Netflix viewers, toss a coin to your new favourite watering hole — the only spot in Melbourne (and Australia) that'll bring The Witcher, Stranger Things, Squid Game and more to life while you're sinking a brew. For five days only, the Who's Watch Inn will pop up in Carlton, offering fans of the streaming platform's hit shows a unique pub experience. Always wanted to throw down a beverage or several while sitting under a mounted demogorgon head? Yes, that's on the menu. Also on offer: coveting the piggy bank jackpot, reclining on Emily in Paris' Parisian garden bench and just generally feeling like you've stepped inside (and you're drinking inside) your Netflix faves. That covers the food and drinks menu, too, which'll showcase pub grub favourites and themed tipples — including the 'Emily in Parma' (taking on the old pub classic, obviously) and a Squid Ink Dark Ale. Even better: everyone who drops by the Who's Watch Inn will get a free drink on arrival (although there is just one per person). That's probably all the excuse you need to head to the Clyde Hotel across the Netflix takeover's five streaming-worshipping days, running from Wednesday, September 28–Sunday, October 2 (open from 7–11pm on Wednesday, 12–11pm on Thursday, 11am–1am on Friday, 12pm–1am on Saturday and 12–11pm on Sunday). The Who's Watch Inn will also host a Netflix pub trivia night on Thursday, September 29, plus a comedy evening on Friday, September 30 featuring Urzila Carlson, Nazeem Hussain and Melanie Bracewell live — and all events are free. Bookings are recommended, and if you're wondering why the themed watering hole is happening at all, that's because it's been a big couple of days for Netflix — all thanks to a celebration that the streaming platform calls Tudum: A Netflix Global Fan Event, where the company drops details about and trailers from its upcoming slate. That's why you might've seen a sneak peek at The Crown season five, a trailer for Dead to Me's third and final season, and a clip from Queen Charlotte: A Bridgerton Story over the past few days, for instance.
UPDATE: FEBRUARY 10, 2020 — Due to popular demand, The Fork Festival has extended for three weeks, which means you have until Saturday, February 29 to snag a tidy 50 percent off your total food bill. It also means this deal is sticking around for Valentine's Day — you know what to do. When Christmas and New Year are over, the temptation to hibernate grows pretty strong — so, you're probably going to need a little something extra to tempt you off the couch. Handily, online reservation platform The Fork has a winning idea up its sleeve: it's offering a huge eight weeks of dining specials nationwide. Kicking off on Monday, January 6, the second ever The Fork Festival will see top restaurants across the country offering sit-down meals for half the usual price. Yep, 50 percent off your total food bill, folks — think of it as the proverbial carrot luring you out of the house. So far, 300 restaurants have signed up, but The Fork is expecting this number to grow. To snag a half-price meal, you just need to make a reservation through The Fork website or app at one of the participating eateries for any service (breakfast, lunch or dinner) during the five weeks. [caption id="attachment_704314" align="alignnone" width="1920"] Pretty Boy Italian Steakhouse[/caption] There are some great venues coming to the party, too. Melbourne venues include Tulum Restaurant, Mukka, Souk, White Oaks Saloon, Pascale Bar & Grill and Casa Nom Bar y Restaurante, Din Tai Fung and Pretty Boy Italian Steakhouse. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up on February 29. You can check out the full list of participating restaurants on the website. Top image: Casa Nom by Griffin Simm.
2020. It's a year so difficult to summarise that even the Oxford Dictionary couldn't decide on a single word of the year. But in Melbourne's hospitality scene, one in particular rings true: resilience. Despite months of restrictions and some devastating closures, its cafes managed to proliferate. And, impressively, they continue to push the boundary further. We've seen zero-emission street food spots land in the CBD, one of the country's best roasters take over a warehouse in Brunswick and a patisserie with croissants so good they sell out in hours. So, we're celebrating the good that's come from the past 12 months by rounding up the best new cafes to open in 2020.
If bliss to you means peering at infinite reflections in lit-up mirror rooms, wading through brightly coloured ball pits and having pillow fights — plus hanging out in digital forests, watching tales told via shadows and hopping over musical tiles, too — then prepare to beam with joy when Dopamine Land arrives Down Under. The latest multi-sensory experience that's hitting Australia, it's being pitched as an interactive museum. Inside, you'll find themed spaces that you can mosey through, engage with their contents and, ideally, bask in nothing but pure happiness. With a name like Dopamine Land, it's immediately clear that contentment, glee, merriment and exuberance is the aim of the game here. So is evoking those feel-good sensations through nostalgia, because this is another kidulting activity — it's all-ages-friendly as well — and it's making its Aussie debut in Brisbane from Tuesday, May 28, 2024. Brisbanites, and anyone keen for a Sunshine State trip to revel in more than the sun's glow, can look forward to wandering around Dopamine Land at Uptown in the River City's Queen Street Mall. Locals know that the site was previously the Myer Centre — and, decades back, was home to a dragon-themed rollercoaster. So, it's a fitting venue to get everyone channeling their inner child, unleashing their imagination and, yes, hitting each other with cushions. Heading this way direct from London, the experience combines optical illusions, engaging soundscapes and more across its ten themed rooms. The ball pit is self-explanatory, but also takes its cues from Miami in the 80s, complete with a pina colada scent, an electro soundtrack and LED lights that pulse to mirror waves. The pillow-fight space also doesn't need much explaining; however, the decor is inspired by marshmallows and boxes of lollies, Mexican wrestling is also an influence and you can win the pillow-fighting championship. Fancy seeing stories play out via shadows? There's a room for that featuring a big top-style roof. If you try your hand at the musical tiles — well, your feet, to be more accurate — you'll create a melody as you jump around, with the lights changing as you go as well. And if getting as serene as possible is your aim, head to the Keep Calm Forest, which artificially recreates a woodland via LED trees, mirrors and sounds to match. There's even a room dedicated to the autonomous sensory meridian response, or ASMR, which goes big on projections and animations by Australian digital artist Cassie Troughton.
The next level of the global transport economy is fast approaching — even Down Under. First, there was news that Melbourne could be one of the first cities to test Uber's flying cars, then came the announcement of the proposed Hyperloop Transport System, which would get you from Sydney to Melbourne, or Brisbane to Sydney, in just 37 minutes. Sure, these are still a relatively distant dream, but one such technological advance is much closer than you may think — an Uber-like service with driverless electric cars, courtesy of Tesla. At a conference earlier this week, Tesla founder Elon Musk announced that the company is planning to roll out a massive fleet of one million self-driving 'robotaxis' as early as next year. These autonomous vehicles are planned to hit roads in the US by mid-2020 — regulatory approvals pending, of course. If all goes to Musk's plan, here's how it'll work: the app will function much the way all ride-sharing apps do — except the car will drive itself. The existing Tesla app will be fitted with a 'summon' option, where you'll be able to order the closest robotaxi from its stored location, and it'll drive itself over to pick you up. [caption id="attachment_718225" align="alignnone" width="1920"] Tesla ride-sharing app[/caption] Plus, some Telsa owners will be able to add their own car to the service, with the options to limit sharing to friends, co-workers or social media contacts. In areas where not enough share vehicles are available, Tesla will release a dedicated fleet to ensure short wait times. But what does this mean for Australia? According to the ABC, Australian transport ministers plan to have a regulation for commercial self-driving vehicles in place by next year — a neatly timed goal with Musk's ambitious roll out. So, depending on which way next month's election swings, we could soon be riding in cars with no-one at the wheel. If you're really interested, a four-hour livestream of the Tesla conference, in which Musk discusses the ride-sharing service, is available to watch here. Tesla is aiming to put one million self-driving 'robotaxis' on US roads by mid-next year, depending on regulatory approvals. In Australia, regulations for commercial autonomous vehicles are set to be in place by next year.
Much-loved for its waterfront beer garden and sweeping views across the bay, the Portsea Hotel is once again taking on the live music scene this summer — bringing festival vibes down to Mornington Peninsula. Their Summer Music Series kicks off on Monday, December 23, with Jesse James and Carter Walsh supporting Darley who takes to the stage for an early evening performance. New Year's Eve sees Jake Webb hit the Portsea Hotel's stage — helping partygoers dance their way into 2025 — with the help of Ventura and Alex Jozza. Beyond that, you'll find DJ Levi performing on Saturday, January 4, and Jon Stevens and Band on Saturday, March 9. But we are most stoked about The Presets hitting the Portsea Hotel on Saturday, January 25 (on the long weekend). Tickets for this one are expected to sell out fast. Each of the shows will run from around 5pm and kicks on until the sun sets. It's not a bad way to end a big summer's day by the beach.
Dream musical double alert: this winter in Australia, you can make a theatre date to see both Hamilton and In the Heights. Sydney is hosting the only Aussie return season for Lin-Manuel Miranda's second big Tony Award-winning show from late July — and now it's also welcoming his debut smash, too. Sydney Opera House will turn into New York City's Washington Heights for a six-week season of In the Heights, also kicking off the same month. Initially staged in 2005, then leaping to off-Broadway in 2007, then playing Broadway from 2008–11 (which is where it nabbed those 13 Tony nominations and four wins), Miranda's first stage sensation spends its time with Usnavi, a bodega owner from the Dominican Republic who dreams of going back — and who also sports a crush on Vanessa, who aspires to move out of the neighbourhood. Miranda himself originated the role of Usnavi, scoring a Tony nomination for his efforts. In Australia this winter, Ryan Gonzalez (Moulin Rouge! The Musical) will step into the part. When the show's Sydney Opera House run spans Saturday, July 20–Sunday, August 25, fellow Moulin Rouge! The Musical alum Olivia Vásquez will play Vanessa. Alongside Gonzalez, she'll be joined by Richard Valdez (All Together Now — The 100) as the Piragua Guy — another character that Miranda has brought to life personally, this time in the 2021 film version of In the Heights. On the stage and on-screen, the production not only follows Usnavi and Vanessa's connection, and their respective hopes for the future, but also the residents of Washington Heights, their family ties across multiple generations and their friendships. And the soundtrack — which helped In the Heights win Best Musical and Best Original Score Tonys — as well as the vibe and mood bring together salsa, soul, rap, hip hip, merengue and street dance. "In the Heights is an uplifting musical that celebrates collective joy in a truly genuine and spirited way. Community, culture, connection and colour explode on-stage in a vibrant setting, as we are enveloped into the lives of characters holding fast to their history and creating new traditions," said Sydney Opera House Head of Contemporary Performance Ebony Bott, announcing the season. If you're keen to watch the movie — or rewatch — in the interim, it stars Anthony Ramos (Dumb Money) as Usnavi and Melissa Barrera (Abigail) as Vanessa, as well as Leslie Grace (In the Summers), Corey Hawkins (The Color Purple), Jimmy Smits (Obi-Wan Kenobi), Stephanie Beatriz (Twisted Metal) and Olga Merediz (Somebody I Used to Know). Check out the trailer for the film below: In the Heights will play Sydney Opera House's Drama Theatre from Saturday, July 20–Sunday, August 25, 2024, with ticket presales from 9am on Tuesday, May 7 and general sales from 9am on Friday, May 10 — head to the venue's website for more details. Images: Daniel Boud.
Under current COVID-19 restrictions in Victoria, there are restrictions on gatherings in place. For more details on Victoria's current restrictions, see the Department of Health and Human Services website. When Melbourne's skies are putting on a proper show — bruising the clouds purple, petal and peach, the city looks like something out of a fairytale. Melbourne is home to some of the most beautiful skies in the whole world, so a spectacular sunrise or sunset can be one of the only times everyone in the city is looking up. So, we've compiled a list of the best places to catch Mother Nature in action. Drag your eyes away from your phone (after you've snapped the obligatory sunrise or sunset shot) and look up. [caption id="attachment_818358" align="alignnone" width="1920"] Ain Raadik for Visit Victoria[/caption] RICHARD PRATT GARDENS, SOUTHBANK Admire a sunset against the scenic backdrop of Melbourne's hustle and bustle. Hidden between the Arts Centre and Hamer Hall, this quaint piece of greenery is home to a sleek black sculpture created by Inge King. Forward Surge (1972–1974) is made up of four pieces of imposing black steel waves — the looming artwork is eye-catching and surprisingly comfortable to lean back on while watching the sunset. The lawn of the Richard Pratt Gardens also hosts a weekly Sunday Market (10am–4pm), with local artisans showcasing a selection of handmade goods ranging from arts and crafts to delicious delicacies. Let yourself be tempted by the smell of freshly made spinach and feta gozleme and a bag of piping hot jam doughnuts — they're the perfect companion for window shopping. If you're looking for somewhere a bit more private, face north-west towards the Hamer Hall Stage Door and you'll find a small set of stairs leading up and around the Arts Centre. There's a patch of turf that overlooks Flinders Street Station and Southbank that makes for ideal viewing. View this post on Instagram A post shared by Mark O'Toole (@markdotoole) ROYAL PARK, PARKVILLE Just a short drive (or tram ride) away from Melbourne's CBD is Royal Park. The impressive 180+ hectares of native parkland is home to one of Australia's best playgrounds, plenty of leash-free areas for any furry friends and a big, grassy hill that conveniently provides one of the best views of Melbourne's cityscape. If you're peckish, make a quick detour to Beatrix, a small corner bakeshop in the north with a cult following. The menu rotates weekly depending on customer demand and what's in season, with daily specials posted on their Instagram page each morning. [caption id="attachment_818465" align="alignnone" width="1920"] Pete Glenane (@hivispictures)[/caption] PRINCES PIER, PORT MELBOURNE Instantly recognisable by its series of mesmerising wooden pillars, this pier in Port Melbourne has become one of the most Instagrammable backdrops for sunrise and sunset. Stretching over a whopping 580 metres, Princes Pier is steeped in rich history — which provides visitors with a unique opportunity to experience the open-air museum. As you walk down the refurbished wooden planks, learn the story of how Princes Pier used to be one of the major points for new migrants arriving in Australia for over half a century. Afterward, you can head over to Ciao Cielo on Bay Street, a refined Italian restaurant that will transport you to the streets of Tuscany. During the colder months, they set up a beautiful winter garden, complete with a fully heated marquee. Warm up with a plate of their Northern style oxtail ragu layered on top of saffron casarecce and a serve of their warm chocolate brownie served with the richest dark chocolate ganache. [caption id="attachment_818466" align="alignnone" width="1920"] Larry Koester[/caption] KINGS DOMAIN GARDENS, MELBOURNE Although the majority of us struggle to wake up with enough time to put together a nutritious breakfast in the morning — there's always a few dedicated hearts with enough energy to run a lap around Kings Domain Garden before cooling down at the Shrine of Remembrance to watch the sunrise. From the steps, the masterfully designed Ceremonial Avenue will provide you with a clear view of Melbourne's glittering skyline. On your way back into the city, reward yourself with a strong matcha latte from Little Rogue and a freshly baked pastry from Bakemono Bakers nearby. Indulge in the zesty twist on an almond croissant with subtle hints of yuzu, or the crowd-favourite matcha and red bean croffle — a hybrid of a croissant and waffle that's crispy on the outside and buttery and hot in the middle. [caption id="attachment_818467" align="alignnone" width="1920"] Graham Denholm[/caption] BIRRARUNG MARR, MELBOURNE Most Melburnians would have taken a seat on this giant slope of grass during the annual Night Noodle Markets — but for the other 11 months of the year, it's still a damn good place to watch a sunrise or sunset. You can lazily watch as boats drift past on the Yarra River and snap a pic with the iconic 'Angel' sculpture which stands at 10 metres tall and is covered head to toe in bright, hand-painted ceramic tiles. Trek back up the steep hill and cross over Flinders Street to discover the iconic Spanish bar and tapas restaurant, MoVida. Tucked inside the graffiti-scrawled walls of Hosier Lane, chef Frank Camorra and his team set the bar for Spanish produce, food and culture in Melbourne. The Cantabrian hand-fileted anchovy with smoked tomato sorbet on a crunchy crouton is not to be missed. THUNDER POINT LOOKOUT, WARRNAMBOOL A must-visit lookout point for any tourist wanting to explore the cosy town of Warrnambool, Thunder Point Lookout provides endless stretches of coastline and the kind of peaceful quiet that's impossible to find in the city. By V-Line, the ride from Southern Cross will take approximately 3.5 hours, or you can jump in the car for a road trip with a similar journey time. It'll all be worth it by the time you watch the sunset over the sparkling water of Lady Bay. Take a stroll or catch a ride back to the town centre to enjoy a modern Australian dinner at Clovelly Restaurant. Feast on dishes like fluffy bao buns filled with sticky pork belly and slaw; perfectly juicy eye fillet served with crispy potato bacon hash; housemade sweet potato gnocchi paired with creamy shiitake mushrooms and roasted garlic; and juicy lamb rump that has been lovingly slow-roasted for 16 hours. NAKED IN THE SKY, FITZROY Arguably one of the OGs of the rooftop bar scene, Naked in the Sky is open till late and offers up 270-degree views of Melbourne's horizon. Indulge in some of their gooey baked camembert cheese served with crusty ciabatta, or a dark chocolate ganache tart to share — it arrives drizzled in thick salted caramel with a generous scoop of coffee ice cream on top. There are not many better ways to finish the day than with snacks, a glass of house-infused vodka in hand and the sun slowly descending behind Melbourne's skyscrapers. [caption id="attachment_818355" align="alignnone" width="1920"] Emily Godfrey for Visit Victoria[/caption] THE GROTTO, PETERBOROUGH Victoria's Great Ocean Road is over 243 kilometres long, but we (and many other Melburnians), truly believe that this naturally carved out cave cannot be missed. After a long day of driving, this is the epitome of saving the best for last — watch the sun slowly set through the archway, as beams of colour and light reflect against the rock pools. We recommend grabbing a quick bite to eat at Forage on the Foreshore in Port Campbell as the penultimate stop. The food on the menu is mostly grown, produced or foraged locally. Enjoy dishes such as local cheese plates, braised calamari, house-made gnocchi and freshly grilled fish until 5pm. Hot tip: locals in the area have noted that the number of tourists peak at around 3pm, so plan with caution. [caption id="attachment_818468" align="alignnone" width="1920"] Julian Kingma for Visit Victoria[/caption] BOROKA LOOKOUT, HALLS GAP The Grampians National Park is famous for its spectacular scenery and insane lookout points — the 168,000 hectares of land provide visitors with dozens of walks, hikes and waterfalls to explore. It makes the sunrise here especially stunning, so get out of bed early to soak in the rugged mountainous landscape as the sun paints the valley ablaze. Boroka Lookout is located in the Grampians northern region, which also happens to house the largest regional zoo in Victoria — Halls Gap Zoo. Spend the rest of the day with their inquisitive meerkats, gigantic giraffe and colossal rhinoceros. [caption id="attachment_792742" align="alignnone" width="1920"] Julia Sansone[/caption] PONYFISH ISLAND, UNDERNEATH EVAN WALKER BRIDGE, MELBOURNE Tucked underneath the Evan Walker Bridge lies Ponyfish Island — one of Melbourne's worst-kept secrets. This floating haven is only accessible from a single stairwell descending from above and is adorned with a recently renovated Palm Springs-inspired feel. The island is home to an impressive food and drink menu, and it's also one of the few places in Melbourne with an unobstructed view of the glowing sunset dancing across the Yarra River. The wind can get a little chilly as the night progresses, so we recommend bringing a jacket and ordering a cup of warm mulled wine (or two). [caption id="attachment_818356" align="alignnone" width="1920"] Mark Watson for Visit Victoria[/caption] THE BIG DRIFT, WILSONS PROMONTORY The rugged track to reach the top of the Big Drift is slightly grueling, but the view is worth it. The drive will take you approximately two and a half hours from Melbourne's CBD, so we recommend making a day out of it. Take a dip at Shallow Inlet, a sheltered beach just outside of Wilsons Prom and have a well-deserved swim before watching the sunset. This other-wordly landscape is a series of ever-changing sand dunes with views of Vereker Range in the east and the sea to the west. Remember to pack light with plenty of water, and choose footwear that you don't mind getting sandy. View this post on Instagram A post shared by Gerard Shanahan (@gas_clgs) LILY STREET LOOKOUT, ESSENDON WEST It might just look like another suburban street in Melbourne, but this lookout point has won hearts in the west. You'll find rows of bicycles leaning against metal fences as herds of cyclists and runners take a well-deserved break after trudging up the Maribyrnong River Trail to admire the view. It's an underrated gem that allows Melbourne's entire city skyline to be captured within a single frame — what more could you ask for? After the sun has dipped behind the skyline, head to Hampton Road Fish and Chips, a local favourite known for their old school potato cakes and humongous pieces of flake. Finish the night off with a cheeky deep-fried Mars bar for the drive home. Top Image: Boroka Lookout, Julian Kingma for Visit Victoria & The Big Drift, Mark Watson for Visit Victoria
Painting sky-high grain solos and 20-storey housing complexes is all in a day's work for Matt Adnate, with the Melbourne street artist earning plenty of attention in recent years for his soaring pieces. For his next project, he's going even bigger, taking on Perth's new Art Series Hotel — which, in keeping with the chain's tradition, will also bear his name. Due to open this October, The Adnate will pay tribute to Australia's renowned big wall artist both inside and out; however you won't need to book a stay to enjoy the site's exterior displays. In a work dubbed the 'Mega Mural', Adnate will splash his creative magic across the entire west-facing side of the hotel, painting a 27-storey-high piece. If that sounds huge, that's because it'll eclipse his work in Collingwood, which became the tallest mural in the southern hemisphere when it was unveiled. In fact, this new record-holder will stand just five storeys shorter than the world's tallest mural in Toronto, which measures 32 storeys. The Adnate's towering external artistry mural won't simply earn a place in the record books; it'll highlight the city's cultural history and community. Three large-scale portraits will emblazon the wall, with the mural depicting "the past through the cultural representation in the subject's dressing elements, the present with contemporary faces, and the future as the subjects are the youth of today," according to the artist. "What excites me most about this collaboration with Art Series is the opportunity to capture the stories and emotions of my subjects and to share them with a new audience in the west," Adnate explains. "I've always held a personal connection towards the First Nation people I paint. Whether it be a connection to country or a strong emphasis on spirituality, I believe we have a lot to learn." With The Adnate marking the first Art Series hotel dedicated to street art, its namesake will also contribute a 50-metre-long external painting known as the 'Laneway Mural', which will include multiple portraits in collaboration with a local Indigenous artist. Inside the hotel, Adnate is completing a 'Staircase Mural', as well as two original canvases. They'll be joined by up to 650 reproductions of 30 of his most famous works from around the world, which guests will spy on the site's internal walls and in its hallways. Other than a vast array of Adnate's art, the hotel will feature 250 rooms, a centrepiece pool area on its first floor, plenty of cocktails and a focus on Mediterranean cuisine. It slots into Art Series' existing hotel portfolio, which spans five sites in Melbourne (The Olsen in South Yarra, The Blackman on St Kilda Road, The Cullen in Prahan, The Larwill in Parkville and The Chen in Box Hill), one in Adelaide (The Watson in Walkerville) and two in Brisbane (The Johnson and The Fantauzzo). The Adnate will open at a yet-to-be-announced date in October at 900 Hay Street, Perth. For further details, head to the hotel's website.
As its name suggests, Second Home is the kind of place where you can get comfortable and unwind. Housed within a recently renovated mid 1970s building created by architect Alistair Knox, the beauty of the space is all within the details: vast skylight windows, gum trees, lush furnishings and an open fireplace. Second Home is one of the newest additions to Jason M Jones' empire (joining Entrecôte, Bancroft Brewers, The Stables of Como, Porgie and Mr Jones), so it makes sense that this space has been established with comfort in mind. Located down a quiet backstreet in Eltham and surrounded by warehouses, it's somewhat of a sanctuary in an unlikely place. So, in escaping from the everyday, it might be fair to say that locals and visitors flock to the cafe just to observe that lived-in feeling in a home away from home. Humans — we're an odd bunch. Fans of Jones will recognise familiar items off the menu, which is split into Beautiful Brunch and Lovely Luncheon — particularly, his famous golden folded eggs ($15.90), which continue to be a crowd pleaser. A comprehensive list of options extends to also include an on-trend almond milk chia pudding ($14.90) and robust breakfast burger featuring grilled Hopkins River beef ($17.90). The standout remains the hearty Ploughman's Lunch ($18.90), which varies in its selection of terrines, cheeses and pickled vegetables. Come weekends, the libations trolley is also sure to soothe (or aggravate) any headaches, with a Bloody Mary, Bellini or Aperol Spritz ($12.90-13.90) amongst many friends at the ready. A north-facing courtyard has recently opened which is sure to extend the sitting time at Second Home. In addition, a rotating selection of art available for purchase also creates a gallery amongst the gumtrees. With all of this, the Eltham cafe covers every staple needed in creating the living room you never had, but always needed.
A lot of doco makers rely on the adage that 'truth is stranger than fiction'. A few supremely lucky ones find a story that is so mind-bogglingly strange that they could sit back and let the film make itself. The Imposter is just such a story, at every stage revealing another layer of the bizarreness of which human beings are capable. British director Bart Layton is no slouch, either; the film is slickly made, metring out its tantalising information and almost single-handedly reviving the use of re-creation as a respected documentary tool. The subject is an incident in 1997 in which a 17-year-old Texan boy, Nicholas Barclay, was returned to his family after having been missing for three years. Except he turned up in Spain, had no physical resemblance to the missing blue-eyed boy, was noticeably older, and spoke with a French accent. He was accepted back into the family regardless. His sister thought she could recognise that smile anywhere. From the relatives to the authorities, everyone around him seemed ready to excuse the differences, taking the 'he's not the little boy you knew' trope to extreme and literal levels. In reality, the boy was French con man Frederic Bourdin, a 23-year-old obsessively seeking the comfort of childhood. At first, it seems the documentary reveals his identity prematurely, almost right from the beginning — but that's just because you don't know, at that point, of all the twists that remain for the story to take. The supremely tense Imposter features sensitive, in-depth interviews with almost all of the major characters in the incident, including Bourdin, the FBI agent who handled his repatriation, the PI whose suspicions uncovered the truth and Nicholas's mother and sister. Without them, no number of re-creations could have carried the story so far or got you close to understanding any of these people's motivations. And as for the re-creations, they're filmed with a keen cinematographer's eye and a sense of enigma, putting them at a long distance from those we're used to on made-for-TV specials. https://youtube.com/watch?v=mENui3UdMOY
Everyone loves dessert. In fact, some of us even indulge in a cheeky "second dessert" when the evening calls for it. But now you can indulge in an epic five course dessert, thanks to Syracuse head chef and all-round legend Philippa Sibley. Affectionately known as the Queen of Desserts, Philippa will host her first event at the restaurant this November. Those with a sweet tooth are invited to join what will be a breathtaking degustation, with matched drinks to boot. Guests will start with the Snow White & Rose Red (strawberry soup, coconut sorbet, rhubarb and rose) before moving on to tasting the Meyer Lemon Tart. Third course comes in the form of Hansel & Gretel (a pineapple tart satin with Speculoos ice cream) before the Teddy Bear's Picnic comes out to play (a toasted lavender ice cream sandwich with pear sorbet, blueberry jam and honey). Saving the best for last is Sibley's take on the much loved chocolate bar in the Syracuse Snickers. A selection of cocktails, wine, mocktails and soft drinks will be matched to the offerings by the restaurant's talented bar staff.
Robert Reid's The Joy of Text, directed here by Peita Collard, is meant to be punny. It straight-up references that 1970s classic and explores another radical, albeit fantastical text called The Illusion of Consent — a provocative novel that is being considered for the year 12 syllabus within the play. The four central characters are primed by the performance's focus on a hypothetical story to mar distinctions between truth and fiction. Danny (Colin Craig) is a smart but vindictive teenager. Flabbergasted by his spunky young teacher's refusal to see his assignment on satire as anything other than a smartass send-up of the system, Danny broods on how best to get his own back. What better way than intertextualising, aka intersextualising, his way through his next oral assignment? There's an immediate, juicy twist: Danny’s English teacher has her own relationship with the novel and some rather personal ideas about what constitutes appropriate behaviour between students and teachers. Inspired by famous literary hoaxes, The Joy of Text is packed with wordy dialogue and cultural references. Set designer Rob Sowinski has incorporated two onstage screens to provide intellectual 'footnotes' and Danny's peers are brought into context via large projection screen. Stylistically, the use of multimedia works better in some scenes than others, as at times the stage is distractingly busy. However, by the time Danny films the audience with a hand-held camera, effectively breaking the fourth wall, his explanation of satire is both pithy and poignant. True to its titillating title, The Joy of Text is comedy with an edge — more about literary allusions than laugh-out-loud moments. Overall, it is intelligent and interesting with a focus on clever dialogue, making it enjoyable viewing for big kids who like their schoolroom drama with a serious side of satire.
Get in the spirit of things this autumn with a feast for the eyes at the Tesselaar KaBloom Festival of Flowers. Held in Silvan – just beyond Melbourne's fringe in the Dandenong Ranges – five acres of colourful sunflowers, salvias, marigolds, dahlias and much more have been arranged in captivating patterns for your wandering pleasure. Running from Saturday, March 29 to Sunday, April 27, the festival has a new element for the first time in 2025, with the KaBloom Ferris Wheel offering the ideal vantage point to admire the vibrant designs below. Whether you're keen for a laidback stroll with nan or somewhere that inspires the kids to get in touch with nature, this verdant event is just what you need. Besides the blooms, there's also a stacked entertainment lineup for all ages. Daring performers from Circus Oz Now for Wow bring acrobatics, juggling and hoop diving to the party, while the whimsical Becky Bubble Show delights onlookers with dreamy rainbow-coloured bubbles. Meanwhile, fairy storytellers weave enchanting tales for little ones in the magical Fairy Garden. You can also score handcrafted goods at the Market Faire, dine on tantalising flavours from local food trucks, or take part in garden games, obstacle courses, scenic tractor rides and even drumming workshops. Plus, with easter on the horizon, KaBloom will get in the mood with a fun-loving hunt where finding mischievous rabbits equals more sweet treats.
In March 2024, things are really heating up at The Beast on Lygon Street, the official home of the Melbourne Chilli-Eating Championship. On Saturday, March 2, a bunch of brave souls will put their lives on the line in this searing-hot contest to find Melbourne's steeliest tastebuds. Firing up for its ninth edition, the competition will unfold throughout the afternoon, with things getting progressively spicier as the competition intensifies. Challengers will be consuming chillies that rank above two-million units on the Scoville scale, including the Trinidad scorpion, ghost chillis, the naga viper and the ever-so-feisty Carolina reaper. Participants can be eliminated by tapping out, passing out or unleashing a cheeky vomit — although, hopefully it doesn't come to that. If you want to partake, you'll need to visit The Beast and sample one of the chillies that'll be eaten on the day, or you can send in a video of yourself eating a chilli that has the equivalent or higher heat score of a habañero. You'll also have to sign a waiver, of course. Alternatively, you can simply watch on as these folks take their tastebuds to the edge. And be sure to stick around for the special celebrity round. Who will be participating hasn't been announced, but expect some Hot Ones energy. Backing up the championship is a whole afternoon of spicy fun. There'll be a special fiery food and drinks menu on offer, plus a sausage sizzle outside that'll be frying up spicy snags made just for the day. Into the night, the team will also host live band karaoke and DJs, and give out prizes for the best dressed — the theme is 'spicy Australiana' for all those wanting to really lean into the Melbourne Chilli-Eating Championship festivities. Images: Duncographic.
If the Scream franchise can make another comeback — and, come January 2022, it will again — then another late 90s horror series can pop up again, too. Both Scream and I Know What You Did Last Summer were penned by the same screenwriter, they each followed slashers terrorising teens and, on-screen, they pushed Party of Five cast members to the fore. Now, as Scream already did between 2015–19, I Know What You Did Last Summer is heading to the small screen. We know what you'll be doing this spring, clearly. Once again, Lois Duncan's 1973 novel of the same name will come to life — and yes, a car accident will play a pivotal part here as well. This time, the show's group of teenagers find themselves being stalked by a killer a year after their graduation night turned bloody. You know how it goes from there, with I Know What You Did Last Summer's central characters forced to try to stay alive while they're also still attempting to hide their secret — and they need to work out who's swinging weapons their way, obviously. To flesh out the underlying concept over the course of the series, this version of the story is set to ponder everything else that lurks in the key figures' seemingly perfect town, so it's taking a few more cues from Scream there as well. On-screen, Madison Iseman (Jumanji: The Next Level), Bill Heck (Locke & Key), Brianne Tju (47 Metres Down: Uncaged), Ezekiel Goodman (Dragonfly), Ashley Moore (Popstar: Never Stop Never Stopping), Sebastian Amoruso (Solve), Fiona Rene (Underwater), Cassie Beck (Joe Bell) and Brooke Bloom (The Sinner) will be endeavouring to survive — or, maybe one of them is the killer? Australian director and horror genre hitmaker James Wan (The Conjuring, Saw, Insidious) executive produces the series, while Sara Goodman is in the writer's chair. Amazon Prime Video will start airing I Know What You Did Last Summer from Friday, October 15, with new episodes dropping weekly until Friday, November 12. The streaming platform has also just dropped an initial teaser trailer, if you're wondering how the premise shapes up almost a quarter-century after the original film. And no, there's no word if Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe or Freddie Prinze Jr will make cameos in the series. Check out the first teaser trailer below: I Know What You Did Last Summer starts streaming via Amazon Prime Video on Friday, October 15.
Fans of Trainspotting will probably want to check out Filth, the new film adaptation of the 1998 Irvine Welsh novel. Jon S. Baird directs James McAvoy as Bruce Robertson, a bipolar, misanthropic junkie detective (role of a lifetime) who, when he's not awash in drugs, alcohol and sex games, spends his time plotting the downfall of his fellow colleagues. In his quest to trump them and secure a coveted promotion, he stops at nothing — stealing their wives, exposing their darkest secrets. Oh, and there's a murder to be solved, too. Things escalate to the point of madness, with plenty of manipulation, hallucination and downright insanity. McAvoy won critical praise for his performance upon the film's UK release and is supported by some stellar UK actors including Jim Broadbent, Jamie Bell and Eddie Marsan (who was so good in Mike Leigh's Happy-Go-Lucky and Paddy Considine's Tyrannosaur). The film will no doubt give a typically Welsh-ian insight into the grim, violent underbelly of Edinburgh — with a few laughs. Filth is in cinemas on November 21, and thanks to Icon Films, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
For the first time in five years, artist Patricia Piccinini's floating artwork Skywhale is back in Victoria. The Skywhale isn't any old artwork either, it's a 34-metre-long hot air balloon in the form of a large fleshy animal — and it just flew high above the Yarra Valley. Taking off in the wee hours (when you were hopefully still curled up in bed) from Dixons Creek, it made its way across the Yarra River travelling from Yarra Glen to Tarrawarra. The theriomorphic balloon isn't floating here by chance, either, it's in the Valley to promote Piccinini's latest exhibition at the TarraWarra Museum of Art, dubbed Patricia Piccinini and Joy Hester: Through Love..., which kicks off this Saturday, November 24. On display until March 11, 2019, the exhibition not only focuses on Piccinini's weird and wonderful works — that tread the thin line between humanity and animal — but on fellow Australian artist Joy Hester. If the latter's name doesn't sound familiar, she was a Melbourne artist who passed away in 1960, favoured brushwork and ink on paper, and is considered one of Piccinini's key influences.This'll be the first time anywhere in the world that a gallery has explored the connection between the pair, with more than 50 pieces on display. But back to our Skywhale. Here it is floating in all its fleshy glory today: https://www.instagram.com/p/BqdGVb_l7a8/ https://www.instagram.com/p/BqdBj1Dhm4b/ If you missed it this AM, it might be taking flight once again this weekend. While the flight is dependant on the weather, if it does takeoff, it'll be doing so very early in the morning (around 5.45am). For updates, keep an eye on the TarraWarra Museum of Art Facebook page. Image: Patricia Piccinini Skywhale, 2013, courtesy of the artist, the Australian Capital Territory Government, Tolarno Galleries and Roslyn Oxley9 Gallery.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Maybe you're in lockdown. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's 12 you can watch right now at home. IN THE HEIGHTS Lin-Manuel Miranda isn't the first lyricist to pen tunes so catchy that they get stuck in your head for years (yes, years), but his rhythmic tracks and thoughtful lines always stand out. Miranda's songs are melodic and snappy, as anyone who has seen Hamilton onstage or via streaming definitely knows. The multi-talented songwriter's lyrics also pinball around your brain because they resonate with such feeling — and because they're usually about something substantial. The musical that made his name before his date with US history, In the Heights echoes with affection for its eponymous Latinx New York neighbourhood. Now that it's reverberating through cinemas, its sentiments about community, culture, facing change and fighting prejudice all seem stronger, too. To watch the film's characters sing about their daily lives and deepest dreams in Washington Heights is to understand what it's like to feel as if you truly belong in your patch of the city, to navigate your everyday routine with high hopes shining in your heart, and to weather every blow that tries to take that turf and those wishes away. That's what great show tunes do, whisking the audience off on both a narrative and an emotional journey. Miranda sets his words to hip hop beats, but make no mistake: he writes barnstorming songs that are just as rousing and moving, and that've earned their place among the very best stage and screen ditties as a result. Watching In the Heights, it's hard not to think about all those stirring tracks that've graced previous musicals. That isn't a sign of derivation here, though. Directing with dazzling flair and a joyous mood, Crazy Rich Asians filmmaker Jon M Chu nods to cinema's lengthy love affair with musicals in all the right ways. His song-and-dance numbers are clearly influenced by fellow filmic fare, and yet they recall their predecessors only because they slide in so seamlessly alongside them. Take his staging of the tune '96000', for instance. It's about winning the lottery, after word filters around that bodega owner Usnavi (Anthony Ramos, a Hamilton alum) has sold a lucky ticket. Due to the sweltering summer heat, the whole neighbourhood is at the public pool, which is where Chu captures a colourful sea of performers expressing their feelings through exuberantly shot, staged and choreographed music and movement — and it's as touching and glorious as anything that's ever graced celluloid. Of course, $96,000 won't set anyone up for life, but it'd make an enormous difference to Usnavi, In the Heights' protagonist and narrator. It'd also help absolutely everyone he loves. As he explains long before anyone even hears about the winning ticket, or buys it, every Heights local has their own sueñitos — little dreams they're chasing, such as his determination to relocate to the Dominican Republic. And that's what this intoxicating, invigorating, impassioned and infectious captures with vibrant aplomb. In the Heights is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. A QUIET PLACE PART II When every noise you make could send savage aliens stalking, slashing and slaughtering your way, it's the waiting that gets you. When you're watching a nerve-rattling horror film about that exact scenario, the same sentiment remains relevant. In A Quiet Place, the Abbott family went into survival mode after vicious creatures invaded, hunted down every sound and dispensed with anyone that crossed their path. For the characters in and viewers of the 2018 hit alike, the experience couldn't have screamed louder with anxiety and anticipation. Evelyn and Lee (Wild Mountain Thyme's Emily Blunt and Detroit's John Krasinski) and their children Regan (Millicent Simmonds, Wonderstruck), Marcus (Noah Jupe, The Undoing) and Beau (Cade Woodward, Avengers: Endgame) all silently bided their time simply trying to stay safe and alive, but their continued existence lingered under a gut-wrenching shadow. The critters were still out there, listening for even a whisper. It was a matter of when, not if, they'd discern the slightest of noises and strike again. That type of waiting drips with tension and suspense, and also with the kind of inevitability that hovers over everyone alive. A certain bleak end awaits us all, a truth we routinely attempt to ignore; however, neither the Abbotts nor A Quiet Place's audience were allowed to forget that grim fact for even a moment. Initially slated to arrive in cinemas two years later, then delayed by the pandemic for 14 months, sequel A Quiet Place Part II isn't done with waiting. Written and directed once again by Krasinski, the film doesn't shy away from the stress and existential distress that marking time can bring, but it also tasks its characters with actively confronting life's inevitabilities. After an intense and impressive tone-setting opening flashback to the first day of the alien attack, when the Abbotts' sleepy hometown learns of humanity's new threat in the cruellest fashion, the storyline picks up where its predecessor left off. It's day 474 — the earlier film spent most of its duration around day 472 — and Evelyn, Regan, Marcus and the family's newborn are grappling with their losses. That said, they're also keenly aware that they can't stay in their Appalachian farmhouse any longer. After spotting smoke on the horizon and setting off in that direction, they reconnect with Emmett (Cillian Murphy, Peaky Blinders), an old friend who has been through his own traumas. Evelyn sees safety in numbers, but he's reluctant to help. Then Regan hears a looping radio transmission playing 'Beyond the Sea' and decides to track down its source — and a film that's less thrilling, potent and unsettling than its predecessor eventuates. A Quiet Place Part II is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. BLACK WIDOW Closure is a beautiful thing. It's also not something that a 24-film-and-growing franchise tends to serve up often. Since 2008, the Marvel Cinematic Universe has operated with the opposite aim — extending and expanding the series at every turn, delivering episodic instalments that keep viewers hanging for the next flick, and endeavouring to ensure that the superhero saga blasts onwards forever. But it's hard to tick those boxes when you're making a movie about a character whose fate is already known. Audiences have seen where Natasha Romanoff's (Scarlett Johansson, Marriage Story) story finishes thanks to Avengers: Endgame, so Black Widow doesn't need to lay the groundwork for more films to follow. It's inexcusable that it has taken so long for the assassin-turned-Avenger to get her own solo outing. It's indefensible that this is just the second Marvel feature to solely focus on a female figure, too. But, unlike the missed opportunity that was Captain Marvel, Black Widow gives its namesake a thrilling big-screen outing, in no small part because it needn't waste time setting up a Black Widow sequel. Instead, the pandemic-delayed movie spends its 143 minutes doing what more MCU flicks should: building character, focusing on relationships, fleshing out its chosen world and making every inch of its narrative feel lived-in. The end result feels like a self-contained film, rather than just one chapter in a never-ending tale — which gives it the space to confidently blend family dramas with espionage antics, and to do justice to both parts of that equation. Sporting an impressive cast that also includes Florence Pugh (Little Women), David Harbour (Stranger Things) and Rachel Weisz (The Favourite), Black Widow begins in 1995, in small-town Ohio. Here, Harbour and Weisz play Alexei and Melina, parents to young Natasha (Ever Anderson, Resident Evil: The Final Chapter) and Yelena (Violet McGraw, Doctor Sleep), and the portrait of all-American domesticity — or that's the ruse, at least. The film doesn't revel in small-town life, neighbourhood playtimes, 'American Pie' sing-alongs and an existence that could've been ripped from The Americans for too long, however, with the quartet soon en route back to Russia via Cuba at shady puppetmaster Dreykov's (Ray Winstone, Cats) beckoning. When the action then jumps forward to 2016, and to the aftermath of that year's Captain America: Civil War, Natasha hasn't seen her faux family for decades. On the run from the authorities, she isn't palling around with the Avengers, either, with the superheroes all going their separate ways. Then the adult Yelena (Pugh) reaches out, because she too has fled her own powers-that-be: Dreykov, the fellow all-female hit squad she's been part of for the last 21 years, and the mind-control techniques that've kept her compliant and killing. There's an unmistakable air of Bourne and Bond to Black Widow from there, but this deftly satisfying flick doesn't trade the MCU's blueprints for other franchises' templates. With Australian filmmaker Cate Shortland (Somersault, Lore and Berlin Syndrome) in the director's chair, this welcome addition to the franchise spins a thoughtfully weighty story about women trapped at the mercy of others and fighting to regain their agency. Black Widow is available to stream via Disney+ with Premium Access. Read our full review. MY NAME IS GULPILIL Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. Cue this heartfelt portrait of an Australian icon like no other, which celebrates a star who'll never be matched, reminds viewers exactly why that's the case, but is never a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. My Name Is Gulpilil is available to stream via ABC iView. Read our full review. VALERIE TAYLOR: PLAYING WITH SHARKS Steven Spielberg directed Jaws, the 1975 horror film that had everyone wondering if it was safe to go back into the water — and the movie that became Hollywood's first blockbuster, too — but he didn't shoot its underwater shark sequences. That task fell to Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, who did so off the coast of Port Lincoln in South Australia. If it weren't for their efforts, the film mightn't have become the popular culture behemoth it is. When one of the animals the Taylors were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident, in fact. And, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco. Firstly, filmmaker Sally Aitken (David Stratton: A Cinematic Life) fills her feature with stunning archival footage that makes for astonishing and affecting viewing (Ron Taylor is credited first among the feature's five cinematographers). Secondly, this powerful film dives into the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. Like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, this is a movie about being profoundly changed by the natural world and all of its splendour. Valerie Taylor: Playing with Sharks is available to stream via Disney+. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning Mad Max: Fury Road costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). In this intellectual property-extending exercise from I, Tonya director Craig Gillespie, she sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists with Jasper (Joel Fry, Yesterday) and Horace (Paul Walter Hauser, Songbird). She loves sewing the costumes required more than anything else, however. After years spent dreaming of knockout gowns, upmarket department stores and threads made by the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. Cruella is available to stream via Disney+ with Premium Access, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. MARTIN EDEN The last time that one of Jack London's books made the leap to cinema screens — just last year, in fact — it wasn't a pleasant viewing experience. Starring Harrison Ford and a CGI dog, The Call of the Wild forced viewers to watch its flesh-and-blood lead pal around with a needlessly anthropomorphised canine, to groan-inducingly cheesy results. Martin Eden is a much different book, so it could never get the same treatment. With his radiant imagery, masterful casting and bold alterations to the source material, writer/director Pietro Marcello (Lost and Beautiful) makes certain that no one will confuse this new London adaption for the last, however. The Italian filmmaker helms a compelling, complicated, ambitious and unforgettable film, and one that makes smart and even sensuous choices with a novel that first hit shelves 112 years ago. The titular character is still a struggling sailor who falls in love with a woman from a far more comfortable background than his. He still strives to overcome his working-class upbringing by teaching himself to become a writer. And, he still finds both success and scuffles springing from his new profession, with the joy of discovering his calling, reading everything he can and putting his fingers to the typewriter himself soon overshadowed by the trappings of fame, a festering disillusionment with the well-to-do and their snobbery, and a belief that ascribing worth by wealth is at the core of society's many problems. As a book, Martin Eden might've initially reached readers back in 1909, but Marcello sees it as a timeless piece of literature. He bakes that perception into his stylistic choices, weaving in details from various different time periods — so viewers can't help but glean that this tale just keeps proving relevant, no matter the year or the state of the world. Working with cinematographers Alessandro Abate (Born in Casal Di Principe) and Francesco Di Giacomo (Stay Still), he helms an overwhelmingly and inescapably gorgeous-looking film, too. When Martin Eden is at its most heated thematically and ideologically, it almost feels disquieting that such blistering ideas are surrounded by such aesthetic splendour, although that juxtaposition is wholly by design. And, in his best flourish, he enlists the magnetic Luca Marinelli (The Old Guard) as his central character. In a performance that won him the Best Actor award at the 2019 Venice Film Festival, Marinelli shoulders the eponymous figure's hopes, dreams and burdens like he's lived them himself. He lends them his soulful stare as well. That expression bores its way off the screen, and eventually sees right through all of the temptations, treats and treasures that come Eden's way. Any movie would blossom in its presence; Martin Eden positively dazzles, all while sinking daggers into the lifetime of tumult weathered by its titular everyman. Martin Eden is available to stream via Google Play, YouTube Movies and iTunes. I BLAME SOCIETY She's fired by her manager after he finally reads one of her scripts, then deems the topic of Israel "too political". When his assistant wrangles her a meeting with a couple of indie film producers in the aftermath, she's asked to lend her perspective to stories about strong female voices, breastfeeding in public, and either intersexuality or intersectionality — when it comes to the latter two, they aren't quite sure which. So, as I Blame Society gleefully posits in its savage takedown of the film industry today, it's little wonder that Gillian (writer/director Gillian Wallace Horvat) decides to follow up a leftfield idea. Three years earlier, some of her friends told her that she'd make a great murderer, a notion that she took as a compliment and has been fascinated with to an unhealthy degree ever since. Indeed, at the time, she went as far asking her pal Chase (co-writer Chase Williamson) if she could hypothetically walk through the process of killing his girlfriend. The request put a long-lasting pause on their friendship, to no one else's surprise. Now, as she resurrects the project, her editor boyfriend Keith (Keith Poulson, Her Smell) keeps reiterating that it's a terrible idea; however, with no other avenues forward, Gillian is committed to doing whatever she thinks she needs to to kickstart her career. During a mid-film conversation, an increasingly exasperated Keith reminds Gillian that no "there is no movie that is worth hurting someone for". He's endeavouring to get her to agree, but "if it's a very bad person for a very good movie…" is her quick and firm reply. I Blame Society is equally direct. While Horvat plays a fictional character — and, the audience presumes, hasn't ever flirted with or committed murder in real life — she absolutely slaughters her chosen concept. Not every line or moment lands as intended, but this biting satire sticks a knife into every expectation saddled upon women in general and female filmmakers especially, then keeps twisting. The film's recurrent gags about likeability cleave so close to the truth, they virtually draw blood. Its aforementioned parody of supposed allyship among powerbrokers and gatekeepers is similarly cutting and astute. In their canny script, Horvat and Williamson find ample time to poke fun of a plethora of industry cliches and microaggressions, the treatment of marginalised voices both within filmmaking and in broader society, and even the current true-crime obsession, all without ever overloading the 84-minute movie. And, on-screen as well, Horvat is a savvy delight. She wants viewers to both cringe and nod, and everything about her performance and her feature directorial debut earns that response. I Blame Society is available to stream via Google Play, YouTube Movies and iTunes. A FAMILY Just five letters are needed to turn A Family's title into the name of one of popular culture's most famous clans. The Addams crew aren't the subject of this Australian-produced, Ukraine-shot blend of comedy and drama, but it does delve into the creepy, kooky and mysterious anyway. The feature debut of director Jayden Stevens — who co-wrote the script with his cinematographer Tom Swinburn (Free of Thought) — the absurdist gem spends time with the stern-faced Emerson (first-timer Pavlo Lehenkyi). With none of his family around for unexplained reasons, he pays other Kiev locals to play their parts, staging dinners, Christmas parties and everyday occasions. They eat, chat and do normal family things, all for Emerson's camera. His actors (including Maksym Derbenyov as his brother and Larysa Hraminska as his mother) all need to stick to his script, though, or he'll offer them a surly reprimand. Olga (Liudmyla Zamidra), who has been cast as his sister, struggles the most with her role. She's also the member of this little faux family that Emerson is particularly drawn to. Her own home life with her mother Christina (Tetiana Kosianchuk) is far from rosy, with the pair suffering from her dad's absence, so eventually Olga decides that Emerson's role-play game might work there as well. A Family is a film of patient and precise frames, awkwardly amusing moments, and bitingly accurate insights into the ties that bind — whether of blood or otherwise. It's a movie that recognises the transactional and performative nature of many of life's exchanges, too, and ponders how much is real and fake in both big and seemingly inconsequential instances. To perfect all of the above, Stevens walks in Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), Aki Kaurismäki (Le Havre, The Other Side of Hope) and even the usually inimitable David Lynch's shoes. His feature is austere, deadpan and surreal all at once, and smart, amusing and savage at the same time as well. Indeed, if a bigger-name filmmaker had made this purposefully and probingly off-kilter picture, it would've likely proven a film festival darling around the globe. A Family did start its big-screen run at a fest, at the Melbourne International Film Festival back in 2019. Now reaching Australian cinemas after a year that's seen everyone either spend more time with or feel more physical distance from their nearest and dearest, it feels doubly potent. Every lingering image shot by Swinburn — and all of the pitch-perfect performances that he captures — speak loudly to the cycle of yearning and disconnection that comes with being alive, and that never stops being put under a microscope. A Family is available to stream via iTunes. THE CONJURING: THE DEVIL MADE ME DO IT Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets when it comes to battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. With director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman) doing the honours — taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks — it once again serves up the usual bumps, jumps and scares that have haunted this franchise since day one. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way, because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup for souped-up demonic antics and a routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film. The Conjuring: The Devil Made Me Do It is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE HITMAN'S WIFE'S BODYGUARD Someone involved with The Hitman's Wife's Bodyguard must really love paperwork; that's the only reason anyone could've given its script the go-ahead. Perhaps Australian filmmaker Patrick Hughes, who also directed 2017's The Hitman's Bodyguard, likes nothing more than keeping his documents in order. Maybe returning screenwriter Tom O'Connor (The Courier) falls into that category, or his debuting co-scribes Phillip and Brandon Murphy — they all made the subject the focus of their screenplay, after all. Whoever fits the bill, their attempt to force audiences to care about bodyguard licensing falls flat. So does the misguided idea that the certification someone might need to unleash their inner Kevin Costner would ever fuel an entire movie. Instead, what was already a needless sequel to a terrible action-comedy becomes even more of a dull and pointless slog, with this by-the-numbers follow-up showing zero signs that anyone spent more than a few seconds contemplating the story. A significant plot point here: that Michael Bryce (Ryan Reynolds, The Croods: A New Age) has lost his official tick of approval. He's no longer triple A-rated after a mishap in the line of duty, and he isn't coping well. To be fair, no one watching The Hitman's Wife's Bodyguard will handle that news swimmingly either, but only because they're made to hear about it over and over, all as Bryce rekindles his begrudging association with assassin Darius Kincaid (Samuel L Jackson, Spiral: From the Book of Saw) and the latter's con artist wife Sonia (Salma Hayek, Bliss). When Darius gets snatched up by nefarious folks during his belated honeymoon with Sonia, only Bryce can help — or so says the angry Mrs Kincaid. She interrupts the latter's vacation with swearing, shouting and shootouts, because that's the kind of feisty Mexican wife that Hayek plays. From there, Reynolds primarily complains, Hayek sticks with stereotypes and Jackson attempts to exude his usual brand of couldn't-care-less cool; however, even more than in Spiral: From the Book of Saw, he's on autopilot. As also seen in Jackson's last big-screen appearance, The Hitman's Wife's Bodyguard insists on reminding its audience about its stars' better movies. You don't cast both Hayek and Antonio Banderas (who plays a European tycoon plotting the world's demise) if you don't want to bring Desperado and Once Upon a Time in Mexico to mind (and Frida and even Spy Kids 3, too). Thinking about the pair's shared past highlights is far more enjoyable than enduring their current collaboration, unsurprisingly. Making fun of accents is considered the height of comedy here, women can only be hot-headed nags and manchild daddy issues get almost as much love as paperwork. The jokes aren't just scattershot; they're non-existent. The messy, incoherent and over-edited action scenes fare just as badly. None of the above is likely to save us from a third movie, though, which'll probably be called The Hitman's Wife's Baby's Bodyguard's Lost Birth Certificate. The Hitman's Wife's Bodyguard is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. FATALE Only 14 women have ever won more than one Academy Award for Best Actress, and Hilary Swank is one of them. When she earned the Oscars double for 1999's Boys Don't Cry and 2004's Million Dollar Baby, she beat both Meryl Streep and now three-time recipient Frances McDormand to the feat — but her career hasn't brought the coveted accolade her way again since. Fatale isn't going to change that recent trend. It hasn't earned Swank a Razzie either, but she could've easily been in the running. Playing a Los Angeles cop who has a one-night stand in Las Vegas with an ex-college basketball star turned high-profile player manager, then starts stalking her way through his life while also trying to intimidate her politician ex-husband into giving her back access to her young daughter, she has one mode here: stern-faced yet unbalanced. Even when her character, Detective Valerie Quinlan, is first seen flirting, Swank plays her as if something isn't quite right. That's accurate, plot-wise, but it robs Fatale of any semblance of tension it might've possessed. The film is meant to be an adultery-focused thriller in the Fatal Attraction mould — with even its title blatantly nodding that way — but it just ends up recycling tired, simplistic, overused cliches about unhinged women into a monotonous and unnecessarily convoluted package. Valerie and Derrick (Michael Ealy, Westworld) hit it off at a Vegas bar, then get physical; however, the next morning, he heads home to his wife Tracie (Damaris Lewis, BlacKkKlansman), who he actually suspects of being unfaithful herself. Before Derrick can meaningfully process either his infidelity or his fears about his crumbling marriage, his swanky home is broken into one night — and, because director Deon Taylor (Black and Blue) and screenwriter David Loughery (The Intruder) are content to hit every expected beat there is (and because they've seen every 80s and 90s erotic thriller ever made, too), Valerie is the investigating officer. Despite being woefully predictable from the outset, Fatale doesn't dare have fun with its cookie-cutter narrative. It doesn't evoke thrills, bring anything more than surface style or prove particularly sexy, and it never gets its audience invested in its obvious twists, one-note characters or rote dialogue. And, although having its badge-toting stalker use excessive force and exploit her power to target a person of colour could've been a choice that said something about America's current reckoning with law enforcement, race and police brutality, Fatale doesn't even contemplate anything other than clunky formula. Fatale is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Looking for more at-home viewing options? Check out our lists of movies fast-tracked from cinemas to streaming back in May and June. You can also take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows.
Gracing the intimate space next door to Peter Gunn's Collingwood fine diner IDES, is the star chef's genre-bending wining and dining venture, March. Embracing various elements of a wine bar, a pub and an izakaya, it's not about to be locked into just one box — just know that it's moving in a very different direction than its sibling. The 26-seater is your go-to for clever small bites with contemporary flair, matched to a broad-ranging curation of sake, wine and cocktails. Expect a moody space rocking deep charcoal tones throughout, and with a low, marble-topped statement counter allowing plenty of interaction between those with front-row seats and staff behind the bar. As you'd expect given Gunn's culinary street cred, the drinking snack game here is strong. While the two venues share a kitchen and a flair for creativity, March's menu walks its own path with a concise, oft-changing lineup rooted in Japanese flavours and technique. Venture in for plates like edamame coated in some kind of umami magic ($9), green chilli pickled mussels with crispy garlic ($15), sake-steamed pippies finished in a yuzu parsley butter ($25) and braised pork belly with a spicy nori glaze ($25). Plus, a crispy sweet and sour quail ($28) that'll have you making fast use of the supplied hot towel. IDES sommelier Hayley McCarthy heads up the drinks offering, with Victorian and South Australian drops ruling the by-the-glass lineup, and next door's wine list and cellar selection delivering even more gems. Expect interesting pours that'll shake a few preconceptions (perhaps a Dilworth & Allain pinot noir blend, or the Konpira Maru Pan Opticon riesling out of the King Valley) alongside signature cocktails and a solid crop of sake.
Let's face it, you can't buy a whole lot for 50 cents in 2022. But on one day — Wednesday, April 6 to be exact — you can consider that little dodecagonal coin your best friend. That's all you'll need to grab a cheeseburger at McDonald's on that date, with the fast-food giant treating the whole country to 50-cent burgs. If this sounds familiar, that's because Macca's has dished up this deal a few times now. On this current occasion, which coincides with the launch of McDonald's new chicken range, there are 350,000 50-cent cheeseburgers available Australia-wide. So, you'll want to get in early to get this classic combo for pocket change — beef, bun, onion, pickles, ketchup, cheese and all — because that cheap price will apply on a first-in, first-served basis. To claim your 50-cent burger, you'll first need to download the MyMacca's app via the Apple Store or Google Play. Then, log on, check the My Rewards section and boom — Ronald's your uncle. Unfortunately, there's a limit of one 50-cent cheeseburger per customer, which probably isn't enough to make a meal of. But we're sure there are a few other Macca's menu items that might tempt your tastebuds while you're there. Because you have to use the MyMacca's app, you'll only be able to get your cheap burg via takeaway, drive-thru or in-store — not through McDelivery. McDonald's 350,000 50-cent cheeseburgers are available on Wednesday, April 6 until sold out via the MyMacca's app.
A glorious handful of Australia's most celebrated restaurants will be waking up with a big ol' smile this morning, finding a spot amongst the mightily prestigious World's Best Restaurants list overnight. Sydney's Sepia and Quay nabbed a highly coveted spot on the list, as well as Victoria's Brae, with the top 51-100 announced separately for the first time ever. Judged by international critics and industry heavyweights, the World's Best Restaurants is a worldwide poll holding some pretty heavy weight. Sydney's longtime culinary leader Quay came in at 58, while super Sydney hotspot Sepia (who was just voted by Australia's top chefs and restaurateurs as Best Restaurant in Australia in the Australian Financial Review Top 100 Restaurants) came in at 84. Dan Hunter's Birregurra restaurant Brae in Victoria came in at 87, a win for the non-CBD-dwelling establishment. The top 50 has yet to be announced, in fact, it's a first that the World's Best list organisers have revealed the 51-100 list already. The top 50 will be announced in London next Monday, at a super fancy awards ceremony with probably insane function food. Who's up for the top spots? Last year's list saw Copenhagen's Noma take out the top spot, followed by El Celler de Can Roca in Girona, Spain and Massimo Bottura's Osteria Francescana in Modena, Italy. There are high hopes for Ben Shewry's Attica, which came in at second in the AFR Top 100 and hit number 32 in the World's Best list last year — the only Australian restaurant in the Top 50. The Top 50 World's Best Restaurants will be announced next Monday, June 1. For this year's 51-100 list, head over here. Via Good Food.
If you live in one of the 82 million households that gave Bridgerton a stream during its first month on Netflix — making it the platform's most-watched new series ever — then you're probably also a fan of its reigning monarch. Sure, the soapy series spends most of its time with the eponymous family, with its first season following Daphne Bridgerton's (Phoebe Dynevor, Younger) quest to find a husband, and her dalliances with the Duke of Hastings (Regé-Jean Page, Sylvie's Love). But whenever Queen Charlotte (Golda Rosheuvel, Lady Macbeth) enters a scene, she steals it so convincingly and savagely that everything else around her withers in comparison. Clearly, Netflix noticed this, too. And, fresh from renewing Bridgerton for its third and fourth seasons before the second even streams, the service has announced a Queen Charlotte-centric spinoff. Get ready to spend more time with the character, but in her younger guise, with the currently untitled new show set to be a prequel. At this immensely early stage, few other details have been revealed — although Charlotte will be joined by a few other familiar faces. Younger versions of Violet Bridgerton (Ruth Gemmell, Deep State) and Lady Danbury (Adjoa Andoh, The Witcher) will also feature in the new series, if you've ever wanted to know more about their backstories. Just who'll be playing Charlotte, Violet and Lady Danbury also hasn't been announced, and neither has exactly when the show about them will hit your streaming queue. It has been revealed that the new series will be penned by Bridgerton executive producer (and Grey's Anatomy and Scandal creator) Shonda Rhimes, though. She's calling the Charlotte-focused show part of "the Bridgerton-verse" — so yes, you can probably expect more spinoffs to follow. For now, you can revisit the original Bridgerton trailer below: https://www.youtube.com/watch?v=gpv7ayf_tyE The first season of Bridgerton is available to stream now via Netflix. The show's Queen Charlotte-focused spinoff doesn't yet have a release date — and neither does Bridgerton's second, third and fourth seasons — but we'll update you when details come to hand. Top image: Liam Daniel/Netflix.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DRIVE MY CAR More than four decades have passed since Haruki Murakami's debut novel reached shelves, and since the first film adaptation of his work followed, too; however, the two best page-to-screen versions of the author's prose have arrived in the past four years. It's easy to think about South Korean drama Burning while watching Drive My Car, because the two features — one Oscar-shortlisted, the other now the first Japanese movie to be nominated for Best Picture — spin the writer's words into astonishing, intricately observed portraits of human relationships. Both films are also exceptional. In the pair, Murakami's text is only a starting point, with his tales hitting the screen filtered through each picture's respective director. For Drive My Car, Japanese filmmaker Ryûsuke Hamaguchi does the honours, taking audiences riding through another of the Happy Hour, Asako I & II and with Wheel of Fortune and Fantasy helmer's layered, thoughtful and probing reflections on connection. Using Murakami's short story from 2014 collection Men Without Women as its basis, Drive My Car's setup is simple. Yes, the film's title is descriptive. Two years after a personal tragedy, actor/director Yūsuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to bring Chekhov's Uncle Vanya to the stage in Hiroshima, and the company behind it insists on giving him a chauffeur for his stay. He declines— he'd asked to stay an hour away from the theatre so he could listen to recorded tapes of the play on his drive — yet his new employers contend that it's mandatory for insurance and liability reasons. Enter 23-year-old Misaki Watari (Tôko Miura, Spaghetti Code Love), who becomes a regular part of Yūsuke's working stint in the city. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours. It doesn't rush to get to its basic premise, either. Before the film's opening credits arrive 40 minutes in, it steps through Yūsuke's existence back when he was appearing in a version of Uncle Vanya himself, married to television scriptwriter Oto (Reika Kirishima, Japanese TV's Sherlock) and grappling with an earlier heartbreak. His wife is also sleeping with younger actor Takatsuki (Masaki Okada, Arc), which Yūsuke discovers, says nothing about but works towards discussing until fate intervenes. Then, when he sits in his red 1987 Saab 900 Turbo just as the movie's titles finally display, he's a man still wracked by grief. It's also swiftly clear that he's using his two-month Hiroshima residency as a distraction, even while knowing that this exact play — and Oto's voice on the tapes he keeps listening to — will always be deeply tied to his life-shattering loss. This prologue does more than set the scene; there's a reason that Hamaguchi, who co-wrote the screenplay with Takamasa Oe (The Naked Director), directs so much time its way. Where tales of tragedy and mourning often plunge into happy lives suddenly unsettled by something catastrophic or the process of picking up the pieces in the aftermath — typically making a concerted choice between one or the other — Drive My Car sees the two as the forever-linked halves of a complicated journey, as they are. The film isn't interested in the events that've forever altered the plot of Yūsuke's life, but in who he is, how he copes, and what ripples that inescapable hurt causes. It's just as fascinated with another fact: that so many of us have these stories. Just as losing someone and soldiering on afterwards are unshakeably connected, so are we all by sharing these cruel constants of life. Read our full review. BENEDETTA What do two nuns in the throes of sexual ecstasy gasp? "My god" and "sweet Jesus", of course. No other filmmaker could've made those divine orgasmic exclamations work quite like Paul Verhoeven does in Benedetta, with the Dutch filmmaker adding another lusty, steamy, go-for-broke picture to his resume three decades after Basic Instinct and more than a quarter-century since Showgirls. His latest erotic romp has something that his 90s dives into plentiful on-screen sex didn't, however: a true tale, courtesy of the life of the movie's 17th-century namesake, whose story the writer/director and his co-scribe David Birke (Slender Man) adapt from Judith Brown's 1986 non-fiction book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. For anyone that's ever wondered how a religious biopic and nunsploitation might combine, this is the answer you've been praying for. Frequently a playful filmmaker — the theories that Showgirls is in on its own joke keep bubbling for a reason — Verhoeven starts his first film since 2016's Elle with that feature's more serious tone. The screen is back, the words "inspired by real events" appear and the score is gloomy. When Benedetta's titular figure appears as a girl (played by Elena Plonka, Don't Worry About the Kids), she's the picture of youth and innocence, and she's also so devoted to her faith that she's overjoyed about joining a convent in the Tuscan village of Pescia. But then villains interrupt her trip, and this pious child demonstrates her favour with the almighty by seemingly getting a bird to shit in a man's eye. It isn't quite as marvellous as turning water into wine, but it's its own kind of miracle. As an adult (Virginie Efira, Bye Bye Morons), she'll talk to strapping hallucinations of Jesus (Jonathan Couzinié, Heroes Don't Die), too, and use her beloved childhood statuette of the Virgin Mary as a dildo. There is no line between the sacred and the profane in Benedetta: things can be both here, and frequently are. Case in point: on her first night at the convent, after a bartering session between her father (David Clavel, French Dolls) and the abbess (Charlotte Rampling, Dune) over the girl's dowry for becoming a bride of christ, a statue of the Virgin Mary collapses upon Benedetta, and she shows her sanctity by licking the sculpture's exposed breast. So, 18 years later, when she's both seeing Jesus and attracted to abused newcomer Sister Bartolomea (Daphné Patakia, Versailles), they're the most natural things that could happen. To Benedetta, they're gifts from god, too. She does try to deny her chemistry with the convent's fresh novice at first, but the lord wants what he wants for her. Unsurprisingly, not everyone in the convent — the abbess' daughter Sister Christina (Louise Chevillotte, Synonyms) chief among them — agrees, approves or in believes in her visions. Verhoeven puts his own faith in crafting a witty, sexy, no-holds-barred satire. That said, he doesn't ever play Benedetta as a one-note, over-the-top joke that's outrageous for the sake of it. His protagonist believes, he just-as-devoutly believes in her — whether she's a prophet, a heretic or both, he doesn't especially care — and he also trusts her faith in her primal desires. His allegiance is always with Benedetta, but that doesn't mean that he can't find ample humour in the film or firm targets to skewer. The hypocrisy of religion — "a convent is not a place of charity, child; you must pay to come here," the abbess advises — gets his full comic attention. Having the always-great Rampling on-hand to personify the Catholic Church at its most judgemental and least benevolent (at its money-hungry worst, too) helps considerably. Indeed, what the veteran English actor can do with a withering glare and snarky delivery is a movie miracle. Read our full review. DEATH ON THE NILE Some folks just know how to rock a moustache. When Kenneth Branagh (Tenet) stepped into super-sleuth Hercule Poirot's shoes in 2017's Murder on the Orient Express, he clearly considered himself to be one of them. The actor and filmmaker didn't simply play Agatha Christie's famously moustachioed Belgian detective, but also directed the movie — and he didn't miss a chance to showcase his own performance, as well as that hair adorning his top lip. You don't need to be a world-renowned investigator to deduce that Branagh was always going to repeat the same tricks with sequel Death on the Nile, or to pick that stressing the character's distinctive look and accompanying bundle of personality quirks would again take centre stage. But giving Poirot's 'stache its own black-and-white origin story to start the new movie truly is the height of indulgence. Branagh has previously covered a superhero's beginnings in the initial Thor flick, and also stepped into his own childhood in Belfast, so explaining why Poirot sports his elaborately styled mo — how it came to be, and what it means to him emotionally, too — is just another example of the director doing something he obviously loves. That early hirsute focus sets the tone for Death on the Nile, though, and not as Branagh and returning screenwriter Michael Green (Jungle Cruise) must've intended. Viewers are supposed to get a glimpse at what lies beneath Poirot's smarts and deductive savvy by literally peering beneath his brush-like under-nostril bristles, but all that emerges is routine and formulaic filler. That's the film from its hairy opening to its entire trip through Egypt. At least the moustache looks more convincing than the sets and CGI that are passed off as the pyramids, Abu Simbel and cruising the titular waterway. It's 1937, three years after the events of Murder on the Orient Express, and Poirot is holidaying in Egypt. While drinking tea with a vantage out over the country's unconvincingly computer-generated towering wonders, he chances across his old pal Bouc (Tom Bateman, Behind Her Eyes) and his mother Euphemia (Annette Bening, Hope Gap), who invite him to join their own trip — which doubles as a honeymoon for just-married heiress Linnet Ridgeway (Gal Gadot, Red Notice) and her new husband Simon Doyle (Armie Hammer, Crisis). Poirot obliges, but he's also surprised by the happy couple. Six weeks earlier, he saw them get introduced by Linnet's now-former friend and Simon's now ex-fiancée Jacqueline de Bellefort (Emma Mackey, Sex Education). That awkward history isn't easily forgotten by the central duo, either, given that Jackie has followed them with a view to winning Simon back. Boating down the Nile is initially an escape plan, whisking the newlyweds away from their obsessive stalker. But even as the group — which includes jazz singer Salome Otterbourne (Sophie Okonedo, Wild Rose), her niece and Linnet's school friend Rosalie (Letitia Wright, Black Panther), the bride's own ex-fiancé Linus Windlesham (Russell Brand, Four Kids and It), her lawyer Andrew Katchadourian (Ali Fazal, Victoria and Abdul), her assistant Louise Bourget (Rose Leslie, Game of Thrones), her godmother Marie Van Schuyler (Jennifer Saunders, Absolutely Fabulous: The Movie) and the latter's nurse Mrs Bowers (Dawn French, The Vicar of Dibley) — adjust to the change of schedule, two things were always going to happen. The pouty Jacqueline can't be thwarted that easily, of course. Also, the fact that there'll soon be a murder for Poirot to solve is right there in the movie's moniker. Read our full review. MARRY ME Romantic comedies are all about timing. Whoever pairs up in whichever film, they share moments: meeting-cute at just the right time, going on life-changing dates, coming to big realisations in tandem and such. Marry Me lives for those kinds of incidents, but the film's timing itself is also unfortunate. Based on Bobby Crosby's webcomic and subsequent graphic novel of the same name — with the former dating back to 2006 — it arrives on the big screen at a time when Starstruck has already delightfully riffed on Notting Hill's tale about an everyday person falling for someone super famous, and when reality TV's Married at First Sight has been making people who've just met get hitched since 2013 (and in versions made in multiple countries), too. If Marry Me managed to transcend its Starstruck/Notting Hill-meets-MAFS premise, it could reach cinemas whenever and it wouldn't matter; however, even Jennifer Lopez and Owen Wilson's charms can't make that happen. Releasing a rom-com starring Lopez and Wilson in 2022 does toy with time a little, though. Its source material doesn't date back 25 years, to when its stars were both in Anaconda, but its broad strokes could've still fuelled a late-90s addition to the romantic-comedy genre. That's how creaky it feels; of course, that timing would've meant spinning a story without livestreamed concerts — and livestreamed lives, outside of films such as The Truman Show and EdTV — but it also would've rid the movie of one of its biggest crutches. Marry Me finds it too easy to blame too many character choices on the always-online, always-performing, always-oversharing mentality that's now the status quo. It too lazily uses the divide between constantly broadcasting one's every move via social media and happily living life offline to fuel its opposites-attract setup as well. It's no wonder that the movie always feels shallow, even for an obvious fairytale, and even as the script attempts to layer in knowing nods to how women like its central popstar are treated by the world whether or not they record and share every moment they're awake. That singing celebrity is Kat Valdez, aka Lopez playing a part that could've easily been originally penned with her in mind. Kat is a global superstar who, to her dismay, is known as much for her hits as for her personal life. That said, she also willingly combines the two in the track 'Marry Me', a duet with her fiancé Bastian (Colombian singer Maluma) that the pair plan to get married to during a show livestreamed to 20 million people. But moments before Kat ascends to the on-stage altar, news that Bastian has been unfaithful spreads across the internet. Sick of being unlucky in love — and just as fed up with being publicly ridiculed for her romantic misfortunes — she picks out Owen's middle-school maths teacher Charlie Gilbert from the crowd and weds him instead. He's just holding a banner with the movie's title on it for his pal and fellow educator Parker Debbs (Sarah Silverman, Don't Look Up), and he's accompanied by his daughter Lou (Claudia Coleman, Gunpowder Milkshake), but he still says yes. Director Kat Coiro (A Case of You) knows the kind of glossy, crowd-pleasing, comfort-viewing fare she's making and has a feel for that exact niche, but no one is served well by John Rogers (The Librarians), Tami Sagher (Inside Amy Schumer) and Harper Dill's (The Mick) paper-thin script. Worlds away from their last respective big-screen roles in Hustlers and The French Dispatch, Lopez and Wilson do what they can with the fluffy, frothy material, but make viewers wish they had something better to work with. Charismatic casting can keep formulaic rom-coms afloat, and this pairing frequently does, but it can't hide Marry Me's surface-level skimming of anything that could've given it depth. What's expected of women, especially in the public eye; the struggle to keep believing in love when past relationships have silenced your hope; the chasm between the dream of fame and the reality: fleshed out, they all could've helped make Marry Me sing something more than the same old romantic-comedy tune. SIMPLE PASSION To watch Laetitia Dosch in Simple Passion is to watch a woman flipped and flung about by the forces of love and lust, sometimes literally, while proving steadfastly willing to flail and even flounder in the pursuit of her desires. After appearing in films such as 4 Days in France, Gaspard at the Wedding and Of Love and Lies, the French Swiss actor plays Hélène Auguste, a Parisian university lecturer caught in the throes of her most profound sexual relationship yet. Alas, Russian diplomat Aleksandr Svitsin (ballet star Sergei Polunin, The White Crow), the man she can't get enough, has a wife and another life in a different country. He also alternates between showing up unannounced for marathon lovemaking sessions, ghosting her texts and standing Hélène up on hotel rendezvous, a dynamic that leaves her as tussled and tumbled as their rumbles between the sheets. Passion is the perfect word for what she feels, as the movie's moniker proclaims — but the other term in its title couldn't be more loaded. Hélène's attraction to and obsession with Aleksandr is simple in its most primal form. Whenever the couple are in bed — or on whatever other surface fits the task in her sunny home, as writer/director Danielle Arbid (Parisienne) eagerly depicts — everything just clicks. But when more than flesh against flesh is involved, it isn't merely complicated; the infatuated Hélène may as well be an errant rose petal caught in a gusty breeze on a glorious day. The passion that she holds so dear, that makes her feel like something other than a single mother with a straightforward life, and that seems so perfect when coloured by post-coital bliss, is also a whirlwind that can thrust her in any direction at any time without notice. She wants to bask in the glow that her affair with Aleksandr ignites, not just internally and emotionally but in the way it makes everything about her existence seem brighter, and yet that happiness is always at his mercy. Arbid adapts Annie Ernaux's novel of the same name with a key, calm and clear-eyed aim: steeping her film deep within Hélène's mindset so that every frame reflects her longing and desire, and her passion at its most simple and complex alike. As its lengthy sex scenes linger on Polunin's body, the feature firmly sports a female gaze — the yearning that Hélène feels for Aleksandr filters through every image, whether the couple is getting physical, she's peering at the stoic face that so infrequently betrays what he's thinking, or she's taking her time cataloguing his tattooed torso. Simple Passion is explicit, and often, including with Hélène's ecstatic moans as its soundtrack. It's sensual, soulful and emotional, though, traits that equally apply in the dead space between the dates that its protagonist anticipates breathlessly. Indeed, Arbid and cinematographer Pascale Granel (The Wild Boys) capture the way that she stares around her house as she keenly awaits any sign from Aleksandr with the same intimacy and delicacy. That's a pivotal touch; stylistically, Hélène is never defined by Aleksandr, but by her own feelings. Dosch is remarkable as Hélène, turning in a rich and subtle performance that's both physically expressive and deeply internalised, and usually at the same time. Her body speaks its own language when she's with Aleksandr, while her face coveys everything that bubbles inside — sometimes hope and joy, sometimes despair and listlessness — whether she's revelling in his presence or rueing his absence. In fact, she so sensational that she helps the film patch over easy choices that, in hands less meticulous and careful than Arbid's, would threaten to put Simple Passion in the 50 Shades of Grey and After franchises' company. Of course Hélène is a literature professor, because female-focused features about thorny affairs that spring from the page to the screen love the field. Of course the movie's pop-music cues are heavy-handed. Of course Polunin operates in one register, even if his off-screen infamy lends more texture to his character. Nonetheless, when Simple Passion rises to its seductive and astute peaks, it showers the screen in sparks. WYRMWOOD: APOCALYPSE Add The Castle to the list of influences flavouring Australian zombie franchise Wyrmwood: here, as in the beloved homegrown comedy, it's the vibe of the thing. Starting with 2014's low-budget labour of love Wyrmwood: Road of the Dead and now continuing with Wyrmwood: Apocalypse, this bushland-set saga has atmosphere to spare. Free-flowing gore, a crash-and-bash urgency and a can-do attitude splatter across the screen in abundance, too. They're key factors in all movies about a dystopian future ravaged by the undead, but filmmaking siblings Kiah and Tristan Roache-Turner ask that mood and tone to do much of their series' heavy lifting. The Wyrmwood films blast away with affection for all of the zombie flicks that've preceded them, and all of the outback thrillers, Ozploitation fare and mad scientist-fuelled tales as well — and they couldn't be more blatant about it — but, even with that teeming passion and prominent energy, they still prove less than the sum of their evident sources of inspiration. As its predecessor did, Wyrmwood: Apocalypse nonetheless makes a smart move or two within its sea of well-worn concepts and overt nods. The strongest and savviest here: casting Shantae Barnes-Cowan and Tasia Zalar, and pointing the camera at them at every chance possible. The former takes on the shuffling, brain-munching masses fresh from battling vampires in the outback in Aussie TV series Firebite, and turns in another fierce and formidable performance. The latter arrives with The Straits, Mystery Road and Streamline on her resume and, while playing a character who needs rescuing — a half-human, half-zombie at that — she could never be described as a damsel in distress. Indeed, Barnes-Cowan and Zalar help set this sequel's ferocious tone as much as the gritty, go-for-broke aesthetics that the Roache-Turner brothers and their returning cinematographer Tim Nagle gleefully and eagerly covet. Writer/director/editor Kiah and writer/producer Tristan still stick with the most obvious protagonist, however: Rhys (Luke McKenzie, Wentworth), a special forces soldier who also happens to be the twin of a crucial figure from the prior film. He weathers dystopian life by holing up in a fenced-in compound where he uses a pen full of zombies to his advantage — aided by various contraptions, plenty of chains and shackles, plus blood-dripping carcasses as incentives — and by driving a Mad Max-style vehicle to round up undead test subjects for The Surgeon (Nicholas Boshier, The Moth Effect). In fact, after crossing paths with Zalar's Grace, he delivers her for military-approved experiments, but Barnes-Cowan's Maxi soon demands that he help set her free. Rhys has been operating under the assumption that The Surgeon and his armed pals had humanity's best interests in mind, despite all glaring appearances otherwise, a misguided belief that Maxi quickly vanquishes. Wyrmwood: Apocalypse also weaves in ex-mechanic Barry (Jay Gallagher, Nekrotronic) and his sister Brooke (Bianca Bradey, The Pet Killer), survivors of the first film, and toys with zombies controlled by virtual reality, too. Just like its heaving pile of influences, Wyrmwood: Apocalypse doesn't lack in moving parts — although that isn't the same as telling an engaging story, which the sequel doesn't ever muster up. Wyrmwood: Road of the Dead already echoed too loudly with been-there, done-that touches; this follow-up positively screams, especially for fans of both horror and science fiction who've seen all the same movies that the Roache-Turners clearly have. Unsurprisingly, while Bosher steals scenes by pure force in his attempt to one-up even the craziest of past on-screen mad scientists, everything around Barnes-Cowan and Zalar — McKenzie's supremely standard leading role included — frequently feels like filler in an familiar wasteland. BLACKLIGHT In most movies, Liam Neeson's Blacklight character wouldn't be the protagonist. Secret FBI fixer Travis Block likely wouldn't even be given a name. Instead, he'd merely be a brief presence who popped up to help other on-screen figures — the federal agents he gets out of tricky situations, for instance — as they went about their business and connected the script's necessary plot points. Turning someone who'd usually be seen as disposable into its lead is this action-thriller's one good idea, but the flattened henchman scene in Austin Powers gave the notion more thought than the entirety of Blacklight demonstrates. There's a difference between thrusting a character to the fore and fleshing them out, especially when a film is happy to define them solely by the actor in their shoes. Here, Travis Block is another prosaic entry on Neeson's action resume first and foremost. When Blacklight begins, Block has spent his career doing whatever FBI Director Gabriel Robinson (Aidan Quinn, Elementary) has asked. Typically, that's assisting on-the-books operatives struggling with off-the-books missions — and Block is great at his job. But when he's tasked with aiding the suddenly erratic Dusty Crane (Taylor John Smith, Shadow in the Cloud), he begins to see more in the rogue agent's story than his old Vietnam War pal Robinson wants to share. Crane has quite the wild tale to tell, tied to the assassination of Alexandria Ocasio-Cortez-style politician Sofia Flores (Mel Jarnson, Mortal Kombat) and filled with dark government secrets, and he's eager to share it with scoop-chasing reporter Mira Jones (Emmy Raver-Lampman, The Umbrella Academy). That's exactly what Block is supposed to stop, with his new crisis of conscience putting his daughter Amanda (Claire van der Bloom, Palm Beach) and granddaughter Natalie (debutant Gabriella Sengos) in peril. Spotting similarities between Blacklight and Neeson's other recent work isn't just a sign of spending too much time watching the Irish actor's features of late. His latest release shares a filmmaker with Honest Thief, which reached cinemas less than 18 months ago — and writer/director Mark Williams doesn't stretch himself or his star in their second collaboration. Another flick that's solely about getting Neeson to deploy the no-longer-special set of action skills he's been trotting out since the Taken films became such hits, Blacklight is dispiritingly bland and by the numbers, even within the growing pile of movies that fit the same description (see also: The Marksman and The Ice Road in the past year). It isn't just that first-time co-scribe Nick May's formulaic script ticks every expected box, and that Williams' every directorial choice sticks to the easy and obvious as well. Flatter than the weary gaze emanating from Neeson at every turn, the film persistently suffers from a lack of life and energy. Melbourne dubiously stands in for Washington DC, and the conspiracy-fuelled action that takes over its streets and buildings is even less convincing; whether tracking foot chases or crashing along roadways, the movie's set pieces are perfunctory at best. And while the subplot involving Travis' yearning to spend more time with Amanda and Natalie is meant to add depth amid the routine blows, it's as flimsy and implausible as everything else in the narrative (especially when Amanda can't fathom why her dad, whose personality is solely defined by his work, family and having OCD, has a paranoia problem). The twists surrounding Robinson prove just as laboured, and Neeson and Quinn's long-standing on-screen rapport — dating back to 1986's The Mission — can't bolster the dialogue or the dynamic between their. Indeed, when Neeson utters resigned lines about making poor career choices, it rings with truth for all of the wrong reasons. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West and Jackass Forever.
Sure, Melbourne's inner-city cafe scene is littered with gems, but sometimes the weekend calls for a little more adventure. So, jump in the car and venture down to the Mornington Peninsula and you'll discover that it's got much more to offer than idyllic wineries and beautiful beaches. This coastal pocket is also dishing up some great cafe finds, from vibrant vegan haunts, to buzzy waterfront spots where you'd be more than happy to laze away an afternoon. The weekend is calling — here are our picks for Mornington Peninsula cafes well worth the road-trip from town. Recommended reads: Six of the Best Natural Hot Springs and Spas in Victoria The Best Cafes in Melbourne A Weekender's Guide to the Mornington Peninsula Ten of the Most Luxurious Stays You Can Book on the Mornington Peninsula
The party specialists at Innocuous are making the most of the summer weather, with a trio of Sunday shindigs at the Shadow Electric. Dolce, Dolce, as the series has been christened, will see an eclectic mix of music acts take over the grounds of the Abbotsford Convent, spinning chilled out dance tracks until well into the night. The inaugural event, which kicks off at 4pm on Sunday, January 24, will be headlined by Swedish DJ Anton Klint in his debut Australian show. Other artists on the bill include local lads Midlife, Sydney DJ Nite Fleit and Innocuous co-founders 6AM AT THE GARAGE, to name but a few. The lineup for future parties — to be held on February 21 and March 20 — will be announced in due course. But if you want to get down ASAP, tickets for this Sunday's party are available through the Shadow Electric website.
UPDATE, January 8, 2021: It Comes at Night is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. When It Comes at Night begins with a man gripped by an infection, viewers are primed to expect a particular type of horror film. Something frightening is clearly in the air, which only becomes more apparent after his spluttering culminates in a wheelbarrow ride towards a fiery end. Death and devastation lurk quietly in this sparse post-apocalyptic realm, and those who have managed to survive trust no one. It's dystopian thriller 101, leaving audiences waiting for zombies or monsters to rear their ugly heads. What they'll find instead is Jean-Paul Sartre's famous phrase brought to life on screen: hell is other people. That observation might seem obvious, but writer-director Trey Edward Shults isn't done toying with common existential worries. Playing on our collective fear of the unknown, he ramps up the atmosphere of suspicion and unease by purposely leaving the details of the film's catastrophic catalyst to the imagination. Whatever it was that sparked disaster isn't nearly as important as how those who remain deal with the fallout — and yet viewers can't help but wonder. It's a smart move, with Shults not only focusing attention on the tense interactions that follow, but mirroring the characters' uncertainty about each other. Here, stoic father Paul (Joel Edgerton), his wife Sarah (Carmen Ejogo), their 17-year-old son Travis (Kelvin Harrison Jr.) and dog Stanley hole up in their boarded-up house in the woods with canned food for sustenance and weapons at the ready. Then Will (Christopher Abbott) somehow stumbles through their locked door in the middle of the night, claiming to be looking for shelter for his own wife Kim (Riley Keough) and their young son Andrew (Griffin Robert Faulkner). It's telling that Shults' first film, the family reunion drama Krisha, also brought a group of people together and then revealed their true nature through conflict. It should go without saying that forcing strangers into close quarters in a traumatic situation rarely leads to a happy outcome, so the movie doesn't say it. Rather it shows it — terse, anxious and unsettling. Cue performances (some brooding, some itching with physicality) that demonstrate just how people bristle up against each other in times of great stress. Accordingly, jumps and bumps aren't anywhere near as terrifying as furtive looks, overheard whispers and what someone else might be plotting behind closed doors. With claustrophobic cinematography and an ominous score, It Comes at Night seethes with intimacy — not of the warm and friendly variety, but foreboding, unnerving and ruthless. Paranoid and uncomfortable, the characters squirm, yearn and threaten to turn on one another. Yet even that's not the most terrifying thing about what Shults has crafted. Instead, as the film lingers in dark hallways and thuds with nervous heartbeats, it's the fact that he has managed to taunt his viewers into feeling the exact same way. https://www.youtube.com/watch?v=m5aq1HClkq0
Writers' festivals are getting more and more 'with it' these days. People wear shirts with hashtags on them, you're encouraged to live-tweet questions for authors on panels, and the events are no longer held at local library reading rooms, but cool back-alley warehouse spaces. The kind of place where everyone's wearing black-rimmed glasses and talking about Tao Lin. All this is old news now however, as the Emerging Writers' Festival has just announced the creation of the world's first exclusively online writers' festival to take place in February 2014. While writers' festivals once lamented the damning effects of the internet and digital technology on the written word, the Digital Writers' Festival will be a 12-day celebration of it. Digital publishing, eBooks, alt lit, fan fic, webcams and Twitterbots — the publishing industry and the nature of writing itself has transformed dramatically in even the past few years, and DWF is going to be a dedicated space in which to examine it. This also has a huge impact on accessibility. Do you live in the Northern Territory and always feel jealous when you see pictures of the Melbourne Writers' Festival? Maybe you live in Melbourne, but never felt quite cool enough to head along to the events. Perhaps you tried, but got lost looking for the event down a laneway? The DWF will be the first truly accessible festival for a vast array of people all over country, and more than that, the world. Admittedly it could all be a little confusing though. We talked to the new DWF Director, Connor Tomas O'Brien about what the festival will be and how it will all work. We talked on Twitter because that's what the cool kids do now, right? Right? The full DWF program of events and artists will be released in January 2014.
Death and vengeance are the common threads in Damián Szifron’s Wild Tales, one of the most deliriously savage black comedies to hit cinemas in years. Argentina’s nomination to the most recent Foreign Language Oscar race, the film consists of six separate vignettes, following six everyday people driven to the point of no return. The ensuing mayhem resembles the spawn of the Coen Brothers, Almodovar, Tarantino and Bunuel; a wicked tour de force as sharp as a corkscrew and every bit as twisted. Whether it’s a wealthy couple trying to cover up their son’s indiscretions, a lowly waitress taking revenge on the man who ruined her family or just two drivers struck down by a serious case of road rage, every chapter in the film is propelled by a wonderful inevitability: eventually, everything will be thrown horribly, hysterically and often violently out of control. And believe it or not, there’s actually method to Szifron’s madness — an intelligence lurking beneath all that wonderful chaos. The cathartic pleasure we feel watching his characters rebel against what’s socially (and ethically) acceptable comes directly from our own frustrations with the everyday world. Wild Tales is in select cinemas (Sydney: Dendy Newtown and Palace Verona. Melbourne: Palace Brighton Bay and Cinema Nova) from May 21, and thanks to Sony Pictures, we have 15 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Read our full Wild Tales review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au
The year: 1943. The place: America. The sport: baseball. Misty faces: apparently not allowed. Yes, there's no crying in baseball, again — and yes, after proving a hit on the big screen back in 1992, A League of Their Own is back as an eight-part streaming remake with those firm thoughts about waterworks still intact. That said, in both versions, there definitely are tears in the sport. Someone proclaims there shouldn't be, although Tom Hanks doesn't do the honours the time around. And, when it arrives in Prime Video's series, which is streaming its first season in full from Friday, August 12, that line isn't code for the entire perspective that A League of Their Own is rallying against: that the bat-swinging pastime isn't for women anyway. The new A League of Their Own's characters are still forced to deal with that abhorrent view, however. The same storyline, and the same societal journey — starting with horrified newspaper editorials about the masculinisation of women, then building to excited crowds embracing the All-American Girls Professional Baseball League — slides through the show's frames, too. Indeed, much is familiar, including a small-town star catcher chasing her lifelong dream while her husband serves in the Second World War, a ragtag group of other women living their fantasies as well, a world that sees them as a joke and a male manager who used to be a major star but is only in this gig to restart his own career. But Broad City's Abbi Jacobson, who leads, co-writes and co-created this A League of Their Own, helps ensure that the series broadens its playing field. Bringing the show to fruition with Mozart in the Jungle's Will Graham, she anchors a do-over that covers a far wider range of bases. In the original Geena Davis, Lori Petty, Madonna and Rosie O'Donnell-starring film — which did initially spark a short-lived TV spinoff in 1993, continuing the movie's story but without its best-known stars — a pivotal moment happens early. Alas, it lasts mere seconds and doesn't go anywhere. At the Chicago AAGPBL tryouts, a Black woman (DeLisa Chinn-Tyler) tosses back an overthrown ball, and it's clear that she isn't permitted to be a part of this realm. A League of Their Own circa 2022 takes this idea and keeps lobbing it, dedicating half of its time to Max Chapman (Chanté Adams, Voyagers). While an immensely talented pitcher, she isn't allowed to audition, let alone play, due to her race. Back home in Rockford, she can't get a game either because she's a woman, even when she takes a job at the town screw factory in the hopes of joining the company team. Max's attempts to even get on the mound, a quest that's supported by her comic book-loving best friend Clance Morgan (Gbemisola Ikumelo, The Power) but frowned upon by her salon-owning mother Toni (Saidah Arrika Ekulona, Better Call Saul), are as much a focus as the Rockford Peaches' on- and off-field exploits. That's the team that the anxious Carson Shaw (Jacobson) is recruited to alongside lifelong pals Greta Gill (D'Arcy Carden, The Good Place) and Jo De Luca (Melanie Field, The Alienist) — plus everyone from non-nonsense pitcher Lupe Garcia (Roberta Colindrez, Vida) and the similarly dedicated Jess McCready (Kelly McCormack, George & Tammy) through to fellow teammates Esti González (Priscilla Delgado, Julieta), Maybelle Fox (Molly Ephraim, Perry Mason) and Shirley Cohen (Kate Berlant, Search Party). Just as in the OG movie, the Peaches' path to baseball success is bumpy. A chaperone (Dale Dickey, Palm Springs) oversees their every move, enforcing rules about drinking, dating and not wearing pants in public — and manager Dove Porter (Nick Offerman, The Resort) mightn't be the drunk that the film's equivalent was, but he also doesn't take the team seriously. Deportment lessons and makeovers are more important to the higher-ups than gameplay, and the whole league just a way for a candy bar mogul (Kevin Dunn, King Richard) to sell tickets to his baseball field while male baseballers are off at war. That's A League of Their Own's overall framework, which tweaks specific character beats but sticks to the same general match plan as its predecessor. Fleshing out the details couldn't be more important, thankfully, including exploring the reality of being a queer woman in the era. Again, that's a glaring omission in the 1992 feature — a beloved sports comedy by director Penny Marshall (Big) that's warm, spirited and charming, yet only nods to queer players via subtext. The new series is determined to redress that gap, exploring same-sex relationships across both Carson and Max's halves of the show, and painting a clear portrait of how fraught life was at the time if you were anything other than a straight, white, married and stereotypically feminine homemaker. Being more inclusive and honest can't lift a remake all on its own; however, it gives this batch of A League of Their Own characters more depth and emotional resonance. In all of its guises, this has always been a story about finding and owning your own park, and surveying the wide array of obstacles in these women's ways — not just sexism, but racism and homophobia as well — is crucial in providing the full picture. Making A League of Their Own today but keeping 1990s or 1940s sensibilities would've been pointless, of course. In what proves a worthy extra innings, there's never any doubt that the new series is firmly a 2022 creation, as echos through in its dialogue. Rather than feeling anachronistic, even in big speeches that encourage the team to make things epic, it helps build the sense that Carson, Max, their respective pals and their individual plights weren't ever allowed to fit in neatly at the time. It also befits a show that reconsiders as much as it remakes its source material, and that has more than a little in common with another unrelated streaming effort about women finding themselves while navigating a traditionally male-dominated sport: the cancelled-too-soon wrestling-focused Netflix gem GLOW. A League of Their Own's gorgeous ladies of baseball span an impressive cast — so much so that the series deserves a second season to bring them all back. Jacobson's first starring role after Broad City isn't a stretch, but her brand of awkwardness and uncertainty also wasn't a twenty-first century invention, something else this show implicitly acknowledges. A separate program could've been made around Adams and the scene-stealing Ikumelo, even without the A League of Their Own brand attached. And Carden continues to improve everything she's in, including when it's already excellent (see also: The Good Place, naturally, and also Barry and her one-episode part in Killing It). Colindrez, McCormack, Dickey, Berlant: they hit it out of the park, too. Being glad that A League of Their Own has a heartfelt show of its own with them in it, and roving fresh eyes over the past, is as easy as cheering for a home run. Check out the trailer for A League of Their Own below: A League of Their Own streams via Prime Video from Friday, August 12.
Style inhibits substance in 2 Autumns, 3 Winters, a stilted French dramedy from writer-director Sébastien Betbeder. Chapter breaks, out-of-body experiences and a never-ending stream of voiceover are just a few of the tricks Betbeder throws haphazardly at his audience. Apparently no one told him that the French New Wave happened decades ago. Truth be told, there's nothing even remotely 'new' about this self-conscious little indie, one in which the seeds of dramatic sincerity are smothered by constant affectation. For the most part, 2 Autumns plays less a film with a plot, and more a series of loosely related anecdotes. You know, the kind you might find yourself being forced to listen to at a party after accidentally getting trapped in a discussion with the vaguely pompous friend of a friend (the one who likes to reference obscure Swedish arthouse films into everyday conversation, yet can't fathom why no one will give him a job). In any case, the chief storyteller here is Arman (Vincent Macaigne), a Parisian art school grad who, after 33 years of doing very little, decides to get his life in shape. His reinvention begins with a jog through the park, where he literally bumps into the beautiful (if somewhat regrettably named) Amélie (Maud Wyler). He falls for her immediately, although it's only after he gets stabbed in the stomach while saving her from two would-be rapists a few weeks later that the pair officially begin dating. You've got to give Betbeder credit: it's a pretty original meet-cute. And so, for the next two autumns and three winters, we watch Armon and Amélie weather the trials of a long-term relationship. Both characters, we soon learn, have a tendency towards excessive self-analysis, which they exercise (at great length) in monologues spoken to the camera. Also getting in on the introspective action is Arman's best friend Benjamin (Bastien Bouillon), who like Arman discovers romance in an unexpected place. While 2 Autumns belongs firmly in the category of 'quirky indie romance', Betbeder's movie has almost none of the charm or energy of Chinese Puzzle or (500) Days of Summer. In those films, the visual whimsy felt driven by the characters and the story. By comparison, the plot in Betbeder's film — to the extent that there even is one — feels basically like an afterthought. On a more fundamental level, it's not particularly interesting listening to characters describe what's happening in front of us. "Tears rolled down Amélie's face," narrates Arman at one point (as we watch tears roll down Amélie's face). Yeah, no kidding.
The Irishman screens in cinemas from Thursday, November 7, and will also stream via Netflix from Wednesday, November 27. Is Martin Scorsese cinema's foremost purveyor of pissing contests? In the posturing men that fill the filmmaker's frames, penis-measuring and ego battles keep bubbling up. The urge to assert one's superiority and claim one's domain pulsates through gangster classics such as Mean Streets, Goodfellas and The Departed. It's also evident in The Wolf of Wall Street, which takes aim at the need to one-up everyone and everything. But, spread across six decades and told with a deeply melancholy sense of contemplation, this notion seeps through The Irishman with particular weight and purpose. It's impossible not to notice it when, surrounded by mob heavies on one side and a corrupt labor union leader on the other, the film's central hitman observes these two opposing forces agitating for supremacy — by any means possible, and frequently to their own detriment. That hitman is Frank Sheeran (Robert De Niro), after the World War II veteran-turned-truck driver crosses paths with Russell Bufalino (Joe Pesci). Taken under the crime boss's wing, he rises through the ranks as far as any non-Sicilian can — becoming, at his mentor's behest, the mob's conduit to outspoken Teamsters head Jimmy Hoffa (Al Pacino). Adapted by Steven Zaillian (The Night Of) from Charles Brandt's 2004 non-fiction text I Heard You Paint Houses, Scorsese's film is told from the octogenarian Sheeran's perspective, as he reflects on his life's volatile ups and downs while remembering a pivotal road trip, and the events that led to it. It's no spoiler to say that, in bookending scenes, he's whiling away his remaining days in a nursing home. And even if you don't know your 20th century American history, it's no spoiler to say that Sheeran's cronies don't all enjoy the same fate. Sometimes, Scorsese introduces bit-players via text outlining their name, date of death and its cause, stressing the cutthroat nature of the gangster world. In the process, he illustrates the cost of behaviour that's as common as breathing in The Irishman, and that his protagonist becomes accustomed to. As Sheeran progresses from stealing steaks to grease mob wheels, to "painting houses" (read: killing), to taking on a union role to help control the headstrong Hoffa, he's thrust into the thick of ego-driven conflict. He not only adapts, but prospers at the expense of many a life, with this violent true tale doubling as an indictment of the destructive deeds and mindsets that remain baked into society. It's telling that, when a remorseful Sheeran finally confronts the fallout from these constant power struggles, he's no longer cool, calm and collected. It's just as potent when, after seeing her dad at his worst, his daughter Peggy (played by Lucy Gallina as a child and Anna Paquin as an adult) makes the movie's biggest statement by shunning this dog-eat-dog regime, and refusing to even really speak. Scorsese ruminates on the consequences of acquiescing, and the strength required to avoid being complicit — ideas that reach far wider than Sheeran's story. The director has probed the murky basis of American life in complex gangster flicks for half a century, with The Irishman proving a meaty musing on the subject as filtered through one mobster's recollection. And, what a gangster flick this is. Nearing 80 himself, Scorsese is as stunning a filmmaker as ever. The Irishman swaps the endless energy of his earlier output for a more patient but still lively unravelling across three-and-a-half hours — and revelling in the minutiae, hearing conversations that seem to go nowhere, and spying the cycles and repetition is all by design. Stylistically, the film is classic Scorsese from the opening tracking shot that recalls Goodfellas through to the devastating final image, all thanks to cinematographer Rodrigo Prieto (Silence). As she's done since Who's That Knocking at My Door and Raging Bull, editor Thelma Schoonmaker not only gives the movie its pace, but moves seamlessly between time periods as Sheeran's story jumps back and forth between decades. What would a Scorsese film be without his on-screen muses, though? De Niro is a powerhouse, taking the ebbs and flows of Sheeran's life in his stride, and acting his way past the barely noticeable de-aging special effects that help wind back the clock. Somehow, this is Scorsese and Pacino's first pairing, but the director and actor are on the same wavelength, especially when they're at their most boisterous. Harvey Keitel steps in front of the filmmaker's lens for the sixth time, and Vinyl's Bobby Cannavale and Ray Romano make an imprint as fellow mobsters, too. If one star acts as weathervane for The Irishman, though, it's the inimitable Pesci in his welcome return. He has barely acted since Casino, and he's in quietly menacing rather than frenetically ferocious mode, which sums up this compelling epic perfectly. Gangster chest-beating resonates through every second of the phenomenal crime drama, which earns its lengthy running time — but the toll that's left unsaid echoes far louder. https://www.youtube.com/watch?v=WHXxVmeGQUc
Few festivals in Australia have the energy and dynamism of Next Wave. Even though it has just hit 30 years of age, the festival is still bouncing around in fluoro lycra, staying out in galleries all night, and finding the best emerging artists from home and abroad. This year Next Wave boasts a lineup of 239 artists over a month-long program in locations all across the city. And, with a real life fight club and a yoga dance party, the work on show is unlikely to disappoint. Themed 'New Grand Narrative', festival director Emily Sexton defines this year's offering as "a rallying call". "Many institutions that operated throughout the 20th century are cracking," she says. "These institutions have deep, deep flaws, and in this time of transition – to what, we don't know – we offer this festival and these artists, as a series of potent visions for a new world, and the relationships within it." Accordingly, much of the work on show is concerned with outsider stories. From the festival's keynote initiative Blak Wave to a puberty-themed games arcade made by transgender artist Jackson Fydim Stacy — Next Wave tackles the big issues with thoughtful detail and a little bit of a cheeky grin. The Testosterdome Puberty is a time of our lives often wilfully forgotten. The hormones, the hair, the social awkwardness and general awfulness... the mental scars rival the ones left over from our acne. But with this work, Sydney artist Jackson Fydim Stacy asks us to reexamine the maligned rite of passage in the best way possible. In the simplest terms, Testosterdome is a puberty-themed video games arcade. Instead of Dance Dance Revolution, Stacy gives us Sad Boy Hoop Shooter — a game in which we "slam dunk our repressed emotions"; the obligatory race-car game is transformed to a way of chasing girls. All of this does however come with a message. Stacy is a queer transgender artist who described the process of coming out and taking hormones a kind of "second puberty" — a complex time of transition that's not as easy to forget as teenage wet dreams. Fort Delta, May 1 - 11, Free Article 14.1 Next Wave Director, Emily Sexton, once described this artist's work as having an "eloquent politics", and this latest offering is no exception. From March 1 - 11, Phuong Ngo will be living in plain sight at No Vacancy Gallery with the same rations his parents had on their 10-day boat journey to Australia in 1981. In an act with obvious but important political implications, Ngo invites audience members to sit with him during the work and fold origami boats out of bank notes while listening to narrative recordings of other Vietnamese refugees. On the final night these boats will be burned in a huge, ritualistic fire. No Vacancy Gallery, May 1 - 11, free A Wake: Kids Killing Kids This show is a bit of an anomaly. In 2011, four young Australian writers travelled to Manila to collaborate with local artists from the Sipat Lawin Ensemble on an adaptation of the famous novel Battle Royale. The show attracted huge crowds as each performance birthed a cultish and worrying following. Then the writers decided to translate their experience to the stage in last year's Fringe hit Kids Killing Kids. This new show will tell the same story from the perspective of their Filipino collaborators. Is it overkill (for lack of a better word)? Time will tell. Either way, this is what it looks like when theatre-makers go full-on Inception. Arts House, May 1 -4; 7-11, $18 - $23 Maximum This latest work from Natalie Abbott is all about extremes. Big and small, toned and flabby — for something so diverse, it's nothing short of amazing that our bodies all operate in much the same way. In Maximum, Abbott is set to explore these differences and push them into the extreme. Joined on stage by a bulky male body-builder, this small lithe dancer will investigate the universal nature of the body and test its limits via the oh-so-gruelling medium of physical movement. Featuring dance, posing, lifts and even fake tan, Maximum seems more like a durational live art piece than a formal show. This is exacerbated by the fact it has nearly 10 performances in under two weeks. Yikes. Our muscles are hurting already (but we can't wait to see the results). Arts House, May 1 - 4; 7 - 11, $18 - $23 The Blaktism Part of Next Wave's Blak Wave program, this work by Megan Cope tells the true story of the artist obtaining her 'Certificate of Aboriginality' and the concerns which this process raised. "After discussing with an Elder about the procedure, the thought of being legitimately certified suddenly cast a dark shadow of doubt across my mind and left me wondering if I was Aboriginal enough," said the artist. This seven-minute film screening daily at Screen Space expounds that journey through satire and wit, and questions the relevance of such bureaucracy. Through caricatures of Australian racism and tradition, Cope interrogates the frameworks of power and assimilation that still lay in place today. Screen Space, May 1 - 14, free Deep Soulful Sweats Ever thought your yoga class would be more entertaining if there was some good dance music cranking? Maybe you've been dissatisfied with a night clubbing because you felt disconnected from your chakras? Either way, this yoga class come dance party has all your unspoken prayers answered. That's right — it's a yoga dance party. Punters are advised to come dressed in lycra, stretch valour and the same colour clothing as your star sign (just go with it), and all other instructions will be given at the door. Though no yoga or dance experience is necessary, participants should be willing to let loose in the LED mayhem. After all, what is a yoga dance party if not the perfect place to relax? Northcote Town Hall, April 24, $15 Can We Please Play the Internet? New media artworks about "the internet" and "the Facebook" and the "total lack of privacy in our networked society leading to a enormous cultural and artistic shift in our generation" can often be a bit naff. Everything always leads to Skynet references and inevitable doomsday predictions. What's refreshing about this show is its light tone. Can We Play the Internet is a joint exhibition at West Space featuring the work of Janine DeFeo & Paul Zaba (pictured), Andrea Buren & Eleonora Sovrani, Angus Tarnawsky & Nathan Liow and Ilya Milstein. If you've ever wanted to see Google Image search results printed and mounted on all four walls of a white room, this is the show for you. West Space, April 11 - May 11, free Smell You Later The best thing about these festivals is that art pops up all over the place. A drink with friends at the festival club can easily turn into a makeshift audience for a roaming performer; at the Fringe club I was even pulled into a closet for an intimate one-on-one performance. But Next Wave is going one step further and taking art to the corridors, stairwells and lobbies of venues all over the city — furthermore, it's art you can't even see. From May 1 - 11, artists will be hiding distinctive aroma diffusers around their shows, capitalising on the strong link between scent and memory. Two weeks after your festival experience you'll smell an apple and cinnamon pie and suddenly feel compelled to talk about a particular artwork. Magic! Various loactions, May 1 -11, free Altertruism Technology, hedonism, and performance seem like the making of a great party, but the work of Brisbane collective Golden Solution is a little more complex than that. From May 2 - 10, Michael Candy, Kiah Reading and Andrew McLellan will be confronting their audience with some particularly trying social experiments. Hosting Shower Party at Goodtime Studios on May 2, the group have crafted a system where guests can serve themselves cocktails, but each drink adjusts the correspondent water level in a giant martini-shaped goldfish tank. To induce further guilt, both the lighting and music are also controlled via motion detectors in the tank. Other happenings include a drones hovering over your head at BUS Projects, and a public symposium "for the future automation of our civil life". Goodtime Studios, May 2 - 10, free The Club 3.0 This is a real life fight club. I repeat: a real life fight club. The work is brought to us by one of the festival's few international commissions — Dutch collective, New Heroes — and it looks to be every bit as gritty, dark and political as both the seminal 1996 Palahniuk novel and subsequent David Fincher film. "This is not a play," the event reads. "It's a fight club in which people can fight, talk, blow up ideas and rebuild them again. This is a club where you search for your role in society." Covering topics as dense and diverse as climate change, asylum seekers and the economic crisis, New Heroes will be calling upon willing audience members to let out frustration via their fists. But don't worry — although we may have just broken the first rule — if this is your first time at fight club, you don't have to fight. Arts House May 1 - 4 & 7 -11, $18 - $23 For a full program of events including ticketing information, check the Next Wave website.
If you've ever wanted to take a deep dive into some of the most iconic moments of the late 1960s, here's your chance. Kicking off this April, a major exhibition devoted to the huge international impact of these five momentous years is coming to the Melbourne Museum. Dubbed Revolutions: Records and Rebels, the exhibition originated at London's Victoria and Albert Museum (V&A), and it pulls together over 500 objects sourced from the famed art and design museum, as well as international loans and Melbourne Museum's own impressive collection. It's a captivating exploration of 1960s youth culture and how collective action at the time spurred revolutionary shifts all across the Western world, from the tunes to the fashion to the political protests and defining moments and events like Woodstock. You'll revisit these game-changing elements in the context of their lingering impact today, five decades on. To that end, expect to catch a rare glimpse of items like Mick Jagger's signature stage costume, John Lennon's legendary glasses, handwritten lyrics for 'Lucy in the Sky with Diamonds' and even a guitar that was smashed on stage by Pete Townsend of The Who. Closer to home, historic items will reference pivotal Australian moments of the time, such as the anti-Vietnam War protests and the recognition of Australia's First Peoples in the 1967 referendum. State-of-the-art audio guide technology will feature a carefully curated musical soundtrack played through Sennheiser headsets, changing according to your position in the gallery. Think, Jimi Hendrix's live Woodstock set, Bob Dylan's 'The Times They Are A-Changin' and a whole lot of The Beatles, interspersed with interviews, videos, film screenings and light shows. Revolutions: Records and Rebels shows at Melbourne Museum, 11 Nicholson Street, Carlton, from April 27 to August 25. Pre-sale tickets are available for purchase now. Images: V&A Museum,
Johnny di Francesco's award-winning pizza empire has just got bigger. His latest venture, a new two-level precinct on Mornington's buzzy Main street, boasts a 400 Gradi restaurant; a Zero Gradi Gelateria and Dessert Bar; and the latest edition of di Francesco's delicatessen concept, Gradi Mercato. It's the first time a standalone Gradi site has played host to all three venues — a trio the restaurateur likens to the classic Neapolitan ice cream. "It creates a little something for everyone and every occasion," di Francesco said of the venue in a media statement. "We've waited a long time to find the perfect spot in the peninsula and we're very much looking forward to meeting the locals and becoming part of the Mornington community." Inside, earthy tones, elegant finishes and terrazzo countertops carry on the familiar 400 Gradi aesthetic across two spacious levels. Downstairs houses a casual wine and snack bar for drinks and antipasto sessions, plus a chic dining room. Upstairs the restaurant space features its own bar, al fresco terrace and balcony with coastal views. A kitchen headed up by Pierre Khodja (Pinchy's, Camus) and 400 Gradi pizzaiolo Giuseppe Fortunato won't be straying too far from the signatures. This menu covers the full lineup of 400 Gradi favourites, alongside a raft of new seafood-centric 'al mare' additions inspired by the venue's coastal location. Classics like the meatballs in napoli, tagliatelle alla bolognese and the legendary World's Best Pizza titleholder Margherita Verace sit beside newcomers including a spaghettini al granchio with lobster bisque and crab meat, and a dish of lobster cooked on the Josper. A supporting cocktail list employs plenty of creative flair, with sips like a passionfruit and cardamom margarita, a bacon-garnished 'breakfast' old fashioned, and the Ruby Rose Martini sporting a crown of dry ice. [caption id="attachment_819510" align="alignnone" width="1920"] Breakfast Old Fashioned, by Kristoffer Paulsen[/caption] Meanwhile, Zero Gradi and Gradi Mercato have their own space on the lower level, with the former slinging the brand's trademark offering of hand-churned gelato and artisan sweet treats. And the deli promises to be a one-stop shop for those wanting to continue the Italian vibe at home, stocked with a hefty array of ready-to-heat meals, fresh pasta, antipasto trimmings, dinner kits, pantry goods and more. In addition to this Mornington newcomer, 400 Gradi has local outposts in East Brunswick, Essendon and Ringwood, and at Crown. 400 Gradi Mornington Peninsula is the sixth sibling in the Australian 400 Gradi family and is set to re-open its doors tomorrow Wednesday, July 28 — the perfect way to celebrate the end of lockdown 5.0. Find Gradi Group Mornington at 25 Main Street, Mornington. 400 Gradi is open from 12pm–late daily, while Zero Gradi Gelateria and Dessert Bar, and Gradi Mercato are open from 8am–late daily. Gradi Mornington will re-open on Wednesday, July 28 and bookings are open now via the website. Images: Kristoffer Paulsen
With 2020's Soul and 2023's Elemental, Pixar took a few cues from its gorgeous 2015 hit Inside Out, but the animated studio isn't done with emotions having emotions. After the original Oscar-winning film spent time inside an 11-year-old's head, seeing how joy, fear, sadness, anger and disgust bounce around her mind, Inside Out 2 will reach cinemas in June 2024 to explore the feelings coursing through the now-teenage Riley. As the just-dropped first teaser trailer shows, she has a newcomer in anxiety. Like Riley herself (who was voiced by Transmission's Kaitlyn Dias in the first movie), the emotions that she's experiencing aren't just sensations — they're characters trying to guide their human in the best way they can. And when Anxiety (Maya Hawke, Stranger Things) shows up, Joy (Amy Poehler, Moxie), Fear (Tony Hale, Quiz Lady), Sadness (Phyllis Smith, Barb and Star Go to Vista Del Mar), Anger (Lewis Black, The Last Laugh) and Disgust (Liza Lapira, The Equalizer) aren't quite sure how to react. The first sneak peek at Inside Out 2 hints at more emotions joining the fold, too, although exactly what they'll be — and who'll voice them — hasn't been announced. The poster for the film shows three other new figures trying to burst through alongside the orange-hued Anxiety, but without enough detail to reveal who they are. Everyone who has been a teenager knows the whirlwind of feelings that can spring, however, and therefore why Riley's mind is about to get crowded. And, you'll also recognise that Anxiety isn't about to just become a barely seen sidekick. View this post on Instagram A post shared by Pixar (@pixar) Fans of the first Inside Out will also spot that Hale and Lapira are new additions to the voice cast, replacing Bill Hader (Barry) and Mindy Kaling (The Morning Show) respectively. As Inside Out 2 charts big changes for Joy and the gang — and for Riley — first-time feature director Kelsey Mann (who has a story credit on The Good Dinosaur) directs, while Meg LeFauve (Captain Marvel) wrote the screenplay, as she did with Inside Out. Check out the first teaser trailer for Inside Out 2 below: Inside Out 2 releases in cinemas Down Under on June 13, 2024. Images: © 2023 Disney/Pixar. All Rights Reserved.
Clocking in at $40 million and five years in the making, the redevelopment of Melbourne's Australian Centre for the Moving Image (ACMI) has been a monster task. But now, almost two years after the site closed to the public back in early 2019, we've finally got a reopening date. The newly renovated ACMI is set to make its much-anticipated return on Thursday, February 11, 2021. When the doors reopen, the museum will be showing off a complete overhaul, featuring a range of new spaces and facilities across an expanded precinct. Of course, famed free exhibition The Story of the Moving Image is being reborn, allowing audiences to explore the history and future of the moving image through a series of interactive experiences. People are already excited about one of the exhibition's new star additions, after plans were revealed for a futuristic car installation paying homage to Mad Max. As announced in October, the new-look ACMI will also showcase a nifty new feature called The Lens — a handheld device for visitors to use while they're browsing the galleries and exhibitions. You'll be able to tap The Lens at around 200 different touchpoints throughout the museum, to collect objects of interest — which'll then be available for you to explore on any device afterwards, no matter where you are. The initiative is part of ACMI's plans to provide guests with an integrated, multi-platform visitor experience that extends long after they've left the building and headed home. Other big additions include state-of-the-art cinemas, the new high-tech Gandel Digital Future Labs aimed at fostering young creatives, and a major new work by Gunditjmara Keerray Woorroong artist Vicki Couzens, which sits adjacent to the permanent exhibition. The Australian Centre for the Moving Image will reopen its doors on Thursday, February 11, at Federation Square, Flinders Street, Melbourne. In the meantime, its The Story of the Moving Image exhibition is currently available to view online, along with a suite of other screenings and experiences.
With The Crown, Netflix has spent four seasons so far — five come November — dramatising the story of the current British royal family; however, that isn't the streaming platform's only dalliance with the UK's sovereigns. While Bridgerton focuses on a firmly fictional aristocratic family in the 19th century, it does include a very real monarch: Queen Charlotte (Golda Rosheuvel, Dune). The Regency era-set show is a work of imagination as well as alternative history — but it is still giving its actual historical queen her own spinoff. As announced in 2021, prequel series Queen Charlotte: A Bridgerton Story will delve into the figure's backstory, including her rise to power and prominence. Also covered: her relationship with King George, as well as Violet Bridgerton and Lady Danbury's early years. While the end result, a limited series, won't arrive until sometime in 2023, Netflix has just dropped a first glimpse at Queen Charlotte: A Bridgerton Story. In it, the young titular figure (India Amarteifio, The Tunnel) is desperate to climb a wall to escape marrying George (Corey Mylchreest, The Sandman), who she hasn't yet seen. She asks for help from a man — and, if you've seen even a second of Bridgerton, and therefore have a feel for its tone and the way it likes to unfurl its narrative, you can likely guess how the clip ends. Queen Charlotte: A Bridgerton Story will also feature Rosheuvel, as well as Ruth Gemmell (Deep State) as Violet Bridgerton and Adjoa Andoh (The Witcher) as Lady Danbury. They'll be joined by Connie Jenkins-Greig (Solitary) as young Violet, Arsema Thomas (Redeeming Love) as young Lady Danbury, Michelle Fairley (Gangs of London) as Princess Augusta, Sam Clemmett (Cherry) and Hugh Sachs (Bridgerton) as the young and old Brimsley, Richard Cunningham (The Witcher) as Lord Bute, Tunji Kasim (Nancy Drew) as Adolphus, Rob Maloney (Coronation Street) as the Royal Doctor and Cyril Nri (The Witches) as Lord Danbury. When it was announced, Queen Charlotte: A Bridgerton Story hardly came as a surprise. If you live in one of the 82 million households that gave Bridgerton a stream during its first month on Netflix — making it the platform's most-watched new series ever at the time — then you would've noticed that the Queen stole every scene she was in so convincingly and savagely that all around her withered in comparison. The prequel series will chart how the Queen's marriage to King George also created a societal shift, sparking the world of the ton, as seen in Bridgerton — and it's being called part of "the Bridgerton-verse" by Queen Charlotte and Bridgerton executive producer (and Grey's Anatomy and Scandal creator) Shonda Rhimes. So yes, as well as the already-announced third and fourth seasons of Bridgerton itself, you can probably expect more spinoffs to arise. Check out the first clip from Queen Charlotte: A Bridgerton Story below: Queen Charlotte: A Bridgerton Story will stream via Netflix sometime in 2023 — we'll update you with an exact release date when one is announced. The first and second seasons of Bridgerton are available to stream now.
Throughout 2021, Marvel and Disney+ have been showering viewers with new TV series, all featuring characters we all know and love from the Marvel Cinematic Universe. So, you've probably watched Loki get up to his trickster antics in Loki, and seen The Falcon and The Winter Soldier team up in The Falcon and The Winter Soldier. And, you likely now have Hawkeye's next adventures in the upcoming Hawkeye on your radar as well. Yes, these MCU streaming series couldn't have more straightforward names. Yes, Marvel has now turned watching TV into big-screen homework, given that its movie franchise keeps hitting cinemas (thanks to Black Widow and Shang Chi and the Legend of the Ten Rings already this year, and with Eternals and Spider-Man: No Way Home still to come before 2021 is out). And yes, the first of these new MCU Disney+ shows finally made everyone take notice of the always-great Kathryn Hahn, who stole every scene she was in each and every time she popped up in WandaVision. Obviously, WandaVision was about Marvel characters Wanda and Vision, with Avengers: Endgame's Elizabeth Olsen and Paul Bettany reprising their roles. But Hahn also played a significant part as neighbour-slash-witch Agatha Harkness, even nabbing an Emmy nomination for her efforts. So, because she was such a fan favourite, she's now getting her own show. Variety reports that the series will be a dark comedy about Agatha, starring Hahn; however, details beyond that are currently under wraps. But the character has a considerable history, only some of which WandaVision dived into. In comic books, she's been around since the 70s — and, story-wise, her tale dates back to the Salem witch trials. The news — and the world's reaction to the glorious Hahn — won't come as a surprise if you've been watching the exceptional actor throughout her pre-Marvel career. She stole scenes in Parks and Recreation, Transparent and I Know This Much Is True as well, and made an impact in movies as varied as Revolutionary Road, Our Idiot Brother and the Bad Moms flicks. And, she's also exceptional in Netflix film Private Life as well. Exactly when Marvel and Disney+'s Hahn-led Agatha Harkness spinoff will arrive hasn't been revealed. But, you can get the Emmy-winning 'Agatha All Along' tune stuck in your head again now until more news drops: WandaVision is currently available to stream via Disney+. When Marvel and Disney+'s Agatha Harkness spinoff will drop hasn't yet been revealed — we'll update you when more information is announced. Via Variety. Image: Suzanne Tenner, Marvel Studios.
It's a truth that Morticia, Gomez, Wednesday and Pugsley would treasure: nearly a century might've passed since The Addams Family first graced the pages of The New Yorker in the 1930s, but this creepy, kooky, mysterious and ooky brood will never die. America's first macabre family keeps entrancing and enchanting audiences, luring them in with their unflinching embrace of the eerie, the gothic, and the all-round dark and twisted. Forget bumps, jumps, screams and shrieks, however; this off-kilter crew might pal around with a severed limb and adore graveyards, but they also delight in a gloriously eclectic, eccentric, embrace-your-inner-outcast fashion, as the 1960s TV show, 1991's live-action film The Addams Family and its 1993 sequel Addams Family Values, and now new Netflix series Wednesday understands and adores. Dropping all eight season-one episodes on November 23 — a Wednesday, when else? — The Addams Family's latest go-around arrives stitched-together as so much is of late. Netflix's algorithm has accurately gleaned that viewers love cartoonist Charles Addams' horror-influenced creations. It knows that people like mysteries and teen coming-of-age tales, two of the platform's favourite genres. And, the service is well-aware that already-beloved big names are a drawcard. Throw in Tim Burton directing like it's his 80s and 90s heyday, current scream queen Jenna Ortega sporting the trademark plaits, 90s Wednesday Christina Ricci returning in a new part, and a supernatural school for unusual children complete with Miss Peregrine's Home for Peculiar Children-meets-Hogwarts vibes, and Wednesday's various pieces are as evident as the sewn-on limbs on Frankenstein's monster. Mary Shelley's famous creature is an icon and a marvel, of course, and more things should want to follow in its footsteps. In the author's game-changing book, it lived, breathed and fascinated despite its seams being oh-so-visible, and Wednesday does the same — and quickly engages and entertains. Seeing why and how Netflix has crafted this series, and which levers it's pulling to electrify its experiment, is as easy as getting a killer glare from Wednesday's teenage protagonist. Enjoying every second because it's astutely, knowingly and lovingly spliced together is just as straightforward, especially with Scream, Studio 666 and X star Ortega leading the show so commandingly and convincingly. This version of the Addams family's eldest child is indeed full of woe, like the nursery rhyme she's named for. She wouldn't have it any other way. Played by Ortega with a knockout stare every bit as gleefully bitter as Ricci's and 60s TV show star Lisa Loring's, Wednesday has been bouncing around public schools, but she's suddenly out of options. After unleashing a pool of piranhas on Pugsley's (Isaac Ordonez, A Wrinkle in Time) tormenters — torturing him is her job, not the water polo team's — she's enrolled in the haunted house-esque Nevermore Academy. Morticia (Catherine Zeta-Jones, Prodigal Son) and Gomez (Luis Guzmán, The Resort) went there. In fact, they met and fell in love there. But the preternaturally morbid Wednesday is even less thrilled than usual, until she discovers there's a spate of grim deaths to solve. Harry Potter and X-Men comparisons spring the moment that Wednesday locks eyes on Nevermore, and only deepen when the series reveals that it caters to vampires, werewolves, sirens, gorgons and other paranormal folks. Wednesday's roommate is pastel-loving lycan Enid Sinclair (Emma Myers, Girl in the Basement), who hasn't yet 'wolfed out', for instance. Her immediate nemesis is queen bee Bianca (Joy Sunday, Dog), who has to wear an amulet to avoid unleashing her siren powers. Smartly, series creators and writers Miles Millar and Alfred Gough — who co-created Smallville together two decades ago, so know the ropes when it comes to mining the high-school angst of well-known figures — stick with Wednesday's namesake's withering attitude, and with a wryly comedic mood. She isn't fussed about the whole magical educational institution setup, and the show she's in recognises that it's a setting and a source of plenty of humour rather than the real focus. That centre of attention instead: Wednesday, always. People in and around Nevermore are disappearing, though. Students and Vermont locals might be getting torn to pieces by a monster, or they might show up again the next day even after Wednesday witnesses their murders. None of the adults — not headmistress Larissa Weems (Gwendoline Christie, Flux Gourmet), new teacher Marilyn Thornhill (Ricci, Yellowjackets), local sherriff Donovan Galpin (Jamie McShane, The Lincoln Lawyer) or Wednesday's court-ordered therapist Valerie Kinbott (Riki Lindhome, Knives Out) — are particularly open to her theories or happy about her investigations. A misanthropic teen black sheep sleuthing around an exclusive school and the insular town it's in, making few friends in the process, and determined to expose deep, dark secrets? Yes, there's more than a touch of Veronica Mars to Wednesday, too. Yes, there's thorny romances as well (enter Your Honor's Hunter Doohan as the sheriff's son Tyler and Pretty Hard Cases' Percy Hynes White as Nevermore pupil Xavier Thorpe), just with a brunette lead, a blacker colour palette and moody woodland surroundings. If you're well-acquainted with the formulas behind most high school-set dramas, or whodunnits and detective tales, then Wednesday has few shocks and surprises. Nonetheless, it remains a twisted and easy to binge from start to finish, all thanks to two key factors. First is that standout lead casting, with Ortega slipping into Wednesday's dead-eyed scowl like she's always worn it, never softening it, ensuring that Wednesday lives up to it and perfecting the part's deadpan humour at the same time. Zeta-Jones and Guzman play the lusty Morticia and Gomez with flair, Fred Armisen (Los Espookys) makes a suitably offbeat Uncle Fester, and Christie relishes her authoritative role, but the intense Ortega is the show's blackly and wittily charming heart. Secondly, although Burton doesn't helm every episode in the series — just the first four — Wednesday is as quirkily mesmerising as the Frankenweenie, Beetlejuice and Edward Scissorhands' greatest work. More than that, it's among his finest output in a couple of decades, in no small part because it looks so bewitchingly attuned to his preferred melancholy aesthetic, complete with wonderfully surprising and seductive design choices. There's Danny Elfman-composed theme music to help perfect the mood, too, continuing a collaboration with Burton that goes all the way back to 1985's Pee-wee's Big Adventure. Wednesday doesn't exceed its 60s or 90s predecessors — it swiftly and thoroughly bests the recent animated flick and its own follow-up, though, which isn't hard — but it's exactly what a Burton-style take on The Addams Family was always bound to be. Whether you're popping a witch's shawl on and grabbing a broomstick you can crawl on, or not, it's worth playing a call on. Check out the trailer for Wednesday below: Wednesday streams via Netflix from Wednesday, November 23. Images: Courtesy of Netflix © 2022.
If you've binged your way through The Afterparty already this year, and watched Death on the Nile as well, then you might be in the market for a new murder-mystery fix. Here's one puzzle that's easy to sleuth, because the answer is set to arrive via Disney+ — thanks to the return of instant 2021 favourite Only Murders in the Building. One of last year's surprises and delights — one of last year's best new shows, in fact — this gem weaves true-crime podcasting into the mix, too, all via a very funny murder-mystery comedy. And, thanks to the latest sneak peek at its second season, following other teasers and trailers back in March and May, Only Murders in the Building looks set to continue as it left off. We're never too far away from a new murder-mystery in some shape or form, of course, and Only Murders in the Building's new batch of episodes knows it, tasking its central trio of NYC neighbours-turned-sleuths (and true-crime podcasters) with investigating a second killing. This time, though, the three key residents of the fictional Arconia in New York are suspects, as well as subjects of a competing podcast. Only Murders in the Building focuses three New Yorkers: actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die). They're all addicted to a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva), and find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. That's how the first season panned out. Now, in season two, Charles-Haden, Oliver and Mabel are weathering the fallout. Complicating their efforts are a trio of factors: their public implication in the death in question; that new podcast about them and this murder; and the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be unveiled until Tuesday, June 28, when Only Murders in the Building returns — but you don't need to be an amateur detective to know that it's bound to be both amusing and twisty. Whatever happens, both Cara Delevingne and Amy Schumer are involved, with the pair joining the cast as guest stars. And, as the new sneak peek shows, Fey is back as well. Check out the latest trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
Winter's well and truly on its way, and yet we're foreseeing many a sky-high sip in your immediate future, thirsty Melburnians. And much of that is thanks to the city's newest rooftop bar, which finally opens its doors in South Yarra this week. Much-anticipated all-day venue Beverly makes its official debut this Thursday, April 13, gracing the top of the Goldfields House building, soaring 24 storeys above Chapel Street. Expect an effortlessly sophisticated bar and diner for all occasions and any time of year, delivering show-stopping 270-degree views across the city. Helmed by Cameron Northway (founder of LOTI, Rocker Bondi and drinks company Sweet&Chilli), along with Goldfields' Marco Gattino and Lachlan Thompson, Beverly is designed as a serene, sky-high retreat that'll glide easily from long lunch destination to after-dinner cocktail pit-stop. Taking cues from the cool-kid rooftop haunts of LA, the indoor-outdoor space has been imagined by acclaimed Melbourne studio Mitchell & Eades (Grill Americano, Carlton Wine Room, Rock Sugar). Boasting a retractable glass roof that's primed for Melbourne's erratic weather changes, it's a vision of earthy sunset tones and foliage, set against that backdrop of sweeping panoramas. Sippers of all persuasions have found themselves a new haven up here, thanks to a broad curation of drops that celebrates local goodness. Biodynamic and organic pours rule the expansive wine list, and there's an evident soft spot for quality sake, while the globe-trotting cocktail lineup reimagines the classics using Aussie spirits and native botanicals. Try the sakura-infused Sake-Tini, or the signature Goldfields crafted on Pampero Anejo Especial, Cointreau, Frangelico and tonka bean. From the open kitchen, chef David Ball (the UK's Le Manoir aux Quat Saisons, The Glass House in Hobart) delivers a menu anchored in seasonality and sustainability. It's got swagger, yet remains approachable, bundling southern Californian influences together with a touch of modern Australian flair. After work, you might find yourself matching knock-offs to snacks like burrata and truffle fondue with aged balsamic, creme fraiche and lobster cannoli, pulled duck and caviar sliders, and prawn ceviche elevated with coriander mojo and jalapeno cream. A hero pasta dish features marron and spanner crab in a shrimp bisque with preserved tomatoes, while barramundi gets a lick of smoked seaweed butter. And a flame-driven portion of the menu showcases everything from a share-friendly chicken with fries and coriander ají salsa, to three different cuts of wagyu. [caption id="attachment_898772" align="alignnone" width="1920"] Sean McDonald[/caption] Find Beverly at Level 24, 627 Chapel Street, South Yarra, from April. It'll open from 4pm–late Tuesday, and from 12pm–late Wednesday to Sunday. Images: Jake Roden
If TV is your way to escape the nine-to-five grind, or one of them, then the best of the best of 2022's small-screen newcomers thoroughly understands. All five of the year's absolute top fresh arrivals contemplated work in some way. Some showed its nightmarish side, while others delved into life and work as a performance — and you spent some time spending at your streaming queue over the past 12 months, you eagerly clocked in for office hell, hospitality tension, film industry chaos, law-and-order disorder and approaching existence as something that can be rehearsed. Chills, thrills, laughs, horror, jaw-in-the-floor moments: that's just part of what television delivered in 2022. Porn for women, pirates, dinosaurs, murder-mysteries, rom-coms, chaotic holidays, the best Star Wars story yet: they're all on the list as well. Whatever your preferred genre or topic, it's likely there was an ace new TV show about it this year, keeping you glued to your couch. 'Tis the season to reflect upon, revel in and revisit the year's new small-screen gems — and maybe even throw a waffle party or tuck into a beef sandwich in celebration. We've spent the year watching and rounding up TV highlights — including initially naming our favourites midyear — but these 15 newcomers are 2022's must-sees from its new must-sees. And, your catch-up list over summer. SEVERANCE It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In mind-bending thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to re-enter his after-hours life; however, the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the lift starts moving, it goes back to the office for Mark's "innie", as his work-bound consciousness is dubbed. Voila, it's clocking-on time once more. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about the nine-to-five grind. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. For everyone watching, soaking in its twisty mysteries — and enjoying Patricia Arquette (The Act), Christopher Walken (Percy vs Goliath) and John Turturro (The Plot Against America) as fellow Lumon employees — it's a surreal and riveting must-see. Severance streams via Apple TV+. Read our full review. THE BEAR First, an important piece of advice: eating either before or while watching The Bear is highly recommended, and near close to essential. Now, two more crucial slices of wisdom: prepare to feel stressed throughout every second of this riveting, always-tense, and exceptionally written and acted culinary series, and also to want to tuck into The Original Beef of Chicagoland's famous sandwiches immediately. The eatery is purely fictional, but its signature dish looks phenomenal. Most of what's cooked up in Carmen 'Carmy' Berzatto's (Jeremy Allen White, Shameless) kitchen does. But he has taken over the family business following his brother's suicide, arriving back home after wowing the world in fine dining's top restaurants, and nothing is easy. Well, coveting The Bear's edible wares is across the show's eight-episode first season — but making them, keeping the shop afloat, coping with grief and ensuring that the diner's staff work harmoniously is a pressure cooker of chaos. That anxious mood is inescapable from the outset; the best way to start any meal is just to bite right in, and The Bear's creator Christopher Storer (who also directs five episodes, and has Ramy, Dickinson and Bo Burnham: Make Happy on his resume) takes the same approach. He also throws all of his ingredients together with precision — the balance of drama and comedy, the relentlessness that marks every second in The Original Beef's kitchen, and the non-stop mouthing off by Richie, aka Cousin, aka Carmy's brother's best friend (Ebon Moss-Bachrach, The Dropout), all included. Carmy has bills to pay, debts to settle, eerie dreams and sleepwalking episodes to navigate, new sous chef Sydney (Ayo Edebiri, Dickinson) mixing up the place and long-standing employees (such as Hap and Leonard's Lionel Boyce, In Treatment's Liza Colón-Zayas and Fargo's Edwin Lee Gibson) to keep happy. Every glimpse at the resulting hustle and bustle is as gripping as it is appetising — and yes, binging is inevitable. The Bear streams via Disney+. Read our full review. IRMA VEP A cinephile's dream of a series, Irma Vep requires some unpacking. The term 'layered' has rarely ever applied to a TV program quite as it does here. French filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper) retraces his own footsteps, turning his cult-favourite 1996 movie of the same name into an Alicia Vikander-starring HBO miniseries. And, in this series itself, a director is also remaking one of his own past flicks as a television project. In all versions of Irma Vep, the movies and shows being made are also remakes of 1915–16 French crime effort Les Vampires. It was a ten-episode, seven-hour cinema serial, and it's supremely real. Indeed, by first helming a feature about remaking Les Vampires, and now a series about remaking a movie that remakes Les Vampires (which, IRL, is also a remake of a movie that remakes Les Vampires), Assayas keeps remaking Les Vampires in his own way. It all sounds exactly as complicated as it is — and Assayas loves it. Viewers should, too. The nested dolls that are Irma Vep's meta setup just keep stacking, actually. The 1996 Irma Vep starred Maggie Cheung, who'd later become Assayas' wife, then ex-wife — and the 2022 Irma Vep haunts its on-screen filmmaker René Vidal (Vincent Macaigne, Non-Fiction) with visions of his ex-wife Jade Lee (Vivian Wu, Dead Pigs), who, yes, led his movie. If you're a fan of word puzzles, you might've also noticed that Irma Vep is an anagram of vampire; that said, Les Vampires isn't actually about bloodsuckers, and nor is any iteration of Irma Vep. To add to the list, while Cheung played a version of herself, Vikander (Blue Bayou, The Green Knight) plays fictional American star Mira — a name that's an anagram of Irma. You can also take that moniker literally, because mirroring is patently a pivotal aspect of the brilliant Irma Vep in every guise. Irma Vep streams via Binge. Read our full review. WE OWN THIS CITY For the past 20 years, we've all fallen into two categories: people who've seen, loved and haven't been able to stop raving about HBO's Baltimore-set masterpiece The Wire; and folks who don't tick any of those boxes but have been told by everyone who does that they really need to watch it ASAP. We Own This City deserves to spark the same response — and shares many of its predecessor's key pieces. It too takes place in Maryland's most populous city. It also follows a law-and-order battle, complete with time spent within the Baltimore Police Department. It springs from former Baltimore Sun police reporter-turned-author, journalist and TV writer/producer David Simon as well, and sees him reteam with writer George Pelecanos, a veteran of not only The Wire but also Simon's Treme and The Deuce. Oh, and as it tells a compulsive crime tale, it's packed with phenomenal performances. One of those astonishing portrayals is among the first thing that viewers see, in fact, with We Own This City opening with Sergeant Wayne Jenkins lecturing new recruits on the BPD Gun Trace Task Force. Chatting through how to legally do the job — how to get away with what he deems necessary, that is — Jon Bernthal (The Many Saints of Newark) is hypnotically unsettling as Jenkins, who'll become the focus of a corruption investigation for his methods. He isn't the only "prime example of what's gone wrong in Baltimore," as viewers are told. So is Daniel Hersl (Josh Charles, The Loudest Voice), who is initially glimpsed pulling over and terrorising a Black driver for no other reason than that he can. Department of Justice Civil Rights Department attorney Nicole Steele (Wunmi Mosaku, Lovecraft Country) is among those tracking the force's bad eggs, and that's just one of this complex, revealing and arresting six-part miniseries' layers. And if it feels so detailed that it could only be true, that's because it's based on a non-fiction book by Justin Fenton another ex-Baltimore Sun reporter. We Own This City streams via Binge. THE REHEARSAL Early in the first episode of The Rehearsal, Nathan Fielder meets Kor Skeete, a Jeopardy!-watching, trivia-loving New Yorker with a problem that he's seeking help with. Skeete has been lying to his bar trivia team about his educational history, claiming that he has a master's degree instead of a bachelor's degree, and he's hoping for assistance in coming clean. His biggest worry: how his pal Tricia might react, and if it'll end their friendship. First, however, in their initial meeting in Skeete's apartment, Fielder asks Skeete if he's ever seen any of Fielder's past work. Skeete says no, despite claiming a particular interest in television as his favourite trivia subject — and his response to what Fielder explains next will likely mirror anyone watching who comes to this with the same fresh eyes. Until now, Fielder was best known for Nathan for You, in which he helped companies and people by using his business school studies. Fielder played a version of himself, and the result is best described as a reality comedy. It's the kind of thing that has to be seen to be truly believed and understood, and it's both genius and absurd. In The Rehearsal, Fielder is back as himself. He also wants to use his skills to help others again. His tactic this time is right there in the name, letting his subjects rehearse their big moments — baring all to a friend in that first episode, and exploring parenthood in the second, for instance. The show's crew even build elaborate sets, recreating the spots where these pivotal incidents will take place, such as the bar where Skeete will meet Tricia. Fielder hires actors to assist, too. And, adding yet another layer, Fielder also steps through the same process himself, rehearsing his first encounter with Skeete, with thanks to an actor, before they cross paths. If you've ever thought that life was a big performance, and that every single thing about interacting with others — and even just being yourself — involves playing a role, you'll find much to think about in this fascinating, funny, often unsettling, quickly addictive series. There's reality TV and then there's the way that the deadpan Fielder plays with and probes reality, and while both can induce cringing, nothing compares to this. The Rehearsal streams via Binge. Read our full review. ANDOR When it arrived in 2016 between Star Wars: Episode VII — The Force Awakens and Star Wars: Episode VIII — The Last Jedi, Rogue One: A Star Wars sent a message in its own spy-slash-heist flick way: it wouldn't be slavishly beholden to the Star Wars franchise's established and beloved universe. It felt earthier and murkier, more urgent and complicated, and far more steeped in everyday reality — within its science-fiction confines, of course — and more concerned with the here and now of its specific narrative than the bigger saga picture. It was certainly and unshakeably bleaker, and felt like a departure from the usual template, as well as a welcome risk. The same proves true of impressive streaming prequel Andor, which slips into its namesake's routine five years prior. The Galactic Empire reigns supreme, the Rebel Alliance is still forming and, when the series opens, Cassian (the returning Diego Luna, If Beale Street Could Talk) is a wily thief living on the junkyard planet of Ferrix. A Blade Runner-esque sheen hovers over a different place, however: the industrial-heavy, corporate-controlled Morlana One, which couldn't be further under the boot of the Empire if it tried. As Monos-style flashbacks to Cassian's childhood aid in fleshing out, he's searching for his sister, but his latest investigatory trip results in a confrontation and the Preox-Morlana Authority on his trail. Back on Ferrix, he endeavours to hide with the help of his friend/presumed ex/mechanic/black-market dealer Bix Caleen (Adria Arjona, Morbius) and droid B2EMO (Dave Chapman, Star Wars: Episode IX — The Rise of Skywalker), while keeping his latest antics a secret from his adoptive mother Maarva (Fiona Shaw, Killing Eve). But, even after being told to drop the case, persistent Imperial Deputy Inspector Syril Karn (Kyle Soller, Poldark) and higher-ranking officer Dedra Meero (Denise Gough, Under the Banner of Heaven) aren't willing to give up. Andor streams via Disney+. Read our full review. BAD SISTERS Bad Sisters begins on the day of an Irish funeral, farewelling John Paul Williams (Claes Bang, The Northman) — after his widow, Grace (Anne-Marie Duff, Sex Education), makes sure that the corpse's erection won't be noticed first. He's long been nicknamed 'The Prick' anyway, with his four sisters-in-law all thoroughly unimpressed about the toxic way he treated his wife. In flashbacks, they joke about saving her by getting murderous, and exactly why is made plain as well. Bonded by more than blood after their parents died, the Garvey girls are used to sticking together, with the eldest, Eva (Sharon Horgan, The Unbearable Weight of Massive Talent), stepping in as the maternal influence over Grace, Ursula (Eva Birthistle, The Last Kingdom), Bibi (Sarah Greene, Normal People) and Becka (Eve Hewson, Behind Her Eyes). She's fierce about it, too, as characters played by the Catastrophe and This Way Up star tend to be. When a guest offers condolences at John Paul's wake, Eva's response is "I'm just glad the suffering's over" — and when she's then asked if he was ill, she replies with a blunt and loaded "no". If this scenario sounds familiar, that's because Belgian TV's Clan got there first back in 2012, which means that Bad Sisters joins the ever-growing list of series that largely exist to make the leap into English. That isn't a criticism of the end result here, though, which proves itself a winner early. Also part of both shows: two insurance agents, aka half-brothers Thomas (Brian Gleeson, Death of a Ladies' Man) and Matthew Claffin (Daryl McCormack, Good Luck to You, Leo Grande) here. Their family-run outfit is meant to pay out on John Paul's life insurance policy, but it's a hefty amount of cash and will bankrupt the firm, which is why Thomas starts asking questions. It seems an obvious setup, but this is a series with both bite and warmth. Brought to the screen by Horgan, Bad Sisters finds both the pitch-black comedy and the drama in its whole 'offing your arsehole brother-in-law' premise, and the tension and banter as well — and the sense of sorority between its quintet of main ladies, too. Bad Sisters streams via Apple TV+. Read our full review. MINX When home video, the internet and mobile phones with inbuilt cameras each arrived, six words could've been uttered: get ready to look at dicks. HBO comedy Minx is set the early 70s, so before all three, but the same phrase also applies here. It's true of the show itself, which isn't shy about displaying the male member in various shapes and sizes. It also stands tall in the world that Minx depicts. When you're making the first porn magazine for women — and, when you're making an ambitious, entertaining and impeccably cast The Deuce meets Mrs America-style series about it, but lighter, sweeter and funnier (and all purely fictional) — penises are inescapable. Also impossible to avoid in Minx: questions like "are erections consistent with our philosophy?", as asked by Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying). Idolising the magazine industry and unhappily working for the dispiritingly traditional Teen Queen, she has long dreamed of starting her own feminist publication — even penning a bundle of articles and making her own issues — but centrefolds splashed with male genitalia don't fit her ideal pitch. No one's buying what Joyce is selling, though; The Matriarchy Awakens, her dream mag, gets rejected repeatedly by the industry's gatekeepers. Only one is interested: Bottom Dollar Publications' Doug Renetti (Jake Johnson, Ride the Eagle), but he's in the pornography business. Minx streams via Stan. Read our full review. FLEISHMAN IS IN TROUBLE The title doesn't lie: when Fleishman Is in Trouble begins, its namesake is indeed struggling. He's also perfectly cast. If you're going to get an actor to play an anxious, unravelling, recently divorced man in his forties who's trying to navigate the new status quo of sharing custody of his kids, having a high-powered ex, and being initiated into the world of dating apps and casual hookups, it's Jesse Eisenberg. If his Zombieland character lived happily ever after until he didn't, or his Vivarium character was trapped into a different type of domestic maze, this book-to-screen series would be the end result. Fleishman Is in Trouble has Eisenberg play Toby, a well-regarded hepatologist who is passionate about being able to help people through medicine, but has spent more than a decade being made to feel inferior by Upper East Siders because his job hasn't made him rich enough. His theatre talent agent wife — now former — Rachel (Claire Danes, The Essex Serpent) had the exact same attitude, too, until she dropped their kids off at his place in the middle of the night, said she was going to a yoga retreat and stopped answering his calls. Written to sound like a profile — something that journalist, author and screenwriter Taffy Brodesser-Akner knows well, and has the awards to prove it — Fleishman Is in Trouble chronicles Toby's present woes while reflecting upon his past. It's a messy and relatable story, regardless of whether you've ever suddenly become a full-time single dad working a high-stakes job you're devoted to in a cashed-up world you resent. As narrated by the ever-shrewd Lizzy Caplan (Truth Be Told) as Toby's old college pal-turned-writer and now stay-at-home-mum Libby, Fleishman Is in Trouble dives into the minutiae that makes Toby's new existence such a swirling sea of uncertainty. At the same time, while being so specific about his situation and troubles, it also ensures that all that detail paints a universal portrait of discovering that more of your time is gone, your hopes faded and your future receded, than you'd realised. Everything from class inequality and constant social hustling to the roles women are forced to play around men earns the show's attention in the process, as layered through a show that's both meticulously cast and evocatively shot. Fleishman is indeed in trouble, but this miniseries isn't. Fleishman Is in Trouble streams via Disney+. THE ENGLISH It tells of gold rushes, of brave and dusty new worlds, and of yellow frontiers stretching out beneath shimmering and inky blue skies; however, the true colour of the western is and always will be red. This isn't a genre for the faint-hearted, because it's a genre that spins stories about power and its brutal costs — power over the land and its Indigenous inhabitants; power-fuelled in-fighting among competing colonialists; and power exercised with zero regard for life, or typically for anyone who isn't white and male. It's a rich and resonant touch, then, to repeatedly dress Emily Blunt (Jungle Cruise) in crimson, pink and shades in-between in The English, 2022's best new TV western. She plays one instance of the show's namesakes, because the impact of the British spans far beyond just one person in this series — and the quest for revenge she's on in America's Old West is deeply tinted by bloodshed. In her first ongoing television role since 2005, in a stunning and powerful series from its performances and story through to its spirit and cinematography, Blunt dons such eye-catching hues as Lady Cornelia Locke. With a mountain of baggage and cash in tow, she has just reached Kansas when The English begins, seeking vengeance against the man responsible for her son's death. But word of her aims precedes her to this remote outpost's racist hotelier (Ciarán Hinds, Belfast) and, with stagecoach driver (Toby Jones, The Wonder), he has own mission. That the aristocratic Englishwoman arrives to find her host torturing Pawnee cavalry scout Eli Whipp (Chaske Spencer, Blindspot) is telling: the plan is to blame her end on him. Before the first of this miniseries' episodes ends, however, Cornelia and Eli have rescued each other, notched up a body count and started a journey together that sees them each endeavouring to find peace in a hostile place in their own ways — and started their way through one helluva show. The English streams via Prime Video. Read our full review. THE RESORT If the last couple of years in pop culture are to be believed, it mightn't be a great idea to go away with a character played by Cristin Milioti. In three of the always-excellent actor's most recent high-profile roles, she has decamped to idyllic surroundings, only to find anything but bliss awaiting. Palm Springs threw a Groundhog Day-style time loop her way in its titular setting. Made for Love saw her trapped by sinister futuristic possibilities. In The Resort, which hails from Palm Springs screenwriter Andy Siara, she now has the ten-year itch — and a getaway to Mexico that's meant to soothe it slides swiftly into a wild mystery. In this instantly twisty comedy-thriller Miloti plays Emma, spouse to William Jackson Harper's (The Good Place) Noah. After a decade of marriage, they're celebrating at the Bahía del Paraíso in the Yucatán, but they're really trying to reignite their spark. At this stage in their relationship, he recoils at her bad breath, she makes fun of him falling asleep on the couch, and they're rarely in sync; even when they're floating along the resort's lazy river, cocktails in hand, they want different things. Bringing them together: a missing-persons case from 15 years ago, after Emma goes tumbling off a quad-biking trail, bumps her head and spies an old mobile phone. It belongs to Sam (Skyler Gisondo, Licorice Pizza), a guest at the nearby but now-shuttered Oceana Vista Resort, who was on holidays over Christmas 1997 with his parents (IRL couple Dylan Baker, Hunters, and Becky Ann Baker, Big Little Lies), as well as his girlfriend Hannah (Debby Ryan, Insatiable). As Emma learns via Sam's photos and text messages, all wasn't rosy in his romantic life. After running into fellow guest Violet (Nina Bloomgarden, Good Girl Jane), who was travelling with her dad Murray (Nick Offerman, Pam & Tommy), his SMS history skews in her direction. But the pair promptly disappeared, and any potential clues were lost when a hurricane struck and destroyed their getaway spot. If The White Lotus joined forces with Only Murders in the Building, it'd look a whole lot like this entertaining series, which also includes an ace performance by Luis Gerardo Méndez (Narcos: Mexico) as Baltasar, Oceana Vista Resort's head of security. The Resort streams via Stan. Read our full review. OUR FLAG MEANS DEATH In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. This show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone, but it more than lives up to its winning idea and winsome casting. Come for the buccaneering banter and seafaring satire, stay for a thoughtful and sincere comic caper that's also a rom-com. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and an eye-catching head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. The two real-life figures eventually cross paths after Bonnet leaves his life of wealth, privilege and comfort to rove the oceans, captains a ship staffed by a motley crew to end all motley crews, and initially gets captured by Blackbeard — or Ed, as he calls him. As these two opposites bond, riding the waves from adversaries to co-captains to potentially something more, Our Flag Means Death truly and gloriously opens up its warm heart. Our Flag Means Death streams via Binge. Read our full review. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. Heartstopper streams via Netflix. Read our full review. PREHISTORIC PLANET Five episodes, one comforting voice, and a time-travelling trip back 66 million years: that's the setup behind Prehistoric Planet, an utterly remarkable feels-like-you're-there dive into natural history. Having none other than David Attenborough narrate the daily activities of dinosaurs seems like it should've happened already, of course; however, now that it finally is occurring, it's always both wonderful and stunning. Filled with astonishing footage on par with the visuals that usually accompany Attenborough's nature docos, all thanks to the special effects team behind The Jungle Book and The Lion King, it truly is a wonder to look at. It needs to be: if the Cretaceous-era dinosaurs rampaging across the screen didn't appear like they genuinely could be walking and stalking — and fighting, foraging for food, hunting, flying, swimming and running as well — the magic that typically comes with watching an Attenborough-narrated doco would instantly and disappointingly vanish. Welcome to... your new insight into Tyrannosaurus rex foreplay, your latest reminder that velociraptors really don't look like they do in the Jurassic Park and Jurassic World flicks, an entertaining time spent with al kinds of animals, and your next favourite dinosaur project with an Attenborough attached. Each of Prehistoric Planet's five instalments focuses on a different type of terrain — coasts, deserts, freshwater, ice and forests — and chats through the creatures that call it home. Set to a spirited original score by Hans Zimmer, fresh from winning his latest Oscar for Dune, there's a formula at work. That said, it's no more blatant than in any David Attenborough-hosted show. Viewers watch as some dinos look after their young, others try to find a mate, plenty search for something to eat and others attempt not to be eaten. The same kinds of activities are covered in each episode, but the locations and dinosaurs involved all change. Prehistoric Planet streams via Apple TV+. Read our full review. COLIN FROM ACCOUNTS A girl, a guy and a meet-cute over an adorable animal: that's the delightful and very funny Colin From Accounts' underlying formula. When medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) cross paths in the street one otherwise standard Sydney morning, they literally come to an impasse. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. As these circumstances demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. Always, this new Aussie gem is breezy and weighty — and instantly bingeable. Colin From Accounts streams via Binge. Read our full review. Looking for more viewing highlights? We also rounded up the 15 best returning TV series of 2022, as well as 15 excellent new TV shows of 2022 that you might've missed. Plus, we've kept a running list of must-stream TV from across the year, complete with full reviews. And, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.
Andy Warhol. Jean-Michel Basquiat. Keith Haring. From the past century, they're three of the art world's biggest names, and they've all been the subjects of many an exhibition. But only one showcase will pair the three for a world-first 15-week celebration of pop art masters premiering right here in Australia — and featuring 40-plus works never before seen Down Under. That event: Pop Masters: Art From the Mugrabi Collection, New York, which takes its name from the works it will survey and their origins. The exhibition is wholly drawn from the private collection of prominent art collector Jose Mugrabi, and is set to take over HOTA, Home of the Arts on the Gold Coast from Saturday, February 18–Sunday, June 4, 2023. Unsurprisingly, Pop Masters' array of works by Warhol, Basquiat and Haring will form a survey of the 60s, 70s and 80s art scene, and of legends of the pop art and street art movements. There'll be more than ten pieces by Warhol, acting as the showcase's introduction, with 1964's Sixteen Jackies and 1982's Cross among them. As for Haring, one of his earliest-ever works from 1979 will feature alongside others such as Untitled (Dancing Dogs), while the range of Basquiat pieces includes 1981's New York, New York and — fittingly — a Warhol-Basquiat collaboration. [caption id="attachment_878235" align="alignnone" width="1920"] Jean-Michel Basquiat 1985 © Lizzie Himmel. Artwork © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.[/caption] Although art by the three icons will provide Pop Masters with its huge drawcard, the exhibition also seeks to celebrate the ongoing legacy of pop art alongside its origins. That means including pieces by Katherine Bernhardt, Kwesi Botchway, George Condo, Damien Hirst, KAWS, Barbara Kruger, Joel Mesler, Richard Prince, Tom Sachs, Julian Schnabel, Mickalene Thomas and Tom Wesselmann — such as KAWS' 2.8-metre-tall 2018 sculpture What Party, plus Barbara Kruger's If it sees, blind it, from a section of her 2009 installation Between being born and dying in New York's Lever House. "Pop Masters: Art From the Mugrabi Collection celebrates the history of pop art, whilst examining its influence on art and artists today. We wanted to explore the intersections in the lives, ideas and practices of this significant group of artists," explains Tracy Cooper-Lavery, HOTA's Director, Gallery and Visual Arts. "Many of them knew each other, collaborated or have been influenced by each other, and we have acknowledged this in the design of the exhibition, which will see these incredible artworks in dialogue with one another." [caption id="attachment_878234" align="alignnone" width="1920"] Keith Haring by Joe McNally, Getty Images[/caption] Pop Masters has been in the making for longer than HOTA's new six-level, $60.5-million gallery has been open — the site launched in 2021 — and marks the most prestigious exhibition the venue has hosted yet. "Pop Masters has been six years in the making and HOTA is delivering a world exclusive exhibition right here on the Gold Coast," said HOTA CEO Criena Gehrke. "Over the years it has evolved into a bespoke exhibition that offers a completely unique experience. Having access to the Mugrabi family personal collection is a real privilege and the artworks rarely leave New York. We are thrilled to be bringing these iconic artists and celebrated artworks to Australia for the first time." 2023 is clearly a great year to be a Warhol fan, and to see blockbuster exhibitions beyond Australia's usual east coast capitals, with the Art Gallery of South Australia displaying Andy Warhol & Photography: A Social Media from Friday, March 3–Sunday, May 14. [caption id="attachment_804623" align="alignnone" width="1920"] default[/caption] Pop Masters: Art From the Mugrabi Collection, New York will display at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast from Saturday, February 18–Sunday, June 4, 2023. Head to the gallery's website for further details, and tickets. Top image: Santi Visalli/Getty Images.
University students might be accustomed to pairing their education with a few alcoholic beverages; however most don't expect their tertiary institution to have its own tipple. That rings particularly true when one of the most famous and prestigious universities in the world is involved — but, as well as teaching bright minds, Oxford University is bursting boundaries. The British uni has just added an official brand of gin to its list of achievements: Physic Gin, aka an especially aptly named juniper spirit. It's a product of The Oxford Artisan Distillery (TOAD), which is located in the same city, but is separate from the university. With their collaboration — the result of one of TOAD's distillers meeting one of Oxford's botany professors — they've created the first gin made for the university and bearing its name. Branding isn't Physic Gin's only Oxford connection. It's also flavoured using plants from the uni's botanic garden. Founded in 1621 to help teach herbal medicine, the patch of greenery in question is the oldest of its kind in the country. In total, 25 botanicals grown and foraged in Oxford's garden are used in the tipple, most of which were listed in a catalogue kept by its first keeper back in the 1640s. According to TOAD master distiller Cory Mason, anyone keen on a sip should expect a rich, earthy taste thanks to ingredients such as wormwood, rue and sweet woodruff — which "bring a deeply complex flavour to bear and take us back to the time when plants formed the base of all medicine." TOAD also use ancient, organic, super-sustainable grains in their production of Physic Gin, plus their original Oxford Dry Gin and Oxford Rye Vodka. For more information, visit www.spiritoftoad.com Via The Guardian. Image: The Oxford Artisan Distillery.
Following a Golden Globe haul earlier this year, Donald Glover's series Atlanta has landed an Australian premiere. Heading to the newly minted SBS Viceland channel on Tuesday, February 28 at 9.30pm, the award-winning series will be shown in double episodes weekly. Even better, the entire series will be available on SBS On Demand from the same date. Created, co-written, and produced by Glover, also known as artist Childish Gambino, Atlanta follows the life of Princeton dropout Earn Marks (Glover) and his cousin Alfred 'Paper Boi' Miles (Brian Tyree Henry). The series sees Earn supporting his two-year-old daughter and managing his rapper cousin trying his luck at breaking into the music industry. The series took out two Golden Globes in January, with Glover landing Best Actor in a Television Series – Musical or Comedy, and Atlanta taking out Best Television Series – Musical or Comedy. Atlanta is one series we think you should catch up on after the Golden Globes. Read the whole list here.
With a slew of brewers on the beer manufacturing scene, nowadays, those crafting the hoppy delights have to work particularly hard to differentiate their beers and draw drinkers in. But you may not know that, long before craft brewers made seasonal releases hugely popular, Coopers was creating zeitgeist-capturing beers that reflected what beer fans wanted — and the Australian brewery has continued this tradition into 2018 with the release of this year's Coopers Vintage Ale. To celebrate the release of the 2018 vintage — which has, for the first time, been made using the malt from Coopers' own malting facility — we're looking into five current beer trends that brewers around the country, and the world, are embracing. [caption id="attachment_678613" align="alignnone" width="1920"] Flickr.[/caption] AGED BREWS Generally, beer should be consumed as fresh as possible — but there are some notable exceptions that prove wine isn't the only alcoholic beverage worth cellaring. Breaking with tradition, the Coopers Vintage Ale is brewed to be cellared — so, instead of popping it straight in the fridge, you're best to save it for a later date. Alongside this, local breweries have been ageing a number of small-batch brews in barrels. Oak barrels — previously used for chardonnay, shiraz and bourbon — impart subtle flavours of vanilla and light spice which can add new depths of flavour to already outstanding beers. PADDOCK-TO-PINT BREWING Ownership matters, as does knowing where your product has come from. Off the back of the paddock-to-plate movement in the culinary world, brewers and drinkers alike are embracing the paddock-to-pint mentality. Just this year, Coopers brought its malt production in-house — and, as such, the 2018 Vintage Ale will be the first vintage made using Coopers' own malt. Not only does this save Coopers the carbon impact of importing the malt from interstate and overseas, it also makes for a more consistent end brew. SEASONAL RELEASES Seasonal brews are limited release beers designed to be enjoyed at various points throughout the year. They are often based on what ingredients are most readily available at the time of brewing. The general trend among today's brewers is to do a dark ale, stout or porter in winter, and a light session beer for the warmer months. Coopers has been pumping out seasonal releases for 20 years now with its Coopers Vintage Ale. It favours the style of an English strong ale yet varies year-to-year based on the seasonal hops available. This year's offering is the first to use a house malt variety which will likely encourage rich honey, toffee and caramel malts — complemented by seasonal hop varieties that provide a balanced bitterness. Due to its strength, Coopers Vintage Ale is a great beer to age — the flavours develop and change over time, much like a fine wine. SESSIONABLE ALES There's no denying that Aussies like to congregate around a few cold ones, but a recent trend is leaning towards beers designed specifically for a drinking session. These beers are comparatively lower in strength than what many would be used to, often sitting around four percent. There was a time when less alcohol meant compromising on flavour — but, with the correct hopping regime and malt balance, we're seeing refreshing yet complex flavours finding their way into sessionables. The Coopers Session Ale, for example, is a 4.2-percent beer with plenty of fresh citrus notes. COLLABORATIVE BREWING Brewing brings people together — and we're seeing more and more breweries teaming up to create unique beers that reflect a union between the brewers and their idiosyncratic styles. For example, Batch Brewing Company recently recreated Scottish brewing powerhouse BrewDog's iconic Punk IPA for Australian shores. Collaborative brewing efforts are also seen in large-scale brewing companies like Coopers, which brews both New York City's Brooklyn Lager and Carlsberg under licence for Australian distribution. Collab brews are also popular with bars — a venue can create a brew with a brewer which speaks to its brand. SOUR BEERS Sours are the new IPAs — or that's what most beer geeks would have you believe. But sour beers are not exactly new, with recipes dating back to medieval times. Sour or wild ales can be soured with bacteria and yeast strains: lactobacillus gives sharp and acidic flavours, whereas brettanomyces gives tart and funky flavours. Sours are akin to fine wines in the depth and range of flavours they offer, hence they have found resonance with seasoned drinkers who enjoy high-quality beer. The flavour can be a bit intense at first — it's a bit of an acquired taste, but one that's definitely worth acquiring. Well, get with it — get your hands on some of the limited release Coopers Vintage Ale 2018 and try it yourself.
Dig out those once-a-year novelty gumboots, Groovin the Moo has unveiled their 2017 lineup. Taking the large-scale music festival out of the city and into regional centres for another year, GTM will kick things off on Friday, April 28 in South Australia and travel through Maitland, Townsville, Bendigo and Canberra before finishing up in Bunbury on May 13. This year's lineup sees local talent front and centre with triple j Hottest 100 list-toppers Tash Sultana and Amy Shark (#3 and #2, respectively) taking the stage, along with The Smith Street Band, Montaigne, Hayden James and Methyl Ethel. Most of the international talent comes from the UK this year, with The Darkness, 21-year-old Loyle Carner and The Wombats making their way to the Moo, along with Germans Milky Chance. Here's the full lineup. GROOVIN THE MOO 2017 LINEUP Against Me! (USA) Allday Amy Shark Architects (UK) The Darkness (UK) Dillon Francis (USA) George Maple Hayden James The Jungle Giants K-Flay (USA) L-FRESH The LION Loyle Carner (UK) Methyl Ethel Milky Chance (GER) Montaigne Northeast Party House Slumberjack The Smith Street Band Snakehips (UK) Tash Sultana Thundamentals Violent Soho The Wombats (UK) GROOVIN THE MOO 2017 DATES & VENUES Friday, April 28 — Wayville (SA) Saturday, April 29 – Maitland (NSW) Sunday, April 30 — Townsville (QLD) Saturday, May 6 — Bendigo (VIC) Sunday, May 7 – Canberra (ACT) Saturday, May 13 — Bunbury (WA) Pre-sale tickets for GTM will go on sale at 9am local time on Wednesday, February 1. All other tickets for Wayville, Maitland and Townsville will go on sale at 9am on Tuesday, February 7, and Bendigo, Bunbury and Canberra will be released the day after at 9am on Wednesday, February 8. For more info, go to gtm.net.au. Image: Tao Jones.
It's been 357 days and many excruciating hours of silence since the last episode of Serial season one appeared on our Podcasts app and life ceased to be as thrilling as it once was. But now, after almost a year of insane anticipation, Sarah Koenig and the This American Life crew have uploaded the first episode of season two. And, boy, is the Internet excited. While season one focused solely on the 1999 murder of Hae Min Lee and whether the conviction of her ex-boyfriend Adnan Syed for the crime was right or wrong, this season's story looks like it will be asking more than one question. It will follow the story of Bowe Bergdahl, the American soldier who, in 2009, walked off his army base in Afghanistan, was captured by the Taliban and held as a prisoner of war for five years. There has since been speculation as to whether other soldiers died directly or indirectly because of his actions. And now, he's been charged with desertion and misbehaviour before the enemy, which could result in a life sentence. Oof. The podcast was released yesterday morning U.S. time, and host Sarah Koenig promptly posted this on the Serial website: "This story—it spins out in so many unexpected directions. Because, yes, it’s about Bowe Bergdahl and about one strange decision he made, to leave his post. (And Bergdahl, by the way, is such an interesting and unusual guy, not like anyone I’ve encountered before.) But it’s also about all of the people affected by that decision, and the choices they made. Unlike our story in Season One, this one extends far out into the world. It reaches into swaths of the military, the peace talks to end the war, attempts to rescue other hostages, our Guantanamo policy. What Bergdahl did made me wrestle with things I’d thought I more or less understood, but really didn’t: what it means to be loyal, to be resilient, to be used, to be punished." The podcast will be one of the first times the public has heard from Bergdahl and — if season one is anything to go by — it will surely be as gloriously addictive to listen to as it is to talk about with everyone from your colleagues to the lady sitting next to you on the bus. Sarah, it's so good to hear your voice again. You can listen to the first episode here.
It's always good to have a killer cocktail recipe up your sleeve. Whether you're hosting a Hottest 100 countdown party in your backyard, heading to a beachside Boxing Day barbecue or your mates stop by unexpectedly for a few cold ones before a night out — the drinks you serve can make or break the vibe. While the sun is shining and the days are long, you can't go past a fruity, tropical tipple with a generous splash of rum. We've teamed up with BATI and RATU by RUM Co of Fiji to craft three cocktail recipes to help you become the true hero of summer. They're fancier than goon punch in a laundry bucket and, to be honest, require about the same amount of effort. Your friends will be talking about these drinks all summer. FIJIAN DAIQUIRI Make like you're lying on a beach in Fiji and whip up a few of these bad boys next time you're entertaining poolside. — 45ml RATU Spiced Rum — 45ml coconut water — 15ml fresh lime juice — 15ml falernum syrup Add the rum, coconut water, lime juice and falernum syrup (which you should be able to find at any decent bottle shop) to a cocktail shaker with a good handful of ice and shake it like you mean it. If you're all out of fresh coconuts, strain into a chilled coupe or champagne glass. Garnish with a lime wheel or slice of coconut to make it a bit fancy. SPICED AND STORMY An absolute classic for a reason — there's just something heavenly about the combo of spiced rum, a spicy ginger beer and a tangy hint of lime. — 30ml BATI Spiced Rum — two dashes of aromatic bitters — ginger beer — lime wedges This one is super easy. Fill a highball glass with ice, throw in some spiced rum, two dashes of bitters and two lime wedges (after you've squeezed in their juice). Top with the ginger beer of your choice — make it the alcoholic variety for an extra kick or take it easy with non-alcoholic fizz. CORRETTO PACIFICO Coffee and liquor, they go together like peanut butter and chocolate, like wine and cheese — like, well, coffee and liquor. This one is a pacific twist on a classic corretto, which has been served in Italian bars and coffee shops for decades. It's like a simple (and easy) espresso martini. — 45ml RATU Signature Blend Rum — 30ml cold brew coffee — orange slices Pour the rum and cold brew coffee into a chilled rocks glass with some ice and give it a gentle stir. Garnish with a slice of orange and let the compliments roll in. Feeling Adventurous? Learn more about BATI and RATU by RUM Co of Fiji here.
