When Premier Daniel Andrews announced Victoria's latest stage of eased COVID-19 restrictions, he gave cinephiles a particularly exciting piece of news — for the second time this year. Movie theatres first closed around the country in mid-March. Then, they reopened in Melbourne in mid-June, but had to shut again at the beginning of July. Now, projectors are allowed to start whirring again in the Garden State — finally. Of course, that doesn't mean that it's popcorn-munching business as usual quite yet — but local cinemas are eagerly welcoming back movie buffs. Cinema Nova was one of initial places to throw open its doors, relaunching on Monday, November 9, on the very first day it could. It's screening a heap of films that haven't played in Melbourne as yet, including everything from zombie thriller Peninsula and heist comedy Kajillionaire to stellar teen cancer movie Babyteeth, fierce French drama Les Misérables and the supremely moving US effort Never Rarely Sometimes Always. Also letting film fans back into darkened rooms are the Classic, Lido and Cameo cinemas, which reopened on Tuesday, November 10. The three sites are showing some of the aforementioned titles, too, plus other films such as Australian documentary Brazen Hussies, and comedies An American Pickle, Bill & Ted Face the Music and The Personal History of David Copperfield. And yes, they have actually already been playing a few of these movies already, since they all reopened their outdoor and/or rooftop cinemas at the beginning of the month. And, joining the relaunching bonanza from Thursday, November 12 are Reading's Victorian sites. They'll be among some of the state's cinemas that'll be screening Tenet from that day — almost three months after it released in the rest of the country — as well as new body-swap horror-comedy Freaky. On that same date, Village Cinemas will reopen its Victorian venues as well — other than the Coburg Drive-In, which has already relaunched — and so will Hoyts and The Sun Theatre. Also jumping back into action that day are Palace's Victorian sites. And, including at The Astor Theatre, they'll do so with a lineup of brand new movies — including On the Rocks and the aforementioned Tenet. The British Film Festival will also hit town as well. If you didn't head to the flicks in the small June-July window that cinemas were allowed to reopen in Melbourne, expect a few changes. Like attending any business reopening in the time of COVID-19, the movie-going experience is a bit different at the moment — including online bookings, allocated seating, capacity limits, gaps between patrons, contactless payment, social-distancing requirements and extra cleaning. For more information about what's screening in Melbourne from this week, or to book tickets, visit the websites for Cinema Nova; the Classic, Lido and Cameo cinemas; Reading; Village; Hoyts; The Sun Theatre; and Palace and The Astor Theatre. Top image: Charlie Kinross Photography.
Nickelodeon, the makers of You Can't Do That on Television, must have been onto something: slime may well hold the key to a sustainable future, if the creation of the world's first algae-powered building is any indication. Titled BIQ (Bio Intelligence Quotient) House, the zero-energy apartment block opened at Hamburg's International Business Exhibition last week and is the product of collaboration between multinational company Arup (the brains behind the Sydney Opera House and the Pompidou Centre), Austria's Splitterwerk and Germany's Strategic Scientific Consulting. Here's how it works: The southeast and southwest, sun-facing sections of the building's facade feature a 'second outer shell', which contains 129 glass bioreactors, filled with microalgae. A circuitous water supply provides the algae with carbon dioxide and liquid nutrients, which, in combination with sunshine, stimulate photosynthesis and growth. Once the algae is dense enough, it is harvested and taken to a special room in the BIQ House, where it is fermented and utilised in the production of biogas, thus becoming a renewable energy source. In comparison with other land-dwelling plants, algae can create five times as much biomass (organic material that translates as fuel) per hectare. Simultaneously, the facade functions a little like a solar thermal system. Any sunshine unneeded by the algae is transformed into heat, which can be used immediately or stored underground. Conventional needs are met, also, as the facade is a powerful source of shade and insulation, providing protection from cold, heat and noise. The BIQ House is but one of many slimy possibilities for the future. Earlier this year, Arup's Foresight + Innovation team published It's Alive, a report outlining ideas for the built environment come 2050, when the global population will most likely number 9 billion and three-quarters of people will inhabit cities. Arup's vision incorporates "intelligent buildings that can make informed and calculated decisions based on their surrounding environment" and have the capacity to "produce food, energy and resources". Via Inhabitat.
If you're in a part of Australia that's sweating through a heatwave right now — Sydney is set to break its record for the most days above 35 degrees in a season — you've probably been visualising trickling streams and cannonballing into a body of water for a few days now. But how about gliding down a waterslide straight into the ocean? A photo posted by Jongkol Palarit (@pookjongkol) on Jan 20, 2017 at 12:23am PST Unfortunately the cooling relief is purely a psychological one, as this slide of slides is located at luxury resort Soneva Jani in Medhufaru (Noonu Atoll) in the Maldives. The moderately-sized waterslide takes guests from the top deck straight into the ridiculously clear blue private waters the resort resides on top of. You can do all this between courses at dinner or drinks on the catamaran nets that are suspended just above the water. The resort, which opened at the end of last year, boasts 25 over-water villas — all of which include their own private outdoor decks, pools, access to the ocean and retractable roofs. If you're already picturing yourself there, note that villas start at a huge $2000 AUD per night, with some even exceeding $10,000 a night. So while going to the Maldives would be a great right about now, we might just have to live in hope that Australia's main swimming spots gets a slide — we can definitely picture one down at Clovelly in Sydney or jutting off the pier at St Kilda.
Two men tie themselves to stakes inside a wooden box. They throw their bodies at each other, and their rubber cords snap back. They start again. You’re in there too — and you can’t look away. Whelping Box is an intense, psychological experience, created by Lee Wilson and Mirabelle Wouters of Branch Nebula with Matt Prest and Clare Britton. Wilson and Prest are the ones who take on the production’s demanding onstage roles. As they play and fight inside their dark arena, they navigate their audience through an unsettling combination of theatre, dance, and performance art. Arts House’s Meat Market is the container for Whelping Box’s feral energy, where the work is double-billed with Roslyn Oades' I’m Your Man. As they strain in their bindings, these two performers stretch the rituals and everyday mythology of masculinity to breaking point. They test the limits of their own bodies as well as their relationship with an intimately close audience. With so much at stake, why not put yourself in the middle?
While the debate around pill testing and music festival safety continues in Sydney, a handful of Melbourne politicians have instigated their own push to establish a local pill testing trial. Yesterday, a group of 11 Upper House crossbenchers took to the steps of Parliament House to call for the Andrews government's urgent support in the matter, while the City of Port Phillip Council once again put up its hand to play host to a state-first pill testing trial, almost two years after first advocating for the legislative changes to do so. Victorian Reason Party leader Fiona Patten took to Twitter before the rally, saying, "#pilltesting saves lives and provides a unique opportunity to intervene at that crucial time." https://twitter.com/FionaPattenMLC/status/1087066829904728064 And in a statement regarding his council's own government push, City of Port Phillip Mayor Dick Gross said that while he acknowledged the best harm minimisation approach was simply not to take drugs, "pill testing at venues such as music festivals could help save many lives." "Our Council is again offering to do what we can, in collaboration with public health experts, to support a carefully controlled trial," he explained. However, it's not looking too promising for either group at this stage, with the Age reporting the major government parties aren't budging from their anti-testing stance. As Acting Victorian Premier Jacinta Allan told the Age, "Victoria Police gives very firm advice on the matter of pill testing to the Victorian government about the false and potentially fatal outcomes that can come as a result of a pill testing regime." The push for pill testing follows the deaths of five young Australians at music festivals from suspected drug overdoses since September. Image: Groovin the Moo, by Jack Toohey, where Australia's first pill-testing trial took place.
Six states and territories, six locations, six reasons for a road trip: Groovin the Moo has unveiled its 2024 plans. Largely taking tunes beyond Australia's capital cities, the long-running large-scale touring music festival will traverse the country in April and May, again hitting up South Australia, the Australian Capital Territory, Victoria, New South Wales, Queensland and Western Australia. Grab your diaries, because you've got dates to jot down. In New South Wales, festivalgoers also have a new location to head to, with Groovin the Moo making a major move in 2024. Instead of taking place at its previous site in Maitland, the fest will pop up in Newcastle, with Foreshore Park its new home. The change comes after feedback from attendees, especially regarding transport and accommodation. "We're really excited to be putting on a festival in Foreshore Park. Whilst Maitland has played a major part in the history of GTM, Newcastle's transport and accomodation options will provide a better experience for our patrons. Foreshore Park is a stunning location and we look forward to calling it home," said a GTM spokesperson. "Groovin the Moo will be a valuable addition to this year's events calendar, allowing locals to experience some of the best Australian and international acts at the city's premier events space in Foreshore Park, while also delivering an important boost to local businesses and the visitor economy," added Newcastle Lord Mayor Nuatali Nelme. In all other states and territories, the festival will settle into the same spots as last year — starting at Adelaide Showground, then hitting Exhibition Park in Canberra and Bendigo's Prince of Wales Showgrounds. After the Newcastle spot, Groovin the Moo will move on to Sunshine Coast Stadium Precinct, then Bunbury's Hay Park. It's a touch too early for a lineup announcement as yet, but cross your fingers for another impressive roster of talent when the festival bill does drop. 2023's included everyone from Fatboy Slim, Denzel Curry, Eliza Rose and Skepta to Amy Shark, Ball Park Music, Barkaa, Skegss, and Teen Jesus and the Jean Teasers. GROOVIN THE MOO 2024 DATES AND VENUES: Thursday, April 25 — Adelaide Showground, Kaurna Country, Wayville, South Australia Friday, April 26 — Exhibition Park in Canberra (EPIC), Ngambri and Ngunnawal Country, Mitchell, Australian Capital Territory Saturday, April 27 — Bendigo's Prince of Wales Showgrounds, Dja Dja Wurrung Country, Bendigo, Victoria Saturday, May 4 — Foreshore Park, Awabakal Land, Newcastle, New South Wales Sunday, May 5 — Sunshine Coast Stadium Precinct, Kabi Kabi and Jinibara Country, Warana, Queensland Saturday, May 11 — Hay Park, Wardandi Noongar Country, Bunbury, Western Australia Groovin the Moo will tour Australia in April and May 2024. We'll update you with lineup details when they're announced. For more information in the interim, head to the festival's website. Images: Jordan Munns.
It's one of just a handful of hawker eateries to ever have scored a Michelin star, taking out the honour in both 2016 and 2017. And now, Singapore's legendary Hawker Chan is bringing its famed chicken rice dishes to Australia, setting up shop on Melbourne's Lonsdale Street from Friday, December 8. As with the original, it's helmed by chef Chan Hon Meng, who's had a tidy 30 years of experience perfecting Singapore's national dish: soy sauce chicken. Set to star on the Melbourne Hawker Chan menu, this age-old favourite features chicken poached in chicken stock, soy sauce and ginger, the meat then blanched to give the skin a gelatinous texture, and served on a fluffy pile of jasmine rice. It'll sit alongside a tight collection of just 19 other dishes, including authentic hits like char siew noodles, roasted pork rice, wonton soup and soya sauce chicken hor fun. The space itself will tap into the hawker spirit — it'll be a lively 92-seater where diners will order and pick up their meals from the front counter. It won't be taking any bookings though, given this is Michelin-quality fare, we're betting no one will be too fazed by a bit of queuing. Hawker Chan will open at 157–159 Lonsdale Street, Melbourne, from Friday, December 8. For more information, visit Hawker Chan's Instagram.
Whenever a new season of Stranger Things drops, a familiar cycle kicks into gear. The latest batch of episodes arrive, everyone binge-watches them as quickly as Eleven (Millie Bobby Brown) eats Eggos, and then the waiting begins. First, we wait to find out if the 80s-set dose of supernatural hijinks will continue. Then, we wait to learn exactly when it'll be coming back. It's taken a couple of months after the third season hit back in July, but Netflix has finally taken care of the first question. And the answer is yes. As announced in the streaming platform's favourite way — via video — Stranger Things will return for a fourth bout of battles against demogorgons, mind flayers and the like. Alas, Netflix hasn't revealed any particulars in the way of a date, but it has dropped a crucial narrative tidbit. We hope you haven't gotten too comfortable in the show's small-town setting, because the next season will step beyond its bounds. The telling catchphrase that accompanies the renewal announcement clip: "we're not in Hawkins anymore". While season three's final moments hinted at venturing to a new location, Netflix's new video nods in one direction: the Upside Down. Of course, just what that'll mean is bound to spawn a never-ending onslaught of speculation until whenever the next season releases. Still, it's probably safe to assume that Eleven, Mike (Finn Wolfhard), Will (Noah Schnapp), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin), Max (Sadie Sink), Steve (Joe Keery), Nancy (Natalia Dyer), Jonathan (Charlie Heaton) and the gang — and Joyce (Winona Ryder), too — will be pushed even further out of their comfort zones. If you're particularly fond of the series' creators, the Duffer Brothers have also committed to Netflix beyond the show, so expect other series and even films with them at the helm. Don't think they're leaving the show that brought them to fame, though — or, that Stranger Things is completely done with its regular locale either. Announcing the news, the twins said in a statement that they "can't wait to tell many more stories together — beginning, of course, with a return trip to Hawkins". Check out the Stranger Things season four announcement video below: https://www.youtube.com/watch?v=cIiDY4WA0oo&feature=youtu.be Stranger Things' fourth season doesn't yet have a release date, but we'll update you when it does.
One of today's most exciting directors adapts one of the great novels of the past two centuries, all with a lineup of stars that should make all other movies envious. That's the new version of Little Women in a nutshell. Greta Gerwig writes, directs and takes inspiration from Louisa May Alcott's classic of the same name, while Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Meryl Streep, Timothée Chalamet and Bob Odenkirk all feature among the cast. After nabbing Oscar nominations and widespread acclaim for Lady Bird, her solo filmmaking debut, Gerwig once again turns her attention to the trials and tribulations of young women. It's clearly a topic of great interest to the actor-turned-writer/director. She co-wrote Frances Ha and Mistress America with Noah Baumbach (as well as starring in them both), and did the same with her first joint stint behind the camera, Nights and Weekends, which she co-directed with Joe Swanberg. If you haven't read the book, or perhaps you just need a refresher, Little Women steps into the lives of the March family in 1860s New England in the aftermath of the American Civil War. It's a time when gender roles are clearly demarcated, but that isn't going to stop the spirited Jo (Ronan) from chasing her dreams — while her sisters Meg (Watson), Amy (Pugh, worlds away from Midsommar) and Beth (Australian actress Eliza Scanlen, who started her career on Home and Away) all have their own plans for their futures. Dern plays their mother, Streep pops up as the girls' aunt, and Chalamet once again has his sights set on Ronan, as he did in Lady Bird. This marks the eighth big-screen adaptation of Little Women, with Gillian Armstrong's 1994 film — starring Winona Ryder, Kirsten Dunst, Claire Danes, Susan Sarandon and Christian Bale — the most recent version of note. Watch the first trailer for Gerwig's take on the tale below: https://www.youtube.com/watch?v=AST2-4db4ic Little Women releases in Australian cinemas on January 1, 2020.
Last time Ben Caplan was in Australia, he was accompanied by a band called the Casual Smokers — a motley crew who helped their frontman spark a gnarly jamboree of pluck-and-twang folk ballads. But, after a stint at Sydney Festival, he's fired the band, kept their instruments and taken up acting (beard in-tow). Old Stock is being billed as a refugee love story and, with a multitude of instruments strewn about the stage, there's no chance this is going to be a spoken word gig. Seizing upon the Jewish musical tradition of the klezmer folk tale, Caplan will set about rattling off the tale of two Romanian Jews looking to make a new home in Canada in the early 20th century. If you're desperate for a seat in the front row, some sort of face-protector wouldn't go astray — Old Stock's won a bunch of plaudits and when Caplan dances, Edinburgh Fringe Awards tend to fall out of his trousers. Caplan will do just five shows at the Arts Centre between January 29 and February 2. Image: Stoo Metz Photography.
When Moonlight Cinema returns for its 2019–20 season, the annual feast of outdoor movies will give film fans exactly what we all want. Sure, we're all keen to roll out our picnic blankets, sit under the stars and stare up at the big screen — but, given that this openair cinema launches at the end of each and every year, we also want Christmas movies. In the week leading up to the big festive day, Moonlight will screen Last Christmas, Die Hard, Home Alone, Love Actually and Elf. Yep, all the basics are covered. They're not the only highlights from the just-dropped November, December and January program, but they sure do twinkle brightly among a heap of other movie standouts. If you're wondering what else will tempt your inner cinephile from November 28 in Sydney and Melbourne, November 30 in Perth and December 14 in Brisbane, it's a lengthy list. With recently or newly released movies a big part of Moonlight's lineup, expect to watch Rocketman, Hustlers, Joker, Ford v Ferrari, Knives Out, Cats, Star Wars: Episode IX — The Rise of Skywalker and Charlie's Angels — and, in some cities, to see Brad Pitt twice thanks to Once Upon a Time in Hollywood and Ad Astra. Moonlight also showcases advanced screenings of upcoming films, so add the Nicole Kidman, Charlize Theron and Margot Robbie-starring Bombshell and Tom Hanks in It's A Beautiful Day in the Neighbourhood to your must-see pile. Going retro, the outdoor cinema will mark 20 years since Bring It On first waved its pom poms, step back into The Matrix in some cities, and revisit last year's A Star Is Born — as well as Bohemian Rhapsody in Sydney, Melbourne and Perth. Dirty Dancing is also on the bill, like every year — it wouldn't be a Moonlight without it. The February and March lineup will be announced on January 15, so there are even more movies to come. As always, Moonlight will also boast its usual food truck and licensed bar offering, and its reserved bean beds. You can also BYO booze everywhere except Brisbane — and bring your dog everywhere but Perth. MOONLIGHT CINEMA 2019 DATES Sydney: Nov 28–Mar 29 (Centennial Park) Melbourne: Nov 28–Mar 29 (Central Lawn at Royal Botanic Gardens) Perth: Nov 30–Mar 29 (Kings Park and Botanic Garden) Adelaide: Dec 13–Feb 16 (Botanic Park) Brisbane: Dec 14–March 29 (Roma Street Parkland) The Moonlight Cinema kicks off on November 28. For more information and bookings, visit the website. Top image: Moonlight Cinema Brisbane, Melbourne, Perth and Sydney.
UPDATE, APRIL 4: Paramount Pictures has announced a new release date for A Quiet Place Part II, with the film now hitting cinemas on September 3, 2020. UPDATE, MARCH 13: Due to concerns around the coronavirus, Paramount Pictures has announced that A Quiet Place Part II will no longer release on its initially scheduled date of Thursday, March 19, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. In 2018, the biggest horror movie of the year leaned heavily on silence. A Quiet Place tasked a young family with staying soundless, lest they be heard and then killed by giant spider-like monsters — and their efforts to survive became a huge box office hit. Indeed, A Quiet Place was so successful that it had a flow-on effect. When you watched it in a cinema, you probably glared whenever someone near you crunched popcorn, crinkled a packet of chips or started talking. Your ears keenly listened out for any noise that could put Lee (John Krasinski), Evelyn (Emily Blunt), Regan (Millicent Simmonds) and Marcus (Noah Jupe) Abbott in jeopardy, and you didn't want some loud person in the next row ruining that viewing experience. The frightful aliens, the hushed tones and Emily Blunt in kick-ass mode — it's all back thanks to sequel A Quiet Place Part II. So, too, is hoping that your fellow cinema-goers don't make a sound while you soak in every second of expertly calibrated stillness. Like the first film, this follow-up is directed and written by Krasinski, with Blunt, Simmons and Jupe all returning on-screen. The sequel's cast also welcomes franchise newcomers Cillian Murphy (Peaky Blinders) and Djimon Hounsou (Guardians of the Galaxy). And if you're wondering why Krasinski isn't mentioned among the actors, then you need to go back and watch the original movie again. As the just-dropped first trailer shows, A Quiet Place Part II picks up where its predecessor left off. The suitably unsettling sneak peek starts with a flashback to the day the monsters initially made their presence known, before jumping to Evelyn, Regan and Marcus' latest attempts to avoid the fearsome creatures. Expect plenty of bumps, jumps and — naturally — silence. Check out the trailer below: https://www.youtube.com/watch?v=k7qxYOpy9Ms After being delayed from its original release date of March 19, 2020, A Quiet Place Part II will now open in Australian cinemas on September 3, 2020. Image: © 2019 Paramount Pictures. All Rights Reserved
While Melbourne isn't known for its inner-city snow, there are plenty of ways you can embrace the wintry weather this year. You can spin around a pop-up ice skating rink, eat chocolate fondue inside 'igloos' and, now, go zooming down a giant ice slide. The District Docklands will once again play host to a 15-metre ice slide over the cooler months, which will pop up in The Square next to Uniqlo from June 29 till July 14. Each slide down the icy slope will cost you a gold coin donation, which will go straight to Kids Under Cover, a non-profit supporting young people at risk. As you're sliding for a good cause, you have a great excuse to go down again and again and again — your inner child will thank you for it. The ice slide is open daily from 11am–5pm, but there are two adults-only, after-dark sessions lined up, too. On Friday, July 5 and Friday, July 12, the pop-up will open from 6–8pm for sliding free of little 'uns. During these two hours, you'll also be able to buy hot chocolates, beers from Urban Alley and try free Spanish doughnuts from San Churro. These sessions are free, but numbers are limited, so you'll need to sign up here if you want to head along.
In these Netflix-obsessed, streaming video-heavy days, the words 'on demand' have been added to almost everything we watch. But it seems they're no longer restricted to screens, with a Brisbane venue bringing the concept to live theatre performances. In an Australian first, 50-seat Brisbane establishment Studio Theatre and Cafe is offering live theatre on demand. Patrons can request a staging of a show at any time of the day — and any day of the week — that takes their fancy. Yes, you can say goodbye to being at the mercy of regular sessions, and start seeing things more suited your schedule. Catching a play in the late hours of the evening or the early hours of the morning is real option. There are a few caveats though, to help minimise the impact of keeping the cast and crew on permanent standby — waiting in the wings 24/7 isn't the best situation for actors. Bookings must be for groups of ten people or more, and only certain productions are available at on-demand times. Along with the $20 ticket cost, both are a small price to pay for seeing a live performance with your friends whenever you want to. Kicking off the test period of the flexible gimmick until the end of the year is one-man musical Once in My Life, which tells the tale of a figure who probably wouldn't have played whenever the audience asked him to — aka Frank Sinatra. If the season is successful, more will follow. Find Studio Theatre and Cafe at 647 Wynnum Road, Morningside. Visit their website and Facebook page for more information. Image: Dollar Photo Club.
To ring in the year of the tiger, dumpling master Din Tai Fung created cute chocolate and biscoff tiger buns, continuing its annual tradition of welcoming the Lunar New Year with an adorable addition to its menu (see also: ox buns from 2021 and pig bao from 2019). But creative dishes aren't just a once-a-year thing here. Now that Easter is almost upon us, the chain is serving up something else to tempt your tastebuds: hot cross bao. Yes, it's exactly what it sounds like — and the bao is only available for a limited time. On the outside, each one looks like a hot cross bun, but they're made with fluffy steamed bread. And, you won't find any raisins or sultanas inside — instead, they're filled with gooey molten Nutella. The hot cross bao are available at all Din Tai Fung restaurants and food court outlets in Sydney, so you'll want to hit up its World Square, Westfield Chatswood, Westfield Miranda, Westfield Sydney, Broadway Shopping Centre, Gateway Sydney, The Star, Greenwood Plaza and MLC Centre venues. In Melbourne, you have one spot to head to, with the bao on offer at Emporium Melbourne. If you'd rather have them brought to your door, they're also available for delivery in frozen form. If you're keen to stock your freezer and enjoy them once Easter passes, that's an option as well. The only problem we can foresee with this Easter hybrid dish? Wanting to devour as many as possible. They'll cost you $6.80 for two in-store, and $10 for a three-pack of frozen dumplings. Hot cross bun bao are available for $6.80 for two at all Din Tai Fung stores. They're also available for delivery, for $10 — plus a $10–20 delivery fee.
Over the past few years, Gelatissimo has whipped up a number of creative flavours, including frosé sorbet, gelato for dogs, and ginger beer, Weet-Bix, fairy bread, hot cross bun, cinnamon scroll, chocolate fudge and bubble tea gelato. Most recently, it made its own spin on Caramilk gelato, too. For its latest offering, the Australian dessert chain is taking inspiration from another beloved foodstuff — and from the current time of year. Can't choose between devouring Easter eggs or licking your way through a few scoops of ice cream? Gelatissimo has the solution. Yes, that very combination will be on the menu from Friday, March 26, with Easter egg-filled mint chocolate gelato earning the honours as Gelatissimo's next flavour of the month. Only available while stocks last until Thursday, April 22 — so for Easter, but not just until Easter — the flavour starts with mint-choc gelato, then adds in those round pieces of chocolate. It also features cookie crumbs, which add to the chunky texture. You can get it in stores Australia-wide, or via delivered take-home packs through services such as UberEats, Deliveroo and DoorDash. And yes, you can add it to your indulgent Easter list — alongside everything from boozy coffee liqueur-filled Easter eggs to hot cross bao (but you'll only be able to nab the latter if you're in Sydney or Melbourne). Gelatissimo's mint-choc Easter egg gelato is available from all stores nationwide from Friday, March 26–Thursday, March 22.
At a time when every second movie seems to feature caped crusaders, you can be forgiven for thinking Gifted might fit the usual bill. Captain America aka Chris Evans leads the cast, The Amazing Spider-Man's Marc Webb sits in the director's chair, and, based on her off-screen interviews, Jenny Slate is the smart, spirited actress superhero we all need. Their collaboration doesn't involve spandex or fighting crime, however, but rather championing strengths and recognising truths of another kind. This precocious, kid-centric film makes no attempt to hide its efforts to tug at your heartstrings. But memorable performances and a refreshing perspective ensure that it's a winner nonetheless. In a tale of brains rather than brawn, seven-year-old Mary Adler (Mckenna Grace) is the smartest student in her new Florida school, and her teacher (Slate) wants to do something about it. But Mary's uncle Frank (Evans) disagrees, having seen her genius mathematician mother follow a similar path only to end up taking her own life due to the pressure. When the headmistress calls in Frank's own estranged mother (Lindsay Duncan), a tug-of-war ensues over the girl's future. He insists that Mary should have a normal childhood, while his mum wants her granddaughter prodigy to realise her potential as soon as possible — regardless of the consequences. What's the best option? With its allegiance firmly with the likeable Frank, Gifted plays up the contrasting parenting styles for drama, rather than delving too deeply into the question. And yet, as Mary gets stuck in the middle of a very predictable custody battle, the film makes a crucial case: that being normal and special aren't mutually exclusive. Don't underestimate this viewpoint, and the alternative it offers to almost every other message that movies thrust our way. Seeing a constant parade of superheroes on screen can cast everyday existence in a pretty dull light, but Gifted celebrates the idea that life and people can be both extraordinary and average, and that that is perfectly okay. Perhaps that's how Webb approached making the film as well — sometimes it's great, sometimes it's simply good, but it comes together nicely overall. It's easy enough to see where the by-the-book plot is going, although thankfully it's all engaging enough that viewers won't really mind. The score lays the sentiment on a little too thick sometimes, and the Florida setting is given quite the sunny hue, but ultimately the film never veers into territory that could be called grating or cloying. Still, blending all of the above together mightn't have worked as well if Gifted wasn't so superbly cast. Pay attention to young Grace, a veteran of 42 roles at the age of just 11, who makes Mary feel like the type of kid everyone can relate to — even if you don't share the same exceptional math skills. Elsewhere, Evans gives his conflicted character ample emotional range, while Slate makes her kindly teacher more than just a helpful love interest. As a feisty neighbour, Octavia Spencer mightn't have quite as much to do, but she's as warm and enjoyable as anything else the movie has to offer. https://www.youtube.com/watch?v=IDgOnFH_KEo
It's nice to escape out of the big city sometimes. Just a hop, skip and a jump (90 minutes) from Sydney, the Pullman Magenta Shores Resort is a worthy way to exit hectic Sydney and get a little quality R&R in. Beachfront and with numerous, luxurious pools, the resort is nestled in between Tuggerah Lake and the sea, so swimming is probably #1 on your holiday priorities list. For those who can drag themselves away from their sunlounger, the resort is the perfect gateway to the New South Wales Central Coast. Around summer, this area is your go-to for outdoor adventures ranging from surfing and paddleboarding to quad biking and ziplining through the treetops. Take your pick from beaches like The Entrance, Bateau Bay, Shelly Beach, Copacabana or Macmaster's, enjoy your cold-drip coffee barefoot in the cafes of Avoca and Terrigal, and breathe in a big gulp of fresh air at Bouddi National Park. So you can further remind yourself that you're out of the city, all rooms at the Pullman Magenta Shores (choose from a studio apartment up to a three-bed villa) have relaxing nature views, just so you can remind yourself that you're out of the city. You can kick back in the Lagoon Pool, the heated lap pool indoors if it's a bit nippy, or even the beach rock pools if you want to go crab-watching. The Resort is also home to the Magenta Shores Golf & Country Club, designed by Ross Watson and 18-holes long to fully occupy your vacation days. You're only allowed on this private green if you're staying at Pullman Magenta Shores, or if you've invested in a pricey membership, so take advantage. If you're tuckered out from the activity time or golf isn't your bag, head to the on-site Vie Spa to pamper yourself in one of their five treatment rooms. Once you're hungry from all the relaxing, head over to the resort's fine-dining Barrett's Restaurant, or Shallows Bar – there's a tasting menu as well as a wood-fired pizza oven and a range of share plates on the menu, so your belly will be just as happy as your relaxed muscles.
That moment when you don't know if a film franchise has become more juvenile, or whether it's you that's grown up. This was the uncomfortable experience of watching Kick-Ass 2, and after days of quiet contemplation, I've come to the conclusion: it's not me. Based on the comics by Mark Millar and brought to the screen by Matthew Vaughn (Layer Cake, Stardust), the first Kick-Ass film was a high point in the 'real superhero' wave — a funny counterpoint to the likes of Watchmen. Catching bits of it on TV recently, I thought it seemed only more razor-sharp. The new Kick-Ass 2 disappoints by pitching way too low. There is, for starters, an insane number of dick biting jokes. And it's not a running gag. It seems almost unbelievable that an objective party read the script and didn't think to say, 'hey, how about we stop at separate dick biting joke no.3'? Impotence, race and sexuality are also targets of choice. It seems new writer and director Jeff Wadlow has decided his audience is teenage boys, and no one else. Plot-wise, Kick-Ass 2 picks up about three years after its predecessor. Dave Lizewski (previously weedy, now hunky Aaron Taylor-Johnson) has hung up the Kick-Ass wetsuit, while the orphaned Mindy MacCready (Chloe Grace Moretz), aka Hit Girl, keeps her ongoing training a secret from her guardian, her dad's good friend, Sergeant Marcus Williams (Morris Chestnut). But when Dave gets restless and Mindy gets obedient, their crime-fighting status is reversed, and for camaraderie Dave instead joins the superhero team calling themselves 'Justice Forever' (led by a well prosthetised Jim Carrey as Colonel Stars and Stripes) to rid the streets of evil. The devoted amateurs are no match, however, for the coming storm from Dave's spoilt and abandoned schoolmate Chris D'Amico (Christopher Mintz-Plasse), who's graduated from being Red Mist to the moniker the Motherfucker and who has Kick-Ass obsessively in his sights. It's a unique mix of unimpressiveness at work in this film. On top of the lumpen humour, there's also extreme violence and schlock sentimentality that together are supremely weird. Kick-Ass 2's one redeemer is Hit Girl. If the whole film had been 'Hit Girl Goes to High School', it would have been great. She's always been a special character that challenges every idea we have of girlhood, and the Professional-meets-Mean Girls-like scenes of her dealing with dating, dance club, the popular crowd and bullying are smart, fresh and compelling. The film also deals well with her sexuality, now she's 15. Her costume remains fabulously unsexy and practical, so that's how we view her fights, but she's given room to explore some of her own sexual feelings. In what's possibly the film's best scene, a One Direction replica band plays, and we see that even the disciplined teen warrior is unable to resist their charms. Later, she has a quick perv at a shirtless Dave. This is a character whose impact will carry on, even if there's no Hit-Girl movie in multiplexes. https://youtube.com/watch?v=YWozxV3fsAU
Melbourne may be the world's most liveable city, but according to travel website Babble, it doesn't even make the top ten when it comes to sustainability. The City of Melbourne Council is keen to change that, though. They're aiming to make Melbourne one of the world's most sustainable cities by 2020, and this exhibition might just give them some inspiration. The Liveable and Sustainable exhibition will feature artworks by University of Melbourne students and photojournalist Andrew Brownbill that were all inspired by the question, how would you depict a sustainable and liveable city and lifestyle? The artworks will consist of a range of photos, paintings, sculpture and mixed media works, and two winners will be selected by a panel of judges. There'll be cash prizes for the winners, and their works will be displayed at one of the galleries in Federation Square.
Live music, good wine and food – what more could you ask for? At Innocent Bystander's Vegan Garden Party, the cellar door and restaurant will be debuting a new vegan menu curated by the establishment's very own head chef. The delicious spread will consist of charred broccolini with almond cream and mushroom ketchup, crispy Kipfler potatoes with mustard sauce, and salsa verde and pickles. Topping it off is a sweet vegan raspberry chocolate dessert. [caption id="attachment_876618" align="alignnone" width="1920"] Innocent Bystander - Supplied[/caption] But that's not all. Local musicians Malcura will be gracing the party with their signature acoustic flamenco sounds from 4-7pm. To complete the evening, a selection of vegan wine will be offered at Innocent Bystander's new Refillable Station. Simply save your empty wine bottles and get $5 off your next purchase when you're in need of a refill. Top images: Innocent Bystander — supplied.
You put up the money. You helped stomp the grapes. Now, the people-powered winemakers at Noisy Ritual are inviting you back to put a cork in 2015 — literally. After getting off the ground earlier in the year with crowdfunding support from a group of wine-loving locals, the Preston-based urban winery has produced six batches of homemade vino which they're now about to bottle. So naturally, they're using it as an excuse to throw a party. Cracking open their casks on the evening of Saturday, November 21 in a Brunswick East warehouse space, the Noisy Ritual Bottling Party will be your very first chance to try their 2015 vintage – straight from the bottle you helped pour it into. In addition to the wine, there'll be food by Forge Woodfired Pizza and music from Broadway Sounds, Pink Tiles and a number of local DJs. We'll drink to that.
Sydney trio Little May could be Australia's answer to folk warblers First Aid Kit. They've certainly been compared to the Swedish duo, and to New Zealand's Tiny Ruins, but at the moment they are carving out their own path. They've recently put out their debut, self-titled EP and just wrapped up an Australian tour with the legendary Rodriguez. But there's no rest for the wicked (or the wickedly charming, in this case). Little May are about to embark on a 12-date national headline tour to promote the EP. They'll be spreading the good vibes around Northcote Social on both November 20 and 21 supported by Winterbourne and HOWQUA. To find out more, check out our interview. We asked them for their best tips for summer road trips.
James Squire and Concrete Playground are hosting a Spring Banquet at The Crafty Squire, giving 30 lucky winners and their guests a seat at the table. You'll sit down to a five-course meal custom-made by head chef Alan Fraser, each dish paired with a specific James Squire tipple. To go in the running to win tickets for you and a friend, just complete the form below, subscribe to the newsletters and agree to the competition terms and conditions. But be quick, the banquet takes place on Wednesday, September 28, and entries close at midnight Sunday, September 18. [competition]585077[/competition]
It was known as The Battle of the Sexes — a 1973 tennis match between former men’s champion Bobby Riggs and then women’s champion Billie Jean King. It would be the most watched tennis game in history, with a $100,000, winner-takes-all purse. But for King especially, the match was about much more than the prize money. In an era of appalling gender inequality, it was a symbolic chance to prove to the world that women were just as capable as men, in sport or in any other endeavour. All she had to do was come out on top. In their retelling of the match, directors James Erskine and Zara Hayes employ a style similar to that of Oscar winner James Marsh (Man on Wire, Project Nim), sneakily blending archival footage with re-enactments in order to immerse their viewers and heighten the sense of narrative. In doing so, they ensure that even those with no interest in tennis stay engaged, gripped by a story that has much more to do with politics and personality than it does with hitting a ball over a net. It helps that history has gifted them with a marvellous pair of characters. At one end of the court, the 55-year-old Riggs, a self-described chauvinist pig who would tell any newspaper or television crew that would listen that he was going to "put [King] and all the other women’s libbers back where they belong — in the kitchen and the bedroom”. At the other end, King, an outspoken feminist who had already boldly defied the U.S. Tennis Association when she, along with eight other female players, established their own tournament circuit in protest of unequal prize money. Even someone who hated tennis would watch the movie, purely in the hope of seeing King put Riggs in his place. Admittedly, Erskine and Hayes’ attempt to make the game an allegory for the entire feminist movement doesn’t always work. In reality, the match was just as much about marketing as it was discrimination. At a certain point it becomes clear that Riggs was less a hardcore misogynist than he was a shameless self-promoter, generating controversy for his own financial benefit (although that he was willing to exploit society’s sexism in order to do so makes him arguably just as bad). It’s a shame that Riggs, who died of cancer in 1995, wasn’t able to be interviewed. Still, the match’s legacy shouldn’t be understated. As a pointed closing title-card points out, tennis is, to this day, the only sport with equal cash prizes for both men’s and women’s events. There’s no denying that King played a part in that, with the film concluding with statements by current women’s champions — including Maria Sharapova and the Williams' sisters — about the influence that King had on them. Obviously she's an inspiring individual, and overall the doco does her justice.
UPDATE, March 11, 2022: Once Upon a Time In Hollywood is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. Every Tarantino film has one: an image that so impeccably captures its essence, it instantly symbolises the movie as a whole. In Reservoir Dogs, it arrived via a slow-walking crew of criminals. In Pulp Fiction, it came in the form of a twisting Uma Thurman and John Travolta. In Inglourious Basterds, it could only be Melanie Laurent's unflinching act of rebellion. They're the sights that blaze fiercely with the spirit of their respective pictures, all while burning themselves into viewers' retinas. Set in 1969, as the swinging sixties came to an end and Charles Manson altered Los Angeles forever, Once Upon a Time In Hollywood boasts one also. The honour goes to Margot Robbie's stellar portrayal of Sharon Tate as she sits in a cinema, watching 1968's The Wrecking Crew with a paying audience, and delighting at the crowd's response to her performance. Crosscut with the antics of Once Upon a Time In Hollywood's two other sublime leads — Leonardo DiCaprio in charmingly crumbling mode as fading TV star Rick Dalton, and Brad Pitt as his stunt double and best buddy Cliff Booth — the movie-going scene ranks among Robbie's longest in the film. The lack of dialogue she utters throughout the picture compared to her male co-stars has sparked some backlash, but it's unwarranted. This is a flick that cuts to the core of its leading lady again and again. Here, Robbie's version of Tate is excited and radiant as she soaks in her cinema experience. In a savvy touch, Tarantino uses genuine snippets from The Wrecking Crew to let everyone soak in the actual Tate, too. And, as we watch Robbie both playing Tate and watching Tate, we feel the character's nerves and exuberance, and understand what's running through her heart and mind. Moreover, we do so while knowing that her real-life fate couldn't clash more starkly with this moment. It's a startlingly layered scene — all the more so after seeing what comes next — but that's Tarantino's ninth stint as a director in general. It's also warm and thoughtful, in a movie that similarly earns that description. Although such a tone contrasts with the filmmaker's usual hectic, stylised, talky vibe, it shouldn't come as a shock. Once Upon a Time In Hollywood sports a fairytale title, and basks in the glow of Tinseltown from five decades ago. Tarantino fashions a love letter to a period that has definitely passed by, as lensed in sunny hues by his regular cinematographer Robert Richardson. However the picture's feel has another flavour and meaning, as does the energy emanating from Tate's time staring at the big screen. A film of hope, lament, farewell and recognition all in one, it realises that spying the past through rose-coloured lenses and yearning for its comfort amidst upheaval is inevitable. It also knows something just as important: that change is equally inescapable. Long past his prime-time heyday and only just beginning to realise it between drinks, Dalton isn't coping well with his own evolving status. When a producer (Al Pacino) tells him that he keeps being cast as television villains to bolster the next generation of heroes, and that he should get into spaghetti westerns instead, the actor doesn't take the blunt disclosure well. As Dalton tries to prove that he's capable of more (to himself, mainly), Booth rolls with the punches, despite his own bleak professional prospects. Lately, he's a driver, gofer and righthand man to his famous pal, rather than his stand-in, yet little fazes him. When Dalton starts bubbling with enthusiasm over his new neighbours, Tate and her husband Roman Polanski, Booth barely seems to care. And, when he picks up a hippie hitchhiker (a scene-stealing Margaret Qualley) who's part of Manson's (Damon Herriman) flower child entourage, he enters their unnerving world without breaking a sweat. History dictates where Once Upon a Time In Hollywood ends up, in a manner. In the revisionist mode that served Inglourious Basterds, Django Unchained and The Hateful Eight so well, Tarantino dictates the specific details within his admittedly slim narrative, as well as the time spent luxuriating in them. With no disrespect to his previous films, he's at his most intricate, mature and laidback, crafting a picture — and people within it — that audiences want to spend as much time with as possible. Filled as it is with movies within the broader movie, comic flashbacks and stars galore (such as Kurt Russell, Zoe Bell, Timothy Olyphant, Bruce Dern, Dakota Fanning, Lena Dunham, Luke Perry and Maya Hawke), it's easy to fall in step with the film's rambling pace, enjoying each moment as it arises. Incessantly keen to splash his affection for celluloid history across the screen as always, Tarantino is in his element recreating Hollywood's golden days, its big names and LA's gleaming sights, and nodding to westerns once again. But, befitting a flick about weathering seismic personal, cultural and societal shifts, Once Upon a Time In Hollywood is a glorious character piece first and foremost. Tate, Dalton and Booth remain the key to the film, and the driving force behind its hangout air. With the often dancing, smiling Tate, Tarantino presents a self-possessed woman content in her skin and life, yet at threat by the darkening tides around her. Through Dalton and Booth, a duo with as many grin-inducing gifts as firm flaws, he finds fractures — some glaring, some hidden — in their facades that mirror the world around them. Exceptional performances assist — including the overflowing delights of pairing up DiCaprio and Pitt for the first time — but perhaps Once Upon a Time In Hollywood's smartest move comes from building such compelling, revealing, deeply felt characters. The film has character, too. Roving leisurely and unravelling shaggily, it waits a beat to notice a woman's bare feet on a sun-dappled car dashboard. It peers down at an ostensibly abandoned ranch once used for western TV shoots, relishing its beauty even in a display of tension and menace. It revels in the humour of showing Booth jump onto Dalton's bungalow roof in just three bounds, and later during his face-off against Bruce Lee (Mike Moh). These types of flourishes give the movie a different kind of character to Tarantino's usual oeuvre. He's more assured and ambitious, less ego-driven and gimmicky, and more judicious with his expertly choreographed violence and witty banter. Again, that's no slight to a fantastic filmography that also spans Jackie Brown, Kill Bill and Death Proof, but the change of pace suits the writer-director, the era he's wading through and his chosen story perfectly. It also shapes what just might be his best work yet. https://www.youtube.com/watch?v=gsL_spv4yEw
Punch out of your full-time job for the day and cast your ballot in this cheeky public poll installation from American artist Steve Lambert. Having previously taken over public spaces across the United States and Europe — including a stint in New York City's Times Square — Capitalism Works for Me! True/False asks visitors to mull the pros and cons of capitalism and then answer a simple question. The installation will be set up at four public places over the duration of Melbourne Fringe. A live running tally will be displayed on Lambert's large LED scoreboard, tracking how we all feel about the system that runs...well, pretty much every aspect of our lives. CAPITALISM WORKS FOR ME! TRUE/FALSE LOCATIONS State Library of Victoria Forecourt — 1–5pm, September 13–15 Queen Victoria Market — 5–9pm, September 19 (at the Hawker 88 Night Market) Bourke Street Mall — 11am–3pm, September 20–22 Fringe Hub at Arts House — 4–8pm, September 27–29 Image: Bryony Jackson.
It's been three long years since Melbourne Fringe Festival hosted its last IRL instalment — and you can bet it's not holding back one scrap when it comes to its glorious return next month. In fact, from Thursday, October 6–Sunday, October 23, Fringe is celebrating its 40th anniversary with what's set to be its heftiest program yet. The independent arts festival will this year dish up over 450 events from talent both established and emerging, covering dazzling performances, participatory art, groundbreaking theatre, immersive creative experiences and everything in between. All speaking to the theme: 'It's About Time'. Fringe even has some brand new goodies up its sleeve this time around, including Runaway Festival Park — a new festival hub and pop-up art park at Queen Victoria Market with a program of comedy, cabaret, circus and drag performances headlined by Bernie Dieter's Club Kabarett. Fringe-goers can also look forward to the return of an old favourite, as the Fringe Parade and Lygon Street Block Party descends on Carlton for a big, bold, inclusive shindig. Riffing on a long-running event that helped shape the festival's early years, the party will feature a colourful street parade, two outdoor stages, roving performers, and stacks of local eats and drinks. And popping up at the State Library Victoria is The Rest Is Up to You: Melbourne Fringe 1982-2062 — a major new, free exhibition and sound installation reflecting on Fringe's first 40 years, while also imagining its next 40. The rest of the program is packed with creative delights for all tastes; from a mesmerising contemporary dance installation in Docklands called Pendulum, to an all-night Meatloaf-themed communal karaoke session. Speaking to the impacts of climate change, Matthias Schack-Arnott's Groundswell takes the form of a giant percussive rain drum that passersby can 'play' by walking upon its surface. Meanwhile, Prahran Square plays host to a unique live music event, which sees unedited words from three local contemporary writers presented in four-part harmony by a mass choir. [caption id="attachment_823767" align="alignnone" width="1920"] YUMMY Deluxe, Melbourne Fringe Festival 2019, by Theresa Harrison[/caption] The return of the festival's First Nations program Deadly Fringe features everything from a group exhibition exploring Blak queer futurism, to an immersive event fusing music and talks that'll take you on a deep-dive into Fitzroy's Indigenous history. Fringe Focus Taiwan is set to present two envelope-pushing works from Taiwan's most innovative contemporary artists; while the long-running Fringe Furniture program is reborn as Design Fringe, featuring a month-long exhibition, talks and a 'designer in residence' program. Food-meets-art creatives Long Prawn will host a live yabby fishing — and eating — experience; free participatory public artwork Hexadeca will bring an installation of spinning musical bucket seats to Fed Square; and you can join in a four-hour line dance marathon at Coburg RSL. And of course, gracing stages throughout the festival will be a mega lineup of acts doing what they do best, including Geraldine Quinn, YUMMY, Jude Perl, Kween Kong (Drag Race Down Under), The Chaser's Andrew Hansen, Jordan Barr, Lou Wall and Sarah Ward. [caption id="attachment_867928" align="alignnone" width="1920"] 'Multiply', Melbourne Fringe 2020, credit Gregory Lorenzutti[/caption] 2022 Melbourne Fringe Festival runs from October 6–23 at venues across the city. For the full program and to book tickets, see the website. Top Image: Duncan Jacobs.
Remember being bored? Filling your time with TikTok challenges, cruising from beach to beach on a road trip, or gliding along a promenade in your favourite pair of skates? Those peak summer vibes are what we're craving now that autumn has kicked into gear and we've swapped slides for sensible shoes. But, you don't have to live in the moment. At least not all day. Together with our friends at TikTok, we've picked out five sunshine-filled videos that capture that endless summer feeling so you can tap into it anytime you like. Go on, have a taste. [embed]https://www.tiktok.com/@teigan_nash/video/6785796678071979270[/embed] Former Saturday Disney host Teigan Nash has been keeping busy over summer with a couple of pals in the pool. Here she's taking on The Avengers pool challenge and totally nailing it. If you're wondering, Teigan is second from the front. Follow @teigan_nash for more wholesome, Australia-loving content. [embed]https://www.tiktok.com/@zulfiyeah/video/6892730698013216002[/embed] Effortlessly gliding through a Victorian car park, Zülfiye here is the boss of eight-wheeling through summer. She can waltz, shoot hoops, strut and 'Buss It', too. Most of all, she's crushing it on a pair of skates at every rink, wharf and promenade in Melbourne. And we're here for those feel-good vibes. [embed]https://www.tiktok.com/@aimeemassie/video/6894703521560579330[/embed] Newcastle-born pro skater Aimee Massie has serious board skills, as any#skatergirl would already know. Here, she's proving something we already knew: we don't need skater bois and we certainly don't need the everyday sexism Aimee is calling out in her TikTok videos. We see you Massie and we're loving your work. [embed]https://www.tiktok.com/@pnuks/video/6784646050956332294[/embed] If we could bottle up "Almost there. Almost there. Have a break" from Paniora Nukunuku we'd use it as daily inspo in the office. The Sydney-based social influencer is a youth worker and advocate for giving people a fair go. Here, @pnuks gives us a joyful take on having a fake leg on a spicy hot summer's day at the beach. We can almost feel the heat. [embed]https://www.tiktok.com/@pachalight/video/6901777782364310786[/embed] Is there anything better than a dunk in the ocean? How about doing it with a great big grin on your face because you've found a job you love and you live it every day? That's the vibe we're picking up from Aussie surfer Pacha Light. The emerging pro is based on the Gold Coast and here she's channelling pure summertime happiness. We love it. Download TikTok to watch more summer-loving videos. Top image: Pexels; Larry Snickers
Every year, photographers across the country vie for attention in the CCP Salon awards. Started 25 years ago to help showcase and encourage Australian photographers, the awards are completely open to all, so you can expect a wide and varied array of exhibitors to turn out each year. This time around, they're handing out over $20,000 worth of prizes (so you can expect some fierce competition). Opening night will be hosted on Thursday, November 23 at the Centre for Contemporary Photography in Fitzroy, which was designed in 2005 by the iconic Sean Godsell. So the warm and inviting function space alone is worth a trip, not to mention the photographic talents set to show.
"Look on my works, ye Mighty, and despair". The fingerprints of Shelley's timeless poem Ozymandias are all over Ridley Scott's latest foray into the Alien franchise. Perhaps more so than he intended. While the inexorable decline of leaders and their empires forms the central theme of Alien: Covenant, it also feels neatly appropriate for a franchise in dire need of an original idea. Put simply, Alien: Covenant feels like a beat-for-beat remake, which is at once good news and bad. It's good because Scott's original Alien from 1979 remains one of the best films he has ever made, and is arguably the strongest entry in the now eight-film franchise. But it's also bad because, by sticking so closely to a tried and true formula, Scott robs us of the possibility of seeing anything much new. The reason they've gone in this direction is obvious. The previous film in the series, Prometheus, was a wildly divisive effort, splitting audiences over its sudden and sweeping shift away from the killer xenomorph story towards a far more philosophical one built around questions about mankind's origins and purpose. Factor in the movie's many, many plot holes and absurdities, and you at least understand why Scott felt the need to rein things back in. Even so, the extent to which Covenant so quickly dispenses with everything Prometheus established is both remarkable and disappointing. And yet, at the end of the day, this is still a Ridley Scott film, meaning that even at its worst it still has much to offer. Visually, for example, it's another spectacular piece of cinema, combining stunning panoramas with gritty, claustrophobic closeups. We also get some excellent work from the likes of Katherine Waterston, Billy Crudup and – in an impressive dramatic turn – comedian Danny McBride. That said, the MVP gong absolutely belongs to Michael Fassbender, although in order to avoid spoilers we can't really say why. Finally, there's the action. For all of his film's shortcomings, Scott manages to craft at least one set-piece, in which the aliens first appear, that proves absolutely gripping. This is a gory, frenetic and xenomorph-heavy return to safe and familiar territory for the Alien saga, which will doubtless come as pleasing news to all of Prometheus's detractors. And yet, to quote Shelley, nothing beside remains round the decay of this colossal wreck. No more questions. No more mystery. Just lone and level sands stretching far away. https://www.youtube.com/watch?v=svnAD0TApb8
Victorians, it isn't quite roadmap time. Due to increasing COVID-19 case numbers, and a new realisation that those figures are going to keep going up, Premier Daniel Andrews didn't announce today, Wednesday, September 1, exactly how the state will gradually ease out of its current (and sixth) lockdown. But, he did reveal what'll be the first things to ease when they can, even if life isn't going to be returning to normal any time soon. Get ready to venture twice as far from home for exercise and to shop, and to spend a little longer out of the house when you're working up a sweat. They're two of the rules that'll change on or around Thursday, September 23, which is when the Victorian Government expects that 70 percent of the state's residents have had their first COVID-19 jab — which is the just-announced threshold for relaxing the current stay-at-home restrictions. "Over the past 72 hours, the advice from our public health team has been that we still had a promising chance to bring this under control and to bring cases down. We were charting our way out of this outbreak with easing at thresholds of lower cases," said the Premier in a statement. "Last night, with cases already in triple figures, too many mystery cases and too many people infectious out in the community, that advice changed." (120 people identified with the coronavirus in the 24 hours to midnight last night.) He continued: "with the number of positive cases this high, the speed at which this Delta variant is spreading and so many Victorians still to be vaccinated, our Chief Health Officer advises it is unlikely we will be able to bring our case numbers down... This is why Victoria's Chief Health Officer has declared that almost all of the current lockdown restrictions will remain in place until 70 percent of Victorians have had at least one dose of vaccine. This is estimated to be around 23 September." On the advice of the Chief Health Officer, Victoria's lockdown will be extended to slow the spread and keep Victorians safe. Due to the level of community transmission and number of unlinked cases, almost all restrictions will remain in place. pic.twitter.com/Gr3IG7N4b5 — Dan Andrews (@DanielAndrewsMP) September 1, 2021 When that target is met, the current five-kilometre radius will expand to ten kilometres. And, you'll get three hours a day to exercise. Outdoor personal training will be allowed, too, with up to two people plus the trainer — and outdoor communal gym equipment and skateparks will reopen. Also set to be permitted at this next phase: private inspections of unoccupied houses if you're buying, or your lease is ending, but only with one household attending at a time — and with the agent staying outdoors during the inspection. And, the state's construction workforce will also be allowed to increase to 50 percent, but only once 90 percent of their workers have had at least one jab. At entertainment venues to broadcast performances, up to five staff will be able to work onsite. More rules may also be eased at that date, the Premier said, noting that it'll obviously depend on the situation at the time. "I don't want to go through a list today. I don't have a list. We're going to work through those things carefully and if there are other things we can add to that list for the 23rd of September, we will," he said at today's press conference. "But also want to be really straight with people that it's not like two weeks after that there's going to be a whole lot of other things that can be added on, and two weeks after that another list of things that can be eased," Andrews continued. "These will be the settings that we all have to live with for a period of time until we reach not just first-dose vaccination thresholds, but second-dose vaccination thresholds as outlined in the National Cabinet plan — the 70-percent two-dose and 80-percent two-dose. That is the difficult but the unavoidable position that we find ourselves in." The Premier's comments fall in line with Australia's new 'National Plan to transition Australia's National COVID Response' that was announced in July, that outlines the easing of different rules once those 70-percent and 80-percent fully vaxxed targets are reached. Victoria first went into this lockdown at the beginning of August — just nine days after the previous lockdown ended — and has seen the stay-at-home rules extended not once, not twice, but three times so far, and a nighttime curfew implemented as well. In regional Victoria, the rest of the state started this lockdown with Greater Melbourne, then was released early just a few days later, and then re-entered lockdown in the middle of August. And, it might see restrictions start to ease again earlier than in Melbourne. At present, regional Victorian remains under stay-at-home rules; however, the Premier advised that it's possible some lockdown rules may be able to loosen outside of Melbourne as early as next week — so, the week beginning Monday, September 6 — depending on case numbers. If that proves possible, further details will be announced next week. Melbourne will remain under the current lockdown rules until 70 percent of the state has received the first dose of the COVID-19 vaccine, which is expected to be on or around Thursday, September 23. Rules in regional Victoria may ease earlier, however, and may happen as early as sometime in the week beginning Monday, September 6 — with further details to be announced if that proves the case. For more information about the rules in place at the moment, head to the Victorian Department of Health website.
With international travel expected to be off the cards until mid-2022, and Australians encouraged to spend their holiday dollars at home to help the country's tourism industry, the 2021–22 Federal Budget is committing a hefty amount of cash to roads, rail and infrastructure projects. Aiming to support the nation's economic recovery from the pandemic, and boost jobs in the process, the Budget allocates $15.2 billion over the next ten years as part of an overall $110 billion spend across the same period. The Great Western Highway between Katoomba to Lithgow ($2 billion), Victoria's Monash ($250 million) and Pakenham ($380 million) roads, and Queensland's Bruce Highway ($400 million) are just some of the stretches of road that'll receive upgrades. So will the Great Eastern Highway in Western Australia ($200 million), the North-South Corridor from Darlington to the Anzac Highway in South Australia ($2.6 billion), the Midland Highway in Tasmania ($113.4 million) and the Northern Territory National Highway ($150 million). Announced last night, on Tuesday, May 11, this year's Federal Budget commits $3.8 billion in new spending to New South Wales, $3.4 billion to Victoria, $2 billion to Queensland, $1.6 billion to WA, $3.4 billion to SA, $377.2 million to Tasmania, $401 million to the NT and $186.2 million to the Australian Capital Territory. If some of the above projects sound familiar, that's because part of the cash has been allocated to works currently underway — but as a new funding commitment. Also covered: the Princess Highway Corridor in Jervis Bay ($500 million), and the M5 ($87.5 million) and M12 motorways ($229.4) in NSW; the Melbourne Intermodal Terminal ($2 billion), as part of the national freight network; the third stage of the Gold Coast Light Rail ($126.6 million); and stage 2A of the Canberra Light Rail ($132.5 million). The Budget also includes $1 billion to extend the Local Roads and Community Infrastructure Program to 2022–23 — which, as its name suggests, is all about supporting local councils to deliver local road and community infrastructure projects — as well as another $1 billion to continue the Road Safety Program into the same year. For more information about the 2021–22 Federal Budget, head to the government's website. Top image: Kgbo via Wikimedia Commons.
The minds behind the multi-layered delight that is the legendary Strawberry Watermelon Cake — which has lit up Instagram feeds across the world since its inception in Sydney over a decade ago — headed south last November, opening the doors to a Black Star Pastry pop-up in St Kilda. It closed, like many restaurants did, at the start of the pandemic, but now it's back — permanently. Making its home beneath Acland Street's Jackalope Pavilion — where the now-closed, hopefully-reopening-soon exhibition Rain Room is located — the team's first permanent Black Star Pastry outside of Sydney follows a successful 2017 pop-up in Carlton, as well as plenty of outings at Melbourne's Night Noodle Markets over the years. The new pop-up store is serving up a selection of Black Star smash hits, the bill headlined, of course, by that Strawberry Watermelon Cake. Sporting layers of almond dacquoise, rose-scented cream and watermelon, this little beauty sells around one million slices annually across the brand's four Sydney stores and was even dubbed the "world's most Instagrammed cake" by the New York Times. Other favourites making the journey south include the Pistachio Lemon Zen Cake — another layered sensation featuring pistachio ganache, white chocolate mousse, lemon curd and crunchy pistachio dacquoise — and the Raspberry Lychee Cake, which fuses chocolate biscuit, raspberry marshmallow and vanilla cream. Also on the lineup: custard flans, croissants, a vegan chocolate popcorn cake, a Dragon Cake (made with thinly sliced dragonfruit and jelly ripples) and a Japanese Forest Cake, which has matcha moss, dark chocolate bark and whole confit ume (plums). The sweet stuff is complemented by St Ali coffee and a contemporary, minimalist store space, featuring neon signage by UK artist Tracey Emin proclaiming "you loved me like a distant star". And, in a win for those who don't like waiting — or don't like heading out in the current climate — customers can also pre-order a range of cakes online and skip the queues with express pick-up. Those cakes are for all types of celebrations, too, ranging from four to 45 portions (but do keep in mind the current restrictions on gatherings). For the moment, the cafe will only be open on Saturdays and Sundays, but hopes to add on additional days in spring. Find Black Start Pastry at 2C Acland Street, St Kilda from Saturday, July 4. It'll be open from 9am–4pm Saturday–Sunday.
The audience waits in the cavernous dark of the Meat Market theatre, while portentous music plays and spotlights rake the stage. Madonna Arms is coming. The music builds. The audience wait. The music keeps building. The audience keep waiting. This goes on for a while. It goes on so long it becomes funny, then even longer until it stops being funny, then keeps going until it becomes funny again. Whatever is about to start, there is no way it can justify this much buildup. Which is of course the gag. From the very beginning Madonna Arms embodies the overblown but hollow hype of modern pop culture. Performed by experimental feminist theatre company I’m Trying To Kiss You, the show is a chaotic satire. Three performers — Zoey Dawson, Anna McCarthy and Ella Harvey — work together like a well-oiled machine to turn out oddball scenarios playing with media representations of gender. Surrounded by screens which, courtesy of an on-stage green screen, show them against digital backdrops, the energetic trio create scenes that seem to come from a media hyper-reality: a reality TV show that appears to be shot on a space station, a film clip portraying a medieval battle march, and an alien invasion action movie. The structure is essentially that of a sketch show, with some callbacks but no underlying narrative connecting the sequences. Narrative is not remotely necessary, in fact the lack of it is central to the show. Madonna Arms is a portrayal of style without substance, the grandiose presentation of trivia, hyperbolic charade and false empowerment. The overall effect is like flipping through late night cable television in a foreign country. It's never quite fully comprehensible, it's frequently furiously odd but it is endlessly fascinating nonetheless. I don’t know if what I’m watching is a hot mess or sheer magnificence. It's probably a bit of both. One thing that does get a bit much is all the talk about sex, of which there is an awful lot. While it's clearly the intent of the show to satirise a media obsession with sex, there’s only so much talk about orifices, penises and bodily fluids you can listen to before it gets tiresome. The show works best when the performers are simply having fun and playing the satire at fever pitch. When it falters is when it's self consciously trying to be controversial or in-your-face. While not everything this show throws at the wall sticks, it is nonetheless quite an experience to watch it all being thrown. There is a determined shake-your-fist-at-the-mainstream spunk to it all that makes it strangely irresistible. Saturated in pop culture references, crass for the sheer love of being crass, at once outrageously silly and charged with impassioned politics — this is exactly the kind of thing young performers should be doing with their time. Going to see it and feeling equal parts baffled, amused, affronted and inspired is exactly what you should be doing with yours. This show is running as part of Next Wave 2014. For more events at the festival, check out our top ten picks.
UPDATE, December 20, 2021: Happiest Season is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Heading home for the holidays and stepping into a sea of interpersonal dramas is a familiar on-screen set-up, as a new movie every Christmas or so reminds us. By now, then, we all know the formula. Adult children make the pilgrimage to their parents' place, rivalries and animosities flare up, secrets are spilled, chaos ensues and, by the end of the film's running time, everyone has learned something. Happiest Season fits the template perfectly. With the merriest time of the year in full swing, the Caldwells converge on the Pennsylvanian family home, with their celebrations given an extra edge due to patriarch Ted's (Victor Garber, Dark Waters) mayoral campaign. His fastidious wife Tipper (Mary Steenburgen, The Book Club) insists on snapping every moment for his Instagram feed, all as stern eldest daughter Sloane (Alison Brie, GLOW) arrives with her husband (Burl Moseley, Crazy Ex-Girlfriend), two children (Asiyih and Anis N'Dobe) and plenty of unspoken tension in tow; zany middle sister and aspiring fantasy writer Jane (Mary Holland, Between Two Ferns: The Movie) is largely ignored; and Pittsburgh-based political journalist Harper (Mackenzie Davis, Irresistible) returns with the girlfriend, Abby (Kristen Stewart, Charlie's Angels), that none of her relatives know about because she hasn't come out to them yet. If someone other than The Faculty, Girl, Interrupted, Veep and The Handmaid's Tale actor-turned-filmmaker Clea DuVall had made Happiest Season, the above paragraph would accurately reflect the feature's character hierarchy — because Sloane would take centre stage, and Harper and Abby would hover around the narrative's edges. But DuVall did make Happiest Season and, with co-writer Holland, she flips the movie's focus, even while still sticking with a well-worn general premise. Accordingly, this festive flick resembles a comfy sweater that often gets a wear, but seems welcomely different on this particular occasion. As Aussie queer teen rom-com Ellie and Abbie (and Ellie's Dead Aunt) also demonstrated this year, it shouldn't be so subversive to take an overused genre that's heavy on recognisable tropes, then strip away the engrained heteronormativity. But it is, in both high school-set romances and movies about meeting your partner's parents over eggnog. After filling the credits with details of the formative stages of Harper and Abby's relationship, the feature introduces them properly as they're touring local Christmas lights. The towering Harper is giddier than one might expect of someone of her age, but the calmer Abby isn't fussed about the season after losing her parents when she was a teenager. When the former asks the latter to come home with her for Christmas, though, Abby gets excited. She wants to pop the question anyway, and figures there's no time or place better to make the festive-loving Harper her fiancée — although her best friend John (Dan Levy, Schitt's Creek) points out that asking Harper's dad's permission beforehand is hardly a progressive step. It isn't until Happiest Season's central couple has almost reached the Caldwells' that Abby discovers Harper's subterfuge. Not only do Ted, Tipper and company not know that Harper is gay and in a relationship, but Abby is asked to pretend she's straight as well (yes, one gag literally places her in a closet, because of course that happens). In the broad strokes, the movie doesn't serve up any surprises. But like moving its focus to Harper and Abby, this Christmas rom-com is all about the details. Amid the sibling struggles, the re-emergence of old flames both male (Jake McDorman, What We Do in the Shadows) and female (Aubrey Plaza, Parks and Recreation), and the always-hectic whirlwind that surrounds every seasonal family affair — and every attempt to run for political office, too — Happiest Season explores two crucial themes in a meaningful way. First, it unpacks the performative nature of human existence, where too often we're all trying to match other people's perceptions and expectations without consistently remaining true to ourselves. And, it also interrogates how coming out isn't a simple or straightforward act, even in seemingly loving circumstances. These are weighty ideas and, while Happiest Season is light and jovial overall, it doesn't sugarcoat its heavier moments. It doesn't devote all of its running time to them either, but DuVall and Holland's script finds a delicate balance — with the part played by Holland herself at first seeming to be the movie's most overtly exaggerated role for comedic effect, but eventually proving more thoughtful, for instance. It's easy to see how the screenwriting pair could've turned this into a different picture, with the initially tentative friendship that springs up between Abby and Plaza's Riley, and the commonalities they feel as women who've been pushed aside so Harper could maintain a lie, 100-percent begging for an entire movie of its own. But DuVall never forgets the task that she has clearly set herself: to make a queer meet-the-parents Christmas comedy. The film's warm-hued, Hallmark-style imagery never lets the audience overlook the fact that Happiest Season willingly sticks to a formula in order to update it, either. Also apparent is just how well Stewart and Davis anchor the movie's generic and more soulful elements alike. This shouldn't come as a surprise, with Stewart picking most of her post-Twilight roles astutely (see: Clouds of Sils Maria, Certain Women, Personal Shopper and Seberg), and Davis always a memorable addition to any cast. In their hands, their characters feel lived-in. So does Happiest Season's central relationship, especially as it navigates considerable ups and downs, including an ongoing series of questionable decisions by Harper. Steenburgen, Plaza, Levy, Brie, Garber — they're all reliably great, too, but it's likely this LGBTQIA+-friendly dose of merriment wouldn't have found the right mix of festive familiarity and emotional substance with other leads. https://www.youtube.com/watch?v=j_jjELPpKkk
You won't be left wanting for anything after digging into this lavish, meat-free feast, held against the idyllic backdrop of thhe Yarra Valley's Rob Dolan Wines and The Farm. Get set for a sumptuous five-course spread that not only champions the humble veg, but flies the flag for locality. In fact, almost every ingredient on the menu was grown right there on the property, showcasing goodies plucked straight from both kitchen garden and vineyard, matched, of course, to a few of the Rob Dolan wines crafted onsite. The only thing that's travelled further is the cheese, though even the fiercest locavores are sure to approve — it's made and matured just a few hops away at the Stone and Crow Cheese Company. For full effect, be sure to indulge in a post-lunch jaunt through the vineyards, to see where that food all began. Take Five is part of Melbourne Food and Wine Festival. Check out more of the festival's events here.
It is shocking to think that there is only one holiday a year that truly cries out for a French-themed party. Why don't we have Croissant Day? Or Baguette Day? Romance and Cheese Day could easily be a thing. Vino all round. Nahmean? Still, we do have Bastille Day, and that isn't going anywhere, despite Russell Crowe proving that he absolutely cannot sing. Bastille Day is important because it celebrates the beginning of the French Revolution — that bloodthirsty struggle for freedom, equality and fraternity. When "the people" stormed the Bastille and seized the military stores, an entire decade of idealism, savagery and carnage started. So why celebrate such a heady (and often headless) period? Because it's about seizing control and brandishing baguettes and bringing about the end of feudalism. Being independent and being proud and well, being French, basically. So march along to the Bastille Day Party at the Evening Star-South Melbourne Market. You'll be brimming with joie de vivre before you know it.
If movies were an assessable component in the American SATs, one might easily expect to find a question like: Ralph Fiennes is to comedy as Tyler Perry is to...? (a) Costumes (b) Makeup (c) Playing multiple characters (d) Films accessible to white people. After all, this was the chap with the burned face from The English Patient, the Voldemort with the no face from Harry Potter and the Naziest bloody Nazi in Schindler's List. Excluding, for argument's sake, that 'incident on the plane', to think upon Fiennes was to consider class, panache and gravitas. Certainly, the next Bill Murray he was not. There's no doubt Fiennes is now experiencing something of a cinematic resurgence, particularly given his run as the newly minted 'M' in the Bond franchise, yet few could ever have expected that this Lazarus-esque revival would've seen him not just turn his mind to comedy but excel in it. Yes, that was a long-winded prelude to reviewing Wes Anderson's The Grand Budapest Hotel, but in this — now his eighth feature film — it's the first time the director has centred everything on just one character, and, thankfully, his leading man delivers something extraordinary. Fiennes is, quite simply, perfect. Playing the inimitable Monsieur Gustave H (the eponymous hotel's storied concierge), he's every bit the quirky protagonist an Anderson film requires but brings to the role an added layer of, well, Fiennes. Monsieur Gustave is, as one of the film's narrators observes, a man of a forgotten age. He's the manifestation of the Grand Budapest itself: elegant, refined, admired yet on the cusp of being left behind in a world scrambling over itself to modernise just as soon as anybody can arrange it. Filmed in three separate aspect ratios to reflect the three distinct decades in which this story takes place, The Grand Budapest Hotel is, typically, steeped in playful innocence yet forever flirting with a darkness just beneath the surface. It's been a growing trend for Anderson, whose last film, Moonrise Kingdom, was a decidedly black comedy grounded in his otherwise traditional quirkiness. Grand Budapest takes it even further: fingers are severed, cats are lobbed out of windows and prison guards are dispatched with bloody abandon. That all such moments elicit more laughter than horror is a testament to Anderson's unique style and direction. Naturally, The Grand Budapest Hotel is also brimming with cameos from Anderson faithfuls and newcomers alike. Murray, Wilson, Swinton, Schwartzman, Norton, Goldblum, Dafoe and Brody all have their go again, whilst Saoirse Ronan, Harvey Keitel and Jude Law gain entry into the team. There is a caper-based plot focused upon the contested inheritance of a priceless painting, but The Grand Budapest Hotel begins and ends as a character study, and it's in that study that the unbridled joy of watching this film is to be found. https://youtube.com/watch?v=1Fg5iWmQjwk
UPDATE: June 4, 2020: IT: Chapter Two is available to stream via Netflix, Google Play, YouTube and iTunes. It's possible to have too much of a good thing. An average thing as well. While Stephen King's horror maestro status is both undoubted and unparalleled, his books have frequently tested this idea, especially his 1138-page 1986 tome IT. A huge hit upon publication, the bestseller is the nerve-rattling cause of many clown phobias over the past three decades — but it's also as bloated as the bulging red balloons favoured by its flame-haired, make-up-clad antagonist. Bringing the novel's second timeline to the screen, IT: Chapter Two follows in its source material's meandering footsteps. Arriving hot on the heels of 2017's huge box office smash IT, yet proving painfully over-extended in its running time, this spooky sequel tasks audiences with pondering the same question as its characters: what if it never ends? Twenty-seven years after their first traumatic run-in with the malevolent evil that's known as IT, but usually takes the form of unhinged clown Pennywise (Bill Skarsgård), the Losers Club are all grown up and back home. Sparked into action by the obsessed Mike (Isaiah Mustafa), who hasn't left the small Maine town of Derry since the gang's scary childhood encounters, Bill (James McAvoy), Richie (Bill Hader), Beverley (Jessica Chastain), Eddie (James Ransone) and Ben (Jay Ryan) return to vanquish the otherworldly monster once and for all. Although their memories are initially foggy, and getting everyone on board takes some convincing, the group has ample motivation. If they fail, IT will wreak havoc yet again in 27 more years. Given that their own lives were forever changed by the spine-chilling figure — and given that IT is doing a great job of creeping out and killing new kids this time around — that's a fate that no one wants. When Mama director Andy Muschietti first brought IT back to the screen two years ago, he traded upon nostalgia, jumped on a trend and knew that, when all else fails, unsettling imagery works a charm. Popular culture's Stranger Things-inspired love of retro thrills hasn't subsided since, and nor has its fascination with King's oeuvre. If anything, they've both increased in the wake of the first flick's blockbuster success. Still, IT: Chapter Two feels like a case of stretching a concept to breaking point. It never escapes attention that Pennywise can evolve into a host of different shapes, each more unnerving than the last, however the film he's in doesn't dare contemplate anything similar. Instead, the movie is eager to prolong its formula for as long as possible. When that's not enough, it indulgently nods to everything from The Shining to The Thing, and even opts for the ultimate in fan service by giving King himself some screen-time. Muschietti and screenwriter Gary Dauberman (Annabelle Comes Home) may have a hefty amount of text to sort through, but there's not actually that much to IT: Chapter Two's story. The Losers Club heads home, trudges through difficult memories and confronts IT, as well as the impact it's had on their adult lives, working their way through a series of escalating funhouse-style set-pieces in the process. Indeed, the film's elongated mid-section encapsulates its troubles perfectly. Spending time with each of the gang as they scour Derry for tokens from their youth, the movie switches between the teen and current versions of every character, lets them each encounter Pennywise and sorts through their respective demons — and, while each vignette has more than a few standout moments, the cycle quickly becomes repetitive. The approach also sucks much of the tension out of the picture. Audiences have seen the first film, are aware that 1989's Bill (Jaeden Martell), Richie (Finn Wolfhard), Beverley (Sophia Lillis) and company survive until the events of this movie, and know that a big group showdown pitting the 2017 gang against their nemesis is inevitable. As a result, as visually effective as these blasts from the past prove, they're the narrative equivalent of treading water. IT circa 2017 was always at its strongest when it was inciting coulrophobia, as aided by Skarsgård's exceptionally demented performance, plus a clown car full of well-crafted special effects. For all the added star power that IT: Chapter Two boasts, the same remains true here. Individual images lodge themselves in the mind — Pennywise' deranged grin, fortune cookies morphing into attacking critters and a mirror maze altercation that's as disturbed as the one featured in Us earlier this year — more than anything else in the movie. Indeed, despite the big names joining the cast, this isn't an actor or character-driven picture. The Disappearance of Eleanor Rigby co-stars McAvoy and Chastain aren't given much room to unleash their talents, though they fare better than their last dismal pairing in X-Men: Dark Phoenix. In Ransome, Mustafa and Neighbours alumni Ryan's case, they're all tasked with sticking to a single type (neurotic, paranoid and, with the latter, sensitive and unexpectedly attractive). And while the ever-likeable Hader fares best, it's primarily because Richie is now a stand-up comic, so the actor is firmly in familiar territory. Even when IT: Chapter Two overtly attempts to address its struggles and pre-empt any criticism, it can't convincingly hit the mark. Being stuck reliving history sits at the very core of the movie, yet the notion is undermined by Muschietti's willingness to let his adult actors largely ape their teen counterparts, rather than add flesh to their shared protagonists. With Bill specifically, the character is now a King surrogate who has a problem with endings, which'd be a solid joke if the film didn't tussle with wrapping things up just like the prolific author does. That misstep also points to something rather terrifying: in today's sequel and franchise-friendly world, this horror saga probably won't end here, even though it has expended its source material. Nightmares recur, of course, but they're rarely as routine as IT: Chapter Two whenever its unbalanced boogeyman is out of sight. https://www.youtube.com/watch?v=bBO1dO1a4ro
The Mornington Peninsula wine region produces some mighty fine pinots, and its many producers come together to celebrate these tasty drops every Labour Day weekend. Join them at the Flinders Yacht Club on Sunday, March 10 from 12–3pm and try the best of the bunch. It's like Pinot Palooza but by the sea. All tasters are included in the $40 entry ticket, as is a Riedel tasting glass. If a taste just isn't enough, though, glasses and bottles will also be available for purchase. Apart from the wine, there'll be pop-up food stalls from George Bass Cafe, Calamari Brothers, Harry's Conchilia and Flinders Sourdough. You'll be kept entertained by Melbourne guitarist Rob Papp, and the club's annual yacht race, which will also take place on the day. Tickets are available online or at the door until sold out.
Almost a decade and a half after the Marvel Cinematic Universe first reached screens and began to change blockbuster entertainment as we know it, it can often seem like its sprawling range of interconnected films and TV shows has featured every actor ever. We'd start naming stars, but there's just so many. And the next show headed to the comic book company's television ranks — and set to stream via Disney+, obviously — definitely won't change that feeling, given that it features Oscar Isaac and Ethan Hawke. In Moon Knight, Isaac (The Card Counter) plays the eponymous figure — and yes, from the MCU's Phase Four ranks (because Marvel splits its movies and series into phases depending on where the overarching story is at the time), this'll be the first Disney+ series that doesn't overtly tie in with characters we've already seen in plenty of its past flicks. So, if it all sounds unfamiliar after the last year served up WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye, there's a very good reason for that. On the page, Moon Knight dates back to 1975 — and, on-screen, hasn't ever gotten the live-action treatment until now. Also known as Marc Spector, the character is an ex-marine who has a dissociative identity disorder as well as a sleeping disorder, and also becomes the conduit for the Egyptian moon god Khonshu. Already dealing with multiple distinctive identities and not being able to tell the difference between being awake and asleep, the latter run-in doesn't go down smoothly, unsurprisingly. Just how that'll turn out for this Isaac-starring version of the figure won't be seen until Wednesday, March 30, when Moon Knight will start hitting Disney+ — but the first trailer for the six-part series has just dropped to give everyone a glimpse in the interim. Isaac plays frantic, stressed and panic well, and not only because he plays almost everything well (see also: last year's Scenes From a Marriage and Dune). And this sneak peek both gets twisty and teases out the show's premise. As for Hawke (The Good Lord Bird), he's the villain of the piece, and is seen drawing a crowd, looking like a cult leader and encouraging Marc to embrace the voice inside his head. Moon Knight boasts impressive talent behind the camera, too, with The Endless and Synchronic's Justin Benson and Aaron Moorhead directing. And yes, this is just the first of Marvel's 2022 TV shows, with She-Hulk starring Tatiana Maslany (Perry Mason) and he-hulk Mark Ruffalo, plus Ms Marvel and Nick Fury-focused series Secret Invasion, all likely to hit this year, too. Check out the Moon Knight trailer below: Moon Knight will be available to stream via Disney+ from Wednesday, March 30.
Whatever you're doing this weekend — gardening, partying, doing your tax return — you're going to need a killer soundtrack. This is that soundtrack. <a href="http://fbiradio.bandcamp.com/album/song-reader-sydney-sessions" mce_href="http://fbiradio.bandcamp.com/album/song-reader-sydney-sessions">Song Reader Sydney - Sessions by Aidan Roberts</a> 1. AIDAN ROBERTS - NOW THAT YOUR DOLLAR BILLS HAVE SPROUTED WINGS Last year, American indie hero Beck released an album called Song Reader. Nothing exciting there, except that he released it as sheet music only, the idea being that to listen to the music, you needed to be a part of a community, and to sit around with musician friends and create the music together. Beck's imagining of a community inspired a small, dedicated group of Australian music industry folk to put on a show late last year, where the likes of Sarah Blasko, Jonathan Boulet, Josh Pyke and Caitlin Park came together to play the 'album' in full. Now, some six months later, our friends at Sydney's FBi Radio have released perhaps the world's first full Song Reader album, available on iTunes and via FBi's Bandcamp page. And they are doing it for charity, with all money raised going to the Sydney Story Factory — an organisation that encourages and fosters creative writing among marginalised and disadvantaged young people. This — from Aidan Roberts of The Maple Trail and Belles Will Ring — is just beautiful and heartbreaking and all those wonderful words. (Oh, and that wailing guitar noise you hear in the background? That's local legend Brian Campeau dragging kitchen scissors across his guitar strings.) 2. PAPA - YOUNG RUT They haven't even released an album yet, but PAPA are a group to keep an eye on. The two-piece from Los Angeles make perfect indie-pop, but there's always something fascinating going on just on the edges that stops it sinking in to dullness. On 'Young Rut' it's those guitars in the chorus that crash in and transform the song from mid-tempo and forgettable to urgent, driving and absolutely indispensable. And more than one reviewer has noted a touch of the Springsteen in drummer/singer Darren Weiss's voice. It's time to hop on board the PAPA bandwagon, because they're pulling outta here to win. 3. KANYE WEST / TAME IMPALA - BLACK SKINHEAD vs. ELEPHANT In case you hadn't noticed, Kanye West recently released a new album. Whatever you think of him as a human being, there's no question that his desperate need to be A Serious Artist has led to some of the best hip hop of the past decade — 'Jesus Walks', 'Stronger', almost all of My Beautiful Dark Twisted Fantasy, 'Gold Digger', 'Touch The Sky', and so many more. 'Black Skinhead' is another such song, one that seems to be tearing down everything Kanye has built up around him: gold chains, designer clothes, even his own celebrity. And this mashup — essentially just Kanye's vocals over Tame Impala's 'Elephant' — works really well and demonstrates that Kanye really can do anything, even if that is rapping over an Australian psych/rock band. 4. JESSICA PRATT - HOLLYWOOD Originally released at the end of 2012 in the US, Jessica Pratt's self-titled debut has only just made its way to our sunny shoes. But it's well worth the wait. 'Hollywood' recalls nothing more than the folk of the late 1960s, Pratt sounding for all the world like Joan Baez, or a young Joni Mitchell. With just a guitar and her voice Pratt presents incredibly vivid descriptions of the world around her, and manages to capture the excitement and confusion of being young and arriving in a new city, redolent with possibilities. If you enjoyed the Laura Marling track we featured here a few weeks ago, then you will absolutely love this. https://youtube.com/watch?v=unNa-9qGkfI 5. NEKO CASE - MAN You might know Neko Case from The New Pornographers or from her amazing solo albums (if you don't, you need a copy of Twin Cinema and Middle Cyclone right this second), and she's always seemed like that one awesome older sister/aunt/friend you always wished you had: wry, badass and full of knowledge of the ways of the world. And now she's back with her newest solo album, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You. The title might be hard work, but the record won't be: Case's combination of country, indie, folk and rock and roll influences has led to a handful of absolutely essential albums, with her beautiful, clear, bell-like voice able to adapt itself to the music. She's also a shredding guitarist, gives no fucks, and once revealed on Spicks and Specks that her grandmother was one of America's first professional female wrestlers. All the types of rad.
Melbourne loves itself some culture. We are a City of Literature. We have all the artistic acronyms in the land: NGV, ACCA, MWF, EWF, HMT, CCP. We have that one guy in Degraves Street subway who's always doing covers of 'Wonderwall'. What a champ. But if there's one thing we all hold close to our art-lovin' hearts it's the Melbourne Festival. From October 11–27, our fine city becomes host to a whole new crop of international artistic talent, and while the full program is impressive, it's also a little unwieldy. No one person could see it all. So, we've made a little list to get you through — from neon discotheques to harmonicas carved from handguns. This year's festival really does cater to all tastes. Life and Times: Episodes 1-4 Imagine your autobiography — meaningless, small, incomplete, full of diversions and 'ums' and 'likes' — was turned into a play. That went for 24 hours. Who'd watch that? Well, it turns out, if you're Kristin Worral of the Nature Theatre of Oklahoma, hundreds of thousands of people all over the world, who then rave about it as if possessed. The New Yorker calls you "a masterpiece" and the Guardian gives you all the stars. The Nature Theatre of Oklahoma (who are from NY; their name comes from a Kafka novel) are trying to remake everything we know about theatre, and for a company so experimental, they're also eminently watchable. The idea is that with each episode, the form shifts — from a musical to an '80s pop video, a murder mystery, an animated film and an illuminated manuscript. The first ten hours of Life and Times will be featuring at Melbourne Festival (the rest are still being developed), which you can watch over three nights or in one marathon performance broken up by a barbecue and snacks. October 22-26; Arts Centre Melbourne, Playhouse ACTIVE CHILD Active Child is my 'night walking' music. That full ethereal voice, those hypnotic synth-laden hooks, and the harp — oh, the harp. It perfectly suits that surreal yet peaceful journey between your last pint, the cold wind, and a warm bed. But as much as I love these intimate headphone sessions, this performance at the Melbourne Recital Centre is going to be a much more impressive spectacle. Active Child's live recordings really showcase the talents of lead man, Pat Grossi, and his technical prowess is sure to deliver an enriching and ethereal performance when translated to a big stage. In a Melbourne Festival exclusive, he will also be premiering tracks from his unreleased second album, as well as old favourites from 2011's You Are All I See. Supported by local talent Oliver Tank, this will be a show to tell your friends about — and maybe relive through your iPod on the walk home. October 26; Melbourne Recital Centre Tacita Dean: FILM This installation by Young British Artist, Tacita Dean, is going to be one of the most spectacular sights of this year's festival. Her surreal and finely crafted 35mm film will be projected onto a towering 13 metre vertical screen in the vast main gallery of ACCA. The sheer grandeur of the piece will be awesome to behold, but it will also raise some interesting questions about the medium itself. Does it stand in simple celebration of the artistry of celluloid cinema, or is it a bittersweet elegy for the decline of analogue art? FILM has been received well during its exhibition in the Tate Modern last year, and Dean will be speaking about the work at a free public lecture on October 10. October 10 to November 24; ACCA AN EVENING WITH YO LA TENGO Listening to Yo La Tengo is like hanging out with an old friend. It's comforting, calming and you can't help but get nostalgic. With 13 albums to their name — count 'em — Yo La Tengo are one of the true bastions of indestructible indie rock, and they're sure to draw a crowd of diehards at this one-off show. But the evening won't all be spent dwelling on the total glory of their 1997 classic I Can Hear The Heart Beating As One. Their newest album, Fade, was released in January this year, and is proving itself testament to their adaptability and ongoing popularity. For those that like the sound of all this hype, but are maybe too young to know the full story, here's a cheat sheet to get you up to speed. You'll fit in with the diehards in no time. October 18; The Arts Centre Minsk 2011: A Reply to Kathy Acker In Australia, it's common to think of theatre as a safe diversion for a small elite. Not so in Belarus, where theatre is dangerous, and the political ensemble Belarus Free Theatre is outlawed. Instead of performing for their countrymen, then, they travel the world, doing works like Minsk 2011, a combo critique of and love song to their home city. With a particular focus on underground subcultures and sexual policing under a dictatorship, their work is renowned for being inventive rather than polemic, and of striking a note of hope. This is theatre on the edge. October 24-27; Arts Centre Melbourne, Fairfax Studio WERK The description of this event makes it sound like the greatest thing ever. When I read that it's a "late-night haze of neon and performance, live art, and discotheque", all I could think of is this. Irish theatre dynamos THISISPOPBABY — the ones behind this enigmatic cluster of buzzwords and fluro-fantasia — look like they know their way around both a stage and a dancefloor, so something fantastic is sure to go down. I know this is a vague description, but when an event is forced to describe itself as a 'happening', it's best to go in with an open mind. That way when you walk out half-covered in spandex, sweat, and someone else's body glitter, you can aptly remark "Well, that happened." October 26; Foxtel Festival Hub URBAN CHAMBER - BEYOND The Melbourne Festival is known for its endorsement of experimental music, but this one is a doozie. Combining young local hip-hop artists with classical chamber music, dance, and performance poetry, the event is described as both a "multi-cultural ode to Melbourne" and a "hip-hop/classical throw down". That's a lot to digest. The kids from the MASSIVE hip-hop choir look really exciting though, and we'd love to see how it all comes together. At worst it could be a bit confusing, but at best it could be a really unique and entertaining hybrid — it's exactly the kind of adventurous project festivals like this should be supporting. October 25 and 26; Melbourne Recital Centre DISARM Because 'Make Love, Not War' is so over, Pedro Reyes latest exhibition has suggested a new alternative: make music! It may be a simple premise, but the result is amazing. Using discarded weapons confiscated by the Mexican army, Reyes has created a grand total of 47 very unique instruments. Electric guitars, violins, flutes, and intriguing hybrids — all fashioned out of artillery. Of course, it has a pretty hefty political bent, but when it comes down to it there's a simple joy in watching someone play a harmonica carved out of a handgun. Keep an eye on the Melbourne Festival site to find out when the concert's going to be (oh yeah, that's happening), and check out Pedro Reyes' free talk on October 13 to hear more about it. October 12 -27; NGV International Room of Regret Amid all of the international superstars flying in, some of the most unmissable events are from locals. Newly commissioned pieces from popular indie companies THE RABBLE (with Room of Regret) and the Daniel Schlusser Ensemble (with M+M) will play at Theatre Works. Both works take a classic text as the subject for their boundary-pushing inventions. Staged in a labyrinthine network of corridors, Room of Regret will do Oscar Wilde's The Picture of Dorian Gray as seen through a Hall of Mirrors, while M+M is an adaptation of Mikhael Bulgakov's The Master and Margarita that introduces some equally dark references from contemporary Russia. M+M: October 8-13; Room of Regret: October 21-19; Theatre Works TANDERRUM This year's festival will be opened with a traditional tanderrum — a welcoming ceremony from elders of the Kulin nations granting permission for guests to use the land and resources. However, this won't be any ordinary Welcome to Country; the tanderrum will be orchestrated by the Ilbijerri Theatre Company and will include music and performance, as well as rich storytelling which adheres strongly to the traditions of the land. Once the ceremony is complete, Archie Roach will be performing a free concert with a 10-piece band. All on the wide, open grounds of Fed Square, the evening promises to be a respectful and community-oriented first note for a festival that showcases talent from all over the world. October 11; Federation Square THE SONIC FLOCK Have you ever been at a gig with an awkwardly small number of audience members? Felt like they were just playing for you? Well, if this was a feeling you enjoyed, you're going to love what the Click Clack Project has lined up. Over the first two days of the festival, Federation Square will be littered with a series of small black teepees, and inside of each, an artist will be performing to an enthralled audience of one. While admittedly terrifying — oh god, what facial expression am I making / how are they maintaining eye contact with me while playing the flute?* — it also sounds a little amazing. Check it out on Saturday for Shadow Tales performed by the Footscray Community Arts Centre, or head down on Sunday if Japanese sound art is more your thing. *We really can't guarantee anyone will be playing the flute. October 12-13; Atrium at Federation Square Teenage Riot/All That Is Good You don't truly realise how parental and limiting adult writers can be towards children until you've seen the works of Belgian youth theatre group Ontroerend Goed. Their self-devised pieces are anarchic, freeform, funny, dramatic, frequently loud and generally unpredictable. The seminal Once and for all we're gonna tell you who we are so shut up and listen has now spiralled out into a trilogy that somewhat progresses through the stages of youth. Melbourne Festival 2013 gets the later, angstier chapters. Teenage Riot has eight teenagers trapped in a room inflict twisted games on each other, and recording it on camera, while All That Is Wrong has single writer/performer Anna Jakoba Ryckewaert, 18, undertake a more introspective coming-of-age — what Melbourne Festival are calling "a final, poignant dispatch from the consuming borderland between youth and adulthood". October 15-20; Arts Centre, Fairfax Studio By Meg Watson and Rima Sabina Aouf
Your Christmas dessert game is already looking super strong this year, whether you like the sound of Piccolina's decadent gelato cake, Messina's OTT trifle or perhaps a liquid sugar rush courtesy of Four Pillars' cult Christmas pudding gin. But wait — there's more. The good folk at Black Star Pastry have entered the ring with their own festive creation — a limited-edition layered number dubbed First Snow. It's the brand's first foray into Christmas treats in a few years and it's hitting all the right notes. Inspired by the idea of a snow-capped white Christmas, the cake boasts layers of milk sponge, white chocolate and elderflower cream, spliced with a Griottine (boozy macerated cherries) compote and set atop a base of roasted wafer. A snowfall of white chocolate tops it all off, along with a forest scene featuring hand-carved chocolate 'pine cones', fresh cherries, fondant snowflakes and white chocolate ice shards. If you're craving a white Christmas, this should certainly hit the spot. They're whipping up First Snow in two different sizes, depending on how big (and hungry) your Christmas crew is — the four-portion serve clocks in at $48, while the ten-portion is $92. And given how Black Star's creations usually land, you'll probably want to be quick to secure one. Pre-orders open on Monday, December 5, with pick-ups available from all Melbourne and Sydney stores between Thursday, December 22–Saturday, December 24. [caption id="attachment_872534" align="alignnone" width="1920"] Black Star St Kilda[/caption] You can pre-order Black Star's First Snow cake online from December 5. Collection is available from all of the brand's Aussie stores — Newtown, Sydney CBD, Rosebery, Moore Park, Chadstone and St Kilda.
Call it fate, call it destiny, call it feeling so deeply that you were always meant to cross paths with another person that no other outcome could ever be conceivable: in Korean, that sensation is in-yeon. Call it having a connection that sprawls yet binds like an endless piece of string, always linking you to someone no matter how far apart you each wander: stretch that out over many, many lifetimes and, yes, that is in-yeon as well. Watching Past Lives, which references the kismet-esque concept both in its three-part story and its title, gives viewers a brush with in-yeon, too. Writer/director Celine Song's feature debut is that affecting; that vivid, evocative and haunting; that alive with been-there-lived-that energy. Wading through layers of love, identity, roads taken and not, and the versions of ourselves that we are at each fork, Past Lives is that acutely able to make a very specific experience mirror everyone's experiences. Partway through the film, aspiring playwright and writer Nora (Greta Lee, Russian Doll) talks through in-yeon with fellow scribe Arthur (John Magaro, The Many Saints of Newark). She shares that in-yeon lingers with everyone that you meet, the very act of making one's acquaintance signifying that you've done so before — and if two people become lovers, it's because they've kept falling into step in life after life. As Nora speaks, Past Lives' audience are well-aware of an unshakeable truth, as is the movie's central figure: that she knows in-yeon in her bones. Indeed, this is what Song's sublime feature is about from its first frames to its last in every way that it can be. With Arthur, Nora jokes that in-yeon is something that Koreans talk about when they're trying to seduce someone. There's zero lies in her words, because she's working that move right there and then, and she'll end up married to him. But with her childhood crush Hae Sung (Teo Yoo, Decision to Leave), who she last saw at the age of 12 because her family then moved from Seoul to Toronto, in-yeon explains everything. That one perfect term sums up Nora and Hae Sung's firm friendship as kids, as chronicled in Past Lives' first third. As pre-teens, the duo (Voice of Silence's Moon Seung-ah and Good Deal's Leem Seung-min) are virtually inseparable — walking home from school together daily, competing over grades, bantering with effortless rapport — until half a globe separates them. Then, when they reunite in their 20s via emails and Skype calls after 12 years without each other, Past Lives' crucial word also describes their instant spark and pull. The latter is so magnetic that they're basically dating without saying it, and while he's still in South Korea but she's now in New York. Next, it captures the complicated emotions that swell when Nora and Hae Sung are finally in the same place together again after decades. Arthur is in the picture by then and, ever-adaptable, in-yeon even encapsulates that development. If Past Lives didn't leave its viewers certain to their core about its emotional authenticity, that'd be a greater surprise than how strongly and tenderly it resounds. The Korean-born Song also emigrated to Canada with her parents at the same point in her life as Nora. While she hasn't made a strictly autobiographical work, there's fact dwelling behind this fiction. Her picture would pair astoundingly well with Minari and Aftersun, in fact. In its way, leaping in souls and minds rather than through realms, it's a multiverse tale and companion to Everything Everywhere All At Once also. Feeling so intimately applicable to the characters loving, living, immigrating, yearning and growing within its frames, and yet echoing so universally, is that always-sought-after holy grail of storytelling feats. Although her film hones in on the heart — on-and off-screen alike — as it gets poetic and philosophical (and delivers a Big Apple-set Before Sunrise/Before Sunset/Before Midnight sequence), that Song studied psychology and once planned to become a therapist isn't astonishing to learn. Each time that Nora and Hae Sung slide back into each other's existences, a dozen years have passed, but it feels no time at all for both. Still, that sentiment can't and doesn't smooth their way onwards. Fittingly, Past Lives is crafted to resemble slipping into a memory, complete with patient looks and visuals (Skate Kitchen and Small Axe cinematographer Shabier Kirchner lenses) and a transportingly evocative score (by Christopher Bear and Daniel Rossen of Grizzly Bear, which gives the picture a bond with the also-heartwrenching Blue Valentine and its own knotty romance). This feature knows every emotion that springs when you need someone and vice versa, but life has other plans. It feels the weight of the trails left untrodden, even when you're happy with the route you're on. It understands what it's like to be see your past, plus the present and future it could've influenced, shimmering in front of your eyes. Past Lives is a film about details — spying them everywhere, in Nora and Hae Sung's lives and in their faces, while recognising how the best people in anyone's orbits spot them as well. Of course every second appears meticulous, then, but also equally dreamy and ripped from reality. Of course Lee, Yoo and Magaro are each magnificent, as is this entire sensitive, blisteringly honest and complex masterpiece. Lee charms Nora's two love interests and Past Lives' viewers in tandem, in a sincere and sharp performance as a woman who is as witty as she is wistful while grappling with who she is. Yoo hops from the best movie of 2022 to what'll be difficult to beat as the best of 2023 with quiet dedication and potency. And Magaro plays adoring, accepting but never elementary; Arthur knows how intricate the situation is, so his way through is just that, through, gleaning his part in helping Nora and Hae Sung be who they need to. Contemplating what's written in the stars also involves contemplating beginnings and endings, even when in-yeon has cycles and reincarnations all a-fluttering. Again, Song fashions Past Lives to embody all that it muses on, including via an opening that's utterly immaculate and a closing scene that's breathtakingly divine. Both are also unforgettable. To start, jumping forward before going backwards, Nora, Arthur and Hae Sung sit at a bar. Her body language is all about her lifelong friend, as fellow drinkers peering on comment on; regardless of how things appear, though, only Nora, Arthur and Hae Sung can ever truly grasp their own full story. To wrap up, simply walking and waiting is so impeccably considered and staged, down to the direction that events flow in across the screen, that they say everything about advancing, retreating and wishing you were doing one while going through the other. Past Lives is a movie to lose yourself in, and gloriously; a film to fall head over feels for, and fast; like it feels fated to be, it's also just extraordinary.
It's hard to say where Sydney's dining scene is headed at the moment, but one thing's for sure — fine dining is fading. While the opening of swanky-but-casual eateries like Restaurant Hubert, Mercado and Bistrot Gavroche in Sydney and Ôter and Entrecôte in Melbourne suggest an era of European bistros, in the last few weeks alone we've had news that Sydney's Sepia and Marque will be closing, and Andrew McConnell's Moon Under Water will be transforming into a more casual Chinese eatery. The latest to flick away the fine dining title? Neil Perry's Rockpool Est. 1989. In a statement released this morning, owners Perry and Trish Richards announced they will be closing their flagship restaurant on Saturday, July 30. They won't be moving out of the space though — they'll reopen just over a week later on Monday, August 8 as the more casual, a la carte Eleven Bridge. "Rockpool has been our flagship restaurant for almost three decades," said Perry. "We're moving away from that traditional concept of fine dining but maintaining all the elements that are crucial to great dining; excellent produce and service, and a contemporary style." For anyone confused, Rockpool Est. 1989 is the one located on Bridge Street in Sydney's CBD. Part of the reason for decided to close the restaurant is that their second Sydney venue, Rockpool Bar & Grill, is located super close by on Hunter Street. Perry also has another Rockpool Bar & Grill in Melbourne's Crown complex. So for anyone looking to have one last (or first) steak at the almost-thirty-year-old restaurant, you've only got two more months to do so. Godspeed. Rockpool Est. 1989's last service will be dinner Saturday, 30 July, with Eleven Bridge opening on Monday, 8 August. For more info or to make a booking, visit rockpool.com.
Dig out the Thai fisherman pants from the back of your closet, Woodford Folk Festival is back for another year. If you've never been, Woodford is the perfect place to disconnect from the daily grind, become one with nature (read: mud) and check out some of Australians best musicians with a chilled and festive vibe. This year's offering is no exception; the recently released lineup has 'best summer ever' written all over it. Festival mainstays like The Cat Empire and Lior will be back once again. They will also be joined by an A-list crowd of Australian ladies like Kate Miller-Heidke, Bertie Blackman, and Mia Dyson. But the real crowdpleaser will come from The Violent Femmes. Who wouldn't want to listen to 'Blister in the Sun' while dancing in the wilderness in the height of summer? Bliss. Though The Violent Femmes may be a little past their prime, there will also be a bunch of up and coming musicians on stage. Husky and Hiatus Kaiyote will be representing Melbourne talent and The Cairos will be playing to what's basically a home crowd. With over 400 acts jammed into the full program, Woodford is all about discovering new sounds. As well as music, the festival covers visual arts, circus, comedy, vaudeville and dance. Set up camp, let your hair get knotty, and roam the makeshift tarpaulin towns of this super chilled festival. It's time to channel your inner hippy. Woodford Folk Festival is on from December 27 - January 1. Tickets are on sale now. Lineup highlights Archie Roach Bertie Blackman The Cairos The Cat Empire Christine Anu Darren Middleton (ex-Powderfinger) Del Barber The East Pointers Hiatus Kiayote Husky Jeff Lang Jenn Grant John Smith Kate Miller-Heidke Lau Led Kaapana Lior Matt Anderson Mia Dyson Nahko and Medicine for the People Shooglenifty Sticky Fingers Tiny Ruins The Topp Twins Violent Femmes We Two Thieves Via Music Feeds.
Over the past 13 years, plenty of excellent filmmakers have helmed Marvel movies, including Iron Man's Jon Favreau, Thor's Kenneth Branagh, Thor: Ragnarok's Taika Waititi and Black Panther's Ryan Coogler. But none have a Best Director Oscar to their name, or made history by winning said coveted accolade — until, come October this year, Nomadland's Chloé Zhao adds a film to the always-expanding Marvel Cinematic Universe. That movie: Eternals. Focusing on an immortal alien race, and boasting a cast spanning Angelina Jolie (Maleficent: Mistress of Evil), Kumail Nanjiani (Stuber), Salma Hayek (Like a Boss), Barry Keoghan (Calm with Horses), Gemma Chan (Captain Marvel), Brian Tyree Henry (Superintelligence), and Game of Thrones co-stars Richard Madden and Kit Harington, it's one of four MCU movies set to drop in 2021 — alongside Black Widow, Shang-Chi and the Legend of the Ten Rings and the latest Spider-Man flick. It's also Zhao's first feature after the vastly different film that's been winning her so much praise this year, as well as her first leap into the blockbuster realm. And, if you're wondering what to expect, Marvel has just revealed its first sneak peek. A full trailer hasn't been released as yet, but Marvel has unveiled a celebratory clip that champions the movie-going experience now that cinemas are getting back into the swing of things in the US, and it includes snippets of footage from Zhao's upcoming film. The video isn't big on story details, but the filmmaker's visual sensibilities shine through — even though she's working on a far bigger scale than seen in her first three movies. The Marvel clip also shouts out to a heap of other big MCU movies that are headed to the silver screen in the coming years, should you need a reminder. The aforementioned Black Widow arrives on July 8, and will be available on streaming at the same time as well, before Shang-Chi and the Legend of the Ten Rings drops in theatres only on September 2. Next comes Eternals on October 28, then Spider-Man: No Way Home in December. In 2022, Doctor Strange in the Multiverse of Madness is due in March, Thor: Love and Thunder in April, Black Panther: Wakanda Forever in July and Captain Marvel sequel The Marvels in November. Ant-Man and the Wasp: Quantumania hits in February 2023 and Guardians of the Galaxy Vol 3 in May the same year, while the clip also teases a new Fantastic Four movie. Check out the celebratory Marvel video below: https://www.youtube.com/watch?v=lW6MegWambc&feature=youtu.be Eternals opens in cinemas Down Under on October 28.
