Miranda July is on her way to Melbourne. The acclaimed writer, filmmaker, actor, artist and entrepreneur will speak at Melbourne Town Hall on Monday, March 7 about her eclectic body of work. And to celebrate, ACMI are screening her critically acclaimed dramatic comedy The Future, alongside her short film Getting Stronger Every Day. Originally released in 2011, The Future is July's second feature film, and follows a 30-something couple (played by July and Hamish Linklater) whose decision to adopt a wounded cat (voiced by July) triggers an existential crisis of epic proportions. Whimsical and affecting, the film is a must for anyone who likes their movies a little out of the ordinary. ACMI will screen the film twice, at 7pm on Friday, February 26 and 5pm on Saturday, March 5.
“Can you play 'Drunk in Love'?” is the question that keeps hounding 23-year-old Cole Carter (Zac Efron) when he DJs at nightclubs and parties. Sometimes he says no, and sometimes he finds a way to politely sidestep the request, but he's never really pleased about being asked. That obvious unhappiness stems from his main aim — not just to make it big doing what he loves but to do so with authenticity. Pressing play on the hot song of the moment isn't what he's into. Instead, Cole believes that he can have an impact on more than people's feet, and that all he needs is a laptop, some talent and one new track that resonates on the dance floor to see his dreams become a reality. With his fellow San Fernando Valley-dwelling friends Mason (Jonny Weston), Ollie (Shiloh Fernandez) and Squirrel (Alex Shaffer), he promotes parties, scrounges for gigs and tries to do just that. Working for a shady real estate mogul (Jon Bernthal) helps him make cash to keep afloat. Becoming friends with one of his idols, James (Wes Bentley), also assists in moving him in the right direction; however, falling for James's assistant and girlfriend, Sophie (Emily Ratajkowski), doesn't. Every generation — or every couple of years, really — a film comes along that makes an effort to reflect the teenage and twenty-something lifestyles of the day, touch upon their hopes and aspirations, and wrap it all into a heavily stylised, soundtrack-focused party movie. Prominently featuring the 2006 Justice vs Simian song that gives the feature its title, We Are Your Friends is the latest formulaic attempt, though it is founded upon good intentions. Mia Hansen-Love’s similarly themed Eden from earlier this year aside, a film about the electronic dance music scene might seem an unlikely candidate to provide a soul-searching look at forging a creative career and remaining true to yourself in the process, but that's what Catfish TV series co-host and cameraman turned first-time feature writer/director Max Joseph, with co-scribe Meaghan Oppenheimer, endeavour to do. Cole's struggle to find his sound and his way feels genuine, even if everything around it — distancing himself from his mates, the romantic subplot, a crisis of conscience and the incursion of tragedy — feels much too calculated and convenient in following the typical coming-of-age format. Efron, still toiling valiantly to parlay his High School Musical fame into meaty film roles, also comes across as earnest in an effort that is sleek and superficial otherwise. The underrated actor might always look the stereotypical part, complete with headphones hanging around his neck and the requisite shirtless scene, but he's the force that makes the story matter without ever really seeming like he's trying to. Alas, he is stranded in an overly flashy music video aesthetic that grates against any real sentiments the film attempts to conjure — large text on screen, an overuse of slow motion and ample shots of pretty young things included. Indeed, the disconnect between the film's emotion and its method of delivery just can't be shaken, nor can its template, even if the pulsating beat tries to offer a distraction.
The Czech and Slovak Film Festival is heading back to ACMI, ushering in ten straight days of central European cinema that you can't see anywhere else. Now in their third straight year, the CaSFFA team have once again split their program between recent releases and classic older films — including one silent gem that's close to 100 years old. Simply put: if you're looking to sure up your film buff credentials, then this is the festival for you. Modern highlights include '80s-set sports drama Fair Play, fantasy musical Three Brothers and hard-hitting Czech/French co-production The Way Out. Those looking for a more retro experience, meanwhile, can check out any one of four feature films by influential director and animator Karel Zeman, whose work also provides the inspiration for the festival's Spirit of Adventure art exhibition. Alternatively, you can catch 1919's The Cathedral Builder at Melbourne Town Hall, complete with a live score performed on the historic Grand Organ, the largest instrument of its kind anywhere in the Southern Hemisphere. For the full CaSFFA program, visit the festival website.
Throw on your tattered old Union Jack coat and get down to Federation Square. Hosted by the diamond dogs at ACMI, Total Bowie is a weekend-long festival inspired by the music and style of the genre-defying Rock and Roll Hall of Famer, and the latest event in Melbourne's ongoing Bowie obsession. Expect talks, performances and Labyrinth back on the big screen. And make sure you come in costume, because there will be prizes for best dressed. Musical guests on the Total Bowie program include rock cabaret performer Geraldine Quinn, DJ Mz Rizk, and Bowie inspired ukulele trio The Thin White Ukes. In between performances you can catch talks from the likes of pop-culture journalist Mel Campbell and ACMI curator Fiona Trigg, or get your face painted like Ziggy Stardust. And if you haven't already, you'll want to spend a good few hours in the David Bowie is exhibition downstairs. We've been three times already, and it does not get old.
Have you heard all the buzz around the new show at North Melbourne Town Hall? Frankly, it seems kind of hard to ignore. Presented by Arts House, this live musical performance asks us to consider our relationship with the natural world, combining the talents of composer Martin Friedel, a trio of pianists and the vocalists from the Astra Choir. But they'll all likely be overshadowed by the true stars of the production: a gigantic swarm of honey bees. The insect ensemble will be enclosed within a giant glass hive, with their every movement projected via video. Their buzzing should provide a unique aural backdrop for the music of their human collaborators, which will range from "soundscapes to intense virtuosic arrangements, punctuated by semi-improvised sonic excursions". It's on for three nights only, so grab your tickets quick – otherwise you'll end up feeling stung.
When Chinese restaurant Lee Ho Fook made the move from Collingwood to the CBD last month, there was suddenly a vacancy at their original location on Smith Street. Next year the old owners will reopen the site as Goldfish, a new casual dining endeavour overseen by head chef Victor Liong. Until then, the space has been handed to a pair of award-winning sommeliers, who have transformed it into an impressive looking pop-up wine bar. Hey, it sure beats an empty storefront. Fittingly christened Semi-Permanent at 92 Smith (no relation to the design conference), the temporary venture begun trading yesterday and is expected to occupy the site until Christmas Eve. Running the show are Liz Carey and Paul Guiney, previously of MoVida and The Town Mouse, respectively. Customers can expect a large, rotating wine list, with Carey telling Gourmet Traveller the selection would be "constantly changing, international, accessible ... wine from people who make really good booze, and wine that likes food." They'll also be serving sake, because why not? Food will be handled by chef Tanya Bertino, who Carey and Guiney recruited from the Gem in nearby Wellington Street. The focus will be on simple, rustic food that compliments the wine, such as terrines, rillettes, cheeses and sliced meats. They'll also welcome a number of guest chefs for special pop-up dinners, including O Tama Carey in October and Christine Manfield in December. Once they shut up shop to make way for Goldfish, Carey and Guiney hope to find a permanent home for the wine-bar — although presumably at that point they'll have to change the name. For trading hours visit their website. Via Gourmet Traveller and Good Food.
The AICE Israeli Film Festival is back for 2015, showcasing a selection of features, documentaries and shorts from some of the region's leading filmmakers. Curated by incoming festival director Richard Moore, previously of the Brisbane and Melbourne International Film Festivals, this year's program is split into six distinctive sections, each of which aims to explore a different facet of Israeli cinema. 'Blast from the Past' showcases titles from years gone by, while 'Queer Spot' includes films that reflect the experiences of Israel's LGBT community. 'Culture Corner' contains films that concern Israeli culture more broadly, across mediums such as theatre, music and poetry. 'Questions of Faith' features films with a religious angle; 'First Course' showcases the best of the festival's short film program; while 'On The Edge' is reserved for the most hard-hitting stories, including those that deal with hot-button political issues facing the Israeli people today.
David O. Russell clearly knows when he's onto a good thing. Over the last few years, the writer/director has found a formula that works and it seems like he's sticking with it. He casts actors Jennifer Lawrence, Bradley Cooper and Robert De Niro, tells stories of ordinary folks trying to escape dysfunction and chase better lives; and adopts a tone that shifts between harsh reality and fairytale. First Silver Linings Playbook. Then American Hustle. Now, his latest effort, Joy. This time around, Russell offers up a fictionalised account of the rise of a real-life home shopping network star. In the early 1990s, Joy Mangano (Lawrence) was a Long Island divorcee coping with caring for her two young children while living in a house with her daytime TV-loving mother (Virginia Madsen), ailing grandmother (Diane Ladd), singer ex-husband (Edgar Ramirez) and thrice-married father (De Niro). Then, while cleaning up spilled wine, she came up with the idea for the first-ever self-wringing mop. Enter an Italian investor (Isabella Rossellini), and, eventually, a television executive (Cooper). Yes, Joy is a rags-to-riches tale of a battler trying to improve herself and her situation; however it's also something more. It wrestles Russell's current patterns and preferences into a canny character study, watching on as a woman fights for agency and control, despite constantly being told that she should take care of others and reign in her go-getting ways. Weaving in surreal soap opera segments — and at its best when it's following its protagonist on the small screen or in the studio — the film becomes an astute and engaging dissection of the power of selling a fantasy. Of course, the latter works so well because that's exactly what the movie does, with Joy's success never in doubt (the film notes at the outset that it's inspired by stories of brave women, including one in particular). Indeed, Joy sells its namesake's journey from domestic unhappiness to business domination by making everything seem equally authentic and fanciful. The movie casts a dream-like sheen over crumbling interiors, proceeds at a lively pace through tough moments, and favours an upbeat soundtrack, all to create a purposefully wavering mood. In doing so, it manages to remain sincere, not satirical. That's where Lawrence proves pivotal too. When the going gets tough, she's determined rather than defeated; when everything appears to be coming together, she never patches over Joy's struggles. Her co-stars mightn't all fare as well, particularly De Niro's disapproving dad. Still, Madsen and Rossellini have their comic moments, and Ramirez and Cooper benefit from less chaotic roles. Besides, such a mix of performances feels fitting. Joy pairs a filmmaker's usual tricks and tendencies with a mostly-true tale of tenacity, serving up amusement and insight in the process.
You'll be stocking up on soundtracks after Projections of Dance, a new late night film program at the Astor Theatre in St Kilda. Presented by alternative dance music media collective 6am at the Garage, the inaugural calendar features a trio of titles that chart the history and influence of electronic dance music. Screenings take place on select Tuesday evenings, beginning on October 20 with Berlin Calling, about a Berlin DJ, played by musician Paul Kalkbrenner, who is institutionalised for drug abuse. Next up on November 24 comes Shut Up and Play the Hits, the acclaimed documentary about the final days of LCD Soundsystem. Finally on December 15, Mia Hansen-Love's Eden chronicles the rise and fall of a pioneering DJ over a twenty year period against the backdrop of the exploding house movement in France. All three screenings will be preceded by sets from local DJs — and naturally, the Astor Bar will be open all night. https://www.youtube.com/watch?v=drdf8OeBUUM
Two words immediately spring to mind while taking a detour through Learning to Drive: modest pleasures. They’re what the film's characters seek, whether they're sitting behind the wheel or walking along the footpath. They’re what the amiable, affectionate and earnest movie does as well. A later-in-life attempt to hit the road gets the feature gently motoring along, with Wendy (Patricia Clarkson) the initially unlicensed party in question. The Manhattan-dwelling literary critic hadn’t previously had a reason to join the commuting masses; however, separating from her adulterous husband (Jake Weber) and seeking to visit her college-age daughter (Grace Gummer) inspires her to reassess her priorities — you're never too late to try something new, and all that. Enter the kindly Darwan (Ben Kingsley), an Indian Sikh working as both a taxi driver and a driving instructor. He has his own personal problems, including his desire for matrimonial happiness with his arranged bride (Sarita Choudhury), as well his efforts to avoid the prejudice that follows his every move. Of course, he's also the wise teacher Wendy needs, even if she doesn't yet know it. That this odd couple will cross paths isn’t a surprise in this introspective effort, nor is the friendship that reluctantly but eventually springs. Wendy and Darwan find commonality despite their differences, learn some obvious life lessons from each other and gain an appreciation of the little things that make their days worth enduring. In fact, everything about Learning to Drive screams standard — and yet it's warm, sweet but never too saccharine too. Director Isabel Coixet, who has worked with both her leads before on the 2008 film Elegy, enjoys spending time in predictable yet thoughtful territory while contemplating well-fleshed-out characters. There's a reason she has enlisted Clarkson and Kingsley again for this task, as based on an autobiographical New Yorker article by essayist Katha Pollitt. As often proves the case in most things either pops up in (witness this year's Maze Runner: The Scorch Trials and Self/Less, for example), they're a pleasure to watch. The former is gifted a role with more shades of complexity than the latter, but both offer rounded portrayals that span well beyond their alternatingly tentative and playful banter. Though plenty of their dialogue serves up road references that cheesily double as nuggets of general life advice — reading the signs, taking in everything around you, and so on — their performances help brighten up a film that's largely confined within a car (and as visually constrained as that sounds). The scenery isn't the point, but the people looking at it. Yes, that's just another of Learning to Drive's modest pleasures.
Dance combines with visual art in the latest work from the troupe at Chunky Move. Premiering this week, Miss Universal is the latest entry in the company's annual Next Move series, which is designed to showcase brand new works by young Australian dancemakers. In this instance, the dancemaker in question is Atlanta Eke, who has teamed up with artist Claire Lambe for a work that questions notions of universality within contemporary social structures. Running from December 3-12 at Chunky Move Studios in Southbank, Miss Universal will see Atlanta joined by a trio of dancers who will journey "through a landscape of images, sculpture and transformative material". In addition to Lambe, collaborators include composer Daniel Jenatsch, who previously worked with Eke on her earlier Chunky Move piece The Fountain.
They've hosted phony wedding receptions and wartime soirees. Now the anonymous folk behind immersive theatre outfit The Boon Companions are inviting you to participate in their most intriguing performance work yet. Bafflingly described as "the world's first allergy tested, dermatologist-driven laboratory designed specifically to help you process your particular regret and move on", The Clinic of Regrets is a walkthrough installation that might just change your entire outlook on life. Setting up shop for one night only on the upper level of Northcote Town Hall, tickets to The Clinic of Regrets cost $10 a head, and are sold in time-specific groupings. The walkthrough should take around 20 minutes to complete — although that may depend on how much baggage you bring with you. There'll also be a cash-only bar for punters in need of a drink.
The I OH YOU parties are notorious for being absolutely killer – in a good way. Remember the time they hosted their Melbourne Music Week event in an old train station? For this year's festival, ARIA award-winning, indie thrash rockers DZ Deathrays are headlining the party, with performances by New War and Darts to get you going. There'll also be DJ sets by Goldfields, DJ Tranter and the I OH YOU DJs to make sure you get your groove thang well and truly on. As well as being consistently awesome, the I OH YOU parties tend to sell out pretty quickly during MMW, so it's amazing there are still some tickets left. Get onto this quick sticks.
If Malala Yousafzai's name sounds familiar, that's because she hasn't strayed far from the headlines in recent years. The Pakistani teenager turned best-selling author dared to speak out about life under Taliban rule, and to campaign for something they oppose: the education of women. In 2012, she was shot in the head aboard her school bus. However an assassination attempt didn't dampen her drive, and in 2014 she became the youngest-ever winner of the Nobel Peace Prize. Filmed over an 18-month period and featuring interviews with Malala and her family, as well as a routine assembly of media clips, recreations and animation, He Named Me Malala tells her story. As even a brief run-through of her life and achievements indicate, hers is quite the tale. Malala hasn't just triumphed over adversity; she has refused to be terrorised into abandoning her ideals, and turned a traumatic experience into a platform for advocacy. Alas, in the hands of An Inconvenient Truth director Davis Guggenheim, an extraordinary person inspires a merely average film . His feature finds its power in its subject, whose status and strong beliefs always remain evident. Yet even though the movie tries to peer behind everything that has already been reported, attempting to get to know Malala as a person rather than a symbol, the portrait it paints stays in standard biographical doc territory. Accordingly, He Named Me Malala seesaws from the somewhat illuminating to the already known and oft repeated (even within the documentary itself). Much is made of her father's influence over her determined mindset and her love of learning — but while behind this impassioned crusader stands a parent who has nurtured and encouraged her, Malala is, of course, the real point of interest. She charms as much with her confident speeches to the United Nations as she does when she's explaining why she can't just go on a date. Those charms only grow over the film's 88 minutes — again, through her presence, energy and focus, rather than through Guggenheim's filmmaking skills. He recognises the need to keep her front and centre, yet his film also plays it safe, keeping its distance and never wavering from its adoring position. And as much as the documentary might aim to show the real Malala, the most candid it ever gets is in glimpsing her looking at pictures of attractive male sportsmen. As a result, as a fleshed-out account of a remarkable young woman, He Named Me Malala feels like it barely scratches the surface. As a functional portrait of a crucial campaign and its self-appointed spokeswoman, it fares better. Either way, one thing is certain: this won't be the last time Malala's accomplishments are memorialised and celebrated on film.
Rapper, songwriter, and arguably one of music’s most notable controversy magnets, Azealia Banks, is on her way back to Australia for Splendour. Banks's long awaited album, Broke with Expensive Taste, was finally released last year and had many agreeing that it was worth the wait. When Banks charged into house parties worldwide with ‘212’ in 2011 it was clear that this was a force to be reckoned with — everyone loves a killer beat and the chance to yell expletives. She's continued her warpath with ‘Van Vogue’, ‘Ice Princess’ and ‘Yung Rapunxel’ Unfortunately, Banks has been known to cut her sets short (a few times now) during shows in Australia, so we have our fingers and toes crossed that history doesn’t repeat itself. We say take the plunge and grab a ticket, there’s a damn good chance she’s going to blow the roof off.
English art-rockers Everything Everything will be one of the most unpredictable Splendour sideshows you see this year, with their eclectic, off-the-wall repertoire and epic live set. The foursome has released three albums to date including Man Alive in 2010, Arc in 2013, and Get To Heaven in 2015, all of which have been met with riotous applause from critics and fans alike. Their latest single ‘Distant Past’ encapsulates everything you already know and love about the band; lead singer Jonathan Higgs’ vocals flying at breakneck speed to falsetto, paired with fast, fast percussion. Get your mates together, warm up those vocal chords and work on some tongue twisters if you plan on singing along, ‘Kemosabe’ and ‘Cough Cough’ beckon your assistance.
Melbourne's one-to-watch designers will be hawking their wares this Sunday, June 21, at the latest edition of the much-loved Melbourne Design Market. Launching into its second decade, this twice-yearly showcase of intelligent design is the perfect destination for savvy shoppers, or anyone just looking to drop some hard-earned cash. Hosted once again in the Federation Square carpark, this year’s market will welcome a wide variety of local merchants selling everything from clothing and fashions accessories to high-end stationery and furniture. We’ve got our eye on some of the winter woollens by Wendy Voon, along with maybe a new customisable Moodit watch. But with a total of 50 stallholders, it looks like we may be spoiled for choice. On the off chance that you have any money left over after your shopping spree, there’ll be fair trade coffee for sale, along with food from some of Melbourne’s favourite food trucks. For more information including updates on stallholders, head on over to Facebook. Image: Wendy Voon.
"When you've got it, flaunt it," the song goes — and when it comes to Australian movies, filmmakers have taken that advice. What they've got is a stunning outback setting, and they certainly know how to show it off. The latest example: Strangerland. A tale about missing children, arguing parents and the many factors that have caused both states of affairs, Strangerland has plenty of other things going for it. There's the high-profile cast of Nicole Kidman, Joseph Fiennes and Hugo Weaving, for one. There's the simmering mood of melodrama, for another. There's never any doubt, however, that this is a movie defined by its location. The Parker family — pharmacist Matthew (Fiennes), his wife Catherine (Kidman), teenager daughter Lily (Maddison Brown) and younger son Tom (Nicholas Hamilton) — has moved to the country town of Nathgari, laying low and hiding from past troubles. It's the kind of place where the locals know each other by name, and where there's little to do but complain about the heat, which the newcomers do plenty. It's also the kind of place where kids wander and adults wonder, as happens when Lily and Tom disappear into the night, leaving Matthew and Catherine looking for answers. A determined cop (Weaving) investigates the case, his detective work uncovering family surprises, marital tensions and deep-seeded disharmony, while a dust storm complicates his search. A remote town turned ugly and a scenic setting brimming with complexity fuel Strangerland, recalling the likes of Wake in Fright, Picnic at Hanging Rock and Mystery Road. They're comparisons first-time feature director Kim Farrant seems happy to conjure, leaning heavily on the oppressive nature of the landscape as she does. Her film lingers, both lovingly and a little too long, on aerial shots of the rock, dirt and scrub, making the harshness of the Australian desert evident. In fact, postcard-worthy pictures of the nation's interior receive almost as much screen time as the actors. That's not to say that the cast doesn't have much to do, just that they're often dwarfed by their background — and that rings true not just visually but in the story. Kidman carries the weight of past tensions in her performance, one of her best of late, as a woman trapped on several levels. In contrast, Fiennes doesn't fare as well at expressing his character's inner turmoil, leaving his on-screen wife the star of the show. The third point in their tussle, the ever-welcome Weaving, makes the best of a stock-standard part. Indeed, stock-standard describes the majority of Strangerland as it sticks to the 'atmospheric Australian drama' playbook. What sets the movie apart from other efforts, however, is its refreshing consideration of female sexuality — a rarity in films of this and other ilk. It seems that the women at the feature's core have also heeded guidance about flaunting what they've got, their desire and desperation proving gripping viewing. Strangerland is at its most powerful when contrasting Lily's blossoming youth with Catherine's need to connect, and coping with the crises that spring from both. The space between the two is the real mystery unfolding in the outback.
Pain and grief can convince a person of almost anything — and there are few pains more agonising than that of a parent grieving for their child. So when a young man arrives at the home of Mel and Leo, they want desperately to believe him when he claims he’s their long lost son. Perhaps it’s the miracle they’ve been hoping for. Or perhaps it’s something far more sinister. Presented by 15 Minutes From Anywhere, Cuckoo may be named after a famously murderous brood parasite who lays its eggs in the nests of other birds, but you don’t need to know much about ornithology to know that something isn’t quite right. Described by director Alice Bishop as a play that resists categorisation, Jane Miller’s script sets out to explore our capacity for self-delusion, combining a deep sense of compassion with a wicked sense of humour. To find out any more, you’ll need to see it for yourself. Cuckoo will be performed at fortyfivedownstairs July 8 -26. For more information, head over here.
A great story doesn't always make for a great movie, even if it is true. Sometimes the real-life details just don't work on the screen. Sometimes it’s the outcome that fascinates, rather than the build up. Though Woman in Gold tells of a battle to reclaim artwork stolen by the Nazis, pitting an elderly Jewish woman and her inexperienced lawyer against the Austrian government, it's the latest example of a tale that doesn't quite engage in film form. That the feature doesn't seem to know which part of the story it wants to focus on is part of the problem. That it relies on heavily tugging at heartstrings, movie-of-the-week-style, doesn't help either. After her sister's death in 1998, and after six decades living in America following the Second World War, Maria Altmann (Helen Mirren) is motivated to reclaim her family's history. Pining for a famed portrait of her aunt that hangs in a Vienna gallery, she enlists the services of Randol Schoenberg (Ryan Reynolds) to help convince her homeland to give it back. Given that the picture is considered the Mona Lisa of Austria, they're not willing to part with it easily. Those suffering from a bit of deja vu are probably thinking back to The Monuments Men, which also delved into war-time art theft, or Philomena, which also sent an older lady on a soul-searching, truth-uncovering trip with a younger male companion. Indeed, Woman in Gold might be based on reality, but it's really a compilation of every other similar effort, including underdog legal battles, melodramatic attempts to face the past, and period-set historical dramas. There's no subtlety to director Simon Curtis' approach, handsome as the feature might look and heartfelt as it might feel, or to writer Alexi Kaye Campbell's speech-heavy script. With that in mind, it shouldn't come as a surprise that the performances are just as blatant and transparent. The odd couple pairing of Mirren and Reynolds has its limits, and the dialogue they're saddled with doesn't give them much room to move. Both play their roles as stereotypes, although they do have more to do than Katie Holmes and Daniel Brühl, who pop up in thankless supporting parts. What results is a movie noble in its intentions, lush in its images and inspirational in its real-life basis, but decidedly dull in putting it all together. When the titular portrait is the most convincing part of the film, you know there are issues. Woman in Gold, the picture, might shine, but Woman in Gold, the movie, is a paint-by-numbers reproduction.
In October 2013, graffiti artist Banksy travelled to the United States for a month-long ‘residency’ on the streets of New York City. Every day for 31 days, the anonymous artist revealed a new work somewhere in the five boroughs, sending art lovers, journalists and local law enforcement into a frenzy. Produced for HBO, Chris Moukarbel’s documentary Banksy Does New York chronicles this city-wide scavenger hunt in a mostly engaging fashion, although it unfortunately lacks much of the sardonic energy of the artist whose work it follows. In some ways, you’ve got to feel sorry for Moukarbel and company, given that their film’s most obvious compatriot is Exit Through the Gift Shop. Directed by Banksy himself, that film has the distinction of being one of the best documentaries of the past decade — unique, funny, audacious and with a surprising amount to say about the nature of art, hype and commerce. Banksy Does New York, on the other hand, was made without the artist’s involvement, and as such plays like a much more conventional film. Not that there’s anything particularly wrong with that. Although the doco’s execution is a little by the numbers, Banksy still makes for a fascinating subject — as do the crowds of New Yorkers who flock to see his art. Pieces in his New York residency range from relatively simple stencilled graffiti to elaborate installations and performances. His most overtly political works include a fibreglass Ronald McDonald statue scowling at a real-life shoeshine boy and a truck full of wailing stuffed animals parked outside a city butcher. At times, you wish Moukarbel would engage more critically with the artwork, rather than simply documenting it for an audience. Various people interviewed in the film offer their opinions on the artistic and commercial value of Banksy’s work, from a pair of rabid fans who post their Banksy-hunting to YouTube to a writer for the New York Observer who dismisses it as “art that hits you over the head.” Yet the debate remains fairly surface level. For this reason, how much you like the movie will largely depend on how much you like the art. For the record, we like it quite a bit.
For those looking to spend some time admiring local and emerging artistic talent, head to Coalesence, Clara Bradley’s first solo exhibition. The textile practitioner mostly works with embroidery, creating detailed, delicate works that are so much more than something pretty to look at. By working with a medium traditionally synonymous with femininity, Bradley explores the struggle for autonomy within intimacy, identity and the preservation of memory. Bradley's embroidered pieces are coupled with hand-printed portraits that examine the multi-dimensions of self that surface during ‘amorous exchanges’. Bradley’s work is autobiographical, intimate and provides incredible insight into a life outside of our own. Explore her world sometime during the next two weeks at Rubicon Ari.
That's right, there's another beer festival in town. The Great Australasian Beer SpecTAPular is back for another year. There is, of course, a diverse range of craft beers paired with food from local Melbourne restaurants (including Uncle, Huxtaburger, Mr Claws, Meatmother, Milk the Cow and B’Stilla), but what makes this event different is the whopping 120 brews created specifically for the event by local and international brewers. "This year we have one-off beers being made including oysters, orange peel, coriander seeds, finger limes, peaches, cherries, truffles, chocolate, biscuits, split peas, pineapple, coconut, vodka and a beer which will taste like banoffee pie," GABS co-organiser Steve Jeffares says. The standard way to get through all this bounty is with a 'tasting paddle' of five tokens for $10. This will get you five 85ml tasters and 1/60th of the way through the beer offering at this spirited festival.
If you're currently watching the seventh season of RuPaul’s Drag Race and are filled with envy watching the show's fierce drag queens battle it out, never fear. Your time has come. So You Think You Can Drag? is the event for amateur drag queens and kings to strut their stuff on the runway and lip synch... for their lives. Brought to you by the good people at Highwire Events and Entertainment, get ready to start your engines. So far, the three finalists from heat one have been announced: Cleo Taurus, Lixor Brothers and D'arcy L'amour. Hosted by Dolly Diamond, the event is sure to be raucous, rambunctious, and seriously fun. There'll be a panel of all-star judges determining who will take home the title of Drag Winner, a prestigious title indeed. But it's all in good fun; the event is less about throwing shade at the other competitors and more about throwing shapes on stage. The only question remaining is, what are you serving?
Why do we search for answers to mysteries beyond our understanding? Why does everything that happens to us need a rational explanation? Why do we fear the things that we don't know how to explain? Well, leave your anxieties at the door and step into the unknown with comedian and documentary-maker Lawrence Leung. On Sunday, December 17, the man behind Lawrence Leung's Choose Your Own Adventure and Unbelievable will ponder our obsession with the unknowable in the latest secular sermon at The School of Life. Over the course of his hour-long seminar — which will be preceded by a performance by musical guest Dan Kelly — Leung will take audience members on a journey through critical thinking, delving into a maze of puzzles, tricks, hoaxes and lies. With a bit of luck, you'll have a better handle on how to separate facts from fiction by the time he's finished. Or, at the very least, you'll have come to accept that there are some things you just weren't meant to know.
Ask a comedy fan what they'd do if they could make any of their dreams come true, and they might well wish for a new movie with a Monty Python pedigree. Perhaps Terry Jones, who helmed Holy Grail, Life of Brian and The Meaning of Life could write and direct. Perhaps he could recruit the rest of the Python alum — aka Michael Palin, Terry Gilliam, John Cleese and Eric Idle — to voice some aliens? Perhaps Simon Pegg could star, and the film could ponder the very topic of being able to fulfil one's desires with just the wave of a hand? Absolutely Anything delivers all that — and offers up Robin Williams' last movie role, albeit as a talking dog — yet it's hardly a feature that anyone might hope for. Alas, it's an effort that does little more than bring in some beloved talent, play with a fantastical concept and let silliness ensue. The result? Ample silence where audiences can only assume Jones intended to inspire laughter. An unhappy schoolteacher by day and aspiring writer by night, Neil Clarke (Pegg) is the recipient of the extraordinary ability that gives the movie its moniker. What he doesn't know is that he's merely part of a test, with a council of extraterrestrials using him to decide whether humanity should be saved or annihilated. Rather than carry out great acts of good or evil, he takes the largely selfish, mostly harmless approach. Helping his best pal (Sanjeev Bhaskar) with his love life, giving his pet pooch (Williams) the gift of speech, and increasing his manhood comprise his early demands. Yes, Neil messes about his new skill, the intergalactic beings observe and comment from above, and that's all there really is to Absolutely Anything. A love interest pops up in the form of his neighbour, Catherine (Kate Beckinsale), complete with an obsessed American ex (Rob Riggle) in tow, but all either do is add to the parade of over-the-top, immature antics. Neil is supposed to learn that there's more to life than wish fulfillment, but Jones clearly hasn't heeded the same lesson. Instead, he's caught up in making anything he can happen on screen, mainly through unconvincing CGI, and with little care for coherence. Jones and co-writer Gavin Scott (Small Soldiers) beef up the script with more than a few jokes that could've been ripped from the pages of The Hitchhiker's Guide to the Galaxy – which gives an indication of how not-so-fresh they feel. Indeed, the screenplay for Absolutely Anything has been floating around for 20 years, and Douglas Adams apparently perused it before his death in 2001. Sadly, a long-gestating project results in a final product that squanders any potential it might've once had, including its main cast, both seen and heard, and the involvement of the likes of Eddie Izzard and Joanna Lumley. In fact, a song could do better than Absolutely Anything's clumsy, contrived and hardly comic contemplation of how someone would cope if they had all the power in the world — and did, when The Flaming Lips sang about it in their 2006 single, ' The Yeah Yeah Yeah Song'.
Death and suburbia take centre stage in the final Red Stitch production of the year. The play? Will Eno's critically acclaimed Middletown, an existential tragicomedy set in the titular American town, where the citizens wax poetic on topics that most would rather not mention. Running from November 20 through to December 19, the Red Stitch production will mark the Australian premiere of Eno's play. Praised by the New York Times for its 'screwball lyricism', it's a show that gets to the heart of everyday hopes, fears and anxieties with a wry, macabre sense of humour. The cast consists of Red Stitch regulars Jordan Fraser-Trumble and Christina O’Neill alongside guest actors Evelyn Krape, Gareth Reeves, Edwina Samuels and James Wardlaw. Alice Darling will direct, having previously helmed the company's productions of Belleville and This Year's Ashes.
Anime lovers young and old, ride the catbus down to ACMI, for a week-long program of Japanese animation. Running from Monday, December 14 through to Sunday, December 20, Essential Anime will showcase a trio of beloved titles from the early career of Hayao Miyazaki, alongside feature-length adaptations of iconic TV shows including Naruto and Dragon Ball Z. Presented via original 35mm film print, the Miyazaki leg of the program boasts two of his most outstanding works: My Neighbour Totoro and Princess Mononoke. Joining them will be one of the director's lesser known gems, Laputa: Castle in the Sky. Meanwhile, those who grew up watching Cheez TV can find out what's been happening with Goku and friends with the newly produced feature film Dragon Ball Z: Resurrection 'F'. Rounding out the program are Evangelion: 3.0 You Can (Not) Redo and Boruto: Naruto the Movie. For more information and session times, visit the ACMI website.
The latest exhibition at the National Gallery of Victoria examines a turning point in the history of Australian sculpture. Laid out over two foyer levels at the Ian Potter Centre, Hard Edge: Abstract Sculpture 1960s-70s features 13 works from some of the most significant sculptors of the era – many of whom found themselves moving away from traditional forms and materials, such as stone, wood and bronze in favour of a more modern aesthetic as inspired by their contemporaries in New York City. One of the most significant pieces in the show is Ron Robertson-Swann's controversial Vault — or, as it's better known by its unofficial nickname: 'The Yellow Peril'. Other artists featured in the exhibition include Clement Meadmore, Inge King, Jock Clutterbuck, Clive Murray-White, Lenton Parr, David Wilson and C. Elwyn Dennis. Hard Edge is open daily 10am – 5pm from February until July. Entry is free.
In How To Be Single, paralegal Alice (Dakota Johnson) complains about all the things she said she'd do but hasn't. Everyone in the audience can surely relate; actually, as they're watching her dating exploits, they're witnessing that very idea in action. At the outset, the screen adaptation of Liz Tuccillo's novel declares that it won't tell the usual relationship-focused story. That statement proves more aspirational than accurate, with the author's background — co-writing self-help book He's Just Not That into You, as well as penning episodes of Sex and the City — giving you a hint of what to expect. While this Christian Ditter-directed effort might not focus on a typical boy-meets-girl narrative, that doesn't keep the feature out of predictable territory. Following in the footsteps of every other film and TV show about being uncoupled, How To Be Single delves into the moments in-between the love, lust and living happily ever after. More than one woman attempts to accept their amorous lot in life, and learns a few lessons in the process. The idea of forging an identity without a partner is championed, all while the movie's characters keep talking about the guys — or lack thereof — that they're chasing. Cue a New York tale about Alice, her doctor sister Meg (Leslie Mann) and new best friend Robin (Rebel Wilson) — as well as the marriage-obsessed Lucy (Alison Brie), who frequents the same bar. Alice is on a break from her long-term boyfriend, though the heavy-partying Robin encourages her to make the most of her unattached time, particularly when that hiatus becomes permanent. After spending years delivering other people’s babies, Meg finally realises that she wants one of her own. Lucy, meanwhile, has dedicated the last six months to devising an algorithm to help her get the most out of online dating, with little success so far. The journey each character goes on — espousing the joys of going solo while traversing casual flings and potential serious connections — is far from surprising. Nor is the long list of men — a commitment-phobic bartender (Anders Holm) and protective single dad (Damon Wayans Jr.) among them — that pop up along the way. Indeed, when it comes to chronicling the trials and tribulations of modern dating, How To Be Single thinks that saying it is different is enough. And yet while it fails to follow through on that promise, it approaches the typical clichés of its genre with the energy needed to make them entertaining. In fact, packaging up been-there, seen-that stories and passing them off as a twist on standard chick flick fare proves less trying than it sounds, largely thanks to the film's cast. As he did with the less successful Love, Rosie, director Ditter not only shows an affinity for romantic comedy conventions, but for getting the most out of his actors. If the film's biggest downfall is its false assertion that it doesn't fit the expected formula, then its biggest asset is how its talent weathers the routine material they're saddled with. Yes, you've seen all this before, and no, none of it is particularly memorable. But at least Johnson, Wilson, Mann, Brie and company use their charms to keep things lively.
Leave the gummies at home, and head to the Melbourne Food and Wine Festival's 2016 hub, the Urban Dairy. Setting up shop at Queensbridge Square once again, the festival hub will gather a feast of cheese, yoghurt and ice-cream makers from both around the corner and across the globe to produce their signature creamy delights. Home and homage to all things dairy, the likes of Big Gay Ice Cream, Gelato Messina and Gontran Cherrier will make an appearance, as well as world-leading experts who’ll be leading dairy workshops. As well as being a place to pop in for a drink throughout the ten-day festival, the hub will host a range of events. The King Island Blues Night will be a cracker as blues are played to accompany your blue cheese, while the Cheese Toastie Invitational will impress with chefs showing you just what they can do with a sandwich press.
Bowled Over is part bowls competition, part live music gig, and part Hottest 100 party. Now in its sixth year, their latest lineup includes Harts, Grenadiers and IV League, just to help remind you of all the excellent music this country produces. If you're not quite competitive enough to throw your hat in the ring for the barefoot bowling competition, check out the private oasis section where you can chill out in deck chairs and beanbags. Food-wise, enjoy chicken from the Leonard's House of Love pop-up, or indulge in some good old fashioned Aussie barbecue.
Once you've spent the afternoon in the sun, knocking back beers, eating way too many sausages and ranting about the taste of the people who vote in triple j polls, close out Australia Day with a movie under the stars. And not just any movie, but one of the most gloriously Aussie movies ever made. That's right: the folks at Rooftop Cinema are screening Muriel's Wedding, starring Toni Collette as daggy Muriel Heslop from Porpoise Spit, Queensland, who dreams of a fairytale wedding. Who needs the Hottest 100 when you've got a soundtrack full of ABBA songs?
Tucked away on Thornbury's unassuming Wales Street is Rat the Cafe, a local fave for brunch and speciality coffee in an airy, understated setting. The tidy menu is a constantly evolving one, often guided by the cafe's commitment to reducing food waste while showcasing organic produce as much as possible. If you can get your hands on one — they're pre-order only — the must-try is the breakfast sandwich, featuring swiss cheese, house-made sauerkraut, special sauce, dill pickle and a fried egg, to which you can also add Meatsmith bacon. There's also a daily pastry offering and a selection of mostly locally made provisions available to purchase. Images: Julia Sansone
Good news, North Melbourne locals, the old Courthouse Hotel is back, and it was lovingly restored in 2023 by four hospo pros who actually know what they're doing. You'd be forgiven for forgetting about The Courthouse. It was a popular pub in the early 2000s, with celebrated chefs like Zoe Birch and Stephen Burke running the restaurant pass. But popularity kind of waned over the years, and COVID put the final nail in the venue's coffin. But now, the Courthouse is officially back, having quietly reopened earlier in May. The new team are the same minds behind Parkville's Naughtons Hotel: Ryan Moses and Rusty Sturrock, along with Ryan and Laura Berry. And we have to say, these guys have really nailed the refurbishment. The Courthouse hasn't been gutted, just lovingly restored, bringing the venue up to modern gastro pub standards. Architect Alana Cooke and Blueprint Commercial handled the refurb, and they've managed to keep the old wooden panelling — stripped and sanded by hand — the floorboards, and the classic art deco features. The result is North Melbourne's hottest new pub, and it's fair to say locals are stoked. So what about the food? Well, Rusty Sturrock has designed the menu, and he cut his teeth in some of London's finest gastro pubs, so expect UK classics with a Euro-Australian twist: Lancashire hotpot with lamb shoulder and Brussels sprouts, whole-roasted leatherjacket, Coq au Vin, kangaroo carpaccio and an excellent crowd-pleasing wiener schnitzel with chips. The guys have even installed an old-school hand pump behind the bar, which will be pouring English-style ale from Two Metre Tall and Love Shack. Aussie beer fans, don't worry, they've also got Hop Nation and CBCo brews on tap. The cherry on top? The crusty old rooms upstairs have been transformed into two boutique hotel rooms, so you can now stay overnight at The Courthouse. Prices start at $325 per night.
It might seem a little on the nose, but the Pyrenees region of Victoria does indeed get its name from the Pyrenees region stretching between France and Spain. Our Pyrenees wine region dates back to the 1960s, so expect your visit to this thriving food and wine country to be overflowing with delicious flavours. More than 40 cellar doors provide ample opportunity to sample the local varieties, and Blue Pyrenees Estate is considered one of the best. Head to this sprawling vineyard on the outskirts of Avoca for tasting tours and a refined cafe that overlooks the vines.
The NGV's Great Hall has been home to a lot of strange and fantastic happenings over the years, but what's going down on Sunday September 28 is sure to be a first. To cap off the 2014 Liquid Architecture program, Canadian artist Christof Migone is asking 50 volunteers to lie face down on the floor and bang microphones on the ground for 1000 times each. The result? Art! This symphony of strange and menacing thuds has been on show all over Migone's native country with 15 participants taking part, but this Australian premiere will see the intensity increase more than three-fold. According to the artist Hit Parade seeks to "explore the fault lines in the communicative act" and "sound a city through its citizenry". It's a theme Migone has explored in the past too. In an earlier work, Crackers, he asked people to crack their bones in sync — a sounds that's either satisfying or incredibly irksome depending on your inclination. If you don't fancy watching a bunch of weirdos banging stuff on the ground, be part of the action instead! The NGV is calling for volunteers before the performance. Sign up here.
The Melbourne Fringe Festival is all about discovering new work, but it might not be where you expect it. This year, the festival has commissioned 10 artists to create site-specific work all across the city, Carlton and North Melbourne. Centred around places of transit or gathering you may stumble upon works outside the Swanston Street McDonald's or even at your local tram stop. If you'd prefer to seek out particular works, take a look at this map and curate your own journey. Hot tip: take a stroll to the City Baths or Pellegrini's at night. This event was chosen as one of the top ten things to see at this year's Melbourne Fringe Festival. See the full list here.
Straight back in the action after this year's Edinburgh Fringe, young comedian Steen Raskopoulos has a lot going for him. Not only did he win Best Newcomer at last year's Sydney Comedy Festival, he was nominated for the same award in Edinburgh — that's a big freakin' deal. It sold out last time he was in Melbourne, but this may be your last time to see the show that's making everyone swoon. Admittedly, this isn't a show for someone who likes their humour toned down and quietly witty. This is one for those that like their characters big, their comedy physical and their suits properly double-breasted *ba dum tss*. This event was chosen as one of the top ten things to see at this year's Melbourne Fringe Festival. See the full list here.
Making a movie, even a short one, is a difficult and time-consuming process. You've got to come up with a concept, write a screenplay, find a producer, scout locations, rent equipment and hire a cast. Then you shoot it, score it, edit it, re-edit it, tweak the sound and produce the special effects. Sounds like a lot of hassle, right? Now imagine doing it all in the span of a single weekend. The filmmaking equivalent of a 100-metre dash, the idea behind the 48 Hour Film Project is simple. On the first Friday in September, more than 50 teams from around Victoria are given a prop, a character and five words of dialogue. Two days later, they submit a finished film. This year's entrants will screen at ACMI in Federation Square, over five consecutive evenings beginning Monday, September 22 (plus the awards night on Friday, October 3). So get off the couch and celebrate local filmmaking. You'll be hard-pressed to see anything this spontaneous all year.
Detective Robbie Green (Jonathan LaPaglia) is called in to investigate the murder of his former partner, Detective Jason Pearson (Luke Hemsworth). Green and his new partner, Detective Jane Lambert (Viva Bianca), find themselves on the tail of two runaways, ultra-religious cancer-ridden Rachel (Hannah Mangan Lawrence) and her unstable boyfriend, AJ (Alex Williams), who are filming a "documentary" as they seek Biblical retribution for the drug-related death of Rachel's sister. If this sounds like the type of story (and character naming conventions) of an American film circa 1993, you wouldn't be far off. The Reckoning, despite being filmed in Perth and featuring an Australian cast, feels like as if its main concern is ensuring that every element be a facsimile of US thriller tropes. LaPaglia's Green is a short-tempered alcoholic who is trying to be a good father despite being married to the job. Priests wait in candlelit gothic churches to talk wisely to those seeking guidance. High-tech, CSI-style equipment can be used to facially identify anyone spotted on a security camera. And so on. This aping isn't inherently a bad thing. Even the best Australian films are criticised for not even trying to appeal to mass audiences, and the ones that do are so often dismissed as being populist. An industry that produces as few films as ours does cannot afford sub-genres, and so there's little patience for films that are not all things to all people. So with the wider context established, let's pull back before we fall into the trap of reviewing the industry instead of the film. As a gritty crime thriller, The Reckoning is moderately successful. It's diversionary, predictable, derivative and silly, and there's no denying that there's an audience for that. It's slick, too. The kind of slickness that will make it palatable to someone who wants to have something on in the background when it finally does the home video and TV rounds. But there's little in here that would interest a modern audience looking to plonk nearly $20 down for a night out at the cinema. It's not just the story and style that feels dated, but the idea that this possesses anything to distinguish it from a thousand other similarly themed thrillers. Everything in The Reckoning is achingly American, and this would be annoying if it wasn't so obviously deliberate. This is a film with its eye firmly on international sales and goes out of its way to filter out anything that makes it feel Australian. The religious angle, for instance, is weirdly anachronistic, with a priests talking in haughty "my child" this and "the Lord says" that dialogue. Blurry number plates are zoomed in on and enhanced into the sort of clarity that only made sense about twenty years ago when nobody knew how video worked. If all this sounds like nitpicking, well, yes, it is. But it is these details that make or break a film, and with a plot that is as by-the-numbers as this one is, we rely on details to turn it into something more interesting or unique. The Reckoning is a fascinating film for all the wrong reasons. It is out of time, decades too late to be of any interest, and so desperate to cover up its country of origin that its edges are sanded down into something that is ultimately of zero consequence. https://youtube.com/watch?v=gjJgFijldaw
It's that time of year again. Art and theatre are literally spilling out of our city's theatres and galleries into the surrounding streets, laneways and bars. This year, Melbourne Fringe is densely packed with hundreds of shows over 18 solid days of programming. From September 17 - October 5, don't expect a call back from any of your creative friends. They are deep in the land of Fringe. Though the festival really has found its way all over the city, the epicentre is once again in North Melbourne. The Fringe Hub should really be referred to as the Fringe precinct or postcode — this year the hub is consistent of 10 venues and 3 bars on Errol Street and surrounds. The Fringe Club however, is a cosy little warren to be found inside North Melbourne Town Hall. If you're a little further from the northside, there's a bunch of events to be found in the CBD and a bonus performance hub at The Substation for those a little further out west. Unlike the upcoming Melbourne Festival, Fringe isn't a place you head out for a single show and make your way home again — it's a world unto itself. Catch a few works at a time, have a drink at the Fringe Club, or just drift through the night at the various satellite hubs. Whether it's dancing to a symphony of forks, a night of yelling at Joe Hockey, or an intimate set with some local indie music gods, anything you stumble upon is sure to lead to some interesting stories to tell the next day. To make things a little easier for you, we've compiled a list of the best ten things to see. If you want the full overview, check out the program at Melbourne Fringe.
Valhalla Social Cinema really understand what you want to see at the movies. You're not interested in the latest Michael Bay blockbuster. Sometimes you can't even be bothered with the latest MIFF hit. Honestly, it would be ideal if your local cinema played nothing but old, trusty Bill Murray flicks. If that sounds about right, you're going to love this weekend's programming. On Friday, September 19 and Saturday, September 20 Valhalla are presenting the The Weekend of Wes. Screening Bottle Rocket, Rushmore and The Royal Tenenbaums for $13 a pop, not only is this a great time to re-live Wes's pre-Budapest glory, it's the perfect opportunity to rock that crested navy blazer and don your wanky beret. No, it's not officially a costumed event, but we'll basically jump at any chance to dress up like Max Fischer or Margot Tenenbaum. Unsurprisingly tickets are selling fast. Best to secure your seat online before you head over in a full fur coat.
The Melbourne show for Kanye West’s Yeezus Tour is fast approaching, but before you go HAM at Rod Laver Arena, the good guys at Rooftop Bar are throwing an all-things-Kanye themed party. The inaugural (and free) Kanye Westival is a celebration of Yeezy being the stylish, provocative and self-proclaimed demigod that he is. DJs for the evening include Fletch, Gamegirl, FashGIF, Baby Bonus, YUNG JACU$$I and SET LIST. A montage of Kanye’s epic video clips will be screened throughout the evening, and let’s be honest, there are some great ones to choose from. There will also be Kustom Kanye Kut-out photo backdrops so you can get snapped living the good life with 'Ye. BYO croissants.
Dig out those once-a-year novelty gumboots, Groovin the Moo is back for another year of out-of-the-city footstomping. Taking the large-scale music festival out of CBDs and into regional centres for another year, GTM will kick things off on the ANZAC Day long weekend and travel through Oakbank, Bunbury, Bendigo, Canberra, Maitland, and Townsville. This year's lineup sees syper-hyped internationals like the legendary Peaches, 'Boom Clap'-per Charli XCX, A$AP Mob's A$AP Ferg US trap king RL Grime, UK indie-gazers Peace and NZ festival favourites Broods alongside one of the most Aussie-heavy lineups GTM has seen in recent years. High-fiveworthy locals like Flight Facilities, The Preatures, Sticky Fingers, Hermitude, DMAs, Tkay Maidza, Ball Park Music, Meg Mac and more will also make their way to the Moo. So enough lowing, here's that lineup you're after. GROOVIN THE MOO 2015 LINEUP: A$AP FERG (USA) BALL PARK MUSIC BROODS (NZ) CARMADA CHARLI XCX (UK) THE DELTA RIGGS DMAs FLIGHT FACILITIES HERMITUDE HILLTOP HOODS HOT DUB TIME MACHINE MEG MAC NORTHLANE ONE DAY PEACHES (CAN) PEACE (UK) THE PREATURES RL GRIME (USA) SAN CISCO SASKWATCH STICKY FINGERS TKAY MAIDZA WOLFMOTHER YOU ME AT SIX (UK) GROOVIN THE MOO 2015 DATES & VENUES: Saturday, April 25 – Oakbank Sunday, April 26 – Bunbury Saturday, May 2 – Bendigo Sunday, May 3 – Canberra Saturday, May 9 – Maitland Sunday, May 10 – Townsville For more info, head to GTM's website. Image: Joseph Mayers, GTM.
It doesn't matter how good your cast is if you don't give them a compelling story to tell. That's the lesson of My Old Lady, the motion picture debut of playwright Israel Horovitz. An obvious stage-to-screen adaptation that shows little consideration to the differences between the two, it's a film so stuffy and slow-moving that it makes its geriatric headliner look positively spritely by comparison. The great Maggie Smith plays the old dame in the title, a 92-year-old British expatriate named Mathilde Gerard, who lives in a spacious Parisian apartment thanks to a peculiar French real-estate law called a viager. Under the arrangement, Madame Gerard receives regular cash instalments from a buyer, who will eventually gain full ownership of the property when the old lady finally dies. It's a fantastic deal for her, but a right pain in the arse for Matthias Gold (Kevin Kline), a deadbeat New Yorker who inherits the building in his estranged father's will. So Matthias skulks around Paris, trying to figure out a way to sell his newfound property while contending with his stubborn new tenant and her hostile adult daughter, Chloe (Kristen Scott Thomas). But soon the comic setup gives way to something much more serious. Information comes to light regarding the relationship between Matthias' father and Gerard, unscrewing the lid on a can of Daddy Issues in the process. It's interesting subject matter, to be sure. The problem is that Horovitz doesn't know how to translate his material to the screen. A vast majority of the truly relevant action takes place inside Gerard's apartment — and no number of aimless shots of Paris can disguise the film's origins on the stage. The dialogue itself feels better suited to the theatre as well, with a number of theatrical monologues in the movies' second half running unnecessarily long. At least it goes without saying that all three of the film's main actors are fantastic. Frankly, it's hard to think of a single bad performance across their entire combined body of work. In truth though, none of their characters are particularly easy to like, each one of them consumed by a mixture of blind entitlement and self-pity. That's the other lesson to be learned from My Old Lady. When a film's central conflict comes down to bickering over a $9 million deed, it's difficult to feel much sympathy for anyone involved.
Alaskan-bred, Portland-based indie foursome Portugal. The Man will be hitting the road for an epic string of Australian dates this November. We're talking a whopping 25 shows — and all free. Presented by Corona Extra, the tour kicks off in Western Australia on October 31 and travels through Queensland, New South Wales and Victoria before finishing up in Melbourne on November 30. With seven albums under their belt — including their most recent, Danger Mouse-produced, 2013 album Evil Friends — and playing up to 200 shows a year since they started, Portugal. The Man aren't ones to shy away from a long touring stint. They're big ol' festival favourites, making highlight lists at all the big guns from Coachella, Lollapalooza to Laneway Festival and Splendour. After their huge US tour wraps up, the foursome are going to bring their psychedelic, indie outdoorsiness to Australia's snuggly pubs and bars. Corona's last epic Australian tour saw Sydney's beloved Cloud Control hit the road for an unfathomable amount of free shows, so we'll see how the Portland locals go with such a schedule. Get along, burl out 'Got It All', 'Evil Friends' and 'So American' like you're front and centre for a P.TM festival set. It's freakin' free. Victoria Friday, 28 November — Torquay Hotel, Bell St, Torquay at 9pm. Saturday, 29 November — Westernport Hotel, 161 Marine Pde, San Remo at 9pm. Sunday, 30 November — The Deck, 2-4 Davey St, Frankston at 8.30pm. All tour dates are 18+ only and free entry. More info here. https://youtube.com/watch?v=EITwxJrZKj0
Romantic comedy cliches have earned their label for a reason; the more they're used, the more expected they become. And so it's that films like Love, Rosie emerge, wholly comprised of the seen-before and the been-there-done-that, as rendered with similarly customary sweetness. Here's the gist: girl and boy have clear feelings for each other, but are forced to stumble through a range of obstacles. Even if you've only ever seen one rom-com, you know where this is going. Rosie Dunne (Lily Collins) is an average 18-year-old girl. She's about to finish school and looking forward to a future certain to include her neighbour and lifelong best pal, Alex (Sam Claflin). There's a spark to their friendship that suggests something more, however when they take others to the prom — he escorts Bethany (Suki Waterhouse), and she goes with Greg (Christian Cooke) — it appears fate has other plans. The night has long-lasting repercussions pushing them in different directions. Alex moves to the US for medical school and after falling pregnant, single mother Rosie stays in the UK. Of course, they keep in touch. Cecelia Ahern's best-selling novel Where Rainbows End, upon which Love, Rosie is based, relates its tale through the pair's emails, letters and texts. The film uses the gimmick to a lesser extent, but their correspondence still guides a feature that charts the will-they-or-won't-they of this unconventional long distance relationship. Director Christian Ditter (best known for French for Beginners) and screenwriter Juliette Towhidi (Calendar Girls) don't stray far from the source material, nor do they need to. When it comes to cloying romantic plots, Ahern literally wrote the book. What good rom-coms do well, the most predictable included, is cultivate investment in the central couple. And even when forced into silly situations and saddled with stereotypes, Collins and Claflin are suitably charming, selling the camaraderie central to their close platonic relationship, as well as the uncertainty needed to make their 12-year flirtation endearing. They're the bright sparks in an effort otherwise happy with obviousness. You can count on picturesque imagery, heavy-handed pop cues, and tonal wobbling between contemplative drama and over-the-top comedy. Having each actor play their characters from ages 18 to 30 never quite convinces, but that's a minor issue. That's the film all over — never believable, constantly trite, but endlessly likeable. It's also the rom-com prescription in willingly evoking a necessary wish-fulfillment fantasy. Soppily telling tales of yearning loves and lives dictated by wanting what you can't have, Love, Rosie seemingly aims to be a younger-oriented successor of Bridget Jones' Diary. In its focus on its messy but spirited heroine, its lacings of cringeworthy humour and its adherence to genre formula, it doesn't miss the uninspired mark. https://youtube.com/watch?v=cweASWVpkVM
There's an unshakable sense of menace throughout the low-key mob movie The Drop that lifts it above the outward cliches of its story. Then again, that's hardly surprising, given it was written by Dennis Lehane. The American crime novelist responsible for Mystic River, Shutter Island and Gone Baby Gone — books whose subsequent film adaptations rank amongst the best big-screen potboilers of the past 20 years — Lehane's mastery of the blue-collar crime genre is second to none. And, while his screenplay for The Drop doesn't quite reach the same impressive heights, it's a thoroughly compelling drama all the same. The story takes place, as Lehane's stories tend to do, in a working class microcosm in the north-east US. In this case it's Cousin Marv's bar, a grimy Brooklyn watering hole run by a bitter old barkeep whose name sits on the sign above the door. In reality, however, the bar hasn't belonged to Marv (the late great James Gandolfini) since he was muscled out by the Chechen mafia, who now use it as one of several collection points — or "drop bars" — for all of their ill-gotten cash. When the bar is robbed by a pair of desperate stickup men, Marv and his unflappable bartender Bob (Tom Hardy) are tasked with recovering the money. At the same time, Bob find himself caught up in the life of local waitress Nadia (Noomi Rapace) after rescuing a wounded dog left abandoned in her front yard. What Bob doesn't count on is the attention of Nadia's unhinged ex-boyfriend Eric (Matthias Schoenaerts), a local crim who, if rumours can be trusted, has a habit of making people disappear. How the storylines intertwine... well, that would be telling. Belgian director Michael R. Roskam is a skilled hand behind the camera, but it's easier to identify the influence of Lehane: the decaying urban setting, the unspoken threats of violence, the characters all speaking in thick, working class drawls. So too can you locate the DNA of earlier crime pics. Bob's frequent trips to a local Catholic church call to mind Scorsese's prototypical gangster movie Mean Streets; the theft of mob money, meanwhile, was the catalyst in the recent Andrew Dominik joint Killing Them Softly. As such, The Drop can at times feel a little familiar. But the strength of Lehane's screenplay lies in the information he keeps obscured. His characters' pasts remain shrouded in mystery, leaving you constantly unsure of how far they're willing to go. The star of Roskam's previous film Bullhead, Schoenaerts radiates danger in every scene. Likewise Gandolfini, whose portrayal of a washed-up tough guy reminds us just how big a talent the actor was. It's Hardy, however, who really steals the show. At first, his character strikes us as a gentle giant; a nice guy caught up in a situation he can't control. But as the movie goes on, we're forced to look again. There's something deeply unsettling about the way Bob never seems phased, even as his situation spirals further out of control. As always, that's the appeal of Lehane's writing. Things are never quite what they appear. https://youtube.com/watch?v=9xAKTGPbhQk
The winner of this year's Cannes Film Fest Palm d'Or is an exercise in movie-going endurance. Written and directed by celebrated Turkish filmmaker Nuri Bilge Ceylan, Winter Sleep clocks in at a gruelling 196 minutes long, a figure that makes the most recent Hobbit flick look positively breezy by comparison. Frankly, only the most committed of arthouse nerds should even attempt Ceylan's latest — and even they may find themselves struggling with the picture's slow-as-molasses pace. Indeed, despite his film's epic run time, Ceylan appears committed to keeping actual dramatic incident to a minimum. Concerned, at its core, with the erosion of the marriage between a conceited old hotel owner (Haluk Bilgine) and his miserable young wife (Melisa Sozen), Winter Sleep at times feels more like a stage play than a movie. Characters argue at inordinate lengths about marriage, money, philanthropy, class and the nature of good and evil. Then they argue some more. The topics that Ceylan sets out to explore are certainly intriguing. In its best moments, Winter Sleep calls to mind the likes of A Separation and Two Days, One Night — films in which the dialogue cuts not just to the hearts of the characters, but to the issues facing the society in which those characters live. At other points, however, Ceylan's writing becomes strained, laying out his themes in painfully literal language, as if we can't be trusted to understand them on our own. On a more unequivocally positive note, Gokhan Tiryaki's cinematography is genuinely stunning. Under the harsh, grey-white light of foreboding winter skies, the Anatolian landscape seems almost otherworldly. Equally beautiful are several night-time interior scenes, the flickering glow from the fireplace casting shadows across the walls. Even so, it's difficult to get past that ridiculous three-hour run time, which drags behind the film like a ball and chain. Ironically, most of the truly compelling content can be found in the movie's second half. The problem is that, by the time you get there, there's a good chance that your brain will have already checked out. https://youtube.com/watch?v=P1nQbYtTPQg
