As another New Year's Day rocks around, a familiar favourite will be taking its place beneath the sun at the Coburg Velodrome for a dance-friendly, music-filled day party to remember. Sun Cycle — from the folks at Crown Ruler (Duke Street Block Party, Freedom Time), Untitled Group (Beyond the Valley, Pitch Music & Arts, Ability Fest) and WAT Artists — is returning to its original home to help you launch into 2023 in very fine form. Yet again, the team has pulled together a top-notch gathering of local and international acts to soundtrack your first party of the year, headlined by US hip hop star Freddie Gibbs, French DJ and producer Folamour, UK rising star Sherelle, and Irish DJ and Boiler Room favourite OR:LA. Also on the bill: our own DJ Boring, C.FRIM, and Noongar artist (and Squid Nebula lead vocalist) Bumpy, plus Antal, Palms Trax B2B Job Jobse, Sampology, Pookie and more. [caption id="attachment_830107" align="alignnone" width="1920"] Natalie Jurrjens[/caption] The day's musical festivities will play out across three stages, with the apt names of Body Heat, Inner Orbit and Simmer Down. And they'll be dishing up delights for dance music aficionados of all persuasions; from jazz and soul, to hip hop and electronica. As always, the Sun Cycle tunes will be complemented by mesmerising visual projections, set to amp up as the sun dips and the energy evolves into the night. There'll be dazzling stage designs, interactive art experiences and lots of local food stalls, and it'll all kick off with a significant Welcome to Country. Organisers have set out to deliver an inclusive and safe environment for your NYD celebrations, with a strong focus on representation and accessibility. [caption id="attachment_830105" align="alignnone" width="1920"] Natalie Jurrjens[/caption] SUN CYCLE 2023 LINEUP: Antal Bertie Bria Bumpy C.FRIM Coco Maria DJ Boring DJ PGZ Empress Folamour Freddie Gibbs IJALE Job Jobse Kgomotso Lauren Hansom Mirasia OR:LA Palms Traz Pookie Sam Alfred Sampology Sherelle Sofia Kourtesis Yawang Yikes Sun Cycle will take place on January 1, 2023, at Coburg Velodrome, 30-34 Charles St, Coburg North. Presale tickets go on sale from 6pm on September 20, while general public tickets are on sale from 12pm September 21. Top Image: Natalie Jurrjens
Frequently, when Jungle Collective hosts one of its huge sales in Melbourne, it fills a warehouse with indoor plants — and jungle vibes. But between Wednesday, March 2–Sunday, March 6, it's going virtual with its weird and wonderful pieces of greenery instead. And, it's hosting its biggest online plant sale ever. Whether you're after a hanging pot plant, some palms for the garden or a giant Bird of Paradise, chances are you'll find it here. You'll just be doing your shopping online via the Jungle Collective website rather than heading in-store. More than 250 different species will be on offer, which is a hefty range — and, nationwide, there'll be more than 20,000 plants on offer, too. While this is a 100-percent online event, you do still need to register for free tickets in advance. Once you've nabbed yours, you can drop into the sale whenever you like — with early bird access open on the Wednesday night for those who RSVP, and the sale open to everyone from Thursday–Sunday. As for deliveries, your plants will make their way to you over the following week between Thursday, March 10–Friday, February 18, with more details given when you make your purchase. Delivery costs $15–30 depending on your area, with orders within 25 kilometres driving distance nabbing free delivery if you spend $150 — and everyone living further away getting $15 off. Or, if it's easier, Jungle Collective is also doing pick-ups as well. You'll just need to be able to head to its Camberwell warehouse at Camberwell Road from 4–6pm on Tuesday, March 15.
Give your brain a workout at Fed Square this long weekend with the return of Melbourne's number one festival of street games and constructive play. Presented by Pop Up Playground, Fresh Air 2015 is a four-day marathon of street games, puzzles and interactive performances. Headlining this year's festival is City Dash, an hour-long orienteering game by UK-based game designers Fire Hazard. Participants will race around the CBD attempting to unlock clues, while avoiding teams of patrolling guards. Other intriguing games include Bakers of Anarchy, which combines role-playing with cake decorating; Escape Van, a mobile version of Escape Room; and The Bicycle Game, in which competitors make use of those blue Melbourne Bike Share bikes to traverse hidden sites around the city. Fresh Air runs Friday March 6 through to Sunday March 9, with day games running from 11am - 4pm, and night games running from 6 - 9pm. The festival is free, although some events are ticketed. For more information, visit www.popuplayground.com.au. Image: Fire Hazard, Gwyn Morfey.
Following a massive five-year renovation, Hotel Sorrento has finally unveiled its completed look. The Mornington Peninsula's uber-cool, world-class boutique resort has expanded its offerings, marking a new benchmark for coastal luxury in Victoria. The pub has been in the hands of the Pitt family since 1981, and across three generations, it has undergone extensive transformations, including this latest multi-phase project. First, the development saw luxury accommodation, a pool, spa and wellness facilities added on to the venue. And now, the final upgrades have been unveiled to include a New York-style Lobby Bar, an openair wellness terrace, conference and event facilities, and several new luxury suites. "The completion of this development isn't just a milestone for us; it redefines what hospitality looks like on the Mornington Peninsula. We grew up in this hotel, and to now see it fully realised as a resort destination that offers world-class hospitality and wellness is something we're incredibly proud of," says Myles Pitt, Director at Hotel Sorrento. The new Lobby bar, designed by Six Degrees Architects, is inspired by globally recognised venues such as The Bowery Hotel in New York. Whether it's an early morning coffee, an afternoon aperitif, or a post-dinner cocktail, the low-lit space is an intimate and sophisticated place to slow down and unwind. The new openair terrace will complement the hotel's existing wellness offering, Marlo Spa. With seaviews, a travertine yoga deck wrapped in lush greenery and sun-soaked, laidback vibes, it'll be a great spot to settle in over summer. "As a family, we are thrilled to provide an offering that reflects what we love — not only spaces for people to connect and celebrate, but also an opportunity to invest in their health and wellbeing. We are passionate about balance, and Hotel Sorrento certainly now provides that," says Marcus Pitt, Director at Hotel Sorrento. Images: Supplied.
An alpine slice of paradise, a high-altitude escape and a wild, snow-capped land. This isn't some European Alps locale, this is Mt Hotham in our very own Victoria. Situated on the Great Dividing Range, this small village sits atop the mountains. At 1,750 metres above sea level, it's among the highest-altitude villages in Australia. That gets it a spot on the must-visit list year-round, particularly in the winter. Unsurprisingly it's one of the state's most popular skiing destinations and is quite unique in that the village sits above most of the skiing, rather than below. Picture waking up inside a cloud illuminated by the sunrise, and getting onto a run that's right outside your door, it's possible at Mt Hotham. But it can't be all skiing and snowboarding — the human legs can only take so much action. So when you've had your fill of the mountain, come back here to find out how to enjoy your evenings. GET SOME SHUTEYE AT MOUNTAIN DREAMING APARTMENTS Sometimes after a long day on the mountain, all you need and want is to go to bed. There's no shame in that — a long day or difficult conditions can really take it out of you. A popular cosy overnight spot for any visitor is Mountain Dreaming Apartments. These self-contained and self-catered apartments are the perfect pick for experienced snowgoers, with fully stocked kitchens and private balconies overlooking those killer mountain views. The on-site restaurant offers drinks and Aussie pub-style cuisine to recharge your batteries, plus the apartments are a mere 100 metres from the Big D Lift, the less time you need to walk in your boots the better. FEEL AT HOME IN GRAVBROT SKI CLUB Slightly further down the road in Davenport village is a luxe but affordable alternative: Gravbrot Ski Club. An ideal destination for families or larger groups, especially if you don't fancy forking out for meals or bringing your own groceries. A stay here includes the home cooking of the lodge's own chef for every meal. The whole experience is designed to not just accommodate you but to make you feel at home while away from home. You even get assigned an essential role in maintaining the lodge during your stay. The lodge's position in Davenport puts you in close proximity to cross-country trails, so it's perfect if you fancy an adventure through the snow to start or end your day. PUT YOUR FEET UP IN 'THE HEART OF HOTHAM' AT ZIRKY'S Location-wise, Zirky's really is the heart of Mt Hotham, and it has been for over 60 years. Sat in the bustling heart of the village, it offers a serious drawcard as the ideal ski-in-ski-out location for a stay in Hotham. The apartment-style rooms range from one to six bedrooms, perfect for groups big and small. Zirky's boasts multiple options for diners. You can grab a coffee and a quick snack at the cafe before you head out, enjoy a relaxed lunch or après drinks in the bar, or enjoy a refined dining experience in the á la carte restaurant, it's headed up by Chef Stephanie Graham of the St Kilda seafood hit, Donovans. Needless to say, reservations are strongly encouraged. MAKE THE MOST OF APRÈS-SKI WITH DINNER AND DRINKS AT THE GENERAL Holiday towns can suffer a bit on the nightlife front, but locals and visitors of Mt Hotham alike know that's not the case when they spend an evening at The General. This is a classic Aussie pub. It prides itself on being at one of the highest altitudes of its kind and serves hot and hearty pub classics until late. The Genny also maintains a regular live music and entertainment roster, rotating between live DJs and artists to pub trivia and afternoon après happy hour specials. If you're looking for a night out on the mount, this is a prime choice. TAKE IN THE SCENERY ON A SUNSET SNOW KAT TOUR Altitude and killer views go hand in hand, and Hotham is no exception to that rule. But when you're careening down the slopes, staring at the view isn't the safest thing to do. It's easy enough to take a break on The Summit during the day, but you really should try coming back at sunset. The only way to do that is on a Sunset Snow Kat Tour. This deluxe experience starts with bubbles and cheese at The Bird before a heated ride in a snow kat up to the summit to watch the sun go down with hot choccy in hand. It'll be cold, but the views are unbeatable. Legend says that on a clear night, you might see as far as Mt Kosciuszko. SPEND A NIGHT OUTDOORS AT ALPINE NATURE EXPERIENCE Just like the killer views, the lovely ambience of the Victorian Alps is a little tricky to take in when you're moving down a hillside at high speeds. A better choice for a leisurely wander through the high country is cross-country skiing or even snowshoeing. Mt Hotham offers that in large amounts, but a truly special way to do it is the Alpine Nature Experience. This evening tour starts with a 20-minute snowshoe walk through the snow gums, followed by mulled wine, cheese fondue and a three-course dinner in a cosy tipi in the snow. You can also book to stay the night in a luxury heated 'skydome' or authentic igloo, followed by a warm breakfast in the morning. HAVE A QUICK BREAK THEN KEEP SHREDDING AFTER DARK You don't always have to take off your gear for good once the sun goes down. Mt Hotham has a bustling nightlife and a broad list of activities in the village, but the action can continue on the slopes if you pick the right night. If the conditions are good, visitors can return to the mountain with limited access to Big D for night skiing and boarding every Wednesday and Saturday night from 6.30–9.30pm. And in case the floodlights don't illuminate enough of the situation, Wednesday nights also feature fireworks displays that light up Big D, The Summit or the Basin at 6.30pm. Keep an eye on the Mt Hotham app or TV to find out what's happening. All this and more can be found in Mt Hotham, Australia's alpine wonderland. To find out more and start planning your trip, visit the website.
Get excited, festivalgoers: Pitch Music & Arts is returning to Grampian Plains in 2025, complete with a jam-packed roster of talent. Joy Orbison, Honey Dijon, Funk Tribu, 2manydjs: they're all on the bill. So are Daria Kolosova, SPFDJ, 999999999, Shanti Celeste, FJAAK, Lady Shaka and Job Jobse, with the list going on from there. Everyone should make the trip to the Grampians at least once, and here's as ace an excuse to do so as any: the return of the much-loved camping festival, which will host its eighth edition, taking over Moyston again. Next years' festivities are happening from Friday, March 7–Tuesday, March 11. Not only will its three stages play host to a sparkling lineup of local and international musical talent, as always, but the tunes will be backed by a hefty program of interactive art and installations. Basically, no matter who makes it onto the bill, attendees are in for a very big, very busy four days. Joy Orbison's 'flight fm' and 'better' were used in teaser videos for 2025's fest, which was indeed a huge advance lineup hint. You can also look forward to catching Gabber Eleganza, BASHKKA, Funk Assault, Baraka, ISAbella, Ogazón, southstar, Midland, Dax J, Anetha and plenty more, including Osmosis Jones, Moopie, DJ PGZ, Stev Zar, Jennifer Loveless and Mabel. On the Pitch Music & Arts arts lineup: Adnate, Anatolik Belikov, Ash Keating, Builders Club, Clayton Blake, EJ Son, ENOKi, Georgia Treloar, Henry Howson & Ambrose Zacharakis, Jaqui Munoz, Joan Sandoval, Lukas Rafik Mayer, ØFFËRÎNGŠ (aka Melissa Gilbert), Petra Péterffy, Rachel Lyn & Cameron Trafford, Raquel Villa, Reelize Studio, Sam Hayes, TERRAIN, Tetrik and UnitePlayPerform. In between all of the dance-floor sessions and arty things, festivalgoers will again be able to make themselves at home in the Pitch Pavilion, which is where yoga classes, meditation and sound baths usually help patrons unwind. The local-focused Club Serra will be new in 2025, championing homegrown talent. Pitch Music & Arts 2025 Lineup 2 LUBLY 2manydjs (DJ set) 6 SENSE 999999999 Anetha Audrey Danza BADSISTA Baraka (LIVE) BASHKKA D. Tiffany Daria Kolosova b2b SPFDJ Dax J Diffrent DJ Fuckoff DJ Gigola DJ Paulette DJ PGZ b2b Moopie Ed Kent Ela Minus Elli Acula Fadi Mohem FJAAK (LIVE) Funk Assault Funk Tribu Gabber Eleganza presents the Hakke Show GiGi FM Guy Contact Honey Dijon ISAbella Jennifer Loveless Job Jobse Joy Orbison Kasper Marott Kia Kuzco (LIVE) Lacchesi Lady Shaka Leo Pol Maara Mabel Maruwa Mia Koden Midland Mikalah Watego Miley Serious Naycab Ned Bennett Objekt Ogazón Ollie Lishman Osmosis Jones Pablo Bozzi Pegassi Shanti Celeste southstar Stev Zar Sugar Free Surf 2 Glory Taylah Elaine The Illustrious Blacks Trym VOLVOX Y U QT Images: Duncographic, William Hamilton Coates, Max Roux and Ashlea Caygill.
Earlier this month, 30 lucky (and we mean lucky) winners were spirited away to a surprise gig at a secret venue. It was all courtesy of the legends at Cloudy Bay, and their good friends Parlour Gigs. The first big reveal was the location. The atmospheric backdrop of Montsalvat, a European style 1930s manor set in lush grounds at Eltham, was revealed through the tree line and set the tone for the gig. As the crowd got cosy in front of a roaring fire in the glorious high-ceilinged halls, the guests of honour revealed themselves. Fractures, the moniker of Melbourne artist Mark Zito, played an intimate, bespoke set featuring many songs that have never been performed acoustically before. Guests were served a smorgasbord of culinary delights, curated by food stylist Amanda Luck. Deli boards piled high with cured meats, olives, cheeses, seasonal fruits and warm, succulent dumplings were shared amongst friends as the afternoon turned to evening. The stunning venue also enjoyed a tszujing from stylist Janice Luck, who decked the halls in garlands of silvery green foliage and fairy lights. Cloudy Bay came through and generously flooded the event with bottles of their rich pinot noir, the perfect accompaniment to grazing platters and crispy tunes. Does this sound like your idea of heaven? Stay tuned to @cloudybay and @parlourgigs. More secret shows will be announced soon.
This week, Narre Warren arts precinct Bunjil Place is showing off its night owl side, with the next instalment of its Night Mode series. Kicking off from 6pm on Thursday, July 14, Night Mode: Abundance Edition is set to deliver a tasty after-hours program of food, drinks, music, art and talks. You'll enjoy late-night access to the current exhibition All the Things I Should Have Said That I Never Said by artist and curator David Sequeira. It's a multi-faceted exploration of authorship, history and time, delivered via a compelling showcase of painting, performance, sculpture, installation and fashion. From 6pm, catch a drop-in workshop led by artist and crafting queen Sai-Wai Foo, and learn how to transform paper into stunning headpieces and corsages. The hands-on classes have a veggie theme, in a nod to Bunjil Place's Casey Cornucopia Garden pop-up — an immersive celebration of local produce complete with giant vegetable sculptures and edible fog. You'll want to explore that while you're here, too. Across three performances (6.30pm, 7.30pm. 8.30pm), legendary local drag star Brenda Bressed will ignite the Bunjil Place foyer, dishing up belters from the back-catalogues of Cher, Aretha Franklin, Liza Minelli and more. Meanwhile, you can catch a workshop on crafting edible clay pendants, and chat to local producers while sampling their wares at the Casey Cornucopia Food Hub market stall. Plus, Bunjil Place's cafe and bar will be open until 9pm, serving a lineup of light bites and libations to enjoy while you wander. Entry to Night Mode: Abundance Edition is free, though you'll need to register online for a spot. Top Images: Paoli-Smith
Macquarie Park will be the site of a huge $2.2 billion residential development — but it's not the high-price high-rise apartment complex that you might have come to expect from Sydney. This new development, which will be partially government funded, will provide a 3000 new homes to Sydneysiders — about 950 of which will provide social housing. A further 128 will be classed as affordable. As part of its Communities Plus project, the NSW Government this week announced the successful tenderers for the Ivanhoe Estate development as the Aspire consortium, which is made up of Mission Australia and developers Frasers Property Australia and Citta Property Group. The consortium will work with the government to develop housing that is affordable and sustainable for those who need it most. "The redevelopment will provide $120 million towards social and community infrastructure and $21 million towards social housing programs within the Ivanhoe estate," said Premier Gladys Berejiklian. "This will see services including tailored and personal plans to connect social housing tenants with education, training and employment." On top of the housing will be a stack of community facilities, including a high school, two childcare centres, an aged care centre, playgrounds, green spaces, gardens and a basketball court. Some commercial interests will be getting a look-in too, with retail shops, a supermarket and cafes all in the plans. Social housing residents will be able to access on-site Mission Australia offices, which will offer social services, including personalised support for tenants and community programs. "Everyone deserves a safe place to call home and everyone who lives in the Ivanhoe community will have the opportunity to fulfil their potential and connect with people in the neighbourhood, as well as having easy access to education, transport, jobs and services in the area," said Mission Australia CEO, Catherine Yeomans. Apart from bringing together people of varied social-economic backgrounds, the development has some pretty weighty sustainability goals. The aim is a six-star Green Star Communities Rating and overall carbon neutrality. To that end, water will be caught and reused, recycled materials will form part of construction, roofs will be green and a photovoltaic system will power a whopping 1.5 megawatts. Ivanhoe Estate — which is located close to Macquarie University and the train station — is part of the government's $22 billion Communities Plus project. Construction is set to start later this year, with the project to be delivered in stages of the next ten to 12 years. It's the first site to be developed; developments in Waterloo, Arncliffe, Telopea and Riverwood are set to follow.
You can't go far in Melbourne without spotting a pub, but around the turn of the 19th century, the pocket of South Melbourne was inundated with watering holes. Through it all, The George has called the corner of Cecil Street home, opening its doors in 1865 and proving popular with local council workers who kept the burgeoning city's utilities turning over. Now, almost 160 years into its story, this neighbourhood icon is embarking on its next chapter. Guided by seasoned publican Scott Connolly (The Orrong Hotel, Healesville Hotel), The George has undergone a significant transformation that has seen the venue return to its former glory. Drawing inspiration from the suburb's heritage architecture and more than a little nostalgia for classic Australian pubs, The George's new look leverages its existing character and combines it with a mix of polished furnishings and fixtures. "I come from a long line of publicans — my great-grandmother was the second woman in Victoria to get a liquor licence," says Connolly. "I'm extremely proud to breathe new life into The George Hotel while celebrating the pub's rich history throughout the South Melbourne community." Downstairs, the inviting front public bar resonates with the warmth of the great pubs of old, where high tables and at-the-bar service don't mess with a tried-and-true formula. Connected to the bistro-style dining room, guests can expect an elevated experience served around the cosy comfort of a fireplace. Then, a leafy courtyard and street-side tables offer the chance to soak up the sunshine and the comings and goings of the adjacent South Melbourne Market. Upstairs, a private function space is primed for celebratory gatherings. As for the food menu, The George features modern takes on classic pub cuisine. Think starters such as house-made focaccia, sesame prawn toast with charcoal mayo and crispy shallots, and plump chicken bao. Larger options step things up, including a 12-hour roasted lamb shoulder served with white bean puree and pistachio salsa verde, and a vego-friendly roasted zucchini, mushroom and ricotta lasagne. The steak option is also enticing, with a 300-gram sirloin served with chips and a choice of peppercorn, red wine or creamy mushroom sauce. The drinks front is also solid, with draught beers on tap alongside bottled and canned beers from Peroni, Bodriggy, Young Henrys and more. Meanwhile, a concise wine list highlights local producers, while a cocktail menu features a selection of spritz and classic options, like espresso martinis and margaritas. Like all good locals, The George's weekly specials are bound to pique interest, with parma and pot nights, steak sessions and all-day roasts on the weekend that keep alive what makes a neighbourhood public house so special. "I think what sets a good pub apart from its neighbours is having a really strong food offering — nothing overcomplicated, but a handful of classic pub dishes executed to perfection," says Connolly. "We're thrilled to be part of this community and we hope The George Hotel will continue to hold a firm place in the hearts of South Melbourne locals and welcome a new generation of pub-goers."
Put the tablet away, the library is where it's at this summer. With the sun shining bright in January, State Library Victoria is inviting families to its Swanston Street forecourt for the free Library on the Lawn: Kids Festival. Made for keeping little ones' literacy on track during the summer break, this stacked event also features numerous on-site activities to level up their engagement. Presented across two three-day sessions — Tuesday, January 6–Thursday, January 8 and Tuesday, January 13–Thursday, January 15 — each day is crammed with kid-friendly fun. Think bubble dance parties, storytime sessions and parachute play. Plus, bean bags, sensory boxes, soft toys, jumbo puzzles and games add even more exciting elements to their encounter. At the same time, kids can score take-home craft showbags while families are welcome to roam the Library's reading rooms on a scavenger hunt. Meanwhile, the second set of dates also features the Under the Love Umbrella installation, where illustrations from popular children's books by Davina Bell and Allison Colpoys take over the Pauline Gandel Children's Quarter. With studies showing that kids who don't practice enough reading over the holiday break sometimes struggle when back in the classroom, State Library Victoria is doing its bit for young literary explorers this summer with this kids-focused edition of Library on the Lawn. Home to over 4000 books for children aged up to 12 years old, Australia's oldest public library is a kid-friendly haven for budding bookworms.
Gracing 134 hectares at the Peninsula's southern tip, this multifaceted family-owned property boasts a 110-seat restaurant, an enormous cellar door and a sprawling sculpture park — the most significant of its kind in the country. With panoramic Western Port Bay views as the backdrop, the sculpture park has debuted with over 50 large-scale works from both Australian and international artists and is set to evolve and grow over the years. Meanwhile, the semi-circular cellar door and restaurant is the work of acclaimed Melbourne architects Jolson, taking pride of place at the property's highest point and featuring sweeping views across the vineyard, the sculpture park and the Bay. The eatery's menus, created by Culinary Director Phil Wood (ex-Rockpool and Eleven Bridge) centres around seasonal, regional produce, kicking off with dishes like a beetroot pancake with salmon roe and lemon curd, and a wallaby pie. Meanwhile, a central woodfired oven works magic with quality local proteins like duck and beef. The restaurant's pitched as a comfy, casual venue, with a second more intimate dining space slated to open towards the end of 2017. Images: Anson Smart.
The immediate future of Melbourne's hospitality scene is still pretty hazy, even with the tentative dates outlined in the Victorian Government's reopening roadmap over the weekend. Firstly, the industry is at the mercy of the daily COVID-19 case numbers, which must have dipped drastically (to an average of less than five state-wide over 14 days and less than five cases with an unknown source in the prior fortnight) by Monday, October 26 in order for health officials to give the green light for step three. What's more, little information has been shared about that initial opening phase, other than the suggestion venues will be required to run "predominantly outdoor seated service only". Whatever unfolds, CBD hospitality businesses can at least look forward to a helping hand from the City of Melbourne, which has been busy plotting a suite of new initiatives designed to get venues back in action, reviving the city's famous food scene as fast as possible. Now that the government's roadmap timeline has been revealed, the council is set to press 'go' on a number of measures it's had in the works. [caption id="attachment_671310" align="alignnone" width="1920"] Bentwood by Kate Shanasy[/caption] Many of these are focused on elevating Melbourne's outdoor dining scene, in a push that's modelled on NYC's Open Restaurant Program, which allows food venues to temporarily use sidewalks and curbs for openair dining. In anticipation of physical distancing requirements and the balmier spring weather to come, Melbourne businesses are keen to expand al fresco service options as much as possible. And the City of Melbourne is out to make that process easier, liaising with businesses to identify issues, working closely with the Victorian Government and taking practical steps like waiving certain street service permit fees. "We will be announcing measures to make it easier for businesses to expand their seating onto footpaths and other areas," said Lord Mayor Sally Capp in a statement. "This will provide a safe way for people to enjoy our inner city food culture, particularly once the weather warms up. It's crucial we work together to provide some certainty and clarity for the future." [caption id="attachment_782900" align="alignnone" width="1920"] Ray Reyes via Visit Victoria[/caption] The plans come as modelling from Pricewaterhouse Coopers suggests the COVID-19 pandemic could reduce the City of Melbourne's economic output by up to $110 billion over the next five years. The data, which was commissioned by the council to aid recovery efforts, also showed that more than 22,000 accommodation and food services jobs could be lost this year alone. The Council has also set up a City Economy Advisory Board, aimed at helping businesses navigate the impending recovery phase. A subcommittee targeting those in the retail, hospitality and accommodation sectors will coordinate efforts to bounce back, led by representatives from the likes of the Victorian Government, the Australian Retailers Association and the Victorian Chamber of Commerce and Industry. City of Melbourne says it'll announce more hospitality-focused measures in the coming weeks. You can learn more about the City of Melbourne's COVID-19 response at the website. For more information about the Victorian Government's roadmap, head to vic.gov.au. Top image: Parco by Kate Shanasy
Need to cater for vegetarians? No worries, the banquets at Moroccan Soup Bar ($35-$55 per head) will have even the most stubborn carnivore professing their love for vegetarian food. This homely dining space is popular among locals, and they do not take reservations. If you don't arrive at their 6pm opening time, a busy waitress will give you a time to come back, or you can wait outside. Go straight for the banquet and spend your time relaxing with a cup of warm mint tea. The dishes are filled with traditional North African herbs and spices — their legendary chickpea bake is the sacred dish here, so try to get that placed down your end of the table. Image: Nick Allchin.
Could this be St Kilda's best-kept secret? An educational eco centre, a subtropical rainforest conservatory, a giant chessboard and public artwork all find a home in the St Kilda Botanical Gardens, which is tucked on the suburb's border with Elwood. Formally established as botanical gardens in 1859, this significant green space is also home to over 800 mature tree specimens, as well as seasonal displays and native flora that make the perfect backdrop for a picnic. The park also houses lovely walking tracks and a bevy of bird and animal life, including rarely seen birds like the rainbow lorikeet and crested pigeon. Image: City of Port Phillip
Following in the footsteps of renowned ramen joint Ippudo and Manila's popular TuanTuan Chinese Brasserie, another big-name Asian restaurant chain has landed in Melbourne. This time, it's Malaysian favourite GO Noodle House tempting local tastebuds, opening its first Australian store in the heart of Melbourne's CBD. With more than 30 outlets across Southeast Asia and the original Malaysian store that pumps out up to 2000 bowls of noodle soup over a weekend, it's safe to say the brand has its fair share of fans. It's made a name for its clear seafood bisque-style 'Superior Soup' and dry mi xian noodles, the bowls are usually finished with a splash of rice wine — a trend apparently started by Emperor Kangxi back in the Qing Dynasty of the 17th century. The Melbourne restaurant's menu will carry through those classic GO Noodle House flavours, though with local ingredients. Head in for customisable bowls of that hearty, seafood-based noodle soup, or a hot and sour variation, loaded with additions like meat balls, stuffed chillies, cooked prawns or mixed mushrooms. Other dishes include the likes of homemade fish dumplings, Hakka-style pan mee noodles, slow-cooked slices of pork belly and a street snack dubbed Nine Dragon Balls. If you're feeling game (and extra hungry), there's the GNH Challenge dish — a $49 mega bowl of noodles, soup, pork and beef that's free if you can polish it all off in 30 minutes. Find GO Noodle House at 195 Exhibition Street, Melbourne. It's open from 10am–10pm daily.
Finally! After all the doom and gloom this past week of the Astor closing its doors and the Palais slowly falling apart, we finally have some good news out of St Kilda. The former George Cinemas are set to be renovated into a live performance hub this year with construction starting as soon as next Monday. Specialising in cabaret and music, the venue will be split into two performance spaces seating 500 and 250 people. While this is obviously another loss for cinema lovers, it's a great win for those that don't want to see another Melbourne icon torn down and transformed into apartment units. Closed from its original form in 2010, the George Cinemas have transformed a great deal over the last few years. In 2011, it enjoyed a very brief moment as Cinema Aurora. Then in 2013, it gained a great deal of popularity as the George Revival Cinemas. But bigger plans were in the works to build apartments on the lot. New owners Pace Development Group were planning an $11 million redevelopment of the space set for 2016. Now, the property has changed hands and it's been confirmed that those plans are dead. The new owner of the space is film and theatre producer Aleksander Vass. Returning to the site of his first ever show, Vass shows a commitment to the local arts scene. "I am determined to provide a place where high quality works can be staged, in a supportive, welcoming environment," he told The Age. All in all, it's a rare win for the little guys. And, while it may not restore the venue to its former film buff glory, cinephiles should take some solace: both performance spaces will be fully set up for film too. Via The Age and Herald Sun.
Bridge Road stalwart Laikon Deli has rolled into its next phase of life, with owners snapping up the space next door, knocking down a wall and expanding their offering to include a cheery new sit-down cafe. A longtime favourite — it's been around for 42 years — for its handmade grab-and-go bites, take-home meals and a tempting array of European pantry staples, the beefed-up space is now also a destination for customers keen to really settle in over some breakfast, lunch or an Allpress coffee. It's living up to its name even more so, too, with Laikon meaning 'for everyone'. Photos and knick-knacks give the room a homey feel and throwback to Laikon's European roots, while an expanded cafe menu now includes dishes such as the chilli scrambled eggs with Calabrese salami and warm ricotta, home-style lasagne, baked gnocchi and 'Mum's Bougatsa' — a traditional Greek filo pie loaded with custard, apple and rhubarb. A selection of mix 'n' match antipasto boards makes the most of the deli offerings, with options like a 24-month Langhiranese Parma ham, Wagyu bresaola, French blue cheese and Italian-style grilled eggplant, and holds its own against the rest of the lunch menu. What's more, a booze licence has just come in for balmy summer afternoons spent camped out with a feast of salumi, cheese, negronis and Euro wine. Images: Simon Shiff. Updated: October 21, 2018.
Sorry, supermarket desserts. When Gelato Messina serves up one of its special treats, no one's hitting the local ice cream aisle. 2023's limited-edition wares have included everything from red velvet gelato, cake and fudge mixes to a mango gelato spin on Iced Vovos — plus a Neapolitan version of its super-fancy Viennetta, too — and are now gifting folks with a sweet tooth a tub of gianduia gelato topped with hazelnut rocher crack. If your ultimate chocolate is round, covered in gold wrapping and has a crunchy hazelnut centre — yes, we're talking about Ferrero Rocher — then we expect that you'll be keen for this Messina special, dubbed the Get Cracking hot tub. Clearly taking its cues from the famed Italian chocolate, the tubs feature layers of gianduia (chocolate-hazelnut) gelato, cone crunch and hazelnut mousse. Then, on top: that hazelnut rocher crack. The end result mightn't look exactly like the chocolates that you know and love, just in a scoopable form, but it's an ode all the same. Available as part of Messina's 'Hot Tub' series, the Get Cracking gelato can only be ordered online on Monday, August 7, in one-litre tubs. You can then go into your chosen Messina store to pick up your tub between Friday, August 11–Sunday, August 13. A note re ordering: because Messina's specials always attract plenty of gelato lovers, the chain now staggers its on-sale times depending on the state — and, in Sydney, also the part of town you're in. Accordingly, pre-orders commence in Queensland and the Australian Capital Territory at 9am, then hit Victoria at 9.15am, before spreading its New South Wales stores over three slots between 9.30–10am. Gelato Messina's Get Cracking hot tub will be available to order on Monday, August 7, for pick up between Friday, August 11–Sunday, August 13 — head to the Messina website for further details.
Armadale's Little Grocer is exactly what you'd expect from the name. It's a small cosy space, lined with maximum Good Stuff for padding out your pantry in style. Adjoining the longstanding Coin Laundry cafe next door, The Little Grocer is like the walk-in pantry you always dreamed of. Open till 7pm most days, you can head by after work (especially if you're jumping off the train, as it's a stone's throw from Armadale Station) and make full use of the all-Australian produce it stocks. And, if you're looking for an edible gift, it also does a very nice hamper.
Stare at The False Mirror at Magritte, one of the Art Gallery of New South Wales' big summer exhibitions for 2024–25, and the masterpiece of a painting from 1929 will peer right back. Among the Belgian surrealist René Magritte's most-famous creations, the piece features a giant eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of the latest showcase as part of Sydney International Art Series. Another striking painting that's on display in the Harbour City from Saturday, October 26, 2024–Sunday, February 9, 2025: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. At Magritte, which is exclusive to Sydney, The False Mirror, Golconda and 1952's The Listening Room (La Chambre d'Écoute) — which shows an oversized apple — have ample company at AGNSW's south building Naala Nura. In total, 100-plus works are on display. This is not only a huge retrospective dedicated to the artist, but also Australia's first retrospective dedicated to Magritte. More than 80 of the pieces are paintings, demonstrating why Magritte is considered one of the most-influential figures in 20th-century surrealism; however, archival materials, photographs and films also feature. Sydney International Art Series isn't just about one major exclusive showcase, of course. From Saturday, November 30, 2024–Sunday, April 13, 2025, AGNSW is also hosting Cao Fei: My City. Over at the Museum of Contemporary Art Australia from Friday, November 29, 2024–Sunday, April 27, 2025, Julie Mehretu is on display as well. Images: installation view of the 'Magritte' exhibition at the Art Gallery of New South Wales, 26 October 2024 – 9 February 2025, artworks © Copyright Agency, Sydney 2024, photo © Art Gallery of New South Wales, Mim Stirling.
How far would you go to keep a roof over your family's head? That's the question posed by 99 Homes, the blistering new moral melodrama from writer-director Ramin Bahrani. Set in Orlando, Florida during the height of the 2010 foreclosure crisis, it is perhaps the most compelling film yet made about the global economic downturn and the everyday people whose lives it tore apart. Forget serial killers wielding machetes. This is a horror movie for the modern age. Trading his spandex and web-shooters for a toolbox and blue collar, Amazing Spider-Man star Andrew Garfield plays protagonist Dennis Nash, a construction worker and single parent forced to move his family into a motel after they're thrown out of their home. Adding insult to injury, the only work Nash is able to find is as a day labourer for Rick Carver (Michael Shannon), the same ruthless real estate broker who evicted him in the first place. But Carver soon sees potential in the desperate young father and invites him to take a greater role in his business. But what will it take for Nash to sell his soul? 99 Homes is Bahrani's fifth feature effort, although it's the first to receive a significant release here in Australia. Still, those who have seen his earlier work, including Chop Shop, Goodbye Solo and At Any Price, will recognise his signature motifs. He's an unapologetically earnest filmmaker with a strong social conscience, taking major issues that dominate headlines and using them as a basis for intimate human stories. During the film's numerous eviction scenes, he employs handheld cameras and a low, pulsating score, creating an atmosphere of overwhelming helplessness. Watching Carver throw Nash and his family out of their home will likely leave viewers feeling nauseous – although not half as nauseous as they'll feel later in the film, when Nash begins evicting families on Carver's behalf. After a few years languishing in superhero limbo, Garfield recaptures the stellar dramatic form seen in The Social Network and Never Let Me Go. Every compromise Nash considers the actor makes us understand, forcing us to ponder what we'd do in the same situation. Laura Dern is likewise strong in the admittedly thankless role as Nash's kind-hearted mother. Both, however, are overshadowed by Shannon. With the same simmering intensity he brought to Take Shelter and Boardwalk Empire, the Oscar-nominated actor is captivating whenever he's on screen. A callous big screen capitalist in the vein of Gordon Gecko, Carver is at once repellent and uncomfortably persuasive – characteristics best exemplified in a monologue midway through the film in which the e-cig smoking realtor gives us a glimpse into what drives him while raining rhetorical fire down on everyone from federal regulators to homeowners themselves. It is, quite simply, one of the best written, best acted scenes you'll see in a cinema this year. That's not to say that Bahrani's screenplay isn't also without its weak points. Nuance isn't exactly his strong suit, and there are stretches of the film that feel rather histrionic. More frustrating is the ending, in which the writer-director strips away any sense of moral ambiguity in favour of a simpler, less interesting conflict between right and wrong. Yet even in the moments where the narrative falters, the weight and sincerity of Bahrani's intention are enough to carry you through. That, along with the phenomenal work of one of the finest actors working today. https://www.youtube.com/watch?v=sfttvNCIJvE
The Alliance Francaise French Film Festival is back for its 26th year and with 49 feature films to be screened at cinemas across eight cities, you'd best prepare yourself for everything from the flirting, whimsy, mishaps and misunderstandings that come with French comedy to the passion, ennui, coming-of-age rebellion, thrilling crime and non-conformist romance that come with French drama. Highlights include: gala opening night feature Gemma Bovery, an endearing comedy starring Gemma Arterton that drops the characters of Gustave Flaubert's Madame Bovary into a small Normandy town; the Saint Laurent biopic exploring the inspirations and struggles of the acclaimed designer Yves Saint Laurent at the height of his career; and Samba, starring Charlotte Gainsbourg and star of The Intouchables Omar Sy in a cross-cultural romance that looks at the hardships faced by French immigrants. See more of our highlights in this list of top five films to see at the French Film Festival. Read our top five picks of the French Film Festival here.
Opening in a 2000-square-metre Preston warehouse back in 2021, The Keys was an instant hit. The 'all-in-one leisure centre' complete with a reimagined vintage bowling alley, arcade, bar, bistro and beer garden is the brainchild of school friends Tom Peasnell and Jon Rowatt (part of the crew behind venues including Dexter, Takeaway Pizza, Kenny Lover and Dom's Social Club). The Keys' main persona is a retro bowling alley reimagined for the modern-day bowler, boasting 12 maple timber bowling lanes that have been tricked out with upcycled parts from former bowling alleys, along with the latest tech and machinery. Meanwhile, a collection of retro arcade games, pool tables and a state-of-the-art sound system will keep you more than entertained between games. The space is also home to a fireside lounge area, dance floor, dining zone, bar and a roomy beer garden with capacity for 450 punters. [caption id="attachment_903499" align="alignnone" width="1920"] Jack Lovel[/caption] Across three separate bars, a hefty 48 taps are largely championing local brewing mates, including fellow northsiders Moon Dog Brewing, Tallboy & Moose, La Sirene and Hawkers. In a fitting nod to one of history's most iconic bowling flicks, there'll also be Big Lebowski-style White Russians on the tap list. Head Chef Peasnell is fuelling nostalgia even further with a menu of revamped classics, starring bar snacks, pub favourites and New York-style pizzas. [caption id="attachment_903494" align="alignnone" width="1920"] CHawks[/caption] Appears in: The Best Bars in Melbourne for 2023
For 150 years now, South Melbourne Market has been an integral part of the fabric of Melbourne's food culture. It's not only a very pleasant place to pick up fresh produce and top-notch seafood, but it's also a go-to for morning flat whites, afternoon pastries and paella at night. Like Prahran Market, this is a market for all things food — once you've visited the green grocers and downed a dozen oysters, grab some gozleme, get a takeaway coffee and doughnut from Clement Coffee and then wander through the surrounding South Melbourne shops. Images: Simon Shiff.
Now and then, we all need to take a break from being a part of society, close the doors, turn off notifications and binge watch TV shows while ignoring all texts and messages. The tricky part, though, is being in a you-time bubble when dinner rolls around. Our instincts tell us to snuggle into our couch burrito, order enough UberEats to feed the whole apartment block and when it arrives, awkwardly call back into your apartment, "Hey, large group of my friends, the food is here!". You're not fooling anyone and you deserve better. Put on your glad rags and treat yourself to a meal out — alone. Yes, it sounds weird (food is often such a social concept, after all) but hear us out: you should be treated to fresh, delicious food and a doting waiter, even when you're retreating into your antisocial bubble. Alone but together with American Express we've uncovered Melbourne's best eateries for when you're riding solo and intend to keep it that way. Pick a spot, bring a book (and your American Express® Card) or spend the evening people watching — there's no wrong way to do it. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Gaming and esports are coming to Melbourne in a big way. Come early 2020, the Emporium precinct will welcome Fortress, a 2700-square-metre centre devoted to computer, video, console and tabletop gaming. When it launches, it'll become the largest venue of its type both in the country and in the southern hemisphere. If you're eager to mash buttons with your mates somewhere other than your lounge room, you'll be able to do so in this sprawling two-level spot — which'll feature more than 160 gaming PCs, several suites dedicated to consoles, an entire lounge for online gaming, four streamer pods, and an area just for role-playing and board games. If you take your favourite pastime a bit more seriously, you'll also be in the right place. As well as an esports arena with grandstand seating for 200 people, Fortress will include an esports bootcamp room, a training space, and broadcast and production facilities. At least five big screens will grace the venue's walls, playing live tournaments and international playoffs. Elsewhere, function rooms with their own computer setups will be available to hire for private events and parties — and there'll be a merchandise store onsite as well. When it comes to kicking back after a few games, the esports area will boast its own bar, while the basement will be home to a 400-square-metre tavern that'll serve both drinks and food. Whether you're a Super Smash Bros lover or a Counter Strike fiend, Fortress Melbourne aims to appeal to everyone, catering for casual gamers, competitive gamers and esports diehards, as well as families and after-work crowds. A collaboration with US-based Allied Esports, which runs venues such as Las Vegas' HyperX Esports Arena, the Melbourne facility marks the first in a planned chain of similar spots across Australia over the next few years — although no date has been given as yet for the rollout around the rest of the country. Fortress Melbourne will open at Emporium Melbourne, 287 Lonsdale Street, Melbourne, sometime early in 2020. We'll update you with a launch date when one is announced.
This news isn't like rain on your wedding day. It doesn't resemble finding a black fly in your chardonnay. And it definitely isn't anything like hitting a traffic jam when you're already late, either. But, it will have you singing those lines — and it is news that you oughta know, too — because 15-time Tony Award-nominated musical Jagged Little Pill is heading to Australia. The acclaimed production is making its first trip beyond Broadway, in fact, when it hits the Theatre Royal Sydney from Thursday, December 2. And, when the curtains are raised, it'll help mark another milestone, reopening the Theatre Royal five years after it closed its doors in 2016. Inspired by Alanis Morissette's 1995 album of the same name, Jagged Little Pill the Musical weaves a story around songs from that iconic record. So yes, it's a jukebox musical like Mamma Mia!, We Will Rock You and Rock of Ages. Famed tracks 'Ironic', 'You Oughta Know', 'Hand in My Pocket', 'Head Over Feet' and 'You Learn' all feature, in a production that boasts music by Morissette and her album co-writer and producer Glen Ballard, lyrics by Morissette, and a book by Juno Oscar-winner Diablo Cody. And, songs such as 'Thank U', 'So Pure', 'That I Would Be Good', 'So Unsexy' and 'Hands Clean' all pop up as well, even though they hail from the musician's subsequent albums. At present, tickets are on sale for shows until Sunday, December 19, all starring Natalie Bassingthwaighte. She'll play Mary Jane Healey, with Jagged Little Pill the Musical telling the Healey family's tale as they struggle with their seemingly idyllic suburban lives after a troubling event in their community. Expect to hear Morissette's tunes — including two new songs written just for the show — used in a story about social issues relevant to today, but also with an overall message of hope, healing and togetherness. Images: Jagged Little Pill the Musical original Broadway cast, Matthew Murphy. Updated September 27.
Even woken up after a big night out, with vague memories of an inner-city jungle oasis? Ladies and gentlemen, you've been to the Carlton Club. This urban stalwart has been welcoming thirsty revellers for many moons, and its dedicated crowd is thoroughly addicted. The main drinking area is named the Hasti Bala bar, with lush indoor foliage, plenty of green velvet and a life-size elephant head — it's fake, don't worry. Turn the corner, and you might spy some other four-legged friends, with Gerald the Giraffe and Wally the Ostrich keeping a watchful eye over the proceedings. Upstairs you will find the aptly-named Palmz Deck, bordered with tropical greenery, and dazzling pink flowers. The food menu is similarly impressive, with Asian-fusion entrees and pub classic mains. Our pick is the jamon-crusted eye fillet, with seared scallops and pea puree ($28) — just trust us on this one. The real kicker is the opening hours, with a 24-hour liquor license allowing for some very extended revelry. Images: Giulia Morlando.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=1Qn70iqo-4Q MONOS The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of stunning South America-set thriller Monos. Set in a camp of teen guerrillas, Alejandro Landes' third film follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked with guarding an American hostage (The Outsider's Julianne Nicholson). Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is the definite standouts of the past year. From the eye-popping landscape cinematography and the needling tension of Mica Levi's score, to the commanding performance from the young cast, there's a reason that Monos proved a huge festival hit around the globe in 2019 — including winning Sundance's Special Jury Award — before finally releasing in Aussie cinemas. https://www.youtube.com/watch?v=nzqevBnUUZU&t=3s THE ASSISTANT After exploring the JonBenet Ramsey case not only with precision, but via a perceptive re-enactment technique that interrogated its impact — with excellent documentary Casting JonBenet the end result — trust Australian filmmaker Kitty Green to turn one of the biggest topics of the past few years into a compelling, unsettling, fiercely searing thriller. The subject: the culture of sexual harassment and sexually predatory behaviour in the entertainment industry. The context: #MeToo, obviously. Following a day in the professional life of an entry-level personal assistant, Jane (Ozark's Julia Garner), as she works for an unseen film production company head honcho, The Assistant unnerves by showing the routine, everyday nature of inappropriate workplace conduct, as well as the powerlessness of those both subjected and witness to it to stop it. As always in Green's films, every element is fine-tuned to evoke a strong and earned response — which, here, includes a grey colour palette, claustrophobic camerawork, a taut script, a commitment to authenticity and a devastatingly stellar performance by Garner. https://www.youtube.com/watch?v=tqO25i-XNEU THE PERSONAL HISTORY OF DAVID COPPERFIELD He's skewered British, American and Russian politics in The Thick of It, In the Loop, Veep and The Death of Stalin. This year, in the eerily prescient Avenue 5, he pondered what would happen if a group of people were confined on a cruise of sorts — a luxury space voyage — for an extended stretch of time. But, in period comedy mode, The Personal History of David Copperfield might just be Armando Iannucci's most delightful work yet. Indeed, playfully trifling with a Charles Dickens classic suits the writer/director. Boasting a charming performance by Dev Patel as the eponymous character, and also starring Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw and Game of Thrones' Gwendoline Christie, this is a fresh, very funny and sharp-witted rendering of the obvious literary source material. Recreating this tale of a Victorian-era young man cycling from wealth to poverty and back again, Iannucci and his frequent co-scribe Simon Blackwell take shrewd liberties with the story, while never letting issues of class, abuse, loss, corruption and the dog-eat-dog nature of capitalism slip from view. And, Iannucci's visual inventiveness — including the use of split screen and rear projection — also leaves an imprint. Read our full review. https://www.youtube.com/watch?v=eVlPl0SXFiE BAIT When a film is described as 'textured', the term typically refers to its narrative, themes and emotional impact, with nothing smooth, shallow or straightforward evident. That applies to Mark Jenkin's Bait as it hones in on feuding Cornish fisherman siblings Martin (Edward Rowe) and Steven Ward (Giles King). Indeed, examining not only family in-fighting, but culture clashes, the growing chasm between tradition and modernity, and the effect of tourism on local residents of scenic spots, this is a rich, tense, complex and mesmerising affair that muses as deeply on blood ties as it does on gentrification. Jenkin's film also boasts ample visual texture, too. It's noticeable from the feature's first moments, is intrinsically linked to its tone, and proves utterly inescapable as the sea, craggy shorelines, twisted nets and gnarled ropes all fill the screen. And, as shot on location with a 16mm Bolex camera — and on black-and-white stock that the director hand-processed — Bait's look and feel is as important to the movie as anything else within its frames. In fact, paired with a noticeable penchant for close-ups that forces the audience to stare firmly at both people and objects, this stunning British feature couldn't make a bigger or more powerful aesthetic splash. https://www.youtube.com/watch?v=9DOiI_zYQrs BELLBIRD Bruce (Cohen Holloway) has long since reached adulthood. And, for all of the garbage dump worker's life, his mother Beth (Annie Whittle) has provided a buffer between him and his stoic father Ross (Marshall Napier). When tragedy strikes, however, they're forced to not only face a future without her — including the minutiae of running their scenic Northland dairy farm — but to truly face and talk to each other in a meaningful way for the first real time. Marking the feature directorial debut of teacher-turned-filmmaker Hamish Bennett, made in the area he grew up in and following the same characters from his 2014 short film Ross & Beth, Bellbird explores a straightforward and well-traversed concept, with mourning no stranger to screens. That said, this patient, understated and gently humorous New Zealand drama is a soulful and thoughtful gem. As well as finding a wealth of depth in two men ill-equipped to confront their complicated emotions but given no choice but to try, this gorgeously shot and weightily performed feature matches Bruce and Ross' taciturn ways with an astute script that conveys more through silence than words. https://www.youtube.com/watch?v=BewCjGqefoQ LOVE SARAH Also focusing on connection and reflection sparked by grief, Love Sarah steps into another family attempting to cope with loss. In this case, the dearly departed is the titular chef — the estranged daughter of ex-circus performer Mimi (Celia Imrie), beloved mother of dancer Clarissa (Shannon Tarbet), and best friend and business partner of Isabella (Shelley Conn). When the latter decides to forge ahead with Sarah's plans to open a bakery, she realises that she can't do it without both Mimi and Clarissa's help. Also lending a hand: Sarah and Isabella's culinary school pal Matthew (Rupert Penry-Jones), who might be Clarissa's father. Directing her first feature, filmmaker Eliza Schroeder lets everything about Love Sarah play out as expected, including its soft hues, appetising cake and pastry shots, and exploration of renewed bonds and new opportunities in the face of life-altering change. The film is suitably sweet, of course, and always palatable; however it's far too happy to stick to the easiest recipe possible — with some plot strands overstressed to add extra drama, and one of the movie's more enticing and interesting narrative elements quickly introduced and then abandoned. https://www.youtube.com/watch?v=2Tzas-d8MgM THE WRETCHED For part of this year, when US cinemas were closed but some drive-ins were still open, The Wretched topped the American box office. In no other scenario would that have occurred, so consider the attention afforded Brett and Drew T Pierce's instantly familiar but always effective horror film one of the few silver linings of pandemic-inspired lockdowns. Set in a small coastal town, the siblings' slickly crafted feature follows teenager Ben (John-Paul Howard), who's visiting his divorced father Liam (Jamison Jones). As tends to happen in this type of creepfest, his arrival coincides with strange goings-on at the house next door — namely a sinister force that's wreaking havoc on his neighbours and threatening to spread its malevolence even further. Immediately recalling 80s-era spookiness (and clearly the product of writer/directors who've spent much of their lives watching scary flicks from the period), The Wretched perfects the genre's jumps and bumps with ease, as well as the filmmaking nuts and bolts. In terms of its supernatural storyline, though — and its witchy villain — it does lean heavily on cliches. https://www.youtube.com/watch?v=_K4qawhyasA&feature=emb_logo A SON A tragic accident causes a long-kept secret to come to light — and sparks a series of difficult choices for a Tunisian struggling couple — in the tense and moving A Son. Despite that description, however, this isn't just an intimate drama about messy personal lives tested by heightened circumstances, although it definitely fits that bill. As well as chronicling the fallout when Aziz (Youssef Khemiri), the 11-year-old son of Fares (Sami Bouajila) and Meriem (Najla Ben Abdallah), is hit by a stray bullet during an on-the-road ambush by an armed group, debut filmmaker Mehdi Barsaoui examines the societal underpinnings deepening the family's troubles. Aziz is in dire need of a liver transplant in the aftermath of the attack, but the quest to find a donor is complicated due to cultural, religious and political reasons, as well as a revelation that rocks Meriem and Fares' marriage. Playing parents and partners pushed to their limits, Bouajila and Abdallah are superb. And, while some of the movie hits predicable narrative beats, Barsaoui isn't afraid to veer in confronting directions, or to peer intently at the state of Tunisia today. https://www.youtube.com/watch?v=Eq2n6LJrrZY THE BOOKSELLERS Calling all bibliophiles — whether your bookshelves are bulging, you've spent far too much of your life in bookstores or you've always dreamed about turning your passion for reading into your profession. Focusing on New York's rare booksellers, as well as the ups and downs of their industry, US documentary The Booksellers touches on all of the above. It's also catnip for anyone who's never more content than when they're thumbing through a printed tome, and convincingly evokes the feeling of trawling through shelf after shelf of old, beloved volumes. Cycling through the main players in NYC's antiquarian and secondhand book scene, stepping through the history of dealing in rare texts and contemplating what the future might hold as technology threatens to change everything, this is a meticulously structured, deftly edited, and immensely fascinating ode to the printed word and the happiness it brings. Filmmaker DW Young doesn't make any surprising moves, but he doesn't need to, with his overall topic, his individual subjects and the world they inhabit proving as captivating as any must-read page-turner. https://www.youtube.com/watch?v=2VSaaTCrhlU IT MUST BE HEAVEN In It Must Be Heaven, Palestinian filmmaker Elia Suleiman both directs and plays himself. He also doesn't say a single word on-screen. Serving up a slice of observational comedy, he instead bears witness to and satirises the world around him — starting in his hometown of Nazareth, then roaming to Paris, New York and Montreal. In each place, absurdity reigns. Suleiman isn't interested in overt farce, though, but in a comically heightened, expertly choreographed exploration of the type of strangeness and silliness that lingers in ordinary lives, everyday situations and widespread attitudes. Think: run-ins with authority, examples on the increasingly engrained nature of violence, pondering global tourism and ruminating on the way that one's homeland shapes identity. The ebbs and flows of Suleiman's filmmaking career provide the scantest narrative framework, complete with a brief appearance by Gael Garcia Bernal as himself; however It Must Be Heaven favours vignettes, sight gags, soulful reflection, expressive comedy and strikingly staged moments over neat storytelling. https://www.youtube.com/watch?v=7w5Ej4SF2LE MASTER CHENG The ability of food to overcome national, cultural and racial bounds — to erase barriers, bring people together and help forge new bonds — is an overused cinematic trope. So too is the healing, happiness-inducing power of a great dish, including in fish-out-of-water and down-on-one's-luck scenarios. That doesn't stop Finnish comedy Master Cheng from giving all of the above a workout, though. Here, the titular Chinese chef (Pak Hon Chu) heads to the European country with his son Nunjo (Lucas Hsuan) in tow, plans to connect with an old colleague, but finds himself forging ties in a remote village instead. Naturally, there's a slow-simmering romantic connection with a local in the form of diner owner Sirkka (Anna-Maija Tuokko). Just as expectedly, the community warms to the newcomer's presence. What helps lift Master Cheng, however, isn't filmmaker Mika Kaurismäki's love of a clearcut (and clearly sentimental) template, but the time and attention he invests in building characters, as evidenced best in the film's fleshed-out central duo. https://www.youtube.com/watch?v=0qF-TrY0hBg&feature=youtu.be ROMANTIC ROAD Many a screenwriter has probably tried to pen a similar tale, but the story of Rupert and Jan Grey, their retirement plans and the adventure that followed could've only stemmed from truth. Invited to attend a festival in Dhaka, Bangladesh, the couple decide to drive Rupert's father's 1936 Rolls Royce across India to get there. The journey proves revelatory and life-changing in a variety of ways; however it's the detail captured by filmmaker Oliver McGarvey and his documentary Romantic Road that couldn't be more authentic. The Greys' road trip hits obstacles, both expected and not-so. That's part of the genre, whether based on fiction or fact. Here, though, McGarvey doesn't just focus on the trek and the ensuing escapades along the way, but spends much of the film unpacking his subjects' 35-year relationship — and their motivation to add this hefty drive to their lifetime's worth of affection and memories. https://www.youtube.com/watch?v=Rhwx30NPMY4 THE TAVERNA Setting a film inside a bustling restaurant — here, the White Village Greek Tavern in Melbourne's Elsternwick — almost feels like science fiction at this very moment. With The Taverna, though, it's inspiration for modest laughs, dramas and insights, with this ensemble piece charting the action in its obvious setting across one particularly chaotic night. Owner Kostas (Vangelis Mourikis) has plenty to deal with, including a car accident involving his shady son Angelo (Christian Charisiou), trying to get his his waitress Sally (Emily O'Brien-Brown) to replace his belly dancer Jamila (Rachel Kamath), and troubles with the latter, her ex-husband Arman (Peter Paltos) and his new girlfriend Rebecca (Tottie Goldsmith). Embracing multicultural Australia to an extent that isn't always seen on local screens, the result is a warm, sometimes wavering but generally engaging film from writer/director Alkinos Tsilimidos (Silent Partner, Tom White, Em 4 Jay). From 11.59pm on Wednesday, July 1, until at least Wednesday, July 29, stay-at-home orders have been reintroduced in ten Melbourne postcodes, which means their residents can only leave for one of four reasons: work or school, care or care giving, daily exercise or food and other essentials. For more information, head to the DHHS website.
UPDATE: April 28, 2020: Star Wars: Episode IX — The Rise of Skywalker is available to stream via Google Play, YouTube and iTunes — and via Disney+ from Monday, May 4. Pity the fool who directs a Star Wars movie these days, even if that fool is JJ Abrams. It feels like a long time ago, in a galaxy far, far away from the internet, when fans only interacted with films at the cinema and movies survived or died largely on merit alone. Back then, criticism and praise happened in private — between friends, colleagues and, occasionally, strangers at conventions. Now, films can fail before they're released. Emboldened by online anonymity and pocket-sized megaphones, devotees decry everything from casting choices to millisecond-long trailer grabs. To borrow from A New Hope, it's as if millions of voices suddenly cried out in terror that a woman was cast in the lead, or a stormtrooper was both black and friendly. "Thanks for ruining my childhood" became the catchcry for anyone who felt they didn't see the movie they wanted to and, unfortunately, studios started listening. It's in this context that the third and final film in Star Wars' sequels trilogy arrives. Reactions to Rian Johnson's The Last Jedi were as polarised as the entire franchise had seen — with some praising his efforts to reimagine swathes of lore and actually deliver something new for the first time in nearly 30 years, and others (most, even) tearing the film down. Cries of disrespect rang long and loudly as OG fans believed that their beloved characters had rejected everything they'd once stood for. Sure, Johnson dropped the ball on a number of fronts, but at least he tried something different. Star Wars: Episode IX — The Rise of Skywalker does not try anything different. It retreats to the safest possible territory, borrowing heavily from Return of the Jedi to round out a trilogy crippled by an absence of cohesion. Like 2018's Ready Player One, nostalgia is the film's oft-used trump card, relying almost entirely on familiar visual or musical moments to trick you into thinking you're watching something clever or special. The end result is a chaotic, inconsistently paced, 142-minute package of fan service that gets a few things deliciously right and a lot disappointingly wrong. The Rise of Skywalker's best parts, as has been the case across this trilogy, stem from the relationship between Rey (Daisy Ridley) and Ren (Adam Driver). As the only enduring, meaningful source of mystery, Ridley and Driver again deliver committed performances filled with emotion and raw physicality — and both deserved a far greater story. Here, they're after the same thing: the somehow-resurgent Emperor Palpatine. We say 'somehow', because at no point does the film substantially address this crucial point. At least soaps like Dynasty offered explanations when they pulled this narrative trick (it's his evil twin; he fell off a boat and had amnesia; he was in protective custody). For Abrams, Palpatine is just back. In fact, he never left. Still, it's a joy to see Ian McDiarmid reprise one of cinema's greatest villains, with his scenes among the movie's highlights. Another strength, of course, is The Rise of Skywalker's special effects. As always, they're dizzying and dazzling. The large-scale planets and battles are amazing because Industrial Light & Magic — the company that helped kick-start incredible SFX back in 1977 — continues to push new boundaries, but the imagery particularly impresses in smaller ways. The ongoing commitment to practical effects (those that actually happen live on-set), for example, and managing to not only keep Carrie Fisher on-screen two films after she died, but to ensure that Leia remains the franchise's best character. The wizardry behind these posthumous performances must give pause to all working actors; however credit also goes to the writers for holding true to everything that made Leia an iconic hero in the first place. Her lines are limited but her actions speak volumes, and the film's most emotional moments belong to her. Others don't fare nearly as well. Kelly Marie Tran's Rose, a major player in The Last Jedi, is sidelined, as are Domhnall Gleeson and Lupita Nyong'o's characters — while franchise newcomer Keri Russell scarcely appears before she's gone. Even C-3PO is on the outer, notwithstanding one touching moment. Richard E. Grant is an inspired addition, and his turn as a ruthless First Order general makes you wish he'd been there from the beginning. As for Billy Dee Williams' return as Lando Calrissian (as already spoiled in the trailers), it's among the better nostalgic flourishes. Returning to Star Wars after first directing The Force Awakens, that Abrams plays it safe is no surprise. Yes, it can be argued that a franchise this big needs to take fewer risks to ensure it resonates with the widest possible base. Just as true, though, is the fact that playing it safe is a gross disservice to a property worthy and capable of greatness. If this really is the end of this universe as we know it, then surely it would've been better for The Rise of Skywalker to try and fail than fail to try at all. https://www.youtube.com/watch?v=8Qn_spdM5Zg
Tucked away inside the Royal Arcade, which is widely recognised as Australia's oldest arcade, Ziggurat's eccentric range of handbags, wallets, pouches and so-called 'lovely things' don't look out of place next to the wonderful light-filled corridor outside. The store's huge range of products are perfect for adding an accessory to any outfit, while still maintaining a functional design. Whether you prefer a minimalist aesthetic or a pattern that pops, Ziggurat will surely have the bag for you. Inside, you will also find host of luminous umbrellas and comfortable pillowcases so you can surround yourself with wonderfully crafted products all the time. Images: Tracey Ahkee.
Founded as a way to promote happiness and health, this five-kilometre-long run involves splashes of colour to distract you from the fact that you're, you know, exercising. All participants are asked to wear as much white as they can, and then embrace the colour pigment that's blasted at them at various points during the race. This is sweaty exercise disguised as straight-up fun. With plenty of excitement at the beginning, a party at the end, and four colour zones to dance your way through — plus a bubble zone, a foam zone and a DJ zone — the fun never stops, and neither do your legs. The Color Run now takes place in more than 35 countries worldwide, attracting six million runners across the globe. This year it'll run its Melbourne race on Sunday, November 25 at Flemington Racecourse, kicking off at 7am. If you need more motivation, there'll also be free slurpees, a giant swing and a ball pit. Plus, if you'd like to do something for others with your run, you can raise money for the Starlight Children's Foundation.
Something delightful has been happening in cinemas across the country. After periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — at present, spanning both big chains and smaller independent sites in Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. LITTLE JOE Pipes blow gently. The camera swirls. Rows of plants fill the screen. Some are leafy and flowery as they reach for the sky; others are mere stems topped with closed buds. Both types of vegetation are lined up in boxes in an austere-looking laboratory greenhouse — and soon another shoot of green appears among them. Plant breeder Alice (Cruella's Emily Beecham, who won the Cannes Film Festival's Best Actress award for her work here) is cloaked in a lab coat far paler than any plant, but the symbolism is immediately evident. Audiences don't know it yet, but her shock of cropped red hair resembles the crimson flowers that'll blossom in her genetically engineered new type of flora, too. "The aim has been to create a plant with a scent that makes its owner happy," she tells a small audience. She explains that most research in her field, and in this lab, has revolved around cultivating greenery that requires less human interaction; however, her new breed does the opposite. This species needs more watering and more protection from the elements, and responds to touch and talk. In return, it emits a scent that kickstarts the human hormone oxytocin when inhaled. Linked to parenting and bonding, that response will make everyone "love this plant like your own child," beams Alice like a proud parent. So starts Little Joe, which shares its name with the vegetation in question — a "mood-lifting, anti-depressant, happy plant," Alice's boss (David Wilmot, Calm with Horses) boasts. She's borrowed her own teenage son's (Kit Connor, Rocketman) moniker for her new baby, although she gives it more attention than her flesh-and-blood offspring, especially with the push to get it to market speeding up. The clinical gaze favoured by Austrian filmmaker Jessica Hausner (Amour fou) is telling, though. The eerie tone to the feature's Japanese-style, flute- and percussion-heavy score sets an uneasy mood as well. And, there's something not quite right in the overt eagerness of Alice's lab colleague Chris (Ben Whishaw, Fargo), and in the way that Planthouse Biotechnologies' other employees all instantly dismiss the concerns of the one naysayer, Bella (Kerry Fox, Top End Wedding), who has just returned to work after a mental health-induced sabbatical. Making her first English-language feature, Hausner helms a disquieting and anxious sci-fi/horror masterwork. Like many movies in the genre, this is a film about possibilities and consequences, creation and its costs, and happiness and its sacrifices — and about both daring to challenge and dutifully abiding by conformity — and yet it's always its own beast. There are aspects of Frankenstein at play, and The Day of the Triffids, and even Side Effects also. But as anyone familiar with Mary Shelley's iconic work knows, combining familiar elements can result in an intriguing new entity that's much more than just the sum of its parts. Read our full review. HERSELF Survivalist films typically pit humans against the elements, nature or space, testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), enduring unwelcoming expanses (Into the Wild, Arctic), faced with animal predators (The Grey, Crawl) or navigating the heavens (Gravity, The Martian). Herself doesn't tick any of those boxes, but it still fits the genre — because what else is a movie about a woman trying to escape an abusive marriage, care for her two young daughters alone and build a safe future if not a story of survival? In Dublin, Sandra (Spider-Man: Far From Home's Claire Dunne, who also co-wrote the feature's screenplay) is unhappily married to Gary (Ian Lloyd Anderson, Vikings), and has the bruises to prove it. When he finds money hidden in her car, a badly fractured hand becomes the latest marker of their domestic horror. She leaves, children Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara) in tow, but forging a path forward proves complicated at every turn. Social services can only put the trio up in a hotel far away from the girls' school, juggling two jobs to barely scrape by becomes even trickier and, by court order, Gary still gets weekend visits with the kids. Then, thanks to a spark of unexpected inspiration, Sandra decides to try to build her own house — a €35,000 self-build that'll require an overwhelmingly thoughtful gift from one of her bosses (Harriet Walter, Killing Eve), the kindness of a construction industry veteran (Conleth Hill, Game of Thrones) and all the help she can muster. As a writer (with What Richard Did's Malcolm Campbell), Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra at every turn, but avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, tender gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles forward, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense , compassionate but still clear-eyed drama. It's as bleak as French standout Custody, which also plunges into an abusive marriage. It's also as brutal in its unflinching depiction of navigating bureaucracy as fellow Irish film Rosie, which also tells of a mother trying to find housing for her kids. And yet, without any cloying sentiment, there's hope and tenacity here as well, including in Dunne's phenomenally rich and vulnerable performance. Read our full review. WEREWOLVES WITHIN The last time that filmmaker Josh Ruben trekked to a snowy mountainous locale and tracked the characters stranded in its midst, Scare Me was the end result, with the entertaining horror-comedy combining cabin fever chaos with creepy tales. Accordingly, it's easy to see how he's jumped from that Sundance hit to Werewolves Within, which shares the same kind of setting and setup — but with lycanthropes and a whodunnit twist. Forest ranger Finn (Sam Richardson, Promising Young Woman) has just arrived in the remote town of Beaverfield as the weather turns and the strange attacks start. He's barely been given a tour by fellow outsider Cecily (Milana Vayntrub, This Is Us), the local mail carrier, when the village's generators are found destroyed and the bodies start piling up. Finn has already established that he's surrounded by eccentric characters, including an oilman (Wayne Duvall, The Trial of the Chicago 7) trying to build a pipeline through the foliage, a store owner (Michaela Watkins, Search Party) obsessed with her dog, a constantly arguing couple (No Activity's George Basil and Barry's Sarah Burns) with a fondness for skirting the law, and a pair of ex-city slickers (What We Do in the Shadows' Harvey Guillén and Saved by the Bell's Cheyenne Jackson); however, he's soon forced into close quarters with his new neighbours as they all try to work out who's transforming into a ravenous creature and indulging their hunger. If it all sounds a bit like Cluedo but with werewolves, there's a reason for that; the 2016 virtual reality game that Werewolves Within is based on also matches that description. Adapted into a movie, the narrative aims for Knives Out with claws — but, while overflowing with one-liners, sight gags and a healthy sense of humour to a not just jam-packed but overstuffed degree, the end result is never as funny as it should be. It's never quite as fun, either, even though the concept is a winner on paper. Comedian-turned-screenwriter Mishna Wolff spends far too much time trading in the glaringly apparent, not to mention the predictable. Hell is other people here, and the fact that a seemingly quaint and friendly small town can be filled with deceit, duplicity and disaster is hardly a new observation (and neither is the musing that the sniping within the community just might be worse than the supernatural threat they're now facing). That almost every character remains purely one-note doesn't help, and nor do the over-amped performances given by all of the film's supporting players. Richardson is a delight, though, as he has been in everything from Detroiters to Veep. Indeed, he makes the case not just for more work, but for more leading roles. Vayntrub sinks her teeth into her part, too, and her rapport with Richardson is one of the movie's highlights. Also engaging: the off-kilter tone that Ruben adopts throughout, again aping his previous — and better — feature. PERFUMES Add Perfumes to the lengthy list of odd-couple comedies that bring folks with opposing personalities together, and suddenly, all so that they can learn life lessons, face much-needed realisations and ultimately live better futures. This French feature also hinges upon an only-in-the-movies setup, after a professional "nose" — someone with enhanced olfactory receptors who plies their talents in the fragrance trade — strikes up an unlikely connection with the struggling father that starts working as her chauffeur so that he can eventually win shared custody of his tween daughter. The key here: sincerity. There's sweetness in writer/director Grégory Magne's (L'air de rien) film, and whimsy, too, but this tale about two lost souls unexpectedly finding commonalities in each other never plays up its quirks. Instead, as penned with heart, helmed with patience, and performed with soul by stars Grégory Montel (Call My Agent!) and Emmanuelle Devos (Violette) as well, Perfumes is like smelling a familiar yet still enticing, comforting and surprising scent. Just as fragrance designer Anne Walberg (Devos) builds aromas out of recognisable ingredients while striving to create something that stands out, this charming movie blends its array of easy-to-spot elements into a pleasingly distinctive cinematic treat. In the latest French-made or -adjacent feature to include a custody battle of late (see also: Custody and My Zoe), all that Guillaume Favre (Montel) wants is to convince a judge that he can spend every other week with his daughter Léa (Zélie Rixhon, The Ideal Palace). To do so, he needs to radiate stability, something that he starts seeking through his driving job. When he's assigned to ferry Anne between assignments, he's far from impressed by her aloof demeanour or unusual demands. Helping her change the sheets at her hotel isn't in his job description, he notes. But he's also intrigued by her work, which currently involves recreating the specific odour of a cave, masking an unpleasant smell that's infected a leather brand's handbags, and trying to counteract the stench being pumped out by a rural factory — new gigs she's pushed into by her money-motivated agent (Pauline Moulène, Boomerang) after starting out concocting designer perfumes. Magne's film isn't about narrative surprises, but about emotions. It's also about spending time with two nicely fleshed-out characters who find friendship blossoming despite their initial misapprehensions, and bring out the best in each other as a result. Perfumes wouldn't work if it didn't unfurl with gentle but genuine warmth, if it didn't value attention to detail so highly, and if it didn't have both Devos and Montel as its anchors; however, thankfully they're all a part of this elegant Gallic effort. ESCAPE ROOM: TOURNAMENT OF CHAMPIONS More than once in Escape Room: Tournament of Champions, a supporting performance stands out — and not for the right reasons. Overdone and obvious, these portrayals leave audiences with no doubt that the corresponding characters are part of the game that this franchise has been playing for two movies now. The overall premise of this series sees ordinary folks receive invites that lead them into a maze of escape rooms. These are literal life-and-death spaces, and the body count grows room by room. This time around, Zoey (Taylor Russell, Words on Bathroom Walls) and Ben (Logan Miller, Love, Simon), the sole survivors of 2019's series starter, are trying to track down the villains responsible for the death traps. Of course, they're soon stuck in another one, alongside four fellow winners (In Like Flynn's Thomas Cocquerel, Follow Me's Holland Roden, Queen & Slim's Indya Moore and Step Up: High Water's Carlito Olivero) from other games. There's supposed to be a sense of anxiousness about where the escape rooms begin and the outside world ends, and vice versa, but that's completely stripped out of this second effort. Throughly unsubtle bit-part performances, even for a movie this blatant at every turn, will do that. Escape Room: Tournament of Champions is still tense when Zoe, Ben and their fellow pawns are trying to sleuth their way to safety, thankfully, but that's largely a result of giving them twisty puzzles to solve at an urgent pace. Watching people trying to problem-solve quickly comes with innate tension. Will they succeed? Won't they? The seesawing between those two extremes is inherently suspenseful. That, and the rooms themselves, are two of Escape Room: Tournament of Champions' three highlights. The third: Russell, who is capable of so much more — as seen in Waves, for example — and gives her part here more depth than is written on the page. But, as much as returning director Adam Robitel (Insidious: The Last Key) tries to spin something memorable out of the nervous tone, elaborate spaces and Russell's presence, the repetition and overtness gets tiring fast. While individual scenes may be tense, the overall film never is. It's always apparent where the narrative is headed, even when the six credited writers (Mortal Kombat's Oren Uziel, Hand of God's Daniel Tuch, Counterpart's Maria Melnik, The Hive's Will Honley, Invincible's Christine Lavaf and Wildling's Fritz Böhm) think they're serving up surprises; thought has clearly gone into the minutiae of each escape room, and yet little seems to have been afforded the bigger picture. Visually, and in its soundtrack, every stylistic touch paints by the numbers, too. Also much too predictable: that the film is a setup for yet more to follow. The Final Destination franchise has ratcheted up five instalments so far, so the Escape Room series, the closest thing it has to a successor, can obviously keep milking its setup for several more formulaic movies to come. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; and June 3, June 10, June 17 and June 24. You can also read our full reviews of a heap of recent movies, such as Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks and In the Heights.
Yass, a small NSW town near Canberra received the signature Queer Eye makeover when the Fab Five descended on the town this week. Well, the whole town didn't, but George — a cattle farmer and former rodeo cowboy — did. As did the local pub. A rundown of the show, for the uninitiated, the original Queer Eye for the Straight Guy show hit screens a whopping 15 years ago — running from 2003 to 2007 — and the reboot Queer Eye returned to Netflix this year. The general premise is that the Fab Five give less-fashion-savvy men (and it seems, establishments) much-needed makeovers. In Yass, while three of the Fab Five, Jonathan Van Ness, Tan France and Karamo Brown, were looking after George the cattle farmer, the remaining two — Antoni Porowsi and Bobby Berk — renovated the local pub's bistro and introduced a new signature dish to the menu. Fittingly, the five were also crowned — by Yass Mayor Rowena Abbey — Yass Queens. Yas, queen. If this reference is lost on you, it's a term said to have originated in the 80s ballroom community, but recently surged to popularity thanks to this YouTube video. The Australian mini-episode of Queer Eye will hit social channels on June 22, a week after Season Two premieres on Netflix on June 15.
When the Australian Academy of Cinema and Television anoints its picks for the best movies and TV shows of 2023, it'll do so in February 2024 on the Gold Coast. The country's night of nights is on the move to southeast Queensland, making its Sunshine State debut; however, a change of location isn't the only big offering. For the first time ever, the organisation is also hosting the AACTA Festival, a celebration of everything that the country puts on screens both silver and small. AACTA's gongs will be given out on two dates, starting with its Industry Awards on Thursday, February 8 and then hosting its usual glittering ceremony on Saturday, February 10. Around those occasions, running from Thursday, February 8–Sunday, February 11 at HOTA, Home of the Arts, AACTA Festival will be filled with talks, screenings and more featuring a swag of impressive names. If Talk to Me creeped its way onto your list of favourite Australian horror movies, directors Michael and Danny Philippou will be at AACTA Festival to dive into it. Warwick Thornton is also on the lineup to discuss The New Boy as part of the fest's 'meet the creators' events, as are the teams behind Limbo, Sweet As, Shayda and The Newsreader. Can't wait to see the Boy Swallows Universe TV series? It'll be out by February, so you'll have it fresh in your mind author Trent Dalton gets talking about it. And if you were a fan of The Lost Flowers of Alice Hart either on the page or screen, Holly Ringland will also be chatting. Indeed, writers are a big focus, including Nick Earls, Lystra Rose, Mathew Condon, Richard Jameson, Tristan Michael Savage and Ben Hobson. Giving the event one of its international highlights, Lessons in Chemistry's Bonnie Garmus is on the bill as well. Also each massive highlights: behind-the-scenes explorations of The Matrix, the stunts of Mad Max: Fury Road and, for some more overseas flavour, Spider-Man: Across the Spider-Verse's animation. Or, enjoy a chat with Wellmania and The Way We Wore's Celeste Barber about her career, then find out more about the upcoming series High Country starting Leah Purcell (Wentworth), Aussie-made Robbie Williams biopic Better Man and the sequel to Mortal Kombat at their own dedicated talks. Before they get their own immersive experience in Brisbane, Bluey and Bingo will be doing a meet and greet — and, including a live-watch party for the AACTAs, a screening of 1906's The Story of the Kelly Gang, trivia, a Play School live event and a chat about music Baz Luhrmann's movies, there's plenty more joining them. In total, over 70 sessions form AACTA Festival, with most free to attend. AACTA nominees will also be taking part, although the details there can't be revealed until after exactly who is vying for a gong is announced on Saturday, December 9. "AACTA Festival is a must-attend event for anyone who lovesAustralian film, television, music, gaming, art and pop culture," said AACTA CEO Damian Trewhella, announcing the lineup. "We are excited to present more than 70 events over four days celebrating the excellence of our industry. From red carpet glamour to workshops and a special kids' lineup, it's an invitation for everyone to step into the magic of storytelling and creativity." AACTA Festival will run from Thursday, February 8–Sunday, February 11 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise Gold Coast. For further details, head to the fest's website. Boy Swallows Universe and Wellmania images courtesy of Netflix.
Carnegie might be a bit of a hike away, at 12km from the CBD, but think of it as a pilgrimage, or another couple of steps along the path you're taking on the necessary journey that is your ramen life. Shyun Ramen Bar — named for the word "shyun" which means "season" in Japanese — follows its own instructions carefully and uses only fresh and seasonal ingredients in its bowls. The broth is simmered for the hours necessary to refine really good soup and the umami score is off the charts — we suggest you try the chef's pick pork ramen with your choice of shoyu or miso. It's also an incredibly reasonable $12.40 — another reason for you to make the ramen trek.
Mildura has been a magnet for artists for more than sixty years. So, even though international touring artists don't always make it to Australia's outback towns, it's no surprise that Lenny Kravitz is doing the honours. On 28 November, he'll take over the Mildura Sporting Precinct with his Blue Electric Light Tour, hot from London, Paris and Berlin. Skip the massive crowds in Sydney and Melbourne, and catch the legend with just a few thousand avid fans. You can expect classic hits like 'Are You Gonna Go My Way?', 'Fly Away' and 'It Ain't Over Till it's Over', as well as tunes from Kravitz's new album, Blue Electric Light. As he has for decades, Kravitz is still winning crowds with his catchy hooks, high energy and undeniable charisma. While you're in Mildura, go exploring with our weekender's guide. There's a lot to see and do – from Bruce Munro's dreamy, contemplative Trail of Lights to cruising on a 19th century paddle steamer to wine tasting on the banks of the Murray River.
Whether you watched along from 2009–15 when it was in production or you discovered its joys via an obsessive binge-watching marathon afterwards, Parks and Recreation is one of the 21st century's TV gifts — and the beloved sitcom cemented its stars, from its lead roles through to its supporting parts, as audience favourites. Plenty of those talents also share something else in common: a fondness for touring Down Under. Nick Offerman has done it, taking to Australia's stages. Amy Poehler has made multiple promotional Aussie trips for Inside Out and Inside Out 2. Henry Winkler even headed this way to chat through his lengthy career. Now, add the latter's on-screen son to the list. Ben Schwartz, aka Parks and Recreation's Jean-Ralphio Saperstein, has a date with Melbourne in 2025. Don't be suspicious: Schwartz will be performing his Ben Schwartz & Friends live improv show, which begins with just a couple of chairs onstage. Where it goes from there, you'll only discover at Hamer Hall on Sunday, May 4, because that's the joy of improv. Schwartz isn't just known for Parks and Recreation, although that's the first thing on his resume that'll always come to mind for Parks fans. Since his time in Pawnee wrapped up — since he stopped being one of the woooooooorst people in the fictional Indiana town, that is — he's also starred in murder-mystery comedy The Afterparty, voiced a certain spiny blue mammal in Sonic the Hedgehog and Sonic the Hedgehog 2, loaned his vocal tones to Star Wars: The Bad Batch and Invincible, and featured in Space Force and Renfield. Top image: Disney/Image Group LA.
It was first announced back in 2017 and originally slated to open its doors this March. Now, the three-year wait is over. Society, the much-anticipated venture from Chris Lucas (Chin Chin, Kisume), and Sepia's Martin Benn and Vicki Wild, will make its debut next Thursday, July 22. The long-awaited newcomer has made its home within the 80 Collins dining precinct, sporting a timeless aesthetic courtesy of renowned local architects Russell & George. The interior fuses elements of art deco, mid-century, art nouveau and brutalist sensibilities, with numerous works by Victorian artist David Noonan gracing the walls. Society Dining Room and Society Lounge will be the venue's first spaces to launch, with the second restaurant Lillian Terrace following suit in August. The food offering, by celebrated chef Benn, is a choose-your-own-adventure scenario with a multi-faceted menu of dishes that work as both shared and solo dining plates. The menu is considered, and the food boasts a level of precision inspired by ikebana, the ancient Japanese art of flower arranging. A strong team of head chefs helps to bring it all to life, including Rhys Connell (ex-Sepia), Luke Headon (ex-The Fat Duck) and Thomas Wooks (ex-Woodland House). At Society Dining Room, you're in for refined creations like albacore tuna matched with shiso and rhubarb, bonito with ume yuzu and roast chicken jellies, and a wagyu beef rib cap starring a Japanese pickle and wasabi butter. Meanwhile, the Lillian Terrace menu nods to the Euro influences of Benn's earlier career, running to plates like a spiced crown of chicken cooked over coals with charred lime and tomato, and a playful riff on the Napoleon mille feuille for dessert. [caption id="attachment_819105" align="alignnone" width="1920"] By Kristoffer Paulsen[/caption] To match, expect a sharp drinks offering, with the headline act an impressive wine curation assembled by Loic Avril (ex-Fat Duck and Dinner by Heston). Think, two pouring lists, cellar displays you can browse before you order and Dom Perignon available by the glass. Even more top-notch drinking can be found at Society Lounge, where a cocktail list by World Class Bartender of the Year Orlando Marzo stars with delights like the caviar-infused martini. Find Society at 80 Collins Street, Melbourne CBD, from July 22. Society Dining Room and Lounge will initially open from 5.30pm nightly, with expanded opening hours to follow come August. Reservations are now open for the Dining Room, while the Lounge will take walk-ins only. Lillian Terrace will launch from August 5. Images: Food by Adrian Lander, interiors by Tom Blachford
By the beard of Zeus, everyone's favourite TV newsman is back — in podcast form. Not content with his regular job at KVWN Channel 4, or with being the star of Anchorman: The Legend of Ron Burgundy and Anchorman 2: The Legend Continues, Ron Burgundy is giving another medium a whirl. Co-produced by Funny or Die, The Ron Burgundy Podcast is headed to the iHeartRadio platform in 2019, with two 12-episode seasons on their way. The first batch will hit your ears in the first quarter of the year, with Burgundy telling everyone why it's kind of a big deal, we expect. If you want to stay classy with the second season — and likely hear the anchorman chat while sipping scotchy scotch scotch and talking over his beloved dog Baxter — it's due mid-year. Fans can reasonably expect that Will Ferrell will reprise his role as the fictional San Diego newscaster, although that's not actually mentioned in iHeartRadio's announcement. As well as playing the character in two films, Ferrell is one of Funny or Die's co-founders, so it's a safe assumption that the actor will be involved. In true Ron Burgundy style, he had some words about the news. "Listen, I don't know what a podcast is, but I currently have a lot of time on my hands and a lot to talk about. I am also broke. Therefore, I am very excited to do this podcast. It is literally saving my life." If you're now in a glass class of emotion, a trailer for the show will drop in the coming months. The Ron Burgundy Podcast will be released on iHeartRadio in 2019.
UPDATE, February 1, 2021: Beauty and the Beast is available to stream via Disney+,Google Play, YouTube Movies, iTunes and Amazon Video. It's a tale as old as time, or so the song tells us. But just what is that ageless story at the heart of Beauty and the Beast? Opposites attracting, sure, but a fair maiden warming to an arrogant prince who's been cursed with a monstrous appearance isn't really an everyday experience. On the other hand, with gender equality still an ongoing problem in our society, a narrative about a young woman being undermined by an egocentric male, belittled for her intelligence, and robbed of her agency by an imposing force all very much fits the bill. While breathing new life into Disney's popular animated effort is the movie's main aim — just as they've done with Alice in Wonderland, Maleficent, Cinderella and The Jungle Book — the Mouse House hasn't missed the opportunity to bolster this live-action offering in certain distinctive ways. You don't cast Emma Watson as Belle without ensuring that the titular beauty isn't just kind but determined, confident, courageous and willing to fight for her place in the world. In fact, with the film also boasting Disney's first interracial kiss and first exclusively gay moment, the studio is clearly trying to bring the narrative in line with the times. The plot is much the same as it was in 1991, or the mid-18th century for that matter. The prince (Dan Stevens) is transformed due to his uncaring behaviour, with love the key to breaking the spell. Meanwhile, a young girl named Belle yearns for life beyond her quiet village, where she is frowned upon for her studious ways and persistently wooed/harassed by vain town hunk Gaston (Luke Evans). Beauty meets beast when she goes looking for her missing inventor father (Kevin Kline), who has been imprisoned in the man-turned-creature's enchanted castle. With singing household objects such as Lumière the candlestick (Ewan McGregor), Cogsworth the clock (Ian McKellen), Mrs Potts the teapot (Emma Thompson) and Plumette the feather duster (Gugu Mbatha-Raw) all on hand to dispense advice, what follows is a tale about longing and romance, as well as a spirited fable that champions a woman's right to choose her own destiny. The film's modern attitude feels especially refreshing, without ever seeming too on the nose. This is a production that's eager to weave its progressive positions into the fabric of the narrative rather than shout its from the castle turrets. Director Bill Condon (Mr Holmes) takes a classical approach to the movie's look and feel. Lavishly staged, costumed and choreographed, stepping into the world of Beauty and the Beast is like stepping into a storybook. All of the old tunes hit the spot (McGregor and company crooning 'Be Our Guest' is a highlight), although a couple of new inclusions prove little more than melodic padding. As for the cast, the expectedly impassioned Watson, suitably brooding Stevens and gloriously pompous Evans all help make this timeless tale seem equally nostalgic and new.
If hundreds of dollars seems a bit excessive for one night of antics or you've already blown that Christmas money on Boxing Day sales then check out 1000 £ Bend's converted warehouse party. Teaming up with techno party promoters Unfold, this marathon 13-hour 'multi-sensory' event will see you partying well into 2017. Some of Australia's top techno and house DJs will perform across two stages with audio-visual artists throughout the event. There is even a designated chill-out area if you just want to sit back, appreciate the beats with some good friends, have a bite to eat and a sip your glass of Champagne.
Fitzroy's Grub is teaming up with some of the sweetest folks in town for a series of extravagant weekly high teas. After a sold-out run last year, Sweet Set will again treat punters to an eight-course menu in Grub's upstairs space every Sunday afternoon from July 14–September 1. Each week will include four savoury creations from the Grub kitchen paired with with four sweet numbers from a rotating lineup of Melbourne's best pastry chefs. Expect native ingredient-spiked hot chocolates and rich cakes from Mörk, pastries and doughnuts aplenty from Penny for Pound and some next-level baked goods from All Are Welcome's Boris Portnoy, who used to be the head pastry chef at Michelin-starred restaurant Meadowood in the Napa Valley. The whole thing costs $69 per person, and includes a glass of Puncheon prosecco and either a pot of tea or Market Lane coffee. Sessions will run at 11.30am, 2pm and 4.15pm each week, and we suggest getting your friends on board now — these pastry parties sold out last year. We promise not to tell your dentist if you promise not to tell ours. SWEET SET 2019 LINEUP July 14 — Bethany Claire Cakes, Candied Bakery, Cherry Cakes, Miss Ladybird Cakes July 21 — Don't Lose Your Temper, Tivoli Road July 28 — LuxBite, Penny for Pound August 4 — Bibelot, Emelia Jackson August 11 — Geoffrey Michael Patissier, Cobb Lane August 18 — Fig & Salt, Alice Wright August 25 — All Are Welcome, Lisa Van Zanten September 1 — Mörk Images: Ewen Bell.
It was an incredibly sad day when iconic St Kilda venue Stokehouse burned down in 2014. Now, after a two and a half year hiatus, it's finally coming back, renovated and designated into a 'precinct' of multiple bars and restaurants, set to dominate that seaside like only Stokehouse can. On the ground beachside floor will be Pontoon, a casual bar and eatery, set to open at the end of October. This chic new 350-capacity beach-inspired establishment will be the second venue to open in the new multi-million dollar Stokehouse site, after a fancy new fish and chip kiosk, Paper Fish. The two will open head of the highly anticipated relaunch of Stokehouse St Kilda restaurant in December. The Pontoon menu will be casual and over the counter (think of the kind of food you can eat while standing with a drink in the other hand), and will put their four-metre grill to good use. You can expect a lot of seafood and shared plates, a strong wine list, 18 beer taps and of course, cocktails. In the most southside move ever, they'll also be serving up globally trending anomaly 'frosé' — that's frozen rosé — straight from the tap. Peppered with the furniture and trimmings of local Melbourne designers, the interior has been designed by George Livissianis (the design dynamo behind recent Sydney renos of The Dolphin Hotel, The Apollo and Cho Cho San). Expect a casual layout and a mixture of warm, natural materials (think wood, leather and cane) offset by concrete and brick. "Looking out onto St Kilda beach was a great starting point in considering colours and materials that would compliment the concrete and blackened timber building," said Livissianis. Stokehouse has announced they'll officially reopen on December 6, with Pontoon opening at the end of October. Find Pontoon on the ground floor of the rebuilt Stokehouse building, 30 Jacka Boulevard, St Kilda. From October 2016, Pontoon will be open 12pm till late every day, all year-round (except Christmas Day).
There's a moment in Netflix documentary Fyre: The Greatest Party That Never Happened that no one will ever forget. While much of the film falls into that category — cataloguing an utter trainwreck of a festival will do that — one scene particularly stands out. When event producer Andy King reveals what he was asked to do to secure bottled water for the fest's stars and patrons (and the fact that he'd resigned himself to doing it), it instantly underlines the scope and shamelessness of Fyre's catastrophic mismanagement. Given that the doco not only became an instant must-watch, but that the similar, Hulu-funded film Fyre Fraud did too, it's safe to say that everyone wants to know more about this story. Australians will be able to get the full details at this year's BIGSOUND, with King himself joining the lineup as a late addition. He'll be heading to Brisbane as one of the four-day conference's keynote speakers, appearing an event called Fyreside Chat with Andy King on Wednesday, September 4. King will likely be offering his advice on what not to do in the music festival industry, and why being willing to go the extra mile for a gig isn't always a good thing. As Fyre: The Greatest Party That Never Happened demonstrates, he isn't shy when it comes to taking about his experiences — and he has a sense of humour about it. He also has a considerable resume that ranges well above and beyond Fyre Festival, spanning more than 25 years in the event business. Expect to hear about that, too, which ranges from hosting the launch of the world's tallest ferris wheel in Las Vegas to running the Leonardo DiCaprio Foundation's annual gala. Amusingly, King also oversees a zero-waste event company that focuses on environmental and social impacts, including when plastic bottles of water are involved. Until he makes his way Down Under, revisit King's must-see doco moment via the Fyre: The Greatest Party That Never Happened trailer below. The film itself is available on Netflix. https://www.youtube.com/watch?v=uZ0KNVU2fV0 BIGSOUND 2019 runs from September 3–6 at various venues around Fortitude Valley, Brisbane. For further details or to buy tickets, visit bigsound.org.au. To discover what to do, see, eat and drink while visiting Brissie for the annual event, check out our weekender's guide to Brisbane during BIGSOUND.
UPDATE: June 11, 2020: The Hate U Give is available to stream via Foxtel Now, Google Play, YouTube and iTunes. It doesn't take long for The Hate U Give to serve up an unflinching slice of reality. "I was nine years old when I first got the talk," Starr Carter (Amandla Stenberg) notes, and she's not referring to the birds and the bees. In a flashback, her family sits at their dining table. The topic of conversation: how to behave if they're stopped by the police. Starr's father Maverick (Russell Hornsby) is firm with his instructions, telling his three kids to do exactly what they're asked and to always keep their hands in plain sight. With his wife (Regina Hall) by his side, he specifically stresses the importance of remaining calm and polite, even if they're being harassed for no apparent cause. The reason for his stern warning is obvious — by virtue of their skin colour and nothing more, they could find themselves looking down the barrel of a weapon, praying that a cop doesn't pull the trigger. You've heard of Chekhov's gun, which explains that every element in a story must be strictly necessary. If a writer introduces a loaded firearm, for example, then bullets need to fly before the tale is over. The Hate U Give follows this principle, not only starting with a conversation about police shooting unarmed African-Americans, but using that exact turn of events to kick its narrative into gear. In this case, perhaps the concept should be called Tupac's tattoo, with the rapper's words giving the movie its title, philosophy and dramatic arc. The slain star's 'THUG LIFE' chest ink is almost as famous as his music, and its full meaning dictates and shapes this riveting picture: "the hate u give little infants fucks everybody". Hailing from a poor black neighbourhood but attending a well-off private school, 16-year-old Starr knows how difficult American life can be. She can't act like herself around her white classmates, who all sling ghetto slang to appear cool. And she can't bring her school persona home, or tell her ex-con dad about her white boyfriend (KJ Apa). Already caught in a constant juggling act, she's forced into a trickier predicament while driving back from a local party with her childhood crush Khalil (Algee Smith). A cop pulls them over, a single gunshot is fired, and Starr is suddenly the lone witness to her friend's tragic death. Adapted from Angie Thomas' best-selling 2017 novel and inspired by the real-life killings of several black men by US police, The Hate U Give could've approached its story from several positions. It could've kept things personal, following Starr's attempt to balance her conflicting worlds. It could've remained grim, emotional and focused solely on the central fatal shooting. Or, it could've teemed with fury by jumping headfirst into the legal aftermath. Combining all three and more, director George Tillman Jr (The Longest Ride) and screenwriter Audrey Wells (A Dog's Purpose) craft a textured and intelligent movie, which might seem surprising given their last filmmaking credits. Cutting both deeply and sharply, The Hate U Give fleshes out its thorny narrative by embracing the complications of its subject matter. It's never constrained by its YA origins and, if anything, feels more honest, earnest and overt with its statement precisely because it's aimed at teenagers. Succeeding where other message movies have struggled, the end product offers an engaging, impassioned and detailed insight into America today. Here, nothing is simple. In fact, there's nothing straightforward about any aspect of Starr's existence. How could there be when a victim's criminal past attracts more scrutiny than a murderer's actions, when the #BlackLivesMatter movement sparks violent protests among some and becomes a trendy cause for others, and when gang activity fools the desperate into believing they've scored a better life? Examining a society happy to oppress part of the population, and dissecting the punishing cycle that springs when hostility thrives, The Hate U Give's shades of grey extend to the people in Starr's orbit, too. Her best friend (Sabrina Carpenter) can't see her white privilege, but her black cop uncle (Common) knows how the job can go awry. An activist lawyer (Issa Rae) urges Starr to speak up regardless of the cost, while a local drug dealer (Anthony Mackie) violently tries to reinforce the status quo. In a perceptive and powerful film comprised of layered components — difficult topics, diverging viewpoints, different angles and diverse tones — the most multifaceted element of all comes courtesy of its star. She might have just seven movies on her resume to date, including The Hunger Games and The Darkest Minds, however Stenberg shines as brightly and fiercely as her character's moniker. Demanding the camera's gaze and rightly adored by the movie's clear-eyed frames, her performance couldn't better capture the everyday toll of these racially divided times. When generation after generation only knows distrust, anger and prejudice, the world proves devastatingly vulnerable, overwhelmingly fractured and unwaveringly determined all at once. Stenberg makes this plain as much as any twist in The Hate U Give, and does so with both heartbreak and hope. https://www.youtube.com/watch?v=QTKo2SVDwxw
As a major player on Melbourne's street art scene for the past few years, odds are you're already familiar with some of Kaff-eine's work. Best known for her vibrant yet sinister illustrations often featuring both animals and children, this local girl has been slathering paint all over the inner suburbs since 2010. Now taking to fortyfivedownstairs, her solo exhibition Kalabaw gives you a rare indoor encounter with her work. Though Kaff-eine loves to explore surreal subject matter, it's clear that this latest collection of works is heavily influenced by some of her real-life experiences. After spending much of 2013 visiting and painting in Manila, the artist found herself inspired by much of the local community. Despite living in inner-city slums in relative poverty, the people she interacted with remained largely upbeat. Kalabaw — named after a type of water buffalo native to the Philippenes — retains much of the imagery from this trip featuring uncharacteristically realistic portraits of local children and expressive representations of animals and urban scenery. Despite the exhibition being free of charge for audiences, all proceeds the artist makes from the show will be put towards two related projects entitled Phoenix and Happyland. Looks like we have a whole lot to look forward to in 2015.
When Michael Crichton put pen to paper and conjured up a modern-day dinosaur-filled amusement park, he couldn't have known exactly what he'd done. The author easily imagined the story making its way to the big screen, because the Jurassic Park novel started out as a screenplay. He could've also perceived that a whole film franchise could follow, and that folks would be quoting the movies for decades. And yet, we're guessing that he didn't predict the latest development: a recreation of Jurassic World, the fourth movie in the series, out of Lego. Melburnians can now wander through and peer at more than 50 dinosaurs, props and scenes from the 2015 movie that have all been recreated with the popular plastic bricks. They're on display at Jurassic World by Brickman, an exhibition displaying at the Melbourne Convention and Exhibition Centre until Monday, May 31 before touring the rest of the country. More than six million Lego blocks have been used in the exhibition, to create the four-metre-tall park gates, the lab where the dinosaurs are genetically engineered, those instantly recognisable jeeps, a petting zoo, a heap of creatures and more. Lego dinosaurs are obviously the main attraction, and this event is going big. You'll see a life-sized brachiosaurus that weighs more than two tonnes, a huge tyrannosaurus rex, two life-sized velociraptors (Blue and Delta), and everything from a stegosaurus to a triceratops, too. And, you'll spy some in a baby dinosaur enclosure, encounter others on the loose, and learn how to track them over the exhibition's recreation of Isla Nublar (while using your imagination a whole heap, obviously). If it all sounds rather sizeable, Jurassic World by Brickman will be the largest Lego experience in Australia. And if getting a closer look at Jurassic World sounds a little familiar, you might remember the non-Lego exhibition that hit Melbourne back in 2016. Lego aficionados will also be able to get building while they're there, with 2.5 million bricks to play with. Obviously, this'll be a family-friendly affair, so expect to have plenty of small dinosaur fans for socially distanced company. Jurassic World by Brickman makes its world premiere in Melbourne and, after hitting up the rest of Australia, will also tour globally. And if you're wondering when you'll next see a Jurassic World flick on the big screen, Jurassic World: Dominion — the followup to 2018's Jurassic World: Fallen Kingdom — is due to release in June 2022.
