form. (And if you're keen to see the original, it's on the bill as well.) Also bookending the fest: closing night's France from inimitable writer/director Bruno Dumont (Joan of Arc, P'tit Quinquin). A satire of the media industry, it stars No Time to Die and The French Dispatch's Léa Seydoux as a journalist forced to navigate the aftermath of injuring a pedestrian in a traffic accident. Other standouts include 13 films that were submitted as their country's entries for this year's Best International Feature Film Oscar, such as Bosnia and Herzegovina's social-realist fairytale The White Fortress and North Macedonia's Sisterhood, which is about toxic friendships — and a number of titles that wowed last year's Cannes Film Festivals, like Norwegian supernatural thriller The Innocents and the Before Sunrise-esque train-set love story Compartment No 6. Or, there's also Andrea Arnold's (American Honey) Cow, aka the most gripping and moving documentary portrait of a dairy cow's life that you're ever likely to see; Earwig, the English-language debut of acclaimed French director Lucile Hadžihalilovic (Innocence, Evolution); Vortex, which sees Climax filmmaker Gaspar Noé swap his usual wild fare for an Amour-style look at ageing; and No Fucks Given, starring Blue Is the Warmest Colour's Adèle Exarchopoulos as a flight attendant for a low-cost airline. And yes, if you've spotted more than a few high-profile European directors mentioned above, that's because highlighting the best filmmakers the continent has is also one of Europa! Europa's big aims. Europa! Europa will screen in Sydney and Melbourne between Friday, February 4–Sunday, February 27. For more information or to buy tickets, head to the festival's website.
Multi-sensory art gallery The Lume is currently showcasing the works of Monet and his French impressionist contemporaries via an immersive display of room-sized moving images, aromas and sounds. But head along to one of the new bi-weekly yoga sessions and you'll get to see the venue in a whole new light (and from a few new angles, too). Running Wednesday evenings (7pm) and Sunday mornings (8am) in conjunction with Happy Melon Studios, the 50-minute guided yoga classes will have you getting centred and zen as immersive large-scale visuals wash over you. The experience for each class will be designed around a different theme (such as Space and Underwater) and will feature corresponding imagery and matching soundscapes. The Lume has released a series of class dates for February, March and April, with more to be added. Just note you'll need to bring your own yoga mat and water bottle.
2023 has already gifted Melbourne with a slew of new hotel openings, from boutique inner-city stays to coastal retreats full of sunny charm. And now it has also spawned a reimagining of an old favourite, as Little Bourke Street hotel Laneways by Ovolo reopens following an extensive makeover. First launched in 2013 as Ovolo's first Australian property, the CBD stay is now sporting an entirely new look, with its latest incarnation driven by acclaimed designers Luchetti Krelle and inspired by the bold 80s aesthetic of Memphis Group. Striking patterns, graphic elements and heady pops of colour abound. Kitted out in a vibrant nod to Melbourne's famed laneway culture, the 42-room hotel welcomes guests via a playful new-look lobby complete with reception pods, and an honour-system bar stocked with snacks, wine and bottled cocktails The rooms pack just as much of a visual punch, with retro-inspired furnishings and colourful accents aplenty. Ovolo will shout your first round of goodies from the in-room mini bar, brekkie is available to go and there's even a self-service laundry option. Then, there's Room 303 — an exclusive suite featuring the stylings of design guru Neale Whitaker. He's transformed his favourite room with a curation of furniture, knick-knacks and original artwork, including an abstract piece by Melbourne-based artist Nunzio Miano. Book this suite and you'll also enjoy a Spotify playlist filled with Whitaker's personal favourites. When it's time for a tipple or a feed, you'll find yourself a haven in onsite bar and restaurant Amphlett House. With an offering steered by renowned chef Ian Curley (co-owner of French Saloon and Kirk's Wine Bar), the 120-seater is dishing up share-friendly snacks and a refreshed take on pub fare. Expect plates like grilled asparagus with egg 'confetti', pangrattato and hollandaise; smoked bone marrow on toast; aioli mussels; steak paired with kampot peppercorn sauce; and seared beef heart served with lentils and creamed spinach. Match it with something from the natives-heavy cocktail list, including the likes of a wattleseed negroni and a eucalyptus-smoked margarita. Find the new-look Laneways by Ovolo Melbourne and Amphlett House at 19 Little Bourke Street, Melbourne. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
We might not have a harbour like our mates up north, but we do have a Yarra River dotted with its fair share of breezy riverside venues. And that collection of waterfront haunts is about to get a little bigger, when new pontoon bar and eatery Yarra Botanica opens its doors in March. Yes folks, Melbourne's set to score another floating bar — and we don't even have to wait until the start of another summer to enjoy it. The work of Australian Venue Co (Fargo & Co, State of Grace, Kewpie, College Lawn Hotel), Yarra Botanica will make its home at Southbank from early spring, delivering a year-round, all-weather food and drink destination where Victorian produce reigns supreme. [caption id="attachment_840167" align="alignnone" width="1920"] Sandridge Bridge, Dietmar Rabich via Wikimedia Commons[/caption] As the name suggests, the two-level venue is working to a strong botanical theme, lush with native plants and Indigenous aquatic vegetation, and consciously designed to have minimal impact on the surrounding environment. Onboard, you'll find planter boxes, climbing vines, herb gardens and plenty of edible plants destined for the drinks menu. What's more, only Victorian drops will appear on that list of libations, with the bar committed to pouring exclusively homegrown sips in strong support of the Drinks Victoria program. The extensive lineup is set to showcase plenty of gin — garnished with botanicals from the onsite herb gardens, if you fancy — along with a hefty spread of cocktails, beer, wine and spirits. The matching food offering will feature mostly Victorian produce, with the seasonal menu running to pub-style snacks, share plates and wood-fired pizzas. Expect a focus on fresh local seafood, too. The space itself is a multifaceted one, decked out with group-friendly booths, day beds and sprawling market umbrellas, with an array of comfy spots for kicking back to enjoy the waterfront views. And as for the entertainment, there's a whole stack of goodies to come, including DJs, live tunes and boozy brunch sessions. Yarra Botanica will launch on the river at Sandridge Bridge, Southbank, from March 16. We'll share more details as they drop. Top Image: A render of Yarra Botanica
The makers of Melbourne's most decadent vegan cupcakes are about to cut the ribbon on their first permanent location. From November 4, Baking Bad Vegan Bakehouse will be doing a regular trade at Prahran Market Friday to Sunday each week, providing sugar fiends with a one stop shop for all their cruelty free treats. Just remember… vegan isn't necessarily the same as healthy. Previously restricted to online sales, pop-ups and special events, Baking Bad's permanent digs will mean more cupcakes, more often. Cupcakes like the Red Riding Hood, which combines a red velvet cake with cream cheese frosting and edible glitter; the Orange Is the New Chocolate, a chocolate cake smothered in Jaffa buttercream and chocolate sauce; and the Let's All Go to the Lobby, a chocolate cake with buttered popcorn frosting and salted popcorn on top. Alternatively, you could get the aptly named Nutella Donut, which is a chocolate cupcake with Nutella buttercream, garnished with a chocolate doughnut. Or is it a chocolate doughnut supported by a cupcake? Point is, it'll probably kill you, but at least you'll die with a smile on your face. Or if you're feeling truly absurd, why not try their Hamburgulars, which consist of a chocolate mud patty and fondant sandwiched between a vanilla cupcake bun. When you can't decide which flavour to get, just get one of each! Thanks for an awesome morning at the Thinkers and Makers market, Melbourne! If you missed out, don't fret... Our next stall will be at The St Kilda Esplanade market on October 16th, or you can order online at www.baking-bad.com.au 😊😍 #vegan #melbourne #chocolate #chocolatecake #mudcake #melbournefoodie #dairyfree #crueltyfree #bestofvegan #melbournevegan #baking #cakes #noveltycake #veganfood #foodporn #veganfoodshare #vegans #whatveganseat #veganlife #vegansofig #vegangirl #vegandessert #vegancommunity #vegansofinstagram #omgyum #veganeats #veganfoodie #vegantreats #veganfoodlovers #veganinmelbourne A photo posted by Baking Bad Vegan Bakehouse (@bakingbadveganbakehouse) on Sep 23, 2016 at 8:24pm PDT And it's not just cupcakes, although those are their specialty. Breaking Bad also do full size cakes, as well as macaroons, cookies, cinnamon scrolls and all manner of other tasty, tooth-rotting creations. The best thing is, you don't have to feel (entirely) guilty about stuffing your face, since a minimum of 10 percent of all sales made by Baking Bad is donated to various animal welfare charities, with a new beneficiary chosen every month. Baking Bad will operate at Prahran Market from 11.30am to 5pm on Fridays, 9am to 5pm Saturdays and 10am to 3pm Sundays. And if you can't be stuffed walking your cupcake-loving bum down to Prahran, don't stress — you can still order their frosted wares online, or through UberEats. For more information follow Baking Bad on Facebook and Instagram, or visit them at www.baking-bad.com.au.
