Lynn Ruth Miller started her comedy career at the ripe old age of 71. More than a decade later, she's the oldest working stand-up in the world, and in possession of one of the sharpest wits in the business. At a certain age, we suppose, nothing is off limits — so don't be surprised to hear Miller riffing on her sex life, her two failed marriages, and why she decided to get her nipple pierced at her Melbourne International Comedy Festival show This is Your Future. If we're this fiery at her age, we'll count ourselves very lucky indeed.
Red Stitch’s last play for the year is fittingly titled Midsummer. The summer in question though is not the sunny Australian one we’re all hopefully heading into but the more dreary Edinburgh version. The play is by Scottish playwright David Greig and tells the story of a whirlwind romance between petty crook Bob and divorce lawyer Helena. The unlikely couple have a wild weekend funded by money lifted from one of Bob’s criminal bosses, spicing up this thirty-somethings looking for love comedy with a touch of crime caper. With songs by Gordon McIntyre (of Ballboy), it’s also a kind of indie folk musical. The play made waves at 2009’s Edinburgh Fringe. While a British version of it did tour to Sydney earlier this year, this one at Red Stitch is a local production, featuring Ben Prendergast and Ella Caldwell. Sounds like it will be quirky, funny and smarter than your average summer romance.
Are you Ready For the Floor? Are you itching to "do it do it do it now?' Naturally. Hot Chip want you to dance your stripy little socks off and then some. After they do Falls and Southbound Festivals, Joe Goddard, Alexis Taylor, Felix Martin, Al Doyle and Owen Clarke are coming to Melbourne with their own kind of electro pop. They almost challenge you to keep to their infectious tunes. Yeah they've got some Mercury Prize and Grammy Awards, and yeah their fifth album has received critical acclaim, triple j love to play them and they've been in the top 20s charts for ages now. But we know what you're interested in — can you dance to their stuff? Hell yeah. As The Independent says, their shows are all about "blinding lights pulse at disorientating speed in time with a fierce percussive onslaught." Yes – be afraid. But in a good way. https://youtube.com/watch?v=zd_JW73R1Wk
Premier Daniel Andrews has taken to Twitter this morning to announce the decided names for Melbourne's five new Metro Tunnel stations. But if you were gunning for some of the more lighthearted options, like Shane Warne, Vegemite or Bunnings Sausage, we're sorry to tell you you're about to be a tad disappointed. Sydney might have managed to pass in the name Ferry McFerryface for their new ferry earlier this month, but the naming game has proved a little more serious down here in Melbourne, after an eight-week competition which saw the general public throw over 50,000 suggestions into the ring. The results? The station beneath City Square will be named Town Hall Station, the one under St Kilda Road and by The Shrine of Remembrance will be dubbed Anzac Station, and below Franklin Street in the CBD we'll have State Library Station. Further north, Parkville has been picked for the station near Melbourne Uni and the one at Arden is being called North Melbourne, with the original North Melbourne station set to be renamed West Melbourne. Which is sure to be a little confusing at first. Everyone who had a submission selected as one of the new station names will this week go into a random draw, with a winner from each station scoring a behind-the-scenes tour of the worksites and tunnels. To catch you up, the Metro Tunnel will see two new nine-kilometre twin tunnels and five underground train stations added to Melbourne's inner city. These new stations will create a new path into the city that doesn't rely on (but connects to) the City Loop. The idea is that it will ease congestion in the City Loop and allow more trains to be getting in and out of the city. Construction on all this is expected to begin next year and the target completion date is 2026.
Looking for a place to embrace your inner wine snob? Well, you can do so on the corner of Malvern and Williams Roads in Toorak, which is home to the newly opened 505 Wine Room. A restaurant and bar with a 15-page wine list and a bottle shop attached, this upscale establishment offers a wide selection of local and international wines, along with comprehensive options for lunch and dinner specially paired to your shiraz or chardonnay. Open from midday until late seven days a week, the menu at 505 Wine Room is split into different sections, with recommendations based on what you're drinking. Those sipping champagne, for example, might want to try oysters with wasabi tempura, pickled ginger, cucumber and ponzu, or kingfish with dashi, golden shallot and organic soy. A dry white goes well with BBQ king prawns, while a more full-bodied red can be matched with slow-cooked lamb shoulder or ox cheek with mashed potatoes and greens. Dessert wines likewise deserve a sweet treat to go with them, be it churros with raspberry sorbet and chocolate dipping sauce, or Violet Crumble honeycomb with chocolate aero and violet ice cream. As is standard nowadays, the menu at 505 is seasonal, with plates designed to be shared. Those wanting a drink to go can pay a visit to the in-house bottle shop, where expert sommeliers will help you make a selection. Alternatively, happy hour (or, rather, a happy 55 minutes) at the bar starts at 5.05pm, offering $5 wines of the moment, $5 tap beers and $5 select spirits until 6pm. The wine bar will join a select few in the area, which includes Toorak Cellars and their soon-to-be-open collaboration with Milton Wine in Prahran. 505 Wine Room is located at 505 Malvern Road, Toorak. For more information visit 505wineroom.com.au. Images: Melissa Grant.
Australians, if you like your burgers cruelty-free, then you've probably been keen to introduce your tastebuds to Impossible Foods. One of the big names in plant-based meat, the brand has built up quite the following in the US — and, from today, Thursday, November 4, it's finally available Down Under. Known for making not just meat alternatives but also dairy substitutes out of plants, Impossible has launched in Australia with two big collaborations: with burger chain Grill'd and Sydney fried chicken joint-meets-sneaker shop Butter. Nationwide, you can now tuck into four Impossible burgs made with the brand's beef alternative. If you're a Sydneysider, you have a couple more options at Butter's Chatswood and Parramatta outposts, and you'll also be able to try a broader menu at Butter's upcoming Impossible pop-up in The Rocks. For burger fiends, those four new additions at Grill'd Australia-wide include a cheeseburger (complete with vegan cheese and vegan mayonnaise), the 'Simply Grill'd' which recreates the chain's standard burg, a vegetable-heavy option that comes with beetroot and avocado, and an Aussie spin on the concept that also adds beetroot and barbecue burger sauce. In Sydney, Butter is doing an Impossible cheeseburger and an Impossible classic burger, marking the first time it's ever had plant-based meat alternatives on its menu. Butter will also be adding a new Impossible burger to its lineup every fortnight, and slinging Impossible lasagnes and meatball subs via its home-delivery brand Mumma Julian's. And, at a yet-to-be-revealed date sometime later in November, Butter's Impossible pop-up in The Rocks will only serve items made with Impossible beef. Think: meat-free katsu, cheeseburgers and chilli cheese fries, plus whatever else Butter co-owner and executive chef Julian Cincotta comes up with. In total, Impossible's meat-less 'beef' is now available in more than 150 restaurants around the country — and you can expect more places to join the list. And if you're wondering what makes the brand's plant-based options stand out, it was named the best plant-based burger by The New York Times. Grill'd's Impossible menu is available in stores from Thursday, November 4. Butter is serving two Impossible burgers at its Chatswood and Parramatta outposts, and will set up an Impossible pop-up in The Rocks later in November. For further details about Impossible, head to the brand's website.
Is it a bird? Is it a plane? Is it both, in a way? Next time you see something hovering in the sky in southeast Queensland, the answer to that last question could be yes. Not content with simply serving up fried chook on land as it's done for decades, KFC has taken to the skies to pilot a new delivery method — ferrying its finger-lickin'-good chicken pieces, burgers, nuggets and fries around select suburbs via drone in an Australian-first for the chain. If you've always wanted your lunch or dinner to swoop in from above, to feel like you're living in the future or to take the whole pandemic-era contactless purchasing setup literally to another level, you'll need to live in the SEQ suburbs of Kingston, Logan Central, Slacks Creek, Underwood and Woodridge to get your flying KFC fix. And, you'll also have to download the Wing delivery app, too, with the fast-food chain teaming up with the on-demand drone delivery service on its new way to get chicken direct to your door. Where your chicken is going, it doesn't need roads. And no, it isn't yet April 1, so this is genuinely happening. KFC has also set up a dark kitchen just to cater to drone orders — which it's calling a 'cloud kitchen', but obviously still sits on the ground — and says that some deliveries might arrive within minutes. Here's how it works: once you place your order, the drone will fly to the KFC kitchen to pick it up, and will then head back up to flying altitude to get to its delivery destination. With packages of up to 1.5-kilograms, it can travel more than 110-kilometres per hour. When it arrives at your house, it'll slow down, bring itself to a delivery height of about seven metres above the ground, and lower your food on a tether — which'll automatically release. You don't need to unclip anything, and the drone doesn't need to land, either. Wing advises that on-demand drone deliveries have proven quite popular in Logan over the past year, with more than 100,000 deliveries made in 2021, if you're wondering why it was chosen for this trial. If you're a Brisbanite who doesn't live in any of the pilot suburbs but resides nearby, KFC and Wing are also gradually planning to expand the delivery radius to neighbouring spots sometime in the future — but exactly where and when hasn't been revealed. For fried chicken lovers elsewhere, cross your fingers that your next zinger or three-piece feed will be taking to the air sometime in the future. To order KFC via drone if you live in Kingston, Logan Central, Slacks Creek, Underwood and Woodridge, download the Wing delivery app.
Little Red Pocket and The Irish Times are joining forces once more for their annual end of year blowout. A New Year's Eve tradition, this masquerade-themed street party will stretch across both venues, happily located on opposite sides of Little Collin's Street. Expect DJs spinning a mix of house, R&B, retro hits and top 40 favourites, and other live entertainment. Your ticket also gets you unlimited drinks (beer, wine, sparkling and basic spirits) between 7pm and midnight, along with complimentary Japanese and European snacks.
He's had his heart broken during a lusty Italian summer, romanced Saoirse Ronan in a Greta Gerwig film not once but twice, spiced up his life in a sci-fi saga and sported a taste for human flesh. The next addition to Timothée Chalamet's resume: a sweet time worshipping chocolate. Get ready for a big Timmy end of 2023, with Dune: Part Two hitting cinemas Down Under in November, then Wonka giving Roald Dahl's famous factory owner and candy man a Chalamet-starring origin story. First gracing the page almost six decades back, in 1964 when Charlie and the Chocolate Factory initially hit print, Willy Wonka has made the leap to cinemas with Gene Wilder playing the part in 1971, then Johnny Depp in 2005. The difference this time: not just Chalamet plunging into a world of pure imagination, but a film that swirls in the details of Wonka's life before the events that've already been laid out in books and filled two movies. As the just-dropped first trailer for Wonka shows, the picture's main man has a dream — and, after spending the past seven years travelling the world perfect his craft, he's willing to get inventive to make it come true. Starting a chocolate business isn't easy, especially when the chocolate cartel doesn't take kindly to newcomers. "You can't get a shop without selling chocolate, and you can't sell chocolate without a shop," the bright-eyed Willy is told early in the debut sneak peek. From there, brainwaves, optimism, determination and life-changing choices all spring, plus big vats of chocolate, chocolate that makes you fly — "nothing to see here, just a small group of people defying the laws of gravity," comments a police officer — and Willy's dedication to making "the greatest chocolate shop the world has ever seen". Also accounted for: a mood of wonder, and not just due to the umbrella-twirling dream sequences and cane-whirling dance scenes, or the leaps through fairy floss and chats with Hugh Grant (Dungeons & Dragons: Honour Among Thieves) as an Ooompa-Loompa. Indeed, the magical tone doesn't just fit the tale; it's exactly what writer/director Paul King and his co-scribe Simon Farnaby have become known for on the Paddington films. King helmed and penned both, while Farnaby also did the latter on the second (and acted in each). The duo also worked together on wonderful and underseen 2009 film Bunny and the Bull, and on The Mighty Boosh, of which King directed 20 episodes. On-screen, Wonka's cast is as jam-packed as a lolly bag, with Chalamet and Grant joined by Farnaby (The Phantom of the Open), as well as Olivia Colman (Secret Invasion), Sally Hawkins (The Lost King), Keegan-Michael Key (The Super Mario Bros Movie), Rowan Atkinson (Man vs Bee), Jim Carter (Downton Abbey: A New Era) and Natasha Rothwell (Sonic the Hedgehog 2). Yes, you'll want a golden ticket to this. Check out the first trailer for Wonka below: Wonka releases in cinemas Down Under on December 14, 2023.
It was a sad day for Melbourne's dining scene when Teage Ezard's CBD institution Ezard announced its closure last June, after an impressive 20 years of operation. They're some pretty big shoes to fill. But if anyone's going to do it, it might just be Sydney's much-loved Mediterranean restaurant Nomad. Yep — the team's just revealed its first Melbourne outpost will open in the iconic Flinders Lane space from mid-November. Owners Rebecca and Al Yazbek have been busy transforming the Adelphi Hotel's lower ground floor into Nomad's new 100-seat southern iteration, replicating the ethos of the original, while championing a whole new menu filled with local produce. Celebrated executive chef Jacqui Challinor has been working closely with Nomad Melbourne's new head chef Brendan Katich (Gingerboy, Ezard) to develop the eatery's signature offering, centred around house-made cheese and charcuterie, and the kitchen's prized wood-fired oven. [caption id="attachment_829999" align="alignnone" width="1920"] The team[/caption] Fans will find just a handful of menu mainstays, backed by a lineup of brand new dishes, with plenty of locally-sourced meat and veggies cooked over flames among the mix. A sprawling wine list will focus on homegrown drops, with Victorian wineries and smaller producers given lots of love. And an extensive all-Aussie pouring list will rotate regularly, offering the chance to sample new wines with every visit, including premium creations served via Coravin. The space itself has been imagined with the help of Melbourne-based architect Clare Cousins, its elegant interiors tucked away behind a hidden entrance. Concrete columns and beams that were unearthed during construction have been used to help section the restaurant into various moody dining areas. The newcomer won't be Nomad Group's sole Melbourne operation for long, with further plans to open another restaurant and bar in The Cathedral Room of the Queen and Collins precinct next year. Find Nomad Melbourne at 187 Flinders Lane, Melbourne, from November 15. It's open for lunch Wednesday to Sunday, and daily for dinner.
Co-ordinating your outfit for the Blue Light Disco. Feeling so nervous about slow dancing at the formal you could hurl. These are iconic experiences of youth, shared whether you were cool or a dork. School Dance finally brings these experiences to the stage, with emphasis on the undervalued dork. "Darwin's theory of evolution at its cruellest," the omniscient narrator reminds us. Windmill Theatre, who produced the show, are actually a children's theatre company, but with School Dance they expand their remit to include adults who like an excuse to get a bit silly. Director of both company and show Rosemary Myers decided to prod the seeds of an idea that had been planted in an earlier collaboration with writer Matthew Whittet, sound designer Luke Smiles and set and costume designer Jonathon Oxlade, who reminisced on their teenage nerdom while working on the show Fugitive. The men play Matthew, Luke, and Jonathon, three fictionalised versions of themselves at an earlier, unaware age. Best of all, the now mid-30-year-olds grew up in the 1980s, so references to Gremlins, E.T. and acid wash denim abound, wrapped up in a high-energy, Scott Pilgrim-esque package. Was music ever finer than in the '80s? The answer is clearly no, because each track played tonight is better and more rapturously received than the last (although Bonnie Tyler and Spandau Ballet are undeniably climatic points in the mix). The action veers onto course when Matthew literally starts to disappear, shortly after being ignored by the popular girl Hannah Ellis (Amber McMahon, who adroitly handles all the female roles). His legs go first, followed promptly by his torso and head. On stage, this is shown through the wearing of a black, slightly sparkling body stocking — one of the many creative, smoothly plausible tricks of staging going on. The set, lighting, and foley provide constant wonder. To rescue Matthew from the 'land of invisible teenagers' (a tentative title), the teens will need to call on Jonathan's knowing older sister, He-Man, a unicorn, and a massive act of bravery. The experience of watching this show is one filled with laughter, cheering, applause and squeals of recognition. It's ecstatic and triumphant, bonkers yet homey. It's not highfalutin — there's hand farting, an extended, glorious passage of it, causing the kid behind me to lose his head — but School Dance reaches special heights all of its own. It's obvious a lot of love went into it and the audience can't help but reciprocate. This review was written in January 2013 based on the Sydney run of School Dance. Image: Jonathon Oxlade, Luke Smiles, and Matthew Whittet by Lisa Tomasetti.
Melbourne loves markets. We have the Night Market, Noodle Market and now the Big Design Market that, as you might suspect, is both big and full of designer items. 'How big?' I hear you ask. Well there are over 200 designers from Australia and New Zealand including CycleStyle, Juke Cases, A Skulk of Foxes, Able and Game, Bailey Nelson and the surprisingly attractive concrete Pop Plant Plant Pots (try saying that fast). When your arms can’t possibly carry any more designer goods it will be time to take a rest at one of the great food outlets setting up shop at the market. Miss Chu’s rice paper rolls always hit the spot, Beatbox Kitchen and Taco Truck will be showing you how it’s done and you can wash the inevitable feast down with a craft beer or cider from 2 Brothers Brewery. Conveniently held just before Christmas this market will be great for snapping up those last minute gifts for your friends with a taste for designer goods or, if you’re like us, treating yourself to a present.
How do we view the world? How does the world view us? Do we behave as expected, or as we really are? If we were to catch ourselves in a truly unguarded moment, what would we see? While these are more profound questions than I generally like to ask myself on a Friday night, such notions of inner conflict and self-awareness are the themes of Chunky Move’s latest contemporary dance piece, 247 Days. I guess there's always next Friday night for an uplifting salsa class? Part of Melbourne’s Dance Massive program, 247 Days is a complex and conceptual piece, exploring notions of inner conflict, self-discovery and reflection in an incredibly emotive work conceived by artistic director, Anouk van Dijk. A moving set of mirrors by Michael Hankin combined with lighting by Niklas Pajanti creates a backdrop of kaleidoscopic reflections and looming shadows, adding both aesthetic and symbolic value. Along with Marcel Wierckx’s clever and beautifully composed sound design, these supporting elements drive the piece, as much as the dancers themselves. Leif Helland, Lauren Langlois, Alya Manzart, James Pham, Niharika Senapti and Tara Soh are undeniably masters of their genre, showcasing commanding solo moments alongside the ability to almost melt into one another as an ensemble. Their energy moves through the audience in electric waves, with more than one audible “holy shit” having escaped from my own mouth mid-performance. While undeniably enhanced by the music, set and lighting, what makes this piece so profoundly affective are the unguarded, unrelenting bodies of the performers. At times manic and always dynamic, moments of high tension are tempered by stillness, providing balance and finding a place of equilibrium. There’s something very powerful about watching a person give everything they have and the matted, sweaty hair and glistening forms visible at the end of the performance are testament to this. As a bright-eyed and bushy tailed 20-something just trying to make it in this crazy, messed up world, perhaps I relate so easily to this emotional rollercoaster because the ideas and themes are specifically relevant. But I think it is more a human similarity, a universally relatable sense of inadequacy and self-consciousness that basically gets inside your gut and twists hard. Whatever is bubbling down inside you will surely be extracted during 247 Days. Image by Jeff Busby.
Rooftop at QT has re-emerged from its chrysalis, and with it comes new drinks, a new vibe and a Mediterranean menu with a fresh coat of inspiration — and the same skyline vistas. After announcing a revamp earlier in spring, the venue relaunched in mid-October ready for prime warm-weather sips with a view. First off, the drinks. Chris Stock, the man who helped Dandelyan in London strut to the number one spot on the World's 50 Best Bars list back in 2018, is at the helm — so you're in good hands. Expect a drink menu that pulls from old favourites but throws in a splash of the new. Fancy a twist on the classic daiquiri? Go for the Son of Man, taking inspiration from Margritte's painting and infusing the drink with basil oil for a hint of aroma. And if you're after an espresso martini (we all love them, don't lie to yourself), there's an interesting variant on offer that utilises rye whiskey and orange and miso syrup. On the food front, Nic Wood has returned to the QT chain after a stint in LA to take the helm of Executive Chef. He brings with him a Mediterranean menu encompassing everything from snacky delights to grand sharing platters that will, for better or worse, end up in a lot of your mates' Instagram stories. Expect snapper cannoli, fried mortadella sandos and lobster cocktails, plus ice cream sandwiches for dessert, to name just a few. As for music, Rooftop at QT is going with day-to-night soundtracks, morphing easy chill daytime tunes into more energetic night-time beats, vintage disco and soul with a twist of the modern. Meanwhile, local artist Dwayne Hutton brings the walls to life with his art all about the space, including cool hand-painted wallpaper. For those keen on ambience and vibe, designer Nic Graham ensured the interior facelift of the joint filled the shoes of its predecessor, and then some. He's serving up private booths, an intimate lounge, an outdoor bar, high banquet seating, a brand-new private dining room and tabletops with custom tiling. Find Rooftop at QT at QT Melbourne, 133 Russell Street, Melbourne. It's open Monday–Wednesday, 3pm–late, and Thursday–Sunday, 12pm–late.
When Jetstar launched a big domestic flight sale in mid-June, it sold 70,000 seats in just five hours, with Australians keen to travel when and where they can in this pandemic-afflicted year. Today, Tuesday, November 17, the airline is kicking off another one — so get your clickers ready. The Return for Free sale kicks off at 3pm AEDT today and runs until 11.59pm AEDT on Thursday, November 19 — if it doesn't sell out prior. In the sale, you'll find cheap flights across 51 routes from destinations right across the country. And, as the name suggests, it's doing return flights for free. So, you buy your ticket to your destination and then Jetstar will cover your trip home. Of course, before you book one of the 400,000 return trips available, we suggest you check on the status of interstate borders wherever you'd like to visit. As everyone should know by know, border restrictions are still changing quite frequently depending on COVID-19 cases around the country. The NSW and ACT borders are currently open to everyone except those from Victoria, for instance, although that'll change come 12.01am on November 23 when the two regions reopen in full. As for Victoria itself, it is currently open — as it didn't shut its border, even during the state's recent lockdown. Queensland is still shut to Victorian and Greater Sydney residents, and will close to folks from Adelaide at 4pm on Tuesday, November 17. The Northern Territory, Tasmania and Western Australia are all open to parts of the country — with restrictions in the NT on folks arriving from metropolitan Melbourne and South Australia; in Tasmania on people from Victoria and SA; and in WA on those heading in from Victoria, NSW and SA. And in SA, it's open to everywhere except Victoria, with inhabitants of the latter allowed to visit from December 1. [caption id="attachment_773285" align="aligncenter" width="1920"] Tourism and Events Queensland[/caption] Now you know where you can and can't go, here are some of the deals — because, again, 51 routes are include in the sale. Sydneysiders can snag return tickets to Victoria for $65, Launceston for $89, Brisbane from $92, the Sunshine Coast for $96 and Hamilton Island for $151. Melburnians can book trips to Uluru for $165 and Darwin for $205. And Brisbanites can head to the Whitsundays for $89 and Hobart for $159. Yes, the list goes on. Tickets in the sale are for trips from February–August 2021, with exact dates varying in each region. So, if you're keen to get away, book some now and start planning. Jetstar's Return for Free sale runs from 3pm AEDT on Tuesday, November 17 until 11.59pm AEDT on Thursday, November 19, or until sold out.
South Melbourne Market wants to whisk you away to Japan this winter. From Wednesday, June 4–Saturday, June 14, you'll be able to take yourself on a degustation through the stallholders, sampling ten Japan-inspired dishes along the way. Among the savoury menu, you'll find pork gyoza at Bambu, shallow-fried calamari with yuzu aioli at Greek 'n' Out, an eggplant katsu curry at Smithburg, burrata done hiyayakko style at UGO Burrata Bar, and torched salmon sashimi at Oyster Bar by Aptus. When you're ready for a sweet hit, try a hojicha-infused croissant at Agathe, a black sesame cookie at My Cookie Factory, or one of two matcha-flavoured delights: cheesecake at Cobb Lane Bakery and gelato at Fritz. Make sure to stop in at Tea Drop, where you can get a cold-brew genmaicha, a matcha or a hojicha (iced or latte-style), along with a strawberry coated in matcha and white chocolate. The entire degustation is self-guided, leaving you free to enjoy the dishes at your pace, in whatever order you like. Plus, you only need one ticket ($79). For an extra $50, you'll score a Flavours of Japan Discovery Bag filled with gourmet goodies, exclusive discounts, matcha or incense, and an art card.
It felt like half of Melbourne was basking in Southern Italy's sun during our chilly winter months. But for those of us not so lucky, there's still a chance to get a taste of Sicily from the sun-drenched surrounds of Johnny Green Room's Carlton rooftop. Following a recent refresh and just in time for summer, the team behind this Euro-inspired hotspot is ready to reveal 'Sicilia,' a brand-new cocktail menu hitting the bar from Monday, December 1. And for those keen to sample these tempting concoctions straight away, you might just get one for free. To celebrate the launch, Johnny's is giving away cocktails from 5pm on Thursday, December 4, with the first 150 guests in line receiving a complimentary drink card. With six new cocktails added to the menu for the season, you'll be living la bella vita before you know it. For instance, the Quello Tropicale offers a Sicilian twist on a piña colada, while the Sgroppino Del Mese, featuring a scoop of seasonal Pidapipo sorbet, is made for keeping cool on the terazza. Alongside a refreshing spiked iced tea, a fig leaf negroni, a peach wine cooler and the much-requested return of Johnny's Hugo spritz, the new menu also includes a babychino shot, with the bar remaining deviously tight-lipped about what guests can expect. Reflecting the changing seasons, a selection of Sicilian-inspired dishes will heighten your next aperitivo session even further. Guided by culinary director Karen Martini, guests will encounter piccoli piatti like tuna crudo and zucchini fritte alongside a pair of pizzas: marinara with mini burrata, and pear with gorgonzola. Plus, cherry panna cotta and pistachio cannoli deliver a sweet finish that might just soothe your sorrow about a missed Italian adventure.
At the ripe old age of 90, the CBD's Regent Theatre has probably earned a bit of a makeover. And that's exactly what it'll get under the City of Melbourne's grand plans to spend a tidy $1.6 million refurbishing the historic site. The preservation project would see the theatre — which is one of just a few left from the interwar period — get a revamped dress circle, improved seating and an overhaul of its recognisable lit-up Collins Street entrance. The idea is that this will ensure the Regent can remain one of Australia's top theatres and continue to attract high-profile productions. (Hamilton, perhaps?) It'll be just the latest Melbourne theatre to get an upgrade, too, with the Forum Theatre getting a revamp in 2017 and the Capitol Theatre slated to reopen this year. La Mama Theatre also copped $1 million from the State Government to help it rebuild after a fire last year. [caption id="attachment_708330" align="alignnone" width="1920"] Melbourne Town Hall by Josie Withers/Visit Victoria[/caption] It was announced that Melbourne Town Hall will receive a refurb as well — worth a cool $4.5 million. This would see the ground level of the Town Hall Administration Building given a significant restoration, improving the space's accessibility and functionality, and revamping the customer service area. The City of Melbourne is aiming to kick off this pilot later this year, and will then consider what further works are needed over the next six years. These projects are part of the city's larger draft Annual Plan and Budget 2019–2020, which will be released in full this week. Of course, before it comes into effect, it will be considered by councillors and then be open for public feedback until Friday, June 7. The City of Melbourne's full development plans will be outlined when it releases its draft Annual Plan and Budget 2019–20 later this week. We'll keep you updated on the details. Top image: Robert Blackburn/Visit Victoria.
When the Victorian Government revealed its reopening roadmap to take the state out of its strict current COVID-19 lockdowns, it flagged a big shift for Melbourne's hospitality scene. While outdoor dining isn't an unfamiliar concept, it's a key part of Victoria's plans to allow restaurants, cafes and eateries to start welcoming customers back onto the premises. In fact, when hospitality businesses in the metropolitan Melbourne area are permitted to move away from takeaway and delivery-only operations — earmarked for Monday, October 26, as long as the state has a state-wide average of less than five new COVID-19 cases over the previous 14 days, with less than five cases coming from an unknown source in the same period — they'll be asked to run "predominantly outdoor seated service only". Just what that requirement entails has received plenty of attention over the past few weeks, with both the Victorian Government and the City of Melbourne providing some details. Both outlined a similar al fresco approach to the one currently being employed in New York City, which allows food venues to temporarily use sidewalks and curbs for openair dining to cater to more customers within health restrictions — and now the local powers-that-be have unveiled a temporary extended outdoor dining permit scheme, and explained what said permits can be used for. When eat-in service recommences, Melburnians won't just tucking into a meal outdoors — they'll be dining on footpaths, in on-street car parking spaces that have been taken over by adjacent businesses, in laneways and even on the street. All four options are listed by the City of Melbourne as reasons to obtain a free permit, with the plan forming part of the City of Melbourne and Victorian Government's $100 million Melbourne City Recovery Fund. "We're reopening the city for business and will work with venues to find outdoor dining opportunities appropriate for their unique part of the city," said Melbourne Lord Mayor Sally Capp in a statement. "We will continue to advocate for flexibility so restaurants and cafes can open indoors in a COVID-safe way sooner," she continued, while also noting that the city "will balance the expansion of outdoor dining with the needs of our residents" — considering traffic conditions, the safety of patrons, and maintaining access for pedestrians, residents and essential vehicles. [caption id="attachment_697521" align="aligncenter" width="1920"] Duke of Kerr by Kate Shanasy[/caption] The Lord Mayor also gave an indication of what street closures could look like, with roadways shut down to create more space for dining and entertainment on weekends. "Temporary street closures would create a festive atmosphere for outdoor dining. We could temporarily close locations such as Bellair Street in Kensington and Faraday Street in Carlton to help businesses trade safely," she explained. Among the other sites that could be temporarily closed for dining, Bourke Street between Exhibition and Spring streets, Russell Street between Lonsdale and Bourke streets, Domain Road in South Yarra and Errol Street in North Melbourne have all been floated. For businesses that don't have access to an outdoor space — that can't trade in front of their premises on a footpath, on-street car parking spaces, laneways and or on the street — the City of Melbourne is also looking to create hospitality hubs a to around town that let these venues come together. Obviously, exactly when these outdoor dining plans will come into effect is dependent on COVID-19 case numbers. That said, businesses can start applying for permits from Thursday, October 1. For more information about the City of Melbourne's extended outdoor dining permits, visit the local government body's website. Additional details about the City of Melbourne's COVID-19 response are also available on its the website. And for more information about the Victorian Government's roadmap, head to vic.gov.au. Top image: Good Times by Kate Shanasy
Melbourne is adding yet another major live music festival to its jam-packed arts calendar, with The Eighty-Six unveiling a blockbuster program of live music, performance and art from Monday, 23 October–Tuesday, 31 October. Set along Melbourne's iconic 86 tram route, over 200 artists will descend on some of Melbourne's favourite venues along High Street. Topping the bill: Super Saturday, a monumental 22-hour live music affair sprawling from Westgarth to Preston on Saturday, 28 October. Artists, performers and creatives will assemble across 40 venues including bars, nightclubs, bowls clubs, record stores, bocce courts and more. Northcote Theatre, Thornbury Bowls Club, Croxton Bandroom, Moon Dog World, Wesley Anne, The Keys and Northcote Social Club are just a few of the venues that will play host to Super Saturday's hefty lineup of acts. [caption id="attachment_910783" align="alignnone" width="1920"] Image: Thornbury Cinema[/caption] The all-star program includes emerging and established artists, local selectors, and international and interstate guests. Organisers are still teasing specific event details and schedules, but expect to see Collingwood's much-loved Hope St Radio teaming up with cult-favourite All Are Welcome; immersive experience experts The Round Table collaborating with market-favourite Finders Keepers; Melbourne's freshest NYE fest organisers When Pigs Fly; indie record label Jet Black Cat Presents; community radio station 3RRR; and Melbourne-based DJs including Milo Eastwood, Soju Gang and Mike Gurrieri. One Super Saturday event we have the details on is 1800 Lasagne's huge, pooch-friendly music and bevvy party. The béchamel lords of Thornbury are set to host a smorgasbord of local artists throughout the day, while producers and makers are popping up with culinary delights, wine, beer and coffee. Dogs are welcome all day, with a pooch parade and costume contest to raise money and awareness for Pets Of The Homeless. Your best four-legged friend can also indulge in pup-cakes or pup-uccinos, and doggy merch will be available. [caption id="attachment_910780" align="alignnone" width="1920"] Image: All Are Welcome[/caption] Meanwhile, the Independent Music Exchange will celebrate everything vinyl across a free, two-day event. Expect an array of physical products, including vinyl, cassettes and merch, plus artist signings throughout the exchange. Labels are set to include King Gizzard & the Lizard Wizard; Albert's Basement, Butter Sessions, Rice Is Nice, Lulus Sonic Disc Club and more. The best part? The entire Super Saturday lineup and Independent Music Exchange is free to attend, all you have to do is register online for a ticket. Importantly, all Super Saturday events are limited based on individual venue capacity, so get in early as entry will be on a first-in, first-served basis. [caption id="attachment_795678" align="alignnone" width="1920"] Image: 1800 Lasagne, by Parker Blain[/caption] The Eighty-Six will run on Saturday, 28 October from 7am–5am. More details on The Eighty-Six lineup, including Super Saturday party lineups and schedules, will drop over the coming months. We'll keep you updated as more information comes through. In the meantime, check out The Eighty-Six website to register for a ticket, or start planning with the Super Saturday venue map. Top image: Shotkickers, supplied.
When and where domestic border rules and COVID-19 restrictions have permitted, travelling throughout Australia has been on the agenda across the past year. With the country set to remain closed to international jaunts until at least mid-June, that isn't changing yet — but you can still hop on a plane and head over the ocean thanks to Qantas' just-announced new flights to Norfolk Island. Of course, travelling south to Tasmania remains a trusty option if you're eager to get off the mainland. Everywhere from Kangaroo Island and Rottnest Island to Fraser Island and Daydream Island also fit the bill. But a trip to Norfolk Island means you'll be venturing more than 1400 kilometres east from the Aussie coastline, and to an external territory of Australia that sits between New Zealand and New Caledonia. Yes, you'll only be spotting water below you while you stare out of the plane windows. Qantas' flights will kick off on Friday, March 19, and head to the Pacific Ocean spot six times a week — three from Sydney and three from Brisbane. Prices start at $412 one-way from New South Wales and $390 one-way from Queensland, with the routes using Boeing 737 aircraft, which means there'll be 2000 seats available each week. Obviously, if you live somewhere other than Sydney or Brisbane, you'll just need to get to either of them first. For now, the two routes are set to run for three months, as part of a contract that the Federal Government has awarded to Qantas. There is a possibility that it'll be extended, and that the routes will stick around for the longer term. If you're keen to spend some time soaring over the sea, then kicking back on a South Pacific getaway, you'll be departing from Sydney and Brisbane's international terminal — so you really will feel as if you're jetting abroad. There's no need to prepare yourself for a lengthy flight, though, with the trip taking around two-and-a-half hours from Sydney and two hours from Brisbane. For Sydneysiders and Brisbanites who'd rather jet off to colder climes, Qantas has also this month announced new routes from the two cities to the Snowy Mountains and the Victorian Alps. There, you're clearly definitely staying on home turf — but when it comes to making holiday plans for the next few months, before a potential travel bubble with Singapore could possibly come into effect, you definitely have options. Qantas' new flights to Norfolk Island from Sydney and Brisbane will start flying from Friday, March 19. For more information, or to book, head to the airline's website. Top image: Roderick Eime via Flickr.
As many a frustrated portrait painter knows, capturing an entire person in a single image is one of art’s toughest challenges. In response, Spanish designer and illustrator Alex Trochut has developed a new technique. He’s invented a way of including two different pictures on the same surface. One can be seen only when the lights are on; the other is visible in the dark. The fruits of Trochut’s work are on show in his new exhibition, Binary Prints, which explores the dual nature of some of the electronic music industry’s most famous faces. Last month, he told the creators’ project, ‘People are always a multifaceted polygon with many sides . . . Working on the duality and covering the two extremes of any spectrum creates a sequence, a change, a short narrative and hidden side that reveals what is not obvious behind the surface.’ So, we see James Murphy (LCD Soundsystem) illuminated in drowsy mode, yawning and scruffy-haired; then donning reflective glasses, a collar and tie once the lights are out. John Talabot appears concealing his face with his hands, as though seeking to block out the light, but peeking at us from the cover of darkness. Other DJs who sat for portraits include Caribou, Damian Lazarus, Four Tet, Acid Pauli and Lucy. ‘It was like a dream come true to be able to express myself through the artists that have fuelled my imagination countless times,’ Trochut explains. ‘Some connections were made in clubs, just by passing my cell phone to the DJ booth with a text on the screen saying: "Hi, my name is Alex, I'd like to invite you to a personal project, can I get your email?"’ Binary Prints made its debut at Barcelona’s Sonar Music Festival last month and is set to embark on an ongoing international journey to various galleries, art fairs and festivals. [via the creators' project]
The first time that filmmaker Justin Kurzel and screenwriter Shaun Grant tackled a recent dark chapter in Australia's history, in 2011's Snowtown, they both earned AACTA awards for their efforts — and their film picked up six gongs in total. Ten years later, they've bettered the feat with Nitram, which explores the lead up to the 1996 Port Arthur massacre. Both Kurzel and Grant again collected trophies, while the feature nabbed eight awards all up. One of those prizes: the AACTA for Best Film, beating out The Dry, The Furnace, High Ground, Penguin Bloom and Rams. Nitram also swept all four acting prizes in the film fields, with its four key cast members — Cannes Film Festival Best Actor-winner Caleb Landry Jones, plus Aussies Judy Davis, Anthony LaPaglia and Essie Davis — emerging victorious. That's the big story from the 2021 AACTA Awards, which announced its nominees back at the beginning of November, then handed out its trophies on Wednesday, December 8. Nitram scooping the pool isn't surprising, given that it's powerful, haunting and the best Aussie movie of the year — and that AACTA has a history of going all on features it loves. Last year's Best Film recipient, Babyteeth, won seven awards, while The Nightingale picked up six the year before, Sweet Country did the same the year before that and Lion nabbed 12 in 2017. (Thanks to the likes of Hacksaw Ridge, Mad Max: Fury Road, The Dressmaker, The Great Gatsby and The Sapphires before that, the trend goes on.) The Academy's gongs also span television — so, if you've watched The Newsreader or Fisk this year, then you've seen 2021's Best Drama and Best Narrative Comedy Series. Across both the big and small screens, other winners include Ellie and Abbie (& Ellie's Dead Aunt) for Best Indie Film, My Name Is Gulpilil for Best Documentary, and Fires for Best Telefeature or Miniseries. Here's a rundown of the major nominations — and you can check out the full list on AACTA's website: AACTA NOMINEES 2021 FILM AWARDS: BEST FILM The Dry The Furnace High Ground Nitram — WINNER Penguin Bloom Rams BEST INDIE FILM Disclosure Ellie and Abbie (& Ellie's Dead Aunt) — WINNER Lone Wolf Moon Rock for Monday My First Summer Under My Skin BEST DIRECTION Rob Connolly, The Dry Roderick MacKay, The Furnace Stephen Maxwell Johnson, High Ground Justin Kurzel, Nitram — WINNER Glendyn Ivin, Penguin Bloom BEST LEAD ACTOR Simon Baker, High Ground Eric Bana, The Dry Caleb Landry Jones, Nitram — WINNER Ahmed Malek, The Furnace Jacob Junior Nayinggul, High Ground BEST LEAD ACTRESS Rose Byrne, Peter Rabbit 2 Judy Davis, Nitram — WINNER Noni Hazlehurst, June Again Genevieve O'Reilly, The Dry Naomi Watts, Penguin Bloom BEST SUPPORTING ACTOR Michael Caton, Rams Baykali Ganambarr, The Furnace Anthony LaPaglia, Nitram — WINNER Sean Mununggurr, High Ground Jack Thompson, High Ground BEST SUPPORTING ACTRESS Essie Davis, Nitram — WINNER Claudia Karvan, June Again Esmerelda Marimowa, High Ground Miranda Tapsell, The Dry Jacki Weaver, Penguin Bloom BEST ORIGINAL SCREENPLAY Monica Zanetti, Ellie and Abbie (& Abbie's Dead Aunt) Roderick McKay, The Furnace Chris Anastassiades, High Ground JJ Winlove, June Again Shaun Grant, Nitram — WINNER BEST SCREENPLAY Rob Connolly and Harry Cripps, The Dry — WINNER Shaun Grant and Harry Cripps, Penguin Bloom Will Gluck and Patrick Burleigh, Peter Rabbit 2 Jules Duncan, Rams BEST DOCUMENTARY Girls Can't Surf I'm Wanita My Name Is Gulpilil — WINNER Playing with Sharks Strong Female Lead When the Camera Stopped Rolling TELEVISION AWARDS: BEST DRAMA SERIES Clickbait Jack Irish Mr Inbetween The Newsreader — WINNER Total Control Wakefield Wentworth BEST TELEFEATURE OR MINISERIES A Sunburnt Christmas The End Fires — WINNER New Gold Mountain The Unusual Suspects BEST NARRATIVE COMEDY SERIES Aftertaste Aunty Donna's Big Ol' House of Fun Fisk — WINNER Frayed Preppers Rosehaven BEST COMEDY ENTERTAINMENT PROGRAM Dom and Adrian 2020 Hard Quiz — WINNER The Moth Effect Spicks and Specks The Weekly BEST LEAD ACTOR IN A TELEVISION DRAMA Rudi Dharmaligam, Wakefield Guy Pearce, Jack Irish Sam Reid, The Newsreader Richard Roxburgh, Fires Scott Ryan, Mr Inbetween — WINNER BEST LEAD ACTRESS IN A TELEVISION DRAMA Deborah Mailman, Total Control Mandy McElhinney, Wakefield Miranda Otto, Fires Pamela Rabe, Wentworth Anna Torv, The Newsreader — WINNER BEST COMEDY PERFORMER Mark Samual Bonanno, Aunty Donna's Big Ol' House of Fun Kitty Flanagan, Fisk — WINNER Tom Gleeson, Hard Quiz Broden Kelly, Aunty Donna's Big Ol' House of Fun Sarah Kendall, Frayed Nakkiah Lui, Preppers Luke McGregor, Rosehaven Celia Pacquola, Rosehaven BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Harry Greenwood, Wakefield William McInnes, The Newsreader — WINNER Matt Nable, Mr Inbetween Stephen Peacocke, The Newsreader Justin Rosniak, Mr Inbetween BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Michelle Lim Davidson, The Newsreader Marg Downey, The Newsreader Harriet Dyer, Wakefield Rachel Griffiths, Total Control — WINNER Noni Hazlehurst, The End
With its next big streaming series, Apple TV+ is managing to tick a heap of must-see boxes all at once. A dark comedy led by Anchorman co-stars Paul Rudd and Will Ferrell? Check. An adaptation of a hit podcast? Check again. A twisty true tale dramatised? Yep, check once more. Throw in WandaVision's Kathryn Hahn in a key supporting role (before she gets her own Marvel spinoff series), as well as Wet Hot American Summer's Michael Showalter behind the lens, and The Shrink Next Door just keeps giving you reasons to add it to your streaming queue. The eight-episode limited series will drop on Friday, November 12, making its first three episodes available then before releasing new instalments week by week afterwards — and, based on the just-released trailer, it's going to tell quite the story. Last seen on streaming in Netflix's Living With Yourself, Rudd plays Dr Isaac 'Ike' Herschkopf. He's a psychiatrist with to Ferrell's Martin 'Marty' Markowitz, and he amasses quite the sway over his patient. In the sneak peek clip, Ike doesn't hold back when it comes to dispensing life advice — and Marty, wanting to improve himself and his factory, listens to every word. But Ike just keeps pushing, which sends the doctor–patient relationship in unsettling directions. If you listened to the Wondery podcast of the same name, you'll know where The Shrink Next Door is headed. If not, expect to watch Ike charm his way even deeper into Marty's existence — including moving into Marty's home, and also nabbing the president slot of his business. Clearly, it's one of those stories that can only spring from truth. And no, no one reads the news here. As for Hahn, she co-stars as Marty's younger sister Phyllis, while Casey Wilson (Happy Endings) features as Ike's wife Bonnie. And yes, if you're looking for something to fill the Apple TV+ void now that Ted Lasso's second season has wrapped up, this just might be it. Check out the trailer for The Shrink Next Door below: The Shrink Next Door starts streaming via Apple TV+ from Friday, November 12, dropping three episodes to begin with and then releasing new instalments week by week afterwards.
The Melbourne Food & Wine Festival's 2022 edition is kicking off with a bang in the form of the Village Feast — a two-day fiesta lighting up the Gippsland town of Thorpdale. Head along to the stunning country town to wine and dine with a talented team of chefs. Highlights include Alejandro Saravia's (Farmer's Daughters) trout tartare with Baw Baw wild herbs and gaufrette potatoes, as well as Trevor Perkins' (Hogget) wild venison cooked over charcoal. You can also snack your way through an array of food pop-ups from chefs including Danielle Alvarez (Fred's in Sydney), Tasmania's Analiese Gregory and Richmond's Hector's Deli crew. Elsewhere, the old general store is being reimagined into a pop-up wine bar featuring offerings from William Downie, ARC Wines and more local labels. Thorpdale natives are also adding their own flare to the feast such as fresh goods from the Thorpdale Bakery and Gippsland brewers dominating the taps. Live music, courtesy of Always Live, will be present throughout the weekend. Guests can expect names like Mia Wray, Dorsal Fins, Grace Cummings and other local talents to show up on stage. Find out more about The Village Feast on the Melbourne Food & Wine Festival website where you can also purchase your tickets starting from $32. [caption id="attachment_871091" align="alignnone" width="1920"] Ben Clement[/caption] Top image: The Village Feast — supplied
Schlock, shock and devils, Monster Fest has it all. Organised by cult film distribution company Monster Pictures in conjunction with Cinema Nova, the festival, now in its third year, aims once again to shine a light on the most extreme, absurd and flat-out frightening horror flicks from Australia and beyond. With over 30 screenings, almost all of them Australian premieres, the 2013 program is the festival’s most impressive yet. Big titles include a 3D Dracula adaptation from Italian giallo master Dario Argento, a quintet of Japanese splatter films and a Los Angeles set creature feature about a big-ass spider titled, appropriately enough, Big Ass Spider! Opening night will showcase the new film by Melburnian director Daniel Armstrong, a roller-derby slasher pic called Murderdrome. Other highlights in the Australian section, christened Terror Australis, include porn-biz documentary The Last Days of Joe Blow from Melbourne Underground Film Festival founder Richard Wolstencroft, as well as the grand final of the inaugural Monster Micro-Nasties competition, wherein six budding filmmakers each pitch their version of a cannibal movie to a cinema full of genre-nuts. Rounding out the program are a selection of special events, including a VHS swap meet, a live Q&A with Linda Blair aka Regan from The Exorcist, plus a midnight ‘til dawn marathon screening of the first six Nightmare on Elm Street movies, collectively billed as A Nightmare on Lygon St. For tickets and the full Monster Fest program, see the festival website.
As the city kicks back into gear after a long Lockdown 6.0, we're set to see plenty of venue makeovers and some bold new additions to Melbourne's food and drink scene. Including the latest iteration of QT Melbourne's rooftop hideout, the Secret Garden, which has been reimagined as a vibrant, Italian-inspired oasis complete with colourful artworks and top-notch local vino. Embodying the motto of la dolce vita, the new-look Secret Garden will open its doors from Friday, October 22, for walk-ins until the end of summer. While its sights and sounds are wholeheartedly Italian, the food and drinks are set to be an all-Victorian affair, led by a collaboration with King Valley's Dal Zotto Wines. The celebrated winemaker will be pouring a selection of its Italian-leaning signature drops — sí, that includes plenty of prosecco — alongside a special appearance from the exclusive reserve list it usually keeps for its wine club members. It'll be the first time an Aussie venue gets access to creations like the 2015 Limmigrante Barbera and early 2000s vintages of the Riesling. [caption id="attachment_828903" align="alignnone" width="1920"] Hayden Dib[/caption] Backing up the vino, you'll find beers from Beechworth's Bridge Road Brewers, gin and limoncello courtesy of Bass & Flinders on the Mornington Peninsula, and salumi from The Meat Room in Kilmore, Central Victoria. While you're sipping and snacking beneath the festoon lights, you'll also soak up the artistic offerings of artist Rowena Martinich, and rounding out the vibe, there'll be bocce, plus a soundtrack heavy on 1920s Italia from QT's music collaborator Andrew Lewis. Secret Garden launches at 3pm on Friday, October 22, at 133 Russell St, Melbourne. It's set to stick around until the end of summer, open for walk-ins only, 2pm–late, Thursday–Sunday. Images: Hayden Dib
Since 1990, every child has wished for one thing: to get stranded home alone so they could relive the ultimate 90s Christmas movie. No one really wants to spend the festive season without their family — especially when their mum is Schitt's Creek legend Catherine O'Hara — but we've all wanted to follow in Macaulay Culkin's footsteps. Admit it, we've all yelled "keep the change, ya filthy animal!" in hope, too. Expect that line — and the entire seasonal cinematic treat that is Home Alone — to echo through Hamer Hall this festive season. Here's one way to relive the movie: watching it play in the hefty venue with a live soundtrack. As it did back in 2019, the Melbourne Symphony Orchestra is bringing the film back to the big screen in the best possible way, aka in concert, and welcoming the merriest time of the year in the most appropriate fashion. Home Alone made a star out of Culkin and, yes, made every 90s kid (and 00s and 10s kid as well) hope their family went on holidays without them. It truly is the best movie there is about an eight-year-old who outsmarts two burglars while living it up without his parents and siblings — and while it charts Kevin McCallister's antics, it also boasts a rousing Oscar-nominated score by iconic composer John Williams. That's what the MSO will bust out at 7.30pm on Wednesday, December 14–Thursday, December 15 — and there's your essential end-of-year viewing taken care of. Home Alone isn't just any old Christmas flick. It's one of the highest-grossing Christmas films of all time. And, it's spawned sequels great (Home Alone 2: Lost in New York) and forgettable (all the other ones, including 2021's Home Sweet Home Alone). If your response to the above news is to hold your hands to your cheeks and exclaim, then you'll want to nab a seat. There's no need to set traps or play pranks to grab a ticket, though — they go on sale at 10am on Thursday, October 13.
Are you serious about your rum? Or just know you love the stuff? Either way, there's a rummy adventure happening in Melbourne throughout August and you can get involved. Fine purveyors and makers of rum for over 265 years, Appleton Estate will bring back The Appleton Trail, a month-long celebration of Jamaica's long-loved spirit. Throughout August Melburnians can pull up a pew at not one, but two rum-lovin' bars and taste the gems of the Appleton range and get into the summery Jamaican spirit. The Trail is headed both to Brunswick's Penny Black and Big Mouth in St Kilda — so no matter what side of the river you live on, you can still enjoy the festivities. Both venues will be serving up special Appleton cocktails and matched Jamaican snacks every night in August with some added surprises rolling out throughout the month. The Penny Black will have live music on Friday, August 5 and Sunday, August 12 as well as some super tasty jerk chicken from their pop-up bar — which is a total no brainer. Or get down to Big Mouth on Saturday, August 20 and 27 for complimentary cocktail tastings. Yep, it's time to switch to rum for winter — it's one of the best ways to keep warm, after all. By Lauren Vadnjal and Shannon Connellan.
"My whole life I got tangled up in complications. Today, I simplify matters," announces Pierre-Auguste Renoir (Michel Bouquet), and it seems director Gilles Bourdos tends to agree. Detailing the final years of the French Impressionist and those around him, Renoir falls short as a shallow and over-simplified biopic. In his Cagnes-sur-Mer retreat in the southeast of France, the 74-year-old Renoir is crippled by arthritis and tended to by a troupe of dedicated female servants who each began as a model for the late artist. After the death of his beloved wife (though apparently not beloved enough to keep him from infidelity), Renoir finds new inspiration when a 15-year-old model that "Titian would have worshipped" hits the screen. Sassy and ambitious, Andrée (Christa Theret), aka Dedee, refuses to meet the same fate as the models before her and for the most part sees through Renoir — basically just a self-absorbed tit — and his lack of genuine care for others. Though bratty at times, Dedee is otherwise the most likeable character and developed more than any other. But alas, her hyper-sensual representation lets the character down, occasionally reducing her to a frustratingly typical product of the male gaze. Nonetheless bewitching and enchanting, Dedee captivates both Renoir and his son Jean (Vincent Rottiers), who's returned home wounded from WWI. But the predictable love affair that ensues should have had a deeper focus. Jean promises that the pair will embark on a career in the burgeoning film industry. Though a far more interesting topic, we never learn how their relationship fell apart 16 years later and are left wondering how he died a prominent filmmaker — with titles Grand Illusion and The Rules of the Game under his belt — and her alone in poverty. Unfortunately, a bare script that's self-consciously romantic and wannabe poignant leaves the actors with little to work with and viewers little to follow. In its 111 minutes almost no drama or tension unfolds and every word spoken is either meaningless or starry-eyed. Thankfully, Taiwanese cinematographer Mark Ping Bing Lee (In the Mood for Love) redeems Renoir with lighting and picture that's splendid and majestic. Despite a numbing script, Renoir is worth the watch just for its beauty. No, seriously, it's gorgeous; an impressionist artwork brought to life. https://youtube.com/watch?v=3Cv9KxLIHAE
So far in December 2020, Australia has experienced heat, snow and a patch of wet weather that has caused a Byron Bay beach to erode. That's an erratic set of conditions — so if you're wondering what Friday, December 25 has in store, that's understandable. Is a sweltering hot Christmas on the cards, or is it literally set to rain on everyone's festive parade? According to the Bureau of Meteorology, most of the country's capital cities will fall in the middle of those extremes. On the east coast, it'll be warm, but not sweltering, and either cloudy or mostly sunny. If you're still making barbecuing, beach-going and festive-feasting plans, take note. In Sydney, a maximum of 28 degrees is currently forecast, with a medium (30–40 percent) chance of showers and rain possible across the partly cloudy day. It'll also be a little windy, with northeasterly gusts getting up to 15–25 kilometres per hour. Conditions are expected to be mostly the same on Wednesday, December 23 and Thursday, December 24, too. For Melburnians, prepare for a mild Christmas — with the mercury only set to reach 21 degrees maximum (and with a minimum of 12 degrees predicted). Like Sydney, the Victorian capital will be partly cloudy and experience winds up to 15–25 kilometres per hour. There's only a 20-percent chance of rain or a shower, though. In Brisbane, it'll also be cooler than usual. Yes, we know that 25 degrees isn't exactly cold, but it's much, much milder than usual Brissie summer weather. It's also cooler than the temps leading up to December 25, which'll range from 27–33 across the week prior. The temperature isn't forecast to fluctuate much on Christmas day, with a minimum of 21 degrees expected. Also, it'll be cloudy, with light winds and a 50-percent likelihood of showers interrupting your game of backyard cricket. https://twitter.com/BOM_au/status/1339866903884513282 Over in the west, Perth will be hot, getting up to 31 degrees — although, given that temps of 38 and 39 degrees are forecast between Tuesday, December 22–Thursday, December 24, it's likely to feel like a cooler reprieve. There is little expected chance of rain, at just five percent, but winds up to 15–20 kilometres per hour are possible on what's predicted to be a mostly sunny day. Folks in Adelaide can expect sun, warmth and wind. It'll be mostly sunny, like Perth, while the mercury will hit 29 degrees and gusts will get up to 25–35 kilometres per hour. Meanwhile, Darwin looks set to be the hottest state capital for Christmas, getting to 32 degrees with showers, light winds and a possible thunderstorm — and Hobart will be the coldest, at just 16 degrees, with a 40-percent chance of morning rain and winds of up to 15–20 kilometres per hour. And in Canberra, it's expected to hit 28, with a medium (30–40 percent) chance of showers and rain possible and gusts getting up to 15–25 kilometres per hour. Of course, while these are BOM's forecasts just under a week out from December 25, conditions may change — so keep an eye on the Bureau's website for the most up-to-date information. For further details about the Bureau of Meteorology's Christmas forecasts, head to the BOM website.
When Barry said farewell, it brought one of the best supporting performances in recent years to an end with it. Star, creator, writer and director Bill Hader wasn't the only talent scoring awards for the hitman dramedy, with Henry Winkler also earning plenty of love — and nabbing his first Primetime Emmy win more than four decades after he was first nominated in the 70s for Happy Days. That's quite the story from a career full of them, given that Winkler will always be known as Arthur 'The Fonz' Fonzarelli, for scene-stealing parts in Arrested Development and Parks and Recreation, and for popping up everywhere from the Scream franchise and The French Dispatch to multiple Adam Sandler movies as well. And, Winkler will tell those tales when he heads to Australia in 2024 on a speaking tour to reflect upon his time in Hollywood. [caption id="attachment_918614" align="alignnone" width="1920"] Andrew Eccles[/caption] Jumping sharks might not be on the agenda, but chatting about doing so more than once — and changing TV history when he made the leap the first time — likely will be. Acting classes also won't be on the itinerary, but hearing about half a century spent performing definitely is. Winkler's tour will follow the release of book Being Henry: The Fonz... and Beyond in October, which will also step through playing Fonzie, Barry Zuckercorn, Dr Saperstein, Gene Cousineau and more. On a six-stop visit, Winkler will head to Hamer Hall, Arts Centre Melbourne on Thursday, February 15. Hopefully also getting a mention: his role in helping develop the original MacGyver back in the 80s. Top image: HBO.
Melbourne Spring Racing Carnival. It stops a nation, it makes us spend ludicrous amounts on dresses, fascinators, suits, shoes, booze, you name it. Yet someone has to back a winner and to be honest we always think it's going to be us. Whether you win $1000 or leave with only a few pennies left to rub together, Concrete Playground's here to suggest 10 ways to spend your Spring Racing bounty. 1. $4 Glass of Bubbles at Charlie's Bar Charlie's Bar, a little bit swanky but nowhere near pretentious. Tasty snacks like mini burgers and secret alcoves for conversation make Charlie's a great spot for a drink or two. So you went to the races and are now left with no money. Don't worry, us too. But fear not, Charlie's Bar run cheap drink specials every night for those of us on a budget. Try a $4 glass of bubbles (no, it's not Champagne) on Friday nights between 5-8pm. Basement 71 Hardware Lane, Melbroune; 03 9600 1545; www.charliesbar.com.au/ 2. $8.50 Huxtaburger Huxtaburger, from the lovely crew that brought us Huxtable and Bill's bar make some of the best burgers in Melbourne. Moondarra Wagyu beef served pink between two soft and slightly sweet buns is just the beginning. It may only have a handful of seats, but these burgers will do just fine as take away. For $8.50 you can get your hands on their 'Huxtaburger' which is a delicious beef pattie, mustard, mayo, tomato sauce, cheese, lettuce and pickles. Perhaps the perfect Spring Racing hangover cure. 106 Smith Street, Collingwood; 03 9417 6328; www.huxtaburger.com.au/ 3. $13.20 Plate of pan-fried dumplings from HuTong Dumpling Bar It's no secret Melbourne loves dumplings. And HuTong, tucked away in a side street off Little Bourke Street, know a thing or two about the humble dumpling. You can get prawn dumplings and boiled pork dumplings, but it's hard to go by a plate of their famous pan-fried. 14-16 Market Lane, Melbourne; 03 9650 8128; www.hutong.com.au/ 4. $20 Buckets of Coronas from Campari House Campari House, on bustling Hardware Lane offers three levels of food and drink fun. On the ground floor the restaurant serves up Italian inspired dishes including a seriously good range of pizzas. On the middle level you'll find a cocktail lounge and if you keep going up the stairs you'll find the rooftop. For just $20 you can get yourself a bucket, yes a bucket of Coronas to enjoy with your friends. 23-25 Hardware Lane, Melbourne; 03 9600 1574; www.camparihouse.com.au/ 5. $45 High Tea at Friends of Mine Friends of Mine in Richmond, sister café to both Snow Pony and Porgie and Mr Jones is a brunching favourite for many. On Sunday afternoons, you can channel your inner socialite and partake in their High Tea. For $45 you will get both sweet and savoury delights along with a glass of bubbles on arrival. 506 Swan Street, Richmond; 03 9428 7516; www.friendsofmine.com.au 6. $66 'Feed Me' menu at Chin Chin If you've ever tried to eat at Chin Chin you will know they don't take reservations and the waiting time is often hours. Conveniently for us they have a great little bar downstairs, GoGo Bar. For $66 a head you can simply let them feed you. You might be treated to a salad of sticky pork belly with crispy fried barramundi, or a starter of roll your own rice paper rolls with lightly tempura tofu. A dry salmon curry or a moist beef massamum curry might follow. You will probably need to be rolled out of there, but it's worth it. 125 Flinders Lane, Melbourne; 03 8663 2000; www.chinchinrestaurant.com.au/ 7. $90 Odyssey at The Understudy The Understudy is the slightly kooky younger sister of cocktail bar 1806. Think Alice in Wonderland, a little confusing, but very intriguing. Cocktails are born here and they will surprise and delight. For $90 The Understudy guide you through a journey of the senses with a 5 course degustation with matched food ($75 a head for just the cocktails). It's a fun way to spend an evening and you'll be sure to taste something unlike anything you have before. 169 Exhibition Street, Melbourne; 03 96637722; www.1806.com.au/understudy/ 8. $199 Mixed Dozen from City Wine Shop City Wine Shop is a wine lovers heaven. For $199 you can take away a mixed dozen from the wise wine lovers behind the City Wine Shop. They might push you out of your comfort zone with their choices, but where's the fun in sticking with what you know. 159 Spring Street, Melbourne; 03 9654 6657; www.citywineshop.net.au/ 9. $500 Degustation for two at Vue de Monde Vue de Monde, a Melbourne institution is an enchanting mix of culinary brilliance and theatre. While it is expensive, the degustation is an experience. It is more than simply food. Palate cleansers crushed at your table and dry ice add to the brilliant food. You will also be sent home with a bag of delights for the morning. It might include a tiny brioche loaf or some granola. It's like a grown up lolly bag. The experience of Vue de Monde will stay with you long after your last bite. Rialto Tower, 525 Collins Street, Melbourne; 03 9691 3888; www.vuedemonde.com.au/ 10. $1050 bottle of Johnnie Walker Blue Label King George V at Eua De Vie Eau de Vie may be almost impossible to find. It was once suggested by an out-of-towner that I was making this place up, but once you have found it you won't look back. As you step inside it's like you step into another world where all that matters is which Whiskey or cocktail you should order. For those cashed up after a Spring Racing win, we suggest you indulge a $1050 bottle of Johnnie Walker Blue Label King George V to stash in your very own personal drinks cabinet. You even get a key, awesome. 1 Malthouse Lane, Melbourne; 0412 825 441; eaudevie.com.au/Melbourne/
This review was written about the show's Sydney run in October-November 2014. Very rarely do you attend an STC show with no clue what’s waiting for you. Yet Sisters Grimm’s Calpurnia Descending allures, ensnares then disorients, till you’re not sure you're even in the theatre/on Planet Earth/in this dimension any longer. The Sisters Grimm (Declan Greene and Ash Flanders) are a spicy item on the Australian theatre menu, with their "gay DIY drag-theatre". Their newest creation, Calpurnia Descending, is a cynical farce, co-written by the Sisters and directed by Greene. Its witty, fast-paced dialogue and hilarious one-liners demonstrate why the company has burst beyond the confines of queer cabaret to stir up the Australian main stage. Despite its covetable spot at the Wharf 2 Theatre, Calpurnia refuses to behave politely. It pisses on the sanctity of theatre and is sometimes downright silly. It begins with abrupt fanfare, leaving no time for us to get our bearings and continues full-pelt until every sense has been saturated. The plot loosely follows the return to fame of washed-up New York actress Beverly Dumont, played superbly by Paul Capsis. Pack your asthma puffer for the stitches you’ll be in as Capsis performs the ageing diva, combining irreverence, melodrama and fragility in equal measure. His foil is Ash Flanders as Violet St Clair, the ever-recognisable ingenue who proves the age-old adage: anything too sweet will eventually kill you/make you fat. It's Sandy Gore who delivers the most laughs, though, as she channels the crafts(wo)manship of 1980s New York drag king scene. The voice work and choreography is astonishing, almost too good. At times you have to pinch yourself to remember it's all live. The show transports us to the silver screen of the '30s, which (thanks to the design team) is a surreal world of excess. Jed Palmer’s sound design playfully nudges us at key points of action, and Matthew Gingold and Matt Greenwood’s AV and animation overload us with colour, movement and product placement. Calpurnia never misses a cheap gag either. I found the mix of high-budget tech-experimentation with moments of daggy melodrama delightful. Calpurnia constantly undermines the drama it has set up, making us sprint to catch-up. The flouncing, pouting behaviour of Beverly Dumont is mimicked by the whole production: it asks, “Look at me! Look at me!” then leaves us embarrassed when the zoom-in results in overexposure. It’s as if Sisters Grimm received a healthy budget and so decided to Use. Every. Trick. I for one loved the splurge that afforded such vibrant, vacillating drag and disrobing.
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most misquoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you still know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Melbourne once more, with Melbourne Symphony Orchestra staging the next in its series of Star Wars events: The Empire Strikes Back in Concert. This isn't the first time that the MSO has done the honours with this very film, but after returning to Star Wars: Episode IV — A New Hope already in 2023, it's clearly working its way back through the space-opera franchise. This time, there'll be four screenings and performances from Thursday, October 19–Saturday, October 21 at Hamer Hall. Jedis, wookiees and droids alike can expect tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. Conductor Nicholas Buc will be leading the charge again, and expect an energetic performance — it's his favourite Star Wars score. "'As well as being a fan favourite in the series, The Empire Strikes Back introduces perhaps the greatest villain's theme in cinematic history, 'The Imperial March'. Williams' bombastic music for Darth Vader has since come to represent everything evil in the Star Wars universe and, combined with his new love theme for Han and Leia, this score improves on everything that Williams started in Episode IV,' said Buc. Star Wars: The Empire Strikes Back in Concert will screen at Hamer Hall from Thursday, October 19–Saturday, October 21. Head to the MSO website for further details, and for tickets from 10am on Tuesday, January 31.
If you'd like to pull up a seat and spend a couple of hours watching the best short films the world has to offer, you'll love Flickerfest Short Film Festival. Australia's most respected (and oldest) short film festival is celebrating 26 years and appearing at Kino Palace Cinemas from February 15-16. This year, the hardworking peeps behind the festival have watched over 2,400 entries from around the globe and whittled the options down to a select few that you can feast your eyes on. Australia's only Academy-accredited and BAFTA-recognised short film festival is the best spot to see the freshest and most innovative film talent from around the world. Among the full programme is Timecode — a Spanish film about a dancing security guard which has been nominated for an Academy Award. Other highlights include Messiah — starring David Gulpilil, a hapless Irishman and his Parisian girlfriend encounter a mischievous stranger in the Australian wilderness — and Crush — the story of a 16-year-old girl whose best friends are wanted for murder. On Wednesday February 15 it's the 'Windows on Europe' programme, featuring moving, award-winning shorts drawn from the European Union countries. On Thursday February 16 the 'Best of Melbourne' programme is on — a specially curated selection of shorts from Victorian filmmakers. The exclusive after-party gives you the chance to mingle with the next wave of Aussie filmmakers over catered food and drinks. After spending ten days at Bondi Beach in New South Wales, the festival has ventured on to a 52-date national tour, spreading the Flickerfest love Australia-wide.
By now, you've probably just about recovered from the wining and dining extravaganza that was Melbourne Food & Wine Festival's 2022 edition, which descended on the city for two weeks in autumn. Handy, because it's almost time to start plotting your moves for round two — aka MFWF's regional edition, which is set to serve up a taste of the rest of the state's finest from Friday, November 18–Sunday, November 27. The 10-day festival will trip all over Victoria with a jam-packed program of feasts, parties and tasting experiences showcasing regional Victoria's top chefs, venues and produce. [caption id="attachment_871089" align="alignnone" width="1920"] The Village Feast[/caption] It's kicking off with a bang in the form of the Village Feast — a two-day fiesta lighting up the Gippsland town of Thorpdale. Head along to dine at a campfire degustation by Alejandro Saravia (Farmer's Daughters), catch the Embla crew's takeover of winery restaurant Hogget, tuck into classic pub fare at the historic Travellers Rest Hotel, and sip regional goodies at a slew of bars. Across the weekend, you can also snack your way through an array of food pop-ups from chefs including Danielle Alvarez (Fred's in Sydney) and Tasmania's Analiese Gregory and the Hector's Deli crew; and treat your ears to live sounds from the likes of Mia Wray, Grace Cummings and Dorsal Fins. Other festival highlights will see the much-loved Crawl and Bite tour series head to the High Country, with the progressive tasting adventures set to explore culinary gems across spots like Beechworth, Bright and Rutherglen. [caption id="attachment_871088" align="alignnone" width="1920"] Ballarat's Mitchell Harris Wines[/caption] Meanwhile, the state's largest inland city will throw open its doors for the Ballarat Unlocked dining series, featuring a feast in an art gallery, a degustation beneath the Ballarat Mechanics Institute and even a dinner that's set to recreate the 1927 opening of Australia's first Parliament House. And for those that want to really sink their teeth in and make a trip of it, there's the Signature Escapes series — a program of curated itineraries offering one-of-a-kind culinary adventures through places like Coldstream, Beechworth and Merricks North. [caption id="attachment_871086" align="alignnone" width="1920"] The Lake House, Daylesford[/caption] You could lock in a weekend of wine and fine dining at Dunkeld's Royal Mail Hotel, complete with kitchen garden tours, hiking, cocktails and local cheese; or perhaps a visit to Daylesford's Lake House and its new sibling Dairy Flat Farm, hopping between tours, feasts and aperitivo hour with the legendary Alla Wolf-Tasker. [caption id="attachment_871087" align="alignnone" width="1920"] Gippsland produce[/caption] Melbourne Food & Wine Festival's 2022 regional program runs from November 18–27, in locations across the state. Pre-sale tickets are available online from 10am on September 27, with general tickets on sale from 10am on September 30. Top Image: The Royal Mail Hotel, Dunkeld.
The Lepidopters: A Space Opera is only touching down for a couple of Melbourne performances, and the insane amount of culture-mixing and genre-bending the work is cramming into Arts House this weekend makes it unmissable. Created by experimental Melbourne outfit Slave Pianos with European writer Mark von Schleegell, the centerpiece of The Lepidopters is a specially constructed electromechanial piano, fresh from a starring appearance in the National Gallery of Victoria’s exhibition Melbourne Now. This 'piano' contains no less than 56 gamelans, a traditional Indonesian instrument. In its NGV outing this machine played the audience’s choice of transcribed songs, but here in The Lepidopters it’s joined by a 40-member choir, punk-art musicians from Indonesia, as well as the solo pianist Michael Kieran Harvey, all backed by projected visual art and film.
Queer Screen doesn't just host two LGBTQIA+ film festivals in Sydney each year, with Mardi Gras Film Festival arriving in the first half and Queer Screen Film Fest in the second. It also takes those fests to the rest of Australia via online versions. So, to start September, you can get cosy on the couch while streaming your way through a number of movies from the QSFF lineup without leaving home. While the fest runs from Wednesday, August 28–Sunday, September 1, it goes virtual from Monday, September 2–Sunday, September 8. Closing night's Gondola, about female cable-car conductors expressing their emotions in the sky, is among the titles you'll be able to catch on your own screen. So are the gay, sapphic and trans and gender-diverse shorts strands, with Lukas Gage (Road House) and Keiynan Lonsdale (Swift Street) making appearances via the bite-sized Stay Lost. Plus, at-home viewers have American Parent, about a lesbian couple raising a toddler during the pandemic; Big Boys, focusing on a teen with a crush; All Shall Be Well director Ray Yeung's 2019 film Twilight's Kiss; and The Judgment, about US-based Egyptian boyfriends returning home and dealing with the supernatural, among their other choices.
If there's one thing better than seeing your fave musician, it's seeing said musician in an intimate, top-secret location with a glass of Pinot Noir in hand. That's where Cloudy Bay comes in. The acclaimed winemaker from New Zealand's Marlborough region has teamed up with Parlour Gigs — an online platform that connects punters with local musicians so they can throw small invite-only gigs in their own home or backyard — to bring you a brand new series of exclusive live music sessions in magical places. The first, to take place on Sunday, August 14, will feature an acoustic set from local band Fractures, ahead of the launch of their debut album, which is slated for October. We can't tell you exactly where they'll be playing, but we can tell you it's a rustic secluded spot just outside of Melbourne. Worried about this wintery weather? Rest assured you'll be cosying up beside an open fireplace and, needless to say, there'll be no shortage of premium quality drops and tasty, tasty eats. It's the ultimate Parlour Gig. To celebrate the launch of their Secret Sessions, Cloudy Bay and Parlour Gigs are giving away ten double passes. You can enter by posting an image on Instagram or Facebook, tagging #SecretSessionsGigs and tell us your dream gig location in 25 words or less. Entries open to VIC locals only. Find more info here.
The Lamb Council of Australia (otherwise known as Meat & Livestock Australia/We Love our Lamb) is back on our screens — and this time, it's political. Their 2017 campaign has just launched and, whether you're a lamb fan or not, it's already spreading warm fuzzies across the country. The ad opens on a trio of First Nation peoples picking a spot for a primo beach barbie, but it's not long before the First Fleet and other nations arrive, all by boat (accurate historical fact). While everything's underway, the most recent 'boat people' are seen coming towards the shore, at which point ex-MasterChef contestant Poh Ling Yeow asks, "Aren't we all boat people?" Damn right. It's an inclusive, anti-racism message that's sure to win the lamb lovers and creative agency The Monkeys a spate of awards despite trotting out a few well-worn stereotypes. And although it is an obvious comment on Australia Day — the way we celebrate it and the day we celebrate it on — the ad doesn't actually make any overt references to it. Nonetheless, it's a huge shift away from their regular Australia Day campaign and a move towards something much more inclusive. Plus, it's got a diverse group of Aussie celebrities to help out, including olympian Cathy Freeman, rugby legend Wendell Sailor, cricketer Adam Gilchrist, comedian Rhys Nicholson and, of course, a small cameo from Sam "Sam Sam the lamb man" Kekovich. The result is one ultimate Australian beachside barbie.
We're about to slide speedily into winter — and if that's put you in the mood for a wardrobe shakeup, well, you're in luck. The treasure trove of vintage threads that is the Round She Goes Fashion Market returns to Melbourne this month, taking over Coburg Town Hall on Sunday, May 7. This time around, the ever-popular market is treating shoppers to more than 55 stalls heaving with quality pre-loved designer fashion, vintage pieces, retro accessories and handmade goodies. And as always, there'll be a whole stack of affordable items in the mix, with prices starting from $10. Get your stylish self along from 10am to score covetable finds from big-name labels ranging from Prada to Phillip Lim, and from Balenciaga to Bianca Spender. Grab yourself a bit of Gucci, score some Christian Dior, and splash out on threads from Romance Was Born, Jean Paul Gaultier, Mister Zimi or Gorman. There'll be specialty coffee and baked treats from Coffee on Cue to fuel your rummaging, too, and entry costs $4.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Maybe you're in lockdown. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's 12 you can watch right now at home. IN THE HEIGHTS Lin-Manuel Miranda isn't the first lyricist to pen tunes so catchy that they get stuck in your head for years (yes, years), but his rhythmic tracks and thoughtful lines always stand out. Miranda's songs are melodic and snappy, as anyone who has seen Hamilton onstage or via streaming definitely knows. The multi-talented songwriter's lyrics also pinball around your brain because they resonate with such feeling — and because they're usually about something substantial. The musical that made his name before his date with US history, In the Heights echoes with affection for its eponymous Latinx New York neighbourhood. Now that it's reverberating through cinemas, its sentiments about community, culture, facing change and fighting prejudice all seem stronger, too. To watch the film's characters sing about their daily lives and deepest dreams in Washington Heights is to understand what it's like to feel as if you truly belong in your patch of the city, to navigate your everyday routine with high hopes shining in your heart, and to weather every blow that tries to take that turf and those wishes away. That's what great show tunes do, whisking the audience off on both a narrative and an emotional journey. Miranda sets his words to hip hop beats, but make no mistake: he writes barnstorming songs that are just as rousing and moving, and that've earned their place among the very best stage and screen ditties as a result. Watching In the Heights, it's hard not to think about all those stirring tracks that've graced previous musicals. That isn't a sign of derivation here, though. Directing with dazzling flair and a joyous mood, Crazy Rich Asians filmmaker Jon M Chu nods to cinema's lengthy love affair with musicals in all the right ways. His song-and-dance numbers are clearly influenced by fellow filmic fare, and yet they recall their predecessors only because they slide in so seamlessly alongside them. Take his staging of the tune '96000', for instance. It's about winning the lottery, after word filters around that bodega owner Usnavi (Anthony Ramos, a Hamilton alum) has sold a lucky ticket. Due to the sweltering summer heat, the whole neighbourhood is at the public pool, which is where Chu captures a colourful sea of performers expressing their feelings through exuberantly shot, staged and choreographed music and movement — and it's as touching and glorious as anything that's ever graced celluloid. Of course, $96,000 won't set anyone up for life, but it'd make an enormous difference to Usnavi, In the Heights' protagonist and narrator. It'd also help absolutely everyone he loves. As he explains long before anyone even hears about the winning ticket, or buys it, every Heights local has their own sueñitos — little dreams they're chasing, such as his determination to relocate to the Dominican Republic. And that's what this intoxicating, invigorating, impassioned and infectious captures with vibrant aplomb. In the Heights is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. A QUIET PLACE PART II When every noise you make could send savage aliens stalking, slashing and slaughtering your way, it's the waiting that gets you. When you're watching a nerve-rattling horror film about that exact scenario, the same sentiment remains relevant. In A Quiet Place, the Abbott family went into survival mode after vicious creatures invaded, hunted down every sound and dispensed with anyone that crossed their path. For the characters in and viewers of the 2018 hit alike, the experience couldn't have screamed louder with anxiety and anticipation. Evelyn and Lee (Wild Mountain Thyme's Emily Blunt and Detroit's John Krasinski) and their children Regan (Millicent Simmonds, Wonderstruck), Marcus (Noah Jupe, The Undoing) and Beau (Cade Woodward, Avengers: Endgame) all silently bided their time simply trying to stay safe and alive, but their continued existence lingered under a gut-wrenching shadow. The critters were still out there, listening for even a whisper. It was a matter of when, not if, they'd discern the slightest of noises and strike again. That type of waiting drips with tension and suspense, and also with the kind of inevitability that hovers over everyone alive. A certain bleak end awaits us all, a truth we routinely attempt to ignore; however, neither the Abbotts nor A Quiet Place's audience were allowed to forget that grim fact for even a moment. Initially slated to arrive in cinemas two years later, then delayed by the pandemic for 14 months, sequel A Quiet Place Part II isn't done with waiting. Written and directed once again by Krasinski, the film doesn't shy away from the stress and existential distress that marking time can bring, but it also tasks its characters with actively confronting life's inevitabilities. After an intense and impressive tone-setting opening flashback to the first day of the alien attack, when the Abbotts' sleepy hometown learns of humanity's new threat in the cruellest fashion, the storyline picks up where its predecessor left off. It's day 474 — the earlier film spent most of its duration around day 472 — and Evelyn, Regan, Marcus and the family's newborn are grappling with their losses. That said, they're also keenly aware that they can't stay in their Appalachian farmhouse any longer. After spotting smoke on the horizon and setting off in that direction, they reconnect with Emmett (Cillian Murphy, Peaky Blinders), an old friend who has been through his own traumas. Evelyn sees safety in numbers, but he's reluctant to help. Then Regan hears a looping radio transmission playing 'Beyond the Sea' and decides to track down its source — and a film that's less thrilling, potent and unsettling than its predecessor eventuates. A Quiet Place Part II is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. BLACK WIDOW Closure is a beautiful thing. It's also not something that a 24-film-and-growing franchise tends to serve up often. Since 2008, the Marvel Cinematic Universe has operated with the opposite aim — extending and expanding the series at every turn, delivering episodic instalments that keep viewers hanging for the next flick, and endeavouring to ensure that the superhero saga blasts onwards forever. But it's hard to tick those boxes when you're making a movie about a character whose fate is already known. Audiences have seen where Natasha Romanoff's (Scarlett Johansson, Marriage Story) story finishes thanks to Avengers: Endgame, so Black Widow doesn't need to lay the groundwork for more films to follow. It's inexcusable that it has taken so long for the assassin-turned-Avenger to get her own solo outing. It's indefensible that this is just the second Marvel feature to solely focus on a female figure, too. But, unlike the missed opportunity that was Captain Marvel, Black Widow gives its namesake a thrilling big-screen outing, in no small part because it needn't waste time setting up a Black Widow sequel. Instead, the pandemic-delayed movie spends its 143 minutes doing what more MCU flicks should: building character, focusing on relationships, fleshing out its chosen world and making every inch of its narrative feel lived-in. The end result feels like a self-contained film, rather than just one chapter in a never-ending tale — which gives it the space to confidently blend family dramas with espionage antics, and to do justice to both parts of that equation. Sporting an impressive cast that also includes Florence Pugh (Little Women), David Harbour (Stranger Things) and Rachel Weisz (The Favourite), Black Widow begins in 1995, in small-town Ohio. Here, Harbour and Weisz play Alexei and Melina, parents to young Natasha (Ever Anderson, Resident Evil: The Final Chapter) and Yelena (Violet McGraw, Doctor Sleep), and the portrait of all-American domesticity — or that's the ruse, at least. The film doesn't revel in small-town life, neighbourhood playtimes, 'American Pie' sing-alongs and an existence that could've been ripped from The Americans for too long, however, with the quartet soon en route back to Russia via Cuba at shady puppetmaster Dreykov's (Ray Winstone, Cats) beckoning. When the action then jumps forward to 2016, and to the aftermath of that year's Captain America: Civil War, Natasha hasn't seen her faux family for decades. On the run from the authorities, she isn't palling around with the Avengers, either, with the superheroes all going their separate ways. Then the adult Yelena (Pugh) reaches out, because she too has fled her own powers-that-be: Dreykov, the fellow all-female hit squad she's been part of for the last 21 years, and the mind-control techniques that've kept her compliant and killing. There's an unmistakable air of Bourne and Bond to Black Widow from there, but this deftly satisfying flick doesn't trade the MCU's blueprints for other franchises' templates. With Australian filmmaker Cate Shortland (Somersault, Lore and Berlin Syndrome) in the director's chair, this welcome addition to the franchise spins a thoughtfully weighty story about women trapped at the mercy of others and fighting to regain their agency. Black Widow is available to stream via Disney+ with Premium Access. Read our full review. MY NAME IS GULPILIL Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. Cue this heartfelt portrait of an Australian icon like no other, which celebrates a star who'll never be matched, reminds viewers exactly why that's the case, but is never a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. My Name Is Gulpilil is available to stream via ABC iView. Read our full review. VALERIE TAYLOR: PLAYING WITH SHARKS Steven Spielberg directed Jaws, the 1975 horror film that had everyone wondering if it was safe to go back into the water — and the movie that became Hollywood's first blockbuster, too — but he didn't shoot its underwater shark sequences. That task fell to Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, who did so off the coast of Port Lincoln in South Australia. If it weren't for their efforts, the film mightn't have become the popular culture behemoth it is. When one of the animals the Taylors were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident, in fact. And, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco. Firstly, filmmaker Sally Aitken (David Stratton: A Cinematic Life) fills her feature with stunning archival footage that makes for astonishing and affecting viewing (Ron Taylor is credited first among the feature's five cinematographers). Secondly, this powerful film dives into the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. Like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, this is a movie about being profoundly changed by the natural world and all of its splendour. Valerie Taylor: Playing with Sharks is available to stream via Disney+. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning Mad Max: Fury Road costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). In this intellectual property-extending exercise from I, Tonya director Craig Gillespie, she sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists with Jasper (Joel Fry, Yesterday) and Horace (Paul Walter Hauser, Songbird). She loves sewing the costumes required more than anything else, however. After years spent dreaming of knockout gowns, upmarket department stores and threads made by the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. Cruella is available to stream via Disney+ with Premium Access, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. MARTIN EDEN The last time that one of Jack London's books made the leap to cinema screens — just last year, in fact — it wasn't a pleasant viewing experience. Starring Harrison Ford and a CGI dog, The Call of the Wild forced viewers to watch its flesh-and-blood lead pal around with a needlessly anthropomorphised canine, to groan-inducingly cheesy results. Martin Eden is a much different book, so it could never get the same treatment. With his radiant imagery, masterful casting and bold alterations to the source material, writer/director Pietro Marcello (Lost and Beautiful) makes certain that no one will confuse this new London adaption for the last, however. The Italian filmmaker helms a compelling, complicated, ambitious and unforgettable film, and one that makes smart and even sensuous choices with a novel that first hit shelves 112 years ago. The titular character is still a struggling sailor who falls in love with a woman from a far more comfortable background than his. He still strives to overcome his working-class upbringing by teaching himself to become a writer. And, he still finds both success and scuffles springing from his new profession, with the joy of discovering his calling, reading everything he can and putting his fingers to the typewriter himself soon overshadowed by the trappings of fame, a festering disillusionment with the well-to-do and their snobbery, and a belief that ascribing worth by wealth is at the core of society's many problems. As a book, Martin Eden might've initially reached readers back in 1909, but Marcello sees it as a timeless piece of literature. He bakes that perception into his stylistic choices, weaving in details from various different time periods — so viewers can't help but glean that this tale just keeps proving relevant, no matter the year or the state of the world. Working with cinematographers Alessandro Abate (Born in Casal Di Principe) and Francesco Di Giacomo (Stay Still), he helms an overwhelmingly and inescapably gorgeous-looking film, too. When Martin Eden is at its most heated thematically and ideologically, it almost feels disquieting that such blistering ideas are surrounded by such aesthetic splendour, although that juxtaposition is wholly by design. And, in his best flourish, he enlists the magnetic Luca Marinelli (The Old Guard) as his central character. In a performance that won him the Best Actor award at the 2019 Venice Film Festival, Marinelli shoulders the eponymous figure's hopes, dreams and burdens like he's lived them himself. He lends them his soulful stare as well. That expression bores its way off the screen, and eventually sees right through all of the temptations, treats and treasures that come Eden's way. Any movie would blossom in its presence; Martin Eden positively dazzles, all while sinking daggers into the lifetime of tumult weathered by its titular everyman. Martin Eden is available to stream via Google Play, YouTube Movies and iTunes. I BLAME SOCIETY She's fired by her manager after he finally reads one of her scripts, then deems the topic of Israel "too political". When his assistant wrangles her a meeting with a couple of indie film producers in the aftermath, she's asked to lend her perspective to stories about strong female voices, breastfeeding in public, and either intersexuality or intersectionality — when it comes to the latter two, they aren't quite sure which. So, as I Blame Society gleefully posits in its savage takedown of the film industry today, it's little wonder that Gillian (writer/director Gillian Wallace Horvat) decides to follow up a leftfield idea. Three years earlier, some of her friends told her that she'd make a great murderer, a notion that she took as a compliment and has been fascinated with to an unhealthy degree ever since. Indeed, at the time, she went as far asking her pal Chase (co-writer Chase Williamson) if she could hypothetically walk through the process of killing his girlfriend. The request put a long-lasting pause on their friendship, to no one else's surprise. Now, as she resurrects the project, her editor boyfriend Keith (Keith Poulson, Her Smell) keeps reiterating that it's a terrible idea; however, with no other avenues forward, Gillian is committed to doing whatever she thinks she needs to to kickstart her career. During a mid-film conversation, an increasingly exasperated Keith reminds Gillian that no "there is no movie that is worth hurting someone for". He's endeavouring to get her to agree, but "if it's a very bad person for a very good movie…" is her quick and firm reply. I Blame Society is equally direct. While Horvat plays a fictional character — and, the audience presumes, hasn't ever flirted with or committed murder in real life — she absolutely slaughters her chosen concept. Not every line or moment lands as intended, but this biting satire sticks a knife into every expectation saddled upon women in general and female filmmakers especially, then keeps twisting. The film's recurrent gags about likeability cleave so close to the truth, they virtually draw blood. Its aforementioned parody of supposed allyship among powerbrokers and gatekeepers is similarly cutting and astute. In their canny script, Horvat and Williamson find ample time to poke fun of a plethora of industry cliches and microaggressions, the treatment of marginalised voices both within filmmaking and in broader society, and even the current true-crime obsession, all without ever overloading the 84-minute movie. And, on-screen as well, Horvat is a savvy delight. She wants viewers to both cringe and nod, and everything about her performance and her feature directorial debut earns that response. I Blame Society is available to stream via Google Play, YouTube Movies and iTunes. A FAMILY Just five letters are needed to turn A Family's title into the name of one of popular culture's most famous clans. The Addams crew aren't the subject of this Australian-produced, Ukraine-shot blend of comedy and drama, but it does delve into the creepy, kooky and mysterious anyway. The feature debut of director Jayden Stevens — who co-wrote the script with his cinematographer Tom Swinburn (Free of Thought) — the absurdist gem spends time with the stern-faced Emerson (first-timer Pavlo Lehenkyi). With none of his family around for unexplained reasons, he pays other Kiev locals to play their parts, staging dinners, Christmas parties and everyday occasions. They eat, chat and do normal family things, all for Emerson's camera. His actors (including Maksym Derbenyov as his brother and Larysa Hraminska as his mother) all need to stick to his script, though, or he'll offer them a surly reprimand. Olga (Liudmyla Zamidra), who has been cast as his sister, struggles the most with her role. She's also the member of this little faux family that Emerson is particularly drawn to. Her own home life with her mother Christina (Tetiana Kosianchuk) is far from rosy, with the pair suffering from her dad's absence, so eventually Olga decides that Emerson's role-play game might work there as well. A Family is a film of patient and precise frames, awkwardly amusing moments, and bitingly accurate insights into the ties that bind — whether of blood or otherwise. It's a movie that recognises the transactional and performative nature of many of life's exchanges, too, and ponders how much is real and fake in both big and seemingly inconsequential instances. To perfect all of the above, Stevens walks in Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), Aki Kaurismäki (Le Havre, The Other Side of Hope) and even the usually inimitable David Lynch's shoes. His feature is austere, deadpan and surreal all at once, and smart, amusing and savage at the same time as well. Indeed, if a bigger-name filmmaker had made this purposefully and probingly off-kilter picture, it would've likely proven a film festival darling around the globe. A Family did start its big-screen run at a fest, at the Melbourne International Film Festival back in 2019. Now reaching Australian cinemas after a year that's seen everyone either spend more time with or feel more physical distance from their nearest and dearest, it feels doubly potent. Every lingering image shot by Swinburn — and all of the pitch-perfect performances that he captures — speak loudly to the cycle of yearning and disconnection that comes with being alive, and that never stops being put under a microscope. A Family is available to stream via iTunes. THE CONJURING: THE DEVIL MADE ME DO IT Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets when it comes to battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. With director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman) doing the honours — taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks — it once again serves up the usual bumps, jumps and scares that have haunted this franchise since day one. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way, because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup for souped-up demonic antics and a routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film. The Conjuring: The Devil Made Me Do It is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE HITMAN'S WIFE'S BODYGUARD Someone involved with The Hitman's Wife's Bodyguard must really love paperwork; that's the only reason anyone could've given its script the go-ahead. Perhaps Australian filmmaker Patrick Hughes, who also directed 2017's The Hitman's Bodyguard, likes nothing more than keeping his documents in order. Maybe returning screenwriter Tom O'Connor (The Courier) falls into that category, or his debuting co-scribes Phillip and Brandon Murphy — they all made the subject the focus of their screenplay, after all. Whoever fits the bill, their attempt to force audiences to care about bodyguard licensing falls flat. So does the misguided idea that the certification someone might need to unleash their inner Kevin Costner would ever fuel an entire movie. Instead, what was already a needless sequel to a terrible action-comedy becomes even more of a dull and pointless slog, with this by-the-numbers follow-up showing zero signs that anyone spent more than a few seconds contemplating the story. A significant plot point here: that Michael Bryce (Ryan Reynolds, The Croods: A New Age) has lost his official tick of approval. He's no longer triple A-rated after a mishap in the line of duty, and he isn't coping well. To be fair, no one watching The Hitman's Wife's Bodyguard will handle that news swimmingly either, but only because they're made to hear about it over and over, all as Bryce rekindles his begrudging association with assassin Darius Kincaid (Samuel L Jackson, Spiral: From the Book of Saw) and the latter's con artist wife Sonia (Salma Hayek, Bliss). When Darius gets snatched up by nefarious folks during his belated honeymoon with Sonia, only Bryce can help — or so says the angry Mrs Kincaid. She interrupts the latter's vacation with swearing, shouting and shootouts, because that's the kind of feisty Mexican wife that Hayek plays. From there, Reynolds primarily complains, Hayek sticks with stereotypes and Jackson attempts to exude his usual brand of couldn't-care-less cool; however, even more than in Spiral: From the Book of Saw, he's on autopilot. As also seen in Jackson's last big-screen appearance, The Hitman's Wife's Bodyguard insists on reminding its audience about its stars' better movies. You don't cast both Hayek and Antonio Banderas (who plays a European tycoon plotting the world's demise) if you don't want to bring Desperado and Once Upon a Time in Mexico to mind (and Frida and even Spy Kids 3, too). Thinking about the pair's shared past highlights is far more enjoyable than enduring their current collaboration, unsurprisingly. Making fun of accents is considered the height of comedy here, women can only be hot-headed nags and manchild daddy issues get almost as much love as paperwork. The jokes aren't just scattershot; they're non-existent. The messy, incoherent and over-edited action scenes fare just as badly. None of the above is likely to save us from a third movie, though, which'll probably be called The Hitman's Wife's Baby's Bodyguard's Lost Birth Certificate. The Hitman's Wife's Bodyguard is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. FATALE Only 14 women have ever won more than one Academy Award for Best Actress, and Hilary Swank is one of them. When she earned the Oscars double for 1999's Boys Don't Cry and 2004's Million Dollar Baby, she beat both Meryl Streep and now three-time recipient Frances McDormand to the feat — but her career hasn't brought the coveted accolade her way again since. Fatale isn't going to change that recent trend. It hasn't earned Swank a Razzie either, but she could've easily been in the running. Playing a Los Angeles cop who has a one-night stand in Las Vegas with an ex-college basketball star turned high-profile player manager, then starts stalking her way through his life while also trying to intimidate her politician ex-husband into giving her back access to her young daughter, she has one mode here: stern-faced yet unbalanced. Even when her character, Detective Valerie Quinlan, is first seen flirting, Swank plays her as if something isn't quite right. That's accurate, plot-wise, but it robs Fatale of any semblance of tension it might've possessed. The film is meant to be an adultery-focused thriller in the Fatal Attraction mould — with even its title blatantly nodding that way — but it just ends up recycling tired, simplistic, overused cliches about unhinged women into a monotonous and unnecessarily convoluted package. Valerie and Derrick (Michael Ealy, Westworld) hit it off at a Vegas bar, then get physical; however, the next morning, he heads home to his wife Tracie (Damaris Lewis, BlacKkKlansman), who he actually suspects of being unfaithful herself. Before Derrick can meaningfully process either his infidelity or his fears about his crumbling marriage, his swanky home is broken into one night — and, because director Deon Taylor (Black and Blue) and screenwriter David Loughery (The Intruder) are content to hit every expected beat there is (and because they've seen every 80s and 90s erotic thriller ever made, too), Valerie is the investigating officer. Despite being woefully predictable from the outset, Fatale doesn't dare have fun with its cookie-cutter narrative. It doesn't evoke thrills, bring anything more than surface style or prove particularly sexy, and it never gets its audience invested in its obvious twists, one-note characters or rote dialogue. And, although having its badge-toting stalker use excessive force and exploit her power to target a person of colour could've been a choice that said something about America's current reckoning with law enforcement, race and police brutality, Fatale doesn't even contemplate anything other than clunky formula. Fatale is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Looking for more at-home viewing options? Check out our lists of movies fast-tracked from cinemas to streaming back in May and June. You can also take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows.
Huxtaburger's first Sydney store hasn't even received its final lick of paint, but the company has already announced plans to open 10 new stores across NSW in the next four years. The decision is part of the company's plans to enter into a franchise model, which will see it open 20 new stores across Victoria, WA, ACT and NSW, with future plans to expand into Asia, too. Huxtaburger has teamed up with franchising consulting agency DC Strategy — which has previously worked with Ben & Jerry's, Zeus Street Greek and Turkish ice cream vendors Hakiki — to facilitate the expansion, with the first franchise store already open in Melbourne's Footscray. In NSW, Huxtaburger is working alongside investment group Yesdac to rapidly expand. The now cult favourite American-style burger joint first launched back in 2011, and has since opened six stores (five in Vic and one in Perth) with its seventh store, and first NSW store, which is launching with $1 burgers in Redfern this weekend. Construction has already begun on its second WA store, in Fremantle, too. The company's has international expansion plans in the pipeline, too, and hopes to roll out stores across Malaysia, Singapore, Thailand, Indonesia and China. If you'd like to get your own slice of Huxtaburger, you can sign up for your own franchise in Vic and WA. You'll have to have some cash handy, though, as it will set you back a cool $550,000. While rapid expansion may be a good thing for burger lovers, let us not forget the story of Doughnut Time.
Just over a week ago, Melbourne had notched up seven full days without any locally acquired COVID-19 cases. Exactly seven days ago, venue restrictions and mask rules eased. But, as the pandemic keeps proving over and over, a lot can change in a short period at the moment. Once again, Victoria is currently in lockdown, case numbers have been growing and, as always happens with the latter, the list of exposure sites is expanding as well. At the time of writing — on the morning of Friday, July 16 — the Victorian Department of Health's rundown of exposure sites now lists 125 venues. Yes, that's a big number. Yes, it has been increasingly quickly. And, it has also been demonstrating that it really hasn't been a good week for folks who went to shopping centres and sporting events. Earlier in the week, both the MCG and the Highpoint Shopping Centre were popped on the list. As of late yesterday, Thursday, July 15, Chadstone Shopping Centre and the Wallabies game at AAMI Park have been named as exposure sites as well. Thankfully, neither are Tier 1 sites, which would've required getting tested immediately and self-isolating for 14 days regardless of the result; however, folks who were at either location at specific times and dates will need to take action. Regarding Chadstone — which was on the list during the last outbreak, too — the alerts cover Monday, July 12 between 5.25–6pm. If you went to Kmart, Target or Zing Pop Culture during that window of time, you'll now need to get tested immediately and self-isolate until you receive a negative result, as they're all listed as Tier 2 sites. For AAMI Park, at the Australia versus France rugby union match on Tuesday, July 13, two different sections have been listed. If you were on level one, in aisles 20–23, from 8.05–10pm, you also need to get tested immediately and self-isolate until you receive a negative result — as those areas are Tier 2 sites. If you in zone two at all at the same time, you were in a Tier 3 site, which requires monitoring for symptoms. https://twitter.com/VicGovDH/status/1415547340539056130 Obviously, with 125 places now named, the list goes on. It's likely to keep growing, too, given that Victoria reported ten new locally acquired cases in the 24 hours until midnight last night, and the same number in the previous 24 hours as well. Melburnians can keep an eye on the local list of exposure sites at the Department of Health website — as usual, it will change as more sites are identified. For those looking to get tested, you can find a list of testing sites including regularly updated waiting times also on the Department of Health website. And, has remained the case throughout the pandemic, Melburnians should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste, symptoms-wise. For further details on the latest exposure sites and updated public health advice, see the Department of Health website. Top image: Gary Houston via Wikimedia Commons.
We've all heard the term 'airport novel', which refers to fast-paced, easy-to-devour fiction that's perfect to read when you're on a long flight and you've watched everything on the onboard entertainment system — or, to flick through while you're waiting to hop on the plane. If you're the kind of traveller who always starts your trip with a visit to the airport newsagency to pick up new reading material to help while away the hours, then you probably have a stash of paperbacks that fit the bill. And, because its name and premise are oh-so-perfect for the genre, you might even have The Flight Attendant on that pile. Chris Bohjalian's novel was first published in 2018. Two years later, at a time when we'd all love to be flying far more than we've been able to of late, it makes the leap to the screen as an eight-part miniseries. On the page and on streaming platform Binge, The Flight Attendant unfurls a pulpy, twisty tale that starts high in the sky, bounces around the globe and delivers a hectic murder-mystery — all with the eponymous Cassie Bowden (The Big Bang Theory's Kaley Cuoco) at its centre. Cassie likes sipping mini bottles of booze as much as she likes pouring them for the travellers on her flights — and she also loves her jet-setting lifestyle. When she's at home in New York between trips, she parties away her time in bars and via her vodka-packed fridge. When she's stopping over in overseas cities between legs, she's known to do the same. In Bangkok, though, she does something that she's not supposed to. After flirting with first-class passenger Alex Sokolov (Game of Thrones' Michiel Huisman) throughout the flight, she makes an excuse to ditch drinks with her coworkers and takes up his dinner offer. The next morning, she feels the repercussions. Also, she finds herself confronted by a dead body, trying to outsmart the authorities both in Thailand and back in the US, and endeavouring to work out just what's going on. The Flight Attendant's many ups and downs are best discovered by watching, of course, with the series aligning viewers with Cassie as she embarks upon a very turbulent ride. Her life in general fits that bill — it's chaotic and, in depicting that reality as Cassie slowly begins to explore why she's so drawn to her job and to boozy benders, the show itself is as well. Think sudden revelations and reversals, multiple points of interest playing out across a split-screen setup, and cliffhangers to end every episode (and keep viewers keen to watch more). Also noticeable, and crucial: the fact that Cassie is unreliable in general, and was blackout drunk on the night in question so she can't remember what happened. This is a tightly and glossily made whodunnit; however, it's also a thorny thriller that tasks its key figure with scrambling around not only trying to investigate the case, but also to work out her role within it. In topic, themes and tone, Cuoco leaves The Big Bang Theory far behind. She's still engagingly erratic as Cassie, though — but in a different and deeper way. As the character's personality, background and present situation calls for, she finds the fine line between messy and likeable, and poignant and even slapstick on occasion. Cassie makes so many terrible decisions that they become her defining trait but, thanks to Cuoco in career-best form, she never feels like she's just being driven by the plot's many machinations. The always-charming Huisman gets more screen time than viewers might initially expect, too, and the series is better for it. Plus, post-Girls, Zosia Mamet is also a welcome inclusion as Cassie's steely, no-nonsense best friend and lawyer Annie, who eventually calls out her pal on her baggage. Airport novels frequently require readers to simply go with the flow. As a slick, swift-moving TV series that knows exactly the kind of story it's telling and goes for broke, The Flight Attendant is no different. The fact that it's filled with intrigue, often of the implausible and even ridiculous yet still instantly addictive type, will surprise no one — it's what such tales are supposed to serve up, after all. But there's darkness, weirdness, pathos and plenty of twisty comedy on offer here as well. It's easy to get immersed in, and to be entertained by. And, it'll help vicariously indulge your wanderlust and plunge you into a bingeworthy mystery at the same time. https://www.youtube.com/watch?v=4rWnlXbnQLk&feature=youtu.be The Flight Attendant is available to stream via Binge — with the first seven episodes online now, and the series finale available from the evening of Thursday, December 17. Images: Phil Caruso, HBO.
There ain't nothing quite like country music, is there, partner? First popping up in the American South more or less a century ago, it's a simple yet satisfying genre that has found fans worldwide. Some of the most recognisable artists in history have been country singers — with a podium including Dolly Parton, Elvis Presley, Johnny Cash, Shania Twain, Kenny Rogers and more. If you know or love any of the above artists, you'd best secure some tickets to the upcoming Country by Candlelight tour. Having sold out theatres across the UK, it's headed down south (or down under, in this case) to tour across Australia and Aotearoa throughout February and March. After a series of February shows in NZ, the Australian tour will arrive in Queensland for a Gold Coast show at The Star Theatre on Sunday, March 1. The following week, it's Sydney's turn at Darling Harbour Theatre on Sunday, March 8, before moving to Melbourne Town Hall on Thursday, March 12. Then, the tour will hop across the country to PCEC Perth on Sunday, March 15, before an additional Queensland show at QPAC Brisbane on Thursday, March 19. Finally, the tour will conclude in South Australia at Her Majesty's Theatre, Adelaide, on Sunday, March 22. Each show starts at 7.30pm and should wrap up (encores notwithstanding) by 10pm. Country by Candlelight will tour across cities in Australia and New Zealand from Sunday, February 15 to Sunday, March 22. For more information or to book tickets, visit the website.
With events across the country cancelled and postponed in a bid to slow the spread of COVID-19, the live music industry is being hit hard. According to Aussie website I Lost My Gig, the industry has had a lost income of about $340 million so far. To help some of those affected, some of the country's best musical talents have been coming together for a weekly two-day music festival and fundraising event series every weekend — that's all online. In past weeks, the festival has seen the likes of Julia Jacklin, Marlon Williams, Hermitude, Vera Blue, Asta and Stella Donnelly. So, order a disco ball and make a flower crown for your cat, because it's time to party in your apartment. This week's lineup is yet to be announced, but expect it to be announced on Isol-Aid's Instagram soon. https://www.instagram.com/p/CCKEmcRByKp/?utm_source=ig_web_copy_link While watching, viewers are encouraged to donate to a fundraiser set up by Support Act, which is raising money for musicians and music workers who've lost income during the COVID-19 pandemic and to help "keep our music industry alive". You can also support the individual artists by buying merch and music from their Bandcamp pages, as well as get your hands on some Isol-Aid merch. Isol-Aid runs from 12pm on Saturdays and Sundays. Tune in via isolaidfestival.com. Top image: Bec Taylor
Enjoy a movie through a warm golden haze, at the latest edition of Whisky at the Cinema. Presented by Whisky & Ailment Whisky Bar in partnership with Palace Kino, this intoxicating event pairs a recent big screen release with a selection of different whiskies. On tap for their latest outing: crowd-pleasing comedy St. Vincent, starring the legendary Bill Murray – who conveniently enough spends most of the movie doused in alcohol himself. The $60 ticket earns you entry into the movie plus four different 30mL whiskies — one on arrival and three over the course of the film. Whisky & Ailment’s owner Julian White will be on hand ahead of time, explaining each sample’s connection to the movie. You’ll also be treated to a complimentary small popcorn, because let’s face it: four pegs of spirits on an empty stomach probably isn’t a great idea. For more information, visit the Whisky & Ailment website.
