Boy & Bear are kicking off the 'Old Town Blues' on their upcoming tour to perform after the 'Southern Sun' sets. Travelling by 'Arrow Flight' and 'Bridges', the Sydney boys will not be stopping at 'Percy Warner Park' but they will be enjoying 'Milk and Sticks' at The Forum, a piece of 'Real Estate' they are no 'Stranger' to, on November 3 to provide all their fans with 'A Moment's Grace'. This is far from the 'End of the Line', with the band enjoying a 'Harlequin Dream' of a year. 'Lordy May' has it been big; they have played across the globe, allowing them to stay off the 'Feeding Line', and transformed any 'Part Time Believers' into full-time fans with the release of their critically acclaimed sophomore album. At only $47.70 you won't need to trade your 'Blood to Gold', so get out of 'The Village', leave the 'House and Farm' and step off the 'Beach' to join the 'Big Man', 'Mexican Mavis' and the 'Three Headed Woman' in singing 'Rabbit Song' and experiencing a night of glorious indie music more exciting than a 'Golden Jubilee'. (Writing a Boy & Bear preview primarily using only their song titles is much harder than it looks, okay.)
Bang! Crash! Tap! That's the sound of tap dance mashed up with hip hop and amazing acrobatics. Put together by RAW Dance Company and performed by some of Australia's liveliest tap dancers, the show is an enviable lineup of dance talent. But it will also be an exciting musical display as it features the work of international beatboxing champion Dr. Rhythm. It promises to deliver laughs, gasps and a live drummer — as well as more dexterity of hand, foot and heart than most of us can poke a stick at. The award-winning RAW Dance Company has toured the world over, including a recent stint on Broadway in New York, and their productions are known for being wild dance extravaganzas of uncurbed energy. Go marvel at these deft dancers as they take athleticism, charisma and a frenzied kind of madness to dizzying new heights.
This year's festival will be opened with a traditional tanderrum — a welcoming ceremony from elders of the Kulin nations granting permission for guests to use the land and resources. However, this won't be any ordinary Welcome to Country; the tanderrum will be orchestrated by the Ilbijerri Theatre Company and will include music and performance, as well as rich storytelling which adheres strongly to the traditions of the land. Once the ceremony is complete, Archie Roach will be performing a free concert with a 10-piece band. All on the wide, open grounds of Fed Square, the evening promises to be a respectful and community-oriented first note for a festival that showcases talent from all over the world. Check out the rest of our picks for the Melbourne Festival here.
In what could be a nice new trend for the Australian music scene, a small British invasion is taking place and the first group riding the wave is the psychedelic indie band, TOY. As part of a new live music series, Bulmers Underground, TOY are on their way to Australia to headline shows in Brisbane, Melbourne and Sydney. The band, formed in 2010, have wasted no time over the past 3 years making a name for themselves, woth various members coming from moderately successful bands in the past. The music that TOY creates are distorted rock’n’roll concoctions that evoke the psychedelic peaks of the '70s, but are contorted and refined so as to make the music contemporary and refreshing. TOY’s debut album sold out of its initial pressing not long after release, and have since gone on to perform with The Horrors and Primal Scream. Be sure to grab a ticket before they are all snapped up, and keep your eyes peeled for more international guests from Bulmers Underground.
Ash Grunwald is back, ready to tour his unique sound to the ears of Australians nationwide. He won't be alone though, having teamed up with bass-straddler Scott Owen and drumming maverick Andy Strachan of The Living End fame. The unlikely trio have been jamming and have created a heavier sound than Grunwald fans may be used to, but it is well suited to his rustic vocals and if the first product of their activity in the studio is anything to go by, the live show promises to be electric. The dreadlocked talent and his band of misfits will be taking to the stage at The Corner Hotel on Thursday June 27 and the Prince Bandroom the next day. Who knows how long this collection of Australian musical talent will band together for, so why not let them surprise you while they can.
UPDATE, January 29, 2021: The Hustle is available to stream via Stan. 2016's most controversial movie wasn't afraid of no ghosts, nor of updating a beloved classic with a gender-flipped spin. The backlash to the new Ghostbusters was as loud as it was stupid, however lost in the noise were two crucial facts. Firstly, the film is hilarious, fun and genuinely great. Secondly, it does exactly what a female-led version of a familiar property should. With all the ridiculous focus on why the supernatural comedy wasn't a carbon copy of the 80s flicks, and why women are now allowed to chase the paranormal (correct answer: why the hell not?), the movie didn't get recognition for its most significant feat. It doesn't lazily insert ladies into a thin rehash, but shapes its antics and jokes around them. That really shouldn't be so rare and astonishing, and yet so often it is. Take The Hustle, for example. It's the latest film to subscribe to the obvious motto that anything men can do, women can too, but it also takes that notion much too literally. Everything that 1988's Dirty Rotten Scoundrels did, this movie apes beat for beat, just with Anne Hathaway and Rebel Wilson instead of Michael Caine and Steve Martin. Scoundrels was a remake itself, updating 1964's Bedtime Story, so the narrative has been around for more than half a century — and yet familiarity isn't the only problem here. For a couple of average pictures about scheming conmen ripping off wealthy women, The Hustle's predecessors actually came packaged with some smart social critique, skewering the battle of the sexes in the process. Alas, as a presumably unintended consequence of pushing girls to the front, the narrative's best and most biting elements have now disappeared, including its savvy female empowerment strand. Making a couple of supremely confident male grifters reliant upon women to get by, as the first two films did, made a satirical statement. Tasking two female fraudsters with fleecing rich men to punish their misdeeds doesn't have the same impact, unsurprisingly. The Hustle pulls its punches in other ways too, as seen in its terrible final twist (without heading into spoiler territory, let's just say that it's a case of not thinking the whole switcheroo through). Story-wise, Hathaway's Josephine Chesterfield is the swindling queen bee in the cashed-up French beachside town of Beaumont-sur-Mer, while Wilson's fellow scammer Penny Rust is her exact opposite. One robs super rich guys with long cons, the other cheats sleazeballs with quick tricks, and they're soon locked in a turf war. The solution: the first to snare a cool half a million out of their latest mark, baby-faced tech whiz Thomas (Alex Sharp), can keep pulling capers on the Riviera. Hathaway also starred in last year's big gender-swapped heist flick, Ocean's 8, and the end result is sadly somewhat similar. The Hustle thinks that plonking female stars into the same old scenario is enough; women should just be happy that studios are even bothering, apparently. It's the type of supposed progress that takes two steps forward and then the same amount back, because no one wants to see ladies slavishly retracing men's footsteps. Here, a heap of the film's narrative details also take on an uncomfortable tone, leaning on outdated stereotypes and cliches even in an obvious farce. Women romancing men for their money? Ruthlessly competing for — and measuring their worth based on — male attention? Cattily battling it out? That's not clever or amusing. It's not subversive in its sexual politics either, as much as the movie pretends the latter is true ("no man will ever believe a woman is smarter than he is," Josephine offers, explaining her success). Like much about the picture, it's just tired. With Hathaway's fake posh English accent clashing with Wilson's distinctive Australian drawl, The Hustle's stars are its biggest strength. Of course, they're really just doing what they're already known for doing well. Still, it's easy to see why the film exists, on paper at least, based on their odd-couple pairing. They each do their best with the material — Hathaway perhaps more so than Wilson, who doubles as one of the movie's producers. The duo also benefit from a few snappy one-liners, which are improved by their delivery. But screenwriter Jac Schaeffer (Disney short Olaf's Frozen Adventure) does little else to liven up the photocopied script, which is also credited to Dirty Rotten Scoundrels' Dale Launer, as well as long-dead Bedtime Story scribes Stanley Shapiro and Paul Henning. British actor-turned-filmmaker Chris Addison keeps everything blandly light, scenic and fluffy, however that's barely all there is to his feature directorial debut. Well, that and an ill-thought-out do-over that does female-fronted remakes zero favours and scams itself more than anything else. You'd never guess that Addison was one of the stars of the savagely hilarious sitcom The Thick of It, or a director on its US counterpart, Veep. In fact, imagining what the acerbic characters of those shows would say about this flick is funnier than every second of The Hustle. https://www.youtube.com/watch?v=yfWv51T8TJ0
There are plenty of ways to show your love for Parks and Recreation. Here's three: sitting at home re-binging the series, spending some time in your local park and doing Leslie Knope proud, and saying "literally" when you're referring to anything and everything. Welcome to Thornbury has another, and it involves whiskey, bacon and a saxophone soundtrack — plus a visit from a miniature horse they're calling Li'l Sebastian. Yes, it's Ron Swanson Day at the food truck hangout on April 7, with La Revolucion, The Rib Crib, Maverick n Goose, Those Guys Food, Belles Hot Chicken and Mr Burger all getting in on the action. So is Let's Waffle 'n' Shake, because you can't have a Parks-themed day without multiple types of breakfast food. As Ron Swanson himself would expect, there'll be Lagavulin specials on offer, plus other amber spirits. And, if you're feeling particularly adventurous, look out for some Snake Juice. No word on whether DJ Roomba will be onsite dropping some beats.
A genuine cultural phenomenon in Japan and a growing influence on animation worldwide, anime enjoys a strong cult following in Australia. Fans will lap up the films on offer at this year's Reel Anime festival, which includes two reboots of legendary anime series. Evangelion: 3.0 You Can (Not Redo) is part three of the reinvention of the legendary Neon Genesis Evangelion series, while Ghost in the Shell: Arise is the first instalment of the mega-popular Ghost in the Shell's new series and takes place in the near future as the world recovers from World War IV. Ghost in the Shell screens with writer director Makoto Shinkai's The Garden of Words, a melancholy story of a teen who dreams of becoming a shoemaker and an unlikely friendship he forms with an older woman. Then there's A Letter to Momo, which was seven years in the making and has drawn comparisons to the phenomenal Studio Ghibli, producers of masterpieces like Princess Monokone and Arriety. https://youtube.com/watch?v=Ie6T0tk5Vvc
Can you think of a better way to spend a muggy, summer night than to head down to St Kilda for an outdoor movie? From November 30 to December 20, American Express is bringing its outdoor cinema to Melbourne. Movies on the big screen will include Murder on the Orient Express, Thor: Ragnorok, Bad Moms 2, Love Actually, Dirty Dancing and Elf. Fitzroy's Ladro will host a series of three-course, wine-paired dinners — on three nights, Neapolitan-style dishes and wood-fired pizza will be brought out on long dining tables for an al fresco meal. In addition, there will be 20 events across the installation, including live music performances, DJs, trivia and a craft area with masterclasses in knitting and macrame. Every Sunday, $3 from your ticket will go to OzHarvest to provide meals for people in need. You'll also be able to make use of the bar, serving 4 Pines beer, Giesen wines, cocktails, frosé and Aperol spritz all night long. Oh, and it's a dog-friendly space with special picnic platter for the pooch, so you don't need to leave part of your family at home. Plus if you're an Amex user you'll get 15% off tickets, plus a lounger and bites for the movie.
Looking to step up your regular trivia game? Over in Richmond, The National Hotel is giving the humble pub quiz a fun — and sinister — twist with another instalment of its murder mystery-themed trivia nights. The session will feature four quiz rounds, with punters answering questions and collecting clues along the way to help solve the final whodunit puzzle. Topics will cover everything from pop culture to general knowledge, so you'd best start brushing up on some facts. There's a swag of prizes up for grabs, from jugs of beer, to a huge $150 bar tab for the night's champion team. Entry's free and you can even bring along your pup. Round up a team of between four and six players and book your spot by emailing functions@thenationalhotel.com.au.
In King Richard, Will Smith does more acting than expected with his back to the on-screen action. He does more acting in general — while the Ali and Concussion star can be a transformative performer, here he feels like he's overtly playing a part rather than disappearing into a role — but the way his eponymous figure handles his daughters' matches instantly stands out. Richard Williams is a tennis parent who despises the usual tennis parent histrionics. At the time the film is set, in the early 90s, he has also coached Venus (Saniyya Sidney, Fences) and Serena (Demi Singleton, Godfather of Harlem) since they were four years old, and penned a 78-page plan mapping out their futures before they were born. He's dedicated his life to their success; however, he's so restless when they're volleying and backhanding that he can't bring himself to watch. These scenes in King Richard are among Smith's best. He's anxious yet determined, and lives the feeling like he's breathing it, in some of the movie's least blatantly showy and most quietly complex scenes as well. The Williams family patriarch has wisdom for all occasions, forged from a tough childhood in America's south, plus the hard work and hustle of turning Venus and Serena into budding champions, so he'd likely have something to say about the insights gleaned here: that you can tell oh-so-much about a person when they're under pressure but nobody's watching. If he was actively imparting this lesson to his daughters — five of them, not just the two that now have 30 Grand Slam singles titles between them — and they didn't glean it, he'd make them watch again. When they see Cinderella in the film, that's exactly what happens. But his courtside demeanour is teachable anyway, recognising how all the preparation and effort in the world will still see you tested over and over. King Richard mostly lobs around smaller moments, though — still life-defining for the aforementioned trio, matriarch Oracene (Aunjanue Ellis, Lovecraft Country) and the rest of the Williams brood, but before Venus and Serena became women's tennis superstars. It unpacks the effort put in to even get them a game, set or match and be taken seriously in a sport that's whiter than the lines marking out its courts, and the chances, sacrifices and wins of their formative years. From cracked Compton courts and homemade hype videos to seizing every hard-earned opportunity: that's the tale that King Richard tells. But, despite making a clear effort to pose this as a family portrait rather than a dad biopic, it still shares an approach with Joe Bell, director Reinaldo Marcus Green's prior film. It bears one man's name, celebrates him first and makes him the centre of someone else's exceptional story. In screenwriter Zach Baylin's debut script, Richard's aim is simple: get Venus and Serena to racquet-swinging glory by any means. His DIY tapes are bait for a professional coach, but attracting one is easier said than done for a working-class Black family without country club connections facing America's inbuilt racism and class clashes, and tennis' snobbery — even if Richard knows his daughters will reach their goals. A turning point comes when, after strolling into a practice match between Pete Sampras and John McEnroe, Richard convinces renowned coach Paul Cohen (Tony Goldwyn, Scandal) to watch his kids play and take on Venus for free. While she's swiftly impressing on the junior circuit, her dad becomes concerned about her psychological and emotional wellbeing, so he next works his persuasive act on Florida-based coach Rick Macci (Jon Bernthal, The Many Saints of Newark) — with a strict no-competition rule. One of the keys to King Richard, as witnessed in its namesake's decisions about his daughters that he unyieldingly makes alone, also proves an ace when he's looking away courtside. This is a movie about how Richard put Venus and Serena on their path to becoming two of the greatest sports women ever, but it's also about imperfections, struggles and contradictions in the pursuit of excellence. That said, it's an authorised account with the tennis legends and their sister Isha Price as executive producers, so it only dives as deep as that whole situation allows. When it focuses on difficult instances where the overbearing and stubborn Richard blazes ahead but Oracene, Venus and Serena call him out and demand their say, it's a better film, although that happens less often than it should. There's texture, weight and complication here, but also a crowd-pleasing smoothing of rough edges that undercuts the feature's power. The Williams sisters deserve multiple movies about their extraordinary achievements, obviously. Their careers stress that inherently. The standout scenes they're given here — including Serena's unhappiness when put second to her sister; today, she's the one that's considered the greatest of all time — also dynamically make the case for more of their tale to reach cinemas. While always in Smith's shadow, both Sidney and Singleton are phenomenal, but the film has been designed to be the former's show. With a hunched posture and pronounced Louisiana accent, Smith is an inescapable force surrounded by far more naturalistic portrayals, including from the terrific and grounded Ellis; however, he grows into a rhythm that matches the film's message. He calls upon the charm that's been a part of his game since his Fresh Prince days, too, and pushes because Richard had to to succeed "in the champion-raising business," as the character describes it. For all the sunny hues splashed around by cinematographer Robert Elswit (a veteran of Paul Thomas Anderson's Boogie Nights, Magnolia, Inherent Vice and more), King Richard doesn't opt for gloss with the clashes working against the Williams' dream. Although Venus's professional debut in 1994 at the age of 14 and her pivotal match against then-world number two Arantxa Sánchez Vicario provides the picture's climax, it's sparing with its tennis bouts, but the battles of race and class in Venus and Serena's way are in the draw from the get-go — discussed, and also made so visible that no line calls are needed. It took a flawed yet dogged king to navigate such relentless serves of engrained prejudice and disadvantage and ensure that the world received two queens, the film posits, and does so convincingly. King Richard is still an easy win, though, rather than an all-timer.
Last year was a big one for Aussie comic Sam Simmons, selling out shows at Soho Theatre in London and scoring his second nomination for the top prize at Edinburgh Fringe. Returning to home turf, the latest show from the former Triple J trivia master has been described by the comic himself as “55 minutes of me being a full-bore dickhead.” With his trademark blend of surrealism and irritability, the performance got great reviews when it played in Adelaide last month.
If ever there was a reason to shake up your usual Taco Tuesday plans, it's this: this year, National Taco Day falls on a Monday. Specifically, next Monday, October 4. And Preston Market's much-loved taco van Cornutopia will have you celebrating the occasion in style, as it drops the price of its tortilla-based treats to just $3 a pop, for one day only. From 11.30am, you'll find beef, chicken, fish and veggie tacos going for an easy $3 each, featuring signature fillings and secret spices piled into soft corn tortillas. Simply rock up and grab a few of your favourites to-go, or pre-order online for pick up on the day. The taco specials will run alongside Cornutopia's usual menu of Mexican street eats, including burritos, cheesy nachos and quesadillas. [caption id="attachment_827296" align="alignnone" width="1920"] Chip Mooney[/caption] Images: Cornutopia and Chip Mooney.
From Indigenous identity to body shape, many of the performances at Dance Massive 2015 are about challenging our perceptions. It’s especially true of Do You Speak Chinese?, from choreographer and dancer Victoria Chiu. Like many Australians with Chinese heritage, Chiu doesn't speak a word of Mandarin. Despite this, because of her outward appearance, she's often thought of as Chinese. Her new work, developed in collaboration with dancer Kristina Chan, seeks to explore the connection between race, physicality and language, and how what we look like often speaks for us before we're given the chance to do so for ourselves. The hour-long show hits the Malthouse Theatre on Tuesday, March 17 and runs through until Saturday. For more information about the shows at Dance Massive 2015, visit www.dancemassive.com.au.
The world renowned violinist, acclaimed author, sassy singer and all-round enthralling performer, Emilie Autumn, is bound for Australian shores this week and ready to amaze audiences at the iconic Espy on Friday night. The tour was announced last year following the release of Autumn's third and most successful studio album, Fight Like a Girl, which was inspired by her book The Asylum for Wayward Victorian Girls and her own intimate personal experiences. Emilie Autumn describes her musical style as "victoriandustrial", largely because she draws inspiration from poetry, plays, novels and history, particularly from the Victorian era. Think punk meets classical meets burlesque mixed in with a dash of darkwave and synth pop to create a theatrical musical feast like no other — and of course we can't forget the whacky stage constumes which have helped push Autumn to fashion icon status in recent years. The beats of all girl backing band The Bloody Crumpets will add an extra dose of spice to the already dazzling performance. With a stage presence as bright and extravagant as her hair, Emilie Autumn is a refreshingly unique addition to the 21st century music scene who has to be seen to be appreciated.
Prepare yourself for a fresh dose a local theatre. After a successful first season in 2015, the Poppy Seed Theatre Festival is blossoming once again, showcasing four ambitious new works from Melbourne-based companies over five exciting weeks. Running from November 8 to December 11, Poppy Seed kicks off with Blessed by Attic Erratic, a dark, candid work about religion, dogma and intergenerational poverty. Next up comes LadyCake, a modern day take on the story of Marie Antoinette presented by Three Birds Theatre. That'll be followed by What's Yours is Mine, described as "an otherworldly experience" about the Australian dream from the unconventional folk at Hotel Now. The festival will wrap up with F. by Riot Stage, an exploration of teenage sex in a post-internet world. You can purchase tickets to individual Poppy Seed Shows, or save money with a season pass. For more details including venue information visit poppyseedfestival.com.
Tired of the dating game? There may be a better way. Conscious Dating, which runs events for 'mindful singles', is hosting a pair of get-togethers in Melbourne this weekend, including their first event for gay men. Single gay guys are invited to Argyle Street in Fitzroy (exact location TBA) on the evening of Friday, March 10 for a night of chilled-out meditation accompanied by hang drum music. Wine, herbal tea and finger food will be provided, and there'll be ample time for single mingling before the night is through. On the following night in the same location, those attracted to the opposite sex can take part in a life-drawing session before breaking the ice with some (apparently 'non-cringey') challengers and conversation starters. Hey, it can't possibly be any worse than Tinder!
Australia's annual Alliance Francaise French Film Festival marked its 30th year back in 2019, and celebrated the big occasion with no troubles at all. Proving that no one loves entering their 30s, however, the event hit a few struggles when it turned 31. That happened in March 2020, when Australia started to go into lockdown. The fest was already underway, so AFFFF had to stop screening, postpone its plans, then pick things up again in July and August after cinemas started reopening. Here's hoping that 2021, the fest's 32nd year, all runs smoothly. AFFFF has 37 films on its hefty lineup this time around, and it's touring them around the country. The event will be making its usual capital city stops, so French movie fans in Melbourne can expect to spend plenty of time in a cinema between March 3–31 — at Palace Cinema Como, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, Astor Theatre, The Kino and Pentridge Cinema. As for what you'll be seeing, AFFFF will open its 2021 lineup with Eiffel, a new biopic starring Romain Duris (All the Money in the World) as the civil engineer who gave Paris' most famous attraction its name. At the other end of its program, the fest will close out with rom-com #Iamhere, which follows a French chef who falls in love via Instagram. And, in-between its two big bookending events, viewers can look forward to a heap of movies starring recognisable faces — including Monica Bellucci, Lupin's charming Omar Sy, the incomparable Isabelle Huppert and Kristin Scott Thomas. https://www.youtube.com/watch?v=JXVezkYnDL0 Highlights include The Man Who Sold His Skin, a twisty tale about a Syrian refugee, a tattoo artist and an unusual bargain; Summer of 85, the latest film from acclaimed director François Ozon; and police drama Night Shift, which dives deep into not only law enforcement, but alsoits handling of immigration matters. Or, there's Fahim, the Little Chess Prince, about the Bangladeshi refugee who became a national French chess champion; The Godmother, which sees Huppert tussle with the drug game; and Aline, which is inspired by the life of Céline Dion. Elsewhere, the story of France's first restaurant hits the screen via 18th-century-set period drama, Delicious; Final Set sees an ageing tennis player try to win the French Open; Miss follows a boy who'd like to enter the Miss France beauty pageant; and delightful animated feature Calamity, a Childhood of Martha Jane Cannary imagines Calamity Jane's early years. Fans of Deerskin filmmaker Quentin Dupieux can also check out his latest, Mandibles — and, because AFFF always shows at least one absolute classic French flick, this year it's screening Jean-Luc Godard's 1959 masterpiece Breathless.
If you thought your Halloween costume couldn't be beat, then you, my friend, have fallen for a trick — not a treat. Because these dogs will trump you. On Sunday, October 28, Port's annual Howl-O-Ween event is back. The day's main event is the trick-or-treat dog parade, which last year featured more than 300 very good dogs and their owners, kicking off at 10am. Each dog needs a $15 ticket, which includes a dog-appropriate goodie bag and various treats along the parade route. All proceeds this year go to Guide Dogs Victoria, There will be live entertainment, market stalls and prizes for the best-dressed pups, so start your outfit brainstorming now. Vampire viszlas, ghoulish golden retrievers, alien alsatians, t-rex terriers, Jack the Ripper jack russells — the creepy costume ideas are endless for man's best friend. Images: Candela Photography
This city is no stranger to the humble (and not so humble) doughnut. From Shortstop to Doughboys to the van at Queen Vic Market, Melburnians are spoiled for choice when it comes to deep-fried dough, be it glazed, iced, covered in cinnamon or bursting with piping hot jam. The organisers of the Flour Market even ran a doughnut-only event back in 2015. So, really, it makes perfect sense that our sweet, sweet obsession it about to be taken to its logical conclusion: a full-blown festival featuring beer, bingo and all the doughnuts you can eat. Set to take place at The Village on St Kilda Road, Donut Fest will arrive in Melbourne on Sunday, March 12 and Monday, March 13 — although, despite taking the same name, it's not related to the huge Chicago-originated Donut Fest that we wrote about last year. Sugar fiends will be able to gorge themselves on freshly made doughnuts from a variety of local vendors, as well as coffee from Melbourne beanheads and a selection of boutique beers. So who will be there? CBD bar Nieuw Amsterdam will be serving up their pumpkin doughies with Jack Daniels cream, Goldeluck's Bakeshop will be bringing in their croissant-doughnut creations from Croydon South and there will be ice cream doughnut sandwiches, Hungarian chimney cakes and mini Mars Bar doughnuts too. There will be plenty of gluten free options across the two days, with Elsternwick cafe Cocomama's supplying their vegan gluten free doughnuts (and sushi doughnuts) on the Sunday. Entry into Donut Fest is free, although organisers are encouraging punters to bring a gold coin donation along for charity Eat Up. If nothing else, it should help assuage the guilt you'll feel after eating yourself into a coma.
"Black..." growls Will Arnett's gruff hero from deep within the movie's opening darkness. "All important movies start with a black screen. And music. Edgy, scary music that would make a parent or studio executive nervous. And logos. Repally long and dramatic logos". On and on he goes, making cracks at a production house whose contribution to the film escapes him, having a dig at both Superman and DC comics, quoting Michael Jackson and bragging about his huge pecs and impressive "ninth ab". All, mind you, before the first frame of the movie has even been seen. This is The Lego Batman Movie, aka Captain Meta, where the self-referential humour comes thick and fast from the opening minute to the last. It's a film that gleefully acknowledges the nine Batman flicks that preceded it, including "that weird one in 1966" (notes the hero: "I have aged phenomenally"). And yet, for all the in-jokes and winks to camera, The Lego Batman Movie is, at least thematically, somehow more of a Batman movie than Joel Schumacher's Batman and Robin or Zack Snyder's Batman vs Superman, in that it faithfully explores its protagonist's single-most defining characteristic: his crippling isolation. Batman is a loner; a recluse; a vigilante misanthrope whose only joy (and, indeed, purpose) comes from battling criminals. So what would happen, then, if all the criminals were locked away and all of Gotham City were crime-free? Such was the premise at the opening of Christopher Nolan's The Dark Knight Rises, and here, too, it forms the basis of the entire story. It's hence rather a one-note narrative, but thankfully the (many) writers manage to extract enough out of it to fill an enjoyable hour and a half of screen time. Led by a terrific Will Arnett reprising his role from 2014's The Lego Movie, the cast of voice actors here is at once enormous and impressive. Alongside Arnett we find Zach Galifianakis as The Joker, Ralph Fiennes as Alfred, Michael Cera as Robin and Rosario Dawson as Barbara Gordon, the new Police Commissioner of Gotham City. There's also an extensive cameo list featuring the likes of Channing Tatum as Superman, Conan O'Brien as The Riddler, Zoe Kravitz as Cat Woman, Eddie Izzard as Voldemort and even Siri as Batman's computer. Of course, there's no getting around the fact that this film represents crass commercialism taken to an extraordinary extreme. How many studios would ever deign to include their corporate sponsor in the actual title of their movie (Daniel Craig stars in…Aston-Martin Bond)? As with its predecessor, The Lego Batman Movie is designed to, and succeeds in, showcasing Lego's extensive catalogue of movie and TV-based products, ranging from Harry Potter and Doctor Who through to Godzilla, King Kong and The Wizard of Oz. On the other hand, the film is a funny, clever and engaging piece of cinema that holds almost as much interest for adults as it will the film's target younger audience. Not as finessed or layered as The Lego Movie, this superhero spinoff is nonetheless an entertaining and refreshing take on the big screen's most brooding hero, and proves well worth the price of admission. https://www.youtube.com/watch?v=rGQUKzSDhrg
In 2013, 300 people danced to Kate Bush's' 'Wuthering Heights' in a field — and in 2018, the idea is back and bigger than ever. Yes, The Most Wuthering Heights Day Ever is happening in Melbourne on Saturday, July 14. Yes, everyone should be dressed as Kate Bush, complete with a red dress, red stockings and black belt (men, that means you as well). On the day, a clowder (that's the collective noun for Kate Bushes, just FYI) will descend upon the park and copy Bush's swaying, kicky dance in unison just for the pure joy of it. Support for this weird and wonderful outing has been widespread, and Kate Bush fans from around the world have been inspired to create events in their home cities. So get your gear together (dressmakers are being flooded with orders for the day, check it out here) and ready yourself to roll and fall in green, out on the wily, windy moors of Edinburgh Gardens. Registration is by donation, and this year's shindig will also include a charity cake competition for anyone eager to bake and decorate a Bush, Emily Bronte or Wuthering Heights (the song or the book)-themed cake. If you need an extra incentive — other than the event itself, of course — this year marks Bush's 60th birthday and 40 years since the song was first released.
Sometimes you don't want to fight the queues of new cafes just so you can get your hands on a soy latte and avocado on toast. Don't get us wrong, often we do. But there are times when a wholesome, hearty, and tasty feed is enough, regardless of newness. This is how we found Cafe Azul on Bridge Road in Richmond. These guys have been around the traps for a while — they've welcomed new cafes to their hood, said goodbye to venues and have continued evolving in the meantime. It's a no fuss kind of affair. Take a menu as you arrive, choose what you want and order at the counter. Take your number and wait for your food. Old school, right? Having said that, they are brewing almond milk lattes and raw treats. Not so old school. The menu dishes up large serving sizes, the ones you relish when you're hungover. The best kind of high-risk, high-reward eggs. You know, the ones that either cure your hangover, or tip you over the edge? Anyway, point is, come hungry. You can go for the sweet options like your Bircher muesli served with natural yoghurt and stewed and poached fruits ($9.50) or the organic sourdough fruit toast filled with currants, sultanas, and raisins ($6.50). For a more savoury spicy affair, try the Californian Breakfast: four cheese toast served with smoked crispy bacon, fried eggs, avocado, spicy herbed ranch salsa and Cajun aioli ($17), or perhaps a vegan approach with the tofu scramble with onions, capsicum, field mushrooms, herbs and spices, sourdough and baby spinach ($14.90). If you're up for designing your own, the menu of sides is worth it on its own. Go for scrambled eggs with a choice of anything from smashed avocado to grilled haloumi, Hollandaise to Meredith goats cheese, and even hearty hash browns. Whether it's virtue you’re going for, or a serious feed, these guys have both covered. Start with a big breakfast, and get the raw snickers to take away. It's all about balance, right?
If you're not a fan of being reined in, put Prahran's Casa N.O.M. on your weekend radar. Just as the restaurant is shaking things up with its diverse offering of Latin American fare, it's mixing this up with its new boozy brunch concept — there's no smashed avo in sight. On offer every Saturday and Sunday, the Bottomless Fiestas run not just for a couple of hours, but from noon right through till 5.30pm. That's a bottomless brunch, lunch or even early dinner – whatever takes your fancy. For $59 a head, you'll tuck into a five-dish feast, featuring creations like sweet corn and chorizo quesadillas, a chipotle quinoa salad and classic carne empanadas paired with a lively salsa verde. To match, there's 90 minutes of free-flowing Estrella lager, wine and cocktails, ranging from spritzes and tequila-spiked palomas to micheladas (a classic mix of beer and tomato juice). Best of all? The menu changes weekly, so you can make this a regular affair and still never get bored. Bottomless Fiesta sessions are at midday, 2pm and 4pm. Images: Griffin Simm
Things are getting animated down at ACMI, with the return of the Melbourne International Animation Festival. Running from June 19 to 26 at the Fed Square cinema, the festival will once again showcase an eclectic mix of local and international animated shorts that push the boundary of what a cartoon can be. From classic Disney productions to the mind-bending films found in the fittingly titled Late Night Bizarre section, it's a loving tribute to a medium where anything is possible. The program is split into a number of different streams, ranging from student works to abstract animation, documentary efforts and films aimed at kids. The full lineup can be explored over at the MIAF website — alternatively, you can get a mix of everything at the best of the festival session on the final Sunday.
The ensemble at Red Stitch Actors Theatre is back with their first show of 2016, an Australian premiere that's sure to grab people's attention. Written by acclaimed British playwright Penelope Skinner, The Village Bike is an erotic dark comedy about sexuality, pornography and the expectations wrapped up in gender. The Red Stitch production is directed by company regular Ngaire Dawn Fair and stars founding member Ella Caldwell as Becky, a part played in the show's Off-Broadway run by indie film star Greta Gerwig. Becky is a recently married and pregnant school teacher who has moved with her husband John — played by guest actor Richard Davies — to a small country town. Unfortunately for our protagonist, John is more focused on impending parenthood than he is interested in bumping uglies, and before long Becky's eyes begin to wander. The Village Bike received rave reviews upon its debut in London back in 2011, with critics praising Skinner's smart, non-judgemental writing. The Melbourne show co-stars Olga Makeeva, Syd Brisbane, Matt Dyktynski and Natasha Herbert.
A highlight of both the Melbourne Symphony Orchestra and the Melbourne Chinese New Year programs, the annual Chinese New Year concert is back for 2016. Conducted by Oscar- and Grammy-winning composer Tan Dun, the performance will combine classical music from both east and west, including Dun's work inspired by the ancient village music of southwest Chine, The Map.
When you hear conversations about Revolver they usually involve stories of apocalyptic Godzilla hangovers, absurdly early mornings (or late nights, depending on your vantage point), rave girl outfits next to harem pants and noteworthy music. The Revolver Upstairs Summer Series, soon to host Daniel Bortz, focuses on the latter, with heightened potential for the other elements to present, of course. This year we have seen the musically historical space play host to the likes of Bicep, Pleasurekraft, Bill Patrick and Laura Jones. Hailing from Berlin, Bortz has been working the club scene across Europe and beyond for over ten years. He isn’t afraid to break the mould and brings together a mash up of genres to make a dance floor set that will keep you there way after you turn into a pumpkin. Expect ‘80s new wave, ‘90s West Coast hip hop, disco and dance mania. Cancel tomorrow's breakfast plans, unless they involve a snag from the sausage man who lingers outside.
Put on your reading glasses, the Melbourne Writers Festival is back for another year, celebrating the very best wordsmiths from around Australia and the world. This year's program boasts more than 530 events across 60 different venues, featuring authors, journalists, scriptwriters, bloggers, activists and critical thinkers. Think of it as a marathon for your brain. Major highlights on this year's program, which kicks off on Thursday, August 20, include an opening night address by Captain Corelli's Mandolin author Louis de Bernieres, a panel with Veronica Mars and Party Down creator Rob Thomas (moderated by Clementine Ford), and a talk on astrophysics featuring Nobel Prize winner Brian Schmidt and science writer Katie Mack. In addition to the massive number of talks and panels, the week-and-a-half-long festival will feature film screenings, exhibitions, performances and workshops, as well as plenty of free events for those of us trying to save money. And if you're looking for a little bit of homework, be sure to check out our MWF reading list, featuring works by some of this year's most interesting guests.
Diehard cheese fiends of Melbourne can now have the ultimate serve of festive cheer delivered straight to their doorstep, with the expertly curated 12 Days of Cheese box. Featuring a tasty selection of 12 artisanal French cheeses, as chosen by a local cheesemonger, the made-to-order boxes are available now for delivery across Melbourne. As well as making a great Christmas gift for any cheese-loving friends and family — or the perfect Advent calendar for turophiles — we're also betting you'd hit instant hero status rocking up to your next festive do with one in tow. The hand-crafted wooden boxes are split into compartments, each filled with around 20 grams of a different high-end French fromage. The cheesy lineup includes the likes of a creamy Le Conquerant Camembert, the soft-ripened double cream Brique d'Affinois, a salty-tart Cantorel bleu d'Auvergne, a Marcel Petite comté and more. Each block of cheese also comes with brief tasting notes and information about it's origin. The 12 Days of Cheese box costs $196.50, plus $20 for delivery. Boxes will be be delivered on December 11, 14 and 21.
UPDATE, January 16, 2023: The Menu is now streaming via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Whichever new Charlie and the Chocolate Factory adaptations hit screens in the future — beyond the already-slated Timothée Chalamet-starring origin story and Netflix's animated plans to whatever else might pop up — no one need cast Ralph Fiennes as Willy Wonka. The Menu has already done so, and fantastically, albeit not in name but in tour-guiding, court-holding, string-pulling and monologue-delivering spirit. In this slickly appetising culinary thriller, the ever-versatile No Time to Die, The King's Man and The Forgiven star plays Julian Slowik, the head chef at the most exclusive of exclusive restaurants: the fictional Hawthorne, which adorns its own private island, is pickier than a fussy eater about its guest list, and comes with a cult-esque crew of kitchen and hospitality staff. And at the eatery's latest sought-after sitting, Slowik takes his patrons through an unforgettable edible adventure, unfurling surprises with every meticulously selected, prepared, served and introduced degustation course. Getting "yes chef" bellowed his way by Slowik's underlings on command, Fiennes is a sinister delight in this vicious and delicious flick. With his character terrorising staff and customers alike, but similarly trapped with his employees in the hospo grind, Fiennes is also visibly having a ball in an entertainingly slippery role. He plays the part with the instant presence to make a room of well-paying patrons snap to attention just because he's there, and his facial expressions — his eyes in particular — are a masterclass in passive malevolence. There's a cruel streak in Slowik, as there is in the movie, but The Menu is a black, bleak, vengeful comedy as well. Director Mark Mylod (What's Your Number?) and writers Seth Reiss and Will Tracy (The Onion) know the best thing to eat, aka the rich, and turn their fine-dining factory into a savage, savvy and scathingly amusing satire about coveting $1250-a-head meals but letting the workers behind them slice, steam, stir and sweat through upscale kitchen drudgery. Babbling snootily about mouth-feel before even getting to Hawthorne by boat, Tyler (Nicholas Hoult, The Great) doesn't spare a passing thought for the restaurant's workers. A self-confessed foodie who can't abide by the eatery's no-photography rule for a single course, he's in fanboy heaven after finally scoring a booking — and doesn't his companion Margot (Anya Taylor-Joy, Amsterdam) know it. She's less enthused, and her lack of fawning over her surroundings, Slowik, each plate and the theatre of it all rankles her date. She's the least-excited diner of the evening's entire list, in fact, which also spans status-chasing finance bros (The Terminal List's Arturo Castro, High School Musical: The Musical: The Series' Mark St Cyr and The Now's Rob Yang), a cashed-up couple (Mass' Reed Birney and Julia's Judith Light) who attend regularly, an arrogant food critic (Janet McTeer, Ozark) and her editor (Paul Adelstein, The Greatest Beer Run Ever), and a movie star (John Leguizamo, Encanto) with his assistant (Aimee Carrero, Spirited). Mylod and Tracy share Succession on their recent resumes — the former directing 13 episodes, the latter writing two — which has them prepped for exactly this kind of dressing down; if you're going to boil down the one percent to size, there's no better cooking school. That background shows not just in the cleaver-sharp script or dedicated attention to glossy detail, but in the commitment to bite hard into a spate of targets. Where 2022 TV sensation The Bear carved up toxic kitchen life by displaying its chaos to a so-stressful-and-accurate-it-feels-like-you're-there degree, The Menu shreds and skewers by going after money and the performative culinary antics it can bring. That's part of what makes Fiennes' role so compelling, and his portrayal with it: the film's audience can see the pull that Slowik has over his staff and customers, and the screenplay spells out his professional misdeeds, but they also know what enables such behaviour. As breadless bread courses come Tyler, Margot and company's way, plus other just-as-precisely curated dishes — the feature is structured around Slowik's titular array — Charlie and the Chocolate Factory proves just one easy influence for The Menu. The Game, David Fincher's twisty quarter-century-old thriller, is another, with Slowik and his offsiders, warden-like restaurant manager Elsa (Hong Chau, Homecoming) included, pushing and prodding Hawthorne's latest intake unbeknownst to them. Yet another source of flavour springs from 1962 surrealist gem The Exterminating Angel, about guests at a lavish party who aren't permitted to leave. There's nothing subtle in The Menu's borrowings and nods, or about The Menu overall, but that doesn't make its class warfare-fuelled cinematic feast any less satisfying. In the hospitality realm, this cutting morsel is diligent in bringing together recognisable ingredients, too; satires, even delectably brutal ones, can't be vague. The Menu's audience can give some of their thanks to Ethan Tobman's (Pam & Tommy) production design and Lindsey Moran's (Animal Kingdom) art direction, providing Hawthorne with the style and sheen of Magnus Nilsson's shuttered Fäviken in Sweden, Ferran Adrià's El Bulli in Spain and René Redzepi's Danish drawcard Noma. From San Francisco's Atelier Crenn, Michelin-starred chef Dominique Crenn acted as the movie's chief technical consultant, overseeing dishes cooked by her IRL culinary partner Juan Contreras. Like The Bear, this vision of making and plating cuisine feels so authentic that you can imagine it appearing on Chef's Table — and, continuing the flick's credentials, that show's creator David Gelb is The Menu's second unit director. All the technical proficiency anyone can amass means little if the end result isn't mouthwatering, though, but that's a problem The Menu doesn't have. Also, an extravagant meal can wow the tastebuds but dull the joy if it doesn't feel like an experience, which isn't a struggle The Menu faces, either. As tense as a pressure cooker, as smooth as a squirt of the finest olive oil and bubbling with high-quality wares — Taylor-Joy and Chau join Fiennes among the cast's standouts — Mylod's film perfects a necessary balancing act as well. Amid silky lensing by cinematographer Peter Deming (Twin Peaks season three), rhythmic splicing by editor Christopher Tellefsen (The Many Saints of Newark) and a nerve-rattling score by composer Colin Stetson (Color Out of Space), The Menu knows the difference between the artistry that restaurants like Hawthorne champion and cultivate, and the woes, disparities and oppressions of the culinary world. One it still appreciates, the other it eviscerates, and battle between the two it scorches and sears, right down to the blunt but gratifying ending.
Years of labour are plastered across the face of Maud Watts (Carey Mulligan). She hasn't just toiled away in a sweatshop-like laundry since she was a child — she was born there, and had no choice but to follow her mother into the gruelling line of work. At the age of 24, and as a wife to Sonny (Ben Whishaw) and mother to George (Adam Michael Dodd), she thinks she knows what her future holds. Her story isn't unique. That's why it's important. That's why Suffragette is important too. There's no mistaking the spirit that seethes through both the character and the feature. Both endeavour to subvert the status quo, give a voice to the masses and plead for gender equality. It’s a vital cause, embodied in an everywoman-type protagonist and an impassioned — albeit blunt and traditional — period drama. Accordingly, Suffragette charts the horrors of Maud's reality while agitating for an alternative. And it does so via a simple but effective story. After seeing a brick thrown through a shop window as part of the crusading campaign, Maud is convinced by a colleague (Anne-Marie Duff) to find out more. She soon realises that she has to fight not only for the right to vote, but for a world in which she doesn't receive less pay for more work, watch her lecherous boss take advantage of the ladies under his supervision, or be expected to do what her husband tells her without question. The members of her group, the Women's Social and Political Union, are ignored, attacked, arrested and treated like criminals, forcing them to increasingly adopt more drastic measures. Helena Bonham-Carter appears in a supporting role as an ailing chemist and activist, while Meryl Streep pops up in a blink-and-you'll-miss-it appearance, giving a speech as real-life movement leader Emmeline Pankhurst. Providing an example of the male power refusing to concede ground, Brendan Gleeson plays a police inspector determined to put the feisty femmes in their place. More than anything, however, Suffragette belongs to the woman behind its heroine. Once again, Mulligan is subtle but stirring, expressing more in her face and physicality than the dialogue can say, while also offering a convincing transformation from onlooker to instigator. Plus, she adds a second powerful feminist role to her 2015 resume after a similarly outstanding turn in literary adaptation Far From the Madding Crowd. Mulligan is the standout player, but she's not the only highlight. Though the script by writer Abi Morgan (The Iron Lady) is earnest, obvious and rather conventional, director Sarah Gavron (Brick Lane) doesn't waste a frame — or a handsomely lensed image — in conveying its point. And while the end result may be heavy-handed, that doesn't lessen the film's message or its impact. Tellingly, its strongest statement remains long after the credits roll. Suffragette may take viewers back more than a century, and much may have changed since then. But the battle for parity among the sexes is far from over.
Prepare to cancel all your Wednesday night plans (i.e. laundry and Netflix) because we've got something much, much better. The Queen Victoria Market is bringing back its Summer Night Market for its 22nd season of balmy tomfoolery. This means that after a day of toiling in the diamond mines or hosiery department (whatever your poison) you can cool off with a free evening of international street food, vintage fashion and handcrafted homewares. This year, the 15-week season, kicking off on November 20, will see more than 130 stalls descend on the starlit market, as well as a rotating weekly lineup of free live tunes and street performers. This season, there'll also be a full-sized beach volleyball court and a pop-up Palm Springs-inspired bar, called Gin Springs, with pink flamingos, cacti, cocktails from the Melbourne Gin Company and cider from Coldstream. And don't even think about eating at home because it's got 55 food and drink vendors to suit every whim, including Portuguese tarts from Casa Nata, Filipino and Southeast Asian street snacks from Kuya's Simply Pinoy and Israeli pita pockets from Falafel Arayes. You'll also find The Cypriot Kitchen's extensive range of haloumi-heavy dishes (burgers, salads, pitas and souvla), El Rincon's paella and Tasty Suya's African barbecue. If you swing by on the Summer Night Markets' launch night — November 20 — you'll also be treated to a program of live tunes courtesy of artists from Melbourne Music Week. There'll be 80s acid house from Zeitgest Freedom Energy Exchange, jazz from Sunnyside and plenty of dance floor bangers from Melbourne's own Pjienné. The Summer Night Market will run every Wednesday night from November 20 to March 11 (excluding December 25 and January 1) from 5–10pm. Image 1–2: Simon Shiff Updated November 7, 2019.
Longtime fans will remember that happy day, years ago, when Lune Croissanterie and Belles Hot Chicken joined forces to create the Double Down: a classic Lune croissant stuffed with two chicken tenders, fennel slaw and green tomato jam. Well, excitingly, the two local legends are teaming up once again. This time, they're hosting a one-off party in celebration of Belles' fifth birthday. Taking over the Gertrude Street restaurant on Monday, August 5, will be a flavour-packed evening of wine, chicken and pastry. And yes, the Double Down will be making a glorious comeback. Tickets are $20, which'll get you into one of three sittings (5.30pm, 6pm or 6.30pm) and hook you up with one of the night's star pastries. A stack of natural wines and plenty more fried chicken will be available to purchase on the night, too, and if you're quick, you'll find limited-edition Belles x Lune t-shirts to buy at the ticket checkout. Unfortunately, this ain't one for those with dietary requirements — the Double Downs are being served as they come, with no alterations allowed. Images: Marcie Raw
Film-loving Melburnians, prepare to start wishing you're in Italy. Yes, it's Italian Film Festival time again, and it's heading to Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, The Kino, Pentridge Cinema, The Astor and Cinema Nova with quite the lineup. On the bill from Thursday, September 15–Wednesday, October 12: everything from Italian box office hits and Sophia Loren-starring classics through to a documentary about a shoemaker to the stars helmed by Call Me By Your Name and Suspiria's Luca Guadagnino. This year's IFF will open with Belli Ciao, which did huge box office business in Italy. It both stars and is co-written by comic duo Pio D'Antini and Amedeo Grieco, who play once-inseparable friends who went their own ways after high school — Pio leaves for Milan, Amedeo stays in their hometown — and now reunite, complete with a north-versus-south culture clash. From there, highlights include The Hummingbird, an ensemble drama with Nanni Moretti (Three Floors) and Berenice Bejo (Final Cut), which hits IFF fresh from premiering at the Toronto International Film Festival; drama Lord of the Ants, about the controversial 1960s trial of intellectual Aldo Braibanti, which screens direct from its Venice Film Festival competition debut; and The King of Laughter, which features Toni Servillo (The Hand of God) as actor and playwright Eduardo Scarpetta. Among the documentary selection, two big titles stand out. The aforementioned Salvatore: Shoemaker of Dreams focuses on Salvatore Ferragamo, while Ennio — The Maestro sees director Giuseppe Tornatore (Cinema Paradiso) pay tribute to legendary Italian composer Ennio Morricone (The Hateful Eight). Elsewhere on the bill, there's rom-com Breaking Up in Rome, homecoming drama Nostalgia, play-to-screen adaptation The Great Silence, the fairground-set Swing Ride and prison The Inner Cage — the latter of which also features Servillo. In fact, he pops up again in Casanova's Return, as an acclaimed Italian director making his last movie about Casanova. More than 25 films grace the full lineup — including blasts from the past, such as closing night's Sophia Loren and Marcello Mastroianni-starring Yesterday, Today and Tomorrow. To celebrate the centenary of filmmaker Pier Paolo Pasolini's birth, three of his iconic movies — all adaptations of literary works — will screen as well, with The Canterbury Tales, Arabian Nights and The Decameron all getting big-screen showings.
Festivals have evolved. Nowadays, they're almost unrecognisable from the pits of despair we experienced in our teens — and there's a festival to suit almost everyone. If your bag is being terrified until you poop your pants, Horror Movie Campout is the festival for you. After debuting in Sydney and Melbourne in 2015, and spreading its scares to Brisbane and Adelaide in 2016, the event is back to embrace all things frightening once more Basically, it's the Meredith of monstrosity, the Splendour of spookiness…kind of exactly like Stereosonic in its current zombied state. So what goes on at a horror festival? Well, it's full of horrifying spectres and hair-raising scenes of horror (aka, your blood will literally curdle). We've had some clues from previous years: yep, survivors camped out overnight in the woods (first mistake right there, seriously). They reported roaming zombies, all the classic pop-culture murderers you can shake your pathetic choice of weapon at and of course, menacing clowns. Not only do the organisers hire actors to scare the bejesus out of you, but everyone comes to event dressed in costume. So get down to your local stuff shop before they sell out of 1920s nightgowns, fake blood and Kabuki masks. You can expect a horrifying 'death chamber' maze, as well as a main stage with live music (will it be horrifying? They haven't specified, but probably). Then, the main event is a series of curated horror shorts followed by two headliners, decided by you, the victims. The Melbourne campout is happening on December 2 and 3 (giving you just enough time to recover from Halloween) at the very remote and haunted Point Cook Homestead. Hint: old Point Cook has seen its fair share of murders.
Wiggle your green thumbs and get among the vegetation at the Barkly Square Flower and Garden Market. On Sunday, October 9, the Sydney Road shopping centre will be in full bloom, as nature lovers and horticulturalists plant their roots firmly in the Brunswick soil. Running from 10am till 3pm, the market will take place around a pop-up nursery where visitors can pick up plants of every shape and size. There'll also be pot painting and terrarium workshops, a public seedling swap, as well as a special appearance from CERES plant doctor Ben Taylor. Need a diagnosis for a sickly green friend? Taylor's the man to talk to. Alternatively, you can see to your own health with the help of nutritionist Rasha Tayeh, who'll run a 'Spring Rhythm' masterclass about seasonal produce and medicinal herbs.
Richmond's National Hotel is going to the dogs. Well, at least on Sunday, April 18, it is. And in the best way possible, of course. After a COVID-19-related cancellation last year, the pub is finally hosting its inaugural Paws + Pours dog-friendly market party, transforming its much-loved beer garden into a playground of puppy cuddles and furry fun. Head down from noon to browse a collection of pet-focused market stalls, slinging everything from treats to dapper doggy threads and accessories. There'll be pet photography, health and wellness clinics, and a pop-up from First Paw Mobile Vet, as well as a raffle chock full of paw-some prizes for your pooch. Sounds from resident DJs will set the mood, while you tuck into some food specials from the kitchen and a few cheeky beer deals courtesy of local brewery Moon Dog. And to commemorate the occasion — and perhaps celebrate a certain furry friend in your life — the crew from Dark Essence Tattoo Parlour will be on hand inking dog-themed temporary tattoos throughout the day.
If you're partial to the kind of feast that tickles all of your senses at once, you'll want to make a date with Moonhouse this month. On Wednesday, September 21, the Balaclava restaurant is teaming up with experiential theatre crew Nonchalant to deliver a one-off dinner fusing food and drinks with a tantalising curation of art and live performance. You'll enjoy a cocktail on arrival, before diving into a four-course spread starring plates like Sichuan-spiced steak tartare, crispy skin chicken matched with lemon pepper and Moonhouse's sweet chilli, and a coconut soy pudding with mandarin. [caption id="attachment_868866" align="alignnone" width="1920"] Artwork by Jem Bray[/caption] Meanwhile, you'll find yourself simultaneously soaking up striking projections by visual artist Jem Bray, grooving to sounds from DJs Hans DC and Sasha Fern, and delighting in the hosting talents of Danny 'BamBam' Carter. Even more entertainment comes in the form of live tunes from the likes of singer-songwriter Lakyn, cello star Wilma and vocalist Amber Ferraro, and performances by dancer Bianca Dimattina, and burlesque artists Gina Stirling and Evana De Lune. If you fancy commemorating the occasion with some happy snaps, photographer Ray Rolla will be manning a pop-up photo studio from 7–8.30pm. Tickets to the experience clock in at $150, including food and all the evening's creative delights. Top Image: Parker Blain
Melbourne winter can be a drag — and not the fun, OTT kind. But if you're looking for a bright spark to liven things up in your life, you'll find it hitting the stage for YUMMY's high-camp variety show, ICONIC. The award-winning cabaret troupe is returning to Melbourne for a whirlwind visit, set to dazzle audiences at Meat Market with one of its best-loved shows, from Wednesday, June 22–Saturday, June 25. A powerhouse production that trips boldly between circus, drag, burlesque and comedy, ICONIC promises a feast for all the senses. And costumes to die for, of course. It's risqué, raunchy and a whole lotta fun. International drag cabaret superstar Valerie Hex is both the creator and emcee, joined by celebrated queer performance artists including Jarred Dewey, Karlee Misi, Bendy Ben, Velma Vouloir (Miss Burlesque Victoria) and Jandruze. Nab a ticket and strap yourself in for a wild, 70-minute ride. 'ICONIC' will run across six sessions — 7pm on June 22 and 23, and 7.30pm and 9pm June 24 and 25. [caption id="attachment_857728" align="alignnone" width="1920"] Jacinta Oaten[/caption] Images: Jacinta Oaten, Brig Bee and Joel-Devereux.
Perhaps you're fond of crusty sourdough with your breakfast or brunch. Maybe you have a sweet tooth for cakes, muffins and brownies. Either way, with Melburnians presently spending more time at home — and zero time eating out at bakeries and cafes — we're betting that you've probably cranked up your oven and put your baking skills to the test in recent weeks. Next time you get creative in the kitchen, however, you don't just have to stick to a packet mix or try out the recipe on the back of your packet of flour. And if you've been craving treats from one of Melbourne's favourite dessert spots, you don't have to miss out. Adapting to the current situation, Piccolina has launched a 'bake at home' range, which'll let you whip up some of its wares yourself. Topping the menu: Piccolina's 'Better than Nutella' ravioli. A $28 kit features 12 large ravioli filled with the chain's own choc-hazelnut spread, or you can order a $43 version which includes one litre of gelato. Also on offer is cookie dough ($14/$30 with gelato) for 10–20 cookies, as well as chocolate self-saucing puddings ($16/$33 with gelato), apple crumbles ($22/$38 with gelato) and sticky date puddings ($22/$38 with gelato) that all serve four–six people — and you can add also some of Piccolina's version of Ice Magic to your order for $10. Ready to eat after 15–20 minutes in your home oven, the new hot dessert range is available both in-store and for delivery via UberEats — with pre-orders currently available from Piccolina's website. If you're planning to pick some up in-person from Collingwood, Hawthorn and St Kilda, remember that Melburnians can only visit places within five kilometres of their homes. For more information about Piccolina's 'bake at home' range — or to order something — visit the chain's website. Updated: August 7, 2020.
Between the strict lockdown rules and disappearance of any social life, it sure doesn't feel much like Christmas at the moment. But there is a little Yuletide tradition that might actually help inject a bit of happiness into this whole mess — a new iso-friendly advent calendar filled with locally made chocolates. Brainchild of pastry chef and chocolate-maker Kep Whitley, the idea for the product came about after a fortuitous phone discussion lamenting the latest lockdowns. The aptly named You've Got This chocolate box comes neatly packed with 42 different signature Kep Whitley bonbons and truffles, representing the exact number of days in Melbourne's latest stretch of stage four restrictions, from Sunday, August 2 to Sunday, September 13. Yep, you can reward yourself with one of these rich, velvety chocolates for every 24 hours of lockdown you survive. Perhaps a ceremonious choccy hit to pair with Premier Dan Andrews' daily press conference? The box's dreamy lineup of truffles includes the likes of salted caramel shrouded in a dark chocolate and crunchy cookie outer, and a blend of banana, rum and white choc. And then there's the delicate bonbons, each hand-painted in a unique splash of colours. Will you go for the combination of yuzu gel and matcha ganache? The coconut and strawberry number? Or perhaps the almond haze tahini praline with crisp feuilletine? Whatever your palate, you're sure to find more than a few winners in this lot. The Kep Whitley You've Got This lockdown chocolate box is available now to buy from the online store for $90. While you're there, you can browse the brand's full range of chocolate delights, including bars, brittle and lush spreads. But, you'll need to move quick — the box has already sold out twice. The You've Got This chocolate box is available to buy now for $90 via the Key Whitley website.
Gould Galleries is currently celebrating its 35th birthday by exhibiting works from some of Australia’s most influential artists. Robert Gould is regarded as one of Australia’s leading commercial gallerists and private art dealers; he's dealt with some bigwig buyers in the past (such as Rupert Murdoch and Elton John) but has been well known for his discretion when it comes to his clients. In the pas,t Gould Galleries has famously exhibited works by Australia’s most important 19th and 20th century artists, as well as a select group of Australia’s most dynamic contemporary artists. The Director’s Choice Anniversary Exhibition, currently on display at Gould Galleries, features five Australian modernist masterpieces. These include Sidney Nolan’s, Head (Ned Kelly), Charles Blackman’s The Friends, Robert Dickerson’s The Late Shopper, Brett Whiteley’s Galah, and Howard Arkley’s Actual Fractual. While these are certainly important pieces, the exhibition as a whole is a brilliant reflection of Australia’s artistic landscape, and should not be missed. Image: Charles Blackman, The Friends (1953) Gould Galleries.
When David Bowie starred in 1976's The Man Who Fell to Earth, playing an alien who crash lands on our planet, it became one of the musician's iconic on-screen roles. It's also one that he returned to nearly four decades later, in a fashion — co-writing the musical Lazarus, as inspired by the Walter Tevis novel that the sci-fi film was based on. Written with playwright Enda Walsh, and one of Bowie's final projects before his passing in January 2016, Lazarus opened off-Broadway in December 2015. The production made the jump to London in 2016, and brought its otherworldly story — and its soundtrack of 18 Bowie tracks — to Melbourne in 2019. But if you haven't seen it yet, you can now do so from your own couch. When Friday, January 8, 2021 rolls around, it would've been Bowie's 74th birthday. When Sunday, January 10, 2021 hits, it'll mark five years since his death. In honour of those two occasions, a stream of the London production of Lazarus will be available to watch. It was captured live on stage during the show's run, and stars Dexter's Michael C Hall, who followed in Bowie's footsteps by taking on the part of Thomas Jerome Newton — and it's streaming at 7pm AEDT on Friday, January 8 and Saturday, January 9, and at 3pm AEDT on Sunday, January 10. Tickets cost $28.50. Those eager for a date with this starman — and to start loving the alien, again — can expect a sequel of sorts to The Man Who Fell to Earth. The enigmatic Newton remains on earth, unable to die; however, the arrival of another lost soul might offer the solution that he's been looking for. As for the familiar songs that this story plays out to, it's basically a best-of catalogue of Bowie's greatest hits. 'Heroes', 'Changes', 'Life on Mars?', 'The Man Who Sold the World' and 'Sound and Vision' all feature — as do four of the star's final recordings, including the title track 'Lazarus'. https://www.youtube.com/watch?v=q9iw6yoMk3I
Like all good things, daylight saving time is hurtling to an abrupt end, ditching us for the next six months while winter does its thing. But this year, at least, you can cruise through the transition in relatively good spirits with some cheap espresso martinis. As possibly the most well-known coffee liqueur in the world — and staunch supporter of Australia's unceasing espresso martini obsession — Kahlua is facilitating a nationwide series of happy hour deals. And it all kicks off just before those clocks turn back, this Friday, April 5. Venues across the country will be celebrating the last full night of daylight savings with some cheers-worthy drink specials, pouring espresso martinis, for up to half the usual price. The on-tap cocktail features a blend of Absolut vodka, Kahlua and organic cold brew from Kind Coffee Co. — and as there's with no shaking required, you'l have minimal time to waste at the bar. The caffeinated drink deals will debut from 6–7pm on April 5, and continue at the same venues each Friday for the rest of the month. How much money you'll have to part with will differ from venue to venue, but you can expect to pay just half of the regular price of an espresso martini. KAHLUA HOUR VENUES Father's Office, CBD Swan Hotel, Richmond The Boatbuilders Yard, South Wharf Common Man, South Wharf Asian Beer Cafe, CBD Henry & The Fox, CBD
Few of today's new restaurants boast the same kind of pedigree as Fitzroy North's most recent addition, Ryne. Making its home within a smart, 60-seat space on St George's Road, the fine diner is the latest venture from Donovan Cooke, the trailblazing chef behind such culinary greats as Est Est Est and seafood-focused Crown restaurant The Atlantic. He's joined forces with with long-time colleague and friend Alex Law (The Atlantic, The Royal Hong Kong Jockey Club) to deliver a contemporary take on classic French fare. Named for an Anglo-Saxon word referring to a course that's continuously moving forwards, Ryne offers Cooke the chance to return to his favourite kind of work, crafting honest yet refined dishes within an intimate setting. Open only for dinner, Ryne keeps the decision-making to a minimum, offering simply a two-course ($65), three-course ($80) and seven-course ($150) tasting menu. The starting lineup is one big celebration of spring, featuring plates like smoked rainbow trout with dashi-infused daikon and horseradish, and marron scented with orange and teamed with a pea panna cotta. Meanwhile, the wine list is geared towards small producers, pulling together a thoughtful mix of international and local gems. Find Ryne at 203-205 St Georges Rd, Fitzroy North.
Dance, music and experimental art return to the Queen Victoria Gardens' 2017 MPavilion architecture commission. Back for its second year, M*SYNC sets out to celebrate love as a contemporary ritual with the aid of artists from both home and abroad. M*SYNC will take place on Saturday, February 11 from 5–9pm. The evening will see LA-based band Tropic of Cancer make their Australian debut, in a set synced to the heartbeats of the crowd. They'll be joined by the likes of Sydney sound artist Gail Priest, dancers Niharika Senapati and Benjamin Hancock, and newly formed music project Queens of the Circulating Library from Jonnine Standish and Ying-Li Hooi. As part of this year's M*SYNC, MPavilion will also install a series of suspended 'cardiophonic' 3D knitted snooze pods — or Hypnapods — created by arts group Unconscious Collective. Pop by during the day between February 9 and 14 (10am to 12pm or 2pm to 4pm) to experience them for yourself. Image: Zeehaen Films.
Your mates at Concrete Playground know how much you guys love Nutella. Sydney lost its collective shit (and rightfully so) over those damn Tella Ball milkshakes, and Melbourne eats so much of the stuff they caused a temporary nation-wide shortage. As addictions go, we suppose it could be worse. Point is, when we heard there was going to be a toaster-shaped Nutella food truck rolling around the country, we figured you'd want to hear about it. Especially since all the goodies on board will be free. The food truck menu has been devised by Alistair Fogg, the man behind Sydney's Nighthawk Diner. Think stewed winter berries with Nutella and toasted coconut, raisin toast with Nutella and berries, and a crepe stack with Nutella and crispy bacon. It's only one item per customer per day, unfortunately. Let's just say at this stage, we're not ruling out the possibility of trailing the truck from town to town like the insatiable groupies we so clearly are. The road trip begins in Sydney on June 15, before heading down the Hume Highway to Melbourne. They'll hit St Kilda's O'Donnell Gardens on June 25-26 and Queensbridge Square in Southbank on June 27, before wrapping up their journey in Geelong on June 28. Find the complete list of dates, times and locations for the Nutella Road Trip at the official Facebook page.
To anyone who's ever seen a boy band struggle to croon over the screams of an enraptured crowd, the energy from the adolescent girls losing their minds would seem enough to solve the looming global energy crisis. Is it clean? Not always. But there are 60 years worth of gig footage — from The Beatles to One Direction — that classifies this energy as renewable. Sydney's Belvoir Theatre has explored the topic in its super-popular production Fangirls, and now it's making the trip to Melbourne. From April 28–May 9, it'll be taking over the Playhouse at Arts Centre Melbourne with its boundless enthusiasm. The musical peeks into the poster-plastered bedroom and love-heart-emblazoned diary of teen girl fandom. It's a celebration of the time in your life when you're convinced the haircuts of a pop group may well bring civilisation to its knees. It's witty and fun, sure. But writer and lyricist Yve Blake also probes an insidious double standard: Why is it that when boys cry at the footy, that's the love of the game, but when girls cry at a Justin Bieber concert, that's pathetic? Through protagonist Edna (Karis Oka), a city girl conspiring to confess her undying love to True Connection frontman Harry (Aydan), Fangirls also examines the sorts of messages sold to young women as well as the power of the modern fan. In the age of the internet, pubescent devotees are a coveted market, but they are also the new talent scouts, organising online to confer godhood on anybody playing acoustic guitar in their bedroom, rhyming 'your face' with 'gotta get out of this place'. Directed by Paige Rattray, the Melbourne production will star a mix of new and returning cast members, with Oka taking over from Blake as the lead. Fangirls is boppy and sugary in spades. But it also asks you to spare a thought for those crying, screaming and full of joy in the front row. They're going through a hugely transformative time. And, they may be the ones keeping your lights on in years to come.
