From humble beginnings on Hosier Lane, Melbourne's iconic Movida has spawned a tidy collection of venues, even adding a Bali outpost to the family last year. But the team's latest project, Bar Tini, sees them sticking much closer to home — in fact, just a few steps up the lane from the original. Transforming the space once home to long-standing laneway haunt Misty, Bar Tini is a cheery little drinking spot that takes its cues from the Spanish bodegas of yesteryear. Expect lots of warm red accents, a retro-leaning timber bar and walls lined with wine bottles. The focus here is on fresh, clean flavours — eats and drinks to make you feel happy. A lineup of simple small bites is primed for grazing, featuring plenty of top-notch seafood and smallgoods. Nibble your way through tapas plates, cheeses, things smoked and cured, and montaditos — aka small sandwich creations featuring nifty combinations like prawn, romesco and avruga. To match, you'll find vermouth on tap, a hefty curation of imported wines and clever Spanish riffs on some of your favourite classic cocktails. Stay tuned also for an onsite bottle shop once the proper licensing comes through. Find Bar Tini at 3-5 Hosier Lane, Melbourne, open daily from 4pm. Visit their website and Facebook page for further details. Images: Jamie Durrant.
This month at Richmond's Charles Nodrum Gallery, Melbourne-based artist David Harley will exhibit his large-scale abstract works, which he creates through a mix of new and old technology. These floor-to-ceiling digital paintings stretch the full length of the gallery's walls and present Harley's complex and radiant works in their fullest possible glory. Having been painting abstract works for decades, Harley has, since the 1990s, increasingly incorporated new technology into his work, including large-format printing, virtual three-dimensional constructions and projected animations. Harley works closely with each gallery he exhibits — going as far as creating visual models of the space to shape his paintings to the walls — to reflect the architecture of the gallery, creating an immersive experience for the audience. Alongside numerous solo exhibitions, Harley has recently completed two commissions for Deakin University's Burwood campus, and another for National Australia Bank. David Harley: free-form propositions #2 is on display now until Saturday, June 17. Image: Christo Crocker.
Melbourne is already home to one of the world's best restaurants, and it's set to score a few more notable additions when a high-end food precinct opens at the enormous new development currently being built at 80 Collins Street. The lineup already reads like a roll-call of Australia's best culinary talent with multi-level fine-diners and rooftop restaurants in the works. Perhaps the most anticipated resident will be the next iteration of Vicki Wild and Martin Benn's world-renowned Sydney restaurant Sepia, which closed its doors in the Harbour City last year after the twop announced they would be moving to Melbourne in 2017. They're teaming up with Melbourne restaurant heavyweight Chris Lucas (Chin Chin, Kisume, Hawker Hall) to create 80 Collins' headline food offering, with plans for some boldly creative hospitality venues destined to put the development firmly on the map. Exactly what the team is planning to do with the new restaurant has been kept under wraps, but, given the luxury nature of the $800 million development, it's going to be a big deal. The venue will take up 2000 square metres over multiple levels within the building and boast terraces and sweeping views over the city. [caption id="attachment_711870" align="alignnone" width="1920"] Christ Lucas, Martin Benn and Vicki Wild.[/caption] And today it has been announced that acclaimed Pastuso chef-owner Alejandro Saravia will also be joining the precinct, with a paddock-to-plate restaurant named Farmer's Daughters. This one if also going to be big — it'll take up three levels, including a casual deli on the ground floor, a formal restaurant on the first, and a rooftop diner and urban farm. Here, you'll be able to eat from a mostly preserved and fermented menu among the venue's herb gardens and greenhouses. Born of Saravia's passion for the Gippsland region — he's the area's 'official food and beverage ambassador' — the eatery's set to be a showcase of its finest offerings, from fresh produce to award-winning wines. This one will be an all-day affair, serving morning lattes right through to late-night libations. The giant 80 Collins development is going up on the site of the heritage-listed Le Louvre building, on the corner of Collins and Exhibition Streets. The high-rise, along with a newly refurbished commercial tower on the same block, will boast a futuristic new office tower, a 255-room boutique hotel and a luxury retail offering alongside the hospitality precinct. It's set for completion in 2020.
For the past few years, Netflix has been obsessed with one very particular golden ticket: the beloved works of British author Roald Dahl. Back in 2018, the streaming platform announced that it was bringing 16 of the writer's classic novels to the service in animated form. And, it revealed that there'd be two new series from Taika Waititi based on Charlie and the Chocolate Factory, too. In 2021, it also advised that it had snapped up the Roald Dahl Story Company (RDSC) itself. So, plenty of Dahl-penned tales are now getting the Netflix treatment, with the service's library set to expand in a big way. That spans everything from Charlie and the Great Glass Elevator, Matilda and The Twits, all as animated television shows, plus The BFG, Esio Trot, George's Marvellous Medicine, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Dirty Beasts and Rhyme Stew. Yes, it's a long list. Also included: an adaptation of Matilda the Musical, turning the page-to-stage hit into a movie. That one is happening ASAP, with the resulting flick due to arrive in December — and a just-dropped first trailer showing fans of everyone's favourite book-loving schoolgirl with telekinetic abilities what they're in for. Of course, if you've seen the Tony and Olivier award-winning show in theatres since 2010 — complete with original music and lyrics by Tim Minchin — you'll know what's in store. The narrative remains the same, but with songs and tunes that are all supremely on the original 1988 book's wavelength. Once again, Matilda Wormwood (Alisha Weir, Darklands) is a curious, bright, quiet, observant and imaginative girl — and tiny — but has terrible parents (Venom: Let There Be Carnage's Stephen Graham and Possessor's Andrea Riseborough). So, she escapes into novels as they feast on TV and try to stump up cash via dodgy schemes. At school, Matilda finds a source of support and inspiration in Miss Honey (Lashana Lynch, No Time to Die), but Crunchem Hall also gives its star student another foe. That'd be the villainous Miss Trunchbull (Emma Thompson, Cruella), who is as mean as can be — and needs Matilda to teach her a lesson. Minchin's songs and lyrics make the jump to the movie version, of course, while Tony Award-winning director Matthew Warchus — who did the honours with Matilda the Musical on the stage — helms. And yes, this'll be the second movie based on Dahl's Matilda, after a 1996 version initially adapted the book for cinema (not as a musical, though), and featured Mara Wilson as the titular character. Check out the trailer for Matilda the Musical below: Matilda the Musical will be available to stream via Netflix sometime in December — we'll update you with an exact release date when one is announced. Images: Dan Smith/Netflix © 2022.
Melbourne's Fed Square is turning up the volume this season, announcing a stacked run of free openair gigs that'll see some of the world's biggest names performing right in the city's heart. First up, King Gizzard & The Lizard Wizard will take over the Fed Square Main Stage on Friday, October 24 (7–10.30pm) for an entirely electronic rave set. The hometown heroes are debuting their techno incarnation live in Australia for the first time, performing unscripted, modular-based electronic music that's been years in the making. It marks a bold new era for the genre-hopping collective — a band known for reinventing itself across every release — as they swap guitars for eurorack synthesisers in a show that promises improvisation, experimentation and pure energy. Supporting on the night is Merve, the Berlin-based, Melbourne-born DJ and producer known for boundary-pushing sets at Panorama Bar and Boiler Room sessions around the globe. The program continues with a world-class double act on Thursday, November 27 (7–10pm), when Detroit house legend Moodymann joins forces with Melbourne's own DJ JNETT for another free, all-ages dancefloor session under the stars. Rounding out the year, Fed Square will host its annual New Year's Eve celebration on Wednesday, December 31 (7pm–1am), curated by returning favourite Barry Sunset. The night will feature local favourites MzRizk, Gavin Campbell and Barry Sunset spinning disco, funk, house and dance floor classics in the countdown to 2026 — all with prime CBD skyline views. Fed Square Director and CEO Katrina Sedgwick OAM says the new program cements the precinct's role as a cultural meeting point. "Fed Square has cemented its place as one of Australia's most exciting homes for live music," she says. "This next wave of events builds on that success, with King Gizzard & The Lizard Wizard, Moodymann and JNETT joining a lineup of world-class artists who make Fed Square the place to experience unforgettable live music — accessible and open for everyone to enjoy." The series, part of Fed Square Presents, continues the venue's commitment to free, all-ages events showcasing local talent alongside international heavyweights. Each show will take place at the Fed Square Main Stage and is completely free to attend — no tickets or registration required. Images: Maclay Heriot
If you're a Melbourne movie lover who's been hanging out for a night — or several — staring at the big screen, you've had to take your trips to the flicks in stages. First, when the city's lockdown ended, outdoor cinemas were permitted to reopen. Now, with the next set of eased restrictions kicking in at 6pm on Friday, October 29, indoor picture palaces can get their projectors whirring again as well. Under stay-at-home restrictions, no one is ever short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over by now, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent more time than usual over the past 18 months 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 films are hitting indoor cinemas so that you can do just that — and we've picked ten must-see flicks that've only reached big screens from Friday, October 29 that you can now head to. LAMB Just over a decade ago, Noomi Rapace was The Girl with the Dragon Tattoo — The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest, too. After starring in the first film adaptations of Steig Larsson's best-selling Millennium books, the Swedish actor then brought her penchant for simmering ferocity to Alien prequel Prometheus, and to movies as varied as erotic thriller Passion, crime drama The Drop and Australian-shot thriller Angel of Mine. But Lamb might be her best role yet, and best performance. A picture that puts her silent film era-esque features to stunning use, it stares into the soul of a woman not just yearning for her own modest slice of happiness, but willing to do whatever it takes to get it. It also places Rapace opposite a flock of sheep, and has her cradle a baby that straddles both species; however, this Icelandic blend of folk-horror thrills, relationship dramas and even deadpan comedy is as human as it is ovine. At first, Lamb is all animal. Something rumbles in the movie's misty, mountainside farm setting, spooking the horses. In the sheep barn, where cinematographer Eli Arenson (Hospitality) swaps arresting landscape for a ewe's-eye view, the mood is tense and restless as well. Making his feature debut, filmmaker Valdimar Jóhannsson doesn't overplay his hand early. As entrancing as the movie's visuals prove in all their disquieting stillness, he keeps the film cautious about what's scaring the livestock. But Lamb's expert sound design offers a masterclass in evoking unease from its very first noise, and makes it plain that all that eeriness, anxiety and dripping distress has an unnerving — and tangible — source. The farm belongs to Rapace's Maria and her partner Ingvar (Hilmir Snær Guðnason, A White, White Day), who've thrown themselves into its routines after losing a child. They're a couple that let their taciturn faces do the talking, including with each other, but neither hides their delight when one ewe gives birth to a hybrid they name Ada. Doting and beaming, they take the sheep-child into their home as their own. Its woolly mother stands staring and baa-ing outside their kitchen window, but they're both content in and fiercely protective of their newfound domestic happiness. When Ingvar's ex-pop star brother Pétur (Björn Hlynur Haraldsson, Eurovision Song Contest: The Story of Fire Saga) arrives unexpectedly, they don't even dream of hiding their new family idyll — even as he's initially shocked and hardly approving. Enticing, surreal and starkly unsettling all at once, Lamb also benefits from exceptional animal performances — it won the Cannes Film Festival's Grand Jury Prize for Palm Dog, the prestigious event's awards for best canine acting — and its own savvy. It nabbed Un Certain Regard Prize of Originality at Cannes as well, but the movie's shrewdness isn't limited to its standout concept. Each patient shot that roves over the hillside, peeks through the fog, and soaks in the strain and pressure is just as astute. Each rustle, huff and jangle in the film's soundscape proves the same. Every aesthetic decision paints Lamb in unease and uncertainty, in fact, and lets its lingering gaze towards the steely Rapace, affecting Guðnason and their four-legged co-stars unleash an intense and absurdist pastoral symphony of dread and hope, bleakness and sweetness, and terror and love. Read our full review. RIDERS OF JUSTICE Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie, which is one fantastic film experience that 2021 has already delivered. But the always-watchable actor is equally magnetic and exceptional in Riders of Justice, a revenge-driven comedy that's all about tackling your problems in a different and far less boozy fashion. In both features, he plays the type of man unlikely to express his feelings. Instead of Another Round's mild-mannered teacher who's so comfortably settled into his adult life that his family barely acknowledges he's there, here he's a dedicated solider who's more often away than home. Beneath his close-cropped hair and steely, bristly beard, he's stern, sullen and stoic, not to mention hot-tempered when he does betray what's bubbling inside, and he outwardly expects the same of everyone around him. Mikkelson excels at transformational performances, however. He's also an exquisite anchor in films that dare to take risks. No matter what part he's playing, the Danish star is gifted at conveying subtlety, too, which is ideal for a character, Markus, who slowly realises that he needs to be more open with his emotions. And, while Mikkelson is usually expertly cast in most entries on his resume — the misfire that is Chaos Walking being one rare outlier — he's especially in his element in this genre-defying, trope-unpacking, constantly complex and unpredictable film. With a name that sounds like one of the many by-the-numbers action flicks Liam Neeson has starred in since Taken, Riders of Justice initially appears as if it'll take its no-nonsense central figure to an obvious place, and yet this ambitious, astute and entertaining movie both does and doesn't. After a train explosion taints his life with tragedy and leaves him the sole parent to traumatised teenager Mathilde (Andrea Heick Gadeberg, Pagten), Markus returns home from Afghanistan. Talking is her method of coping, or would be if he'd let her; he refuses counselling for them both, and opts not to discuss the incident in general, because clamming up has always been his PTSD-afflicted modus operandi. Then Riders of Justice's writer/director Anders Thomas Jensen (Men & Chicken) and screenwriter Nikolaj Arcel (A Royal Affair) send statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) knocking at the grieving family's door. They're a trio of stereotypically studious outsiders to his stony-faced military man, but they come uttering a theory. Mathematically, they don't think that the events surrounding the accident add up, so they're convinced it wasn't just a case of pure misfortune — because it's just so unlikely to have occurred otherwise. The nervy Otto, who was on the train with Mathilde and her mother Emma (Anne Birgitte Lind, The Protector), has even started to narrow down possible culprits with his pals. Markus, with his action-not-words mindset, is swiftly eager for retribution, but again, this isn't like most films of its ilk. Narratives about seeking justice often ride the expected rails on autopilot, getting from start to finish on the standard vengeance template's inherent momentum; this attentive and layered gem questions and subverts every usual cliche, convention and motif along the way, including by putting its characters first. Read our full review. THE HARDER THEY FALL Idris Elba. A piercing gaze. One helluva red velvet suit. A film can't coast by on such a combination alone, and The Harder They Fall doesn't try to — but when it splashes that vivid vision across the screen, it's nothing short of magnificent. The moment arrives well into Jeymes Samuel's revisionist western, so plenty of stylishness has already graced its frames before then. Think: Old West saloons in brilliant yellows, greens and blues; the collective strut of a cast that includes Da 5 Bloods' Delroy Lindo and Jonathan Majors, Atlanta's Zazie Beetz and LaKeith Stanfield, and If Beale Street Could Talk Oscar-winner Regina King; and an aesthetic approach that blasts together the cool, the slick and the operatic. Still, Elba and his crimson attire — and the black vest and hat that tops it off — is the exclamation mark capping one flamboyant and vibrant movie. Imaginative is another appropriate word to describe The Harder They Fall, especially its loose and creative take on American history. Where some features based on the past take a faithful but massaged route — fellow recent release The Last Duel, for example — this one happily recognises what's fact and what's fantasy. Its main players all existed centuries ago, but Samuel and co-screenwriter Boaz Yakin (Now You See Me) meld them into the same narrative. That's an act of complete fiction, as is virtually everything except their names. The feature freely admits this on-screen before proceedings begin, though, and wouldn't dream of hiding from it. Team-up movies aren't rare, whether corralling superheroes or movie monsters, but there's a particular thrill and power to bringing together these fictionalised Black figures in such an ambitious and memorable, smart and suave, and all-round swaggering film. After proving such a commanding lead in HBO series Lovecraft Country, Majors takes centre stage here, too, as gunslinger Nat Love. First, however, the character is initially introduced as a child (Anthony Naylor Jr, The Mindy Project), watching his parents get murdered by the infamous Rufus Buck (Elba, The Suicide Squad). A quest for revenge ensues — and yes, Nat shares an origin story with Batman. Samuel definitely isn't afraid to get stylised and cartoonish, or melodramatic, or playful for that matter. One of the keys to The Harder They Fall is that it's so many things all at once, and rarely is it any one thing for too long. This is a brash and bold western from its first vividly shot frame till its last, of course, and yet it's also a film about the tragedies that infect families, the violence that infects societies, and the hate, abuse, prejudice, discrimination and bloodshed that can flow from both. It's a romance, too, and it nails its action scenes like it's part of a big blockbuster franchise. As an adult, Nat still has Rufus in his sights. It'll take a few twists of fate — including a great train robbery to free Rufus en route from one prison to the next — to bring them face to face again. The sequence where the outlaw's righthand woman Trudy (King) and quick-drawing fellow gang member Cherokee Bill (Stanfield) take on the law is sleek heist delight, and the saloon clash with marshal Bass Reeves (Lindo) that gets Nat back on Rufus' trail is just as dextrously handled. Nat also has bar proprietor and his on-again, off-again ex Stagecoach Mary (Beetz) on his side, plus the boastful Beckwourth (RJ Cyler, Me and Earl and the Dying Girl), sharp-shooting Bill Pickett (Edi Gathegi, Briarpatch) and diminutive Cuffee (Danielle Deadwyler, P-Valley). Everyone gets their moments, and every one of those moments sashays towards a blood-spattered showdown. Read our full review. THE ALPINIST Standing atop Yosemite National Park's El Capitan after scaling it alone and without ropes, harnesses or any other safety equipment, Alex Honnold cut a surprisingly subdued figure. As the Oscar-winning documentary Free Solo captured, he was obviously ecstatic, but he isn't the type to leap and scream with excitement. So, he smiled blissfully. He also advised the cameras that he was "so delighted". In the opening moments of new doco The Alpinist, however, he is effusive — as enthusiastic as the no-nonsense climbing superstar gets, that is. In a historical clip, he's asked who he's excited about in his very specific extreme sports world. His answer: "this kid Marc-André Leclerc." Zipping from the Canadian Rockies to Patagonia, with ample craggy pitstops in-between, The Alpinist tells Leclerc's tale, explaining why someone of Honnold's fame and acclaim sings his praises. Using the Free Solo subject as an entry point is a smart choice by filmmakers Peter Mortimer and Nick Rosen — industry veterans themselves, with 2014's Valley Uprising on their shared resume and 2017's The Dawn Wall on Mortimer's — but their climber of focus here would demand attention even without the high-profile endorsement. Indeed, dizzying early shots of him in action almost say all that's needed about his approach to great heights, and his near-preternatural skill in the field. Scaling hard, immovable rock faces is one thing, but Leclerc is seen here clambering up alpine surfaces, conquering glistening yet precarious sheets of ice and snow. Any shot that features the Canadian twenty-something mountaineering is nothing short of breathtaking. Describing it as 'clambering up' does him a disservice, actually, and downplays The Alpinist's stunning footage as well. Leclerc is just that graceful and intuitive as he reaches higher, seemingly always knowing exactly where to place his hands, feet and axe, all while heading upwards in frighteningly dangerous situations. As Mortimer notes, narrating the documentary and almost-indulgently inserting himself into the story, alpine free soloing is another level of climbing. No shortage of talking-head interviewees also stress this reality. Protective equipment is still absent, but all that ice and snow could melt or fall at any second. In fact, the routes that the obsessive Leclerc finds in his climbs will no longer exist again, and mightn't just moments after he's made his ascent. Simply charting Leclerc's impressive feats could've been The Alpinist sole remit; Mortimer and Rosen certainly wanted that and, again, the film's hypnotic, vertigo-inducing imagery is just that extraordinary. Some shots peer at the mountains in all their towering glory, letting viewers spot the tiny speck moving amid their majesty in their own time, before zooming in to get a closer look at Leclerc. Other nerve-shattering scenes intimately capture every careful choice, every movement of his limbs and every decision about what to hold on to, inescapably aware that these are sheer life-or-death moments. But The Alpinist isn't the movie its makers initially dreamed of, because Leclerc isn't Honnold or The Dawn Wall's Tommy Caldwell and Kevin Jorgeson. While affable when posed in front of the camera, he's also silently begrudging, because he'd visibly rather just be doing what he loves in total anonymity instead of talking about it, having it filmed and earning the world's eyes. Read our full review. PASSING Locking gazes across the room, staring intently with a deep fascination that feels fated, seeing oneself in the sparkle of another's eyes: when these moments happen in a movie, it's typically to fuel the first flushes of romance. When they occur early in Passing, however, it's because former childhood friends Irene (Tessa Thompson, Westworld) and Clare (Ruth Negga, Ad Astra) have spied each other in a swanky Manhattan hotel. The pair peer back and forth, intrigued and attentive. That said, it isn't until Clare approaches Irene — and calls her Reenie, a nickname she hasn't heard in years — that the latter realises who she's been looking at. It's the immaculately styled blonde bob that fools Irene, as it's meant to fool the world. As becomes clear in a politely toned but horrendously blunt conversation with Clare's racist husband John (Alexander Skarsgård, Godzilla vs Kong) shortly afterwards, Irene's long-lost pal has built an entire life and marriage around being seen as white. Passing's eponymous term comes loaded not just with meaning, but with history; adapted from Nella Larsen's 1929 novel of the same name, it's set in America's Jim Crow era. This introductory scene between Irene and Clare comes layered with multiple sources of tension, too, with Irene only in the hotel because she's decided to flirt with visiting a white establishment. Still, she's shocked by her pal's subterfuge. When she initially spots Clare, the film adopts Irene's perspective — and its frames bristle with a mix of nervousness, uncertainty and familiarity. Irene rediscovers an old friend in a new guise, and also comes face to face with the lengths some are willing to go to in the name of survival and an easier life. Friendships can be rewarding and challenging, fraught and nourishing, and demanding and essential, including all at once, as Passing repeatedly demonstrates from this point onwards. Irene can't completely move past Clare's choices and can't shake her fears about what'd happen if the vile John ever learned Clare's secret; however, she's also quick to defend her to others — to her doctor husband Brian (André Holland, The Eddy), who swiftly warms to Clare anyway; and to acclaimed white novelist Hugh Wentworth (Bill Camp, News of the World), who's her own entry point into an artier realm. Indeed, in household where talk of lynchings is common dinner conversation, Irene recognises far more in Clare's decision than she'll vocally admit. Almost everyone she knows is pretending to be something else as well, after all, including Irene in her own ways. Largely confined to Irene and Brian's well-appointed Harlem home and other parties in the neighbourhood — after that first hotel rendezvous, that is — Passing is an economical yet complicated film. It may seem straightforward in charting Irene and Clare's rekindled acquaintance, but it's exacting and precise as it interrogates both societally enforced and self-inflicted pain. Its Black characters live in a world that pushes them aside and worse merely for existing, with its central pair each internalising that reality. Their every careful move reacts to it, in fact, a bleak truth that actor-turned-filmmaker Rebecca Hall (The Night House) never allows to fade. That's one of the reasons she's chosen to shoot this striking directorial debut in elegant, crisp and devastatingly telling monochrome hues: both everything and nothing here is black and white. Read our full review. ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN When Anthony Bourdain strode around the world, and across our screens, in food-meets-travel series A Cook's Tour, No Reservations, The Layover and Parts Unknown, he was as animated as he was acerbic and enigmatic. Beneath his shock of greying hair, the lanky New Yorker was relatable, engaging to a seemingly effortless degree and radiated a larger-than-life air, too. The latter didn't just apply because he was a face on TV, where plenty gets that bigger-than-reality sheen, but because he appeared to truly embrace all that life entailed in that hectic whirlwind of travelling, eating and waxing lyrical about both. Arriving three years after his suicide in 2018, documentary Roadrunner: A Film About Anthony Bourdain captures that. It's so filled with Bourdain thanks to all that time he'd spent in front of the camera, it'd be near-impossible for it not to. But it also lurks under a shadow due to its now-infamous choice to use artificial intelligence to add dialogue that its subject didn't speak. Watching the film, there's no way of knowing which words Bourdain merely penned but didn't utter; the technology truly is that seamless. It still resounds as an unnecessary move, though, especially when such lines might've been incorporated in ways that wouldn't sit at stark odds with his visible liveliness. Roadrunner delves behind the facade that Bourdain presented to the world, of course. It notes his death immediately and goes in search of the sorrow and pain that might've led to it, as mulled over by friends such fellow chefs David Chang and Éric Ripert, and artist David Choe; crew members on his shows; and his second wife Ottavia Busia. Still, once you know about the AI, there's a sense of disconnection that echoes through the doco — because it surveys all that Bourdain was, compiles all of this stellar material and still resorted to digital resurrection. Thankfully, the passion and curiosity that always made Bourdain appear so spirited — yes, so alive, as compared to being vocally recreated by AI after his death — still makes Roadrunner worth watching. That's true for Bourdain fans and newcomers alike, although director Morgan Neville (Oscar-winner 20 Feet From Stardom) doesn't use his two-hour-long film as a birth-to-life primer for the uninitiated. Crucially, as also proved the case with his 2018 Mr Rogers documentary Won't You Be My Neighbor?, Neville jumps through the details of Bourdain's life in a way that also muses on what his success and popularity said about the world. Why he struck such a chord is as essential an ingredient in Roadrunner as how he went from cook to celebrity chef, TV host, best-selling author and travel documentarian. The footage of Bourdain — from his shows, obviously, as well as from a plethora of TV interviews, behind-the-scenes clips and home videos — is edited together with the same restlessness that the man himself always exuded. You don't spend most of your year travelling if you can be easily pinned down, after all. It's a wise choice on Neville and editors Eileen Meyer (Crip Camp: A Disability Revolution) and Aaron Wickenden's (Feels Good Man) parts, but Neville has long had a knack for making his films feel like his subjects. Talking-head chats are spliced throughout, offering further details and grappling with how Bourdain's story ends; however, Roadrunner is repeatedly at its finest when it's peering at him and showing how his work encouraged us all not just to watch, but to eat, travel, think, talk and live. Read our full review. BECOMING COUSTEAU He's been parodied in a Wes Anderson film and mentioned in a Flight of the Conchords song. His red beanie, and those worn by his fellow crew members on his research ship Calypso, are an enduring fashion symbol. He won the second-ever Cannes Film Festival Palme d'Or — becoming not only the first filmmaker to receive the prestigious prize for a documentary, but the only one to do so for almost half a century afterwards. When he started making television in the 60s, he turned his underwater-shot docos about the sea into truly must-see TV. He helped create undersea diving as we know it, and he's the most famous oceanographer that's ever lived. He was also one of the early voices who spoke out about climate change and humanity's impact upon the oceans. He's a rockstar in every field he dived into — and he's Jacques Cousteau, obviously. Becoming Cousteau touches on all of the above — except The Life Aquatic with Steve Zissou and Flight of the Conchords' 'Fou de Fafa', of course — and makes for a a riveting splash into its namesake's life and career. There's just so much to tell, to the point that it frequently feels as if director Liz Garbus (an Oscar-nominee for What Happened, Miss Simone?) could've filled an entire series instead. Her big-screen tribute to Cousteau doesn't suffer from packing so much into its slice of celluloid, however. It simply makes the most of its time, leaving viewers wanting more because they've loved what they've just experienced. Becoming Cousteau is the cinematic equivalent of having a splash, gazing fondly at the sea's blue expanse, or peering deeply at the ocean's underwater wonders, all activities that beg for as much of your attention as possible. This isn't just an affectionate ode, though, even with ample praise floated Cousteau's way. When Garbus includes vision of wide-eyed children beaming up at her subject with wonder splashed across their faces, you could call it a case of a director telling audiences how they should feel — or signalling how she's looking his way, or both. But she knows that Cousteau's achievements, and the glorious archival footage that comes with it, elicits that reaction anyway. She also doesn't shy away from the thornier aspects of his personal and professional lives, tragedies and struggles among them. This is a film about a man who lived a life like no one else's, especially when he kept plunging beneath the sea, but it's also a movie about a man first and foremost. That's why Garbus sticks to a familiar biographical documentary format, as tempting as it might've been to take a more playful route. By chronicling Cousteau's existence in a chronological fashion — from naval officer to icon, with help from his own words as read by French actor Vincent Cassel (The World Is Yours) where footage doesn't exist — she emphasises who he becomes as he spends more and more time in, atop and contemplating the ocean. Yes, her title is that straightforward; however, neither the simplicity of Becoming Cousteau's structure nor the descriptiveness of its moniker can sum up this fascinating and thoughtful documentary. There's nothing standard about the way it charts his evolution or examines how he used his fame, either, or about the glorious way it selects, curates and compiles its wealth of clips — or about the movie's transfixing ebb and flow. THE NIGHT HOUSE The history of cinema is haunted by oh-so-many movies about oh-so-many ghost-riddled abodes, and the often-troubled and bereaved folks dwelling within them. The first clever move The Night House makes is recognising it's floating into busy spectral waters, then ensuring its tension stems from its living, breathing protagonist as much as the frights and fears she's forced to face. The film's second stellar step: casting Rebecca Hall (Godzilla vs Kong) as that central figure. An always-welcome addition to anything she's in — see also: Professor Marston and the Wonder Women, Christine and Tales From the Loop in just the past few years — she plays her tormented part here with brooding sorrow, reluctant vulnerability and a sharp, smart edge. She knows that grappling with loss involves being jolted in many different directions, and being subjected to bumps and jumps of the emotional kind, and that it's never easy to surrender to. Indeed, many of The Night House's surprises come from Hall as Beth, a schoolteacher whose life has been turned upside down by her husband Owen's (Evan Jonigkeit, The Empty Man) unexpected suicide. Clearly normally a no-nonsense type whether she's guiding pupils, dealing with their parents or navigating her personal life, she probes and questions everything that comes her way. As a result, her reactions — including just to herself — are constantly complex, thorny and compelling. Also among The Night House's savvy moves: understanding that grief really does change everything. Not only has Beth's life lost one of its brightest lights, but everything Owen once illuminated now keeps being cloaked in shadows he's not there to extinguish. Since his passing, she's cycled through the familiar stages of mourning. When she returns to work to her colleagues' astonishment, including her close friend Claire's (Sarah Goldberg, Barry), Beth shocks her co-workers by discussing Owen's suicide note, admitting her home now seems different and obsessing over how much she really knew her husband. That last written missive ties back into one of her past traumas, as well as her own dealings with the end that awaits us all. When she's alone at night, she's not sure that she can trust what she sees and hears, or tell whether she's awake or dreaming. Filling her time by sorting through Owen's things, she's also unsure what to make of the eerie sketches and books about the occult that sit among his possessions. And, Beth's thrown even further askew when she finds photos of brunette women that could be her doppelgängers; plans for a home just like hers, but mirrored; and a cascade of tidbits that cast her memories of her marriage into disarray. The Night House has a strong sense of terror about the the fact that life doesn't extended forever, and it's a movie made with meticulous horror style as well as smarts. When it comes to plot twists, though, director David Bruckner (The Ritual) and screenwriting duo Ben Collins and Luke Piotrowski (Super Dark Times) are alittle less careful about becoming prey to indulgence. Read our full review. A FIRE INSIDE Some colours only exist in nature, as much as paints, dyes and pixels attempt to pretend otherwise. The raging reds, blazing oranges and burning yellows seen in A Fire Inside's bushfire footage are some such hues — and, away from the safety of a cinema screen, no one should ever want to spy these specific searing tones. They're haunting enough as it is to look at in a movie. Taking up entire frames of on-the-ground footage shot during the summer of 2019–20, they're scorching in their brightness and intensity. This documentary about the national natural disaster just two years ago, when swathes of Australia burned for months, deploys those apocalyptic colours and the imagery containing them sparingly, notably; however, even when they only flicker briefly, those shades aren't easily forgotten. After everything the pandemic has delivered since the beginning of 2020, just as the 'Black Summer' bushfires were cooling, that chapter of history might seem far longer ago than just a couple of years. A Fire Inside is also an act of remembrance, though. Directors Justin Krook (Machine, I'll Sleep When I'm Dead) and Luke Mazzaferro (a producer on Girls Can't Surf and The Meddler) firmly look backwards, pushing these events back to the top of viewers' memories. That said, they also survey the situation since, as the rebuilding effort has been complicated and elongated by COVID-19. This approach also enables them to survey the lingering aftermath, including the homes that still haven't been rebuilt, the people still residing in makeshift setups, and the emotional and mental toll that's set to dwell for much longer still. Accordingly, what could've merely been a record of a catastrophe becomes a portrait of both survival and resilience. Unsurprisingly, interviews drive this Australian doco, focusing on the afflicted and the volunteers. Folks in each group chat about their experiences, and the lines between them frequently blur. Firefighter Nathan Barnden provides the first and clearest instance; the film's key early subject, he saved seven strangers and retained his own life in an inferno on the very first night that the fires reached New South Wales' far south coast, but also lost his cousin and uncle to the blazes the same evening. Barnden claims Krook and Mazzaferro's attention for multiple reasons, including his initial youthful eagerness to pick up a hose — following his father, who had done the same — as well as his candour about his distress in the months and now years afterwards. Often overlooked in tales of such events, that kind of emotion sears itself onto the screen with unshakeable power, too. A Fire Inside spends time with others affected, residents and volunteers alike. RFS captain Brendan O'Connor saved his community, alongside his crew, but suffered in his personal life — and his is just one of the film's stories. Krook and Mazzaferro don't loiter on the same kinds of details over and over again, but whether talking to food bank staff, backpackers helping with re-fencing damaged farms or locals who saw everything they belonged succumb to the flames, the duelling sensations of both endurance and loss remain throughout their doco. The mood: careful, caring, sensitive and poignant. This is a movie that conjures up every sentiment expected, but also one that earns every reaction. Heartbreak and hope seesaw, and recognising that back-and-forth ride is one of the film's canny touches. Read our full review. THE KILLING OF TWO LOVERS If you stare at something long enough, you don't just see the obvious. You notice everything, from the details that fail to immediately catch your attention to the way things can change instantly right in front of your eyes. The Killing of Two Lovers is all about this idea, and on two fronts. It puts a fractured marriage before its lens, ensuring its struggles and troubles can't be ignored. It also takes its time to peer at its protagonist, the separated-and-unhappy-about-it David (Clayne Crawford, Rectify), and at all that his new life now entails. In a sparse small town — with the film shot in Kanosh, Utah — its central figure attempts to adjust to living with his ailing widower father (Bruce Graham, Forty Years From Yesterday). His wife Niki (Sepideh Moafi, The L Word: Generation Q) remains in their home with their four children, as they've agreed while they take a break to work through their problems. David isn't coping, though, a fact that's apparent long before his teenage daughter Jess (Avery Pizzuto, We Fall Down) gets angry because she thinks he isn't fighting hard enough to save their family. He's trying, but as Crawford conveys in a brooding but nervy performance — and as writer/director/editor Robert Machoian (When She Runs) and cinematographer Oscar Ignacio Jiménez (Immanence) can't stop looking at in lengthy and patient takes — he can't quite adapt to the idea of losing everything he knows. There's an element of Scenes From a Marriage at play here, although The Killing of Two Lovers pre-dates the new remake — and so much of the feeling in this gorgeously shot movie comes from its imagery. When it's hard to look away from such rich and enticing visuals, it's impossible not to spot and soak in everything they depict. Each frame is postcard-perfect, not that those pieces of cardboard ever capture such everyday sights, but wide vistas and the snowy mountains hovering in the background are just the beginning. With its long takes, The Killing of Two Lovers forces its audience to glean the naturalistic lighting that never casts David and Niki's hometown in either a warm glow or grim glower. Repeated images of David alone, especially in his car, also leave a firm impression of a man moving and solo. And, presenting most of its frames in the 4:3 aspect ratio, the film also possesses an astonishing and telling sense of space. Nothing is bluntly boxed in here, but everyone is trying to roam within the claustrophobic patch of turf they've scratched out. And, within the feature's square-shaped visuals springs an added fountain of intimacy that cuts to the heart of such close relationships, such as when David and the kids all pile into his truck, or during one of David and Niki's car-bound dates. Read our full review. Melbourne cinephiles are currently being spoiled for choice — and while we've outlined ten must-see options newly hitting the big screen when indoor cinemas reopen on Friday, October 29, there are plenty more flicks now gracing the city's silver screens. When outdoor cinemas relaunched, we highlighted Candyman, Nitram, Shang-Chi and the Legend of the Ten Rings, Malignant and The Last Duel, for instance — films now showing in indoor cinemas as well. Also opening in Melbourne cinemas on Friday, October 29 — and also only available to watch in cinemas — are Halloween Kills, Antlers, Ron's Gone Wrong, Respect, Eiffel, Ride the Eagle, Joe Bell and Don't Breathe 2. And, a number of movies that've been fast-tracked to digital in recent months are also hitting the big screen in Melbourne now that cinemas have reopened. So, you can also head out to see Pig, Free Guy, Annette and Summer of Soul Summer of Soul (...Or, When the Revolution Could Not Be Televised). Plus, after showing on Melbourne's silver screens for short spells before lockdown, Nine Days, Perfumes, Shiva Baby, Some Kind of Heaven, The Sparks Brothers, Fanny Lye Deliver'd, The Toll, Rosa's Wedding, Dating Amber, Three Summers, Little Joe, Black Widow, Jungle Cruise, The Suicide Squad, Space Jam: A New Legacy and In the Heights have returned to cinemas as well.
First Melbourne hosted Heston Blumenthal's Fat Duck, then Sydney got the upper hand by coaxing Rene Redzepi to bring his world-renowned restaurant Noma to Barangaroo for a few months. Now Melbourne has one-upped Australia's biggest city to take back the culinary crown, nabbing the rights to host next year's World's 50 Best Restaurants awards. The announcement was made by the World's 50 Best Restaurants group editor William Drew ahead the 2016 awards, which are being held in New York tomorrow night. It's a pretty big deal for little ol' Melbourne (and Tourism Australia) as it's only the second time the awards will be held outside of London. "After hosting 14 successful editions of The World's 50 Best Restaurants awards in London, we feel the time is right to make the event truly global," said Drew in a press release. "2017 in Australia will be the second time we have held the awards outside of London, following New York this year. There's so much international interest in Australia as a food destination, it's exciting for us to have the opportunity to take the events program to this unique country." Well, shucks. If you're not familiar with the awards, they're the ranking that everyone uses when talking about the best restaurants in the world. Last year Spain's El Celler de Can Roca was awarded the number one spot, while Noma has been a former list-topper multiple times. 2015 gave special mention to Melbourne's Attica and Brae, as well as Sydney's Quay and Sepia, which probably has a lot to do with why they've decided to come Down Under in 2017.
This winter, Aperol is partnering with QT Hotels to host its first Après Ski Club, where you can enjoy a spritz in the city or on the slopes. If you're planning a trip to the Victorian snowfields between Monday, June 14 – Wednesday, September 30, be sure to stop in at QT Falls Creek to kick back and enjoy a post-ski feast and sip on a refreshing Spritz while discussing the adventures of the day on the slopes with your mates at the Après Ski Club. If you can't make it to the slopes this year, head to QT Melbourne from Friday, July 16 till Thursday, August 12 for a wintry experience. Here you can enjoy a Spritz on the rooftop in the Charilift lounge area and soak up Melbourne's spectacular city skyline. On Saturdays from 4-7pm you can score a personalised embossed luggage tag, too. To score one, simply purchase two Aperol Spritzes and an Apertivo board loaded with cheeses, fruit bread, honey and quince and the tag is yours. Aperol Après Ski Club will run from Monday, June 14–Wednesday, September 30 at QT Falls Creek and from Friday, July 16 till Thursday, August 12 at QT Melbourne. For more information, head to the website. Remember to Drinkwise.
We’re only six weeks into a season far too cold for denim cut-offs and more suited to umbrellas than feather headdresses, but if you’re under the age of 50 and you like music then chances are you’re already saving coin for one of our many summer music festivals. Preliminary lineups for Harvest, Stereosonic and Falls Festival and Big Day Out have all recently been announced, with others set to reveal juicy details shortly. But while even the most civilised festival has its fair share of regrettable decisions, warm beers being chugged in the parking lot and liquid deposits being made in plastic water bottles, the truth of the matter is that at most of our own large-scale gatherings it’s easier to mislay a sense of refinement than it is to lose both your friends and your sunglasses. Ergo, Concrete Playground has handpicked a few overseas festivals that manage to combine brazen antics, booze and grannies in souped-up shopping carts with more cultivated offerings. 1. GOOGAMOOGA WHERE: BROOKLYN, NEW YORK, USAWHEN: MAY The inaugural GoogaMooga in Brooklyn’s Prospect Park offered festivalgoers not just sonic goodness from 20 performers ranging from Holy Ghost! to Preservation Hall Jazz Band, but also a little Extra Mooga alongside. With Anthony Bourdain leaving the stage just in time for James Murphy’s DJ set, and grain going head to head with grape at the Beer vs Wine smackdown, Googa Mooga is just a celebration of all things great in life. 2. ALL TOMORROW'S PARTIES (UK) WHERE: EAST SUSSEX, ENGLANDWHEN: DECEMBER No one can create an arts and music festival better than an artist or a musician, so this English festival gets a different musical or visual creative to invite their favourite performers to play each year. Past curators have included Portishead, The National and Matt Groening, with B-side festival I’ll Be Your Mirror offering music, film and arts events outside of the holiday resorts. 3. BONNAROO MUSIC & ARTS FESTIVAL WHERE: MANCHESTER, TENNESSEEWHEN: JUNE Nashville is great for wearing rhinestone cowboy hats and dancing to Johnny Cash cover songs, but Manchester is where country and bluegrass music meets indie rock, world music, folk, gospel, reggae and electronica. The 100-acre entertainment village also features a classic arcade, on-site cinema, silent disco, comedy club and theatre performers, but it’s also the peaceful vibes that had Rolling Stone name Bonnaroo one of the 50 moments that changed the history of rock and roll. 4. BUMBERSHOOT WHERE: SEATTLE, WASHINGTONWHEN: SEPTEMBER The name of this music and arts festival comes from “bumbershoot”, a colloquial term for umbrella, which is a far cooler tag than its original 'Mayor’s Arts Festival'. Now in its 42nd year, music, film, comedy, spoken word, dance, theatre and performance are just some of the genres falling under its canopy. 5. STOCKHOLM MUSIC & ARTS FESTIVAL WHERE: STOCKHOLM, SWEDENWHEN: AUGUST Here are two things you probably already know about Stockholm: it’s beautiful, and it breeds creativity like Lara Bingle breeds LOLs. The island of Skeppsholmen is where these two things culminate each year, with acts including Patti Smith, Bjork and Antony and the Johnsons playing against a backdrop of intelligent art and glittering water landscapes. 6. OUTSIDE LANDS WHERE: SAN FRANCISCO, USAWHEN: AUGUST San Francisco’s Golden Gate Park holds many rich nuggets of culture, from fascinating buildings and major museums to scenic picnic spots and lakes. In August it also plays host to Outside Lands, a festival geared towards the green movement that celebrates the neutral terrain that became San Francisco’s common ground during the tumult of the 1960s. Food, wine and immersive art are dotted around the park, while the musical lineup — ranging from Metallica to Tame Impala to Norah Jones — really does offer something for everyone. 7. ICELAND AIRWAVES WHERE: REYKJAVIK, ICELANDWHEN: OCTOBER What started as a one-off event in an airplane hangar is now one of the premier annual showcases for new music in the world. Clap Your Hands Say Yeah, The Bravery and The Rapture all played Airwaves in the infancy of their musical careers, and Rolling Stone dubbed it “The hippest long weekend on the annual music festival calendar”. But Airwaves and the exquisite city of Reykjavík don't offer just music — hose the stale beer out of your hair, hop on a bus and alleviate your hangover via geysers, waterfalls, lava fields and the world-famous Blue Lagoon. 8. CACTUS FESTIVAL WHERE: BRUGES, BELGIUMWHEN: JULY Because the only thing better than great music and great beer is Granny Turismo.
BeerFest has become permanent fixture on Australia's summer events calendar, and this year it returns for its eleventh year. The festival is set to descend on St Kilda's Catani Gardens on Saturday, March 2 in a heady blaze of music, comedy, food and, of course, beer. BeerFest will round up over 40 artisan breweries, delivering huge lineup of 300 craft drops, alongside a stack of great ciders, cocktails and wines. You'll kick off summer with a day of tastings, food and beer matchings, and free, brewer-led masterclasses showcasing one-off creations. Some of the breweries you should expect to see on the day include Melbourne's Henry Street Brewhouse and Urban Alley Brewing, Sydney's Young Henrys and Sauce Brewing Co, and the ACT's BentSpoke. What's more, this little shindig is also packing a serious punch in the entertainment department, with an impressive musical lineup featuring Sneaky Sound System, Addy Murphy and Philip Island's Emma Volard. Entry to the festival is $32, which gets you access to the day's full swag of live entertainment. Drinks will be extra — expect to pay $1–2 for 100ml tastings or $6–8 for a 285ml pour. BeerFest runs from 1–8pm.
The National Gallery of Victoria isn't just good for art — it's also good for a bit of wining and dining, with cafes across all three levels and the Garden Restaurant on the ground level, too. The gallery's Tea Room on level one is good for you if you've brought your mum along and she's mentioned she'd love a cup of tea five times so far, or for you, if you just want to treat yourself to something a bit fancy. The high tea option puts fresh finger sandwiches on the table (poached chicken, leg ham, free-range eggs and cold smoked Tasmanian salmon) as well as homemade croquettes and mini quiches. As far as sweets go, there are scones, as well as pistachio macarons and yuzu meringue tarts. The high tea is served with a glass of bubbly and a pot of tea or coffee. It's a surefire way to make even a routine trip to the gallery a little bit special. [caption id="attachment_671242" align="alignnone" width="1920"] Visit Victoria[/caption]
Fear, dread, tension, apprehension, just being creeped out — they're all strong emotions. They're also exactly the types of reactions that Darkfield and Realscape Productions trade in. The two companies have been teaming up for a couple of years now, with UK creators Darkfield first collaborating with the Melbourne-based Realscape Productions on Seance, Coma and Flight, those eerie shipping container installations that have popped up around the country. Then, when the pandemic hit, the pair pivoted to at-home audio experiences. If you've listed along to Double, Visitors and Eternal as part of the Darkfield Radio series, you'll know that putting people on edge is firmly on the agenda here. With their latest Darkfield Radio project, Darkfield and Realscape aren't messing with their successful formula. So, audiences can expect another unsettling experience designed to be listened to at home. But this duo never serve up the same thing twice, even if their current works all spin nerve-jangling tales and unfurl creepy audio experiences. With Knot, which is currently running each Friday, Saturday and Sunday until Sunday, September 30, you don't just sit in one place, don your headphones and listen attentively, for instance. Initially you need to head to a park bench to listen in — still wearing those headphones, of course — and you'll want to sit in a car after that. For the last section of this three-part experience, you'll then get comfy in a room in your house. To get the full experience, you need to work through all three of Knot's sections in one evening — untangling them in your head, naturally. Darkfield and Realscape always keep the minutiae of their shows close to their chests, so that audiences experience them for themselves while listening, but they have released one clue for Knot: "Here I am, I have come from nothing, created in this moment, as your brain improvises me into existence, improvised into existence... but with no hidden depths." "Season one exposed audiences to the mysterious and supernatural inside their homes, magnified by Darkfield's signature 360 degree binaural sound,", said Realscape Productions Amy Johnson. "We're looking forward to getting audiences outside of their homes for Season two — in COVID-safe settings of course — and pushing them out of their comfort zones even more." Images: Empty Bottles Media.
UPDATED, Friday, March 15, 2024: Taylor Swift: The Eras Tour (Taylor's Version) is available to stream via Disney+. Just like a great music documentary, an excellent concert film isn't solely about existing fans. That's still true when a movie arrives in a sea of friendship bracelets, focuses on one of the biggest current singers in the world, and perhaps the largest and most devoted fandom there is can be seen screaming, dancing and crying joyfully in its frames in a 70,000-plus drove. As the shows that it lenses were, Taylor Swift: The Eras Tour was a financial success before any Swifties experienced their version of heaven. Swift's onstage journey through 17 years of tunes sparked ticketing mayhem both as a concert and a cinema release that captures close to every moment. The Eras tour is a billion-dollar entity, with the self-produced film that's spreading it further than packed stadiums a box-office bonanza since it was announced. The 169-minute-long movie is also a dazzling spectacle that neither dedicated Swifties nor casual viewers will be able to easily shake off. When Swift told the world that she never misses a beat and she's lightning on her feet in possibly her best-known pop song, everyone should've believed her. Long before 2014 earworm 'Shake It Off' gets a spin in the 1989 segment of The Eras Tour, she's proven those words true in an indefatigable onstage effort. "Can't stop, won't stop moving" describes her efforts and the film, which is as energetically directed by Sam Wrench (Billie Eilish Live at the O2) and edited by a six-person team (with Max Richter's Sleep's Dom Whitworth as its lead) as it is performed. And, for anyone that's sat through Valentine's Day and Cats and found them hardly purring, it gives Swift the cinema presence that she's been trying to amass here and there — The Giver and Amsterdam are also on her resume — for over than a decade. Watching The Eras Tour doesn't just feel like watching a concert, but a musical spectacular in its vast grandeur, complete with the lead to match. Filmed over three concerts at Los Angeles' SoFi Stadium in August — closing out the first US leg on a global excursion that'll have notched up nearly two years of performances when it finishes in Toronto in November 2024 — The Eras Tour goes for both scale and intimacy, the holy duo of the genre. Concert flicks can't just passively watch on. One of their biggest aims: gifting audiences perspectives on the show that they can't see in-person, including spanning far and wide plus near and close. So, this one takes in the massive crowd and the just-as-enormous stage design from above. It also gives Swift's dancers and band their due. And, it, sees the star herself get sweaty, and the changing gleam in her eye depending on what which track calls for. As bouncily spliced together, each image reinforces an inescapable takeaway: everything about this tour is huge, from the cast and crystal-clad costumes to the sets and setlist, and also Swift's own stamina and chameleonic showmanship. Live and as recorded for posterity, nine of the singer's ten studio albums earn their own era (the one that doesn't, her 2006 self-titled debut, receives a track during the late acoustic section). Cue pinballing between records and styles, appearances and themes, and ballads and pop. Accordingly, songs from 2019's bright Lover sung in a bejewelled bodysuit give way to gold fringing to go all country-pop with 2008's Fearless, then orange cottagecore and witchy black cloaks for 2020's Evermore, a one-legged and snake-clad black-and-red catsuit for 2017's Reputation, and so on. Eras onstage has been exhaustively documented since opening in Arizona in March, making knowing which tracks Swift will sing, outfits she'll wear, moss-covered cabins she'll sit atop and glistening pools she'll seem to dive into scarcely a surprise not only to the Swiftiest of Swifties, but to anyone who hasn't been able to avoid the tour coverage — but in a production this immense and evolving, a "what'll happen next?" vibe still pulsates. Sans accompanying footage — interviews, behind-the-scenes glimpses and commentary are absent, with just snippets of bloopers dotted through the closing credits — The Eras Tour lets the show and tunes do the talking, plus Swift's chatter when she addresses the adoring crowd. By the time that she mentions how fun it is to segue through sounds and looks, and how it's made possible due to her fans (so: popularity and sales), the film has already made that plain, too. An ode to reinvention sits at the centre of Eras onstage and on-screen, and to longevity as well. When 'Look What You Made Me Do' enlists Swift's dancers in clear boxes, each decked out like various versions of the superstar across the years, the Barbie nods aren't subtle. 2023 is clearly the year of cinema celebrating women being everything that they want to be, which thrums at the heart of two key Swift details: why she's kept striking a chord, including with her youngest aficionados who see her as an array of role models, and her savvy knack for transformation. To the delight of The Bear's Cousin (Ebon Moss-Bachrach, No Hard Feelings), 'Love Story' gets a whirl early. Usually Swift-agnostic The Eras Tour viewers can consider the hit TV dramedy's fictional character their spirit animal while watching. This presentation is as shiny and shimmering as everything that its star wears, and as irresistible as the catchy 'We Are Never Ever Getting Back Together' refrain and slinky 'Vigilante Shit' beat as a result. Getting to the why of it all, Swift briefly explains the tour's concept; "what are you gonna do, play for three hours?" she says she was asked about touring post-pandemic after not yet taking Lover, Evermore, fellow 2020 release Folklore and 2022's Midnights on the road. The swarm of phone-wielding concertgoers before her cheer, of course. Understanding why Eras has had everyone talking since is as simple as letting The Eras Tour wash over you. A music film veteran with movies about everyone from Mary J Blige and Blur to Brandi Carlile and Lizzo on his resume, director Wrench knows that his task with The Eras Tour is multifaceted. His latest concert flick needs to spy the macro and the micro; to feel like it's on the ground and unveiling a money-can't-buy experience; and to see its star as everything and an everywoman whether she's singing about falling in love, searching for a soulmate, heartbreak, revenge, empowerment and identity — and playing guitar or piano. That it does this so seamlessly is no minor feat. Swift isn't a stranger to bringing her shows to the screen, as seen with The 1989 World Tour Live and Taylor Swift: Reputation Stadium Tour, but Swifties will consider The Eras Tour their Stop Making Sense, The Last Waltz and Amazing Grace. For everyone else, all almost three hours of the film is still enchanting to meet. Top image: TAS Rights Management, Trafalgar Releasing.
Martin Scorsese has given the world many things. He made Robert De Niro's film career, and also made sure Leonardo DiCaprio isn't just that guy from Growing Pains, Romeo + Juliet and Titanic. He's crafted some of the most influential movies of the last five decades, chronicled music over the same timespan and championed the history of cinema, too. There's a reason that you only need to refer to him by his last name. He's a creative force to be reckoned with — and, though many have tried, there's no one quite like him. In addition to all of the above — or, more accurately, because of it — he's the focus of the Australian Centre for the Moving Image's latest showcase, SCORSESE. For four months, ACMI will be decking its halls with a celebration of his cinematic impact, lining its shelves with hundreds of Scorsese trinkets, and filling its screens with his tales of wolves, bulls, butchers and taxi drivers. Of course, that's not all there is to the Scorsese experience — and no, we're not just talking about watching his movies. Before you visit the SCORSESE exhibition, we have a few pieces of Scorsese homework to get you well and truly prepared. Visiting New York and becoming besties with De Niro and DiCaprio isn't on our list, but if you want to try and make that happen, we're not going to stop you. LISTEN TO A SCORSESE PLAYLIST Scorsese has been quote as saying: "Music and film are inseparable. They always have been and always will be." And his career is a testament to that statement. From the moment 'Jumpin' Jack Flash' starts playing in Mean Streets to the way 'I'm Shipping Up to Boston' is used in The Departed, the soundtracks to Scorsese's movies have always proven as important as the narratives. The list goes on — and that's not even including references to his films in songs, as heard in the Arctic Monkeys' 'Knee Socks', for example. If you don't know where to start, try working through the back catalogues of The Band, Bob Dylan, The Rolling Stones and George Harrison, all of whom have featured in Scorsese-directed documentaries and concert films. You'll also find more than one Scorsese playlist on Spotify. DISCOVER THE MOVIES THAT SHAPED HIS TASTES Filmmakers don't just make films — they watch them, too. They've grown up watching them, as Scorsese did, starting as an asthma-afflicted child who would go to the cinema because he couldn't take part in more active pursuits. That could be why he has always been so eager to rattle off his favourite flicks, with the internet overflowing with lists of his horror, must-see and all-time picks. Working your way through his selections is a good way to brush up on your movie history in general, but why not take it a step further? Scorsese has also directed and hosted two documentaries — A Personal Journey with Martin Scorsese Through American Movies and My Voyage to Italy — that step through his thoughts and feelings about the cinema both hailing from his US homeland and linked to his Italian heritage. COOK HIS MOTHER'S RECIPES Back in 1974, Scorsese made a 49-minute documentary called Italianamerican. His parents, Charles and Catherine, feature heavily, chatting about their experiences as Italian migrants living in New York as they eat dinner. Catherine — who also pops up in Mean Streets, The King of Comedy, After Hours, Goodfellas, Cape Fear, The Age of Innocence and Casino — also talks through her meatballs recipe, which Scorsese then listed in the credits of the film. If you can't track down a copy of the movie, you can buy Italiamerican: The Scorsese Family Cookbook and then make it and 250 other Scorsese family dishes for yourself. Back in 1990, Catherine also shared the recipe for the pasta she cooks up in Goodfellas, where she played the mother of Joe Pesci's character. BINGE-WATCH HIS TELEVISION SHOWS Maybe Boardwalk Empire was your favourite TV show during its five-season run. Or perhaps you were counting down the days until Vinyl premiered back in February 2016, and then proceeded to devour every second of its '70s-set sex, drugs and rock 'n' roll fun, gratuitous name-checking and sometimes badly-cast nods to icons of the period. Whether you're an existing fan of either show, or you've been meaning to catch up with both, here's your chance to enjoy every single minute of each. Scorsese not only executive produced both series, but directed their first episodes (which explains why the Boardwalk Empire pilot reportedly cost $18 million). Yep, that's two extra pieces of Scorsese-made fare you mightn't have realised that you needed to watch. CHECK OUT HIS FILM CRITICISM Scorsese doesn't just make films, set up organisations to restore them and make lengthy programs dedicated to classics of years gone by, though he's done plenty of that. Once, back in 2000, he also guest hosted Roger Ebert & the Movies, the review television show Ebert made after the death of his former on-air partner Gene Siskel. The topic of conversation was the best movies of the '90s — and while we won't spoil Scorsese's picks, we will mention that Ebert chose Goodfellas as his number three film of the decade. Of course, Ebert and Scorsese weren't just linked on screen, with the film critic also writing Scorsese by Ebert, a book filled with essays about and interviews with the director. SCORSESE runs from May 28 to September 18 at the Australian Centre for the Moving Image in Melbourne. See the full program of exhibition-related events at the ACMI website.
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. DECISION TO LEAVE When it's claimed that Decision to Leave's Detective Hae-joon (Park Hae-il, Heaven: To the Land of Happiness) needs "murder and violence in order to be happy", it's easy to wonder if that statement similarly applies to Park Chan-wook, this stunning South Korean thriller's filmmaker. The director of Oldboy, Thirst, Stoker and The Handmaiden doesn't, surely. Still, his exceptional body of on-screen work glows when either fills its frames — which, in a career that also spans Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and English-language TV miniseries The Little Drummer Girl, among other titles, is often. To be more accurate, perhaps Park needs to survey the grey areas that loiter around death and brutality, and surround love, lust, loss, and all matters of the brain, body and heart that bind humans together, to find cinematic fulfilment. Certainly, audiences should be glad if/that he does. In Decision to Leave, exploring such obsessions, and the entire notions of longing and obsession, brings a staggering, sinuously layered and seductively gorgeous movie to fruition — a film to obsess over if ever there was one. In this year's deserved Cannes Film Festival Best Director-winner, reserved insomniac Hae-joon is fixated from the outset, too: with his police job in Busan, where he works Monday–Friday before returning to Ipo on weekends to his wife (Lee Jung-hyun, Peninsula). That all-consuming focus sees his weekday walls plastered with grim photos from cases, and haunts the time he's meant to be spending — and having sex — with said spouse. Nonetheless, the latest dead body thrust his way isn't supposed to amplify his obsession. A businessman and experienced climber is found at the base of a mountain, and to most other cops the answer would be simple. It is to his offsider Soo-wan (Go Kyung-Pyo, Private Lives), but Hae-joon's interest is piqued when the deceased's enigmatic Chinese widow, the cool, calm but also bruised and scratched Seo-rae (Tang Wei, The Whistleblower), is brought in for questioning amid apologising for her imperfect Korean-language skills. In the precinct interrogation room, the detective and his potential suspect share a sushi dinner — and, in the lingering looks gazed each other's way even at this early stage, this may as well be a twisted first date. Hae-joon then surveils Seo-rae, including at her work caring for the elderly, which also provides her alibi. He keeps watching her at home, where her evenings involve television and ice cream. In stirring scenes of bravura and beauty, he envisages himself with her in the process, longing for the illusion he's building in his sleep-deprived mind. As for Seo-rae, she keeps stoking their chemistry, especially when she's somehow being both direct and evasive with her responses to his queries. She knows how small gestures leave an imprint, and she also knows when she and Hae-joon are both desperately hooked on each other. Every intelligently written (by Park and frequent co-scribe Chung Seo-kyung), evocatively shot (by cinematographer Kim Ji-Yong, Ashfall) moment in Decision to Leave is crucial; the film is made so meticulously, with a precision its protagonist would instantly admire, that cutting out even a second is unthinkable. Equally, every scene speaks volumes about this spellbinding movie — but here's three that help convey its simmering potency. In one, Hae-joon ascends up the victim's last cliff by rope, tied to Soo-wan, Busan looming in the background. In another, detailed blue-green wallpaper filled with mountains surrounds Seo-rae. And in yet another, she reaches into Hae-joon's pocket to grab his lip balm, then applies it to his mouth. Perspective is everything in this feature, Park stresses. Minutiae is everything, too. Intimacy is more than everything, actually, in a picture that's also grippingly, electrifying sensual. Read our full review. BARBARIAN "Safe as houses" isn't a term that applies much in horror. It isn't difficult to glean why. Even if scary movies routinely followed folks worrying about their investments — one meaning of the phrase — it's always going to be tricky for the sentiment to stick when such flicks love plaguing homes, lodges and other dwellings with bumps, jumps and bone-chilling terror. Barbarian, however, could break out the expression and mean it, in a way. At its centre sits a spruced-up Detroit cottage listed on Airbnb and earning its owner a trusty income. In the film's setup, the house in question is actually doing double duty, with two guests booked for clashing stays over the same dates. It's hardly a spoiler to say that their time in the spot, the nicest-looking residence in a rundown neighbourhood, leaves them feeling anything but safe. Late on a gloomy, rainy, horror-movie-101 kind of night — an eerie and tense evening from the moment that writer/director Zach Cregger's first feature as a solo director begins — Tess Marshall (Georgina Campbell, Suspicion) arrives at Barbarian's pivotal Michigan property. She's in town for a job interview, but discovers the lockbox empty, keys nowhere to be found. Also, the home already has an occupant in Keith Toshko (Bill Skarsgård, Eternals), who made his reservation via a different website. With a medical convention filling the city's hotels, sharing the cottage seems the only option, even if Tess is understandably cautious about cohabitating with a man she's literally just met. Ambiguity is part of Barbarian from the get-go, spanning whether Keith can be trusted, what's behind their double booking and, when things start moving overnight, what's going on in the abode. That's only the start of Barbarian's hellish story. Canny casting plays a considerable part in Barbarian's early unease; if you rocked up to a place that's meant to be yours alone for the evening only for Pennywise from the recent big-screen version of IT and its sequel lurking within — sans red balloon, luckily — you'd be creeped out. Skarsgård's involvement isn't the only reason that the movie's first act drips with dread and uncertainty, but it's a devastatingly clever use of him as a horror-film talent, and the Swedish star leans into the slippery and shifty possibilities. Still, after taking a photo of his ID and being wary of drinking beverages he's made, Tess warms to Keith over wine and conversation. He's having a loud nightmare on the couch, too, when her bedroom door opens mysteriously. When she gets stuck in the locked basement the next day, he's out at meetings. Then he returns, and they'll wish that a reservation mixup really was the worst of their troubles. Clearly made with affection for old-school horror, especially films by genre great Wes Craven, Barbarian feels like a well-crafted take on a familiar premise while it's laying its groundwork. Foolish is the viewer who thinks that they know where the movie is heading from there, though — or who ignores the instant bubblings of potential to zig and zag, plus the lingering inkling that something beyond the easily expected might stalk its frames. Indeed, watching Barbarian recalls watching scary flicks from four and five decades back for the first time, a rite of passage for every horror-loving teen no matter the generation, and being gripped by their surprises. Cregger bundles in twists, but he also establishes a vibe where almost anything can shift and change. Two cases in point: when Justin Long (Giri/Haji) shows up as a smug and obnoxious Hollywood player with #MeToo problems, and when the 80s isn't just an influence in scenes lensed in a tighter aspect ratio. Read our full review. BLACK ADAM "I kneel before no one," says Teth-Adam, aka Black Adam, aka the DC Comics character that dates back to 1945, and that Dwayne Johnson (Red Notice) has long wanted to play. That proclamation is made early in the film that bears the burly, flying, impervious-to-everything figure's name, echoing as a statement of might as well as mood: he doesn't need to bow down to anyone or anything, and if he did he wouldn't anyway. Yet the DC Extended Universe flick that Black Adam is in — the 11th in a saga that's rarely great — kneels frequently to almost everything. It bends the knee to the dispiritingly by-the-numbers template that keeps lurking behind this comic book-inspired series' most forgettable entries, and the whole franchise's efforts to emulate the rival (and more successful) Marvel Cinematic Universe, for starters. It also shows deference to the lack of spark and personality that makes the lesser DC-based features so routine at best, too. Even worse, Black Adam kneels to the idea that slipping Johnson into a sprawling superhero franchise means robbing the wrestler-turned-actor himself of any on-screen personality. Glowering and gloomy is a personality, for sure, but it's not what's made The Rock such a box office drawcard — and, rather than branching out, breaking the mould or suiting the character, he just appears to be pouting and coasting. He looks the physical part, of course, as he needs to playing a slave-turned-champion who now can't be killed or hurt. It's hard not to wish that the Fast and Furious franchise's humour seeped into his performance, however, or even the goofy corniness of Jungle Cruise, Johnson's last collaboration with filmmaker Jaume Collet-Serra. The latter has template-esque action flicks Unknown, Non-Stop, Run All Night and The Commuter on his resume before that, and helms his current star here like he'd rather still directing Liam Neeson. That said, Black Adam, the character, has much to scowl about — and scowl he does. Black Adam, the film, has much backstory to lay out, with exposition slathered on thick during the opening ten minutes. As a mere human in 2600 BCE in the fictional Middle Eastern country of Kahndaq, its namesake was among an entire populace caught under a cruel ruler hungry for power, and for a powerful supernatural crown fashioned out a mineral called 'eternium' that said subjects were forced to mine. Now, 5000 years later, Black Adam is a just-awakened mortal-turned-god who isn't too thrilled about the modern world, or being in it. Bridging the gap: the fact that back in the day, one boy was anointed with magic by ancient wizards to defend Kahndaq's people (the word "shazam!" gets uttered, because Black Adam dwells in the same part of the DCEU as 2019's Shazam! and its upcoming sequel), but misusing those skills ended in entombment until modern-day resistance fighters interfere. The above really is just the preamble. Black Adam is freed by widowed professor Adrianna (Sarah Shahi, Sex/Life), who is trying to fight the Intergang, the mercenaries who've been Kahndaq's new oppressors for decades — and, yes, Black Adam gets caught up in that battle. But being out and about, instead of interred in a cave, gets the attention of the Justice Society. The DCEU already has the Justice League and the Suicide Squad, but it apparently still needs another super-powered crew. Indeed, Suicide Squad and The Suicide Squad's Amanda Waller (Viola Davis, The First Lady) even shows up to help put this new gang together. That's how Hawkman (Aldis Hodge, One Night in Miami), Doctor Fate (Pierce Brosnan, The Misfits), Cyclone (Quintessa Swindell, Voyagers) and Atom Smasher (Noah Centineo, the To All the Boys movies) don their caped-crusader getup and try to stop Black Adam, or convince him to stop himself. Read our full review. THE GOOD NURSE It isn't called CULLEN — Monster: The Charles Cullen Story. It doesn't chart the murders of a serial killer who's already a household name. And, it doesn't unfurl over multiple episodes. Still, Netflix-distributed true-crime film The Good Nurse covers homicides, and the person behind them, that are every bit as grim and horrendous as the events dramatised in DAHMER — Monster: The Jeffrey Dahmer Story. Such based-on-reality tales that face such evil are always nightmare fodder, but this Eddie Redmayne (Fantastic Beasts: The Secrets of Dumbledore)- and Jessica Chastain (The Forgiven)-starring one, as brought to the screen by Danish filmmaker Tobias Lindholm (A War, A Hijacking), taps into a particularly terrifying realm. The culprit clearly isn't the good nurse of the movie's moniker, but he is a nurse, working in intensive care units no less — and for anyone who has needed to put their trust in the health system or may in the future (aka all of us), his acts are gut-wrenchingly chilling. Hospitals are meant to be places that heal, even in America's cash-driven setup where free medical care for all isn't considered a basic right and a societal must. Hospitals are meant to care for the unwell and injured, as are the doctors, nurses and other staff who race through their halls. There is one such person in The Good Nurse, Amy Loughren, who Chastain plays based on a real person. In 2003, in New Jersey, she's weathering her own struggles: she's a single mother to two young girls, she suffers from cardiomyopathy to the point of needing a heart transplant, and she can't tell her job about her health condition because she needs to remain employed for four more months to qualify for insurance to treat it. Then enters Cullen (Redmayne), the newcomer on Loughren's night shifts, a veteran of nine past hospitals, an instant friend who offers to help her cope with her potentially lethal ailment and also the reason that their patients start dying suddenly. There's no spoiler alert needed about The Good Nurse's grisly deeds or the person responsible. Cullen's name hasn't been changed in Krysty Wilson-Cairns' (Last Night in Soho, 1917) script, which adapts Charles Graeber's 2013 non-fiction book The Good Nurse: A True Story of Medicine, Madness, and Murder, and Loughren's similarly remains the same. The Good Nurse also opens with the quietly disquieting Cullen retreating as someone in a different hospital years earlier goes into convulsions — standing back motionless, he tries to appear anxious but instead looks like a creepy blank canvas. Accordingly, that he's the cause of much of the movie's horrors is a given from the outset, but that's only one of Lindholm and Wilson-Cairns' angles. As aided by centring Loughren's plight, The Good Nurse is also a film about institutional failings and coverups with very real consequences. Indeed, as set to an eerie score by Biosphere (Burma Storybook), there's a procedural feel to Lindholm's first feature in America; that he helmed episodes of Mindhunter beforehand doesn't come as a surprise. There are cops, too, in the form of detectives Baldwin (Nnamdi Asomugha, Sylvie's Love) and Braun (Noah Emmerich, Dark Winds), who are brought in seven weeks after a patient's passing just after Cullen arrives. But nurse-turned-administrator Linda Garran (Fear the Walking Dead), who summons the police, is hardly forthcoming — about the almost-two-month delay or with information overall. It isn't in the hospital's interests to be upfront, which is why and how Cullen has kept moving from healthcare facility to healthcare facility, and notching up a body count at each by spiking IV bags with fatal doses of insulin and other medications. No hospital wants to be seen to be at fault, and won't warn fellow institutions, either. Read our full review. 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 July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; and October 6 and October 13. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam, The Stranger, Halloween Ends, The Night of the 12th, Muru and Mona Lisa and the Blood Moon.
For a cocktail bar, clocking up ten years of life is no mean feat, especially given the many months of curveballs COVID-19 threw our way. So the fact that acclaimed Fitzroy cocktail haunt the Everleigh is gearing up to turn the big 1-0 is cause for serious celebration — two months of celebrations, in fact. Yep, the Gertrude Street mainstay from Michael and Zara Madrusan (Made in the Shade — Heartbreaker, Connie's, Bar Margaux) is rightly going all out for its 10th birthday, with a slew of festivities planned for the coming weeks. [caption id="attachment_854509" align="alignnone" width="1920"] Zara and Michael Madrusan[/caption] It all kicks off with a bar takeover of somewhat epic proportions — famed New York bar Attaboy will descend on the venue for a one-off night of very fine boozing, on Sunday, May 29, helmed by owners Sam Ross and Michael McIlroy. Not just an excuse to indulge in some world-class sips, the event will also see Madrusan getting back to his roots, with the owner-bartender a proud alum of Milk and Honey, Attaboy's pioneering predecessor. There'll be four ways to enjoy the Attaboy takeover: a front-row seat at the bar with a signature bottled cocktail included in your $150 ticket, a table for two in the main bar ($75pp), a table in the drawing room ($75pp), or, if you've got a crew of 10 to 15, an exclusive group-friendly spot upstairs ($75pp). All tickets include a drink on arrival, two signature Attaboy cocktails and an array of snacks, served with the Everleigh team's usual hospitable flair. And if you miss out — or simply can't get enough — the venues have just dropped two signature bottled Attaboy cocktails, available on the website, one designed by McIlroy and the other by Ross. You'd best hurry though, as there's only 100 of each on offer. [caption id="attachment_854514" align="alignnone" width="1920"] One of the Attaboy x Everleigh cocktails[/caption] The festivities continue on Wednesday, June 29, with the return of the Everleigh's Classic Cocktail Book Club. Madrusan will join a bunch of special guests for an entertaining, cocktail-matched deep-dive into historic tome, The Bar-tender's Guide or How to Mix Drinks, by Jerry Thomas (1862). And on Thursday, July 28, the bar's tenth anniversary gala will deliver an evening of signature sips, live entertainment and surprises, in what's set to be one of the most memorable parties of the year. More on that to come. The Everleigh is among Melbourne's most esteemed cocktail spots and has made many an appearance on the World's 50 Best Bars List during its life. Catch the Attaboy takeover at the Everleigh, 150-156 Gertrude Street, Fitzroy, on May 29. For more info and tickets to all events, see the website. Images: Gareth Sobey, Pete Dillon, Jake Roden.
A cup of tea can't soothe all ills, solve any traumas of the past or smooth over centuries of systemic oppression; however, it is how the biggest New Zealand film of 2022 started to spring to fruition. That movie is Muru, writer/director Tearepa Kahi's (Poi E: The Story of Our Song, Mt Zion) take on the treatment of Aotearoa's Tūhoe community by the NZ government and law enforcement. It spins a story easily tied to one event, the October 2007 armed police raids of Rūātoki that were carried out under terrorism laws — acting on supposed suspicion of paramilitary training camps in the Urewera mountain range — but it gleans inspiration from multiple incidents that've blighted the country's history. "This film is not a recreation… it is a response," Muru tells its audience at the outset. That's an important statement. Kahi's approach is to work through the raids — and to draw upon the police shooting of Steven Wallace in Waitara in 2000, and from the arrest of Rua Kēnana in Maungapōhatu in 1916 — to offer a reply that might just prevent such horrors from recurring in the future. His feature lays bare how the community was impacted when police stormed in 15 years ago, and the distress it brought. An emotional film as well as an action-packed one, Muru doesn't hold back, whether it's confronting generations of prejudice, reckoning with its consequences or depicting what that kind of experience is like in shattering detail. When the cups of teas behind Muru began being poured, Kahi wasn't the only one doing the sipping. Also at the table: Tāme Iti, who was one of 18 people arrested during the 2007 raids. His off-screen input was always going to be crucial; his on-screen presence is as well. The activist and Rūātoki local plays himself in the film opposite fellow tea-drinker and NZ actor Cliff Curtis (Reminiscence), with Kahi bringing two famed Aotearoans together for a pivotal cause. Passion radiates from the end result: passion to tell this tale, to do it justice, to reflect the community's ordeal and to make a difference. It's no wonder that Muru has not only resonated on home soil, including opening the 2022 New Zealand International Film Festival midyear and its local box-office success, but also travelled further afield. Berths at the Toronto and Busan film fests, a cinema release in Australia, earning the Asia Pacific Screen Awards' Cultural Diversity Award: they've all followed. As Muru continues to share its story in NZ, in Australia and beyond, we spoke with Kahi and Iti about making a feature that history demanded, those cups of teas, the responsibilities of a film like this and more. ON DECIDING TO MAKE A FILM THAT RESPONDS TO THE TŪHOE RAIDS Tearepa: "Our first cup of tea together was in 2018, but my father and Papa Tāme, and my father-in-law and Papa Tāme, are friends, so the relationship predates 2018. You could almost say 'where did this film start?'. It probably started on the 15th of October 2007." Tāme: "I think those beginnings, it was really talking to people that we can trust. For me personally, it was: who do I need to talk to, and how do we do that, and the purpose? Who's the audience? And so forth and all that. For me, sharing my story, our story, the village's story to Tearepa is based on trust, connections and having those relationships with him and his family. So it has become a family collaboration or participation. It is really the timing too — it happened at the right time — and putting those layers of the story together. They came up with the magic." [Tāme points to Tearepa.] Tearepa: "The three of us — one, two and Cliff — we all started having cups of tea and plotting this chessboard out, really interrogating the themes, and pulling this chessboard of characters together." ON TĀME ITI PLAYING HIMSELF Tāme: "I mean, when Tearepa and I were talking about the character…" Tearepa: "I had a secret. And I kept the secret from him." Tāme: "It was all good. At the end of it, I did agree to it. There was a moment of anxiety, but I got over it and just moved along — it was fun, really." Tearepa: "We surrounded Papa Tāme with the best cast we could produce from NZ at the time of shooting. We were really proud — and the fact is that all of these people came on was because everyone was committed to wanting to bring Papa Tāme's story to life on-screen." Tāme: "And having the experience working with people like Cliff Curtis and Manu Bennett." Tearepa: "And Jay Ryan." Tāme: "And Jay Ryan. That was a new experience for me, working with people that have the craft and they're very good at it, and learning from that, too." Tearepa: "They learned a lot from you too, though. They learned a lot from you Papa." Tāme: "But it was great." ON FINDING THE RIGHT APPROACH Tearepa: "It's not what happened — it's a response to what happened. In that spirit, the spirit that guided us through here, is that this film, Muru, we hope is a prevention from this occurring to Tūhoe or to any Māori community ever again. Two times, our government has repeated their actions. And in many ways this is more than a reminder — it's a clear, strong message that the memory of the community is alive and well. It's saying: 'we know what you've done and we know what has happened, and here is our response. We've taken preventative measures to ensure the safety, the ongoing safety of our communities'. There was another version that was just much more Beehive and Wellington and police-focused, and a sort of very faithful chronological understanding of the machine and the system, and how it reached the moment of pushing the red button. But when we really held that script up and stress-tested it, there's no heart there, there's nothing to learn there. Why aren't we in the community? So we successfully screwed that one up and threw it into the basket, and put our story where it rightfully should be told." ON WORKING THROUGH REAL-LIFE TRAUMA WITH THE TŪHOE COMMUNITY Tāme: "That was my role, and others around us, to have those conversations with the community." Tearepa: "We had two years' worth of conversations. This was something that we carried with us every day, over the entire process. Is the commitment to telling this story going to enact more trauma, or retraumatise? Or, can we do this in a way where the point is so well-articulated, and the kaupapa is so well-understood and carried by everybody involved with this, that we do understand it as a prevention?" ON MAKING THE FILM WHERE THE RAIDS HAPPENED Tearepa: "What was it like staging an action film in Tāme's backyard? It was the most fun we've ever had as a full, experienced crew. We made many decisions from the outset, and one of them was not to shoot this in a West Auckland studio, or on a Lord of the Rings set. So we went to Tāme's backyard, and we spent our time conversing and communicating with everybody there so everyone in the community had an understanding of what was going to happen. It was an incredible amount of fun. It required an incredible amount of focus. Why it was easy was because it was all character-motivated and generated, so we're not imposing this external new worldview into the film — the film and the sequences are driven by the action of the characters. So that made it clear for everyone." ON SHOOTING DURING THE PANDEMIC Tearepa: "It was the best thing for us because it brought us much focus, and it brought us closer together. We're always trying to cast the lightest footprint in and amongst the community, but the amount of focus meant there was no third wheel to lean on. It was really up to us. It was like making an old-school 1980s film, you know, an old-school George Miller or an old-school Geoff Murphy film. It was just us and the crew, deep in the Valley, making this thing happen." ON THE PERSONAL IMPACT AMONG THE COMMUNITY, CAST AND CREW Tāme: "It was a whole new experience for the Valley, and bringing people into the space. Actually, that part was quite fun. After everybody agreed to participate in the making of the movie — it was a big thing for the village, to see something big is happening within our village — they were really excited, particularly my generation, the older folks, the ladies and the men there. And meeting Cliff Curtis and Manu Bennett, and all those guys — they really loved that." Tearepa: "There was an excitement factor, but then down inside each character, our cast members, there was a personal connection to the date, to the day that we're trying to bring to life as well. And that's what everyone was carrying — this personal connection. A lot of people were caught up inside this raid that day, and everyone had a personal story that connected them to someone who had been victimised or someone who had been caught up in this false net, so the personal stakes were really, really high." ON BRINGING THIS STORY TO THE WORLD Tearepa: "Everyone stays glued to their seats when the credits roll. We have been so specific with the Valley, in terms of the dialect, the language, the relationships — they are so specific. And I guess in committing to that level of specificity, you are universalising the story. There's a big undercurrent that's happening worldwide in terms of questions of authority, policing and how they should be protecting communities — there's always been a question mark there. So with that theme of loyalty and protection and authority, there is a lot of international resonance when they watch this specific valley." Tāme: "I had this conversation with Tearepa, sharing some of those experiences, those stories that come from within the village. The experiences we're covering come from well over 100 years — not just what happened in 2007, but what happened in 1916 to Rua Kēnana, what happened in the 1860s, right through that whole period of time. We survived here to tell the story, and to bring that story here and share it to the world really. And of course it resonated to many other Indigenous people, to other people that have been through the same experiences like our village." Tearepa: "To add to it, there is an overall awareness of the why we're making it — but really, in terms of the scriptwriting, it was about understanding and turning inwards. It was very inward-facing, to look into the Valley, to look into Papa Tāme's personal story. And with those themes, how we could bring those themes to life with characters within the village, within the Valley? Muru is screening in Australian and New Zealand cinemas. Read our full review. Images: Jawbone Pictures, Wheke Group Limited.
In The Guest Edit we hand the reins over to some of the most interesting, tasteful and (or) entertaining people in Australia and New Zealand. For this instalment, we've enlisted the elegant taste of Aotearoa-based fashion designer Juliette Hogan amid the launch of her super soft — and super kind to the planet — JHL loungewear range. Hogan has handpicked her five favourite sustainable brands that show caring for the planet does not mean compromising on style or quality. After all, who knows style better than one of the country's most celebrated designers? JULIETTE HOGAN: Sustainability is no longer a 'nice-to-have' when making purchasing decisions — it is an absolute essential. As a whole, the fashion industry has a long way to come, but it's encouraging to see change. I'm excited by the continued evolution to a more transparent sharing of knowledge within our industry — both from our suppliers and to our consumers. At JHL, we believe we owe it to our customers to be constantly improving and evolving in the sustainability space in order to create genuine, honest and enduring connections with them. At the end of the day, the power is in the consumer's hands. When you make a more sustainable choice, you are sending a message about what is valuable to you. Every decision adds up, and collectively that begins to have real impact. SANS CEUTICALS Founded by Kiwi Lucy Vincent and made with the intention of taking chemicals and preservatives out of our most soothing daily rituals, Sans Ceuticals is one of my favourite skincare companies. I particularly love the Activator 7 Body, Hair and Face Oil. Find it now: On Sans Ceuticals' website or at Mecca, with shipping available around both Australia and NZ. AMISFIELD WINE I really enjoy Amisfield wine and love everything they do, including the restaurant and cellar door. I was pleased to see that they recently received recognition of Riedel Organic Winery of the year in 2020. My favourites would have to be the Pinot Noir and the Pinot Noir Rose. Find it now: At Amisfield Winery in Queenstown or on the Amisfield website, with shipping available around both Australia and NZ. JH LOUNGE For obvious reasons, JHL is of course on my go-to list of sustainable labels. There was a gap in my wardrobe, so we looked to fill it with JHL, which are considered basics designed to elevate the everyday. Everything in the collection is developed from sustainable and responsible materials, which we love and are really proud of. Find it now: The JHL website or through The Iconic, with shipping available around both Australia and NZ. GOODFOR I love GoodFor's refinery. I've recently started making homemade crackers for cheeseboards and get all of the ingredients here, as I know they're the best out there. Find it now: The GoodFor website with shipping available around NZ only. HABITUAL GOODS This brand was founded in Christchurch and has been built from the ground up, by the best local crafts people, from the best possible materials. The brassware range is incredible. Find it now: The Habitual Goods website, with shipping available around both Australia and NZ.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. FAST AND FURIOUS 9 Fast cars, furious action stars, a love of family and oh-so-many Coronas: across ten movies over 20 years, that's the Fast and Furious franchise. It might've started out as a high-octane spin on Point Break, but this long-running series has kept motoring across nine flicks in its main storyline, and also via a 2019 spinoff. The latter, Hobbs & Shaw, actually casts a shadow over the saga's latest instalment. Because Dwayne Johnson was part of that sidestep, he doesn't show up in Fast and Furious 9. He's missed, regardless of whether you're usually a diehard fan of the wrestler-turned-actor, because he's managed to perfect the F&F tone. Over his decade-long involvement to-date, Johnson always seems amused in his Fast and Furious performances. He's always sweaty, too, but that's another matter. Entering the F&F realm in Fast Five, he instantly oozed the kind of attitude the franchise needs. He knows that by taking the outlandish stunts, eye-catching setpieces and penchant for family with the utmost seriousness, these films border on comedic — and by navigating five flicks with that mood, he's been the saga's playful and entertaining barometer. Without Johnson, Fast and Furious 9 isn't as willing to admit that it's often downright silly. It's nowhere near as fun, either. Hobbs & Shaw wasn't a franchise standout, but Fast and Furious 9 mainly revs in one gear, even in a movie that features a high-speed car chase through Central American jungles, a plane with a magnet that can scoop up fast-driving vehicles and a trip to space in a rocket car. The latest F&F is as ridiculous as ever, and it's the least-eager F&F film to acknowledge that fact. It's also mostly a soap opera. It leans heavily on its favourite theme — yes, family — by not only swapping in a different wrestler-turned-actor as Dominic Toretto's (Vin Diesel, Bloodshot) long-lost sibling, but also by fleshing out the warring brothers' backstory through flashbacks to their tragic past. Fast and Furious 9 starts with an 80s-era Universal logo, because that's the time period it heads to first — to introduce a teen Dom (Vinnie Bennett, Ghost in the Shell), his never-before-mentioned younger brother Jakob (Finn Cole, Dreamland) and their dad Jack (JD Pardo, Mayans MC). It's 1989, the elder Toretto is behind the wheel on the racetrack, and his sons are part of his pit crew. Then tragedy strikes, tearing the Toretto family apart. In the present day, Dom and Jakob (John Cena, Playing with Fire) definitely don't get along. Indeed, when Roman (Tyrese Gibson, The Christmas Chronicles: Part Two), Tej (Chris 'Ludacris' Bridges, Show Dogs) and Ramsey (Nathalie Emmanuel, Four Weddings and a Funeral) drive up to the rural hideout that Dom has been calling home with wife Letty (Michelle Rodriguez, Crisis) and toddler son Brian (first-timers Isaac and Immanuel Holtane) since the events of 2017's The Fate of the Furious, he doesn't even want to hear about the latest mission that demands their help. The only thing that changes his mind: realising that Jakob is involved and up to no good. 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. 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. THE MOLE AGENT At this year's Oscars, the Academy of Motion Picture Arts and Sciences anointed the past year's best documentary, as it usually does — deciding that the standout factual film of the year told a tale about a man and his bond with a sea creature. My Octopus Teacher falls into a busy genre of films about being forever shaped and altered by the earth's natural splendour (see also: Valerie Taylor: Playing with Sharks), but it isn't the only one of 2021's nominees that demonstrates how unexpected connections can reap rewards, insights and new perspectives. Chilean doco The Mole Agent does the same, albeit in a vastly dissimilar manner. Its focus: an elderly man hired by a private investigator to go undercover in a retirement home. Rómulo Aitken's client suspects that the facility may be blighted by elder abuse, so he needs someone who'll blend in to do his sleuthing. Answering an advertisement for someone aged between 80 and 90, octogenarian and recent widower Sergio Chamy couldn't be more keen for the gig. He doesn't quite have a handle on the technology he'll need to use, despite trying to claim otherwise. Indeed, when he tries to show Rómulo that he can use a smartphone, he takes countless photos while claiming he's snapping none. Still, he's boundlessly eager to distract himself from his grief by taking on a new adventure, making new friends, and even learning a thing or two. For the mostly female residents at El Monte's San Francisco Nursing Home, for Rómulo and for filmmaker Maite Alberdi (The Grown-Ups) alike, Sergio is a dream — even though he's definitely not your usual spy or detective. He doesn't always fulfil his assigned tasks as asked, but he's a delight to spend time with as he endeavours to record what's going on at the home via his hidden camera-equipped glasses and pen. As they explain again and again in candid and lively chats to camera (presumably because they think they're being filmed for a more traditional type of doco), the women he's now sharing a facility with definitely agree that he's a charmer. In fact, Sergio is so charismatic that he fails to simply blend in, observe and report back. He's also a much-needed and -welcomed source of kindness and comfort to the home's residents, many of whom have no other company to turn to, and it's these interactions he largely documents in his dispatches to Rómulo via WhatsApp. Alberdi still charts his overall mission, but his general presence elicits just as much interest. With a crown for king of the home coming his way, and many of his peers fawning of him, there's much to chronicle. In her third film to focus on the elderly (after La Once and short I'm Not from Here) Alberdi sees the change he brings to people who haven't been paid this much attention in years, and also the change the spy gig brings in Sergio — and sharing her affectionate gaze is easy in this thoughtful film. MY ZOE Rare is the film that nods overtly to more than a few of its influences, yet still manages to inhabit its own niche and no one else's. My Zoe is one of those movies. Its first half bears much in common with 2017's exceptional French drama Custody, while its second half takes its cues from the greatest horror novel ever written. That combination works astonishing (and almost disarmingly) well, and nothing here every feels like a mere clone of better material. In the movie's opening section, Berlin-based geneticist Isabelle (Julie Delpy, Wiener-Dog) juggles the struggles of co-parenting with her ex James (Richard Armitage, The Lodge). They both dote on seven-year-old Zoe (Sophia Ally, The Current War), but they also argue incessantly — largely due to James' dour behaviour, cruel demeanour and ludicrous demands. By the time that Isabelle calls him "just an awful human being" in one of their arguments, the audience is already on her side. They settle their custody dispute, but the bickering doesn't subside when Zoe is found unconscious and requires hospitalisation. Eventually, though, Isabelle has another dilemma to navigate, involving a desperate ploy to get back what she's lost, a risk-taking doctor (Daniel Brühl, The Falcon and the Winter Soldier) in Moscow and an option his own wife (Gemma Arteton, Summerland) warns against. Directing, writing and starring here — as she's done with Looking for Jimmy, 2 Days in Paris, The Countess, Skylab, 2 Days in New York and Lolo before — Delpy could've made the relationship and tragedy side of My Zoe into a feature of its own, and then done the same with the science fiction-tinged exploration of loss that follows. Blending the two together befits one of her overt sources of inspiration, Mary Shelley's Frankenstein, though. For more than 200 years now, the gothic classic has examined how grief leads to drastic reactions, how science can let humans play god in increasingly bold and consequential manners, and how we're hardwired to use the latter to work through the former, as well as our fears of mortality — and My Zoe picks up those threads, interrogates them with today's medical advances in mind, and turns them into quite the haunting piece of cinema. Both sensitivity and realistic emotions linger in both of the movie's halves, and in Isabelle's actions and choices along the way. Delpy directs herself to a fantastic performance, and pairs her efforts with a poised and empathetic perspective throughout. Another savvy move, and one that epitomises how exactingly Delpy has thought through every detail: that, if you aren't paying the utmost attention during the first half, you mightn't even realise that the film takes place in the near-future. 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. FROM THE VINE Uprooting to Italy on a whim is bound to change your life, and no one needs a movie to tell them that. Plenty of films keep stressing the message, though; if Under the Tuscan Sun and Eat Pray Love didn't get the idea across, 2020's Made in Italy tried to, and now From the Vine does the same. The only new things that this latest sun-dapped European-set jaunt has to add to its concept: talking vines, and reminders that the corporate world cares for no one and small towns can struggle. So, this movie trades in fantasies and the obvious, and does so several times over. It also relies heavily upon rural Italy's obvious scenic sights, thanks to frequently used drone shots of Acerenza, the quaint Potenza spot where the bulk of the movie is set. Lawyer-turned-car manufacturing company CEO Marco Gentile (Joe Pantoliano, Bad Boys for Life) was born and raised locally, but left as a child; however, it's the first place he thinks of heading when he quits his job after a tussle with the board over sustainability. His wife Marina (Wendy Crewson, The Nest) refuses to go with him, and their daughter Laura (Paula Brancati, Workin' Moms) is certain he's having a midlife crisis — but, after making the trip, reacquainting himself with the locals and setting back into his late grandfather's own vineyard, he realises he's found la dolce vita. From the Vine has Marco and Marina chat about La Dolce Vita, the 1960 classic, and about the Audrey Hepburn-starring Roman Holiday, too — in case the themes and messages the film is going for really weren't clear enough. They are, of course; working with a script adapted from Kenneth Canio Cancellara's novel Finding Marco by screenwriter Willem Wennekers (Buckley's Chance), filmmaker Sean Cisterna (Full Out) loves spelling out as much as possible. Not a single character seems to have a thought they don't overtly state, every plot development is telegraphed as far ahead as the movie can manage, and stressing the apparent idyll by shoehorning in yet another scenery shot happens again and again. Then there's those talking vines, as well as scenes where the adult Marco chats with his grandfather's ghost. Apparently viewers wouldn't understand exactly what's tempting Marco to give up his old existence if greenery and the dead didn't chatter. Although in far less challenging and rewarding territory than his past roles in the likes of Memento and The Sopranos, Pantoliano is the best thing about this dully formulaic flick — a result that also fits a template. Christopher Walken was in the same situation just last week with Percy vs Goliath, in fact. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; and June 3 and June 10. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis and The Conjuring: The Devil Made Me Do It.
It began, as so many wonderful internet things do, with an XKCD cartoon. Titled Up-Goer Five, the schematic explained the internal workings of the only rocket to have transported humans into space, the Saturn V, using only the 1000 most commonly used words in the English language. Rocket is not one of the words, nor thousand. Nor most of the words in this paragraph. In the last few days, enabled by Theo Sanderson's specially built text editor, several other people have Up-Goer Fived their own area of expertise. Most of them are scientists from esoteric fields, giving us laymen a rare chance to grasp what their life's work is about. Not being able to use jargon makes for some convoluted WTF gibberish sentences, but at other, better times, it creates windows where you can grasp at some previously ungraspable idea. Check out these excerpts and their simply stated insights. 1. Saturn's moon Iapetus is two-toned because bits of air turn into ice on the back side of it "First, it runs into black stuff that sticks to the front of it. That black stuff takes in more light from the sun and makes it warmer. That makes very tiny bits of the ice it's made of turn into air, and the bits of air go around it and turn back into ice on the back side of it. Second, when the bits of ice go away from the front side, they leave behind dark stuff that was between and under them, and that makes the front side even blacker, and helps it warm up even more, so things go on and on and on. The back side is white because it didn't get black stuff on it, and also because the ice that went away from the black side went there and made it bright." By Rachel Klippenstein. Read in full at io9.com. 2. The Higgs boson is the tiny thing that makes all other things heavy "What makes the tiniest things heavy? The best guess explained this by saying that all around us is a field, which is a bit like water or some other stuff that would slow you down if you tried to walk through it … [U]ntil last year, people weren’t completely sure this field was real. But they knew that if it was real, and you shook it really hard, then a totally new tiny thing would fall out of it. That’s because it’s a bit like the water-like-stuff is made out of this new tiny thing." By Michael Slezak. Read in full here. 3. We don't have robot helpers yet because it's hard to make computers with bodies walk "We want the computers with bodies to run quickly. We want them to climb walls. We need them to do these things even when the ground is covered in rocks or with ice, without tripping and falling or getting stuck. We look a lot at animals to see how they do these things. We try to understand how their brain decides where to put their legs, and how their legs are built." By Shira E. Read in full here. 4. The Bechdel Test is a check to see if things are even in the way they show men and women "To make the story as much like real life as possible (except for the made-up bits) you really do need a lot of different kinds of people, not just lots of men who are quite like each other because they are all young and white and strong. This makes it easier for people to accept the really made up bits, because the rest of the story feels much more real." Read in full here. 5. Environmental protection might mean not giving so much food to animals and cars "So how are we going to grow more food without cutting down more trees? One answer to this problem is looking at how we use the food we grow today. People eat food, but food is also used to make animals and run cars. In fact, animals eat over one-third of the food we grow." By Emily S. Cassidy, environmental scientist. Read in full here. 6. Postmodernism is that many things we think are facts are actually stories "This is not to say the facts are not true. But the story isn't." Read in full here.
It's been a little under two years since star chef Shane Delia brought his lo-fi, modernised kebab offering to Windsor, setting up Biggie Smalls on Chapel Street. But now, the hip hop tunes and crinkle-cut chips are being switched out for something a little sleeker, as the venue transforms into new culinary concept Maha East. Sibling to Delia's acclaimed CBD restaurant Maha, the reimagined Windsor space will soon be showcasing the same elevated Middle Eastern flavours and contemporary flair, only with a more relaxed edge. While the original Maha is known for its degustation-driven dining options, guests at the Chapel Street newcomer will find themselves faced with a little more choice and a slightly fatter wallet at the end of a feed. Delia and Head Chef Simon Lillico are still adding the final touches to the Maha East food offering, though we do know that both lunch and dinner will offer the option of a la carte or a share-style set menu. Whatever you choose, get set for a mix of tried-and-true favourites and creative new dishes, from slow-roasted lamb shoulder and famed turkish delight doughnuts to the likes of fried buns filled with taramasalata and topped with salmon caviar, and house-baked breads with hummus and a Persian saffron XO. [caption id="attachment_722637" align="alignnone" width="1920"] Brook James[/caption] The drinks program is set to be a major focus, too, with a 120 bottle-strong wine list heroing both old-world styles and more contemporary drops, alongside Maha's full lineup of signature cocktails. Yes, that means the legendary Pomegranate Sour will be be making an appearance. Meanwhile, the design of the 40-seat restaurant will favour the timeless, pulling together a suave mix of bronze-edged stone, walnut panelling and rich green accents. If you'd still like a taste of Delia's lo-fi kebabs, fear not — you can still visit the original Biggie Smalls outpost in Collingwood. Find Maha East at 36 Chapel Street, Windsor from Thursday, June 27. It'll be open for dinner daily and lunch on Saturday and Sunday. Images: Brook James
Almost every bakery in town is spruiking their limited-time Easter creations, so making the best choice for your long weekend won't be easy. If you're weighing up the (many, many) options, just know that Penny for Pound has years of form in this area, having served up in-demand hot cross buns to huge fanfare for nearly a decade. However, in 2025, the bakery is taking things up a notch, with a full range of limited-time goods on its Easter lineup. Hot cross bun fanatics will be happy to know that Penny for Pound's sought-after versions will be available until April 20. There are a two flavours on offer: a dressed-up take on the classic which sees earl-grey soaked raisins, currants and sultanas elegantly balanced with orange zest and cinnamon and a triple-chocolate bun that packs decadent dark chocolate chunks into every bite. But the fun begins with Penny for Pound's new Easter inventions — the hot cross-ant and the hot cross cinnamon scroll. For the former, co-owners Matilda Smith and Ben Wilson put their clever and creative heads together to create a genius mash-up, where flaky croissant meets classic hot cross bun flavours. Filled with cinnamon, orange-spiced almond frangipane and the traditional fruit, these treats are available fresh in-store or as convenient bake-at-home frozen packs. Plus, they're topped with the classic Easter cross. Meanwhile, the hot cross cinnamon scroll features a light, fluffy scroll dough infused with spiced brown sugar, cinnamon and plump sultanas. Glazed with vanilla sour cream and topped with a cinnamon cross, these special edition baked goods are bound to give your Easter long weekend a sweet lift. Founded in 2018, Smith and Wilson have expanded beyond Penny for Pound's original Richmond location, with bakeries now thriving in Camberwell and Moorabbin. Renowned for its intricate and inventive cakes and handcrafted baked goods, the bakery has become a go-to for pastry fans seeking a sweet, flaky bite to kickstart their weekday morning or weekend ritual. Penny for Pound's limited-time Easter treats are available in-store until April 20 at Richmond, Camberwell and Moorabbin locations. Head to the bakery's website for more information.
After its enormous success on Broadway and in London's West End, the Tony and Olivier award-winning musical Come From Away is touring its remarkable true tale around Australia's east coast. Based on real post-September 11 events, the acclaimed production is on in Melbourne until October 30. If you aren't familiar with the musical's plot or the actual events that inspired it, it's quite the exceptional story. In the week after the September 11 attacks in 2001, 38 planes were unexpectedly ordered to land in the small Canadian town of Gander, in the province of Newfoundland. Part of Operation Yellow Ribbon — which diverted civilian air traffic to Canada en masse following the attacks — the move saw around 7000 air travellers grounded in the tiny spot, almost doubling its population. Usually, the town is home to just under 12,000 residents. To create Come From Away, writers and composers Irene Sankoff and David Hein spent hundreds of hours interviewing thousands of locals and passengers, using their experiences to drive the narrative — and, in many cases, using their real names in the show as well. The result is a musical not just about people coming from away (the term that Newfoundlanders use to refer to folks not born on the island), but coming together, all at a time when tensions were running high worldwide. Since being workshopped in 2012, having a run in Ontario in 2013, then officially premiering in San Diego in 2015, Come From Away has become a global smash hit. After opening on Broadway in 2017, it was still running before the theatre district closed due to COVID-19. The musical wowed crowds in the West End, too — and, when it first opened in Melbourne in July 2019, it became the Comedy Theatre's most successful musical in the venue's 91-year history. Along the way, the show has picked up a Tony Award for best direction of a musical, six other nominations, and four Olivier Awards out of nine nominations. https://www.youtube.com/watch?v=-zmvy1p2FOE&feature=emb_title Images: Jeff Busby. Come From Away is showing at the Comedy Theatre until Sunday, October 30. Tickets and more information can be found on the website.
The roll call of food favourites setting up shop at 80 Collins Street continues to grow, with four final venues announced for the $800 million CBD development. Melbourne's already getting excited for new eateries from Chin Chin's Chris Lucas and Sepia's Martin Benn and Vicki Wild, Alejandro Saravia's new paddock-to-plate Farmer's Daughters restaurant and a Melbourne outpost of high-end cocktail and Champagne bar Nick and Nora's by the Eau de Vie team. Now, it's been revealed that Handpicked Wines, Glacé, Colours Bowls and Maverick will also be joining the party. Handpicked Wines will launch its first Melbourne urban cellar door, showing off its award-winning range of drops. The site is set to boast a retail space and wine bar, dishing up cheese, charcuterie and vino for taking away or enjoying in. There'll be wine flights, workshops and barrel tastings, as well as a rotation of tap wines, with nifty refillable bottles to minimise waste. The two-level Glacé venue will be a flagship for dessert queen Christy Tania's artisanal creations, complete with an open kitchen, a Parisian-inspired tea house and a dedicated dessert bar. This one's set to be a go-to for stunning cakes and sweet treats, lush high tea sessions and decadent dessert degustations. Colours Bowls is the latest from young gun chef Charlie Carrington, riffing on his well-known Colours by Atlas concept. Mediterranean-inspired plant-based fare will reign supreme here, in a space inspired by Carrington's recent jaunts in Tel Aviv. [caption id="attachment_634417" align="alignnone" width="1920"] Glacé[/caption] Fronting Little Collins Street, Maverick will be the next offering from the minds behind Richmond's Mayday Coffee & Food and the original Petty Officer in Albert Park. The contemporary cafe is set to deliver ethically sourced specialty coffee from Axil and a creative menu filled with local, seasonal produce. The space itself is a warm, playful setting, that comes courtesy of Pitch Architecture & Developments. Slated for completion in 2020, the 80 Collins development will also boast a futuristic new office tower, a 255-room boutique hotel and a luxury retail offering, alongside its star-studded hospitality precinct. 80 Collins Street is slated for completion in 2020.
Enjoy being served by a human being at a cafe or restaurant and being able to ask "what are your specials for today?" whilst you can because food delivery techniques are changing fast. Scrap that, they are dropping fast. After flying drones recently emerged to deliver food to patrons at London's renowned YO! Sushi restaurant and beer to festival revellers in South Africa, a group of innovative Melburnians have decided that wasn't cool enough, so they have decided to deliver double the cool. Not only are they serving delicious jaffles in Flinders Lane, they have elected to do it by parachute. That's right, by parachute. Then they gave their service an excellent pun-moniker: Jafflechutes. COOL. Describing themselves as the world's first float-down eatery, Jafflechutes has a process that sounds simple enough. You select your delicious filling (cheese and tomato; cheese, ham and pineapple; or the all-out cheese, roast beef, dill pickles, mushroom and mustard), pay via Paypal, stand on the 'X' at 349 Flinders Lane at your nominated time and catch your snack. Just be aware, if it gets stuck in the tree, then the people at Jafflechutes cannot stress enough to not climb the tree. Wind gods permitting, delicious pockets of cheese filled dough will be raining down on Flinders Lane tonight from between 10pm and midnight, and whilst they have sold out this time around (the Jafflechuters have got 600+ likes on Facebook since starting their page on August 12), they hope to be back in the near future should everything work out fine. What could possibly go wrong? You can follow Jafflechutes on their Facebook and Twitter.
Imagine if you could get a sneak peek of your next holiday destination before you arrived. No, looking at photos online and scrolling through Instagram doesn't count. Taking the concept of trying before you buy to the travel industry, a company called Navitaire has unveiled what they're calling "the world's first virtual reality travel search and booking experience". Their VR system places would-be jetsetters in a room with a globe, lets them spin away, pick a place somewhere on the planet and then dive right in. After wandering through their chosen location in a virtual sense — spying tourist attractions and seeing the general sights — users can then search for flights, walk through the plane to pick their seat, give a few rental cars a try and purchase their trip, all within the virtual reality realm. Down the track, Navitaire, which is owned by travel technology company Amadeus, hopes that touring and booking hotels, and sharing searching experiences via social media, will also be able to be incorporated into their VR platform. At the moment the project is still in development, with a patent pending. Plenty of other places have combined virtual reality with scoping out ace spots — Qantas has an app that lets you take a virtual tour of Australia, and the Sydney Opera House has their own that peers behind the scenes at the iconic venue — but doing all of that and then locking in a trip straight away might be the future.
To support flood-affected communities in regional Victoria, Music Victoria is launching a massive live music program this spring. That's 30 individual events running all over the state from Tallarook and Pyramid Hill to Newbridge and Baringhup. It's all part of Music Victoria's Live Music for Flood Recovery program – a chance for communities, travellers and music-lovers to gather and show their support for towns affected by the devastating October 2022 floods. This program began last December in Shepperton, but it was such a hit that Music Victoria put the call out to live music venues, artists, presenters and community groups to get involved and the response has been huge. The idea now is to expand the program and keep it running, reigniting tourism in the regions and raising money for flood-affected communities. From July to the end of October, live events will be popping up across Victoria in Tallarook (Taungurung Country), Pyramid Hill (Dja Dja Wurrung and Barapa Barapa Country), Boort (Dja Dja Wurrung and Barapa Barapa Country), Newbridge (Dja Dja Warrung Country), Rochester (Yorta Yorta Country), Bridgewater (Dja Dja Wurrung Country), Mooroopna (Yorta Yorta Country), Baringhup (Dja Dja Wurrung Country), Horsham (Wotjobaluk, Wergaia (Were-guy-ya), Jupagalk, Jaadwa and Jadawadjali Country), Euroa (Taungurung Country), and the Pyrenees (Dja Dja Wurrung Country). It all kicks off on Sunday, July 30 at Blue Tongue Berries in Seymour with Sundanese icon, Ajak Kwai. You can check out the full schedule here. Highlights include Rochella (October 14) and FLOW presented by Euroa Music Festival (October 21). "We're so excited to see an incredible array of community led events taking place all over the state," Music Victoria CEO Simone Schinkel says. "These events will provide a place for people to gather, reconnect and enjoy live music, which is such an important part of the recovery process for these communities." Tickets for most of the events are already on sale. Check out Music Victoria's website for all the details. Images: Supplied
They can't all be treats. That's true each time October 31 hits, sending children scurrying around the streets in search of sweets, and it's true of the film franchise that owns the spookiest time of year. Since debuting 43 years ago, the Halloween series has delivered both gems and garbage — and off-kilter delights such as Halloween III: Season of the Witch — but its latest and 12th entry carves a space firmly in the middle. Halloween Kills ticks plenty of boxes that a memorable Halloween movie should, and is also a horror sequel on autopilot. Somehow, it's also a Halloween movie lacking purpose and shape. It has The Shape, of course, as Michael Myers is also known. But it's more an exercise in spending extra time in Haddonfield, in its boogeyman's presence and in world inhabited by franchise heroine Laurie Strode (Jamie Lee Curtis, Knives Out) than a compelling slasher flick on its own. After giving the Halloween realm its second-best chapter in 2018, it's easy to see why returning writer/director David Gordon Green (Stronger) and his frequent collaborator Danny McBride (The Righteous Gemstones) have taken this approach. When you've just made a classic follow-up to a stone-cold classic — again, only John Carpenter's iconic franchise-starter is better — you keep on keeping on. That's not quite how Halloween Kills turns out, though. It picks up immediately where its predecessor left off, lets Michael stab his way through small-town Illinois again, and brings back Laurie's daughter Karen (Judy Greer, Where'd You Go, Bernadette) and teenage granddaughter Allyson (Andi Matichak, Son) from the last spin. It also pads things out with a vengeance storyline that endeavours to get political, yet proves about as piercing as a butter knife. In the last film — called Halloween, like the flick that started it all — Laurie faced the man who turned her into a victim back when she was a 17-year-old babysitter. She unleashed four decades of rage, fear and anxiety during a moment she'd been preparing for across all of that time, and it proved cathartic for her and for viewers alike. This saga was always going to add another sequel, however. As the second part of a trilogy under Green and McBride's guidance, Halloween Kills will also gain its own follow-up in a year's time. When it arrives in 2022, Halloween Ends won't actually live up to its name. No horror movie lover would want it to. Still, it already haunts Halloween Kills — because, like the townsfolk that the latex mask-sporting, overall-wearing Michael just keeps stalking, it feels uncertain about where it should head. First, Halloween Kills sends its three generations of Strode women to hospital, riffing on 1981's Halloween II. Sadly, it also replicates one of the latter's missteps, leaving Laurie there as her nemesis keeps slicing — and splitting its attention around Haddonfield. Here, both Karen and Allyson have also had enough of Michael's nonsense. So has Tommy Doyle (Anthony Michael Hall, The Goldbergs), one of the kids that Laurie babysat on that fateful night all those years ago. So, he rallies a mob and transforms the grieving and scared locale into a haven for vigilante justice; "evil dies tonight!" is their cheer. Evil won't die tonight, which isn't a spoiler. Again, Halloween Ends is coming — and evil won't end there, either. As this franchise has kept looping, twisting and constantly resetting its prior timelines every few films or so, the fact that its source of evil keeps slashing in movie after movie has been one of its strongest thematic weapons. Indeed, Halloween circa 2018 keenly understood that trauma such as Laurie's doesn't fade. It festers; its survivors might learn to cope beneath their PTSD, but their lacerations still pulsate with pain. Halloween Kills tries to expand the idea by focusing on communal rather than individual wounds, and on its setting's shared past; however, thanks to heavy-handed insurrection-style imagery, it plays less as a musing on its underlying suburban nightmare and the distress rippling from it, and more as a weak comment on America today. They can't all slay, obviously — Halloween movies, that is. Michael clearly can and does keep slaying, his body count rising swiftly. When it comes to his murders, Halloween Kills is gory, bloody and gruesome, with Green at his best when he's honing in on the mechanics of its masked maniac's reign of terror. It'd be repetitive if it wasn't so effective, even if it's packaged with smaller doses of tension and suspense. The OG Halloween spawned a spate of imitators for a reason, and still does, but this latest successor lacks its slasher elegance and economy — because Green also enjoys getting flamboyant with Halloween Kills' kills for the sake of it. Perhaps he's trying to make up for sidelining his star, the white-haired Curtis, for so long. Steely as ever, she remains the film's undisputed highlight in the screen time she has, but Halloween Kills doesn't feel like Laurie's story. Or, perhaps Green is trying to distract from the bold move he didn't make. Even in a franchise that plays so fast and loose with its continuity, not managing to bring back Paul Rudd, aka Halloween: The Curse of Michael Myers' version of Tommy, is a huge missed opportunity. Halloween Kills re-enlists other familiar faces, spanning both 1978's and 2018's Halloween flicks. It adds backstory all over the place, much of it filler. It gets Carpenter, his son Cody and godson Daniel Davies to rework the synth and piano-heavy tunes that've served the series so well, after they did the same last time around. Like its predecessor, it slinks and stalks with unease. It pushes women to the fore again, too — women who refuse to simply be mere final girls. But it's also the jack-o'-lantern of Green's trilogy within the broader Halloween franchise: there's enough light flickering in its carved-out pumpkin eyes, but there's also an inescapable by-the-numbers emptiness as well.
The laneways of Melbourne have been the unofficial training ground and creative home for Australian street art, in all its variety and forms. Over the years, as street art has changed and evolved, it has moved beyond the laneways and in with some unlikely bedfellows — galleries, governments and businesses. A recent example of this is the collaboration between one of Melbourne's most prominent and talented street artist, Drab, and product design company Buzz Products. Drab's street art has not only graced the walls of Melbourne's laneways but also been part of exhibtions and festivals in Melbourne, Sydney and New Zealand. He also worked with locals kids in Woorabinda Queensland to paint murals as part of the Indigenous Hip Hop Project. However, this recent collaboration with Buzz Products has really expanded his artistic repertoire. Literally. The exterior of the Buzz Products has been transformed from a boring blank wall into Australia's largest paste up street art. Using 56 sheets of paper, 40 litres of glue and taking two days to complete, this piece of street of art is 27 metres long by 8 metres high. It gives the urban landscape a much needed lift, and the good residents of Abbotsford in Melbourne something to gawk at on their trainride home.
Books and good lighting have never seemed to go together. As a child I was always encouraged to read less, because "you'll ruin your eyes!" Clearly my parents never anticipated that glasses would become cool. Regardless, I spent most of my childhood reading in bad light, and I am now quietly smug that I have reached my early twenties and have never had a cavity despite refusing to drink milk, have curly hair without eating my crusts, and have perfect vision, unaided by optometrists, despite having spent most of my life with my head in a book. Now Swiss designer Boris Dennler, in his 2007 series of lamps entitled Livresse, is bringing books and good lighting together in one lovely, yet contradictory, invention. Dennler has chosen to re-purpose books, an item frequently overlooked when it comes to the world of interior lighting, and transform them into eco-friendly lamps. The books are turned into fully functional soft-lighting lamps without causing damage to the pages, and can be easily changed if you need to swap your Mills and Boon lamps for early French philosophers. The lamps are also portable, so you could easily freak people out by hanging them from the trees. Recycling at it's best. [Via Designboom]
Can one city have too many burger bars? Melbourne certainly seems determined to put that question to the test. Here to join the party is South Australian cult burger joint, Benny's, opening their first Victorian location on Chapel Street. It's a bold move, especially considering there's competition from Betty's, Hello Sam, Leonard's House of Love and Kung Fu Burger on all sides. Sleepy Adelaide this is not. But Benny's has developed a serious reputation in Adelaide as the go-to for a cheat meal, specialising in juicy, hard-to-hold-in-two-hands, American-style burgers. [caption id="attachment_902425" align="alignnone" width="1920"] Image: Matt Turner[/caption] If this is your first visit to Benny's, start with something simple like the cheeseburger. Then work your way through the menu, up to monsters like the Fat Boy: an Angus beef patty, 8-hour slow-cooked brisket, double cheese, BBQ sauce and onion. All your usual burger friends are here too: mac and cheese, milkshakes you struggle to suck through a straw and chips smothered in gravy. There are over twenty on the menu and Benny's is even giving out 300 freebies on its opening day on Friday, June 2. Mark this one in your diaries, launch day freebies from 5pm will include the signature cheeseburger, a classic chicken burger or a vego cheeseburger, on the house. [caption id="attachment_902426" align="alignnone" width="1920"] Image: Matt Turner[/caption] There are also plans to launch Melbourne's first bottomless burger brunch later in the year, which sounds like a truly incredible hangover cure. Images: supplied. Benny's officially opens on Friday, June 2 at 560 Chapel Street, just opposite Chapelli's. The free burger special is running that day only for the 300 customers who dine-in from 5pm, so get your skates on. After that, it will be open Monday–Thursdays and Sunday 11am–10pm, plus 11am–12am on Friday and Saturday.
That time of year has rolled around again and we're all looking forward to many catch-ups with mates and family over glasses (or bottles) of vino. Not to mention there's the office Secret Santa gifts to be bought and the inevitable conversation with the siblings around who's picking the wine to impress the folks. And what you'll be drinking at Christmas lunch, no less. Thanks to Vivino and its hardworking community of wine lovers who voted in the inaugural Aussie Vivino Community Awards, we've handpicked the best of the best from the winning wines, so you can stock up on these top drops for all the silly season shenanigans you have planned, from a reasonably priced riesling to crack open with the crew to a $141 biodynamic cabernet blend that'll impress even the stubbornest of sippers. 2019 GRANT BURGE BAROSSA INK SHIRAZ, BAROSSA VALLEY SA ($17) With almost 1500 ratings, the Grant Burge Barossa Ink Shiraz was rated as the top vino in the Vivino Community Awards' wines under $25 category. Aussie wine lovers must know what they're talking about as this wine is quintessential Barossa — think Christmas cake spices with notes of plum and luscious blueberry. This wine is perfect for those who are always stuck on how to impress dad at family dinner. A crowdsourced success. Purchase Grant Burge Barossa Ink Shiraz via Vivino. 2020 TIM ADAMS RIESLING, CLARE VALLEY SA ($21.99) In the early 2000s, a group of forward-thinking winemakers in South Australia's Clare Valley were frustrated with cork-related faults ruining the vibrancy of their rieslings, so they banded together, bucked conventional norms and bottled their wines under Stelvin closure (screw caps). Twenty years later, screw caps are the norm and the future of Australian rieslings has never looked so bright. To experience the freshness and vibrancy of Clare Valley riesling, look no further than this archetypal example from Tim Adams. Bursting with flavours of freshly cut citrus and hints of white florals, this drop is the perfect accompaniment to a serve of Sydney rock oysters. Hot tip: you can even drizzle a bit of the wine on top of the oyster instead of lemon. Purchase Tim Adams riesling via Vivino. 2019 UNICO ZELO ESOTERICO, RIVERLAND SA ($24.99) Unico Zelo's Esoterico really lives up to its name, having developed a cult-like following over the years. At first you'd be excused for not knowing what to make of it on account of its slightly hazy colour and the kind of pronounced texture you only see in red wines, but then you're hit with pretty and delicate florals from the zibibbo and gewurztraminer grapes. If you've never understood what all the fuss is about with skin-contact wine this is a fantastic entry point, and a perfect one to crack open with a charcuterie board on a sunny afternoon with mates. Purchase Unico Zelo Esoterico via Vivino. 2018 LANGMEIL VALLEY FLOOR SHIRAZ, BAROSSA VALLEY SA ($30) Langmeil boasts a 125-year winemaking history with their dry-grown vineyards believed to be the world's oldest surviving shiraz vines. While the wine from that particular vineyard from this prestigious winery will set you back $145, they have released a wine that is a little more approachable for everyday drinking. The Valley Floor shiraz is crafted from fruit grown by over 20 families from across the Barossa's 30 original villages, still being made in the historic Langmeil winery. A piece of South Australian wine history at a fraction of the price, the perfect gift for the old school wine lover in your life. Purchase Langmeil Valley Floor shiraz via Vivino. 2018 SAILOR SEEKS HORSE PINOT NOIR, HUON VALLEY TAS ($67.10) From small vineyard plantings in Tasmania's Huon Valley comes a pinot noir by husband-and-wife winemaking duo Paul and Gilli Lipscombe. Fruit for this exceptionally well-crafted wine comes from the estate vineyard, planted by the duo's own hands in 2005. It's not hard to see why this wine clocked in at 14th place in Aussie wines priced between $25–80. It has blackberry and raspberry notes intermixed with a tension that causes you to reach for the bottle before you've even finished the glass in front of you. This small-batch premium pinot noir has become one of the most sought-after wines on the mainland, fought over by sommeliers and wine lovers alike. Purchase Sailor Seeks Horse pinot noir via Vivino. 2018 CURLY FLAT PINOT NOIR, MACEDON RANGES VIC ($72.60) There's pinot noir, and then there's Macedon Ranges pinot noir, and no one sets the gold standard of this wine varietal from this region better than Curly Flat. This light red is a medley of aromas and flavours, from violets and black cherries on the nose (with just the tiniest hint of dried rose petals) to balsamic strawberries and slight savoury notes of forest floor and slate. Meet duck pancakes' newest accompaniment. Purchase Curly Flat pinot noir via Vivino. 2019 TOLPUDDLE CHARDONNAY, COAL RIVER VALLEY TAS ($95.33) This wine is touted as the benchmark for cool-climate Aussie chardonnay. Using grapes from vineyards planted in Tasmania in 1988, this exceptional chardy is made by celebrated South Australian winemaker Adam Wadewitz (of Shaw and Smith fame). This drop is rarely available for long after its release. But you don't have to take our word for it — it's currently rates 4.4 out of five on Vivino, and it came in second in the Vivino Community Awards' top ten Aussie whites category. If you find some, buy it ASAP and impress the family with it on Christmas Day — and convert the anything-but-chardonnay drinkers in your household. Purchase Tolpuddle chardonnay via Vivino. 2018 CULLEN 'DIANA MADELEINE' CABERNET BLEND, MARGARET RIVER WA ($141) Vanya Cullen, the current winemaker of Cullen Wines in Western Australia (and often dubbed as Australia's High Priestess of Biodynamics) has named her flagship cabernet blend after her mother, Diana. What makes this wine so unique — and absolutely worth the price? The fruit comes off vines dating back to 1971, and the care and great attention it takes to produce this wine are unparalleled. The fruit was picked according to the biodynamic calendar dates, with one of the harvests occurring on a full moon. Due to this vino's structured nature, it'll cellar for up to 50 years (if you have that kind of patience). Purchase Cullen 'Diana Madeleine' cabernet blend via Vivino. Download the Vivino app and start discovering more ideal summer sips to stock up on — then buy them straight from the app. For more wine inspo, check out this year's Vivino Community Awards.
Gluten isn't always the enemy. Sometimes it's just wheat, a grain that's been modified so much over time that many of our guts now struggle to digest it properly. The team at Farro is well aware of this, opting to replace wheat with 100-percent spelt flour in all of its pizza, pasta and bread. Not only is this ancient grain better for our bellies, but it arguably tastes a whole lot better than wheat and totally gluten-free options. It's also what had made this Italian restaurant group so successful, with the crew having just opened its seventh outpost in Moonee Ponds. Here, diners can expect the same stacked menu of classic Italian dishes found at its locations in Fitzroy, Caulfield North, Hawthorn, Thornbury, Windsor and Richmond, from the long list of antipasti to house-made pasta and woodfired pizzas. The extensive vegan menu can also be found the new Moonee Ponds site, offering up a huge amount of completely plant-based eats. Drinks-wise, all the usual contenders are here. Aussie and Italian beers come both on tap and in tinnies, vinos from Victoria and Italy dominate the wine list, and there's a decent selection of cocktails for those feeling a little fancier. And if you're simply looking to order some pizza and pasta to be delivered to your house near in the inner northwest, Farro is available on UberEats. You'll find Farro at 30 Puckle Street, Moonee Ponds, open 5–9pm on weekdays and 12–9pm on weekends. For more information, head to the venue's website.
Since opening in March, Fitzroy's Evie's Disco Diner has been serving up vegan-friendly comfort food in the surrounds of a 80s-themed eatery straight out of Stranger Things. And this winter, you can take shelter from Melbourne's winter chill in its converted neon warehouse space and get stuck into the eatery's new menu. On the lineup you'll find some decadent winter warmers alongside grub inspired by America's deep south, including gumbo and seafood chowder. Vegans need fret not as half the menu will still be meat-free, with dishes such as mock hot dogs and vegan Halal Snack Packs. To drink, there's warming mulled wine and cider. And to help you forget about the rather gloomy weather, things are getting a bit boozy with a new bottomless brunch held on Saturdays and Sundays from 11.30am to 2.30pm. Kicking off on Saturday, July 14, the brunch features three hours of all-you-can-drink mimosas and Champagne, plus your choice of fried-chicken topped waffles, maple bacon pancakes or a BLT and fries — for only $55 a head. Each option can also be made vegan on request, and all the ingredients are sourced locally — so there's really no excuses to miss out on this weekend recovery session. Bookings are essential, so contact Evie's ahead of time to secure a spot for you and all your nostalgia-loving mates.
First birthdays are not all pleasant. Banal observations like "I can't believe it's only been a year!" fly out of people's mouths as unwelcomely as the projectile vomit now covering your brand new button-up (thanks, birthday boy). But upon hearing that Spotify Australia turned one today, we couldn't help but join the chorus of disbelief. It's only been a year? Really? It's hard to remember life before Spotify. The days of trying to 'unmax out' your maxed-out credit card before clicking 'purchase'. Of artists watching through tears as their life's work is torrented to the masses. A year later, it's hard to imagine anything other than clicking that little green button to soak our ears in unlimited, legal music juice. We might not yet have struck the perfect balance between access for audiences versus payment for artists, but it feels like we're getting closer. So for that we'd like to say 'Happy Birthday, Spotify'. Now today, just like the last occasion on which you celebrated a first birthday, is all about gushing and goggling over pretty pictures. And, proud mother that she is, Spotify Australia has shared this super-amazing infographic which you just have to see. The stats are pretty friggen incredible — Australian Spotify users have streamed a mammoth 42.5 million hours of music and have created over 14 million playlists over the past 12 months. (That's over 4000 years of music — which, if played in order, would take about 50 generations to finish. We're talking 6013, guys.) Of those 14 million playlists, over 240,000 playlists have been created about love, romance and/or sex; 150,000 for exercise; and 65,000 for getting through the work day. Also, a whopping 230,000 were created for travel. So if you've ever wanted to scream, "I get it, arts student, your European experience makes you singularly unique", you at least have proof that their playlist probably wasn't. American duo Macklemore & Ryan Lewis and Icelandic indie-pop-folksters Of Monsters and Men dominated our listening habits, taking out Most Streamed Artist and Most Streamed Track/Album respectively. We can now also confirm that Australians like Flume. A lot. Not only was he the most streamed local artist, but he took out three of the top five local tracks of 2012/13. This had little to do with the Spotify habits of Prime Minister Julia Gillard, who eschewed the young producer for the likes of Bruce Springsteen and Midnight Oil. We can't confirm if Julia actually enjoys Midnight Oil or is just playlisting them for the unity of the federal front bench.
The National Cabinet was set to meet and decide on how to relax some of Australia's social distancing and public gatherings restrictions on Monday, May 11 — inline with the end of Victoria's second four-week state of emergency — but Prime Minister Scott Morrison decided today, Friday, May 1, to bring this date forward to next week. "Decisions on relaxing restrictions will be made next Friday [May 8]", the Prime Minister said. "Australians have earned an early mark for the work they have done." Some states have started to ease minor restrictions — such as allowing two-person house visits in NSW and more outdoor recreational activities in Queensland — but next Friday's announcement could see some larger decisions made on the federally mandated public-gathering and social-distancing rules. The Northern Territory, which has had a total of 28 cases, has already outlined its own roadmap to the "new normal", with the reopening of restaurants, bars and cafes set to take place on Friday, May 15. The Prime Minister would not comment on exactly what restrictions could be wound back, but that "room density measures" — such as the previous one person per four-square-metre rule for indoor venues — and requirements to remain 1.5 metres apart will not be lifted. This could impact if it's financially viable for restaurants, bars and cafes to reopen, even if they are allowed to. Before any restrictions are lifted, though, the Prime Minister said that more people need to download the government's contact-tracing app COVIDSafe. He said that while 11 of the 15 previously outlined conditions under which restrictions could be eased had been met, the final piece in the jigsaw puzzle of contact tracing was not in place. "There are currently over 3.5 million downloads and registrations of the COVIDSafe app, but there needs to be millions more," the Prime Minister said. He reiterated that if Australians want to go to the pub, they have to download the app. For now, the current COVID-19 restrictions will remain in place for at least the next four weeks. And fines are still in place for disobeying these in NSW, Vic and Queensland. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kimberley Low
Saint Dreux, a Japanese-inspired coffee and katsu sando bar that opened in Melbourne's CBD last month, exudes Japanese minimalism. With a concise menu of five sandwiches, castella cakes, pastries and Tokyo's Onibus coffee served in a modern monochromatic fit-out, it's the kind of place that could even spark joy for Marie Kondo. The sandos are cut with laser precision, as are the varying castella (Japanese sponge cakes), packaging is simple and even the ceramics are polished to perfection. Inspired by the vending machines and convenience stores of Japan, the Saint Dreux team, who is also behind Slater Street Bench and 580 Bench, wanted to make the humble katsu sandwich a hero here in Melbourne. "You could get them from vending machines, trains and restaurants. They're absolutely everywhere [and] we became obsessed…" said co-owner Joshua Crasti, who owns Saint Dreux and Bench along with Nick Chen, Frankie Tan and Claye Tobin. While, traditionally, katsu sandos are made with soft (crustless) white bread, cabbage, sweet tonkatsu sauce, kewpie mayo and panko-crumbed pork, the Saint Dreux team has widened the range to include wagyu beef, ebi (prawn), tori (chicken), tamago (egg) and the classic tonkatsu with Kurobuta Berkshire pork. Think white bread sandwiches must equal cheap? Think again. While most of the sandos sit around the $15 mark, the wagyu version will set you back a whole $28 — which might just make it Melbourne's most expensive sandwich. Despite this — or because of it — the sandwiches are selling out pretty early most days, so we suggest swinging by early if you want to snag one. https://www.instagram.com/p/BuvJoKxhXfw/ Housemade castella cakes are also available in original, black sesame, matcha and hōjicha (Japanese green tea) flavours, as well as croissants and an assortment of pastries by local Bakemono Bakers. Saint Dreux is the latest vendor to join St Collins Lane's contemporary food hub and sits neatly amongst a range of pan-Asian fare including Sushi Boto (where sushi is delivered to you via boat instead of train), Poke Workshop and Think Asia as well as a couple of espresso bars. Saint Dreux is now open in St Collins Lane Food Hall, Level Two, 260 Collins Street, Melbourne. It's open from 8am–5pm daily. Top image: Bekon Media.
Just hours after its series finale aired, Prime Video has confirmed that The Summer I Turned Pretty will conclude with a feature film. Announced on Thursday, September 18, the adaptation of Jenny Han's bestselling trilogy will wrap up with a movie written and directed by Han herself. "The Summer I Turned Pretty has struck a chord with audiences everywhere, creating moments of joy, nostalgia, and connection that have made it a global sensation," Courtenay Valenti, head of film, streaming and theatrical at Amazon MGM Studios, and Vernon Sanders, Global Head of Television at Prime Video and Amazon MGM Studios, said in a joint statement. "We're proud of the series' extraordinary success and couldn't be more excited to partner again with Jenny Han to bring fans an unforgettable next chapter." Han added: "There is another big milestone left in Belly's journey, and I thought only a movie could give it its proper due. I'm so grateful to Prime Video for continuing to support my vision for this story and for making it possible to share this final chapter with the fans." Since premiering in 2022, The Summer I Turned Pretty has become a global phenomenon. Its second season, released in 2023, more than doubled the first season's viewership within its first three days. Season three debuted in July 2025 and was streamed by 25 million viewers worldwide in its first week, becoming Prime Video's fifth most-watched returning season. The series has also helped launch the careers of stars Lola Tung, Jackie Chung, Christopher Briney, Gavin Casalegno, Rachel Blanchard, Sean Kaufman and Rain Spencer. No release date has yet been set for the film. Images: Erika Doss | Amazon
Survival is an ongoing process. If the first season of The Last of Us didn't already make that clear, the second season of the HBO series is set to arrive in 2025 to stress that message again. How does humanity endure in the aftermath of the Cordyceps virus, and the global devastation caused by it? What does it mean to persist? Also, who do we become in the process? Audiences will find out again from April. At the end of 2024, the US network confirmed that The Last of Us would return sometime in autumn Down Under. Now, it has locked in a month. An exact date is still to be revealed, but the show's comeback is getting closer. Also revealed: a new teaser trailer for the hit TV show that's based on the hugely popular gaming series, following prior sneak peeks — including as images and in promos for the network's full upcoming slate, plus an earlier season two teaser trailer. Prepare for a time jump. Prepare for a guitar. Prepare for hordes of infected. Prepare for a haunting feeling, too. Also, prepare for sirens, flares and a stern warning: "there are just some things everyone agrees are just wrong". In season two, it's been five years since the events of season one. And while there has been peace, it clearly isn't here to stay. Yes, Joel and Ellie are back — and, in their shoes, so are Pedro Pascal (The Wild Robot) and Bella Ramsey (Chicken Run: Dawn of the Nugget). This time, however, part of the conflict comes from each other. In season two, the show's main duo also have company from both familiar faces and a heap of newcomers. Rutina Wesley (Monster High) and Gabriel Luna (Fubar) return as Maria and Tommy, while Kaitlyn Dever (Good Grief), Isabela Merced (Alien: Romulus), Jeffrey Wright (American Fiction), Young Mazino (Beef), Ariela Barer (How to Blow Up a Pipeline), Tati Gabrielle (Kaleidoscope), Spencer Lord (Family Law), Danny Ramirez (Black Mirror) and Catherine O'Hara (Beetlejuice Beetlejuice) are the season's additions. The two teasers for the second season so far give fans a glimpse of plenty of the above new cast members, including Dever as Abby and Wright as Isaac. The Last of Us made the leap from video games to TV in 2023, and was swiftly renewed after proving a massive smash instantly. The series gave HBO its most-watched debut season of a show ever — and its first episode was also the network's second-largest debut of all time. Locking in a second season was also hardly surprising because the 2013 game inspired a 2014 expansion pack and 2020 sequel. For first-timers to the franchise on consoles and as a TV series, The Last of Us kicked off 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Check out the latest teaser trailer for The Last of Us season two below: The Last of Us season two will arrive sometime in April 2025 — we'll update you when an exact date is announced. Season one is available to stream via Binge in Australia and on Neon in New Zealand. Read our review of the first season. Images: HBO.
It's not every day someone asks you to steal their things. Stolen Rum did just that. They posted notices to telegraph poles asking "Is this your sofa?" and kindly let the good people know where to steal them from. You steal it, you keep it; that was the deal, no tricks. On the same day across three countries — Sydney, Australia; Miami, USA; and Dunedin, New Zealand — people lined up for hours hoping to secure a sofa. Needless to say, all 150 sofas were burgled, plundered and nicked in less than seven minutes. Seven. With the average sofa weighing at least over 30kg, that's some speedy thieving. The Stolen Sofas Project generated a gargantuan amount of public interest, with budding thieves nabbing a spot in line hours before kick-off in each city. The first 50 lounge bandits in Sydney, Miami and Dunedin then had one job to do: nick the lounge and get the heck home. Punters scraped together their best burglary getaway vehicles, trucks, cars, bikes, even skateboards. But the purists simply came with ready hands and previous experience in moving house for their mates. The result? Pure, debaucherous international chaos. Stolen Rum, a new drop on the market, has been winning over hearts in bottle shops across Australia, New Zealand and the States. The company’s inspiration is a rebellion against the “tedious existence of work and pay”. “We cannot buy our lives back, nor can we beg them back,” writes the vagabond theorist on their site. “Our lives will only be our own when we steal them back — and that means taking what we want without asking permission.” Want to know where you can taste Stolen Rum? It's on the shelf at BWS Australia wide and in some of your favourite Sydney bars. Check out all the happy couch thieves from The Stolen Sofa Project day below. Sydney Dunedin Miami
Last time James Blake jetted our way, in 2013, he won our hearts — and eyes and ears. Two Sydney Opera House shows sold out before you could say Overgrown and the folks at Tone Deaf got so excited, they awarded him best International Tour of the Year, over Bruce Springsteen. Now, he's back with a third, full-length album, The Colour In Anything, released unexpectedly (to fans, at least) on May 6. Lasting 76 minutes, it sees Blake go more collaborative than ever before, with Frank Ocean and Justin Vernon making frequent appearances, and Rick Rubin taking care of production. "I wanted to open up and be more outgoing," he told The Guardian. "The record became a commentary on my life rather than me becoming part of the rest of the world." There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
Since 2014, MPavilion has been Australia's leading architecture and design commission, attracting worldwide attention and bringing some of the most exciting architects from home and abroad to this city of ours. Founded by the Naomi Milgrom Foundation — a not-for-profit organisation dedicated to initiating and supporting great examples of public design, architecture and culture — MPavilion is now open for its biggest year yet. Located in Queen Victoria Gardens from Tuesday, October 3 until Sunday, February 4, MPavilion creates a free and open space that encourages coming together inside a beautiful setting. Each annual iteration of MPavilion sees a new architect commissioned to produce a stunning pavilion, with each designer bringing his or her own unique style and ideas to the project. Behind this year's design is legendary Dutch 'starchitects' Rem Koolhaas and David Gianotten of architecture firm OMA. For the uninitiated, Koolhaas has been awarded the Pritzker Prize — essentially the Nobel Prize of architecture — while being described as "the world's most controversial architect" and designing celebrated buildings the world over. Meanwhile, Gianotten is an architectural superstar in his own right, becoming a core part of OMA in recent years and overseeing the firm's expansion into Asia Pacific. And this year's design matches the duo's impressive resumes. Described by Gianotten as a "living room looking into the garden of the city", the architects have designed a pavilion that blurs the lines between inside and out, one that is reconfigurable and obscures the distinction between audience and performer. Taking its cues from natural amphitheatres, the pavilion is warm, bright and open, and provides the perfect way to take in Melbourne's skyline. There's coffee and a bar on-site, making it the ideal place to stop by and see what's going on. "This year's pavilion reflects OMA's interest in the concept of inside-outside design and conversing with the city, so it's been very exciting to have them involved," Milgrom explains. "It's an open brief, so it's all about what the architect feels is perfect for the pavilion." Images: John Gollings.
In the fight to help keep our planet healthy and firing on all cylinders, there's one little guy that can't be overlooked: the humble honey bee. These oft unsung heroes are crucial for pollinating the world's food crops, which means that our future food security relies on them thriving. Luckily, groups like Aussie not-for-profit Pollinator Alliance are spreading the word and helping to conserve our pollinator populations. Next month, the group is even opening a brand-new bee shed and bee school, creating not just a home for our insect mates, but a community space for educating and encouraging a new wave of backyard beekeepers. Making its home in Alphington at the Melbourne Innovation Centre, the Bee Shed was one of last year's winners of the Victorian Government's community grants initiative, Pick My Project. Thanks to the program, and strong community support and votes, Pollinator Alliance scored almost $200,000 in funding to bring its proposed venture to life. The project's using a double-whammy approach to help raise awareness about the bee's plight and its importance to our planet. Firstly, the onsite Bee Shed will act as a hands-on education hub and teaching apiary, where local beekeepers of all ages can head to for low-cost beekeeping tools, helpful resources and a program of workshops. Then there's the student-focused Bee School, which will visit schools across Melbourne, using display hives to teach budding future beekeepers about the ins and outs of pollination. The Bee Shed is kicking things off with Opening Day celebrations on Sunday, November 17. You're invited to head along to check out the new digs, take an apiary tour and even sit in on a beekeeping workshop. There'll be market stalls, live music, and plenty of CWA scones served with lashings of local honey. Find the Bee Shed at 2 Wingrove Street, Alphington from Sunday, November 17. To find out more, head to the Pollinator Alliance website.
Icons teaming up with icons: when documentary series Pretend It's a City hit Netflix in 2021, that's what it served up. Earning attention: Fran Lebowitz, with Martin Scorsese directing. The focus: the acclaimed writer, humorist and social commentator chatting about her life for the legendary filmmaker, following on from Scorsese's Lebowitz-focused 2010 feature-length doco Public Speaking. Of course, Lebowitz doesn't need to be nattering with Scorsese, or in front of The Wolf of Wall Street and The Irishman helmer's lens, to prove a must-watch figure. Her sharp opinions and deadpan humour have made her famous for more than five decades now, and over a career spanning magazine columns, books, working with Andy Warhol, notable late-night talkshow appearances and public-speaking tours. It's the latter that's bringing her back to Australia in 2024 — getting talking along the east coast. [caption id="attachment_912247" align="alignnone" width="1920"] Harrison Dilts[/caption] "Ever since Pretend It's a City exploded on our screens, we have wanted to bring Fran Lebowitz back to the Sydney Opera House. In this special event, we all get to take on the role of Marty Scorsese and ask her what she thinks about absolutely anything in our puzzling, frustrating, sometimes maddening world," said Sydney Opera House Head of Talks & Ideas Chip Rolley, with Lebowitz's Harbour City stop presented in conjunction with the venue's talk-focused programming strand. "It's then our job to sit back, relax and laugh until we can no longer. Sydney should prepare itself for a banner night out with one of the world's great cultural satirists." [caption id="attachment_912248" align="alignnone" width="1920"] Lia Clay Miller[/caption] Melbourne and Brisbane should also prepare accordingly, with Lebowitz also taking to the stage at Hamer Hall in the Victorian capital and QPAC in the Sunshine State in February. Will she chat about attending the Succession season four premiere party? Her role as a judge in the Law & Order franchise (and The Wolf of Wall Street)? Saturday Night Live's parody of Pretend It's a City? Being a columnist for Warhol's Interview mag? Growing up in New Jersey? New York in the 70s? Topics such as race, gender, media and politics? Anything that vexes her? Everything? At least some will earn an unfiltered mention — including at the audience Q&As. AN EVENING WITH FRAN LEBOWITZ: Tuesday, February 13 — Sydney Opera House, Sydney Thursday, February 15 — QPAC, Brisbane Sunday, February 18 — Hamer Hall, Melbourne An Evening with Fran Lebowitz hits Australia in February 2024. Head to the Sydney Opera House, QPAC and Arts Centre Melbourne websites for tickets — with pre sales from Tuesday, August 8 and general sales from Thursday, August 10 — and further details. Top image: Bill Hayes.
The force is strong with this one — the Lego-building force, that is, with the largest collection of life-sized Lego Star Wars models ever assembled, as well as the biggest touring Lego exhibition, set to hit Australia in 2025. Earlier in 2024, news arrived that Lego Star Wars: The Exhibition was on its way in this very galaxy, world-premiering Down Under. Now, exactly when and where you'll be able to check it out has been revealed. Melbourne has locked in the first-ever Lego Star Wars: The Exhibition season — and yes, of course it'll open on Sunday, May 4. Melbourne Museum will be filled with more than eight-million bricks, all making models based on the George Lucas-created space saga. What music goes best with turning all that Lego into a Star Wars fan's dream? 'Luke's Theme', aka the franchise's main tune? 'The Imperial March' when things get tricky? 'Parade of the Ewoks', just because? That's a question for Ryan McNaught aka Brickman, who has indeed been spending time turning plastic rectangles, squares and other shapes into a recreation of a galaxy far, far away. The exhibition is set to take 25,000-plus hours of building, which is occurring at McNaught's headquarters in Tullamarine. Here's a question for attendees, too: which tunes will pair well with walking through this Lego Star Wars wonderland? You've got a few months to think about it, but you can start getting as excited as a Skywalker learning how to first use a lightsaber. The full list of models that'll feature hasn't been unveiled so far, but one will be life-sized — and that'll be a Lego Star Wars first. A huge 64,759 bricks are being used to craft the three-metre-high X-wing Red-5, taking 382 build hours. Attendees can also expect to see battle scenes between Luke Skywalker and Darth Vader, plus Qui-Gon Jinn and Darth Maul duelling, and also Emperor Palpatine's throne flanked by two Royal Guards. If you're keen to check it out and you don't live in Melbourne, you'll need to head to the Victorian capital to wander through Lego Star Wars: The Exhibition. As well as the hosting the world-premiere season, which will run until Monday, January 26, 2026, the stint at Melbourne Museum is an Australian exclusive. While you're there, you won't just be looking at all things Star Wars in Lego — you'll be able to get building yourself. As it constructs an immersive experience and follows in the footsteps of the Jurassic World franchise, which has also scored the Lego treatment from Brickman, Star Wars: The Exhibition has plenty of material to draw upon. On-screen, the series spans the initial film trilogy that released from 1977–83, then the prequels from 1999–2005, then the sequels — including The Force Awakens, The Last Jedi and The Rise of Skywalker — from 2015–2019. Rogue One, Solo, The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi, Andor, Ahsoka, The Acolyte: the list goes on across the big and small screens, including the wealth of animated efforts in the saga. "Building these iconic scenes and characters in Lego Star Wars form is an extremely complex task — taking the humble Lego brick and using it by the millions to translate into Star Wars builds and models at an epic scale the world has never seen before," said McNaught about Lego Star Wars: The Exhibition. "My team and I are super excited to launch this mind-blowing experience right here in Melbourne. My inner seven-year-old self still can't quite believe this is happening. I can't wait till May the Fourth next year to be able to share this incredible galaxy-first exhibition with the fans." Lego Star Wars: The Exhibition will make its world-premiere from Sunday, May 4, 2025, running until Monday, January 26, 2026 at Melbourne Museum, 11 Nicholson Street, Carlton. Head to the exhibition's website for more details and to join the ticket waitlist. Exhibition images: Museums Victoria.
The Bellarine Peninsula is set to welcome a stunning new hilltop retreat, opening just in time for that post-winter coastal escape you've already been plotting. Boasting a majestic piece of Point Lonsdale real estate, complete with 360-degree views of the bay, Lon Retreat and Spa is the latest incarnation of luxury accomodation Lonsdale Views. It opened its doors in October, following a huge, 18-month transformation of the 200-acre family-owned property. The luxury retreat features seven sanctuary-like suites, each one decked out differently to mirror a particular aspect of the surrounding landscape. Expect earthy, natural tones throughout, with most of the furniture, ceramics, artwork and lighting sourced or crafted locally. As well as the plush rooms, Lon boasts its own private beach access, a guest lounge with an open fire and views across the ocean, a private art gallery showcasing local works, and an indoor heated pool fed by mineral water. In the spa, you'll also find an OTT eight-jet shower. Outside the retreat, you'll find nature walks spread all across the property, if some fresh air and leg stretching is on the agenda. And, while there's no restaurant on site, guests can still indulge in a swag of local goodies, thanks to the honesty bar and a 'Makers and Growers Pantry', showing off top Bellarine produce. Room rates at Lon Retreat and Spa will start at around $360 per night, with a two-night minimum stay. The price includes access to the pool and a hamper full of breakfast treats courtesy of Annie's Kitchen in nearby Barwon Heads. Lon Retreat and Spa wis now open at 25 Gill Road, Point Lonsdale — an hour-and-a-half's drive from Melbourne's CBD. Images: Nikole Ramsay Photography. Updated: November 2, 2018.
Thanks to the success of Beef, the past year has been huge for Ali Wong. It was back in April 2023 that the hit series arrived, getting audiences obsessed and sparking plenty of accolades coming Wong's way. She won Best Actress Emmy, Golden Globe, Film Independent Spirt and Screen Actors Guild awards for playing Amy Lau, who has a carpark altercation with Danny Cho (Steven Yeun, Nope) that neither can let go of — and that changes both of their lives. The last 12 months have also been massive for the American actor and comedian onstage, all thanks to her Ali Wong: Live tour. Wong has been playing to full houses in the US, and also in Paris and London — and Down Under audiences are just as keen to see her. Before general tickets even go on sale for her Australian visit, she's added extra gigs. [caption id="attachment_946690" align="alignnone" width="1920"] Andrew Cooper/Netflix © 2023[/caption] Wong will head to Australia and New Zealand in July 2024. She initially announced four dates, kicking off in Auckland, then jumping over to Melbourne. From there, she'll work her way up the east coast, next hitting up Sydney before wrapping up in Brisbane. Now, both Melbourne and Sydney have scored extra gigs thanks to the huge demand during the ticket pre-sale period. Behind the microphone, Wong's comedy career dates back almost two decades, including three Netflix stand-up specials: 2016's Baby Cobra, 2018's Hard Knock Wife and 2022's Don Wong. And, as an author, Wong also has 2019's Dear Girls: Intimate Tales, Untold Secrets & Advice for Living Your Best Life to her name. On-screen, Wong doesn't let go of grudges easily, at least in Beef. In rom-com Always Be My Maybe, she's also been romanced by Keanu Reeves. Tuca & Bertie had her voice an anthropomorphic song thrush, while Big Mouth sent her back to middle school. Beef, on which Wong was also an executive producer, earned just as much love for the show overall — including the Emmy for Outstanding Limited or Anthology Series; Golden Globe for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television; Gotham Award for Breakthrough Series under 40 minutes; Film Independent Spirt Award for Best New Scripted Series; and PGA for Outstanding Producer of Limited or Anthology Series Television. [caption id="attachment_722120" align="alignnone" width="1920"] Ed Araquel / Netflix[/caption] Ali Wong: Live Tour Dates — Australia and New Zealand 2024: Monday, July 8 — The Civic, Auckland Thursday, July 11–Friday, July 12 — Palais Theatre, Melbourne Friday, July 19–Saturday, July 20 — ICC Theatre, Sydney Monday, July 22 — Brisbane Convention and Exhibition Centre, Brisbane Ali Wong is touring Down Under in July 2024, with general sales from 9am local time on Friday, March 22 — head to the tour website for further details. Top image: Andrew Cooper/Netflix © 2023.
Turning your phone off during a movie is cinema etiquette 101. Not kicking the seat in front of you, or talking during the film, or taking in food with aromas so pungent they stink out the whole theatre — they're all on the list as well. Usually, so is wearing clothes; however, the returning Fantastic Film Festival Australia is making attire optional for some of its 2022 sessions. One of Australia's film fests dedicated to weird and wonderful cinema — a tranche of flicks so glorious that several events celebrate them — FFFA is back for another year, screening at the Ritz Cinema in Randwick in Sydney and Lido Cinemas in Hawthorn in Melbourne from Thursday, April 21–Friday, May 6. It has just unveiled its full 2022 lineup, too, and its naked screening certainly deserves attention. The fest debuted the concept last year, and it's bringing it back this year. Even better: you'll be getting your kit off to mark the 25th anniversary of The Full Monty. Stripping off while seeing a classic movie about men stripping isn't the only highlight of this year's program, of course — and yes, if you want to see Robert Carlyle and company while remaining dressed, you can leave your hat on (and the rest of your clothing as well). The attire-optional session sits alongside other standouts such as opening night's viking epic The Northman, starring Alexander Skarsgård and Nicole Kidman, and directed by The Witch and The Lighthouse's Robert Eggers; closing night's New York Ninja, which was shot in 1984, only finished in 2021 and follows a vigilante tale; and a 4K restoration of the inimitable 1981 great Possession starring a young Sam Neill and always-wonderful Isabelle Adjani (The World Is Yours). In total, 22 features and eight shorts and special events sit on this lineup of strange, surreal, out-there and purposely offbeat flicks. We're All Going to the World's Fair arrives from Sundance, combining psychological horror with a coming-of-age story — and a storyline about an online roleplaying game — while French film After Blue is a sci-fi western fantasy about a mother and daughter tracking a killer in toxic forests. There's also indie animation Absolute Denial, which has been compared to Frankenstein but in a digital world; Agnes, which explores a case of demonic possession in a convent; Japan's Dreams on Fire, featuring acclaimed dancer Bambi Naka in her first lead role; Norwegian nightmare The Innocents, as directed by The Worst Person in the World co-writer Eskil Vogt; and The Timekeepers of Eternity, which is adapted from Stephen King novella The Langoliers. On the events bill, FFFA is hosting Music Video Blind Date, to connect Melbourne musos with filmmakers in the hopes of making music video magic — and, thanks to an evening called Cinema 1 Nightclub, it's getting DJ Female Wizard to spin tunes inside a theatre while artist Baben Shin provides the visuals. And if you're keen to celebrate the launch of the program, the fest is also hosting a sneak-preview session of Michelle Yeoh-starring multiverse gem Everything Everywhere All At Once in advance — on Saturday, March 26. Fantastic Film Festival Australia runs from Thursday, April 21–Friday, May 6 at Ritz Cinema, Randwick in Sydney and Lido Cinemas, Hawthorn in Melbourne. For more information or to buy tickets, head to the FFFA website.
The top end of the Northern Territory is postcard-perfect Australia — World Heritage-listed national parks, islands, wetlands, pristine beaches and off-the-beaten-track (and croc-free) swimming holes are all within its borders. And Darwin is its gateway. Darwin is Australia's only tropical capital city. With hot, balmy summers and dry, sunny winters, it feels worlds away from the inner-city hustle of our nation's other capitals. On top of its incredible natural beauty, there are plenty of action-packed adventures to be had. From a helicopter pub crawl around the Darwin region to an outdoor deckchair cinema and a music festival right on the beach, the city is the perfect launchpad. Really, it's the perfect summer getaway for when it's cold everywhere else and it's right on our doorstep. Go on, get acquainted with Australia's Top End. SAIL INTO THE SUNSET Darwin is a city known for its harbour and close proximity to the crystal-clear Timor Sea, so kicking back on a cruise is a must when it comes to exploring. Grab a beer and sail into the sunset. You won't have a care in the world with that balmy breeze and endless ocean as far as the eye can see. There's a variety of sailing tours available from Darwin Harbour, lasting from a few hours to adventurous overnight and multi-day trips. But if you're just after a relaxing mini jaunt, the sunset harbour cruise is a winner. Operated by local company Darwin Harbour Cruises, you can choose to either just jump on board and see the sites or indulge in a sunset buffet dinner while being ferried around. Darwin Harbour Cruises sunset tours typically run between April and December, from 6–8.30pm daily. For more information and online bookings, visit the website. SWIM WITH CROCS No trip to Darwin is complete without saying hello to a few crocodiles. Get up close and personal with the prehistoric beasts at Crocosaurus Cove — a croc and reptile haven in the heart of Darwin. It houses the world's largest display of Australian reptiles and is home to Australia's only crocodile dive for the Steve Irwin enthusiasts among us. If the Cage of Death is too far out of your comfort zone, there's a bevvy of other scale-studded attractions like the aforementioned reptile house, croc feeding shows — where you'll see Burt (the star of iconic Australian film Crocodile Dundee) — a freshwater aquarium, a swimming pool and a chance to hold a baby croc. Better to see a croc here than while sunning yourself at the beach. Visit the website for more details and bookings. BOOGIE ON THE BEACH Going to music festivals isn't strictly a summer activity — at least, not in Darwin. Mid-May sees the return of Darwin's huge one-day music shindig, the People's Choice BASSINTHEGRASS festival. This year's lineup features a stack of ace musicians, including Hilltop Hoods, Nick Murphy FKA Chet Faker, Amy Shark, Broods, Meg Mac, PNAU and more. Plus, for the first time in its 17 years, BASSINTHEGRASS will take place at Mindil Beach. So, in between catching your favourite artists, you can gaze out at the Timor Sea and forget that winter is waiting for you back home, as you soak up bucketloads of Top End sunshine. BASSINTHEGRASS 2019 will take place from 11am–11pm on Saturday, May 18. For the full lineup and to purchase tickets, visit the website. WATCH A MOVIE UNDER THE STARS Run by the local not-for-profit film society, Darwin's Deckchair Cinema grew from the desire to screen films that were not otherwise available in the city. Since it began in the 90s, it has become a go-to activity for locals and passersby alike, hosting an eclectic mix of films in a beautiful outdoor setting. Based on the edge of the harbour, Deckchair Cinema is decorated with fairy lights, artworks by local artists and, of course, deckchairs. There's also a licensed bar and food by local caterers, plus complimentary cushions and (very mandatory) bug repellent. It's the ideal balmy evening activity. Deckchair Cinema runs from mid-April to mid-November with daily screenings. Visit the website for more information and the current program. VISIT DARWIN'S MASSIVE WATERFRONT PRECINCT Darwin Convention Centre, shopping, restaurants, a park, swimming lagoons and a wave pool are all part of the mammoth precinct along Darwin's harbour. The lagoons and wave pool are notable drawcards, offering croc-and-stinger-free cooldowns in the Top End heat. Plus, it's home to some of Darwin's top eateries, including casual Vietnamese eatery CHOW!, Il Lido and the luxe Oyster Bar, which boasts waterfront views and some of the best seafood in town. For more information on the Waterfront Precinct, visit the website here. WANDER THROUGH MINDIL BEACH SUNSET MARKETS Held every Thursday and Sunday night from late-April to October, Mindil Beach Sunset Markets are undoubtedly Darwin's largest and most popular markets. Alongside arts, crafts, and entertainment stalls, there are over 60 food vendors offering up cuisines from almost every international corner — Mexico, Greece, Turkey, Sri Lanka, South America, North Africa, India and across South East Asia. Enjoy a picnic on the beach, then check out what the jewellers, tarot readers, indigenous artists, tailors and leatherworkers have on offer. Oh, and expect street theatre, magicians and plenty of musicians to keep you entertained while you peruse. For more information, visit the website here. [caption id="attachment_718143" align="alignnone" width="1920"] Emma Pritchett[/caption] EXPLORE KAKADU NATIONAL PARK AND STAY IN A LUXURY SAFARI LODGE If you're planning a visit to Darwin without venturing to one of its surrounding national parks — Litchfield, Mary River and Kakadu — you're really missing a trick. Australia's Top End is abundant with wildlife, exotic flora, rock art, waterfalls, floodplains, colossal termite mounds and swimming holes — it's some of the most diverse terrains in the country. World-Heritage-listed Kakadu, the largest national park in Australia, is 253 kilometres east of Darwin. Cruise down the remarkable Yellow Waters, visit Nourlangie Rock — famed for its indigenous rock art — and see some crocs and Australia's most diverse bird population. Be sure to fit in a visit to Warradjan Aboriginal Cultural Centre and dive into a few of the croc-free swimming holes, too. While day tours from Darwin exist, we recommend going all out and staying at Bamurru Plains — Australia's version of an upscale safari lodge — situated on the Mary River floodplains on the edge of Kakadu. Nine bungalows, artfully kitted out in timber and corrugated iron, are enclosed in mesh that offers sheer views over the wetlands. Be warned though — it'll set you back a cool $1360 per night. Visit Kakadu National Park's website for more information. For bookings and more information on Bamurru Plains go here. GO ON A HELICOPTER PUB CRAWL Being a tourist is thirsty work. Luckily, Airborne Solutions has got you with its helicopter pub crawl, which stops at some of the region's more remote watering holes. While up in the air, you'll see unparalleled views of the Top End's natural beauty, covering Darwin, its harbour and coastlines, eucalypt woodlands, termite mounds, billabongs and mangroves. Offered as both a half-day and full-day tour, this pub crawl is sure to get you rubbing shoulders with some quintessentially Aussie characters. You'll visit The Lodge of Dundee, Crab Claw Island Resort, Darwin River Tavern and Goat Island Lodge, before deciding between Humpty Doo Hotel and Noonamah Tavern for your final stop. Although the tours don't come cheap — $795 each for a half-day and $975 a pop for the full Monty — it's a pretty fair dinkum deal for a chopper ride and a beer (or few). For more information and bookings visit the website. To help get you to Darwin this season, and BASSINTHEGRASS festival, Northern Territory Major Events has partnered with Virgin Australia to release a bunch of discounted holiday packages. For more information and to book a flight and accommodation package, head this way. Top Image: Emma Pritchett.
It's television's greatest tragedy, and one that's been more than a decade in the making. Watching Better Call Saul, it's impossible not to think about the route its protagonist takes through Breaking Bad. We already know how Saul Goodman's (Bob Odenkirk) story ends, so as we explore his pre-Walter White life — when he was known by his birth name of Jimmy McGill and genuinely wanted to be a legitimate lawyer — the feeling is bittersweet, to say the least. The same sensation applies to former cop Mike Ehrmantrout (Jonathan Banks), whose Breaking Bad fate is also already known. Before getting caught up with Gus Fring (Giancarlo Esposito), he first crossed Jimmy's path as a car park attendant at the Albuquerque court house — and Better Call Saul tells his tale as much as its namesake's For four seasons since 2015, the Breaking Bad prequel has stepped through the earlier existence of these two characters, as well as others in their orbit — such as Jimmy's successful older brother Chuck (Michael McKean), his girlfriend and fellow lawyer Kim Wexler (Rhea Seehorn), and Mike's widowed daughter-in-law Stacey (Kerry Condon) and granddaughter Kaylee (Abigail Zoe Lewis). As the episodes pass, the two central figures slowly start inching towards their Breaking Bad lives. Familiar faces, such as Fring and Hector Salamanca (Mark Margolis) also pop up. The result: a series that's as excellent as its predecessor, and one that provides another excuse to spend more time in Breaking Bad's world. After last airing episodes in 2018, it's returning for a fifth season this year — and if you can't wait until February 24 to see what comes next, a pair of sneak peeks have dropped. The teasers are incredibly brief, as proved the case when glimpses of 2019's El Camino — A Breaking Bad Movie first started releasing. Still, they show what we all knew was coming: that Jimmy McGill is slipping further away — and Saul Goodman is emerging. Check out the teasers below: https://www.youtube.com/watch?v=ULZVGONrfuw&feature=youtu.be https://www.youtube.com/watch?v=XqopNXmg3x0 Better Call Saul's fifth season starts streaming on Stan from Monday, February 24.
