As fans across the globe gear up for the Arctic Monkeys' sixth album to drop later this week, the acclaimed English rockers have pushed the excitement levels even further, announcing a series of international pop-ups and film screenings to coincide with the launch. And even Australia's getting a look-in, with the local edition of the store — named after the forthcoming album Tranquility Base Hotel & Casino — is popping up at Sydney's Golden Age Cinema and Bar, this Friday, May 11, and Saturday, May 12. According to the Arctic Monkeys' website, the TBHC pop-ups will offer a range of "unique and limited album and merchandise items", alongside screenings of the band's favourite 70s flicks. Titles include Le Cercle Rouge, Inherent Vice, The Last Waltz and Michelangelo Antonioni's L'Eclisse. The event's running at the Surry Hills theatre from 11am until 8.30pm each day, though as you can imagine, tickets to the screenings are already selling fast. Only a handful of other lucky cities will also host these Tranquility Base Hotel & Casino pop-ups: Berlin, Tokyo, Paris, New York and the band's own hometown of Sheffield. The Tranquility Base Hotel & Casino will pop up at Sydney's Golden Age Cinema and Bar, 80 Commonwealth Street, Surry Hills. Tickets to the Sydney screenings are on sale here.
With COVID-19 testing ramping up in Victoria over the past few weeks — and 161,000 administered in the last fortnight — the state is preparing to relax some coronavirus-related restrictions. At the moment, Victoria has some of the most stringent rules in Australia, but come 11.59pm tomorrow night, Tuesday, May 12, a number of limitations will be lifted. Victorian Premier Daniel Andrews revealed the state's next stage of eased COVID-19 restrictions today, Monday, May 11, following a similar announcement at the federal level on Friday. While Prime Minister Scott Morrison unveiled the nation's three-step plan to lift lockdown limitations between now and July before the weekend, that country-wide framework needs to be implemented at the state level individually by each state. Victoria's announcement coincides with the end of its second four-week state of emergency, which expires at midnight tonight. Victoria's first stage of relaxed restrictions, will be introduced at 11.59pm on Tuesday, May 12, and remain in place with a renewed State of Emergency until 11.59pm on Sunday, May 31. A selection of normal, everyday activities that have been off the cards since March will be permissible once again, with the following allowed: Up to five visitors in your home Outdoor gatherings of up to ten people, including leaving the house for recreational activities such as hiking, jogging, fishing and golf Weddings will be allowed to have a maximum of ten guests Funerals with up to 20 mourners indoors and 30 outdoors Religious gatherings and ceremonies will be permitted with up to 10 people Previously, Victorians were only allowed to leave their homes for one of four reasons — to obtain food and supplies, to receive medical care or provide care yourself, for exercise and to attend work or education if you cannot do so from home — but from 11.59pm tomorrow night, there'll be a fifth reason: to visit friends and family. The Premier has said that there's no limit on how far you can travel to visit friends and family or to exercise, but overnight stays are not allowed and camping, AirBnBs and hotels are still off-limits. He also said that the new rule is not an excuse to have "a rotating roster of acquaintances and associates – or your third best friend from primary school – over for a visit. This is about seeing those you need to – if you need to." The Premier also said that "while the numbers are stable, there is a real need to be cautious", and Melburnians should work at home if they can until the end of May. "If you can stay at home — you must stay at home," the Premier said. Unlike in NSW and Queensland, Victoria's cafes and restaurants are not yet allowed to reopen to dine-in customers, but the Premier is hopeful this will be allowed to in June, when they next step of eased restrictions is likely to be introduced. "As we go through this month, we'll keep reviewing the situation and our case numbers – and hopefully, we'll be able to make further announcements then," the Premier said. For more information about NSW's eased restrictions, read the Premier's press release. 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.
If spending all this time at home has made you realise you're a pretty poor bartender, don't despair. Just turn to the big wide web and you'll be shaking and stirring some tasty tipples in no time. Want a martini, negroni or a giant cosmopolitan? Meryl Streep, Stanley Tucci and Ina Garten have you covered. But what about a real party starter, like the espresso martini? Well, now top-quality spirit labels Mr Black (coffee liqueur) and Belvedere (vodka) are bringing you an online class, so you can shake up an espresso martini good enough for a caffeine-craving James Bond. Kicking off at 7pm on Thursday, June 11, the Espresso Martini Masterclass will be led by some of the best in the biz. Belvedere's Australian brand ambassador, Garth Foster, and Mr Black's Martin Hudak will be teaching you how to make a mean coffee-fuelled martini in just one hour. The live-stream class will be available via Facebook or Zoom (link provided closer to the event). Don't have any Belvedere or Mr Black in your liquor cabinet? Both Shorty's Liquor and Wine.com are delivering pre-bundled kits so you don't have to subject yourself to subpar booze. Belvedere's x Mr Black's Espresso Martini Masterclass is taking place from 7–8pm on Thursday, June 11. To order the necessary booze, head to Shorty's Liquor or Wine.com.
Think you've seen it all when it comes to wedding fairs? Think again — this one's a little less about the dress and a little more suited for, well, suits. Groom Fest will unite around 40 wedding vendors from all over Australia to concentrate on those who need a snappy three-piece suit and a pocket square to top it all off — the grooms of the world. There'll be much to see in the way of men's fashion, not to mention suiting, styling and grooming advice, with a barber setting up shop to do live hairstyling demonstrations. Presenter and wedding celebrant Shura Taft will play MC for the day, while you wander through the stalls and get that special day sorted. To help you sail even closer to being your smoothest self, live panel sessions will cover everything from delivering a killer wedding speech to nailing that daunting first dance. There'll be plenty of food and drinks on offer, including gin tastings from Sydney-based distillery Archie Rose and live music performances from The White Tree Band (to help settle that band-versus-DJ argument once and for all). The event is open to all (not just grooms), so round up the troops for a two-hour wedding planning power session. All attendees will score a free goodie bag filled with items from Hunter Lab, a free Hello May magazine and the official Pocket Groom's Guide, written and produced exclusively for the event. Groom Fest will take place from 7.30–9.30pm on Tuesday, March 26 at The Toff in Town. Entry is free but RSVPs are essential — and you can add a donation to Movember at check-out if you wish. To reserve your ticket, head this way. Images: The White Tree.
Just one of the ways we see the patriarchy manifesting in modern life is in the gender information gap — only 18 percent of biographies on Wikipedia are about women and only 16 percent of the online encyclopedia's contributors identify as female. Under representation and misrepresentation can go hand in hand, which is why an intersectional feminist organisation was created to change the stats. Art + Feminism is all about teaching people of all gender identities and expressions to edit Wikipedia. Since 2014, the group has facilitated the creation of more than 58,000 articles over hundreds of worldwide edit-a-thons. You can get involved this International Women's Day at NGV International at a day dedicated to increasing the online presence of women artists and creators, with the help of the Women's Art Register, Wikimedia Australia and WikiD: women, Wikipedia and design. There'll be people on hand to help get you registered with an account and show you the ropes. Just bring your laptop down to the NGV International Great Hall from 11am–2pm on Sunday, March 8. The Art + Feminism Wikipedia Edit-A-Thon is free to attend, but it's recommended that you book through the NGV website to secure your spot.
Every year, So Frenchy So Chic asks Melburnians a question: do you fancy prancing through a field laced with the charm of provincial France, but without needing to book a flight? If your answer is yes, which it should be, then you'll be pleased to know that that exact setup is just casual summer weekendery when the fest rolls in each January. The ever-popular French celebration will bring the can-can back to Melbourne's Werribee Park Mansion. The date: Sunday, January 14. For newcomers, expect an entire afternoon of French-inspired niceties, including (but not limited to) gourmet picnic hampers, très bon crepes and steak frites sandwiches, and supremely good wine — all set to a blissed-out French soundtrack. So Frenchy So Chic hinges on an eclectic lineup of artists, both taking cues from the classic sonic stylings of France and showcasing top-notch French talent. On the 2024 bill: La Femme, Marlon Magnée and Sacha Got's psych-punk rock group; Kill The Pain, aka Australian singer and songwriter Phoebe Killdeer with French vocalist Mélanie Pain; Laure Briard, fresh from releasing album Ne pas trop rester bleue; and the Serge Gainsbourg- and Angus and Julia Stone-loving Malo'. As always, the wine and food will flow just as easily as the tunes, headlined by an abundance of bubbly courtesy of Champagne Lanson, one of France's oldest champagne houses and a So Frenchy So Chic favourite. Expect oysters, croque monsieurs, duck liver parfait, mussels, chocolate eclairs, macarons and cheese upon cheese. Of course, there'll be plenty of French beer, cocktails, and rosé, red and white wines, too, no matter what you choose to snack on throughout the day. For groups of ten, this year's festival also includes a $199-per-person option that gets you your own prime spot with low-seated wooden tables decorated with flowers, rugs and cushions to make things comfy, two bottles of champers, a shady umbrella, and two charcuterie hampers and two cheese hampers. If you've got kids, you'll be happy to know that the whole thing is very family-friendly, with children's tickets starting from $25 (and entry free for kids under 12). Images: Liz Sunshine / Simon Schiff.
When Memoria begins, it echoes with a thud that's not only booming and instantly arresting — a clamour that'd make anyone stop and listen — but is also deeply haunting. It arrives with a noise that, if the movie's opening scene was a viral clip rather than part of Thai filmmaker Apichatpong Weerasethakul's spectacular Cannes Jury Prize-winning feature, it'd be tweeted around with a familiar message: sound on. The racket wakes up Jessica Holland (Tilda Swinton, The Souvenir: Part II) in the night, and it's soon all that she can think about; like character, like film. It's a din that she later describes as "a big ball of concrete that falls into a metal well which is surrounded by seawater"; however, that doesn't help her work out what it is, where it's coming from or why it's reverberating. The other question that starts to brood: is she the only one who can hear it? So springs a feature that's all about listening, and truly understands that while movies are innately visual — they're moving pictures, hence the term — no one should forget the audio that's gone with it for nearly a century now. Watching Weerasethakul's work has always engaged the ears intently, with the writer/director behind the Palme d'Or-winning Uncle Boonmee Who Can Recall His Past Lives and just-as-lyrical Cemetery of Splendour crafting cinema that genuinely values all that the filmic format can offer. Enjoying Memoria intuitively serves up a reminder of how crucial sound can be to the big-screen experience, emphasising the cavernous chasm between pictures that live and breathe that truth and those that could simply be pictures. Of course, feasting on Weerasethakul's films has also always been about appreciating not only cinema in all its wonders, but as an inimitable art form. Like the noise that lingers in his protagonist's brain here, his movies aren't easily forgotten. With Weerasethakul behind the lens and Swinton on-screen, Memoria is a match made in cinephile heaven — even before it starts obsessing over sound and having its audience do the same. He helms movies like no one else, she's an acting force of nature, and their pairing is film catnip. He also makes his English-language debut, as well as his first feature outside of Thailand, while she brings the serenity and magnetism that only she can, turning in a far more understated turn than seen in the recent likes of The French Dispatch and The Personal History of David Copperfield. Yes, Weerasethakul and Swinton prove a beautiful duo. Weerasethakul makes contemplative, meditative, visually poetic movies, after all, and Swinton's face screams with all those traits. They're both devastatingly precise in what they do, too, and also delightfully expressive. And, they each force you to pay the utmost attention to their every single choice as well. As Jessica, Swinton plays a British expat in Colombia — an orchidologist born in Scotland, residing in Medellín and staying in Bogota when she hears that very specific din. After explaining it in exquisite detail to sound engineer Hernán (Juan Pablo Urrego, My Father), he tries to recreate the noise for her, but only she seems to know exactly what it sounds like. At the same time, Jessica's sister Karen (debutant Agnes Brekke) is in hospital with a strange ailment. Also, there's word of a curse that's linked to a tunnel being built over a burial ground, and Jessica consults with an archaeologist (Jeanne Balibar, Les Misérables) before heading from the city to the country. Grief echoes as strongly through Jessica's life as the bang she can't shake, and she wanders like someone in a dreamy daze, whether she's roaming around an art gallery or crossing paths with a rural fisherman also called Hernán (Elkin Díaz, Besieged). No plot description can ever do Weerasethakul's films justice, and Memoria doesn't even consider tying its various threads in an obvious way. Rather, it invites viewers to unlock its puzzles by soaking in every patient 35-millimetre shot and exacting sound, and it's a mesmerising cinematic experience. Part of the film's hypnotic thrall stems from the connections gleaned, too, especially for the filmmaker's fans. Sleep, one of his favourite topics, is inescapable. Spying the hospital-set scenes and not thinking of Cemetery of Splendour is impossible. In the movie's latter sections, when it revels in the Colombian countryside, it's just as difficult not to recall Uncle Boonmee Who Can Recall His Past Lives. And there is indeed another past that's being conjured up here, separate from Weerasethakul's cinematic background (plus the fact that Memoria's lead is named after 1943 voodoo horror I Walked with a Zombie): that of its setting, its history of violence and the shadow that remains today. How the past, present and future bleed into each other — or drip like water falling into a well, then pool together — sits at the heart of Memoria. That too isn't new for Weerasethakul, but he can't be accused of repeating himself. He also ponders what sticks and fades, and how and why. Witnessing its two Hernán sequences, both of which are sublime in their own fashions, cements this train of thought. In the first, the young audio engineer searches his database of movie sound effects, trying to locate something universal to match a noise that's clearly so personal to Jessica — and observing their to and fro, absurdity included, ranks among the best scenes Weerasethakul has given cinema. In the second, which is loaded with queries about whether the two men with the shared name are one and the same or alternate versions, how life can resemble a mere reverie gets thrust to the fore amid spellbindingly vivid greenery. They aren't straightforward, but there are answers in Memoria. Better than that, there's a powerful and provocative commitment to surprising and challenging that resounds right down to the movie's final glorious reveal. We catalogue and contemplate the past in a plethora of ways, and shifting, shattering and distorting is a natural consequence, as Weerasethakul tells us with his intoxicating frames and soundscape. He gets stunning help from cinematographer Sayombhu Mukdeeprom (Suspiria, Call Me By Your Name and also plenty of Weerasethakul's work) and sound designer Akritchalerm Kalayanamitr (another of the filmmaker's veterans), because his features are always technical powerhouses — but being on Swinton's ethereal wavelength is essential. She's the audience's guide through a beguiling mystery, her director's surrogate in this quest through Colombia, and an anchor in an achievement that feels like just what the best cinema is meant to: a dream with our eyes and ears wide open. Top image: Sandro Kopp © Kick the Machine Films, Burning, Anna Sanders Films, Match Factory Productions, ZDF-Arte and Piano, 2021
Is your wardrobe overflowing with clothes that you don't wear? We've all been there, and we've all been too busy to do anything about it. Through its op shops, Australian Red Cross finds a new home for your pre-loved outfits, shoes and accessories, with proceeds going towards its charity efforts — but we all know that wanting to donate your old threads is one thing and finding the time to do it is another. That's why Australian Red Cross has once again partnered with Uber for its annual Uber x Red Cross Clothing Drive. When it launched in 2018, it collected over 43,500 kilograms of clothing in that first year alone, which saw clothing items worth an estimated $800,000 donated. And you'd best take the drive part literally, as the ride-sharing service will actually drive to your house, pick up your unwanted clothes and accessories, and deliver them to Red Cross Shops. Even better: it's not only super easy to take part, but it's free as well. Melburnians just make sure you're ready between 10am–4pm on Saturday, November 19. Once you've bagged up all of your old bits and pieces (items you'd happily give your best friend, and no toys, books, furniture or electrical objects) into a bundle that weighs no more than 20 kilograms, it's all incredibly simple. Open the Uber app during that six-hour window, then find the 'package' option. After that, you need to click 'send a package', enter "Red Cross Clothing Drive" as the destination, and select one of the Red Cross Clothing Drive locations displayed An Uber driver will then stop outside your house, meaning that you just need to take your preloved goods out to their car. Voila, you've cleared out your closet and you've helped folks in need, all with the tap of a button.
It has been four years since Royal Stacks started slinging its burgers, fries and shakes in Melbourne, and you'd better believe it's celebrating that fact. To mark the occasion, the eatery is kicking back old school-style, throwing back to the 90s for a week-long party. All three of Royal Stacks' Melbourne stores will be serving up dishes at 90s prices — including a menu that nods to Eddie Murphy flick Coming to America, which actually inspired the whole chain in the first place. Sure, the movie was made in the late 80s, but we're sure you're willing to overlook that fact in the name of cheap burgs. From Tuesday, January 14–Tuesday, January 21, you can get your hands on a McDowell burger for $9.90, or a Prince Akeem mini burger with fries and a soft drink for the same price. Slurp down a Randy Watson Sexual Chocolate Milkshake — aka a triple-chocolate milkshake topped with crushed Tim Tams — for $5, and nab an ice cream cone for 30 cents, too. If you're eating with a pal, you can nab a Kicks Pack with two Single Stacks, two fries and two soft drinks for $19.90. At the Collins Street store, retro tunes will also be pumping through Royal Stacks' speakers — 90s bangers, obviously. And, the walls will be decked with 90s-themed decor, including movie posters, while staff will be sporting themed uniforms. Images: Giulia Morlando.
Irish-French singer Camille O’Sullivan left a burgeoning career as an architect after embracing the cabaret on display in Berlin and Dublin. Since then she’s won international acclaim for her singular interpretations of the songs of artists like Nick Cave, Kurt Weill, Tom Waits and Jacques Brel, drawing on the German tradition of “art song”, and the narrative music of Weimar composers. In O’Sullivan’s modern incarnation, this tradition manifests itself in radical retellings of classic songs — her rendition of Nick Cave's 'The Ship Song' is well worth a listen. On tour in Australia, for her show at the intimate Fairfax Studio at the Arts Centre O’Sullivan will be playing songs from her album Changeling, including works from Radiohead, David Bowie and Arcade Fire.
Many Melburnians are partial to a bottomless, boozy afternoon, but it's usually not the most virtuous way to spend a weekend. That's until now, thanks to the launch of The Wharf Hotel's brand-new 'cleaner' version: Guilt Free Garden Party. Grab your friends, nab a spot overlooking the Yarra River and enjoy a good Saturday afternoon session — without overindulging. For $49, you'll be sipping on free-flowing, low-sugar cocktails and enjoying nutritious (but still delicious) snacks. For drinks, there'll be cocktail jugs made with all-natural and seasonal ingredients — think tequila mixed with watermelon and basil; dark rum with spiced pineapple; vodka with mixed berries; and gin with lemon, lime and orange. Food-wise, you'll be grazing on a platter of healthy snacks. Because everything on the menu is made from naturally low sugar and low calorie foods, you won't have to worry about swaying too far from any diets or fitness goals. Even better? You can bring your fur baby along with you to enjoy an afternoon in the sunshine. The Wharf Hotel's Guilt Free Garden Party sessions kick off on Saturday, October 4 and then will run every Saturday, from 2–4pm and cost $49 per person. Bookings are essential and can be made here.
Do you know what us Melburnians can't get enough of? Little pick-me-ups to make the days a bit sunnier. It may be as small as turning a new corner on your daily walk to discover lesser-known street art in the area, or getting satisfaction from finishing off a DIY project you've had on hold. It's the little things that matter most right now. So, to help give you some ideas for your working week ahead, we've teamed up with Oporto to bring you five easy pick-me-ups to make your week a little bit better. Plus, they'll speed up the days until the weekend rolls around again. MONDAY: SEND A GREEN BABY TO YOUR FRIENDS Know a mate who's feeling a little blue? Pick them up with a present delivered right to their door. And choose one that has lasting benefits. We know of ten plant stores across the city that have the green goods to do just the trick to lift your friend's spirits — and help give them a smile every time a fresh leaf sprouts. Choose them a bestseller from Vine Boy, such as a monstera, or opt for a seasonal indoor variety from Folia House. Alternatively, Botanicah's online store has cute cacti if that's more your mate's style. It also stocks cute ceramic plant hangers, locally made pots and an assortment of accessories to throw in, too. With spring in the air, a new pop of green is just what the doctor ordered. [caption id="attachment_781727" align="alignnone" width="1920"] Matt Adnate[/caption] TUESDAY: DISCOVER A HIDDEN GEM IN YOUR NEIGHBOURHOOD There are always under appreciated spots in every neighbourhood to uncover and explore. So why not take a new path on your walk today and discover a hidden gem in your hood? While sticking to the lockdown guidelines, of course, you could find some street art by local artists, try a new takeaway coffee place and maybe even order a new type of drink to shake things up. You could visit a new-to-you local grocer or try out a different bakery and grab some pastries and pies. Getting the blood flowing always helps the mood, too. [caption id="attachment_783396" align="alignnone" width="1920"] St Kilda, Visit Victoria[/caption] WEDNESDAY: BEAT THE MIDWEEK BLUES Get over the hump that is Wednesday and beat any midweek blues that may have crept into your week by ordering Oporto's new Halloumi and Chicken Rappa. Protein, dairy and carbs. Need we say more? It has grilled halloumi side by side with grilled chicken breast fillets, crisp lettuce, slaw mix and avocado doused in creamy mayo accompanied with a tomato and capsicum relish. The best part is: this scrumptious package wrapped in a warm pita bread wrap can be ordered online and delivered to your door. Eat this feast while watching the sunset over the city (from a park near you) and if you are able to, why not meet with a friend for a socially distanced picnic (within the current guidelines, of course). [caption id="attachment_768047" align="alignnone" width="1920"] Cornersmith[/caption] THURSDAY: COMPLETE THAT DIY PROJECT You know that home project you've been meaning to start since March? Maybe it's time to finally give it a good crack — or find a completely new crafty new idea to try your hand at. With spring in the air, it's a perfect time to get your hands dirty creating a veggie garden or box. The Little Veggie Patch Co has beginner seed kits, guidebooks for growing food at home and plenty of pots and planters to get your started. Jump on board the sourdough train with a sourdough starting kit from Ballarat Home Brew or Simply No Knead. Or, wow your housemates by taking an online pickling course with Cornersmith. Now's the time to start or finish something worth talking about. FRIDAY: THROW YOUR DREAM PARTY Who says that just because you can't go out (much), you can't have a party? Get out the disco ball, put on your finest or wildest outfit and throw the party of your dreams. Start by trying a new cocktail recipe to get you in the mood. Enjoy beach vibes with a coconut margarita or pretend you're in a smoky bar with a tequila old fashioned. Then, tune into an online set, such as Room 2 Radio, which will transport you into a virtual dance party with local DJs. Join in on the live chat too to mingle with the other partygoers and enjoy some solid Melbourne nightlife – just, at home. Check out Oporto's full Rappa Range here, then make tracks to your closest store — or order online. Top image: Yarra River sunset, Visit Victoria
St Kilda's lavish beach spot Captain Baxter is teaming up with French vodka distiller Grey Goose to bring a bit of the French Riviera to Melbourne's foreshore. Running from Friday, December 20 until Monday, March 9, 2020, the pop-up is the perfect way for you to embrace summer. The rooftop space will be decked out with Riviera-inspired decor, creating a chic Euro-summer vibes — think cabanas, a petanque green and picnic tables. Plus, you'll have panoramic views over St Kilda Beach, Port Phillip Bay and the city. So, be sure to head here for a sunset cocktail. Drinks-wise, you'll be sipping a range of speciality vodka cocktails. And, as Grey Goose is such a versatile spirit, you can bet the bartenders will be mixing up a range of drinks. So, whether you're into the classic vodka, lime and soda, an orange-flavoured espresso martini, a Le Grand Fizz or a zesty Pear Gimlet, the pop-up will be sure to quench your thirst. If you want to take things up a notch, round up the crew and book one of the six picnic tables which are available for bookings of eight people for $160 and include free vodka cocktails on arrival. There'll be a full calendar of events and summer parties, too. So, be sure to check Captain Baxter's website and Facebook for the latest details.
Rejoice, gin enthusiasts of Melbourne, as a series of juniper-fuelled cocktail classes is coming to town so you can take your mixology to the next level. Teaming up with German distillery Monkey 47, riverside bar Ocean 12 will host classes every Thursday from March to May on its terrace, which will be transformed into a lush forest with glowing mushrooms, wild vines and plenty of greenery. Running from 6.30–8.30pm, the classes include a free G&T on arrival, food and expert tips of the trade — all for $79. You'll be shaking and stirring cocktails, including a cucumber-infused gin martini that even a tux-wearing 007 would want to knock back, as well as other impressive tipples using Monkey 47 dry gin and Monkey 47 sloe gin. Afterwards, keep the good times going by taking advantage of the bar's happy hour from 8–10pm, where select beer, wines and spirits are a cheeky $8 while Monkey 47-based cocktails will be $12 a pop.
Who doesn't love a competitive (but still jovial) round of trivia at their local? Well, Harlow is taking things up a notch by throwing in lipstick, heels and a whole lot of dazzle with its Drag Queen Trivia Night. So, next time you feel like a more fun-fuelled quiz, make tracks to Richmond's bustling pub on a Monday. Questions kick off at 7.30pm, but you can nab a spot early and tuck into a cheeky $16 steak beforehand, which is available from 5pm onwards. We're talking 250g of porterhouse steak with chips and salad. Alternatively, if you're on more of a plant-based diet, there's a 'fake' steak option. You won't go thirsty either with happy hour from 4–7pm, where Harlow will be slinging $7 schooners, wines and basic spirits. Then, you and your crew can show off your knowledge with a touch of glitter and glamour as a Drag Queen asks the money questions. You can expect plenty of outrageous and side-splitting jokes thrown in, too. Plus, you're not (just) playing for fun, as there are prizes to be won, with beer cards, jugs and a $100 credit to be won every single Monday. To get in on all the action we recommend you book your spot ASAP, which you can do here.
If you can't make it to Meredith over the weekend, but still feel the need to boogie down, James Holden's show at The Hi-Fi is where you should direct yourself this week. The music Holden makes defies genres by mixing them together, with anything from techno to psychedelia getting thrown into the mix. He also plays many different roles in the industry, from making his own music to producing, remixing, and being his own boss at Border Community. Holden's unique brand of electronic music is as explorative as it is danceable, and it's certainly more interesting than your average all-out doof-fest. While Holden has become renowned for his impressive DJ sets, experiencing this artist performing live is sure to be an adventure. The Oxford mathematics graduate brings something new to the well-worn world of synth and, if you’re looking to go on a musical journey while lacing up those dancing shoes, look no further.
Saving your pennies is all very well when it comes to having five-minute showers, riding your bike to work, and nabbing the Manager's Specials at your local IGA, but it's a different kettle of fish when it comes to sandwiches. We here at CP take them very seriously, and budget accordingly. An $8.80 Myki full fare trip? No thanks, we'll walk. But a $28 luxe wagyu sandwich at Saint Dreux? We'll invest in that. Sometimes you realise life is short, wagyu beef sandos are delicious, and you gotta roll with the punches when it comes to spending money on tasty things. But, still, it got us thinking: what else can you eat in the city for $28? Well, it turns out, quite a lot. Cough up a lobster and some coins, and you'll find you can snag yourself 21 fried pumpkin cakes, or a dozen sushi rolls, or lots of baked cheese tarts. So, here are ten ways to get the biggest bang from you 28 bucks in Melbourne. Choose wisely. WAGYU SANDWICH, SAINT DREUX Saint Dreux, the CBD's new katsu sandwich and coffee bar, is a minimalist, white bread affair. The new offering from the Slater Street Bench crew concentrates on doing a couple of things, and doing them well: katsu sandwiches and Japanese-style castella cakes. The star of the show — and what will have you happily queuing up, or finding you've missed the boat if you got there too late — is the wagyu beef katsu sando. Medium-rare in the middle and fried on the outside, the marbled beef sando will have you forgetting all about the concept of wholemeal bread and willingly spending almost your monthly phone bill on a single lunch. [caption id="attachment_684479" align="alignnone" width="1920"] Jesse Jaco[/caption] CHEESE FONDUE, SWISS CLUB RESTAURANT The Swiss Club Restaurant is one of those bastions of the Melbourne hospitality scene – founded in 1899, it has long been an epicentre for the Swiss community in Melbourne. It also serves up Swiss food, drink and entertainment on any given night of the week, including a not-for-the-fainthearted fondue. Tthe big ol' pot of cheese is made of Gruyère and Emmental cheese, melted with garlic and white wine, and served with bread and pear. You'll need to go with at least one mate and, at $26 per person, is enough to have you putting off your vague veganism plans for another year, because cheese. A ROTI FEAST, MAMAK Mamak is the indisputable home of roti in Melbourne, with its cheerful Lonsdale Street digs serving up huge, steaming plates for both lunch and dinner every day of the week. The Malaysian restaurant has a couple of branches in Sydney, too, so the roti love obviously stretches around the country: hot, buttery and flaky, it's high time to get it in your gob if you haven't already. You can get a roti canai (the OG choice, served with two curry dips and a spicy sambal), an egg roti (also a must-try) as well as a dessert roti — roti kaya, filled with pandan and coconut — for $27.50. Mamak's roti is crispy on the outside and fluffy on the inside and filled with happiness all over. [caption id="attachment_673756" align="alignnone" width="1920"] Giulia Morlando[/caption] TWO PEZZO AND A CANNOLI, PEZZO Pezzo is an Italian pita pocket-like street food you'll eat once and want every day forever more — so don't say we didn't warn you. These little pockets of Italy are made of 48-hour fermented pizza dough, baked into bun shape, cut apart with scissors and then stuffed full of delicious Italian ingredients. Think meatballs and cheese, veal schnitz and pickles, or calamari and white sauce. Grab two savoury pezzo and a cannoli, too, all for around $28. THREE PIZZA SLICES AND A PINT, HEARTBREAKER Heartbreaker already has you sorted when it comes to spending winter nights sipping whisky and listening to tunes on their jukebox. It's the sort of dive bar you slide into, late at night, feeling like you just want to hear that one Bruce Springsteen song that reminds you of your ex — then, against your better judgement, chuck it on. Deal with the ensuing feels by grabbing a pint and a couple of slices of pizza: hole-in-the-wall Connie's Pizza runs out of the back, open late night for your carbs and comfort need. However you're feeling, you'll also be well fed and watered — you can get three slices for $18, so add a beer on and you can still be within the $28 limit. SEVEN BAO, WONDERBAO Wonderbao is a pretty apt name for this restaurant, which serves basically only bao and hot soy milk drinks. It churns out scores of wonderful little delicious steamed Chinese buns every day. White, starchy, and just the right amount of filling vs bun, Wonderbao has got its formula down pat. Standard bao go for $2.70 (try the char siu barbecue pork — the OG and perhaps the best) to $4 (filled with egg, shiitake mushroom and Chinese sausage). The more open sandwich-type, the gua bao, are priced at $5.20. You can either get a full variety pack of your choosing, mixing and matching, or just call it a day and order ten char siu BBQ pork bao for $27. Don't' worry, you'll have room: they're wonderfully light and fluffy. SEVEN CHEESE TARTS, HOKKAIDO BAKED CHEESE TART Malaysian-born chain Hokkaido Baked Cheese Tart does one thing really well: unsurprisingly, baked cheese tarts. Melbourne can't get enough of these lil cheesy babies. With four locations across Melbourne, there are two in the CBD: at QV and Melbourne Central. Prepare to contend with lines but for good reason – the tiny cheese tarts, which are made with Hokkaido-style dairy products, are full of rich savoury-yet-sweet flavour, good eaten either cold or warm. While other flavours exist now such as blueberry, the original are still the place to start: at $3.90 each, you can take home seven of them for under $28 for your whole household to try, or just one for every day of your week if you don't like sharing. TWELVE SUSHI ROLLS, TOKUI SUSHI Lonsdale Street's Tokui Sushi may be the best value sushi in the CBD. And even though its infamously low prices of $2 per roll have recently risen to $2.20, there hasn't exactly been riots in the streets. It's still miles cheaper than any other sushi place around. Every single roll is the same price, so you can live your chicken teriyaki and smoked salmon dreams on a budget. You can get 12 rolls for $26.40, so really that's all you need to know about that. FOURTEEN OYSTERS, PHILIPPE Sure, oysters are generally a bit of an indulgence, but they're fairly accessible at Collins Street's Philippe. The French restaurant was opened by chef Philippe Mouchel in 2016 — and while it's not particularly light on the wallet, there are some bargains to be had. While the a la carte menu is a ritzy affair of foie gras and duck, you can also nab oysters at $2 a pop here. Available all day Monday to Friday (and from 5pm on Saturdays) in the bar, you can get 14 of the tasty sea molluscs and feel like you're living your very best life. [caption id="attachment_622463" align="alignnone" width="1920"] Brook James[/caption] TWENTY-ONE FRIED PUMPKIN CAKES, SHANGHAI VILLAGE DUMPLING We've got a very fond spot for cheap and cheerful, and Shanghai Village Dumpling most certainly takes the cake for the title — well, the 21 cakes to be exact. While its large, steaming hot plates of dumplings are obviously what you'll go for, you'll find yourself staying for (perhaps surprisingly) dessert. The crispy pumpkin pastries are the stuff of deep-fried dreams; moreish and that exact cross between sweet and savoury, we're serious when we say to not fill up on fried pork dumplings before you get to these fellas. You can get three pieces for $4, so looks like it's over 20 for $28. Go on, then.
There are many activities you can do in a two-hour time slot. You could watch all six episodes of the ABC's satirical beauty blog Sarah's Channel, cook 60 packets of 2 Minute Noodles or listen to Pink Floyd's 'Shine On You Crazy Diamond' 4.6 times. But we think the tastiest way to pass 120 minutes is to spend it eating endless plates of tacos. And that's exactly what you can on Friday, October 4, when Fitzroy's El Camino Cantina celebrates 'World Taco Day' with two hours of unlimited tacos for just $25 a pop. Rock up anytime after midday and you'll be able to dig into bottomless tacos topped with cajun chicken and pickled cabbage; minced beef, cheese and lettuce (it's meant to taste a little like a cheeseburger); or mushrooms and chipotle coleslaw. If you want to spend a bit more on your feast, you can also splurge on a $10 lobster or wagyu taco. To redeem the bottomless offer, you will need to purchase a drink of sorts. You can choose from one of the restaurant's five frozen margaritas, a glass of sangria, a Dos Equis or, really, anything else on the extensive drinks menu. To book your spot, head to the El Camino Cantina website.
Bid farewell to the working week at Courtyard Cantina. Every Friday evening throughout February, the Immigration Museum is hosting an after-work shindig, complete with pop-up bar, mouth-watering street food and free live entertainment. Each Cantina event runs from 5pm to 9pm and will feature a rotating mix of musical and culinary guests. Expect food from the likes of Feast of Merit, Trailer Made, Burn City Smokers and Mankoushe while Blair Stafford, CC:DISCO! and Cocoa Noire are at the mic. There'll also be a number of special presentations, ranging from a cocktail tasting with Fred Siggins of Black Pearl to a local fashion display courtesy of the Virgin Australia Melbourne Fashion Festival. Cantina visitors will also get half price museum entry to view current exhibitions, including the Flyaway Print Exchange and Identity: yours, mine, ours. For the complete Courtyard Cantina schedule, go here.
A tense, make-your-stomach-drop drama from director Benedict Andrews, Una is not an easy watch. You'll find your skin crawling, and your legs and arms crossed, physically recoiling from the modern-day version of Lolita too realistic for comfort unfolding on screen. You might even forget all about the big crush you have on your fave Aussie dad figure Ben Mendelsohn. The effect of Una is just that jarring. The film tells the story of Una (Rooney Mara), a woman whose sudden reappearance threatens to destroy the life of Ray (Mendelsohn), a man who at first glance it seems she was once intimately involved with. But we soon pick up on the fact that "involved with" here means "sexually abused by". Una was 13 when Ray began a sexual relationship with her. Years later, she arrives at his workplace, come to confront him about the past. In brief, disjointed moments of flashback we meet Una as a child, and Ray as a younger man who becomes obsessed with his neighbour's daughter, sexually abusing her through the guise of them "being in love". Back then, it all ended in a plan to run away to Europe, a single motel bed, abandonment, and a jail sentence. Years later, Ray (now "Peter") has rebuilt his life with a new job, a new wife, a new house, and a whole new identity. Una? Not so. Still dealing with what was done to her as a child, she lives in the same house where it all happened, with a mother she's still failing to communicate with. The last time we see Una as a child, she's pleading with Ray via live video feed in a courtroom, asking him to come back, to make contact, and to tell her why he left her. The first time we meet her as an adult, she's having sex with a faceless man at a club and wandering home in the early morning, stuck in her anger and her past. The film was adapted from Blackbird, a play by David Harrower, and its origins on the stage are clear to see. Una's musings to Ray, mostly within the confines of the lunchroom at his workplace, are delivered like monologues. Mara chews up and spits out the dialogue the way her character must have practised hundreds of times in the years since her abuse. The film succeeds in what it sets out to do in part through its handling of the aspects of Una and Ray's past that, obviously, it can't actually show. A chill runs down your spine with each horrible moment left unseen; a close-up of two hands holding each other, or a long shot of a huge tree that obscures our view. Our imaginations run cold along with our blood. Mendelsohn is convincingly charismatic while bringing the requisite darkness to his role. Mara struggles a little in her attempts to pull off a British accent, but aside from that her performance is exceptional. The chemistry between the two is patently present, enough to make you shudder. Una is one of those films that you can't stop watching, no matter how much you might want to; a tense, confined study of a paedophile that dares you to look away. Is Ray rehabilitated, trying to move on from the unforgivable actions of his past? Or is he still as sick and manipulative as ever? The film, and Mendelsohn, will leave you guessing. https://www.youtube.com/watch?v=QSpZBmnamhg
For a single weekend this Spring experience the people, space, process and ideas that unfold within the private studios of the Yarra Valley art community. This year’s program includes 43 inspiring artists, and the not to be missed group exhibition at Oakridge Winery’s brand new beautifully designed restaurant and cellar door in Coldstream. Oakridge will open early for an Open Studios inspired breakfast on the weekend of the event, giving you a chance to view original artworks and plan your weekend studio visits using the YVOS guidebook or iPhone app. A secondary exhibition, 'Prelim' at The Memo in Healesville, also features a rare collection of preliminary sketches, studies, plans and visual diaries that artists use to inform their work. It’s a peak behind the curtain and a rare opportunity to find out more about the local artists not too far off from Melbourne’s front door. Find out more about the artists participating in this year's Yarra Valley Open Studios here.
The detection of gravitational waves was a watershed moment in astrophysics, with the 2017 Nobel Prize for Physics awarded to the team responsible for confirming their existence. Now, their discovery provides the inspiration for an immersive multimedia experience at the Melbourne Planetarium as part of this year's Melbourne Festival. Directed by local writer, poet and broadcaster Alicia Sometimes, Particle/Wave will draw on the work of poets, musicians, scientists, and sound and video artists for a unique exploration of the forces that keep the universe spinning. Image: Andrew Watson.
A fixture in the historic mining town for over a century, the Broken Hill Musicians Club will play host to Adelaide's finest tribute act for one night only. The Flaming Sambucas have been playing around Australia — and the world — since 1991 and have a range of setlists up their sleeves, from Elton John to Lady Gaga. For this show, they'll be busting out the hits you know and love from everybody's favourite Swedish supergroup. There'll be 'Dancing Queen', there'll be wigs, there'll be costumes and — consider yourself forewarned — there will certainly be audience participation. Expect this slice of NSW outback to transform into a riot of sing-alongs and glittering disco balls. Best of all, the gig's free — you've just go to get there. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
UPDATE Thursday, June 17: Melburnians will soon be free to travel around Victoria, with the 25-kilometre travel restrictions lifted at 11.59pm tonight, June 17. However, hospitality and live music venues are still operating under capacity restrictions. Check out the latest information on the Victorian Department of Health and Human Services website. You can also find more figures and graphs on its Victorian coronavirus data page. Things usually get a bit quiet in winter, especially when it starts with a two-week lockdown. Thankfully, now that Melbourne is emerging from its stay-at-home restrictions, the city's music calendar is starting to heat up. On the bill: up-and-comers, screaming thrash metal and animatronics-meets-music combos, with everything from niche geek interests to mainstream names also getting their time in the sun. So, now that life is beginning to return to normal, it's time to spend this winter pricking up your ears and hearing the best that Melbourne's music scene has to offer. [caption id="attachment_802255" align="aligncenter" width="1920"] Nicole Cleary[/caption] CHECK OUT A HEAP OF LOCAL UP-AND-COMERS Cancel your plans for Sunday, June 20, because you're spending an afternoon supporting local musicians. Originally set to take place over three days but adapting and rescheduling following Melbourne's lockdown, Ballroom Blitz will see Cool Sounds, Snowy Band, Martin Frawley and Emily Ulman play the new Brunswick Ballroom. Formerly the Spotted Mallard, the site has reopened all shiny and fresh for 2021. Come check out these fresh digs and see newish and emerging acts who were robbed by the pandemic of their chance to tour in 2020. The Sunday session starts at 3pm — and will treat you to some of the city's best up-and-comers. [caption id="attachment_815732" align="aligncenter" width="1920"] Leon Schoots[/caption] WATCH MUSIC, ANIMATRONICS AND DIGITAL ART COMBINE Robot Song blends music, animatronics and digital art performance, all while focusing on writer/director Jolyon James' experience as a parent of a neurodiverse child. James' performance explores how love and learning can overcome isolation and barriers between communication, how we navigate and celebrate our love for those who are different, and the unique and wonderful joys this experience of the world can bring. Family-friendly and a tight 65-minutes in length, Robot Song performances run in Chapel Off Chapel from Monday, July 26–Thursday, July 29, including a relaxed performance for neurodiverse audience members on the final date. [caption id="attachment_722920" align="aligncenter" width="1920"] Kindred Studios[/caption] HEAD TO A SUBURB-WIDE LIVE MUSIC FESTIVAL It's all going down in the west this winter. West Set is an 11-day live music festival in Footscray, running from Thursday, August 19–Sunday, August 29. The fest has had to adjust to the times this year — it was originally set to run in June, but postponed for obvious reasons — but here's hoping that the lineup will still boast more than 60 acts at 14 different venues. Either way, this event always reflects the diversity of this special suburb, including in its headliners, indie acts and DJ sets. Expect everything from jazz, grunge, folk, post-punk to alt-country and traditional African drumming — and to be reminded why you love Footscray. Also, it's a festival made for walking, with the venues packed so close to each other, you can gig-hop on foot all night. TAKE YOUR PICK OF FAN FAVOURITES It's the season of guilty pleasures and fan favourites at St Kilda's Palais Theatre. The venue's winter calendar includes a series of orchestrated 70s rock — hear David Bowie and Fleetwood Mac like you've never heard them before — as well as tribute acts that are a cut above the Sunday afternoon pub covers you secretly like. Also, Jimmy Barnes, the working class man himself, is taking the stage on Thursday, July 22 and Friday, July 23. Also hitting the venue: the long-running Empire Strips Back Star Wars burlesque show, which is enjoying its tenth-anniversary tour. An evening of sexy stormtroopers are exactly what you need while you're waiting for the next season of The Mandalorian to drop. SEE A LOCAL PUNK-ROCK STANDOUT AT A BELOVED PUB Don't freak out but, as of the time of publication, there are still tickets for Private Function's Thursday, July 1 show at Richmond's Corner Hotel. Shows are usually sold out damn fast for this punk-rock crew. You probably picked up their 2020 album Whose Line Is It Anyway, but this is a band that lives for live shows. Been craving energy and charisma after a year of lockdowns? This is where you'll find it. The lads are back touring Australia, so catch 'em while you can. Stop in for some gastro pub snacks and big feeds (with Corner Hotel's own hot sauce) to get your stamina up before you hit the bigger-on-the-inside, 800-capacity band room. SCREAM YOUR HEART OUT TO THRASH DEATH METAL From the outside, The Gasometer in Collingwood is a cosy old-school pub with fireplaces, tap froths and hearty fare. But just behind that convivial front bar is a massive two-storey gig space that's a local favourite for live music. On Saturday, June 26, the Gaso will play host to something a bit heavier, darker and more thrash-tastic than usual. Frankston's own purveyors of thrash metal, Womb to Tomb, will bring the sound and the fury to the stage for a night of moshing, flailing and distortion pedals. They'll be supported by Carcinoid (crushing death/doom metal), Pissrash (sludge metal) and FishLizard ("the unholy amalgamation of thrash, doom and grindcore"). All three are local acts, and this'll be a wholesome, feel-good night of thrash worth screaming your heart out to. [caption id="attachment_709514" align="aligncenter" width="1920"] Jake Roden[/caption] SOOTHE THE WINTER BLUES WITH COUNTRY AND WESTERN TUNES Lulie Tavern in Abbotsford is keeping you warm the southern way this winter — that is, with country music and good, hard bourbon. You'll find the venue's Heartache Tonight country and western nights on the calendar every second Thursday, running right through until spring hits. On June 24, The Canyon Callers come callin' with their particular brand of western swing. Then, on July 8, the gentle Georgia State Line take the stage. After that, it's anyone's guess, gunslingers — but, whoever is on the lineup, you can pair these moody cowboy tunes with quality American eats. The food comes courtesy of Kelso's, home of those infamously Instagrammable sandwiches. It's serving up burgers and fries beneath the neon bar signs late into the night, so you can settle in for a good one, pardner. Top image: Josh Groom.
Forget tats, magicians, superheroes and spinning tops. From Memento to The Prestige to his Batman trilogy, all have served director Christopher Nolan well. But in his latest film, nothing more than the sound and fury of war, and the anguish plastered across soldiers' faces, is needed to get his message across. If Inception famously gave audiences dreams within dreams, then Dunkirk delivers nightmares within nightmares — with the added tension of knowing that, for the first time in Nolan's career, the events seen on screen were inspired by reality. And yet, there's a difference between bleak and dispiriting in Nolan's take on the mass military evacuation of northern France during the Second World War. It was code-named Operation Dynamo, but became better known as the Miracle of Dunkirk — and indeed, those two names serve as a rather handy guide to this movie's approach. Demonstrating a mastery of sound and vision, Dunkirk is devastatingly dynamic in its depiction of troops endeavoring to survive the carnage of combat, but remains a thoughtful portrait of human resilience and camaraderie as well. Real life proves soothing as well as scary, as Nolan balances tenacity with terror, fortitude with fear, and bravery with brutality. For those in need of a history refresher, Dunkirk details the attempts to rescue more than 400,000 men stranded on the titular beach in May 1940. German forces had fenced them in by land, while planes attacked by air, often blowing away navy ships trying to take the British back to safety across the English channel. Nolan flits between the three perspectives, spending a week on the ground, a day in the ocean and an hour flying above. Young privates (played by the likes of Fionn Whitehead and Harry Styles) try to stay alive on the shore; a civilian boat captained by Dawson (Mark Rylance) and his son Peter (Tom Glynn-Carney) heads into the fray to help bring soldiers home; and two Spitfire pilots (Tom Hardy and Jack Lowden) patrol the skies to ward off further bombings. As jam-packed as it may seem, the description above doesn't even scratch the surface of the film's complexities. Being told how Dunkirk's narrative explores the events in question is nothing compared to seeing and hearing Nolan's work in action. Shooting on IMAX and 65mm film, cinematographer Hoyte Van Hoytema makes the furrowed brows and piercing eyes of the movie's many men as much of a spectacle as swooping aircraft, capsized boats and lines upon lines of troops crowding the coastline. Favouring ticking clocks as much as droning instruments, composer Hans Zimmer unleashes a symphony of suspense that's as effective in its loudest moments as it is when it crashes into silence. This is chair-shaking, nerve-shredding, eye-popping cinema with a capital C. At the same time, Nolan tempers his film's epic scale with moments of intimacy and introspection. While those two extremes sound mutually exclusive, simultaneously conveying both the broad scope and the personal impact of war is what makes Dunkirk so immersive, and so compelling. Unrelenting from start to finish, there's never a moment that's easy to watch, but there's never one devoid of hope either. This is an astonishing feat of storytelling, aesthetics and emotion, one from which you will not be able to look away. https://www.youtube.com/watch?v=yJ9J1FgA0A8
It was always going to be a challenge adapting On the Road, a book which is so intensely loved, has been so integral to the minds of so many people for so many years, and written in a language which burns and pulses and pierces the heart like stone cutting glass. We've been waiting years for it, and now the film version of Jack Kerouac's novel, starring Sam Riley and Garrett Hedlund as Sal Paradise and Dean Moriarty respectively, criss-crossing the country and trying to live as honestly and as passionately and as freely as they can, is finally upon us. And we can say that it's good. Very good. On the Road is the seminal novel of the Beat Generation, a semi-autobiographical account of Kerouac's time hoofing it across the country in the late 1940s and infamously written over three Benzedrine-fuelled weeks on a 120-foot roll of teletype paper. Francis Ford Coppola bought the rights to the novel in 1979 and has been tinkering about with it to no avail until signing up Walter Salles and Jose Rivera, the pair who directed and scripted The Motorcycle Diaries. The influence of that film haunts On the Road, and just as The Motorcycle Diaries captures the stark beauty of South America, On the Road shows every corner of the United States in its most exquisite detail. The performances from nearly all the actors are outstanding, particularly Riley and Tom Sturridge (as the lovelorn Carlo Marx), with Hedund's turn as Dean Moriarty the big, beating heart of the film. He also, as it happens, is on screen naked on a number of occasions, as are Kristen Stewart's boobs, if you're into that. Viggo Mortensen also provides some of the best lines as Old Bull Lee, a thinly veiled William S. Burroughs — Lorraine is a good name for a bat, don't you know. What will bother some is that the exuberance of the Beats in the novel, "the ones who are mad to live, mad to talk and mad to be saved," dissipates in Salles' slower-paced, golden-toned approach. The best bet, as with all film adaptations, is not to get too caught up in the accuracy of the interpretation, and simply appreciate it for what it is. https://youtube.com/watch?v=etr7upn35E4
Johnny Depp: is there anything he can’t do? Increasingly, the answer is yes, there’s plenty. Or, maybe it’s more about what he shouldn’t do. For proof, see his recent filmography. From being a mainstay in Tim Burton’s movies, to playing Pirates of the Caribbean’s Jack Sparrow, to nodding nonsensically in disguise in Tusk, Depp’s career has become a parade of almost-indistinguishable quirky characters. He pulls silly faces, talks in a ridiculous voice and stumbles around as though he might fall over at any moment. The premises and predicaments change, but the former 1980s 21 Jump Street teen idol doesn’t, apart from costumes and make-up. Mortdecai provides yet another example, with Depp the eccentric art dealer of the title. He comes from wealth – complete with a stylish wife, Johanna (Gwyneth Paltrow), and a loyal manservant, Jock (Paul Bettany) — but owes the British government £8 million. To maintain his lifestyle, he agrees to help old pal, romantic rival and MI-5 agent Martland (Ewan McGregor) recover a stolen painting shrouded in mystery. A Russian assassin and Nazi treasures also feature. The farcical film kicks off with calamity, ripping off Indiana Jones and the Temple of Doom as a Hong Kong casino rendezvous ends in a shootout, and doesn’t improve from there. Disaster is key to the plot, with Mortdecai an awkward mix of Mr. Bean and The Pink Panther’s Inspector Clouseau, wreaking havoc wherever he goes — including Moscow and Los Angeles. Disaster is also the only outcome possible for a movie that thinks overripe cheese and cheap port are the height of humour, labels one of its three prominent female characters as a nymphomaniac, and wrings many of its jokes out of gag-reflex reactions to moustaches. “You look like you have a vagina on your face,” Johanna tells Mortdecai in response to his hairy top lip. Yes, really. To be fair to filmmaker David Koepp, who previously worked with Depp on Secret Window, he is taking his cues from existing material. 1973 novel Don't Point that Thing at Me started a series about the oddball aristocrat, but whatever cartoonish joys it may have had are lost in this energetic but overworked update. The flimsy script by Eric Aronson, best known for co-writing rom-com On the Line starring NSYNC’s Lance Bass and Joey Fatone, doesn’t assist matters. If Mortdecai was trying for a manic, frantic combination of smugness, superficiality, and stupidity, then it succeeds — though surely that wasn’t the aim. As for Depp, he is as committed as ever, but also as tiresome. Sharing zero charisma with his co-stars makes every second he is on screen seem like an eternity; and while Paltrow, McGregor, Bettany, Jeff Goldblum and Oliva Munn easily overshadow him, they do so as stale stereotypes, and clearly bored and unhappy. Mortdecai, the man and the movie, just isn’t something anyone wants to spend time with. Chalk it up as one of the same supposedly comedic efforts Depp makes too many of, and everyone else should be running far away from.
UPDATE, May 7, 2021: Us is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. With his Oscar-winning directorial debut Get Out, Jordan Peele gave the world a powerful metaphor for everyday, engrained oppression. In the sunken place, the film's black characters are sent falling down an endless rabbit hole while their lives are controlled by wealthy white folks. African Americans are forced to watch from a cavernous expanse of darkness, all as someone else pulls their strings. Robbed of agency, they become passengers in their own journey, rather than drivers of their fate. The movie's brilliant blend of scares and social satire gives more flesh to the scenario, but the mechanics are straightforward: one race is sent plummeting; the other climbs higher through their subjugation. Peele's concept isn't a one-time idea, as his sophomore film shows. Us doesn't feel like Get Out redux for even a split second, but it does give another clever and chilling dimension to the notion of flailing versus prospering — and another example of who's doing both. This time, the writer-director puts class under his magnifying glass, while still training his gaze firmly at his country. It's not by accident that the movie's title can be read as U.S., aka the United States. That's not supposed to escape anyone's attention. Perhaps the greatest trick that Peele pulls, however, is slicing into the horror of just peering in the mirror and thoroughly detesting what's looking back. After a quick glimpse at an ad for 80s charity campaign Hands Across America, Us' 1986-set prologue sends a young girl (Madison Curry) into an actual house of mirrors. "Find yourself" the funhouse at the Santa Cruz beachside amusement park promises. She does, although not in the usual way — and as flashbacks remembered by the adult Adelaide Wilson (Lupita Nyong'o) reveal, she's left forever shaken by the process. In the present day, Adelaide returns to the Californian spot with her husband Gabe (Winston Duke) and children Zora (Shahadi Wright Joseph) and Jason (Evan Alex). She's wary and worried as her family pals around on the beach with their better-off friends, the Tylers (Elisabeth Moss, Tim Heidecker, Cali Sheldon and Noelle Sheldon). Later, Adelaide tries to explain her visible unease to Gabe, confessing that she has always felt as if her other self was coming for her. With the arrival of the Wilsons' doppelgängers on their driveway that night, her words are proven accurate. Decked out in matching red jumpsuits, wearing lone tan gloves and clutching golden scissors, the sinister doubles call themselves 'the tethered' — and they're here to cut that name to ribbons. What begins as a tense, terrifically staged home invasion soon becomes much more, as Adelaide and her loved ones face off against their murderous counterparts. The terror that follows boasts more angles than the reflective maze that starts this unnerving story. It also contains more twists and turns than the abandoned and unused tunnels buried beneath the U.S., as pointedly referenced in the film's opening title card. Finally, it features more meticulously deployed pop culture references and nods than might be expected in a movie that remains so thoughtfully distinctive. Us is a creeper in multiple senses of the word. It's disquieting from the outset (even more so when it spends its opening credits staring at caged rabbits), but Peele knows how to let that unease fester and grow. While the 'master of suspense' label was bestowed decades ago, the comedian-turned-filmmaker is just as devastating at cultivating distress as Hitchcock or any other iconic horror or thriller director. He's similarly adept at using every tool in his arsenal. After giving It Follows such a disconcerting look, cinematographer Mike Gioulakis does so again here, especially while shooting in domestic spaces. Aided by a few choice song selections that range from NWA to the Beach Boys, Get Out composer Michael Abels conjures up another needling score designed to set viewers on edge. But it's the way that Us' agitated, anxious mood refuses to dissipate that marks the movie as something special. The narrative and its ideas are undeniably creepy and, even when some aspects initially seem a tad too obvious, the film resonates long after viewing. Us' tone, images and sounds reach further, however, truly and deeply creeping under the audience's skin. The simple sight of four shadowy figures looming over a house in the dark of night instantly demonstrates how effective Us is in a visual sense. Choreographed movements of the balletic, stilted and frantic kind do as well. They also highlight Us' other key element, because central to the malaise is Peele's cast. Their characters might battle themselves, but the actors never do the same, always making their dual roles feel like individual creations. If Daniel Kaluuya can earn an Academy Award nomination for Get Out, there's no reason that Nyong'o can't achieve the feat for her twin parts as both a fraught, complex victim and a calm, unrelenting aggressor. Her performance as Red, Adelaide's mirror image, is as delightfully disconcerting and affecting as the doppelgänger's gravelly, haunted voice. From Duke's transformation from goofy dad to non-verbal brute, to Joseph's expressiveness as both a too-cool teen and a psychopathic killer, to a particularly flighty then unhinged turn from Moss, Nyong'o is also in great company. Of course, that's one of the movie's mischievous tricks: as it delves into the divide between 'us' and 'them', it puts everyone in the same unsettling situation. https://www.youtube.com/watch?v=bavqDA_3vIo
What do you do when a global pandemic cancels Melbourne's annual film festival? If you're the folks at MIFF, you move the show online. Like Sydney Film Festival, this year's Melbourne International Film Festival is going virtual. So if you usually spend most of August watching new movies from around the world, you can still look forward to doing just that. Running at the same time the physical festival would've — so, between Thursday, August 6–Sunday, August 23 — this socially distant fest has been dubbed MIFF 68 1/2. 2020 should mark the event's 69th year, but it's keeping that label for next year's in-person fest. Still, cinephiles across Australia will still be able to get a MIFF experience, complete with a ticketed program. On the bill: new flicks, fresh discoveries from emerging filmmakers, and a range of Australian, international, documentary and animation shorts. MIFF's regular Shorts Awards will also be given out. The lineup won't be announced until July 14 (again, MIFF is sticking to its usual timetable), so you'll have to wait to see what you'll be feasting your eyes on — although, given film fests have been cancelled around the world since mid-March, you can probably expect to see a healthy selection of titles from earlier festivals that did still take place, such as Sundance and Berlinale. MIFF 68 1/2 is being made possible thanks to the most significant philanthropic gift the festival has ever received from a private donor, all to ensure the fest still goes on this year — and it'll use streaming platform Shift 72 to screen its program. [caption id="attachment_769569" align="aligncenter" width="1920"] Zan Wimberley.[/caption] The full program launch and ticket sales for MIFF 68 1/2 begin on July 14. Top image: Tony Zara / Dean Walliss.
When you're travelling in a group and need somewhere that feels remote, but only ten minutes' drive from shops and cafes, Nine Steps is a good option. The rural retreat is found on 29 acres of bushland at the base of Mount Buffalo — and if you're keen to spot wildlife while you're staying in the countryside you may come across wombats and wallabies while you're pottering about at this spacious accommodation. What was once a classic Aussie shed has been transformed by an architect into a three-bedroom, two-bathroom homestay. There's no wifi or phone reception, but you've got excellent views of Mount Buffalo on your doorstep. Nine Steps sleeps up to six people, and there's a large open-plan lounge and kitchen for spending lots of time with your friends and family. If you need to escape, you're only minutes from Bright and plenty of bushwalking trails in Mount Buffalo National Park.
UPDATE, June 29, 2022: Midsommar is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. In the dark, sprawling house at the centre of Ari Aster's Hereditary, nightmares flourished in even the safest of spaces. In the writer-director's sophomore release, Midsommar, devilish deeds and diabolical forces thrive in lush meadows dappled with unrelenting Swedish daylight. Once again weaving a maze of death, trauma, family, secrets, strange sects, unnerving rituals and eerie altercations, the acclaimed filmmaker is clearly fascinated with specific themes and motifs. He has a type, even with the evident change of location and colour scheme. And yet, Aster can't be accused of making the same movie twice. Watching on as a group of Americans encroach upon a secret Nordic community near the North Pole, joining their celebrations during a once-in-a-lifetime festival, Midsommar dives into a whole new world of terror. Crucially, it thrusts the horror genre's lingering malevolence out of dim rooms and musty corners, and into the fresh, vibrant, perennially sun-drenched air. Midsommar commences with the passing of loved ones, in what's become the director's typical fashion. That Aster has already established an authorial pattern just two movies into his feature-filmmaking career (across less than two years) speaks volumes. Midsommar doesn't seem like a rehash, nor like he's filtering his past hit through the somewhat similar The Wicker Man or Kill List. Instead, it feels as if Aster is finding new ways to unpack ideas that keep devouring his mind and soul. Through the grief-stricken Dani (Florence Pugh), he gives the bone-rattling pain of mourning the most distraught face he can, his committed new lead matching Toni Collette's turn in Hereditary for intensity. Then, he pushes his bereaved protagonist much, much further out of her comfort zone. Tagging along with her barely caring boyfriend Christian (Jack Reynor) as he accompanies his college friend Pelle (Vilhelm Blomgren) back to the close-knit commune where the latter grew up, Dani is an interloper twice over. The frat boy-ish Mark (Will Poulter) is visibly unhappy that she's joined their trip and, though fellow anthropology student Josh (William Jackson Harper) offers her kindness, it's obvious that she wasn't initially part of the group's plans. Of course, like their unwanted guest, this motley crew of self-absorbed men don't quite gel at their destination. They're met with hearty smiles, plastered across the faces of serene Swedes who wear white cotton from head to toe, sport floral headdresses and spend their afternoons tripping on mushrooms, but the visitors still stand out. And the more time that Dani, Christian, Mark and Josh spend with the Hårga, as Pelle's pagan community is known, the further they become entrenched in the summer solstice festivities. While it begins with feasts, ceremonies, love runes and laced drinks, disappearances, ominous maypole dances, deaths and worse soon follow. A film steeped in loss, Midsommar is also a movie as much about belonging as longing. The agony and uncertainty someone feels when they don't fit in, and the contentment that springs when they're welcomed with open arms, courses through the picture's veins. Tied to both is Aster's favourite sensation, with dread the movie's emotional baseline. Wherever and whenever he can, the filmmaker layers his sights and sounds with anxiety and apprehension — and with fear and foreboding on top. Unease ripples across the Hårga's leafy haven like a slight but quickening breeze, as made all the more disquieting by the long, wide shots favoured by returning cinematographer Pawel Pogorzelski, and the needling, string-heavy refrains that mark The Haxan Cloak's stirring score. Once again, Aster has crafted a work of commanding control and startling technical precision, each element carefully calculated to disturb viewers with maximum effect. Midsommar is also a work of meticulous pacing, a factor that has more of an impact than might be anticipated. As anyone who has experienced it knows, mourning is a process of waiting for time to tick by, and for soul-crushing sadness to fade from a searing flame to a bearable simmer. Likewise, relishing the joys of feeling safe and wanted also hinges upon time — although, in that situation, no one ever wants their bliss to end. Starting patiently then working up to a frenzy, Midsommar packs much into its 147-minute duration, but mirroring these feelings of grief and of comfort just might be its most devastating achievement. With that in mind, Dani is torn in two conflicting directions, simultaneously wishing her ordeal would finish and hoping that it keeps branching into eternity. Reynor's largely dazed and confused Christian feels the same way, but for his own reasons given that their relationship keeps snapping and straining towards its breaking point. The duo are distressed and drugged, yet they're also caught in the commune's thrall, and Aster asks his audience to share their sentiments. It's easy to do as the director asks, unless you're squeamish. A hallucinatory horror trip that doesn't hold back on its deranged imagery, Midsommar is a glowing, sinister dream. It couldn't look more alluring and idyllic, all while exposing festering miseries and inescapable woes. Every inch a sunlit nightmare, it shocks by bathing its dark heart in gleaming brightness, and intoxicates even as it repeatedly unsettles viewers to their core. https://www.youtube.com/watch?v=_I9ZeUWXI2s
The annual Orange Wine Festival is back for its 11th run, with ten days of events highlighting the region's sophisticated winemaking from October 13 through October 22. Patrons can expect wine shows, tastings, dinners and educational workshops, all of which showcase the rich diversity of Orange's rich culinary culture. This year's packed-out program includes over 90 events, which are open to all wine lovers, from the connoisseurs to those still getting to know their palate. The region is known for its cool climate which creates wines with bright fruit and deep, balanced flavours, making them some of the best drops in the country. While there are events on every day of the two weeks, signature events include the Festival Night Market, the Orange Wine Show Tasting ($50-$70) and Wine in the Vines ($145).
In 2019, Melbourne Design Week is celebrating the city's closest thing it has to an iconic feature with a program of tours, talks and exhibitions centred around our relationship with the Birrarung — that is, the Yarra River. Take a bike ride along the river banks, explore the Wonthaggi desalination plant, or take a boat tour of the river's most beloved swimming spots. Yes, people actually used to swim in the Yarra. Other events on the Waterfronts program include Undercurrent, a solo exhibition by Bangerang artist Peta Clancy featuring a series of sobering photographic works created in collaboration with the Dja Dja Wurrung community that highlight hidden massacre sights along the Yarra's banks, as well as Commuter Afloat, a talk on the benefits of water-based transit held right on the water. For the full Waterfronts program, go here. Events are booking out fast, so make sure you get in quick. Image: Giulia Morlando.
The 23rd annual Queenscliff Music Festival is swiftly approaching — and, boy, is there a lot to celebrate. As always, the lineup offers an great mix of talent, with Missy Higgins, The Cat Empire, Newton Faulkner, Fools, The Delta Riggs and Clare Anne Taylor all on the bill. In total, 60 acts and events are slated across the three days from Friday, November 22 to Sunday, November 24. Tickets always move quick for this annual fest, whether you're keen on a pass for the whole weekend or just heading along for one day. This festival is a prime music event for those who like to kick back and soak up the friendly atmosphere of a well-organised festival, just before the madness of summer hits. If this sounds like something you can get down with, hit up QMF.
This week, enter the charming little dream world of Lucy Folk and make her covetable candy-hued cocktail clutches and wearable works of art yours. And all for a fraction of the price, because the Melbourne-based jewellery designer is hosting a sample sale on Thursday, April 6 and Friday, April 7. Huzzah! Older styles, past collections and samples will be available at up to 75 percent off retail price. So does this mean we'll find those peppercorn earrings and caviar rings from the 2014 food-inspired Appeteaser collection? We sure hope so. Plus, even though it's a sample sale, there's no need to worry about being sample sized, because we're talking eyewear, clutches and jewellery. Double huzzah. As we move into cooler autumnal weather and shorter days, future you will thank Lucy Folk (and your shopping habits) for adding a burst of cheer to your every day outfits. The Lucy Folk Sample Sale will run from 8am–7pm both days.
Director Kip Williams has turned out an impressive, stylish Australian premiere of British playwright Caryl Churchill’s Love and Information at the Malthouse. Churchill’s 45th play is a fractured meditation on knowledge, relationships and identity that takes place over 60+ scenes. She gives some guidance as to how acts and sequences within the script are ordered, but within that framework creatives tackling the work have more or less carte blanche. With so many scenes on show, Paul Jackson’s lighting design takes on an important role in delineating the work’s many transitions. This, in combination with sound design by THE SWEATS — a combination of mostly original score and music by bands like Hot Chip — might initially come across as a over-convenient solution, but as the play progresses, it’s these elements of design which provide a constant spine to these disparate scenes. They impart a sense of coherency that encourages an audience to look at the bigger picture, and at the themes emerging in the gaps between scenes themselves. The content in these sometimes very brief exchanges is often explicitly geared towards a discussion of the nature and importance of memory, uncertainty and knowledge. As the action progresses, things begin to get more serious — references to terrorism, war in Tripoli, a young schizophrenic who has stopped taking his pills because “they make it hard to get the information”. One stunning scene is as good as theatre gets, with a patient suffering Alzheimer's playing the piano joined in harmony by his two nurses. Although it’s easy to look for the contemporary cues that might have spurred on the writer’s interest in this material — namely the impact of digital technology upon our ability to relate to one another and ourselves — even when engaging with notions of virtual life, Churchill seems to be speaking to a much deeper and timeless question of connection: what is taking place in any exchange between human beings? What part of ourselves is being lost, or found? The large ensemble cast is flawless, with Marco Chiappi, Harry Greenwood, Glenn Hazeldine, Anita Hegh, Zahra Newman, Anthony Taufa, Alison Whyte and Ursula Yovich making the play’s many set, character and costume changes look effortless. The play is a co-production with the Sydney Theatre Company; Melbourne audiences should book in now before it heads up the coast. Image by Pia Johnson.
The buzz of January is over and if you need a little motivation to continue with those NYE resolutions, look no further than this activewear sale. Australian clothing company Active Truth is moving warehouses and, to make the move a little easier, is offering 40 percent off sitewide. Active Truth's swimwear and activewear is accessible to beachgoers and gym junkies of all shapes and sizes, with swimsuits, tights, crops, bike shorts and maternity wear all ranging from XS to 3XL. Check out these summery floral tights or this black one-piece swimsuit. As an added bonus, you'll receive free express shipping, so even though we're already more than a week into February, you'll have your new swimsuit at your doorstep before summer ends. Plus, Active Truth is committed to sustainability, supporting the The Seabin Project and making its swimwear from reconstructed recycled fibres, such as discarded fishing nets. If you're keen to snag some new togs, have a look through the catalogue and order before the sale ends at 11.59pm on Sunday, February 14. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Break out the bibs and put away those fine dining manners, because things are about to get messy in the tastiest way possible for Good Food Month. The Church of Bang Bang Boogaloo will be the setting for an all-out Low Country Boil, just like the ones you'll find in backyards across South Carolina and Georgia. Expect tables piled high with mountains of prawns, crayfish, potatoes, crab, sausage, and corn, just waiting for you to dig in and bliss out. There'll be lots of refreshing brews to help wash it all down, and socialising options aplenty.
Here in Melbourne, pub grub is something we hold pretty dear to our hearts, and it's that love affair that's set to be the star of the show at the Melbourne Food and Wine Festival's inaugural Smorgasburb celebrations. Hosted by Sand Hill Road — the same guys behind some of your all-time favourite pub feeds — this promises to be one tasty afternoon. They'll be pulling together the likes of Bossam pork belly tacos from the Terminus Hotel, a sardine katsu brioche sandwich from the Prahran Hotel, kombu- cured cobia from the Garden State, and the Bridge Hotel's toasties. It's all being served up against that iconic backdrop of the Bridge Hotel's interior laneway, and teamed with a hefty drinks list worthy of any great pub sesh. Pre-purchase your tickets and you'll get tokens to use on food and drink on the day.
If an indulgent Italian feast is on your agenda for Aussie Wine Month, then look no further than the Three Italians lunch. As the name explicitly states, the event will be an Italian smorgasbord, a celebration of the big Italian three — wine, food and opera. The frivolities kick off with Prosecco and canapés on the lawn, and it only gets better from there. Held outside on at the Pizzini Wines estate in Whitfield, Adam Pizzini of Casa Cucina in Wangaratta will prepare a four-course lunch using local produce and Italian wines. All the while, operatic duo Catherine Pendelich and Céd Le Mélédo will fill the country air with sweet music. Have you ever heard of anything more enchanting? We haven't.
If the meaning of life exists in the sweaty, jam-packed confines of a music festival, then Terrence Malick wants to find it. Partially filmed at Austin's SXSW, Song to Song features the filmmaker's trademark swirling imagery as he searches for substance among the crowds, takes us backstage with the likes of Iggy Pop and the Red Hot Chili Peppers, and serves up glimpses of several live performances. The writer-director's ninth feature roves through the city's music scene more generally, but its use of the fest couldn't sum up Malick's central question better. Amidst chaotic circumstances, how does one find beauty and love? Through whispered words (another typical Malick flourish), various characters speak of ebbs and flows, of dream-like experiences, and of emotions that don't always feel quite right. In one of the voiceover's most overt moments, Rooney Mara's Faye discusses her relationship with Ryan Gosling's BV, explaining, "we thought we could just roll and tumble, live from song to song, kiss to kiss." Yes, she's saddled with clumsily making use of the movie's title, but she's also describing its quest to understand the ups and downs of human existence. So it is that Faye falls for musician BV, with all the joy that romance can bring. Complicating matters, however, she also falls for her arrogant but well-connected producer boss Cook (Michael Fassbender), who starts working with BV. Cook also has an affair with a waitress, Rhonda (Natalie Portman), while BV becomes involved with Amanda (Cate Blanchett). As snippets of their lives fill the film, a number of other characters filter in and out – including Zoey (Bérénice Marlohe), with whom Faye has a dalliance; BV's flirtatious mother Judy (Linda Emond); and Rhonda's mum Miranda (Holly Hunter), among others. Accordingly, we watch as a bunch of rather attractive people live, love, fight, sing, play, dance and more. They go on holidays, attend parties, see gigs and roam around mansions — sometimes acting as though they belong, sometimes contemplating how lavish their surroundings and exploits are. Depicting their intermingling relationships is as much of a narrative as Malick is interested in providing. Instead, as he did with the thematically and visually similar To the Wonder and Knight of Cups (and The Tree of Life before that), he prefers to immerse audiences in his familiar style, encouraging them to get caught up in individual moments while pondering the bigger picture. The end product is intoxicating and heartfelt, with Malick's desire to convey the complexity of being alive evident in every frame. That said, it also proves his most indulgent film, as he lets his directorial tics and traits run rampant. The movie couldn't look more gorgeous thanks to cinematographer Emmanuel Lubezki's floating, sun-dappled lensing, but it also couldn't lean more heavily on Malick's fondness for hushed voices and random shots of nature — motifs that will entrance some viewers and enrage others. His insistence on improvisation also results in inconsistent performances, with each actor shining at times while coming off stilted at others. Perhaps it's best to think of Song to Song in the same way you would an actual song; a track on Malick's broader cinematic album. Within the tune itself, some parts engage and others lag, but there's always a clear melody making its presence known. Some viewers may prefer his older stuff, and that's fine. If you're on the film's wavelength though, plenty of its beats and rhythms will strike a chord. https://www.youtube.com/watch?v=7cTenw8uVSw
Been there, done that, repeating it all over again: in cinemas and among direct-to-home movies alike, that's sequel territory. Not all second efforts, or third or fourth or 15th, retread the first flick. Some expand the initial story instead. Others take the OG concept in completely different directions. If there's a way to jump back into a hit — or even just capitalise upon a well-known movie name — however, then someone has tried it. With a handful of such films, Monster Fest Weekender III Part 2: The Spawning is celebrating the art of the sequel. As the event's 2025 name makes plain, it's having fun with its chosen theme this time around, too. Monster Fest Weekender initially popped up a few years back, giving fans of genre cinema a second chance to enjoy Monster Fest each year — and yes, the film festival itself is a sequel as well. Monster Fest's main festival will still return later in 2025 — it took place in October in 2024 — but this'll help tide you over until then. From I Still Know What You Did Last Summer and Return to Oz to The Texas Chainsaw Massacre 2 and Robocop 2, the three-day Monster Fest Weekender III Part 2: The Spawning is jam-packed with follow-up flicks, all playing at Cinema Nova in Melbourne from Friday, March 28–Sunday, March 30. You can also check out Return of the Living Dead Part II, Phantasm II, Candyman 2: Farewell to the Flesh and Re-Animator 2: Bride of Re-Animator.
Whoever said games were for children have clearly never experienced the good times at Modern Parlour Games, hosted by Pop Up Playground. They're setting up shop for a residency at the Bella Union on the third Thursday night of every month, thereby busting another myth that you have to wait for the weekend for fun and frivolity. Games you can expect include office chair rallies, reinterpreted party games, story time with some of your favourite comedians and panel game shows. While Modern Parlour Games certainly appeals to those drama nerds amongst us who couldn’t get enough of improv games, they can be enjoyed by all, as they encourage participation, interaction and communication. If you’ve been thinking that perhaps you need to get out more lately, Modern Parlour Games will take you all the way out in the most playful way possible.
The Victorian Government isn't set to deliver the 2020–21 State Budget until Tuesday, November 24, but it has been revealing some of its details and funding plans in the lead up to that date. And, as the announcement of $200 vouchers for regional getaways made clear, it's focusing on getting Victorians to explore their own backyard — and the entire state — in a big way now that this year's two period of lockdown have come to an end. Also already revealed as part of the budget: a heap of cash directed towards projects in regional areas that Melburnians will want to visit. If you like moseying along the coast, camping by the water and heading to a hot springs resort — another one, in addition to Peninsula Hot Springs — then you're in luck. For folks keen to hit up the Great Ocean Road, that area of the state is set to receive $47.5 million in funding. From that money, $23.8 million will be used to build a coastal walking trail that meanders by the sea and through the hinterland, spanning from Fairhaven to Grey River. It'll extend the existing Great Ocean Road Coastal Trail, and will include up to five new swing suspension bridges with impressive views of the Surf Coast. Around $2 million will go towards creating more campsites along the Surf Coast, too, while $18.3 million is earmarked for upgrading visitor facilities and infrastructure in the area, like toilets, viewing platforms, trails, beach access and car parking — and installing free public wi-fi. [caption id="attachment_746191" align="aligncenter" width="1920"] Visit Victoria[/caption] In the Gippsland region, $18.5 million is being set aside for a number of projects — including several places to spend a hefty amount of time. Over at the Cape Conran Coastal Park, $3.5 million will go to building ten eco-pods to stay in, all from sustainable materials. Next, $1.5 million will be spent on Metung Hot Springs, to create a new year-round geothermal mineral spring that can welcome 250 guests. And, another $1 million is destined for the proposed Nunduk Spa and Eco-Resort at Lake Wellington. The Gippsland funding will also use $3.5 million to restore the timber trestle Snowy Rail Bridge so it can be used safely by pedestrians and cyclists, plus $2 million for additional camping spots in East Gippsland. Another $2.8 million will go towards making Mallacoota Inlet easier to access, and $3.85 million to do the same for the Point Hicks Lighthouse, with $350,000 earmarked for expanding the Raymond Island koala trail. [caption id="attachment_681271" align="aligncenter" width="1920"] Nicole Reed[/caption] From an overall Victorian Tourism Recovery Package clocking in at $465 million, cash will also be allocated to a range of other areas — including the Falls to Hotham Alpine Crossing hiking trail, the Grampians Peak Trail, Mackenzie Falls, the Murray River Adventure Trail, Wilsons Promontory, the Mallee Silo Art Trail and the new National Centre for Photography in Ballarat. For wine-lovers, the funds will also be used to help expand the Prosecco Road winery district, and to establish accommodation at Dal Zotto Wines. Exact timing around all of the above hasn't been announced — and it's a hefty list, so it's safe to say it won't all happen quickly. Still, if you didn't already have a sizeable number of places to visit across the state, you will in the future. For more information about the Victorian Tourism Recovery Package, read the Victorian Government announcement. Top image: Great Ocean Road, Visit Victoria
Have you ever fallen asleep while reading a classic text, and dreamt of something much more lively? One assumes Seth Grahame-Smith has, given that his main claim to fame is taking iconic characters and mashing them up with the undead. Having already seen an Abraham Lincoln: Vampire Hunter adaptation, a big screen take on his 2009 novel Pride and Prejudice and Zombies seemed like only a matter of time. Unfortunately, the film follows in the footsteps of its presidential predecessor, failing to provide either laughs or gory thrills. To be fair, Pride and Prejudice and Zombies makes a much more convincing attempt than Grahame-Smith's take on honest Abe. You can see how writer-director Burr Steers (Charlie St. Cloud) is trying to splice together his seemingly conflicting components. Sadly, you can see the gaps as well. It's not the concept that the film struggles with, but the tone and the requisite balance, never managing to be as funny or as ridiculous as its director so desperately desires. The film concerns the Bennet sisters, trained zombie killers on the lookout for suitable husbands. Second sibling Lizzie (Lily James) is less than enthused about matrimony, despite the pleading of her father (Charles Dance) that she think about her future, and the machinations of her mother (Sally Phillips) to see her daughters married off to wealthy men. As her sister Jane (Bella Heathcote) courts wealthy new neighbour Mr Bingley (Douglas Booth), Lizzie can't help noticing the stern but somewhat mysterious Colonel Darcy (Sam Riley). He's not the only potential suitor in her midst however, with her pompous cousin Parson Collins (Matt Smith) and debonair soldier Mr Wickham (Jack Huston) also making their interest clear. If the above description emphasises the romantic aspects of the story, it's simply taking its cues from the film. Think of it as Pride and Prejudice with a few zombies thrown in as a gimmick; a way to differentiate the movie from the numerous other big screen versions of the tale. Those familiar with Austen's prose might raise a smile as Lizzie's headstrong ways find a perfect outlet in combat, and will likely enjoy scenes of banter paired with physical duels. As a matter of fact, Pride and Prejudice and Zombies offers a surprisingly serviceable interpretation of its original source material. Those after literal brains, however, will find very little in the blood and gore department. What Steers fails to realise is that there's more to a zombie flick than talking about them, training montages, and throwing in a few shots of decaying faces now and then. Given the charm James shows as a feisty heroine fending off flesh-eating foes, it's disappointing she's not given more opportunities for action. Along with the rest of the cast, she does her best to act like she's in the kind of movie Pride and Prejudice and Zombies should be, rather than the one it actually is.
As a five-year-old in India in 1986, Saroo Brierley didn't expect to be whisked nearly 1,500 kilometres away from his family, and not be able to find his way back. Then, after being adopted by an Australian couple, he definitely didn't expect that he'd have a date with Google Earth as an adult, trying to locate the place that sparked so many memories. This stranger-than-fiction tale inspired a book, and now a movie too. And while a big screen adaptation of his life story might be the latest thing the real-life Saroo didn't anticipate, it's audiences that are in for the biggest surprise. If you didn't know that Lion was based on actual events, you'd be forgiven for thinking that it was simply a feel-good fantasy. First-time film director Garth Davis (TV's Top of the Lake) and writer Luke Davies (Life) recount Saroo's story faithfully, including its well-publicised ending. Yet despite the twists and turns having played out in the media, the Australian duo still manage to deliver a thoughtful, sensitive and emotional viewing experience. Yes, you'll know that tears are coming. But they'll still feel well and truly earned. Aerial shots of the Indian landscape immediately set audiences on a journey, with a charming little boy (newcomer Sunny Pawar) their guide. Tagging along as his older brother Guddu (Abhishek Bharate) seeks work to help their mother (Priyanka Bose) with the family finances, Saroo falls asleep on a train. By the time he awakens, events have been set in motion that will see him fending for himself on the streets of Calcutta, before eventually being adopted by Tasmanians Sue (Nicole Kidman) and John Brierley (David Wenham). It's two decades later, as an adult (now played by Dev Patel), that Saroo turns on his computer and begins his search for home. Sometimes, it's the simplest things that have the strongest impact: a child's warm, cheeky smile; the pain of a lost past lingering in a man's eyes; haunting visions of familiar places embedding themselves in the mind. Saroo's quest owes a lot to a certain search engine, but that's neither the most interesting thing to watch nor the most important part of the narrative. Crafting a highly personal story that conveys universal themes, Davis and Davies ensure that Lion doesn't forget this fact. Even as it balances several competing elements — the two countries Saroo calls his own throughout his life, his feelings for his two families, and the push and pull between old-fashioned human connection and the influence of modern technology — the film never loses its footing Indeed, the key to the movie is people. Or, to be specific, one person and two shining performances. Pawar and Patel each possess the naturalistic spark that keeps viewers along for the ride — one innocent and endearing, the other oozing inner conflict and yearning. As a result, Lion does exactly what it needs to make hearts soar and tears swell. It might do so in a standard fashion, but, boy does it do it well.
In his most recent big-screen adventure, the mission of globetrotting super-spy James Bond took him to Istanbul, Macau and the misty Scottish highlands. But now the world’s suavest (and least secret) secret agent will finally make it to Australia, with an exhibit at the Melbourne Museum set to display some of the most iconic weapons, vehicles, outfits and gadgets from 007’s 50 year career. Organised in collaboration with EON Productions and the Barbican Centre in London, Designing 007 – 50 Years of Bond Style showcases more than 400 props from the blockbuster franchise's 23 films. Just a few of the highlights include Jaws’ teeth from The Spy Who Loved Me, Scaramanga’s golden gun and Bond’s beloved Aston Martin. The curators were unfortunately unable to get their hands on Ursula Andress’ bikini from Dr. No, so that famous piece of swimwear appears only as a replica. On the plus side, Daniel Craig’s actual budgie smugglers from Casino Royale will be proudly on display.
The team behind South Melbourne's Park Street Pasta & Wine have some serious street cred when it comes to crowd-pleasing Italian food. And they're about to expand that fan base even further — now, they've opened the doors to their new restaurant venture Osteria Renata, just a quick hop east in the heart of Prahran. Co-owners Alex Ghaddab and Gus Cadden (Head Chef) have delivered High Street a warm, modern take on the classic osteria and named it in honour of Ghaddab's Polish-Ukrainian grandmother. [caption id="attachment_859742" align="alignnone" width="1920"] Parker Blain[/caption] There's a sense of generous hospitality throughout, with a comforting, yet imaginative food offering matched by inviting interiors sporting soft olive accents and natural timbers. An onsite pasta lab steers the menu's carb component, as Cadden embraces both the traditional and the innovative. You might find yourself twirling your fork around tagliatelle in a spicy pork shoulder ragu; or vegging out with the porcini, mushroom and caramelised leek quadratti. Give them 48 hours' notice if you fancy trying the statement spaghetti dish, swimming in rich brodetto and topped with half a rock lobster. [caption id="attachment_859747" align="alignnone" width="1920"] Parker Blain[/caption] Snack sessions are well catered, with a strong lineup of antipasti — maybe, decadently crisp gnocco fritto paired with 36-month-aged Iberico jamon, barbecued octopus skewers finished with nduja, and a plump burrata knot sat atop fava puree and drizzled in brown butter vinaigrette. Try an Italian craft brew or a Piedmontese nebbiolo to match. A whole roasted garfish crowns a dish of fregola with pippies and bottarga, and the veal cotoletta features crispy capers and a blanket of pecorino. And the spiced pumpkin semifreddo is as warming a winter dessert as it sounds. [caption id="attachment_859743" align="alignnone" width="1920"] Thom Mitchell[/caption] There's a strong Italian lean to the drinks list, where Euro-inspired signature sips rule the cocktail selection, the spritz count is around four, and Italian vino is celebrated alongside drops from Australia, France and Spain. A handful of rotating wine taps will also offer a taste of what's happening with Italian varietals in the local winemaking game. Located out the back, the aforementioned pasta lab won't just be whipping up fresh pasta stocks for the Osteria Renata and Park Street kitchens, but will eventually play host to a program of pasta-making workshops. And come balmier days, the al fresco space between the two buildings will be brought to life as the Prosecco Garden, with room for 25. [caption id="attachment_859748" align="alignnone" width="1920"] Parker Blain[/caption] Find Osteria Renata at 436-438 High Street, Prahran. It's open 12pm–late Tuesday–Saturday. Images: Parker Blain and Thom Mitchell
