Melbourne's best bagel joints may not beat the likes of those in NYC, but they do a damn fine job at creating these delicious doughy rings of joy. Plus, they fill them with the greatest Aussie produce available. And while you can find bagels in cafes all over the city (and in supermarkets), this comprehensive list only includes spots that make or use authentic options — definitely boiled first to guarantee chewy goodness. You'll find Melbourne's best bagels in the CBD, inner burbs and further afield — but you have to know where to look. So, check out our list to find Melbourne's best bagels near you. Recommended reads: The Best Bakeries in Melbourne The Best Cafes in Melbourne The Best Bottomless Boozy Brunches in Melbourne The Best Coffee in Melbourne
2022 was a huge year for Milly Alcock, with House of the Dragon bringing her into the Game of Thrones realm and Australian series Upright returning for its second season. Just a month into 2024, this year is already proving massive for the Aussie actor as well. After stepping into Rhaenyra Targaryen's shoes, Alcock is now becoming the Woman of Steel in upcoming DC Universe film Supergirl: Woman of Tomorrow. Filmmaker James Gunn, who is DC Studios' co-CEO and co-chairman — and, before getting those roles, directed The Suicide Squad — has confirmed that the Aussie talent is taking on the lead part in the upcoming flick. "Milly is a fantastically talented young actor, and I'm incredibly excited about her being a part of the DCU. Yes, I first became aware of her in House of the Dragon, but I was blown away by her varied auditions and screen tests for Supergirl," Gunn posted on social media after reports of Alcock's casting started circulating. View this post on Instagram A post shared by James Gunn (@jamesgunn) If you're looking for more details about Supergirl: Woman of Tomorrow, however, little else has been revealed as yet — including who else is starring, the filmmaker behind the lens and when the movie will arrive. Under Gunn and fellow co-head honcho Peter Safran (who was a producer on The Suicide Squad), all things DC on-screen are currently undergoing a shakeup. The DC Extended Universe is over, wrapping up with Aquaman and the Lost Kingdom, with the new DCU taking the company's movies in a fresh direction instead. In 2025, the Gunn-helmed Superman: Legacy will kick off the reborn franchise, starring Pearl's David Corenswet as the eponymous figure and The Marvelous Mrs Maisel's Rachel Brosnahan as Lois Lane. After that will come The Authority, focusing on a team of WildStorm characters; The Brave and the Bold, the DCU's first Batman and Robin flick; Supergirl: Woman of Tomorrow, as now starring Alcock; and Swamp Thing. Alongside House of the Dragon and her AACTA-nominated performance in Upright, Alcock's resume includes Australian shows such as Wonderland, Janet King, A Place to Call Home, Pine Gap, Fighting Season and Les Norton. As Kara Zor-El in Supergirl: Woman of Tomorrow, she'll take on a figure also played by Helen Slater (Chantilly Bridge) in 1984's Supergirl film, Sasha Calle (The Young and the Restless) in 2023's The Flash, Laura Vandervoort (Sullivan's Crossing) in TV's Smallville and Melissa Benoist (Clerks III) in the Supergirl television series. There's no sneak peek at Supergirl: Woman of Tomorrow yet, obviously, but you can check out the trailers for House of the Dragon season one and Upright season two below: Supergirl: Woman of Tomorrow doesn't yet have a release date — we'll update you when one is announced. Read our interview with Milly Alcock about House of the Dragon and Upright. House of the Dragon images: HBO.
Corpses and killings don't normally herald joy on-screen, even in pop culture's current murder-mystery comedy wave, but Only Murders in the Building isn't just another amusing whodunnit. With the two Knives Out films so far plus two seasons of The Afterparty, there's no shortage of excellent detective tales that pair crimes with laughs — and killer concepts with stellar casts, too — however there's a particular warmth to Disney+'s Selena Gomez (The Dead Don't Die)-, Martin Short (Schmigadoon!)- and Steve Martin (It's Complicated)-starring take. In each of its three seasons to-date, this New York-set series has unleashed a motley crew of amateur gumshoes upon a shock death, with its key trio sifting through clues and podcasting the details. Along the way, it has also kept telling a winning story about second chances and finding the folks who understand you. Streaming from Tuesday, August 8, Only Murders in the Building's ten-episode third season relays that tale again, expanding its portraits of artist Mabel Mora (Gomez), theatre director Oliver Putnam (Short) and veteran actor Charles-Haden Savage (Martin) — and of their friendship. Once more, it embraces the power of chemistry, both within its narrative and for audiences. That isn't new; when the show debuted its first season in 2021, instantly becoming one of the best new arrivals of that year, it felt like the murder-mystery comedy genre's version of a cosy embrace because its three leads were so perfectly cast and their odd-throuple characters so full of sparks. While Mabel, Oliver and Charles wouldn't be a trio if it wasn't for a building evacuation, a murder and a love of true-crime podcasts, their connection isn't merely fuelled by chatting about the murders in their building, with crossing each other's paths changing their respective lives. There's a death in season three's initial episode — it first occurred in season two's dying moments, to be precise — and, of course, ample sleuthing and talking about it follows. But Only Murders in the Building's latest run also opens with Mabel, Oliver and Charles in places that they wouldn't be if they were solo. Largely, that applies emotionally: Mabel is more grounded and open, and now thinking about the future more than the past; Oliver has faced his career fears, resurrecting his showbiz bug with a new show; and Charles is less misanthropic and more willing to take new chances. They're also frequently in a different location physically thanks to Oliver's comeback production Death Rattle. No, the series isn't now called Only Murders in the Building and on Broadway. The victim: actor Ben Glenroy (Paul Rudd, Ant-Man and the Wasp: Quantumania), a silver-screen star best-known for playing a zoologist who fights crime by turning into a snake in the blockbuster CoBro franchise. (Yes, if those movies weren't just Only Murders in the Building's Ant-Man gag, existed IRL and starred Rudd, they'd be a hit.) Ben is Oliver's leading man and biggest name, but he's hardly lacking detractors within Death Rattle's cast and crew. Among the suspects that Mabel, Oliver and Charles swiftly look into is Loretta Durkin (Meryl Streep, Don't Look Up), who has spent her whole life trying to make it on the stage. Also earning their interest: influencer Kimber (Ashley Park, Joy Ride), one of the play's other talents; filmmaker Tobert (Jesse Williams, Grey's Anatomy), who was helming a Ben-centric behind-the-scenes documentary; and Ben's dutiful assistant Dickie (Jeremy Shamos, Dead Ringers), who is also his put-upon brother. From both 2021's first season and 2022's similarly smart, bright, astute and funny second effort, viewers already know the always-engaging Only Murders in the Building template from here. Season three still links back to the Arconia, still has its core trio scouring for hints and answers while feeding their podcast, still savvily satirises true-crime obsessions, and still charts Mabel, Oliver and Charles' ups and downs both individually and as a team. Using a theatre as a fellow setting doesn't simply mix things up, however, or work in ghosts and superstitions, precariously placed sandbags, a heap of new faces, and ample nooks and crannies. And, it's not only an excuse to also unfurl the third season as a hustle- and bustle-filled backstage piece as Oliver endeavours to rescue Death Rattle (complete with earworm-level musical numbers and the fact that the play is about a potentially homicidal baby). All of these things are true, and wonderfully and entertainingly weaved into the show. But season three also uses its jumps to Broadway to get the series and its main players pondering roles, performances and what represents a showstopper in their daily lives. Indeed, Only Murders in the Building isn't just warm and joyous because it celebrates the camaraderie of three unlikely pals discovering that life is a bit easier to handle — not to mention other people's deaths — when they have each other to lean on. It's cosy and delightful because it keeps deepening Mabel, Oliver and Charles amid the hunches, evidence hunts, red herrings, pointed fingers, annoyed cops and eager recordings, as aided by pitch-perfect performances by one of streaming's great current collaborations. Gomez, Short and Martin make that ace a threesome; whenever they're together, Only Murders in the Building could have them bickering and bantering about absolutely anything and it'd gleam. That said, as creators and writers, Martin and colleague John Hoffman (Grace and Frankie) aren't afraid to separate their main trio to explore who they truly are on their own and why they find such solace in each other, either. In season three, Mabel feels left out with Oliver and Charles getting all wrapped up in Death Rattle, for instance, and relies upon different partners in sleuthing. Navigating this change in the show's core dynamic delivers some of its most revelatory character insights — and, as always, thoughtful comedy. You can take Only Murders in the Building away from its namesake setting, even if temporarily, and it remains a gem. You can get its chief investigators going out on their own, again only fleetingly, and it's still a spirited unpacking of their friendship. And, this new season also makes plain that you can welcome a couple more megastars to the cast — in more than guest parts, pivotally — and everything still runs like comic clockwork. Rudd and Streep are dream additions, unsurprisingly. The former has a visible and hilarious blast leaning into Ben's egotistical ways and conveying why so many figures could've been responsible for his demise. The latter shimmers with melancholy among the suspects as Loretta faces the costs of a life spent chasing a dream. There are only wonderful star turns in this series, clearly — and you don't need to be a detective to come to that conclusion. Check out the trailer for Only Murders in the Building season three below: Only Murders in the Building's third season streams via Star on Disney+ from Tuesday, August 8. Read our full review of season two — and of the show's first season, too. Images: Patrick Harbron/Hulu.
In A Real Pain, as two cousins make a pilgrimage to walk in their dearly departed grandmother's shoes, the concept of alternative possible lives arises. Jesse Eisenberg's second film as a writer/director after 2022's When You Finish Saving the World doesn't hop between timelines science fiction-style; rather, when different pasts or futures come up, it follows a relatable Sliding Doors-esque train of thought about the events and decisions that've shaped David (played by Eisenberg) and Benji Kaplan's (Kieran Culkin, Succession) existences. They're in Poland, where their Grandma Dory grew up, and where they might've too if the Holocaust hadn't occurred. On their guided tour, Benji muses with David about their parallel-universe selves, where they're Polish with beards and everything that they've ever known is completely different. A Real Pain itself is the product of a comparable journey; it could've been a different movie and, originally, it was meant to be. Eisenberg was endeavouring to bring another project to the screen, adapting a short story that he'd penned for Tablet magazine. It was about two friends, not cousins, and instead of Poland they were travelling to Mongolia together. But the Oscar-nominated The Social Network actor, not to mention star of everything from the Zombieland and Now You See Me movies through to TV's Fleishman Is in Trouble, had himself been to Poland. He'd paid tribute to his own family history, visiting the house that his aunt Doris had lived in. He'd also been inspired by that trip to write 2013's off-Broadway play The Revisionist, about a young American man with an older Polish cousin who had survived the Second World War. An ad for "Auschwitz tours, with lunch", which Eisenberg randomly spotted online, helped him pull together influences from all of the above — the screenwriting task that he'd actually set himself, his prior play, his personal experiences and history — into A Real Pain. Audiences should be grateful that it did. Awards bodies have been so far, including via four Golden Globe nominations (for Best Film — Musical or Comedy, Best Best Performance by a Male Actor in a Motion Picture — Musical or Comedy for Eisenberg, Best Performance by a Male Actor in a Supporting Role in Any Motion Picture for Culkin, and Best Screenplay — Motion Picture, again for Eisenberg), plus love from the Gotham Awards and Independent Spirit Awards. At Sundance, where A Real Pain premiered, the dramedy took home a screenwriting accolade. Eisenberg isn't just filtering elements of his family's past into the movie, or recreating a trip that he took with his now-wife two decades back. As he did with the Julianne Moore (May December)- and Finn Wolfhard (Saturday Night)-starring When You Finish Saving the World, he's also tapping into his own IRL anxieties. What he's digging into is right there in A Real Pain's name. As he tells Concrete Playground, "I'm trying to examine and ask the question that I ask myself every day: is my pain valid?". When there's such bigger struggles, troubles and atrocities haunting the world beyond the everyday woes of a person with a largely comfortable life, how can someone feel angst and hurt while also confronted with the bigger picture? In A Real Pain, David and Benji were born mere weeks apart and were almost inseparable as kids, and now make a chalk-and-cheese pair — as is immediately evident while the former leaves a series of messages about meeting up at the airport, where the latter has already been contentedly for hours — but both have their own tussles. In their interactions one on one and with others, one is a ball of tension and apprehension, while the other is laidback and charming. (Based on casting, it's easy to pick which is which before even watching, although Eisenberg initially planned to play Benji.) Where David has also settled into adulthood while grappling with his stresses, however, Benji is in a state of arrested development. Their grandmother's passing hasn't helped. At a pivotal moment, chatting over dinner with the pair's tour group — which includes Will Sharpe (The White Lotus) as their guide, plus Jennifer Grey (Dollface), Kurt Egyiawan (The Agency), Liza Sadovy (A Small Light) and Daniel Oreskes (Only Murders in the Building) as fellow travellers — while Benji is in the bathroom, David unburdens his feelings in a powerful torrent. "I love him and I hate him and I want to kill him and I want to be him," he notes, getting to the heart of the cousins' complicated relationship. Earlier, they'd been at Lublin's Old Jewish Cemetery. The next day, they'll visit the Majdanek concentration camp. A Real Pain sees its titular emotion in micro and macro, then, and knows how awkwardly that the two clash. Just as with questioning the legitimacy of routine trials versus all of the worse things in the world, Eisenberg drew that crucial monologue from his own emotions and experiences. "It's also the most-personal part of the movie — and this is a movie that is very personal," he told us. We also chatted with the Rodger Dodger, The Squid and the Whale, Adventureland, The Double, Batman v Superman: Dawn of Justice, Vivarium and Sasquatch Sunset star about how A Real Pain came together, working with Culkin — including Emma Stone's advice as one of the film's producers that he shouldn't play Benji himself — and what he makes of his career 25 years after his screen debut in TV series Get Real. On What Keeps Drawing Eisenberg to the Question of 'What Pain Is Valid?' as a Writer/Director, First in When You Finish Saving the World and Now in A Real Pain "I've been in the arts since I'm a kid, and I married somebody who works in social justice. And so anytime time I feel I'm doing well or something, I'm reminded that my wife is maybe working with people in more immediate need than I am. And my mother-in-law ran a domestic violence shelter for 35 years, and was unimpressed that her daughter had been married to somebody in movies. So in that first movie, Julianne Moore plays a woman who runs a domestic violence shelter, and she's kind of unimpressed with her kid, who's her family, not doing anything of social value according to her. And then in A Real Pain, the characters are experiencing this very personal pain. My character has OCD, but medicates it away. And my cousin's character has very dark, dark demons inside of him, but it's on an individual level. And so I thought it would be interesting to put these guys against the backdrop of real historical global objective trauma, like the Holocaust. Because in both movies I'm trying to examine and ask the question that I ask myself every day: is my pain valid? I live in a comfortable apartment with a nice wife and kid, and work, I have a nice job. But yet I still feel miserable all day. And why do I have those feelings? So both movies are exploring that exact question. Questions of privilege versus pain — questions about how is it possible that we could feel bad for ourselves when there are so many worse things in the world? In the case of the first movie, it's about domestic violence, and in the case of this movie, it's the Holocaust. And that's just my preoccupation, which just comes from a very self-centred question of 'why do I deserve to feel self-pity?'. On A Real Pain Coming Together From First Trying to Write a Different Film, Then Seeing an Online Ad for Auschwitz Tours "with Lunch", and Also a Past Off-Broadway Play, Plus Eisenberg's Own Personal History and Trip to Poland "It's funny, my friend and I, he's a writer too, we write next to each other at the library every day, and he always says 'once you're on the downslope of the script, you know it's going well'. 'The downslope' in our lingo is basically just once you get past the point of setting everything up and the things are in motion and everything feels right, kind of resolving everything or maybe it's not resolving anything, but that downslope to the end is really smooth. So the last ten pages of this movie, I wrote, I think, in like five minutes, because my wife was texting me I'm going to be late to pick up my kid, and I was like 'I know, but I know the ending, I just have to..'. [caption id="attachment_985500" align="alignnone" width="1920"] Photo by Agata Grzybowska. Courtesy of Searchlight Pictures © 2024 Searchlight Pictures All Rights Reserved.[/caption] So I just wrote it really quickly and all this great stuff came out about me hitting him in the airport, and then this just sad ending of me going home to my family and him stuck at the airport, and it just happened because everything had been set up. And it was in my mind, as you mentioned, throughout several other plays and short stories and stuff, and a real trip with my wife. So once I was at that point, where the dominoes were all falling, I knew, 'oh, this is a story that feels complete'. And then I sent it to my parents and they had no idea what they were reading, because I sent it to them, I don't write in screenwriting programs, so I sent them an e-mail with no names above the characters. Anyway, they said 'this is terrible, what did you what did you do?'. And then I made it more official." [caption id="attachment_985499" align="alignnone" width="1920"] Photo by Agata Grzybowska, Courtesy of Searchlight Pictures, © 2024 Searchlight Pictures All Rights Reserved.[/caption] On What Eisenberg Was Excited About with Working with Kieran Culkin — and Casting Him in a Role That He Was First Planning to Play Himself "I was originally thinking I would play the role of Benji. And our producer is Emma Stone, and she is obviously a very successful producer/actress, and she told me just it would not be a good idea to play a character like that, who's so kind of unhinged and spontaneous, while also trying to direct the movie where I had to be in my other side of my brain of managing a crew. So once I decided I wasn't going to play that role and I was thinking about who could play it, the only person that seemed to me — it's strange, because he's not a Jewish actor — but the only person that seemed to me of my ilk is Kieran. [caption id="attachment_985496" align="alignnone" width="1920"] Tim P. Whitby/Getty Images for The Walt Disney Company Limited[/caption] I don't know what it is, that we're both from New York and speak in this kind of way, and have an energy about us that is similar, but I needed somebody similar and different to me. And Kieran is like me in so many ways and then completely the opposite of me in so many ways. He doesn't feel anxiety about acting. He doesn't think about it. He just wants to get to the set and to just perform. He doesn't want to talk. He does want to analyse it. He doesn't even sleep the night before, and he never wants to rehearse. And he's just comfortable in his own skin. He's now winning, like today, he just won two major awards for the role. I think he doesn't even care. I sent him a congratulations message. He's never going to get back to me. He just takes care of his kids and doesn't care about ambition, fame, success, any money, anything. He lives a really unusual life and it's exactly what I needed for the character. So what we were experiencing on set as colleagues was quite similar to what they're experiencing on set in character." On Capturing the Relatable Dynamic of Loving Someone But Also Hating Them in a Powerful Monologue — and How Pivotal That Moment Was for Eisenberg "Oh, very strangely pivotal in the sense that I was so conscious of the fact that I, as the writer/director, have a monologue in the movie. And I was so panicked about filming it, because I thought I would screw it up, and then I thought 'I don't want the other cast to be sitting there all day while I do this shot of myself'. So the cinematographer and the producer Ali Herting [I Saw the TV Glow, The Curse] basically forced me into doing this long shot that pushes in. We did one take and I was too embarrassed to do it again, because it just seemed indulgent. It's the only take we got. And because I knew I only wanted to one take, I put all the eggs in the basket of it, and so it was very lived in, so to speak. It's also the most-personal part of the movie — and this is a movie that is very personal. We film the movie at my family's house in Poland and it's about my family's history, and yet the most-personal part of the movie is where I say that stuff. Because I guess what I'm talking about is just the way I've felt in my relationships with other guys growing up, just finding people that I'm in awe of — not just guys, also women and family members and all sorts of people — where I have these dual feelings of wanting to be them and kill them at the same time, and loving them and hating them at the same time. I'm living in the shadow of Benji, but in some ways my life has greater stability than his. In most ways, my life has more stability. And so I understand that I've created the life I want, and yet still every time I'm with him he brings up those childhood feelings of envy." On What Eisenberg Makes of His Path From His Screen Debut in TV Series Get Real 25 Years Ago to Everything That's Come His Way Since, Including Writing and Directing "When I was like 16, I got my first professional acting job, which was acting in this TV show. And I'll never forget the audition, all the executives were there, and I remember I was just trying to be funny in front of them. And I was not thinking of myself as a funny person at that point. I was trying to be funny, and people were laughing, like adults were laughing. And I thought 'oh, that's interesting, I wonder if I'm allowed to just be funny the way I want to be funny — it can translate'. I didn't have to be funny like Adam Sandler or something. I could just be funny like myself. So that TV show allowed me to explore, let's say, my own voice as an actor. So that was a really, really lucky experience that no one watched. And since then, I've been very lucky to play roles where I can bring myself to it or bring my own sensibility to certain things, especially in a movie like A Real Pain, which is like my story, and I'm always surprised that anybody likes it. Because when you think of something that's your own, and that's private or artful or creative or something that's funny in your head, you never expect to have any kind of public reaction. But now I've found myself in this very weird position where I get to write stuff and can produce it, and it just feels quite strange because it all still feels very personal." A Real Pain opens in cinemas Down Under on Thursday, December 26, 2024. Images: Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
Before there was The Undoing, there was Big Little Lies — the other HBO series starring Nicole Kidman and written by David E Kelley. They have quite the company, too, both on-screen and off-. The stacked cast also features Reese Witherspoon, Shailene Woodley, Laura Dern, Zoë Kravitz, Alexander Skarsgård and Meryl Streep. Plus, Wild filmmaker Jean-Marc Vallée directed its first season and American Honey's Andrea Arnold helmed its second. Based on Liane Moriarty's novel of the same name, Big Little Lies follows a scandalous murder at a public school in Monterey, California — where the characters played by all of the above cast members each have children or grandchildren in attendance. Its twists and turns are obviously best discovered by watching, but it'll keep you guessing across both seasons to-date. And, the show will have you marvelling at its performances and slick cinematography in the process as well.
Not content with crafting some of the most gorgeous films to ever grace cinema screens, Studio Ghibli has revealed further details about its latest piece of enchanting magic — the animation house's first theme park. Originally announced last year with a 2020 opening date, the space is now set to launch in 2022. And while that means pushing back your travel plans an extra two years, it's going to be more than worth the wait. Initially described as a My Neighbour Totoro-focused park, the new Ghibli site will actually spirit visitors away to a whole realm dedicated to its considerable catalogue of movies. As well as Totoro-themed attractions — such as a replica of Satsuki and Mei's house, which already exists at the 200-hectare Expo Park site in Nagoya's Aichi Prefecture — the antique shop from Whisper of the Heart and Kiki's home from Kiki's Delivery Service will also form part of the space. Further, a village area will pay tribute to Princess Mononoke, and a section called the Big Ghibli Warehouse will feature play areas, exhibitions and cinemas. Meanwhile, Howl's Moving Castle will show up in several forms: in a building dedicated to the imaginary scientific elements from with the studio's films, and in the main gate structure. Expect more nods to Ghibli's various features to follow, recreating other aspects from its three-decade-old body of work. If the end result is even half as wondrous as the studio's museum in Mitaka, a city on the western outskirts Tokyo, then fans are in for a treat. There, you can climb up to the building's rooftop garden to see one of the robots from Laputa: Castle in the Sky; watch exclusive shorts, including a sequel to My Neighbour Totoro; and touch a life-sized cat bus, which kids under 12 can climb and play on. Indeed, the museum is such a tourist attraction, you have to buy tickets over a month in advance — and experiencing the rush of folks in the merchandise-packed gift shop will make you feel like a susuwatari (Totoro's gorgeous little balls of floating soot). Incorporated into the existing parklands, the theme park will be heavy on greenery and the natural surroundings, which matches the environmental messaging that plays a prominent part in Ghibli's movies. The site will also encourage "enjoying walking", according to the draft concept outline, while aiming to offer "a one-of-a-kind park loved by more people". We don't think either will be difficult. Via Japan Times. Images: Aichi Prefecture.
When Colin From Accounts arrived for its first season in 2022 with a nipple flash, a dog and strangers committing to take care of a cute injured animal together after a meet-cute, it also began with a "will they, won't they?" story. Ashley (Harriet Dyer, The Invisible Man) and Gordon (Patrick Brammall, Evil) crossed paths in the street in Sydney when she gave him a random peek, then he was distracted behind the wheel. Thanks to the titular pet, the pair were soon intricately involved in each other's lives — and, as they endeavoured to work out what that actually meant, sift through their feelings for one another and navigate the respective chaos that fills everyone's existence anyway, a delightful small-screen Australian rom-com (and one of that year's best new TV shows) was the end result. In season two, which streams weekly on Binge from Thursday, May 30, the series picks up after the duo gave Colin From Accounts to new owners at the end of the show's debut batch of episodes, then immediately regretted the decision. A couple of things are different from the outset: after moving in together, Gordon and Ashley are on a quest to get their pup back and they'll stop at almost nothing for their family to be reunited; also, this award-winning series is now in "should've they or should've they not?" territory about its central romance. (Moving from an all-at-once release to week-by-week instalments is another change for viewers.) Falling in love is easy. Being in the honeymoon period, whether or not you've tied the knot — Colin From Accounts' protagonists haven't — is clearcut, too. Taking a relationship further means peeling away the rosy and glowing surface, however, which is where the series follows its medical student and Inner West microbrewery owner in its second season. A television romantic-comedy with longevity can't be solely fuelled by fluttering hearts and butterflies in stomachs, especially one that's as dedicated to eschewing saccharine cliches as this. Colin From Accounts isn't afraid to be sweet, but a not-insignificant amount of its charm comes from feeling lived in as Ash and Gordon's romance keeps developing. Same show, but with a few new tricks: that's season two, then. Like relationship, like series: when it comes to diving deeper than the first season, that also fits. There has always been a spark between Colin From Accounts' lead characters, or else it wouldn't have made it to air in the first place, but the program's return digs into the reality that taking the next step for any couple is a dance through love's equivalent of dog mess on an otherwise pristine lawn. No matter how well you plot out a clear path, how flexible and adaptable you are to obstacles, and how determined you are to evade the crap, no one can avoid dirty shoes 100-percent of the time. As season two sees Ash and Gordon confronting the everyday details of intertwining their lives, it also has them tackling a range of relatable questions again. This round inspires plenty, in fact. Is there more than just chemistry between them? How much do shared interests count? Does a lack of commonalities cast a shadow, and their age gap as well? Will their routines knit together easily enough? Can they weather setbacks and roadblocks, unpack historical baggage and make space for a new way forward? How will their respective dating histories colour the first real serious relationship that they've each been in? Also, as they continue getting to know each other better — warts and all, and through secrets and surprises — will they still feel the same way? Ash and Gordon have another query to face at the outset of this new set of chapters: without Colin binding them together, who are they are a twosome? The first new instalment starts with a happy park playdate and all seeming being well, until it's revealed that the dog's former guardians are just pestering his new ones (Bump's Sam Cotton and Home and Away's Sophie Bloom), who'd really like them to go bark up another tree. From there, unexpected news, meeting family members, former flames and more await, all with their own tests. Plus, Ash's best friend Megan (Emma Harvie, In Limbo) and Gordon's counterpart Chiara (Genevieve Hegney, In Our Blood) are using the couple's home as a love nest while embarking upon an affair, while brewery employee Brett (Michael Logo, High Country) is being pushed out of home by his parents. Creators, writers and stars Dyer and Brammall keep performing their parts to perfection; given that they're married IRL and no strangers to working side by side (see: the also-excellent No Activity, which ran for two seasons between 2015–18), the charisma between them isn't hard to maintain. Neither is the naturalism in their portrayals, but they're not just playing themselves. As scribes, Dyer and Brammall are also particularly gifted with dialogue, ensuring that everything that the show's characters are saying always feels authentic. Sometimes the banter is amusing, sometimes it's heartfelt, and it can be acerbic and insightful, too — and all of the above combined — but it never sounds like something that works fine on the page yet no one would ever utter aloud. When it initially bolted out of the gate, Colin From Accounts was a fast homegrown hit, then had audiences overseas swooning as well. A series this genuinely funny, heartfelt and honest, and that manages to be light yet weighty and grounded, was always going to earn affection — and the same remains true in season two. Again, Dyer and Brammall have crafted a gem that bounces by with help from its directors (the returning Trent O'Donnell and Madeleine Dyer do the honours once more in season two, plus Summer Love's Robyn Butler and Wayne Hope), and that plays like hanging out with old friends. And yes, in lead, supporting and guest roles alike, casting is another of its treats — including with new additions such as Celeste Barber (Wellmania), Justin Rosniak (Wolf Like Me) and Aunty Donna's Broden Kelly (Aunty Donna's Coffee Cafe) this time around. Check out the trailer for Colin From Accounts season two below: Colin From Accounts season two streams via Binge from Thursday, May 30, 2024. Images: Lisa Tomasetti / Joel Pratley.
There's always something happening in New South Wales, no matter what time of the year. So whether you're a local looking for extravagant summertime surf carnivals on the coast or an interstater on the hunt for cosy winter festivities, there's something for everyone. So why not get a weekend getaway on the books? We've scoured the calendar for festivities taking place across the state, and here's our round-up of the outdoor events. Depending on where you go, you'll need some sunscreen, a good jumper or a couple of napkins. Adventure awaits.
Since 2011, DJ Tom Loud's travelling dance party Hot Dub Time Machine has ripped up stages the world over, offering a rolling crossfade of the last six decades of pop-music. But seeing as you can't go out and party at a club or even a vineyard at the moment due to the Government's ban on mass gatherings, Hot Dub is bringing the good times to your living room instead. Expect everything from 50s rock 'n' roll tunes to disco hits like ABBA's 'Gimme Gimme Gimme' and Donna Summer's sultry 'I Feel Love'; ballads and some glam rock from the 80s; Alex Dyson cutting aerobics-style moves to 90s hit 'Steal My Sunshine'; Darude's epic 'Sandstorm'; and Britney's 'Toxic' — you get the idea. Sure enough, this online dance party will have you pushing your furniture aside and heating up a makeshift at-home dance floor in no time. To add to the vibe, there'll be disco lights and a live chat going so you can socialise with other partygoers, plus Loud's family dancing in the background, keeping things wholesome. Hot Dub at Home occurs every second Saturday, kicking off a 6pm, and can be viewed on Twitch. Hot Dub has also launched podcast Decades by Hot Dub Time Machine which will keep you grooving till the next online boogie fest rolls around. Top image: Pat Stevenson
If you've already covered your dining table with jigsaw puzzles, spent hours live streaming koalas and are looking for something else to do with your house mate, why don't you organise a night of friendly competition and whip out some board games. Helping you do just that is Australia's newest subscription service. The Board Game Box, as it has fittingly been dubbed, delivers a new board game to your door each month. You can sign up for one ($20), three ($60), six ($120) or 12 ($220) months, with a $12.20 shipping fee. There's no word on exactly what games you'll be sent each month, but it's promising that boxes will contain "latest releases, as well as the classics board games" and images hint to the likes of Monopoly and chess. Board games not your thing? The same company also offers subscription puzzle boxes, Lego boxes and soap boxes. Check out all of the options over here. If you're sick of being on your screen — sliding down endless Twitter holes and glued to live streams — this may be the perfect antidote. If you can't get enough of your screen, however, check out our round up of the best virtual events. You can sign up to The Board Game Box over here.
It could've been a scene out of the series itself: when Felicity Ward learned that she'd be starring in the Australian version of The Office, she was in a memorable situation that couldn't better sum up the past five years. "I remember where I was. I was in New Zealand and I was about to do a COVID test — but in New Zealand, it's so gross. They don't stick a thingy up their nose. They spit into a tube. So you go into a booth and there's pictures of food, and you just have to try to summon the spit," she tells Concrete Playground. "And you have to get that much spit. And then there's someone next to you, 30 centimetres, 50 centimetres on the other side of this paper partition, and you can hear them. It's so fucking gross." "I was working on another show in New Zealand, and twice a week I had to go and do a COVID test in the centre," Ward continues. "So I was about to walk in and I got a call from my agent, and he was like 'hey, can I have a chat?'. I was like 'yeah, yeah'. And then he's like 'I would like to offer you the lead role in The Office' — and I think I cried. I'm pretty sure I cried. I was pretty excited." Now streaming all eight season-one episodes on Prime Video, the latest take on The Office doesn't just set up shop in Australia, in the Sydney office of packaging company Flinley Craddick, where Ward's (Time Bandits) Hannah Howard is the local Managing Director. It also firmly takes place in today's COVID-impacted world. The premise: attempting to capitalise upon the move to remote working post-lockdowns, and to also save money, Howard's employer wants to shut down its offices. As someone who sees her colleagues as family members — a fact that always sits at the heart of her OTT, awkward, chaotic and often-cringey behaviour — Sydney's head honcho couldn't be less onboard with the plan. As Ricky Gervais' (After Life) David Brent and Steve Carell's (Despicable Me 4) Michael Scott likely also would've in the same scenario, Howard makes a deal with her own boss (Pallavi Sharda, The Twelve). If her staff can hit their targets and find savings quickly, their office will remain open. Unsurprisingly, though, returning to Flinley Craddick IRL full-time isn't a particularly popular proposal with her team — which includes flirty sales staff Nick (Steen Raskopoulos, The Duchess) and Greta (Shari Sebbens, Preppers), HR rep Martin Josh Thomson (Young Rock), IT manager Lloyd (Jonny Brugh, What We Do in the Shadows), finance head Deborah (Lucy Schmit, The Pledge), fellow salesperson Tina (Susan Ling Young, Barons) and intern Sebastian (Raj Labade, Back of the Net) — although Howard's right-hand-woman Lizzie (Edith Poor, The Lord of the Rings: The Rings of Power) will always follow her lead. There's no stapler in jelly this time around, but there's still plenty that's recognisable — to viewers of the past two English-language versions of The Office, with the British OG running from 2001–03 and the American take airing from 2005–13, and to anyone who has ever worked in any iteration of its setting. One key difference, not only compared to the best-known versions of the show but also to their counterparts in Canada, Brazil, France, Germany, Chile, Israel, India, Poland, the Czech Republic, Greece, Sweden and Saudi Arabia: somehow, the Aussie The Office is the first with a female boss. Ward had only watched England's The Office before stepping into Howard's shoes. That said, her main source of inspiration didn't come from the screen — it was herself. We also chatted with the comedian and actor (and Wakefield, The Inbetweeners 2, Thank God You're Here and Spicks and Specks alum) about standing out in a franchise built on awkward bosses, her read on Hannah at her worst and best, and how all things The Office have evolved over the 23 years since the English version's debut. On What Ward Drew Upon to Play Hannah Howard "Just me. I did not draw upon any of my experience with other people. The character was so well written, I'm like 'she's annoying, I'm annoying, let's tap into that'. Before you got online, I was just sitting here singing Jack Harlow — and that is how I live. That is basically what Hannah is. There's so little distance between me and Hannah. I would hope that I'm slightly more charming than Hannah. I have more self-awareness than Hannah. But she does, to be fair, have a job. I had a job. I mean, my job at the moment is promoting a job that I had last year. But I don't have a salary, I will say that. Imagine having a salary!" On Ensuring That Ward's Version of an Awkward Boss Stands Out From the Others in a Franchise Built on Awkward Bosses "I didn't think about the other ones, to be honest. I just thought about it like it was a sitcom, and what would I do for this character? I read the script. I'm like 'I know who this character is'. And so I just did that, and then tried to be as stupid and as cringe as I could. Every single take, I tried to make people laugh — I tried to break them in scenes. That was the only thing I thought about. I'd never seen an episode of the American one until I'd finished filming the Australian one, so I wasn't drawing on anything from them. And then Ricky's character — 'Ricky', like we're mates. 'Hey babe!'. I've never met the man — that was a male boss in 2002 or 2003, or whatever. So there's no crossover really there even with the character, apart from the conceit of the show, which is so clever. And it's actually only since I've been doing interviews about it that it makes sense to me. It's that the audience are so embarrassed for the lead that they don't like them. The bosses are delusional. They they're not aware that other people don't like them. And then the second that the bosses start to have self-awareness, that they doubt themselves, the audience go 'oh no, you can't doubt yourself. We love you. We can doubt you, but you can't doubt you'. And it's so subtle. I think it's incredible to make a character that you don't necessarily like that you absolutely love." On How Ward Sees Hannah — and Ensuring That She Isn't Just OTT and Frustrating, But Genuine in Her Affection for Her Colleagues, and Also Vulnerable "I think that there's an enormous amount of heart to Hannah, which is embarrassing at points, but ultimately you do love her because of how much she cares. Even though she's a loser and she's very annoying, you do kind of want her to win. You want her to win definitely over her bosses. No one wants the big boss to win ever in any show. For me, it wasn't a balancing act because it's all written. Julie De Fina [Aftertaste], who is the head writer, and Jackie [van Beek, The Breaker Upperers] and Jesse [Griffin, Educators], they broke all the storylines together and they direct different episodes, and it was all on the page. I didn't have to go 'so how can I bring heart to this character?'. It was just in the script. In the Melbourne Cup episode — I don't want to give the plot away for anyone — but when she sort of gets her heart a little bit broken, my entire teenage years I was in love with my friends, my male friends, and I was like 'I know, I'll just be really matey with them and really aggressive, and rip the piss out of them and try to beat them in shit. And that how they'll like me'. Yeah, great, great equation there. So when the character Danny's like 'oh yeah, I'm doing this other thing', it was so easy for me to go 'oh yeah, do you remember the years 1992 to 1998, Felicity? Why don't you think about that while you're doing this thing?'. So it was easy." On What Makes an Australian Version of The Office Unique "I don't know if you're from a funny family, but I remember trying to explain to someone else why my family was funny, and I couldn't do it. But I know when we're all together why we're funny and what would make us laugh. Trying to explain to other people why this is an Australian show, apart from the fact that Julie is Australian — I was going to say we're all Australia, but we're not, half the cast are Kiwis — it's just intrinsic to the characters. It's implicit in the workplace. And what's been amazing is speaking to people who have worked in corporate, who've gone 'oh my god, this thing happened to me, and this thing happened to me that happened in the show. And that thing when Hannah did this, my boss used to do that all the time'. Obviously Julie and Jackie and Jesse — the three Js, cute! — they know the world, they understand the world, and they just write the world in a way that resonates with people that have watched it so far." On Why The Office's Brand of Workplace Sitcom Still Appeals to Audiences 23 Years After the First One — and How It Has Evolved "I suppose what's fascinating is how relevant it's become. I don't work in an office, I don't work in corporate, I never have, I'm hospitality till I die, but I thought the conversation about working from home, working in the office, I thought that had wound up. I thought we'd come to the end of that and the show would still be post-COVID and it wouldn't be time-stamped, so it would still be relevant. But this conversation has come up again in the last month, that people are still trying to get everyone back to working in the office full time. And so it's become even more relevant again. So the timing of it is pretty good. I think if you're going to remake a show 23 years later, there has to be a point of difference. The fact that it's Australian — it will be uniquely Australian because it's Australian, and because we are Australian and Kiwi, it will be antipodean. And then I think the reason to do it 23 years later is to have a female boss. I think that's the only reason you remake it, because you're doing something so wildly different. The American Office came out, what, like three years after the British one? Something like that. And there was — I was there — there was a big backlash at the time. And then in the second season, it started writing its own scripts and it became its own show. I had never seen an episode of the American Office until we'd finished filming our one, and I watched it and I'm like 'these aren't the same show'. There's echoes of the same vehicle, but they're so brilliant, both of them. They do their own thing and they operate in their own world, and they love it. And hopefully ours does the same thing." The first season of the Australian version of The Office hit Prime Video on Friday, October 18, 2024. Images: John Platt and Prime Video, © BBCS and Bunya Entertainment.
UPDATE, January 15, 2021: John Wick: Chapter 3 - Parabellum is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube Movies and iTunes. Cinematic beauty comes in many forms, and the John Wick franchise perfects one of them. The term 'balletic' couldn't better describe the series' hypnotic action sequences, with its array of frenetic fights and carnage-dripping set pieces all meticulously choreographed like complex dance routines. In fact, when ballerinas actually pirouette across the screen in John Wick: Chapter 3 — Parabellum, they seem bland in comparison. As 2014's John Wick and 2017's John Wick: Chapter 2 proved, murderous mayhem has rarely looked as stunning as it does in this ultra-violent saga. Whether its eponymous assassin is unleashing his fury with fists, firearms or knives (or, in the latest flick, killing one enemy with a book and dispatching others by wielding a horse as a weapon) the result is simply exhilarating to watch. As played with the steely stoicism that Keanu Reeves wears oh-so-well, John Wick finds many other ways to eradicate his adversaries in Parabellum. Motorcycles aren't just for riding, belts don't only hold up pants, and attack dogs, swords and axes all come in handy. With the movie energetically picking up where the last film left off (mere moments afterwards, to be exact), the retired triggerman isn't short on opportunities to unleash his deadly flair. In the first flick, he was lured back to the hitman life after his car was stolen and his puppy killed, while the second chapter chronicled the savage fallout not only from his vengeance, but from his determination to stay retired. Now, after breaking the assassin code, there's a $14 million bounty on his head — and dear Jonathan, as his friend and hotelier Winston (Ian McShane) calls him, has been cut off from the slick facilities and tools of his underworld profession. With its name meaning 'prepare for war' in Latin, Parabellum follows John's kill-or-be-killed quest, pitting the supremely skilled hitman against the rest of the world's contract murderers. To the surprise of no one, copious amounts of bloodshed results. The story ponders loyalty, purpose and honour, however the details don't overly matter, with returning screenwriter Derek Kolstad and his three co-writers throwing everything they can at their anti-hero. That includes old acquaintances (Anjelica Huston and Halle Berry), difficult head honchos (Jerome Flynn and Saïd Taghmaoui), a fanboy foe (Mark Dacascos) and an adjudicator (Asia Kate Dillon) tasked with punishing John's misdeeds — as well as the return of Reeves' Matrix co-star Laurence Fishburne as the king of New York's gun-toting homeless population. They're all grist for the mill; with more characters and conflicts comes more excuses for the franchise's trademark visual displays. Every actor should hope that their former stunt double becomes a director, because it's turning out swimmingly for Reeves and Chad Stahelski. Like its predecessors, Parabellum blends a martial arts movie's dizzying moves with a shoot 'em up thriller's murky mood, and the ex-Matrix stuntman turned filmmaker delivers both superbly. The climactic showdown throws a few blows too many, as does the 132-minute flick itself, but that's a minor complaint after such an enjoyable onslaught of brutal brawls mixed with brooding glares. Set in dazzling glass surroundings, the film's final confrontation also demonstrates something that the John Wick series doesn't always get enough credit for: its sumptuous production design. Battles that unfurl like performances, placed in spaces that look like art — it's still a winning combination, with Stahelski expertly assisted by two-time franchise cinematographer Dan Laustsen and production designer Kevin Kavanaugh, as well as three-time stunt coordinator Jonathan Eusebio. John Wick's commitment to fleshing out the rules and requirements of the assassin life has always gone hand-in-hand with its action and aesthetics, too, building an involving world that's both sleekly stylised and lived-in. Of course, all of that sheen and fury would mean nothing without the right person at its centre. Gifted a role that ranks alongside Theodore 'Ted' Logan, Johnny Utah and Neo in the iconic stakes, Reeves continues to be the series' not-at-all-secret weapon. Parabellum's painstakingly staged frays are a sight to behold, but they prove all the more powerful when paired with its star's piercing stare and calm demeanour. It's a part that Reeves could play forever; here's hoping that he does. https://www.youtube.com/watch?v=_BULB0aX4lA
Stuff. I know I have too much of it. And storage? Far too little. This weekend I just finished reading What's Mine Is Yours, a book by Rachel Botsman and Roo Rogers advocating collaborative consumption. Basically, it talks about all the avenues through which people swap, share, barter, trade and rent on a massive scale with the help of communication technologies like the interwebs. I was left staggered by the sheer amount of stuff I own which spends most of its time in my possession gathering dust. How exciting, then, to stumble upon a solution to my problem both local and nation-wide in its reach. The Garage Sale Trail will be held on Sunday, April 10 this year in backyards, front yards and garages right across Australia. You can register your garage sale on the website, and on the day people can hop between garage sales in their local area. Pop in your post-code to check out what's near you. The pilot project held in Bondi last year attracted droves of people, emptied ATMs in the area and saw the equivalent of 15 shipping containers of goods exchanging hands. Sounds like a pretty sweet way to get sustainable. https://youtube.com/watch?v=AuOBz7FF7z4
Moving castles have become abandoned mansions, and adventurous kids are now asthmatic outsiders, as you may have noticed if you've been keeping up with Studio Ghibli's recent films. It seems like everyone's favourite Japanese animation house is growing up and getting serious; however, that might not be all that's behind their change in mood. With no new features slated, they might be shutting up their movie-making shop — or so it has been rumoured. Perhaps that's why the studio's output over the last year has felt a little more melancholy and contemplative, and why tissues have become a necessary viewing accessory. The great Hayao Miyazaki's swan song, The Wind Rises, and co-founder Isao Takahata's latest effort, The Tale of the Princess Kaguya, already tested tear ducts, and When Marnie Was There does so again. If this is the last Ghibli movie, then the tale of 12-year-old Anna (voiced by Sara Takatsuki) offers a fitting farewell. Above all else, it tells of the importance of friendship, acceptance, understanding and looking to the past to embrace the future, recurring themes in the studio's work. A foster child usually found alone with her sketchbook in hand, Anna is isolated and unhappy. That doesn't change when she is sent to stay by the seaside with her adoptive relatives — but then she spies a house surrounded by marshland, and meets the girl who lives there, Marnie (Kasumi Arimura). When Marnie Was There is based on the 1967 British novel of the same name, and while the film isn't exactly old-fashioned, it is relaxed and reflective, even for an animation house known for making movies unlike any others. The second effort — and the second such book-to-screen adaptation — from director Hiromasa Yonebayashi after 2010's The Secret World of Arrietty, it takes its time not just to get to know Anna and her new pal, but to let the audience into their headspace. It's an approach that's crucial to the feature, with the journey Anna takes in finding her sense of self more important than anywhere she might wander — and the bond she forms with Marnie more engrossing than anything else she might encounter. It also fits in with the mystery surrounding the titular character, who only Anna can seem to see, and only under certain circumstances. As well as building character and intrigue, the slower pace leaves plenty of room for the kind of gorgeous visuals Studio Ghibli is known for, painstakingly hand-drawn and -painted. Indeed, that the film looks a treat can almost go without saying, except that Yonebayashi uses his beautiful images to thrill as much as enchant. There are a few darker turns in this tale, and the filmmaker is just as skilled at conveying pain and sadness as he is at creating magic and wonder. If it sounds like another bewitching gem, that's because it is — but if it sounds like something a little different, that's because it's that, too. When Marnie Was There is compiled from the same parts as other Ghibli fare, but it really does feel like a film studio saying goodbye. Expect sorrow from the sweet and soulful story about finding a place to belong. Expect more from the possibility that this could be the last movie from the beloved studio.
Situated in Gippsland's east, Tinamba is just a speck on the map with a population of around just 500 people. But locals are likely to consider themselves pretty lucky with the local Tinamba Hotel offering up some great pub food — some of Victoria's best, in fact. Most of the pubs in the surrounding area offer a more ridgy-didge atmosphere but Tinamba Hotel is where you can get a more refined feed without fear of straying into pretentiousness. Plus, it's located just over halfway along the Gippsland Plains Rail Trail, making it an excellent pit stop to refuel if you're planning a cycling excursion. Menus change frequently, often highlighting locally grown produce, including fresh herbs and vegetables straight from the hotel garden, through dishes that take your pub classics to elevated heights. For dinner, there are freshly shucked oysters to start, while the braised ox cheek makes for a good winter dish. For those hunting for a bargain, the lunch menu offers incredible value with two courses for $35 or three courses for $45. Images: Visit Victoria
The war on waste isn't just about banning plastic shopping bags, recycling plastic drink containers, phasing out plastic straws and finding alternatives to disposable coffee cups. That's a great start, but humanity's reliance upon single-use plastics includes cutlery, plates, stirrers, cotton buds and more. Europe has pledged to stop using such items by 2021, building upon similar decisions in the UK and France, while Australia is working towards banning all non-recyclable packaging by 2025 — but one Aussie state is considering taking matters into its own hands. As reported by the ABC, the South Australian government is exploring implementing its own ban on single-use plastic items. It has been proposed by SA Environment Minister David Speirs, who is calling for public feedback on the plan by releasing two discussion papers. SA was the first state in the country with a container refund scheme, introducing its 10-cent refund for eligible items back in 1977 — and causing an entire generation of interstate dwellers to grow up making jokes about driving a haul of cans and bottles to Adelaide to collect some cash. It was also the first state to phase out lightweight plastic bags, a move that came into effect in 2009. In comparison, New South Wales only brought in container refunds in 2017 and is yet to commit to banning single-use plastic bags. Victoria doesn't have a container refund scheme on the horizon, but will phase out plastic bags in 2019. And Queensland enacted both container refunds and a plastic bag ban in 2018. According to The Advertiser, SA will also contemplate changing both of its successful existing regimes, including possibly expanding the plastic bag ban to thicker plastics and changing the 10-cent refund amount on recyclable containers. While action at a government level continues to take its time across the country — apart from in Hobart, where takeaway containers are set to be banned next year — companies have been stepping in themselves. McDonalds will remove plastic straws from its packaging by 2020, IKEA is phasing out single-use plastics by the same year, Melbourne's Crown Casino is cutting down its plastic usage and Portuguese charter airline Hi Fly is committed to becoming the world's first single-use plastic free airline by the end of 2019. Via the ABC / The Advertiser.
In 2010, director Matthew Vaughn gave us his tongue-in-cheek take on the superhero genre with the hyperactive action-comedy, Kick-Ass. Five years later, he turns his attention to the spy movie, with similarly electrifying results. Adapted, as was Kick-Ass, from a graphic novel by Mark Millar, Kingsman: The Secret Service is popcorn entertainment at its finest: funny, exciting and immaculately paced, never once bogged down by grit or self-importance. Colin Firth crackles as Agent Harry Hart, a gentleman spy for a privately run espionage agency operating “at the highest levels of discretion”. After the death of a colleague, Hart finds himself on the trail of nefarious billionaire Richmond Valentine (a lisping Samuel L. Jackson), whose plan to save the planet may come at the expense of the people living on it. At the same time, Hart also finds himself mentoring teenaged hoodlum Eggsy (Taron Egerton), in whose defiant eyes he sees a glimmer of Kingsman potential. Vaughn shoots the film with the giddiness of a 12-year-old, one who just stepped out of his very first spy movie with dreams of saving the world. The antithesis of the Craig-era Bond flicks, Kingsman never tries to justify its own absurdity, but rather rockets along with such irreverent energy that you can’t help but get caught up in all the fun. Explosions of over-the-top violence dominate the second half, although it’s all far too cartoonish to cause any serious offence. The action is propelled by a rousing orchestral score, courtesy of regular Vaughn collaborators Matthew Margeson and Henry Jackman. The movie’s cast is excellent across the board. Firth could play a suit-clad toff in his sleep, but he also makes for a surprisingly convincing action hero — and listening to him drop F-bombs while dispatching thugs with his umbrella is a singular pleasure no other film can provide. Jackson is a job as the villain of the piece, while young Egerton has the makings of a star. Mark Strong and Michael Caine round out the ranks of the secret service, although it’s a shame that the latter isn’t given a little bit more to do. After a January packed with high-minded Oscar films, Kingsman: The Secret Service is a much needed blast of fresh air. If you’re looking for a fun night out at the movies, don’t hesitate to pick up a ticket.
UPDATE, December 7, 2020: Game Night is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Game Night is a comedy of such extreme highs and lows, if you plotted it on a graph it would look like the EKG of a heart attack victim. It's a film with some outstanding moments, as well as some truly awful ones. It's got terrific characters alongside characters so thin and underdeveloped they barely feel like characters at all. It takes a familiar setup, only to dispense with it far sooner than you'd expect. It is, in short, an epic mixed bag, one that some will regard as a disappointing film with redeeming qualities, and others as a great farce let down by its weaker moments. Neither perspective is strictly unfair, but the latter perhaps feels closer to the mark – especially since the film never pretends to be anything more than what it is. Game Night is directed by John Francis Daley and Jonathan Goldstein, the same duo responsible for both the awful Vacation reboot and the surprisingly funny Horrible Bosses series. It stars Jason Bateman and Rachel McAdams as Max and Annie, two competitive trivia nerds who fall in love via their mutual love of games and who, once married, host regular game nights for their friends (Lamorne Morris, Billy Magnussen and Kylie Bunbury). Things go awry, however, when Max's older, more handsome and definitely more successful brother Brooks (Friday Night Lights star Kyle Chandler) returns home and raises the stakes by hosting a kidnap game in the vein of a murder-mystery night. The twist? Brooks gets kidnapped for real right in front of them and the players have absolutely no idea. The scenes that follow centre almost exclusively on that easy source of dramatic irony, with the characters bumbling around absent any idea of how much danger they're in. But, as we mentioned above, Game Night shows its cards on that front before things get too tired, and instead invents newer, fresher story threads to carry things forward. Performance wise it's all very familiar territory for Bateman, playing the outwardly-polite, inwardly-screaming suburbanite he's inhabited ever since Arrested Development. McAdams is similarly likeable if also largely unchallenged, saving her best stuff for the film's few (relatively) serious moments. We also get some fun cameos from the likes of Danny Huston, Michael C. Hall and Sharon Horgan – although the scene-stealer award goes to Jesse Plemons, whose creepy neighbour character lands a near-perfect laugh-per-line scorecard. At its best, Game Night is laugh out loud funny, subverting some classic comedy tropes and delivering scores of killer one-liners. On the flip-side, its secondary characters are flat and underwritten (Magnussen's in particular), throwing down the kinds of punchlines you can see coming a mile off. Even so, it's probably one of the better Hollywood black comedies we've seen in the last few years, and ultimately entertains enough to justify the price of admission. https://www.youtube.com/watch?v=fNtLIcyjsnI
Two years after The Mandalorian gave the Star Wars franchise its first live-action TV spinoff — and a year after the show's second season hit streaming — The Book of Boba Fett is about to deliver a new dose of bounty hunter thrills. This time, Disney+'s latest addition to a galaxy far, far away will focus on the famed eponymous character that dates back to the 70s, with New Zealand actor Temuera Morrison (Occupation: Rainfall) donning Boba's helmet and armour in the new streaming series. Morrison played the role in The Mandalorian, too, after initially joining the franchise back in 2002, in Star Wars: Episode II — Attack of the Clones, as Jango Fett — the OG bounty hunter who provided the genetic template for Boba. So, this is a series with a history in multiple ways. Set to start streaming on Wednesday, December 29, The Book of Boba Fett will follow its namesake and mercenary Fennec Shand (Ming-Na Wen, Mulan) as they head to Tatooine. There, they're trying to control the territory once overseen by Jabba the Hutt and his crime syndicate. Unsurprisingly, that requires navigating the galaxy's chaotic underworld — and, as the just-dropped trailer for the series shows, that whole process isn't going to go smoothly. If you watched The Mandalorian, you should already be primed to spend more time with Boba. If you're just a dedicated Star Wars fan in general, clearly that's long been the case. And while this will only mark Disney+'s second jump into the Star Wars realm, plenty more is in the works. So, in the next few years, you can look forward to another season of The Mandalorian, a prequel to Rogue One: A Star Wars Story focusing on Cassian Andor (Diego Luna, If Beale Street Could Talk), a series about Obi-Wan Kenobi starring Ewan McGregor (of course), and other shows about fellow Star Wars characters Ahsoka Tano (Rosario Dawson, Zombieland: Double Tap) and Lando Calrissian (as initially played Billy Dee Williams, and also by Donald Glover in Solo: A Star Wars Story). There's also a new mystery-thriller from Russian Doll's Leslye Headland on the slate, too, called The Acolyte. Check out the trailer for The Book of Boba Fett below: The Book of Boba Fett will start streaming via Disney+ on Wednesday, December 29. Top image: © 2021 Lucasfilm Ltd.
Dark Mofo might be taking a breather in 2024, but Tasmania's Museum of Old and New Art (MONA) will still be embracing summer at Mona Foma. The sunny counterpart to the Apple Isle's moody winter fest has locked in its 2024 return from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. It has also dropped one helluva getaway-worthy lineup. [caption id="attachment_923130" align="alignnone" width="1920"] Andreas Neumann[/caption] Back in October, Queens of the Stone Age were revealed as the first act on Mona Foma's program for the year. They're joined by Courtney Barnett, TISM, Paul Kelly, Mogwai, Shonen Knife and Cash Savage and The Last Drinks, for starters. If you don't know where to start, the quintessential Mona Foma experience is the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can catch live music from international artists on the sprawling museum lawns. Arrive on a camouflage ferry before exploring one of Australia's most innovative museums. Then, enjoy back-to-back performances by Scottish rockers Mogwai and Japanese band Shonen Knife, joined by fellow overseas talents Holy Fuck, Wednesday, Michael Rother + Friends (playing Neu! songs) and Lonnie Holley with Moor Mother and Irreversible Entanglements. Now that TISM are back playing live together, the Australian legends will bust out 'Greg! The Stop Sign!', 'Whatareya' and 'Ol' Man River' at Cataract Gorge. The Ron Hitler-Barassi-led band are part of a free one-day event at the stunning site during Mona Foma's Launceston weekend, as are Cash Savage and The Last Drinks. Head along and you'll also enjoy morning meditations to start the day and hear from Mulga Bore Hard Rock and FFLORA + Grace Chia. [caption id="attachment_926553" align="alignnone" width="1920"] Steve Cook[/caption] More on the music program: Darren Hanlon, Bree van Reyk and the Tasmanian Symphony Orchestra are teaming up; French Korean siblings Isaac et Nora will perform Latin-American songs they've learned by ear; and Barelona-based producer Filastine and Indonesian singer Nova will provide live tunes on a 70-tonne sailing ship to muse on the climate crisis. DJs will get spinning beneath James Turrell's Armana at Mona and artists will be hitting up the Frying Pan Studios to jam and record. Emeka Ogboh's contribution to the festival is another big highlight. In the immersive exhibit Boats, the Nigerian artist ponders migration in a sensory experience that boasts its own gin — made with native Tasmanian and West African botanicals — alongside snacks, conversation and a sound installation. [caption id="attachment_926554" align="alignnone" width="1920"] Wei-Tsan Liu[/caption] Also set to impress: Taiwanese artist Yahon Chang will be painting on a 20-by-15-metre canvas at Princes Wharf 1 with a human-sized brush in a performance that'll blend calligraphy, art, meditation, kung fu and tai chi. Other program standouts include the world premiere of Justin Shoulder's Anito; Dancenorth's latest production Wayfinder, which includes Hiromi Tango on design duties and music from Hiatus Kaiyote; the return of party venue Faux Mo at The Granada Tavern; and a Street Eats food and drink market pop-up with a lineup of musical guests. [caption id="attachment_784488" align="alignnone" width="1920"] MONA/Jesse Hunniford, Robin Fox laser installation at the Albert Hall, Launceston, Mona Foma 2019[/caption] Nab your tickets now at the Mona Foma website. You can also book your getaway package through Concrete Playground Trips. Top images: Moshcam, Pooneh Ghana, Akira Shibata. All images courtesy of the artist and Mona Foma.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Reality is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE There's nothing small about Hollywood's superhero obsession, with its 30-movies-deep-and-counting cinematic universes, competing caped-crusader realms, ever-growing spread across screens big and small, and determination to enlist every actor ever (and some actors more than once). That decades have passed, many spandex-clad characters have cycled through a few faces now, and reuniting past and present versions of beloved crime-fighters is the current trend: none are minor matters, either. And yet, when 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made those flesh-and-blood flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. Five years later, the first sequel to the deservedly Academy Award-winning masterpiece plasters around the same sensation like a Spidey shooting its silk. Give this latest take on Stan Lee and Steve Ditko's iconic character by directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer) 2024's Best Animated Feature Oscar immediately. All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so astonishing and exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because as the Spider-Verse movies tell of Miles Morales (Shameik Moore, Wu-Tang: An American Saga), Spider-Gwen (Hailee Steinfeld, Hawkeye), Peter B Parker (Jake Johnson, Minx), Miguel O'Hara/Spider-Man 2099 (Oscar Isaac, Moon Knight) and more, they truly do whatever a Spider-Man movie can. Spider-Man: Across the Spider-Verse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOY RIDE Before it busts out licking lucky cats, K-pop-style Cardi B covers, cocaine enemas, threesome injuries and intimate tattoos, Joy Ride begins with a punch. For most of the movie, Audrey Sullivan (Ashley Park, Beef) and Lolo Chen (Sherry Cola, Good Trouble) are nearing 30, travelling in China and going on a wild journey in a gleefully raucous comedy. In the 1998-set prologue in White Falls, Washington, though, they're five-year-olds (debutants Lennon Yee and Milana Wan) first meeting, being taunted by a racist playground bully and responding with the outgoing Lolo's fist. Crazy Rich Asians and Raya and the Last Dragon screenwriter Adele Lim uses her directorial debut's opening scene not just to start a fast and firm friendship, but to establish the film's tone, sense of humour and, crucially, its willingness to fight. Joy Ride will ultimately get sentimental; however, this is a movie that beats up cultural prejudices and stereotypes by letting its four main female and non-binary Asian American characters grapple with them while being complicated and chaotic. Hollywood should be well past representation being such a noteworthy factor. That should've happened long before Bridesmaids and Bachelorette gave The Hangover's template a ladies-led spin more than a decade ago, and prior to Girls Trip spending time four Black women on a raucous weekend away six years back. Reality proves otherwise, sadly, so Joy Ride openly addresses the discrimination and pigeonholing slung Audrey, Lolo, and their pals Kat (Everything Everywhere All At Once Oscar-nominee Stephanie Hsu) and Deadeye's (comedian and movie first-timer Sabrina Wu) ways — and in Audrey's case, after being adopted as a baby by the white Sullivans (The Recruit's David Denman and Bridesmaids' co-writer Annie Mumolo), internalised. With its booze- and sex-fuelled antics, Lim's film could've simply been formulaically entertaining, just with Asian American characters in Asia. It certainly doesn't hold back with its raunchy setpieces. But it's a better and more thoughtful feature because it engages with the diasporic experience; "I'm just a garbage American who only speaks English," Audrey chides herself, which the picture she's in unpacks. Joy Ride is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO HARD FEELINGS Has Jennifer Lawrence entered her Jennifer Coolidge era? With the spirit of American Pie lingering over No Hard Feelings like unpaid property taxes — a pivotal part of the movie's plot — the Silver Linings Playbook Oscar-winner and Winter's Bone, Hunger Games, X-Men and mother! star is flirting with that direction and loving it. No one sticks their genitalia in a warm home-baked dessert or talks about band camp in Lawrence's latest film, but it is a sex comedy about an inexperienced teenager that includes parents giving clumsy advice. It also involves getting lucky with an older woman; while Lawrence is only 32 and plays it here, an age gap — as well as the chasms between millennials and zoomers, and with the generations prior — is essential to the narrative. The spirit of Coolidge, a game Lawrence, gags about Hall & Oates' 1982 earworm 'Maneater' — a storyline that somewhat riffs on its lyrics, in fact — and battles over class, generational differences and gentrification: that's No Hard Feelings. Based on a real-life Craigslist ad, it's also the next movie from filmmaker Gene Stupnitsky, who penned Bad Teacher and made his feature directorial debut with Good Boys. Where the latter took a Superbad-esque setup but swapped 17-year-olds out for sixth graders, his second flick as a helmer tells a coming-of-age tale on two levels. Percy Becker (Andrew Barth Feldman, White Noise) is the introverted brainiac whose helicopter parents (Daybreak's Matthew Broderick and Life & Beth's Laura Benanti) want to live a little before he hits Princeton University, while Maddie Barker (Lawrence, Causeway) is the bartender and Uber driver who's been in a state of arrested development ever since giving up her plans to surf California's beaches when her mother got sick. No Hard Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ELEMENTAL When Pixar is at its best and brightest, the animation house's gorgeous and heartfelt films flow across the silver screen. They glow with colour, creativity, sincerity and emotion. In movies such as WALL-E, Inside Out, Soul, Toy Story 4, Up and Ratatouille, the Disney-owned company's work floats beyond the ordinary as it flickers — and yet, it's also grounded in genuine feelings and insights, even while embracing the now Pixar-standard "what if robots, playthings, rats and the like had feelings?" setup over and over. Accordingly, it makes sense that the studio's Elemental draws upon the sensations that its features usually inspire. It seems like something that was always destined to happen, in fact. And, it's hardly surprising that its latest picture anthropomorphises fire, water, air and earth, and ponders these aspects of nature having emotions. What's less expected is how routine this just-likeable and sweet-enough film is, with the Pixar template lukewarm instead of an inferno and hovering rather than soaring. Elemental also treads water, despite vivid animation, plus the noblest of aims to survey the immigrant experience, opposites attracting, breaking down cultural stereotypes and borders, and complicated parent-child relationships. The Captain Planet-meets-Romeo and Juliet vibe that glinted through the movie's trailers proves accurate, and also something that the feature is happy sticking with exactly as that formula sounds. Although filmmaker Pete Sohn (The Good Dinosaur) draws upon his own upbringing as the son of Korean expats growing up in New York City and its distinctive neighbourhoods — that his family ran a grocery store is worked in as well — and his own marriage, his second stint as a director is too by-the-numbers, easy and timid. Elemental looks like a Pixar film, albeit taking a few visual cues from Studio Ghibli in some character-design details (its bulbous grassy creatures noticeably resemble Totoro), but it largely comes across like a copy or a wannabe. Elemental is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LITTLE MERMAID For anyone without a scaly tail, communing with the ocean can be a routine dip, a refreshing splash or a sail into choppy waters. In Disney's latest dance with merpeople and the humans that its main mythical sea creature yearns for (and desperately wants to learn more about), all three prove true. The next in the Mouse House's long line of live-action remakes — albeit with ample CGI helping to bring its sea-dwelling characters to life, but no hand-drawn animation — the new The Little Mermaid from director Rob Marshall (Mary Poppins Returns) is often content to wade where its beloved 1989 predecessor went before. That's the Disney do-over standard. Sometimes, though, this new effort is its own delightful paddle; when 'Under the Sea' echoes against a literal sea of colour, movement, creatures and energy, it's a dazzling Golden Age Hollywood-esque spectacular. There's no escaping the movie's bloat when it's not merrily floating, however, due in no small part to inflating the storyline from the original's 83 minutes to a hefty 135 minutes. This day at the cinematic beach — glowing highs and waterlogged lows included — keeps the same basic narrative that viewers loved 34 years ago, as loosely inspired by Hans Christian Andersen's 19th-century fairy tale of the same name. A quote from that text opens the film as Alan Menken's revisited Oscar-winning score starts to swell, advising "but a mermaid has no tears, and therefore she suffers so much more". The curious and adventurous Princess Ariel (Halle Bailey, Grown-ish) cries through her siren's song instead, lamenting the strict no-humans rule enforced by her father King Triton (Javier Bardem, Lyle, Lyle Crocodile). And, in rebellious teen-style, she acts out by sneaking off to scour the ocean floor's shipwrecks with her fish best friend Flounder (voiced by Jacob Tremblay, Luca), even when Sebastian the crab (Daveed Diggs, Snowpiercer) is tracking her every move, and stashing trinkets from the world on land in a secret cave. The Little Mermaid is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOHN FARNHAM: FINDING THE VOICE There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. John Farnham: Finding the Voice is available to stream via 7plus, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INSIDIOUS: THE RED DOOR Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Insidious: The Red Door is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. TRANSFORMERS: RISE OF THE BEASTS In the breakout movie of 2022, Michelle Yeoh was everything and everywhere. Multiverses are like that. Now, the Oscar-winner voices a space-robot peregrine falcon in Transformers: Rise of the Beasts, and viewers should wish that this only existed in Everything Everywhere All At Once's kaleidoscope of realities. Alas, in this very realm, the newest Transformers film is indeed flickering through projectors. The toy-to-screen series it belongs to is now seven live-action entries in and — apart from 2018 spinoff-slash-prequel Bumblebee — largely still as dull as a smashed headlight. Set in 1994, the current instalment is a sequel to the last 1987-anchored franchise flick, which focused on the yellow-hued mechanised alien that can morph into a car, and also a prequel to 2007's saga-spawning Transformers. It draws upon the Transformers: Beast Wars animation, comics and video games, too, and feels in every frame like a picture that purely exists to service intellectual property that does big box-office business (2011's Transformers: Dark of the Moon and 2014's Transformers: Age of Extinction each made over a billion dollars). Michael Bay, Hollywood's go-to director for maximalist action carnage, might've been enthusiastic about Transformers when he started the silver-screen series nearly two decades back — the Ambulance filmmaker was definitely devoted to crashing together pixels replicating chrome in all five titles he helmed, including 2017's Transformers: The Last Knight — but these movies can't be anyone's passion projects. They show zero feeling, and seem to keep rolling out because the saga assembly line has already been established. New faces and a new guiding force behind the lens (director Steven Caple Jr, Creed II) can't dislodge that sensation with Transformers: Rise of the Beasts. The five-person team responsible for the script give no signal that they even wanted to. The feature's latest two leads (In the Heights' Anthony Ramos and Swarm's Dominique Fishback) do resemble people better than most flesh-and-blood characters in the Transformers world, welcomely, although one gets a sick-kid backstory and another a bad boss. Were the Transformers themselves asked to write the most cliched screenplay they could? Transformers: Rise of the Beasts is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June and July, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
Has that hectic peak hour traffic got you dreaming about a more carefree commute? Well, if Uber's ambitions are realised, flying vehicles could be cruising the skies of Sydney and Melbourne as early as 2023. In October last year, the ridesharing company unveiled plans for its Elevate project, which would see it develop a network of on-demand, electric aircraft that could take off and land vertically, ideal for congested city zones. And while there are plenty of others pushing the concept of flying vehicles internationally, (like Kitty Hawk's futuristic vehicle prototype and Airbus' driverless flying taxis) it looks like Uber's plans might involve Australia in a significant way. Talking to the Australian Financial Review, Uber's chief product officer Jeff Holden has revealed that, after launching the Elevate cars in Dallas and Dubai in 2020, the company's sights are set further afield — and our two largest cities, Melbourne and Sydney, could be enjoying a slice of the action in a secondary 2023 roll-out. According to Holden, Sydney's nightmarish congestion issues mean the city is prime turf for the company's urban air transport trials. Anything to avoid getting stuck in the Harbour Tunnel at 5.45pm. Word is, Uber's multi-passenger flying cars will look and act a bit like helicopters, but use multiple propellers and rechargeable batteries. The company would also develop a series of rooftop 'vertiports' across each city, where aircraft will take off, land, and recharge. Apparently a daily flight to the office won't even send you broke, with Elevate fares expected to hover around the same price as your average UberX trip, once the project's fully established. Looks like we might be using The Fifth Element-style taxis way before 2263. Via Australian Financial Review and news.com.au.
Australians are devastated after the Bondi terror attack that killed 16 people and injured dozens on Sunday night. As emergency services continue to treat victims, authorities are urging those who can to donate blood and offer support to the affected communities. New South Wales Premier Chris Minns praised frontline healthcare workers, referencing "extraordinary scenes" in hospitals overnight. "[healthcare workers] did an incredible job, but they need your help. They need blood, and if you're thinking about doing an act of public service in the coming 24 hours, I urge you to contact the Red Cross and do that piece of public-mindedness," Minns said. View this post on Instagram A post shared by Chris Minns (@chrisminnsmp) The Australian Red Cross Lifeblood confirmed it issued several life-threatening orders for blood products following the attack and has begun transferring supplies from other states to meet demand. A spokesperson said the need is ongoing, particularly for O-negative donors, whose blood can be used in any emergency case. "Fewer than seven percent of the population are O-negative, making it a challenge," Lifeblood said. "In the event of a serious trauma or emergency, up to 100 blood donations may be needed to save just one life." Cath Stone, Executive Director of Donor Experience at Lifeblood, said donating blood is one of the most practical ways Australians can help right now. "When tragic events occur, donating blood is a good way to help people," she said. "To donate blood or plasma, visit lifeblood.com.au, call 13 14 95 or download the Lifeblood app." View this post on Instagram A post shared by Australian Red Cross (@redcrossau) Across Sydney, hospitals continue to operate at a trauma level, and queues have formed outside donor centres. Blood from interstate is also being sent to New South Wales to meet urgent demand. Local and faith leaders have urged Australians to stand with Sydney's Jewish community and others directly affected. Organisations including Lifeline Bondi, Headspace Bondi Junction and The Junction Neighbourhood Centre are offering free mental health and counselling support. Where to donate Major Lifeblood centres in Sydney include Town Hall, York Street and Parramatta, with extended hours this week. Temporary collection sites have also opened in Bondi Junction and Coogee. Appointments can be made at lifeblood.com.au through the Lifeblood app, or by calling 13 14 95. If you need help If you are struggling with your mental health in the wake of the attack, help is available 24/7. Call Lifeline on 13 11 14, NSW Mental Health Line on 1800 011 511 or the Kids Helpline on 1800 55 1800. Images: iStock
UPDATE, December 23, 2021: The Lost Daughter released in select Australian cinemas on Thursday, December 16, and will be available to stream via Netflix on Friday, December 31. Watching Olivia Colman play a complicated woman is like staring at the ocean: it's never the same twice, even just for a second; it couldn't be more unpredictable, no matter how comfortable it appears; and all that surface texture bobs, floats, swells, gleams and glides atop leagues of unseen complexity. That's always been true of the British actor's absolute best performances, which could fill any body of water with their power and resonance. It's there in her acidic work in The Favourite, which won her an Oscar, and also in The Crown's more reserved turn as a different English monarch. It flowed through the devastating Tyrannosaur, which perhaps first truly showed the world exactly what Colman could do — and has marked her Academy Award-nominated supporting part in The Father, plus TV standouts Peep Show, Broadchurch, The Night Manager and Fleabag. It's fitting, then, that The Lost Daughter tasks Colman with glaring at the sea, and doing so both intently and often. A necessity of the narrative, as penned on the page by My Brilliant Friend's Elena Ferrante and adapted for the screen by actor-turned-filmmaker Maggie Gyllenhaal, it's a touch that washes through the movie with extra force due to its star. Colman plays comparative literature professor Leda, who fills much of her time peering at the ocean as she summers on a Greek island — and also people-watching thanks to the loud, entitled Queens family that keep invading her chosen patch of sand. While both gazing at the waves and taking in the onshore domestic dramas, Leda sees her own ebbs, flows, thorns and flaws reflected back. Vacationing alone, Leda isn't on a getaway as much as she's escaping — not actively, but because that's her default mode. She's never willing to stray far from her work, shuffling through papers as she sunbathes and flirtatious young resort manager Will (Paul Mescal, Normal People) moves her lounger to keep her in the shade; however, as flashbacks show, the urge to flee all markers of apparent normalcy has long gushed in her veins. Leda tells anyone who asks that she has two daughters (Bianca is 25 and Martha is 23, she frequently offers), but they're heard via phone calls rather than seen as adults. She's prickly when mum-to-be Callie (Dagmara Domińczyk, Succession), of those noisy interlopers, asks if her extended group can take over Leda's beach umbrella. But in Nina (Dakota Johnson, The Nowhere Inn), the raven-haired mother of frequently screaming toddler Elena (debutant Athena Martin Anderson), she spies more of herself than she's been willing to confront for decades. The Lost Daughter's title references an incident one sunny day when Elena disappears as Callie, Nina and company — the latter's shady husband Toni (Oliver Jackson-Cohen, The Invisible Man) as well — idle by the water's edge. The Americans react with distress, but Leda calmly strides forth amid the chaos, all while battling memories of being a young mum (Jessie Buckley, I'm Thinking of Ending Things) searching for her own absent child. Indeed, loss and escape are serpentine concepts here, winding through Leda's past, her affinity for the clearly unhappy Nina and the second wave of mayhem that erupts when Elena's beloved doll also goes missing. The concept of trouble in paradise proves just as layered, infecting idylls scenic and, in pondering the supposed bliss that we're all told motherhood brings, societally enforced. The idea that bringing life into the world isn't the existence-defining triumph of femininity it's sugar-coated as doesn't simply sit at the heart of Ferrante's novel and Gyllenhaal's debut stint behind the lens — from the instant that Colman is seen collapsing on the pebble-strewn shoreline in the picture's opening, it laps over The Lost Daughter's every moment. Leda is a woman haunted by everything having kids has brought, as well as guilt-stricken by all that's followed, and this bold and affecting movie confronts that rocky truth. It's the filmic antithesis to keeping calm and carrying on, or relishing the rewards while disregarding the sacrifices, whether Leda is trying to retain a sense of self in the feature's journeys backwards, grappling with the gnawing consequences of her choices and the parallels in Nina's exasperation, or obsessing over dolls, those symbols of maternity routinely given to girls at birth. For any director, this is audacious and intricate terrain, but Gyllenhaal is as exceptional and daring a filmmaker as she is a performer. As her own impressive acting career demonstrates, complete with knotty and slippery turns in Secretary, Sherrybaby, The Kindergarten Teacher and The Deuce, she could've played Leda and just as phenomenal a film would've likely resulted. Her decision to enlist Colman doesn't only spring from humility, though, but from spying what we all notice whenever the star graces any screen. One of Colman's extraordinary skills is her knack for ensuring that her characters could swim in any direction and, whatever swings and lurches they take, it always feels like the most natural development there is. She's a master not just of complicated women, but of conveying the innate and relentless state of being complicated. Daughters get lost, mothers struggle, prickly exchanges pepper the picturesque setting — Leda isn't afraid to voice her displeasure to Callie and her relatives, or to teens ruining a trip to the local cinema, and she's positively awkward with Lyle (Ed Harris, Westworld), the caretaker of her holiday apartment — but so much of The Lost Daughter's tension rushes from Colman's performance. From Buckley's, too, with the movie's two Ledas echoing each other — the woman she once was and the one she becomes — with precision and synergy that's too shrewd and naturalistic to resemble mere mimicry. It's also telling that Gyllenhaal has cinematographer Hélène Louvart (Never Rarely Sometimes Always) lens the film like a volatile memory, probing closeups, lingering details and slight but inescapable jitteriness all included, while the jazzy score by Dickon Hinchliffe (The Third Day) skews towards the melodic. Everything about Leda's experiences has been stressful rather than peaceful, but the prevailing view of being a mum keeps trying to tell the world otherwise — and both the character and the film refuse to accept those false platitudes. The Lost Daughter releases in select Melbourne cinemas on Thursday, December 16, and will be available to stream via Netflix on Friday, December 31.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue in January (and yes, we're assuming you've already watched Kaleidoscope in whichever order you preferred). BRAND NEW STUFF YOU CAN WATCH IN FULL NOW COPENHAGEN COWBOY Ten years ago, Nicolas Winding Refn released his second Ryan Gosling-starring film in succession, won his second Sydney Film Festival Prize, and was a reliable source of dazzling and blisteringly atmospheric crime fare thanks to Drive and Only God Forgives — and also the Pusher trilogy and Bronson before that pair. In the past decade, however, he's only brought one more movie to cinemas. The Neon Demon was a gem, too, and about as Refn as Refn gets, but that was back in 2016. Smaller screens have been beckoning the Danish director, thankfully. He launched his own free streaming service, and also co-created, co-wrote and directed the ten-part, Miles Teller (Top Gun: Maverick)-starring Too Old to Die Young. Refn's latest effort gets episodic as well, and sees him return to his homeland for the first time since Valhalla Rising — and, while it feels filtered through David Lynch's sensibilities alongside his own, Copenhagen Cowboy remains Refn through and through. The visuals have it, as they always do when this filmmaker is behind the lens. Neon aplenty, how he composes a room, how his characters peer on at the world around them, the use of 360-degree pans, the chilly mood, his overall aesthetic flair: they're all here. So, too, is another of the director's essentials, courtesy of a synth-heavy score by Cliff Martinez. That combination makes an entrancing mix, as it has over and over before, but Copenhagen Cowboy is never simply a case of empty style, sound and vision. Also present is an enigmatic tale, this time about the magnetic and mysterious Miu (Angela Bundalovic, Limboland). Considered a "living lucky charm" and highly sought after for her talents, she's the show's entry point to Copenhagen's criminal underworld. Can she help Rosella (Dragana Milutinovic, also Limboland) get pregnant? What kind of eerie situation has she found herself in? Are her gifts genuine? It wouldn't be a Refn project if questions didn't linger in the pulsating sense of stillness. Copenhagen Cowboy streams via Netflix. THE MAKANAI: COOKING FOR THE MAIKO HOUSE At the beginning of The Makanai: Cooking for the Maiko House, 16-year-old best friends Kiyo (Nana Mori, Liar x Liar) and Sumire (Natsuki Deguchi, Silent Parade) leave home for the first time with smiles as wide as their hearts are open. Departing the rural Aomari for Kyoto in the thick of winter, they have internships as maiko lined up — apprentice geiko, as geishas are called in the Kyoto dialect. Their path to their dearest wishes isn't all sunshine and cherry blossoms from there, of course, but this is a series that lingers on the details, on slices of life, and on everyday events rather than big dramatic developments. Watch, for instance, how lovingly Kiyo and Sumire's last meal is lensed before they set out for their new future, and how devotedly the camera surveys the humble act of sitting down to share a dumpling soup, legs tucked beneath blankets under the table, while having an ordinary conversation. Soothing, tender, compassionate, bubbling with warmth: that's The Makanai: Cooking for the Maiko House from the outset. There's a key reason that this cosy and comforting new treasure overflows with such affection and understanding — for its characters, their lives and just the act of living. Prolific writer/director Hirokazu Kore-eda simply isn't capable of anything else. Yes, Netflix is in the auteur game at the moment. Its January question: why give streaming queues the world over one new series by an acclaimed filmmaker in a month when you can gift them two? The Makanai: Cooking for the Maiko House couldn't be more different from Nicolas Winding Refn's Copenhagen Cowboy (see: above), but it is unmistakably the work of its rightly applauded creative force. One of the biggest names in Japanese cinema today, and the winner of the received Cannes Film Festival's Palme d'Or back in 2018 for the sublime Shoplifters, Kore-eda makes empathetic, rich and deeply emotional works. His movies, including 2020's France-set The Truth and 2022's South Korea-set Broker, truly see the people within their frames. On the small screen, and hailing from manga, the nine-episode The Makanai is no different. It's also as calming as a show about friendships, chasing dreams and devouring ample dumplings can and should be. The Makanai: Cooking for the Maiko House streams via Netflix. I HATE SUZIE TOO Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. The unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. In I Hate Suzie Too, plenty has changed for the series' namesake over a six-month period. She's no longer with her professor husband Cob (Daniel Ings, Sex Education), and is battling for custody of their young son Frank (debutant Matthew Jordan-Caws), who is deaf — and her manager and lifelong friend Naomi (Leila Farzad, Avenue 5) is off the books, replaced by the no-nonsense Sian (Anastasia Hille, A Spy Among Friends). Also, in a new chance to win back fans, Suzie has returned to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees her compete against soccer heroes (Blake Harrison, The Inbetweeners), musicians (Douglas Hodge, The Great) and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. Well, Dance Crazee Xmas' audience, that is — because anyone watching I Hate Suzie Too is in for another stunner that's fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching and always unflinching. I Hate Suzie Too streams via Stan. Read our full review. DUAL New movie, familiar query: what would you do if you physically came face to face with yourself, and not just by looking in a mirror? Films about clones, including all-timer Moon and the recent Mahershala Ali (Alita: Battle Angel)-starring Swan Song, have long pondered this topic — and so has the Paul Rudd-led series Living with Yourself. In Dual, there's only one legal option. This sci-fi satire shares Swan Song's idea, allowing replicating oneself when fate deals out a bad hand. So, that's what Sarah (Karen Gillan, The Guardians of the Galaxy Holiday Special) does when she's told that she has a rare but terminal disease, and that her death is certain. Cloning is meant to spare her boyfriend Peter (Beulah Koale, Shadow in the Cloud) and her mother (Maija Paunio, Next of Kin) from losing her, making a difficult situation better for Sarah's loved ones. But when she doesn't die after all, the law states that, just like in Highlander, there can be only one. To decide who lives, Sarah and her doppelgänger must fight to the death in a public dual — with Trent (Aaron Paul, Better Call Saul) helping train the OG version. Even with its twist, on paper Dual sounds like a feature that any filmmaker could've made — one that any actor could've starred in, too. But this is the meaty, meaningful and memorable movie it is thanks to writer/director Riley Stearns and his excellent lead Gillan. With his penchant for deadpan, the former pondered working out who you truly are through an unlikely battle in 2019's very funny The Art of Self-Defense, and does so again here. He's also fond of exploring the struggle to embrace one's personality, and confronting the notion we all have in our minds that a better version of ourselves exists. That said, Dual plays like a sibling to The Art of Self-Defense, rather than a clone itself. It'd certainly be a lesser flick without Gillan, who sheds her Nebula makeup, wades out of the Jumanji franchise's jungles, and turns in two powerful and nuanced performances as Sarah and Sarah 2.0. And while Paul is in supporting mode, he's a scene-stealer. Dual streams via Netflix. HUNTERS Call it a conspiracy thriller. Call it an alternative history. Call it a revenge fantasy. Call it another savage exploration of race relations with Jordan Peele's fingerprints all over it. When it comes to Hunters, they all fit. This 70s-set Nazi-slaying series first arrived in 2020, following a ragtag group determined to do two things: avenge the Holocaust, with many among their number Jewish survivors or relatives of survivors; and stop escaped Third Reich figures who've secretly slipped into the US from their plan of starting a Fourth Reich. The cast was stellar — Al Pacino (House of Gucci), Logan Lerman (Bullet Train), Tiffany Boone (Nine Perfect Strangers), Jeannie Berlin (Succession), Carol Kane (Unbreakable Kimmy Schmidt), Lena Olin (Mindhunter) and Australia's own Kate Mulvany (Elvis) among them — and Get Out and Us filmmaker Peele executive produced a gem as he also did that same year with Lovecraft Country. And, when it wrapped up its first season, it did so with one mighty massive cliffhanger: the fact that Adolf Hitler (Udo Kier, Swan Song) was still alive in 1977. Returning for its second and final batch of episodes three years later, but largely moving its action to 1979, season two of Hunters sees its central gang initially doing their own things — but unsurprisingly reteaming to go after the obvious target. Jonah Heidelbaum (Lerman) is living a double life, with his new fiancee Clara (Emily Rudd, Fear Street) in the dark about his Nazi-hunting ways, but crossing paths with the ruthless and determined Chava Apfelbaum (Jennifer Jason Leigh, Possessor) ramps up his and the crew's efforts. Knowing this is the final go-around, the stylishly shot series isn't afraid of embracing its OTT leanings, tonal jumps and frenetic camerawork, and always proves entertaining as it hurtles towards its last hurrah. The best episode of the season, however, is one that jumps back to World War II, doesn't focus on any of its main stars and is as clever, moving and well-executed as Hunters has ever been. If the show ever gets revived in the future, which it easily could, more of that would make a great series even better. Hunters streams via Prime Video. THAT '90S SHOW The teenagers of Point Place are at it again: hangin' out down the street, that is, usually in Kitty (Debra Jo Rupp, WandaVision) and Red Forman's (Kurtwood Smith, The Dropout) basement. This time, decades have passed on- and off-screen since the world first met a group of high schoolers happily doing the same old things they did last week in the fictional Wisconsin town, and enjoyed their relatable antics. Netflix's new That '90s Show picks up just over 15 years after That '70s Show's timeline, embracing all that the mid-90s had to offer from raves and Alanis Morissette's initial fame to video stores and Donkey Kong. (Yellowjackets isn't the only series going all-in three decades back right now.) For viewers, the 1995-set series arrives 17 years after its predecessor said farewell, and also delivers endearing, laidback, easily bingeable throwback that's quite the good time. The years might've changed, but the basics stay the same in a wave of familiar places, faces, scenarios and themes — and the overall formula. From 1998–2006, Eric Forman (Topher Grace, Home Economics), girl-next-door Donna Pinciotti (Laura Prepon, Orange Is the New Black), and pals including Michael Kelso (Ashton Kutcher, Vengeance), Jackie Burkhart (Mila Kunis, Luckiest Girl Alive) and Fez (Wilmer Valderrama, NCIS) earned That '70s Show's attention as they chatted through their hopes and dreams, got stoned frequently, and tried to work out who they were, who they loved and what they wanted. Now, doing the same is Eric and Donna's 14-year-old daughter Leia (Callie Haverda, The Lost Husband), plus the new friends — feisty riot grrrl Gwen (Ashley Aufderheide, Four Kids and It), her airhead brother Nate (Maxwell Acee Donovan, Gabby Duran & The Unsittables), ladies' man Jay (Mace Coronel, Colin in Black & White), the witty Ozzie (Reyn Doi, Barb and Star Go to Vista Del Mar) and the super-smart Nikki (Sam Morelos, Forgetting Nobody) — she makes while visiting her grandparents. That '90s Show streams via Netflix. Read our full review. BLACK SNOW Fans of weighty Australian fare that reckons with the country's past are fans of the Mystery Road franchise, spanning both the big and small screens. They're fans, then, of the way that the outback-set saga surveys the nation's distinctive ochre-hued landscape from above in picturesque drone shots, all while contemplating the racist ills waged to live and work upon it. Six-part series Black Snow borrows much that's made Mystery Road such a hit, including a shock murder in a small town, a cop riding in to solve the mystery it heralds, a grim look at Aussie history and a bird's-eye view of its setting. But when this instantly compelling show peers down, it spies fields of green sugar cane fields far and wide. And, when it explores the country's traumas, it focuses on the treatment of the Australian South Sea Islander community — especially blackbirding, which involves forced relocation, severe underpayment and brutal working conditions, a grim form of slavery that isn't forgotten here. Seventeen-year-old Isabel Baker (talented debutant Talijah Blackman-Corowa) is the first person seen in Black Snow's opening moments, riding her bike hurriedly through the cane in the thick of night, making a frantic call from a remote phone booth and getting spooked by a music-blaring car's sudden appearance. The year is 1994, and the evening is the high schooler's Year 12 formal, as well as her last alive. Black Snow's second face belongs to James Cormack (Travis Fimmel, Raised by Wolves), a Brisbane-based Cold Case Unit police officer trying his luck in 2019 at a claw machine in a pub. He's troubled in a different way, haunted by emotional pain he attempts to deaden by paying for a Fight Club-style beating in the bar's back alley. After a time capsule buried by Isabel and her classmates reveals more than pop-culture blasts from the past, he's swiftly trying to solve her death — with help from her shrewd sister Hazel (potent first-timer Jemmason Power). Black Snow streams via Stan. Read our full review. NEW SHOWS TO CHECK OUT WEEK BY WEEK THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping show (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review. POKER FACE Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and one of 2023's gleaming streaming aces already. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her recognisable locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives, though. Here, she's Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, Charlie is a human lie detector. She can always tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face streams via Stan. Read our full review. SHRINKING Viewers mightn't have realised they'd been lacking something crucial until now, but Shrinking serves it up anyway: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+, Bill Lawrence, Brett Goldstein and Jason Segel didn't miss this new gem's immediate potential. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. Round up those familiar elements and details brought over from elsewhere, and Shrinking turns them into a series that's supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. The focus: Segel (Windfall) as Jimmy Laird, a shrink grieving for his wife Tia (Lilan Bowden, Murderville), making bad decisions and leaving parenting his teen daughter Alice (Lukita Maxwell, Generation) to his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife). When he decides to start checking back in, and to also give his patients like young war veteran Sean (Luke Tennie, CSI: Vegas) some tough love, it causes ripples, including for his boss Paul (Ford, The Call of the Wild) and colleague Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). Shrinking streams via Apple TV+. Read our full review. RECENT AND CLASSIC MOVIES YOU NEED TO CATCH UP WITH CENSOR You don't need to fondly remember the height of the VHS age to know that Censor, the exceptional, intelligent and inventive debut by Welsh writer/director Prano Bailey-Bond, sports a killer concept. Set in Britain in the 80s, this is a video nasty-loving flick about video nasties, aka low-budget, frequently exploitative, blood- and gore-filled horror movies that proliferated when home entertainment finally became affordable for the masses. Watching and assessing such fare for the British Board of Film Classification — and judging what's acceptable for release, what can get by after a little or a swag of cuts, and what should be banned outright in the process — Enid Baines (Niamh Algar, The Wonder) spends her days wading through the violent, visceral and queasy. If she and her colleagues make the wrong call, there's a public outcry, as happens when a man gets murderous and the media ties it to a recent title. Amid the resulting uproar, Enid finds herself drawn to a different director's OTT work, seeing uncanny parallels within his frames with her own traumatic experiences. An attention-grabber at Sundance back in 2021, Censor doesn't ascribe to the view that wild screen content sparks wild behaviour — but it does have a brilliant amount of fun cleverly toying with it. Bailey-Bond knows the discourse and satirises it savagely. She knows the type of movies that Enid has to evaluate, too, with her confident first film both lovingly nodding to and playing with them. Rising star Algar, who was also a standout in The Virtues and Calm with Horses, is intense and inimitable as workaholic Enid; the always-welcome Michael Smiley (Bad Sisters) enjoys his sleazy role; and cinematographer Annika Summerson (Mogul Mowgli), editor Mark Towns (Choose or Die) and composer Emilie Levienaise-Farrouch (Rocks) help get the look, feel and sound just right. Creepy, immersive, and boasting a multi-layered ending that works as a parody, a statement and a balls-to-the-wall horror spectacle, Censor demands close and engrossed notice — and marks Bailey-Bond as a talent to keenly watch. Censor streams via Stan. MIAMI CONNECTION Back in 1987, an out-there martial arts movie that really has to be seen to be believed first hit screens. There was one huge problem with this collaboration between director Park Woo-sang (American Chinatown) and star YK Kim, however: Miami Connection wasn't a success with critics or audiences at the time, despite featuring a band called Dragon Sound that's filled with Taekwondo aficionados, a motorcycle-riding ninja gang and a cocaine war. That lacklustre response is thoroughly understandable. Miami Connection isn't great, and wouldn't have been even amid the 80s action boom — but it is 100-percent worth watching at least once. It debuted well before The Room but made a comeback afterwards, and proves immensely entertaining in the same so-bad-it's-just-so-bad manner. Post-Tommy Wiseau's hit, Miami Connection was unearthed and revived by the Alamo Drafthouse in Texas, then worked its way around the festival circuit, including playing the Brisbane International Film Festival. An obvious caveat applies to this Florida-set flick: watching it with as big a group of people as you can, even while streaming it at home, is the ideal way to have the best time with everything that it throws at the screen. And make no mistake, Miami Connection gets a-hurling, including when it comes to makeup, ridiculous dialogue, a plot that's absurd and jumps all over the place, choreography, montages, musical numbers, acting and action. Story-wise, Dragon Sound's members become the target of the film's ninjas over a gig. Don't go expecting much that's coherent springing from that basic premise, though. Do get ready for the kind of movie that no one could ever set out to make on purpose, and that no one can truly be prepared for before viewing. Throwing spoons isn't required here, but you might want to anyway. Miami Connection streams via SBS On Demand. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2022. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Blockbuster effects can't mask bland storytelling, as the execs at Disney dip back into their classic library with less than impressive results. An alternate take on the tale of Sleeping Beauty, the studio's latest sees the cackling, leather-clad sorceress recast as a figure of sympathy. Hard to pronounce and harder to sit through, Maleficent is a movie very much in the same vein as Oz the Great and Powerful or the recent Alice in Wonderland — which is to say that it's heavy on expensive-looking digital wizardry and light on just about everything else. Clumsy voiceover sets the scene, in a run-of-the-mill fairytale forest home to pixies, trolls and a curious winged girl named Maleficent (Isobelle Molloy). Although wary of the human kingdom that exists beyond the forest borders, when Maleficent catches an orphan boy named Stefan trespassing, a fledgling romance seems destined to ignite. But humans are a fickle bunch, and so as Stefan grows older he becomes swept up with ambition, culminating in a brutal betrayal in which he cuts off Maleficent's wings in order to secure a place on the throne. Devastated, a now adult Maleficent (Angelina Jolie) embraces her dark side, swearing vengeance on Stefan and placing a curse on his newborn baby, Aurora — spinning wheel, eternal sleep and all. The idea of a Wicked-style reversal on a classic Disney villain is an interesting idea, but first-time director Robert Stromberg — better known for the production design on films like Avatar and Alice in Wonderland — botches the execution. The sporadic voiceover and muddled editing makes the film seem oddly lacking in structure; much of the first half feels like a prologue, setting up what turns out to be an incredibly short and perfunctory climax. The CGI is admittedly pretty immaculate, but none of the designs are in the least bit distinctive. If one the creatures from Maleficent popped-up in The Hobbit or Snow White and the Huntsman, you wouldn't bat an eye. Angelia Jolie is enjoyable as the eponymous spell-crafter, especially in the one or two scenes where she gets to really lay the villainy on thick. On the other hand, the talented Elle Fanning is seriously underutilised as the teenaged iteration of Aurora, whose insipid purity melts Maleficent's heart while putting audience members to sleep. You could argue that the film deserves some credit for its empowered female characters, although the fact that Maleficent's arc is catalysed by a man does somewhat muddy those credentials. On a sidenote, one could also potentially read the film as a kind of PG rape-revenge narrative. The rawest emotional moment in the film comes when Maleficent awakens from a drug-induced sleep only to realise that her lover has forcibly removed her wings. The allegory is obvious, and Jolie completely sells the agony of violation. Ultimately though, any and all subtext is either mishandled, squandered or lost under a wave of glossily rendered pixels. In other words, it's business as usual for the folks at the Mouse House, who apparently don't even respect their own canon enough to get a reboot right. https://youtube.com/watch?v=w-XO4XiRop0
Heads up, Mother's Day is just one week away. Yep, you can pucker up on our tootsies later. But there's pressie planning afoot, and we've found quite the showstopper for your dear ol' Mumsie this year thanks to Gelato Messina. Never one to miss an opportunity to experiment with new ways to inhale gelato, Messina have been cooking up quite the delicate novelty dessert for Mum: a Italian-inspired chocolate box of gelato-filled nibbles. Each box comes with 12 handmade chocolate and gelato bon bons; best enjoyed with opera blaring in the background, with a strong, black cup of coffee and a shoulder massage. Go on, your mum put up with you through puberty, you owe her one massage. So which crazy tell-your-friends flavours have Messina come up with for their bitty bon bons? There's six in total, each more decadent than the last: blood peach sorbet with rosewater gel, roasted banana gelato with white chocolate ganache, mandarin puree with salted butter caramel gelato, hazelnut and coffee gelato with roasted hazelnuts, wild strawberry sorbet with pistachio praline and (wait for it) shiraz sorbet with dark chocolate ganache and popping candy. If you can find us something that says 'perfect Mother's Day gift' better than shiraz sorbet bon bons, we'll eat this empty bon bon box. The Messina chocolate and gelato bon bon boxes are going for $39 a box (with a cute little card), available to order from Monday, May 4. They're available for collection from May 8-10 from Darlinghurst, Miranda and Parramatta stores in Sydney, as well as the Fitzroy and Coolangatta stores.
Japanese minimalist homeware wizards Muji are moving into the architecture game with a series of new flat-pack houses that are giving us some serious FOMO and YOLO and all manner of acronym envy and inspiration. The best part? They’re economical in both price and space, giving hope to the current generation that perhaps we won’t always have to deal with landlords. Praise be to Muji! Unfortunately, for now, they’re only available in Japan. However, Muji have recently opened stores in Melbourne and Sydney, so surely it’s only a matter of time before they ship em’ into our waiting arms. The houses are incredibly cute and, in classic Muji style, effortlessly minimalist. There are three designs to choose from, starting at US$150,000 for the ‘Wooden House’, US$160,000 for the ‘Window House’, and US$215,000 for the tall, Tokyo-inspired ‘Vertical House’. Incredibly reasonable. The finishes are all white and blonde wood with elegant staircases and cosy nooks. And hey, it may be a bit cookie cutter but moving to Japan is surely better than selling all your internal organs to afford a house in Toorak or Double Bay right? The real estate game is a-changin’ though and other retailers are starting to cater for the penny-saving generation (i.e. us ;_; ). Ikea are experimenting with movable walls (not set to hit the market for a few years but keep at it Ikea) and there are many innovative Aussie architecture firms experimenting with non-traditional and environmentally friendly ways to bring down the cost of building a new home. Firms like iBuild (punny) and the slightly more upmarket modscape design, construct and deliver modular homes and extensions which cost much less than a contractor. And of course, there’s the shipping container community who do some spectacular things with discarded shipping containers. Then there's the slightly earthy young buyers and the Earthship movement, slowly but surely making its way through all the red tape into the Australian construction landscape. Earthship structures use passive heating and cooling techniques, are constructed from indigenous or local materials (including old tyres and glass bottles) and feature an in-house sewerage treatment system, making them somewhat off the grid and cheap to run in the long term. So have faith guys, there are houses in our future, don’t you worry. They just might not be the classic two-windows-one-door type most of us drew in preschool. Via Domain.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. SEE HOW THEY RUN As every murder-mystery does, See How They Run asks a specific question: whodunnit? This 1950s-set flick also solves another query, one that's lingered over Hollywood for seven decades now thanks to Agatha Christie. If this movie's moniker has you thinking about mouse-focused nursery rhymes, that's by design — and characters do scurry around chaotically — however, it could also have you pondering the famed author's play The Mousetrap. The latter first hit theatres in London's West End in 1952 and has stayed there ever since, other than an enforced pandemic-era shutdown in COVID-19's early days. The show operates under a set stipulation regarding the big-screen rights, too, meaning that it can't be turned into a film until the original production has stopped treading the boards for at least six months. As that's never happened, how do you get it into cinemas anyway? Make a movie about trying to make The Mousetrap into a movie, aka See How They Run. There's a clever-clever air to See How They Run's reason for existing. The same proves true of its narrative, the on-screen explanation about how The Mousetrap sits at the centre of this film's story, and the way it details those rules around adapting the play for cinema. Voiced by in-movie director Leo Köpernick (Adrien Brody, Blonde), that winking attitude resembles the Scream franchise's take on the horror genre, but with murder-mysteries — and it also smarts in its knowing rundown about how whodunnits work, who's who among the main players-slash-suspects and what leads to the central homicide. First-time feature filmmaker Tom George (This Country) and screenwriter Mark Chappell (Flaked) still craft a film that's enjoyable-enough, though, albeit somehow both satirical and by the numbers. Keeping audiences guessing isn't the picture's strong suit. Matching its own comparison to Christie isn't either. But the leads and snappy sense of fun make this a mostly entertaining game of on-screen Cluedo. Was it actor Richard Attenborough (Harris Dickinson, Where the Crawdads Sing), his fellow-thespian wife Sheila Sim (Pearl Chanda, War of the Worlds), big-time movie producer John Woolf (Reece Shearsmith, Venom: Let There Be Carnage) or his spouse Edana Romney (Sian Clifford, The Duke) getting murderous in the costume shop at the backstage party celebrating The Mousetrap's 100th show? (And yes, they're all real-life figures.) Or, was it the play's producer Petula Spencer (Ruth Wilson, His Dark Materials), the proposed feature adaptation's screenwriter Mervyn Cocker-Norris (David Oyelowo, Chaos Walking) or his Italian lover Gio (Jacob Fortune-Lloyd, The Queen's Gambit)? They're among See How They Run's other enquiries, which Scotland Yard's Inspector Stoppard (Sam Rockwell, Richard Jewell) and Constable Stalker (Saoirse Ronan, The French Dispatch) try to answer. After the death that kicks off the film, the two cops are on the case, working through their odd-couple vibe as they sleuth. Naturally, everyone that was in the theatre on the night in question is a suspect. Just as expectedly, convolutions and complications abound. Plus, possible motives keep stacking up — and there's plenty of in-fighting among the stage and screen in-crowd who might've done the deed. In other words, even with equally parodying and paying homage to all things murder-mystery chief among See How They Run's aims (alongside showing off that it thinks it knows the basics as well as Christie), it isn't blind to following the standard formula. The guiding narration, which notes that it's always the most unlikeable character that gets bumped off, takes a ribbing approach; "seen one, you've seen 'em all" it advises, because Köpernick was charged with helming The Mousetrap's leap into movies, wasn't so impressed with the source material, then advocated for violence and explosions to spice up the whole thing. Yes, viewers are meant to see parallels between what he's saying and what they're watching. Yes, being that self-aware and meta truly is a feature-long commitment. Read our full review. SMILE If high-concept horror nasties get you grinning even when you're squirming, recoiling or peeking through your fingers, then expect Smile to live up to its name — in its first half, at least. A The Ring-meets-It Follows type of scarefest with nods to the Joker thrown in, it takes its titular term seriously, sporting one helluva creepy smirk again and again. The actual face doing the ghoulish beaming can change, and does, but the evil Cheshire Cat-esque look on each dial doesn't. Where 2011's not-at-all spooky The Muppets had a maniacal laugh, Smile does indeed possess a maniacal, skin-crawling, nightmare-inducing leer. In the film, the first character to chat about it, PhD student Laura Weaver (Caitlin Stasey, Bridge and Tunnel), explains it as "the worst smile I have ever seen in my life". She's in a hospital, telling psychiatrist Rose Cotter (Mare of Easttown's Sosie Bacon, daughter of Kevin Bacon and Kyra Sedgwick), who clearly thinks she's hallucinating. But when the doctor sees that grin herself, she immediately knows that Laura's description couldn't be more accurate. Toothy, deranged, preternaturally stretched and also frozen in place, the smile at the heart of Smile isn't easily forgotten — not that Rose need worry about that. Soon, it's haunting her days and nights by interrupting her work, and seeing her act erratically with patients to the concern of her boss (Kal Penn, Clarice). Rose upsets a whole party at her nephew's birthday, too, and makes her fiancé Trevor (Jessie T Usher, The Boys) have doubts about their future. There's a backstory: Rose's mother experienced mental illness, which is why she's so passionate about her work and her sister Holly (Gillian Zinser, The Guilty) is so dismissive. There's a backstory to the diabolical frown turned upside down also, which she's quickly trying to unravel with the help of her cop ex Joel (Kyle Gallner, Scream). She has to; Laura came to the hospital for assistance after her professor saw the smile first, then started beaming it, then took his own life in front of her — and now Rose is in the same situation. It springs from debut feature writer/director Parker Finn's own 2020 short film Laura Hasn't Slept, but given how quickly Smile's nods to other horror flicks come — and how blatant they are — it's hardly astonishing how little in its narrative comes as a surprise. A malignant terror spreading virally on sight? A single-minded pursuer that can hop bodies, but always chases its new target with unyielding focus? Yes, as already mentioned, a J-horror franchise and its American remake are owed a huge debt, as is David Robert Mitchell's breakout 2014 hit. And yes, there's no way not to think of a certain Batman adversary each time that eerily exaggerated smirk flashes (given how many times the Joker has featured on-screen, it's downright inescapable). But when Smile is smiling — not just plastering that unnerving grin far and wide, but frequently directing it straight at the camera (and audience) — the fear is real. It's an odd experience, the feeling of knowing how obvious every aspect of a movie's narrative is, yet still having it spark a physical reaction. Finn deploys jump-scares that do genuinely invite jumps. His film goes dark and grim in its look and atmosphere, tensely so, and with cinematographer Charlie Sarroff (Relic) adoring soft, restrained lighting that one imagines the realm between life and death could have. He knows when to let a moment and a shot hang, teasing out the inevitable but still making sure the payoff is felt. And, among all of that, the mood is Ari Aster (Hereditary, Midsommar)-level bleak. The biggest kudos goes to (and the biggest responses come from) that hellish expression that could pop up anywhere on anyone, though. When Smile stops smiling, it's a blander movie — and although the fact that much of it is spliced together from elsewhere, and what isn't is largely generic, doesn't ever slip from view, that's also when the feature gets heftier. Read our full review. ON THE COUNT OF THREE What happens outside an upstate New York strip club at 10am on an ordinary weekday? Nothing — nothing good, or that anyone pays attention to, at least — deduces the unhappy Val (Jerrod Carmichael, Rothaniel) in On the Count of Three. So, he's hatched a plan: with his lifelong best friend Kevin (Christopher Abbott, The Forgiven), they'll carry out a suicide pact, with that empty car park as their final earthly destination. Under the harsh morning light and against a drably grey sky, Carmichael's feature directorial debut initially meets its central duo standing in that exact spot, guns pointed at each other's heads and pulling the trigger mere moments away. Yes, they start counting. Yes, exhaustion and desperation beam from their eyes. No, this thorny yet soulful film isn't over and done with then and there. There are many ways to experience weariness, frustration, malaise and despair, and to convey them — and On the Count of Three surveys plenty, as an unflinchingly black comedy about two lifelong best friends deciding to end it all should. Those dispiriting feelings can weigh you down, making every second of every day an effort. They can fester, agitate, linger and percolate, simmering behind every word and deed before spewing out as fury. They can spark drastic actions, including the type that Val and Kevin have picked as their only option after the latter breaks the former out of a mental health hospital mere days after his last self-harming incident. Or, they can inspire a wholesale rejection of the milestones, such as the promotion that Val is offered hours earlier, that everyone is told they're supposed to covet, embrace and celebrate. On the Count of Three covers all of the above, not just with purpose but with confidence, as well as a much-needed willingness to get messy. It knows it's traversing tricky terrain, and is also well-aware of the obvious: that nothing about considering taking one's own life is simple or easy, let alone a laughing matter. Working with a script by Ramy co-creators Ari Katcher (also a co-creator of The Carmichael Show) and Ryan Welch, Carmichael doesn't make a movie that salutes, excuses or justifies Val and Kevin's exit plan. His film doesn't abhor the emotions and pain behind their choices either, though. Instead, this is a complicated portrait of coping, and not, with the necessities, vagaries and inevitabilities of life — and a raw and thoughtful piece of recognition that the biggest standoff we all have is with ourselves. Rocking a shock of dishevelled bleached-blonde hair, and looking like he hasn't even dreamed of changing his wardrobe since the early 00s, Abbott could've wandered out of Good Time as Kevin — he and Robert Pattinson could/should play brothers some day — including when he's staring down Val with a gun. First, On the Count of Three jumps from there to the events leading up to it, including an earlier attempt by landscaping supply store worker Val in the work bathrooms, his response to hearing about that aforementioned climb up the corporate ladder. In hospital, Kevin is angry; "if any of you knew how to help me by now, you would have fucking done it!" he shouts. But when the time to shoot comes, it's him who suggests a reprieve to take care of a few last items — revenge being his. Read our full review. THE HUMANS Movie buffs who like to theme their viewing around the relevant time of year — holiday-related, primarily — are always spoiled for choice. Christmas films, spooky flicks at Halloween, Easter-relevant fare: you can build a binge session or several out of all of them. The same applies to Thanksgiving, all courtesy of the US, and The Humans is the latest addition to the November-appropriate list. This A24 release ticks a few clearcut boxes, in fact, including bringing a dysfunctional multi-generation family together to celebrate the date, steeping their get-together in the kind of awkwardness that always stalks relatives, and having big revelations spill over the course of the gathering (the calendar-mandated time for such disclosures, pouring out before the tryptophan kicks in). That said, even with such evident servings of underlying formula, The Humans is far creepier and more haunting than your usual movie about America's turkey-eating time of year. A hefty helping of existential horror will do that. Based on Stephen Karam's Tony-winning 2016 Broadway play — a Pulitzer Prize finalist as well — and adapted and directed for the screen by Karam himself, The Humans is downright unsettling, and for a few reasons. There's the tension zipping back and forth between everyone in attendance, of course — as crucial an ingredient at every Thanksgiving party as food, booze and warm bodies to consume them, at least if films are to be believed. There's also the bleak, claustrophobic, run-down setting, with the movie confined to a New York apartment close to Ground Zero, which aspiring composer Brigid (Beanie Feldstein, Booksmart) and her student boyfriend Richard (Steven Yeun, Nope) have just moved into at significant expense. And, there's the strange sounds emanating from other units, and perhaps this creaking, groaning, two-storey abode itself, which couldn't feel less welcoming. As a result, seasonal cheer is few and far between in this corner of Manhattan, where the Blake family congregates dutifully rather than agreeably or even welcomely. Also making an appearance: parents Deirdre (Only Murders in the Building's Jayne Houdyshell, reprising her Tony-winning part) and Erik (Richard Jenkins, DAHMER — Monster: The Jeffrey Dahmer Story), Brigid's lawyer older sister Aimee (Amy Schumer, Life & Beth), and their grandmother Momo (June Squibb, Palmer), who has dementia and uses a wheelchair. No one is happy, and everyone seems to have something that needs airing — slowly and reluctantly when it's a matter of importance, but freely and cuttingly when it's a snap judgement directed at others. Watching The Humans, the audience hopes that no one has truly had a Thanksgiving like this, while knowing how well its fraught dynamic hits the mark. Thanks to Richard, film first-timer Karam has a straightforward way to start doling out backstory — a time-honoured function of fresh attendees to on-screen family dos, and not just in movies about Thanksgiving. Erik chats, filling the newcomer in, although the talk between everyone dishes out plenty of handy details. Religious and political affiliations cause strains, as do booze and money. The clash between the big city, where the Blake family daughters now live, and their hometown of Scranton, Pennsylvania also informs the discussions. Health woes, relationship struggles, generation clashes, expecting more both from and of each other but getting less: that's the baseline. Brigid stews about not being given enough cash by her parents, and therefore jeopardising her career dreams; Aimee frets about treading water at work, being alone and a medical condition; Deirdre's conservative leanings bristle against her daughters' decisions; and Erik clearly has a secret. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1, September 8, September 15 and September 22. You can also read our full reviews of a heap of recent movies, such as Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean and You Won't Be Alone.
UPDATE, January 7, 2022: Godzilla vs Kong is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Amazon Video. The kaiju to end all kaiju (or to fight them, at least), Godzilla isn't a villain. When the giant critter first rampaged across the screen 67 years ago in the original and still best Godzilla film, it was born of the need to confront the consequences of nuclear weapons. When fire blazed from the monster's mouth, there was no doubt that it was sparked by the apathy and arrogance that humankind showed the planet by creating the atomic bomb. Predating the leviathan by debuting in 1933, King Kong isn't a villain either. If the enormous ape hadn't been captured and exploited, the so-called 'eighth wonder of the world' wouldn't have had a date with the Empire State Building. If humanity hadn't interfered with nature, he wouldn't have clutched several blondes — Fay Wray to start, Jessica Lange in 1976, Naomi Watts in 2005 and Brie Larson in 2017 — in his oversized hands across the decades. Given that neither of Godzilla vs Kong's towering titans are truly terrors, and therefore neither should really emerge victorious over the other, getting them to face off seems pointless. "They're both big, so they can't get along" is the simplistic concept. This isn't a new train of thought, or new to the American-made Monsterverse that's been nudging the beasts closer together for seven years. Thankfully, in the hands of You're Next and The Guest director Adam Wingard, Godzilla vs Kong has as much in common with its superior Japanese predecessors as it does with 2019's terrible Godzilla: King of the Monsters. The follow-up to 2017's Kong: Skull Island, too, this new battle of the behemoths doesn't remake the duo's first screen showdown in 1962's King Kong vs Godzilla. And, sadly, it hasn't ditched the current Hollywood flicks' love of unexciting human characters. But it crucially recognises that watching its titular creatures go claw-to-paw should be entertaining. It should be a spectacle, in fact. The film also realises that if you're not going to make a movie about this pair with much in the way of substance, then you should go all out on the action and fantasy fronts. In other words, Godzilla vs Kong feels like the product of a filmmaker who loves the Japanese Godzilla flicks and Kong's maiden appearance, knows he can't do them justice thematically, but is determined to get what he can right. Wingard is still saddled with a flimsy script with a tin ear for dialogue by screenwriters Eric Pearson (Thor: Ragnarok) and Max Borenstein (Kong: Skull Island), but his massive monster melees are a delight. That's fantastic news to everyone who strained to get a proper glimpse of Godzilla in 2014, found that Skull Island borrowed a little too much from the Jurassic Park series, and suffered through the dark and ugly-looking King of the Monsters. Also welcome: Godzilla vs Kong's eagerness to lean into its genre. When it surrenders to its pixels, and to a tale that involves a journey to the centre of the earth, subterranean asteroids, altercations with giant flying lizards and an underground tunnel from Florida to Hong Kong, it's equal parts loopy and fun. That trip to the planet's interior is guided by Kong, whose life has changed since last swinging across the screen. Kept in a dome that simulates the jungle, the jumbo primate is under the watch of Jane Goodall-esque researcher Ilene Andrews (Rebecca Hall, Tales from the Loop), and bonds with Jia (newcomer Kaylee Hottle), the orphan also in the doctor's care. But, after Godzilla surfaces for the first time in three years to attack tech corporation Apex's Miami base, CEO Walter Simmons (Demián Bichir, Chaos Walking) enlists geologist Nathan Lind (Alexander Skarsgård, The Stand) on a mission. Testing the latter's hollow earth theory, they plan to track down an energy source that could be linked to both Zilly and Kong's existence — but only if Kong will lead them there. In a plot inclusion that'd do Scooby Doo proud, teenager Madison Russell (Millie Bobby Brown, returning from King of the Monsters) and her classmate Josh Valentine (Julian Dennison, Hunt for the Wilderpeople) are certain that Apex is up to no good and — with conspiracy theory-obsessed podcaster Bernie Hayes (Brian Tyree Henry, Superintelligence) — start meddling. If you're tired of seeing podcasting overused as an easy narrative crutch — as also present in everything from the most recent Halloween to the new Mighty Ducks TV series — you're not alone. Story-wise, Godzilla vs Kong makes a slew of such lazy choices. When its handling of technology brings up memories of the atrocious first US take on Godzilla back in 1998, that definitely isn't a good thing. And, despite the high-profile array of talent involved, the film doesn't give its cast anything to brag about. You could be generous and assume that's intentional, because Godzilla and Kong should be the stars of the show and dwarf their flesh-and-blood costars in multiple ways; however, the feature spends far too much time with its thinly written humans to support that notion. When the movie's monsters are pushed to the fore and thrust together, though, Godzilla vs Kong is a much better film. One exceptional sequence doesn't make any picture a masterpiece, but the luminous wrestling match that takes place against Hong Kong's neon-lit skyline is instantly gorgeous, impressively staged and reminiscent of Tron: Legacy's dazzling imagery. While the fact that the film's fights aren't messy, dim and frenetic to the point of being visually nonsensical shouldn't be as much of a win as it is, that's the state of big blockbuster action these days. Indeed, the knack for action choreography that Wingard initially showed in the underrated and underseen The Guest is firmly a highlight here. The idea of pitting its titans against each other remains ludicrous, but Godzilla vs Kong knows it, leans in, delivers on the concept and adds a pulsating synth score. Wingard has the average recent Blair Witch on his resume, too, so he has struggled with jumping into an existing franchise before — but from the eponymous animals to a not-at-all surprising but still well-handled late appearance, he has helmed one of the Monsterverse's most engaging entries yet. https://www.youtube.com/watch?v=odM92ap8_c0
UPDATE, September 24, 2021: Minari is available to stream via Stan, Google Play, YouTube Movies, iTunes and Amazon Video. Films about the American dream aren't simply about chasing success. The circumstances and details change, but they're often movies about finding a place to call home as well. Such a quest isn't always as literal as it sounds, of course. While houses can signify achievement, feeling like you truly belong somewhere — and that you're comfortable enough to set your sights on lofty goals and ambitions that require considerable risks and sacrifices — transcends even the flashiest or cosiest combination of bricks and mortar. Partly drawn from writer/director Lee Isaac Chung's own childhood, Minari understands this. It knows that seeking a space to make one's own is crucial, and that it motivates many big moves to and within the US. So, following a Korean American couple who relocate to rural Arkansas in the 80s with hopes of securing a brighter future for their children, this delicately observed and deeply felt feature doesn't separate the Yi family's attempts to set up a farm from their efforts to feel like they're exactly where they should be. When Jacob Yi (Steven Yeun, Burning) introduces his wife Monica (Yeri Han, My Unfamiliar Family), pre-teen daughter Anne (first-timer Noel Cho) and seven-year-old son David (fellow newcomer Alan S Kim) to their new 50-acre plot, he's beaming with pride. He's bought them "the best dirt in America," he says. It might only span a trailer, a field and a creek, but he's certain that it will revolutionise their lives. Although both Jacob and Monica still spend their days in a chicken sexing factory to pay the bills, Jacob is confident his agrarian dream will reap rewards. The path he's chosen isn't a glossy fantasy, though. From trying to work out where best to build a well to provide water for his crops, to endeavouring to convince stores to buy his wares, Jacob weathers more than his fare share of struggles. Monica's worries about their isolation, and about money, also weigh heavily, as do Anne and David's attempts to fit in, the latter's heart murmur and the change that sweeps through the family when Monica's mother Soonja (Youn Yuh-jung, Sense8) joins them. "Grandma smells like Korea," the curious and precocious David complains about his newly arrived grandparent — and it's a telling line of dialogue. When Jacob and Monica talk about their promises when they first got married, remembering how they said they'd "move to America and save each other", their words are just as revealing. Minari doesn't spin a broad culture-clash narrative, but it does intricately and intimately explore what it means to be pulled in two directions. It's well aware that leaving one's homeland isn't the same as surrendering one's heritage, and that anyone who hasn't been through the same experience can't always spot the difference. Born in US, David and his sister don't have the same connection to Korea as their parents; however, they're reminded of how they stand out in American's heartland on a daily basis. Jacob and Monica have different visions of what their life should entail, and how to maintain ties to the past — he wants to grow Asian vegetables to sell to markets who cater to other immigrants, while she wants to live in a larger city as part of the Korean diaspora — but they're constantly navigating the same push and pull. Fellow recent American-made releases Crazy Rich Asians and The Farewell also traversed comparable thematic territory, but through US-based Chinese American women who made eye-opening trips abroad — to meet their partner's relatives or visit their ailing grandmother. By contrast, Minari devotes every second to the Yi family's American lives. Rather than being driven by a homecoming, the film focuses on turning that soil that Jacob gushes over into the Yis' home. The power that radiates from Chung's choice here can't be underestimated. Nor can his decision to frame much of the movie from David's perspective, and to eschew overt conflicts for everyday dramas. Through a pitch-perfect blend of all three, Minari sees Arkansas as both a challenge and a playground. Starting anew here isn't easy, even with everything from overgrown grass to dutiful church visits taking on a larger-than-life feel from David's wide-eyed viewpoint, but Minari, Jacob and his loved ones are all committed to taking the bad with the good. In the Yis' case, setbacks come their way, adjustments are necessary and tense moments abound, but their dedication to calling their farm home manages to survive tough reality checks. The film's overall story can be summarised neatly — a Korean American family moves to middle America — but Minari's charms and triumphs aren't ever simplistic. As movies influenced by personal real-life tales can be at their best, this is a gorgeously and thoughtfully detailed picture, with Chung realising that trading in specific minutiae is far more resonant, compelling and relatable than opting for sweeping generalisations. Lensed by cinematographer Lachlan Milne (Hunt for the Wilderpeople), the feature's visuals operate in the same fashion, offering exacting slices of life that also shimmer with a shared, nostalgic mood. Indeed, this precise and vivid film is told with such honest and tender emotion that it was always bound to feel equally unique and universal. Minari isn't Chung's first feature, thanks to 2007's Munyurangabo, 2010's Lucky Life and 2012's Abigail Harm, but it's the kind of heartfelt yet meticulous movie that instantly cements him as a filmmaker to watch. Young Kim does take his debut leap into cinemas, and makes just as strong an impact, stealing every scene he's in. Considering that the child actor stars opposite the always-magnetic Yeun, who turns in his latest excellent performance and may well receive an Oscar nomination for his efforts, that's no minor feat. Han, Youn and Cho are just as stellar, though, as is Will Patton (Halloween) as a devout but kindly Korean War veteran who virtually becomes another member of the family. The way that Minari's cast comes together so exceptionally couldn't be more apt, actually. They each find the space to explore hard-earned dreams, and feel like they're taking viewers home with the Yis in the process. https://www.youtube.com/watch?v=NbE96sCJEjo
It's happening months earlier than anticipated, but New Zealand is set to reopen its doors to tourists from next month, kicking things off by welcoming back its closest neighbours. In news sure to trigger a sigh of relief for tourism operators and those keen on a winter break, from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12, Aotearoa will scrap its current international border ban for Australian tourists — meaning double-vaccinated Aussie holidaymakers will be able to travel across the ditch without requiring isolation. Then from 11.59pm NZST / 8.59pm AEST on Sunday, May 1, double-vaccinated holidaymakers from visa-waiver countries like the US and UK will be able to follow suit. New Zealand's Prime Minister Jacinda Ardern announced the move in a press conference on Wednesday, March 16, revealing that she's excited and ready "to welcome the world back". "In particular, I'm ready to welcome back our trans-Tasman travellers… they'll be able to arrive in time for the Australian school holidays and provide a boost for our winter ski season," she said. "I'm asking our Australian family and friends to book their tickets." Tourists will be required to test negative for COVID-19 with a PCR or RAT before leaving Australia for their trip, before providing negative tests on day one and day five of their stay in New Zealand. The new plan is an expedited version of the New Zealand Government's original border-reopening arrangement announced back in February, when it was proposed tourists from Australia and around the world would probably be able to visit New Zealand by July. However in March, NZ COVID-19 Response Minister Chris Hipkins said he believed that would be "at the latest". The change of plans has come amid New Zealand's current Omicron outbreak, which sees the country currently ranking among the highest rates of COVID-19 transmission in the world. Australian tourists will be able to enter New Zealand without isolating from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12. For more information, head to the New Zealand Government's official COVID-19 website.
It's this midway point of the year when many of us have travel on our minds. Whether the Euro summer Instagram dumps have you thinking about your next jaunt to the Northern hemisphere, or you want to escape the long winter for a warm Asian escape, a lot of us are plotting our next adventure. If it's been a while since you planned an international trip, here are some handy tips to keep in mind and help you travel smarter, not harder. Book Smart When deciding on a holiday destination, it's easy to get excited and book the first flight the airline presents to you. Take your time, do some research and look at off-peak tickets to save some money. These include flights on Tuesdays, Wednesdays and Saturdays. If you can, avoid flights that take off just after work and during holiday periods. Pack a 24-Hour Emergency Kit In Your Carry On Stuff happens. Flights get delayed, and luggage can be lost. While not ideal, having a backup outfit, toiletries, and any medication in your carry-on bag can help to ease your mind. Travelling can be unpredictable, but by preparing a little more, the big annoyances can become small details that you'll forget by the time your lost luggage arrives safely on your hotel doorstep. Get Your Money In Order Your holiday savings account looks nice and healthy, and your bag is packed, but how will you spend money when you get to your destination? Using the wrong card could result in some hefty international exchange fees. No one needs to pay $4 to get their own money out of an ATM in Italy. HSBC's Everyday Global Account is an everyday bank account with useful benefits for your international travels. Think instant (and seamless) fee-free* currency exchange 24/7, competitive exchange rates, and $0 HSBC ATM fees worldwide**. The HSBC Everyday Global Account also allows you to spend in multiple currencies from the one account. Organising your money before you're swept up in holiday adventures means you could save some serious cash in the long run. Plus, you can keep using your HSBC Everyday Global Account when you land back on home soil, too. With HSBC's Everyday Extras, enjoy up to $600 cashback*** a year on eligible tap and pay purchases under $100 domestically, making it the ideal everyday account for the world. Layovers As Mini Holidays As Australians, we're used to long haul flights. This doesn't mean we can't make the most of the time, though. Rather than rushing across continents as quickly as possible, consider an extra night in your layover destination. It's the perfect way to feel more rested pre-holiday and reset for reality on the way back. Singapore, Bangkok and Hong Kong are all popular layover destinations from Australia and have a wealth of culture and food to get you into the holiday zone. Make The Most of The Airport Lounge A part of getting older is learning that sometimes it's worth it to spend a little bit extra when traveling in exchange for comfort and cleanliness. If you're not going to leave the airport on your long haul layover, at least consider a pass to a lounge. Here, you can shower, eat some food (local cuisine is encouraged), and charge up your devices before landing at your destination. Utilising airport lounges can mean the difference between arriving at your first stop feeling excited and ready to explore, versus needing a day in your hotel to recover from the flight. Utilise Google Maps Is there anything worse than heading out to explore a new city's cuisine and finding yourself eating at a fast food joint? In the months and weeks leading up to your holiday, spend some time researching places you'd like to check out and save them on your Google Maps. This way, when you're wandering around, the sun is setting and hunger is rearing its head, you'll have a laundry list of local spots ready to go rather than wasting a meal on food you could get back home. Don't worry, you don't have to tick them off like a to-do list (that's part of the fun of exploring), but having them saved as a backup means that you're never left wandering around aimlessly. Don't Forget The Fine Print Travel is always a thrill, but you can give yourself some peace of mind by ensuring the admin has been triple-checked before your bag is packed. Is your passport six months within date? Do you have travel insurance? Have you read its fine print? Do you know how you'll be spending money once you're overseas? Checking this admin off before you head to the airport means peace of mind and travelling smarter, not harder. Give Yourself a Day to Reset Where once you might've driven from the airport to the office on a Monday morning, giving yourself at least one day at home before getting back into your day-to-day life can help to ease you out of holiday mode. From jet lag to a lack of clean clothes, you won't regret taking the time to reset post-travel. Yes, you might need to spend an extra day of annual leave, but reminiscing on your trip and getting a good night's sleep will help to ease the travel blues and get you gearing up for your next trip, wherever that may take you. Learn more about HSBC's Everyday Global Account here. *T&Cs apply. Other banking services fees and charges may apply, including corresponding bank fees for international transfers. Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL 232595. **Non-HSBC branded ATMs and some HSBC Group ATMs may charge an ATM operator fee for withdrawals or balance enquiries at their ATMs. ***HSBC Everyday Extras is a feature of the HSBC Everyday Global Account. You will be eligible for Everyday Extras if you deposit at least AUD2,000 into your HSBC Everyday Global Account before the last working business day of each calendar month. For more information, refer to the Transaction and Savings Accounts Terms (PDF).
Featuring more than 200 wineries, Margaret River is an instantly recognisable name for those who pay attention to their vino. Having developed as a winemaking region since the 1960s, today it's considered one of Australia's top wine destinations. A massive percentage of Australia's premium wine is produced here, luring thousands of visitors through the region's many stunning cellar doors. With so many wineries to choose from, we've teamed up with Virgin Australia to put together a handy guide of the absolute must-visit Margaret River winemakers. Take a trip to Australia's southwest and go in search of the perfect glass of wine. VASSE FELIX Perhaps the most acclaimed winery in the entire Margaret River region, Vasse Felix has earned its reputation. It was the first winery to open in Margaret River in 1967 and, these days, the striking estate offers thirsty travellers a chic tasting room, a wine lounge and an art gallery, not to mention an award-winning fine dining restaurant that has an elegant yet rustic appeal, with its stone, steel and timber finishings. The rolling grounds make for a relaxing, scenic wander. There's a small creek that cuts through the middle of the estate as well as a series of sculptures hidden amongst the fields. If you're looking to have one blowout on your Margaret River escape, then Vasse Felix is without a doubt the place you should do it. Whether it's the world-class bottles of wine or the striking restaurant setting, it's one of the most delightful gastronomic experiences you'll find in Western Australia. CAPE MENTELLE Established back in 1970, Cape Mentelle is part of the so-called 'founding five' wineries that kickstarted the industry in Margaret River. Over the years, Cape Mentelle has contributed greatly to the local winemaking tradition, with the estate's 200 hectares of grapes producing bottles of wine that are acclaimed both at home and abroad. Located just outside the Margaret River township, the vast grounds welcome visitors and into its rammed-earth cellar to sample the goods, plus learn a few lessons with almost 40 years of viticultural experience on offer. Take part in the food and wine pairing (at $85 a person), which leads you on a journey through the estate before arriving in the original cabernet cellar to enjoy a selection of six canapés and six current release wines. If you happen to be there in summer, you'll have a lively wine-sipping experience as Cape Mentelle's lush lawns are transformed into a bustling outdoor cinema. VOYAGER ESTATE Surrounded by blooming rose gardens, Voyager Estate might just be the most serene winery on this list. And once you begin to drink down its award-winning chardonnay and cab sauv, you'll be completely at peace too — its drops are considered to be some of the best in the country. That's not to say you should pass on Voyager Estate's restaurant while you're there. Led by head chef Santiago Fernandez, get the most out of this fine-dining experience and try the seven-course degustation (at $120 per person), with each plate inspired by (and matched to) one of the vineyard's high-quality wines. To put the cherry on top, Voyager Estate successfully reached carbon neutral status back in 2017 — so feel good knowing that your feast is ecologically guilt-free. BURNSIDE ORGANIC FARM Over the last two decades, the McCall family has been organically farming an incredible variety of produce, including avocados, honey, capers and grapes. Specialising in the Italian styles of primitivo and vermentino, the Burnside Organic Farm is a distinctly family-run affair — and it give the property a homey vibe. Owners Jamie and Lara still manage the entire property and are more than happy to take you on a tour of the fruit orchard, the vineyard and eventually the tasting room, where you can enjoy their efforts as you overlook the surrounding farmland. The couple's three kids also help keep this place producing spectacular vino. Burnside Organic Farm also features some charming on-site luxury bungalows that provide the ideal place to spend a night after enjoying a bottle (or two). Combining modern amenities with natural and organic materials, the bungalows provide a private outdoor spa bath and roaring potbelly wood fire, which should make your countryside stay pretty perfect. FLOWSTONE WINES Flowstone Wines might not have the same massive scale as some wineries on this list, but that doesn't mean it doesn't produce some delicious wine. You can be certain that founder Stuart Pym has the pedigree to match with the best producers in the Margaret River region, having spent years perfecting his craft at some esteemed wineries and breweries, including Voyager Estate, Devil's Lair, Stella Bella, and the Matilda Bay Brewing Company. Having teamed up with fellow wine-lover Phil Giglia some 15 years ago, together the duo planted Flowstone's first vines that have since delivered some remarkable results. The small vineyard might only cover two-and-a-bit hectares, but the chardonnay and cabernet sauvignon grapes are considered some of the greatest in Margaret River. The operation remains a relatively tight-knit one so you should keep an eye out for a bottle of Flowstone's finest around town. If you're thinking about popping down, make sure you organise your trip in advance as cellar door visits are by appointment only. While you're at it, check out Virgin Australia's holiday packages, which will put you in good stead to explore Margaret River in total comfort.
The Act of Killing screened last week as part of the official competition at the Sydney Film Festival. And the consensus of nearly everybody who has seen it has been that it's one of the most compelling, original and affecting documentaries they have ever seen. More to the point, in the two and a half hours you sit in company with it in the dark of the cinema, The Act of Killing rips up your idea of what a documentary is supposed to be. Principally, The Act of Killing, directed by American filmmaker Joshua Oppenheimer, traces the aftershocks of the coup that brought President Suharto to power in Indonesia. The government was overthrown by the military in 1965 and the Indonesian Communist Party (PKI) eradicated, alongside anybody accused of being a communist, including union members, 'leftists', intellectuals and the ethnic Chinese. "I started this project working in a community of survivors," Oppenheimer explains when he sat down with us earlier this week. "Trying to make a film about the horrors that had happened but also about the regime of fear and impunity and corruption under which they're still living. And every time we'd film together we'd be stopped by the military. But living in the same village as the survivors were the perpetrators. And they were boasting to me. I would meet them in the street, they would invite me in for tea, and they would boast about what they had done. That was the crack in the facade of normalcy. And I came to understand very quickly that the big story here is not what happened in 1965. This is about what's happening now." https://youtube.com/watch?v=zJ5_JAgoZ5Q Your friend, the war criminal The film's central focus is Anwar Congo, a self-styled gangster who made his money during the '60s as a ticket scalper at the local cinema in North Sumatra's capital city, Medan. When the coup began, the army used paramilitaries and gangsters like Anwar to carry out the massacre of what is estimated to be around 1 million people. With Anwar and his friends, Oppenheimer saw an "opportunity to document the nature of impunity honestly. It's a situation where the killers have won, they've been celebrated by the whole world, and therefore they're open about it. As opposed to what we normally see: killers either deny what they've done, or apologise for it." To try to understand the function of the men's boasting, he asked them to re-create scenes about the killings in whatever way they wished, and the men — fans of American films and culture — took to screenwriting and acting. "The film is my way of understanding a whole regime of impunity, the imagination of the impunity, the way they, like all of us, use storytelling to create their reality," says Oppenheimer. "And as part of that they use storytelling to escape from their most bitter truths." Turning Documentary On Its Head Documentary has a unique kind of power, if not exactly to reveal the invisible than to speak of things we prefer to ignore. And as media proliferate, diverge and splinter, non-fiction films seem to be finding a fresh voice. It isn't that documentary has ever really inhabited a magical land of objectivity and absolute 'truth'. The difference is that fact and fiction are increasingly hazy in our minds, and just about everything we once thought of as 'non-fiction' — politics, sport, celebrity, advertising — involves a certain amount of wavering between the real and the unreal. And waver between the real and unreal is precisely what The Act of Killing does, unfolding in a space that's both horrifyingly straightforward and technicolour phantasmagoria. The film flits between frank accounts of the men explaining and demonstrating how they killed their victims and surreal images from their re-creations — a line of women dancing in the mouth of a giant fish, Anwar's head decapitated but still speaking, a man in drag smoking a cigarette singing about taking his girlfriend to the movies. Many of the most powerful scenes in the film fit somewhere in between reality and fiction. "There were these moments of pure poetry that weren't scenes," says Oppenheimer. "They're observational scenes in a way — about how we're lost in our fantasies. They're documentary scenes, in a surreal space. So the film obtains a density and a richness because we have a sense that there are all these stories that are untold. There's a plot behind these scenes, but we don't know what it is and it doesn't matter." We Tell Ourselves Stories in Order to Live Legendary filmmaker Werner Herzog, who happens to be executive producer of The Act of Killing alongside Errol Morris, declared in 1999 that simply holding up a camera and capturing what's around you isn't sufficient in documentary filmmaking. "There are deeper strata of truth in cinema," he said, "And there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylisation." That is precisely what The Act of Killing does. By asking Anwar and his friends to re-create scenes of the massacres, the filmmakers expose the unacknowledged complexity of the Indonesian genocide. "I think Anwar's trying to escape from his pain," says Oppenheimer, referring to many of the scenes where Anwar and his friends portray themselves as heroes for massacring thousands of people. "Every time he does it he re-avoids the moral meaning of the killing, and reifies his denial. It's a way of escaping the reality of what he's done, or so he thinks. But it also becomes the prism through which he recognises what he's done." What the film uncovers is that the stories told by the perpetrators are a product of something far more profound than simple cruelty. "Yes, those stories are instruments of fear and they keep everybody else afraid, but paradoxically they're not symptoms of the remorselessness of the perpetrators. On the contrary, they're symptoms of their humanity. The celebration of genocide can simply be a symptom of a stridency you adopt because you don't believe your own justification. And if there's a thread defining the film's development, it's Anwar's subtext — it's the look on his face showing he never seems to believe the things he's saying." What The Act of Killing does is take the storytelling process, and instead of using it as the Indonesian elite does — to keep people afraid — the film uses storytelling as an instrument of moral understanding. "Our entire world is made up of second-hand, third-rate stories. And I think we have no choice, since that's what our world is made of, but to recover these stupid stories for something humane. So the film is a kind of recycling, a kind of bricolage of shit, trying to make something beautiful out of the shit." When Art Makes A Difference The Act of Killing has received international acclaim since its premiere last September, but more importantly it has caused an upheaval in Indonesia. "It's screening every day," explains Oppenheimer. "As of March it had screened over 500 times. The Indonesian media is now publishing serious investigative reports about the genocide, whereas for forty-seven years they'd been silent about it. It's caused a sea change in how the country sees its past. It's come to the country like the child in The Emperor's New Clothes pointing to the king and saying "the king is naked". And everyone knew it. Maybe they didn't know the details. But now that it's been said so powerfully — and by the perpetrators themselves — there's no going back. The government has chosen to ignore it for the moment, although some army groups and some paramilitary generals have been threatening people screening the film, and threatening me. But it is making a real difference. "Werner [Herzog] said to me when I was talking about this to him over dinner, 'Josh, art doesn't make a difference.' And he looked at me for a long time and I felt rather deflated. And he smiled and then he said 'until it does'." The Act of Killing will get a limited Australian cinema release through Madman Entertainment on October 3, 2013.
Given its title, Avengers: Endgame was always going to feel like a finale. Marvel's huge superhero blockbuster wasn't just the sequel to Avengers: Infinity War, complete with the eagerly awaited response to the snap heard around the movie-loving world, but marked the penultimate film in the Marvel Cinematic Universe's third phase. It also said goodbye to a few beloved characters, and left viewers uncertain about the future — because, while Spider-Man: Far From Home was always going to arrive afterwards to cap off the current portion of the now 11-year, 23-title saga, no films beyond this point had been officially announced. Until now, that is. With San Diego Comic-Con in full swing — and dropping trailers to everything from Cats and IT: Chapter Two to The Witcher and Snowpiercer quicker than fans can probably watch them — Marvel has finally unveiled just what it'll be thrusting in front of audience's eyeballs for the next few years. Almost of all of its just-revealed titles were already known in some shape or form, primarily due to casting news, the hiring of certain directors and the programming slated for Disney's new streaming platform, Disney+. Now, it's all 100-percent confirmed. On the big screen, cinema-goers will have a bit of a break from Marvel's huge franchise until May 2020, when Black Widow will drop — giving Scarlett Johansson's character a long-awaited solo movie, with the prequel helmed by Australian Cate Shortland (Berlin Syndrome), and co-starring Florence Pugh, David Harbour, Rachel Weisz and Ray Winstone. It'll be followed by The Eternals in November, which'll focus on a species of humanity that originally created sentient life. The Rider's Chloe Zhao sits in the director's chair, while Angelina Jolie, Kumail Nanjiani, Richard Madden, Salma Hayek and Brian Tyree Henry star. Come 2021, fans have three films to look forward to, starting with newcomer Shang-Chi and the Legend of the Ten Rings in February. Marvel's first Asian-led flick, it focuses on the Master of Kung Fu, boasting Short Term 12's Destin Daniel Cretton behind the lens, and is led by Simu Liu (Kim's Convenience) as the titular character, as well as Hong Kong great Tony Leung and Awkwafina. Next arrives two massive sequels: Doctor Strange in the Multiverse of Madness, which hits in May, and Thor: Love and Thunder, which'll bow in November. Benedict Cumberbatch and Benedict Wong will return to the former, alongside filmmaker Scott Derrickson, and with Elizabeth Olsen's Scarlett Witch also popping up. As for the latter, it'll once again bless viewers with the combo of Chris Hemsworth and Tessa Thompson, which is what everyone wants after Thor: Ragnarok (and even after Men In Black: International, too). Even better — Taika Waititi is back as both the film's writer and director (and, presumably, as Korg as well). Natalie Portman will also be making her return to the franchise, with her character Jane Foster becoming the female Thor. Marvel will also be making a new Blade film starring Mahershala Ali as the undead vampire hunter, plus sequels to Black Panther, Captain Marvel and Spider-Man: Far From Home, as well as Guardians of the Galaxy Vol. 3. Now that Disney — which owns Marvel — also owns Fox, it'll try its hand at another take on the Fantastic Four, as well as a new strand of X-Men movies. Here's hoping the last two improve on their most recent predecessors. If that's not enough caped crusader antics, a heap of Marvel's previously announced Disney+ series now have release windows. In August 2020, you'll be able to binge on The Falcon and the Winter Soldier, focusing on Anthony Mackie and Sebastian Stan's characters. Then, 2021 will bring WandaVision (about Olsen's Scarlett Witch and Paul Bettany's Vision), Loki (complete with Tom Hiddleston) and Hawkeye (about Jeremy Renner's arrow-slinger, and introducing comics character Kate Bishop). Via: Marvel Studios / IndieWire / The Verge. Top image: Avengers: Infinity War. Marvel Studios 2018.
You might associate Newcastle with surf, sand and summer, but the coastal location also makes this a perfect winter short break. There's no more invigorating way to start a frosty morning than with a brisk beachside walk. What's more, winter equals whale-watching season, and for spotting humpbacks, Newie's towering headlands are spectacular. When you're ready to head back indoors, you'll find the city packed with excellent chefs, baristas, artists, designers and makers. Many of them have escaped the big smoke to set up digs here, where they get to be beside the sea without paying torturously high rents. With that in mind, set up home base at one of the AccorHotels in the city and follow our guide to a warming, delicious winter weekender, just a two hours' drive north of Sydney. EAT AND DRINK Good cafes aren't hard to find in Newcastle; it's choosing one that's the tough bit. For a cheery beginning, settle among the bright tiles, artworks and plants of Ground Up Espresso in Carrington, a waterfront suburb on Newcastle Harbour's north shore. The most decadent, comforting brekkie on the menu has to be the crepes with smoked salmon and creme fraiche. Afterwards, cross the water to Maryville to warm your mitts on bakery treats at Uprising. Alternatively, if you want to stick to the CBD, then One Penny Black serves a bunch of single origins and blends, as well as winter-inspired dishes including coconut and cinnamon porridge. For tea drinkers, The Tea Collective in inner-city Cooks Hill is something of a mecca. Here, leaf obsessive Becci Fowler serves premium-quality, perfectly brewed cuppas. On a frosty morning, the gingerbread chai is hard to beat. Downstairs are The Autumn Rooms, a sun- and greenery-splashed space, offering buttermilk waffles with chai-infused mascarpone, pistachio crust, mixed berries and dark chocolate ganache, among other delights. At a nearby bowling club is Bistro Lowlands, home to some of Newie's tastiest burgers, including the Firebird 2.0 (buttermilk fried chicken, double cheese, sriracha slaw and jalapeno mustard). If it's Italian you're hankering for, head to the CBD's Napoli Centrale, where Naples-trained chef Alfonso Muras whips up traditional pizzas and a mean black truffle gnocchi with gorgonzola sauce. Mediterranean eatery Rustica offers both stunning views overlooking Newcastle Beach and a hearty share-style menu. Start with tapas and small plates, think Turkish-style carrot labne, before graduating to roast pork belly and Moroccan vegetable tagine. Meanwhile, for indulgent dining, book a table at hatted restaurant Subo. You'll be treating yourself to a set five-course menu, designed especially for winter. Dishes include carpaccio of Hervey Bay scallops with jamon, nori and XO sauce, as well as Cape Grim short rib cooked overnight in Guinness and red wine with bagna cauda (an Italian dipping sauce), turnip and fried herbs. Pre- and/or post-dinner drinks? There's The Grain Store for an epic craft beer collection, Reserve for hundreds (really, hundreds) of wines and The Koutetsu for cocktails among antique lampshades, dark timber and secretive nooks. DO Winter might not be the most appealing time for a swim at Newcastle's pretty, blissfully uncrowded beaches, but it's a whale watcher's dream. Get an eyeful on foot at either Nobbys Headland or Shepherds Hill Lookout, or take to the sea aboard the trusty vessel Coast XP. Another way to embrace the salty air is with a hike. The Bathers Way coastal walk stretches from Nobbys to Merewether Beach, with views of Newcastle from every which angle and a chance to learn about the city's history at Fort Scratchley, where guns were fired in 1942 during shelling by a Japanese submarine. Another key point along the walk is the Anzac Memorial Bridge, an icon of Newcastle that offers a 450-metre clifftop walkway. Not enough outdoorsiness for you? Hit the dunes of Stockton Beach on a quad bike (hire from Sand Dune Adventures, Quad Bike King or Port Stephens 4WD), take to the skies at TreeTops adventure park, or get some wind in your hair on one of Newie's many cycle paths. The 15-kilometre Fernleigh Track takes in peaceful bushland and wetlands. Meanwhile, you can get your art dose at the Olive Tree Art and Design Market, where local creatives gather on the first Saturday of every month, or anytime among the indie shops and galleries of the Darby Street Precinct in Newcastle's urban heart. Also worth checking out is the Newcastle Art Gallery — which hosts talks, tours and concerts throughout winter — and the Newcastle Jazz Festival that comes to town in August. SLEEP If there's one element that's vital to a winter weekender, it's a warm, tranquil hideaway for the evenings. If you're keen to snuggle up with the beach at your doorstep, book at the Novotel Newcastle Beach. Rooms — which range from Standard to Superior Balcony — come with king-sized beds, bucketloads of winter sunshine, loads of space and uplifting splashes of orange and blue. There's also a spa, sauna, gym, on-site restaurant and 24-hour room service. For a real indulgence, head to the on-site restaurant, Bistro Dalby, for high tea. Mini pressed Cuban sandwiches and prawn brioche sliders feature among the savouries, with salted raw caramel slice and chocolate eclairs in the sweet selection. A more affordable, yet still cosy, hotel option is the Ibis Newcastle, located near the city's Honeysuckle Precinct, a harbour-front area where former shipping wharves have been transformed into eateries and apartments. Some rooms offer water views, while all give you a super-comfy bed, flat-screen TV, free wifi and 24-hour room service. Alternatively, if you're on a brief visit, then the Mercure Newcastle Airport could be the way to go. It lets you easily explore nearby areas, such as Port Stephens, and all rooms have a sleek, minimalist design and photos of iconic landmarks taken by local Owen Signs. Go to the AccorHotels website to book your stay in Newcastle, and to discover more of regional NSW, swing by Visit NSW.
Drawing on a long background in the fashion world and then studying under the expert tutelage of Queen Elizabeth's principal florist, Kellie Brown launched her flower design business Fig & Bloom back in 2015. Alongside a sibling store in Sydney, the Kew studio has since won itself an abundance of loyal fans, earning a name for its bold aesthetic and wide-ranging collection of blooms. On offer, you'll find stunning signature bouquets inspired and named after far-flung destinations like Bora Bora, Valencia and Lisbon — a holiday fix in a vase, if you will. Or, let the team craft you a bespoke arrangement, based on that morning's market haul. There's even a specialty range of 'bro-quets', with proceeds going to support Gotcha4Life's work with men's mental health.
It started back in 1956 as a singing contest between a mere seven nations. Now, more than six decades later, Eurovision is a glitter and spandex-fuelled global musical phenomenon. Forty-one countries not only in Europe but from elsewhere compete — hello Australia — and viewers tune in en masse each May to watch, sing along and add new pop tunes to their playlists. Well, they do most years. When the COVID-19 pandemic began last year, Eurovision didn't go on as planned. SBS hosted a week-long Eurovision festival instead — and Netflix released the Will Ferrell- and Rachel McAdams-starring Eurovision Song Contest: The Story of Fire Saga — but, thankfully, the beloved song contest is back in 2021. Come 5am AEST, Wednesday, May 19 Australian time, Eurovision will return to SBS as part of the broadcaster's usual celebration of all things Europop at this time of year. Getting up early to watch the first semi final is recommended, especially if you're keen to see this year's Aussie entrant Montaigne compete. She'll be up against performers from 15 countries — including Israel's first Ethiopian representative, Eden Alene — and will perform the song 'Technicolour' from home. That's just part one of this year's Eurovision fun. After Montaigne follows in Guy Sebastian, Dani Im, Isaiah, Jessica Mauboy and Kate Miller-Heidke's footsteps, the second semi final will air at 5am AEST on Friday, May 21. And, come the same time on Sunday, May 23, the grand final will hit the screen. For those who can't tear themselves out of bed before it's light, the first semi final will also screen in primetime at 8.30pm AEST on Friday, followed by the second semi final at 8.30pm AEST on Saturday — and the grand final at 7.30pm AEST on Sunday. You might not be able to avoid finding out the results by then, though, unless you veto the internet and social media for a few days. SBS' usual local hosts Myf Warhurst and Joel Creasey will be overseeing the show — and yes, if you're feeling a bit of deja vu, Montaigne was meant to represent Australia last year, before the contest was cancelled. And if you can't decide whether to beat the sun or wait and host a party at sensible hour, it's worth remembering that Australians can vote for Eurovision, but only during the live broadcasts. For the semi finals, you're limited to voting during the event that features Montaigne — and you can only vote in the grand final if the singer makes the cut. Also, there's another caveat: you're not actually allowed to vote for Australia's entry, which you can nonetheless check out below. https://www.youtube.com/watch?v=bX_y759_F_U SBS' Eurovision 2021 coverage runs from Wednesday, May 19–Sunday, May 23. For more information, head to the broadcaster's website. Top image: Jess Gleeson.
When Star Wars: Episode VIII — The Last Jedi director Rian Johnson made his movie debut back in 2005 with the excellent Brick, he did so with a mystery. That's a genre he hasn't strayed far from since, as Looper, Knives Out and Glass Onion: A Knives Out Mystery have all shown. Accordingly, it should come as no surprise that his new TV show Poker Face is also a whodunnit — this time getting Natasha Lyonne sleuthing. In not one but two seasons of Russian Doll, Lyonne has tried to solve mysteries, too. As the Netflix show's sweet birthday baby, she's stalked around various time loops, periods and cities endeavouring to work out why she's reliving the same night over and over again — or how and why she can head into the past. Of course, one show featuring the Orange Is the New Black star getting playing detective is all well and good, including over multiple seasons; however, two is even better. There's a feeling of déjà vu about Poker Face for multiple reasons, clearly, and has been since its first sneak peek dropped in 2022. And, as the new full trailer for the ten-part series also demonstrates, that happens in the best possible way. Solving mysteries is 100-percent the focus here, with Lyonne playing Charlie Cale, who works her way through resolving a series of crimes — a mystery of the week each week, in fact — while she's on the road in a Plymouth Barracuda. Cale has an uncanny ability to tell if someone is lying, a skill that's going to come in handy as she encounters a hefty roster of other familiar faces. Adrien Brody (See How They Run), Chloë Sevigny (The Girl From Plainville), Joseph Gordon-Levitt (Pinocchio) and Ron Perlman (Nightmare Alley) are all set to pop up in Poker Face as well, and that's just the beginning of the show's stacked guest cast. Also on the list: Benjamin Bratt (DMZ), Ellen Barkin (Animal Kingdom), Nick Nolte (The Mandalorian), Cherry Jones (Succession), Judith Light (The Menu), Lil Rel Howery (Deep Water), Jameela Jamil (She-Hulk: Attorney at Law) and Danielle MacDonald (The Tourist). Again, there's more where they came from. Australian audiences will be able to stream the end result via Stan from Friday, January 27. And yes, Stan did also release a Russell Crowe- and Liam Hemsworth-starring movie in 2022 called Poker Face that's unrelated to this — so keep that in mind while you're scrolling through its catalogue. Check out the full trailer for Poker Face below: Poker Face streams in Australia from Friday, January 27 via Stan.
December is a time for reflection. A time to look back on the year that was, read round-ups to check up on what you've missed and put together best-of lists (indeed, we've just launched our own in Sydney, Melbourne and Brisbane). Earlier this week Time Magazine announced the 'silence breakers' behind the #metoo campaign as its 'Person' of the Year, which, if you needed reminding, is pretty indicative of how difficult and momentous this year has been. How to deal with it all? With purple, apparently. Ultra Violet (PANTONE 18-3838) has just been named as Pantone's 2018 Colour of the Year. The dramatic shade was chosen by Pantone's colour experts not only because it's "provocative and thoughtful", but because its connection to cosmos suggests that there's more out there to be discovered and limitless possibilities of what's to come. Of course, purple has a cultural significance too — many of us would associated it with the late Prince. According to Pantone, the enigmatic colour has long been a symbol of counterculture and experimentation, as popularised by Prince, David Bowie and Jimi Hendrix. Referencing the year that was, Pantone executive director Leatrice Eisemen says that Ultra Violet inspires creativity and imagination and "takes our awareness and potential to a higher level". Then there's Ultra Violet's association with mindfulness; the colour is often used in meditation and spiritual practices. So paint your room in it, cover your body in it or just buy some purple socks — it might help you get through this crazy messed up world in 2018.
Coachella 2019 is upon us. While most of the world can't head to the huge music festival, there are still plenty of ways to play along at home. Expect the Coachella livestream to be busy across its three YouTube channels, and expect plenty of eyeballs to head Amazon Prime's way too — all thanks to Childish Gambino's new movie. The artist also known as Donald Glover has teamed up with his Atlanta director Hiro Murai, his screenwriter brother Stephen Glover, Black Panther's Letitia Wright, Game of Thrones' Nonso Anozie and, oh, none other than Rihanna, for a new film called Guava Island. It's premiering in a specially built theatre at Coachella this weekend, to tie in with Childish Gambino's headlining set, and it'll also be available to stream for an 18-hour window via Amazon's streaming platform. If you're keen to watch, you'll need to head to Prime Video between 5pm on Saturday, April 13 to 11am on Sunday, April 14, Australian time. It'll be available for free, which is excellent news if you're not a subscriber. And, it'll also stream on Twitch at 10am on Sunday, April 14, should you need another viewing option. Shot over four weeks in Cuba according to the New York Times, and dubbed a "tropical thriller" by Amazon, the film follows musician Deni (Glover), who wants to throw a festival on an island — with Rihanna playing his girlfriend and muse Kofi. In case Fyre Festival has popped into your mind, Vanity Fair described Guava Island as a "music-driven, hour-long film" that's "inspired by Brazilian crime drama City of God and Prince's Purple Rain". If you're eager for a sneak peek before the film hits later today, Amazon Prime posted a teaser to its Instagram feed: https://www.instagram.com/p/BwF9J-NhOQ8/ Guava Island will be available to stream on Amazon Prime from 5pm on Saturday, April 13 to 11am on Sunday, April 14, Australian time — and also via Twitch from 10am on Sunday, April 14.
"What do you say, Rick — we fly through space, come upon something, maybe I have a moral objection?" That's the second half of Rick and Morty's central pair in the just-dropped trailer for the show's seventh season, and he couldn't sum up the animated sci-fi comedy's premise better. As this sneak peek shows, that's exactly what's set to happen when the series returns in October. Get ready for more interdimensional chaos — and plenty of it. Also part of the trailer: Rick as a leg, Rick finding the version of himself that killed his wife, snowy climes, holograms, shooting the undead, trying to find someone that's sober, robot ghosts, collapsed societies, Rick's famous spaghetti and quiet apologies. Jerry (Chris Parnell, Archer) needs help with "a bit of a rake situation", too — and portals feature heavily. So, Rick and Morty looks set to get schwifty as it always has when it returns on Sunday, October 15 in America, which is Monday, October 16 Down Under — where it streams via Netflix. There is one big change, however, as fans can hear in the first footage from the new season: new voices. If you've been wondering how the show's titular chaotic scientist and his grandson will sound in the new episodes, here's the answer: much the same as before. But different talents are doing the speaking, after Adult Swim dropped Justin Roiland due to domestic violence charges earlier in 2023. While you can hear Rick and Morty's new stars in this, exactly who they are won't be revealed until the series' first season seven episode drops. Of course, anything can happen in Rick and Morty, with a change of vocal tones for Rick Sanchez and Morty Smith one of the least out-there developments within the show's narrative. As the trailer makes plain, audiences can still expect the show's eponymous pair to keep wreaking havoc, and the series to keep zipping between as many universes as it can. And, for Rick and Morty's hijinks to still draw in Morty's father Jerry, mother Beth (Sarah Chalke, Firefly Lane) and sister Summer (Spencer Grammer, Tell Me a Story) across season seven's ten-episode run. Check out the trailer for Rick and Morty's seventh season yet below: Rick and Morty's seventh season will premiere globally on Monday, October 16 Down Under — streaming via Netflix in Australia and New Zealand.
UPDATE, December 23, 2021: The Sparks Brothers is available to stream via Google Play, YouTube Movies and iTunes, and will be available on Amazon Prime Video from January 1. "All I do now is dick around" is an exquisite song lyric and, in Sparks' 2006 single 'Dick Around', it's sung with the operatic enthusiasm it demands. It's also a line that resounds with both humour and truth when uttered by Russell Mael, who, with elder brother Ron, has been crafting art-pop ditties as irreverent and melodic as this wonderful track since 1969. Sparks haven't been dicking around over that lengthy period. They currently have 25 albums to their name, and they've taken on almost every genre of music there is in their highly acerbic fashion. That said, their tunes are clearly the biggest labour of love possible, especially as the enigmatic duo has always lingered outside the mainstream. They've had some chart success, including mid-70s hit 'This Town Ain't Big Enough for the Both of Us', Giorgio Moroder collaboration and disco standout 'The Number One Song in Heaven', and the supremely 80s 'Cool Places'. They're beloved by everyone from Beck and 'Weird Al' Yankovic to Jason Schwartzman and Mike Myers, too. They're the band that all your favourite bands, actors and comedians can't get enough of, but they're hardly a household name — and yet, decade after decade, the Maels have kept playing around to make the smart, hilarious and offbeat songs they obviously personally adore. Everyone else should love Sparks' idiosyncratic earworms as well — and, even for those who've never heard of the band before, that's the outcome after watching The Sparks Brothers. Edgar Wright, one of the group's unabashed super fans, has turned his overflowing affection into an exceptional documentary. It's the Shaun of the Dead, Hot Fuzz and Baby Driver director's first factual effort, and it's even more charming and delightful than the films he's best known for. That said, it'd be hard to mess up a movie about Sparks, purely given how much material there is to work with. Russell and Ron, the former sporting shaggier hair and the latter donning a pencil-thin moustache rather than the Charlie Chaplin-style top lip he's brandished for much of his career, are also heavenly interviewees. That's the thing about these now-septuagenarian siblings, every Sparks tune they've ever blasted out into the world, and this comprehensive yet always accessible film that's instantly one of 2021's best: they're all joyously, fabulously, eccentrically fun to an infectious and buoyant degree. There's a joke in this doco's title, in fact; when it came to naming the group after cycling through a few monikers across other projects, they firmly rejected The Sparks Brothers. That's one of the many anecdotes that fill Wright's film — some shared playfully and self-deprecatingly by the Maels, some offered by worshipping aficionados that join the entertaining love-in. There's no escaping the documentary's devoted tone, but again, that attitude is quickly contagious. As the movie steps through Sparks' ups and downs, taking the chronological approach and giving as much time to their lesser-known albums as their cult hits, being as enchanted as Wright just comes with the package. He does an exhaustive job of charting the ebbs, flows, jumps, swerves, successes, disappointments and reinventions that've littered his subjects' careers, even as he leaves viewers wanting even more detail in plenty of instances. Crucially for a feature about musicians that many watching will be unfamiliar with, Wright does just as stellar a job at conveying exactly why Sparks have always deserved far more fame and acclaim, why they're so completely and utterly beloved and obsessed over by everyone who comes across them, and why music, comedy and the intersection of the two will forever owe them a debt. The audience first meets Russell and Ron today, looking as hip and unconventional as they always have, before The Sparks Brothers jumps back to their Los Angeles childhood, their teen penchant for movies and then everything that's come since. They originally weren't certain if they'd become filmmakers instead — and there's a theatricality to the pair's songs, shows and sublimely off-kilter music videos that speaks to that cinematic fervour. Wright weaves in an abundance of Sparks' gigs and tunes, showcasing both their creativity and their presence. This is a movie with a killer soundtrack, obviously, and it also appreciates the artistry that goes into creating such clever, distinctive and amusing songs that are always one step ahead of the pack. One clear highlight: a live rendition of 'My Baby's Taking Me Home', a tune that repeats that phrase 100-plus times, doesn't include a single other word, and is an emotional tour de force. Another pivotal message: just how hard the Maels have always worked to do what they love, to make such musical pearls and to keep challenging themselves. In 2008, they did 21 shows in London in 21 nights, playing every one of their then 21 albums through in full, for instance. It's with inescapable melancholy that The Sparks Brothers is also an account of what didn't quite happen; watching it, it's almost impossible to grasp why they haven't been one of the biggest bands in the world for the last half-century. Their 1994 synth-pop track 'When Do I Get to Sing 'My Way'', a hit in Germany at the time, manages to be both an anthemic smash and a commentary on what hadn't worked out for them; yes, as Russell's voice echoes and Ron's keyboard skills constantly strike a chord, that's how witty and humorous and just all-round magnificent their music is. 2021 is the year of Sparks, though. Every year since 1969 should've been, but The Sparks Brothers sings their praises with irresistible passion. And, it gives viewers a brief glimpse at their next big project, Annette — the musical that just opened the Cannes Film Festival, is directed by Holy Motors' Leos Carax, stars Adam Driver and Marion Cotillard, and reportedly features the former crooning tunes while getting rather intimate with the latter. The world has always needed more Sparks on a bigger stage; now, to the benefit of everyone that's ever loved them and anyone just discovering them, it's stopped dicking around and is finally delivering.
For the fifth time since the start of the pandemic, Victoria is going into lockdown in an effort to stop the spread of COVID-19 throughout the state. The new stay-at-home conditions will come into effect at 11.59pm tonight, Thursday, July 15, and will last for five days at this stage, running through until 11.59pm on Tuesday, July 20. If this was Sesame Street, five would be the number of the day, obviously. Announcing the news, Premier Daniel Andrews said "you only get one chance to go hard and go fast. If you wait, if you hesitate, if you doubt, then you will always be looking back wishing you had done more earlier." He continued: "I am not prepared to avoid a five-day lockdown now only to find ourselves in a five-week or a five-month lockdown. That is why we are making this very difficult decision and why I know Victorians will, despite the pain and difficulty of this, know and understand there is no option." The lockdown comes as Victoria recorded ten new locally acquired COVID-19 cases yesterday, as well as another four cases so far today — with two of the latter announced at a briefing this morning by the state's COVID-19 Commander Jeroen Weimar, and two more revealed this afternoon. Three of those new positive cases for today are linked to an AFL game at the MCG this past weekend, with the venue named yesterday as one of the latest exposure sites. Victoria now has 75 exposure sites, 1500 primary close contacts and 5000 secondary close contacts. "That is how fast this moves," the Premier said. At present, Victoria's outbreak is linked to cases that have filtered down from Sydney — which has been under lockdown for almost three weeks now, and will remain under stay-at-home rules for at least two more weeks. https://twitter.com/DanielAndrewsMP/status/1415566543077793793 Victorians will be familiar with the rules and restrictions from previous lockdowns, including the last one in May and June. Just like a month or so back, you'll be able to leave your home for five reasons: shopping for what you need, when you need it; caregiving and compassionate reasons; essential work or permitted eduction that can't be done from home; exercise; and getting vaccinated against COVID-19. Exercise must be limited to two hours a day with your household members, your intimate partner or one other person who is not from your household or your partner. Once again, though, Victorians must stay within five kilometres of their homes, unless you're leaving for permitted work or you're shopping for essentials if there are no shops in your radius. Masks are also mandatory everywhere outside of your home — and private gatherings are banned, as are public gatherings. But, while you can't have any visitors enter your home in general, there will be single bubbles, and intimate partner visits are allowed. So, if you live alone, you can form a bubble with another person or see your other half. Weddings are not permitted, unless on compassionate grounds, while funerals are limited to ten. Hairdressing and beauty services, indoor physical recreation and sport venues, swimming pools, community facilities including libraries, entertainment venues and non-essential retail venues will all close again during the five-day period — and hospitality venues will once again revert back to takeaway-only. Supermarkets, bottle shops and pharmacies will remain open — and professional sports can proceed, but without crowds. https://twitter.com/VicGovDH/status/1415078069413371905 Last time that Victoria went into lockdown, the stay-at-home period lasted for one week in most of the state, and for two weeks in Melbourne. Since then, the state has been living under COVID-19 restrictions regarding gatherings and venues, as always happens after a lockdown. All of Victoria will revert back to stage four restrictions from 11.59pm on Thursday, July 15 until the same time on Tuesday, July 21. For more information about the rules, head to the Victorian Department of Health website.
When historians in some far-flung future crack the books on 2023, one thing that will be immediately apparent is that it was an absolute red letter year for video games. Legend of Zelda: Tears of the Kingdom, Baldur's Gate 3, Alan Wake 2, Super Mario Wonder, Diablo IV, Armored Core IV — the list of bangers goes on and on. But it wasn't just big games that shone – indie developers also had a cracker 12 months and that's what we're here to celebrate. Here, in no particular order (and, as a person with a full time job and a child, by no means exhaustive), are the best ten smaller games the year blessed us with. [embed]https://www.youtube.com/watch?v=vnClIPdnXUs[/embed] Storyteller There's no better example of a passion project on this list than Storyteller. Created by Argentinian solo developer Daniel Benmergui, it's been a labour of love that has lasted almost 14 years since he first started work. Thank goodness he stuck with it. This puzzle game plays on the concept of narrative familiarity. Each level presents you with a title — for instance 'Seeing The Ghost Of A Lover', or 'Witch Becomes The Mirror's Favourite' – and tasks you with arranging a choice of characters and scenes in a visual setup not dissimilar to comic panels to build a suitable story. Your solutions update in real time as you move elements around, allowing for rapid-fire experimentation when the stories start to get tricky. The art style could be described paradoxically as 'restrained cartoony', but it works so well, imbuing each of the characters with enough personality to give you a sense of how they operate when deployed. Perhaps its greatest strength is how approachable it is. The gameplay is so simple that you could hand it to a 90-year old who has never touched a controller and they'll be up and running in no time, particularly when using touchscreen controls on a phone, tablet or Switch. Take that, generational gap. Available on: PC/Mac, Nintendo Switch, iOS, Android [embed]https://www.youtube.com/watch?v=qrhivCSKZxk[/embed] Fading Afternoon 'Auteur' is not a word thrown around often in gaming, but it's not without merit to apply it to Russian-based developer Yeo. His latest, Fading Afternoon, is a rumination on the tension between the past, the present and the future. Step into the shoes of Seiji Maruyama, a legendary Yakuza enforcer who starts the game at the end of a stint in prison. His old crime family welcomes him back, but with advancing age and a cough that won't go away, is it really the life he wants? That's up to you to decide, with player agency forming the core of the storytelling, allowing you to fight for former glory, betray colleagues, dive into degeneracy or simply spend your hours fishing. It's got surprisingly deep combat mechanics – side note: breaking an enemy's arm and taking their weapon never stops being cool as hell – and a finely curated soundtrack that matches the various moods of the game perfectly. Plus there are controls that allow you to remove your character's jacket and sling it over your shoulder, put sunglasses on, comb your hair, light up a cigarette and more, turning something as simple as walking down the street into a moment. Fading Afternoon is not a game that holds your hand, which some may find frustrating, but approach it with an open mind and you'll encounter numerous 'wow, I didn't know I could do that' moments that are as rewarding as they are surprising. Available on: PC [embed]https://www.youtube.com/watch?v=p85VHMpE0to[/embed] Dave The Diver The game that launched a thousand online threads about what truly constitutes an 'indie', it's being included in this list because it's too damn good not to talk about. You play the portly title character as he joins an old crony on a new venture: to establish a sushi joint next to a mysterious blue hole in the ocean that teems with sea life from around the world. Spend your days exploring this marine miracle rendered in stunning pixel art and catching its inhabitants, and your nights running the restaurant, both of which present gameplay challenges that are a joy to master. It's honestly unbelievable how much South Korean developer MINTROCKET managed to cram into the game. There's a wide cast of characters; a variety of different narratives involving merpeople, shady eco-warriors, and snooty food critics; boss battles; a whole farm management element; vast amounts of upgrades for your equipment, your staff and your dishes, and a whole lot more. What's most amazing is how balanced all these elements are, allowing you to choose where to focus at any given time without feeling overwhelmed. Be warned, it is addictive and you'll find yourself wondering if you can fit in another dive when the clock says 2AM on more than one occasion. Available on: PC/Mac, Nintendo Switch [embed]https://www.youtube.com/watch?v=aOD6tKr3dHE[/embed] El Paso, Elsewhere Some breakups are amicable. Some are bad. Some lead to the apocalypse. That's just the way love goes. El Paso, Elsewhere, developed by Strange Scaffold, sees you dealing with the third type of end to a relationship. You're James Savage, a folklore researcher with a pill problem and a score to settle with your ex-girlfriend Draculae, a powerful vampire who is bringing about the end of the world from an extra-dimensional space underneath a roadside motel in El Paso, Texas. Gameplay-wise, it's an unashamed love letter to the Max Payne series, with satisfyingly chunky gunplay augmented by slo-mo dives that are as cinematic as they are tactical. In your journey through the increasingly surreal sub-floors of the motel, you'll face off against werewolves, biblically accurate angels, living suits of armour and more, each requiring you to switch up your approach which keeps the combat interesting, particularly when crowds of enemies start testing your ammo reserves. Where this game really shines is just how fucking cool it is. The script is so hard-boiled it wouldn't be out of place in a Caesar salad. Savage is pitch-perfectly voiced by Strange Scaffold's creative director Xalavier Nelson Jr., and each cutscene in between levels is a welcome narrative reward for the chaos you've navigated. It's a journey into addiction and heartbreak that will stick with you long after the credits roll. Available on: PC, Xbox One/S/X [embed]https://www.youtube.com/watch?v=00B3pbxoFvI[/embed] Blasphemous 2 There's no rest for the penitent. Spanish outfit The Game Kitchen brought us back to the grim, guilt-soaked lands of Custodia for another pilgrimage of exploration and gory combat in Blasphemous 2. The sequel leans more heavily into its metroidvania roots than its predecessor, adding in classic elements like double jumping and air dashing that give more options for both combat and traversal. There's also the expanded range of weaponry the Penitent One can wield, each with its own skill tree and strengths, meaning you'll be hot swapping up a slaughter during your journey. With its dense, lore-heavy plot that evokes shades of Dark Souls and Elden Ring, Blasphemous 2 goes beyond the usual fantasy fare into something that is more memorable (and occasionally bleak). And the world is huge, with plenty of nooks and crannies to explore whenever you unlock new abilities. Special mention should be made of the boss battles as well, with excellent character design and confrontations that induce just enough frustration to leave you fist-pumping when you finally triumph. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5 [embed]https://www.youtube.com/watch?v=XHfzY-nIQxw[/embed] Cocoon The true measure of any puzzle game is the sense of achievement you feel when you finally crack a solution. Cocoon, the first release by Danish studio Geometric Interactive (founded by former employees of Playdead, developers of Limbo and Inside, which is an immense pedigree), is a symphony of such 'Aha!' moments. It's a game about orbs. As a small winged figure, you traverse a variety of biomes that blend the biological and mechanical, discovering these various pearls along the way. Bring them to specific machinery and you can dive into them, opening up new worlds to explore. The kicker? You can carry worlds into worlds, leading to some truly matryoshka-esque puzzles that can tax your brain to the limit. These conundrums are never unfair, though. The overarching game design is beautifully done, with each mechanic introduced and explored until familiar before the next one comes along. There's no backtracking, no missed items, no external information needed – everything you need to arrive at a solution is right in front of you in that particular moment of gameplay. You only need to think. Narrative fans be warned, it's vastly more weighted to exploration than exposition, but there is a plot at play here that crescendos in a cosmic fashion. But the real story is that warm glow you get throughout as you overcome obstacles and realise hey, I am smart! Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5 [embed]https://www.youtube.com/watch?v=s3ws82dj_fA[/embed] Dredge Who would've guessed that adding a handful of horror to a fishing game would be such a good recipe? New Zealand developers Black Salt Games, that's who. Leaning into the cold hard fact that the ocean is a terrifying place full of nightmares, Dredge puts you behind the wheel of a small fishing vessel as a captain whose memory was taken by a shipwreck. You'll earn your keep by pulling fish out of the ocean through a variety of methods, each with their own minigame that keeps the gameplay fresh. Some of these fish, however, are… wrong, which speaks to the wider tension of the game. There's something sinister afoot in the various archipelagos you visit, from eldritch cults to abyssal monsters, and while you're never tasked with finding a solution to these problems, investigating them is chilling fun nonetheless. Supporting the eerie atmosphere that pervades the game are some excellent decisions around gameplay mechanics. Your ship has an upgrade tree that gives pleasantly concrete results in game. The aforementioned minigames are coupled with a Tetris-style mechanic of arranging your catch in your hold, leading to some hard decisions about what to keep and to jettison when you hit the space limit. Throw in an encyclopedia that tracks all the species you catch, and you've got a range of addictive gameplay loops that'll keep you heading out to sea. Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=GXgktRWrHaI[/embed] Thirsty Suitors If you've ever been in public, caught sight of a former romantic partner and felt a wave of panic engulf you, then have we got a game recommendation for you. Thirsty Suitors is the product of Outerloop Games, a studio in Seattle with a penchant for exploring underrepresented cultures and themes. You play as Jala, a second generation Indian immigrant and young LGBTQIA+ woman who is back in her Pacific Northwest hometown of Timber Falls for her sister's wedding. Only thing is, dear sister is not talking to you and there are a slew of ex-romantic partners who are eager for a reckoning due to your past problematic behaviour. While topics like this could be approached in a heavy-handed manner, Thirsty Suitors instead takes an over-the-top path that is as entertaining as it is sensitive. Each ex gets a showdown that plays out through turn-based combat, combining wildly imaginative battlefields and moves with conversational back-and-forths that tackle codependency, betrayal, the expectations of South Asian parents, navigating life out of the closet and more. Better yet, victory is not about domination but understanding, giving each battle a far more satisfying denouement. Throw in a deep and humorously acrobatic cooking minigame, Tony Hawk Pro Skater-style traversal and maybe one of the best video game fathers ever, and it's a truly unique experience with emotional enlightenment at its centre. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5 [embed]https://www.youtube.com/watch?v=sKDwnRWroto[/embed] Sludge Life 2 It's time to go back to the sludge, baby! The crassest, coolest vandalism simulator made a return this year, shepherded into existence by developer Terri Vellman and musician DOSEONE. You're back as Ghost, an elite tagger turned artist manager responsible for the rapper Big Mud. He's got a gig to play, but after a night of epic partying with his Click Sick crew he's nowhere to be found. Time to leave your trashed hotel room and track him down. Sludge Life 2 builds on its predecessor in the simplest way: by being bigger across the board. There's more world to explore, more NPCs to engage with and more tools to help you get around, from sneakers that allow double-jumping to a portable launcher that throws you high into the air, helping you to reach the 100 tagging spots scattered around the city - some obvious, some fiendishly hidden. There's also a higher level of cheerful cynicism present. The world has evolved since the first game, with the corporate presence of the Ciggy Cig company now dominating the map with their efforts to get children puffing their wares (now with vitamins!). As you make your way around and talk to the inhabitants, you'll uncover a revolution brewing, which you can wind up playing your own part in. Also, the cat with two buttholes is back. Really, it's a game with something for everyone. Available on: PC [embed]https://www.youtube.com/watch?v=__hzPH3tcvA[/embed] Chants of Senaar Chants of Senaar, developed by French team Rundisc, is the answer to the question 'what if the Tower of Babel and the Rosetta Stone had a baby that was a puzzle game?' The game sees you exploring a mystical tower divided into levels populated by groups organised around castes, each of whom has a unique language consisting of logograms (or symbols that represent words, for those who haven't studied linguistics too deeply). To progress, you need to decipher these languages using a variety of context clues, interactions and signs scattered throughout the environments. Your efforts are tracked in a notebook, where you can record what you think various symbols mean and confirm them in sets once you've discovered enough of them, a mechanic that helps to defeat a brute force approach. Eventually, grammar is layered in as another aspect to consider, testing your skills even more. The tower itself is a joy to explore, with distinct colour palettes and architectural styles for each of the levels and a great use of light and shadow throughout. Breaking up the language puzzles are the occasional stealth sections, giving a welcome variety to the gameplay. As mentioned earlier, puzzle games can be measured by the sense of achievement you feel, and watching the world around you gradually become more intelligible, not to mention helping the different castes actually communicate, well, it doesn't get more satisfying than that. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from April's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW https://www.youtube.com/watch?v=qmSK3XliTk4 RUTHERFORD FALLS He co-wrote and produced The Office. He did the same on Parks and Recreation and Brooklyn Nine-Nine, which he co-created as well. And, he gave the world The Good Place — which makes Michael Schur one of the best in the business when it comes to kind-hearted, smart and savvy small-screen laughs. His new show, Rutherford Falls, continues the streak. Co-created with star Ed Helms and showrunner Sierra Teller Ornelas (Superstore), it also boasts his usual charm and intelligence and, as with all of the above programs, it's exceptionally well-cast. Plus, it's immensely easy to binge in just one sitting, because each one of its ten first-season episodes leave you wanting more. The setup: in the place that gives the sitcom its name, Nathan Rutherford (Helms, Aunty Donna's Big Ol' House of Fun) runs the local history museum. One of his descendants founded the town, and he couldn't be more proud of that fact. He's also very protective of the towering statue of said ancestor, even though it sits in the middle of a road and causes accidents. So, when the mayor (Dana L.Wilson, Perry Mason) decides to move the traffic hazard, Nathan and his overzealous intern Bobbie (Jesse Leigh, Heathers) spring into action. Nathan's best friend Reagan Wells (Jana Schmieding, Blast) helps; however, the Minishonka Nation woman begins to realise just how her pal's family have shaped the fate of her Native American community. Also featuring a scene-stealing Michael Greyeyes (I Know This Much Is True) as the enterprising head of the Minishonka Nation casino, Rutherford Falls pairs witty laughs with warmth and sincerity, especially when it comes to exploring the treatment of First Nations peoples in America today. The first season of Rutherford Falls is available to stream via Stan. https://www.youtube.com/watch?v=f3PkRz0Qda4 WAKEFIELD Scroll through the list of Wakefield's cast members, and many a famous Australian name pops up. Ryan Corr (High Ground), Wayne Blair (Rams), Kim Gyngell (Brothers' Nest), Harriet Dyer (The Invisible Man), and comedians Felicity Ward and Sam Simmons are just some of them, but this ABC series belongs to phenomenal British talent Rudi Dharmalingam (The Split). With an Aussie accent so flawless that all other actors attempting the feat should study it in the future, he plays nurse Nik Katira. His workplace: the eponymous Wakefield, a mental health hospital in the Blue Mountains. Nik's days involve caring for his patients, navigating the usual workplace politics and grappling with his personal life, with all three often overlapping. That might sound like the usual medical drama, but Wakefield isn't ever as straightforward as it might appear. From its very first episode — one of five directed by The Dressmaker filmmaker Jocelyn Moorhouse, with the other three helmed by The Rocket's Kim Mordaunt — the series purposefully throws its viewers off-kilter. With roving cinematography and looping stories, it keeps everyone watching guessing, just as the figures within its frames are doing about their daily existence (including and sometimes especially Nik). Already set to be one of Australian TV's most impressive new series of the year — and likely the best of the year, too — Wakefield is gripping, twisty, powerful and almost devastatingly empathetic about a topic that is rarely handled with as much care and understanding. In other words, it's a knockout. The first season of Wakefield is available to stream via ABC iView. https://www.youtube.com/watch?v=WZ3dgHqaw8U CONCRETE COWBOY Like many titles that grace Netflix's catalogue, Concrete Cowboy sounds like the type of movie that the streaming platform's algorithm could've easily cooked up. It might've gleaned that its subscribers like Idris Elba, and that they're keen on horses. It already knows that viewers love Stranger Things, obviously, which is where Caleb McLaughlin comes in. Combine all of the above with a coming-of-age tale that also doubles as a story of redemption, and this movie could be the end result. That's not how Concrete Cowboy came about, though. It's based on Greg Neri's novel Ghetto Cowboy, and it has both a classic and a vibrant air — befitting a film about a teenager who finds his life forever changed by an animal, and a movie about an urban riding community in Detroit as well. As the trouble-prone 15-year-old at the centre of the story, McLaughlin puts in a stirring performance. As his initially estranged father, and the man that introduces him to the stables, Elba (Cats) is magnetic, but his work here doesn't coast by on charm alone. First-time feature writer/director Ricky Staub guides stellar portrayals out of both his stars, and also works with cinematographer Minka Farthing-Kohl (The Nowhere Inn) to ensure that every second of Concrete Cowboy looks and feels as if it's galloping thoughtfully and perceptively through an oft-seen subculture. Concrete Cowboy is available to stream via Netflix. https://www.youtube.com/watch?v=TgB7rMuxY-s THE SERPENT One day, Tahar Rahim will likely win an Oscar. He's that phenomenal an actor, as he has shown in everything from A Prophet, The Past and Daguerreotype to The Eddy and The Mauritanian. In The Serpent, however, he's never been more unsettling — but given that he's playing Charles Sobhraj, that comes with the territory. If the real-life French serial killer's name doesn't ring a bell, then this eight-part series will make sure you'll never forget it. The instantly riveting drama tells a grim true tale, and an unnerving one. With his girlfriend Marie-Andrée Leclerc (Jenna Coleman, The Cry) and accomplice Ajay Chowdhury (TV first-timer Amesh Edireweera), Sobhraj targeted young travellers in Bangkok and south Asia in the 70s — usually luring them in with a scam first, or trying to flat-out steal their money, then drugging them, killing them and stealing their passports. Ripper Street writers Richard Warlow and Toby Finlay intertwine Sobhraj, Leclerc and Chowdhury's murderous exploits with the efforts of Dutch diplomat Herman Knippenberg (Billy Howle, Star Wars: Episode IX — The Rise of Skywalker) to find two missing tourists. After being tipped off about two bodies by a loud-mouthed Australian in Thailand (Damon Herriman, Judy & Punch), Knippenberg begins to piece together the broader story. It's easy to feel just as he does while watching The Serpent, actually, because getting swept up in its distressing details is simply inevitable. The Serpent is available to stream via Netflix. https://www.youtube.com/watch?v=a9xVoRoWmnA I USED TO GO HERE With I Used to Go Here, writer/director Kris Rey (Unexpected) tackles an experience that everyone goes through once they've spent a decade or so being an adult. You might've achieved everything you'd ever hoped for when you were in university — and you might be well-aware that your teenage self would be gobsmacked by what you've conquered — but few dreams are ever as glittering in reality. For Kate Conklin (Gillian Jacobs, Love), things should've been perfect. But while the 35-year-old's first novel is new on bookshelves, it isn't selling. Her book tour has been cancelled as a result. And, although a wedding was in her near future, she soon finds herself single, confused, angry, alone and hurting. So, Kate accepts an offer to step back into the past. Asked to speak at her alma mater by a professor (Jemaine Clement, Legion) she looked up to, she jumps at the chance to revisit her old haunts, to feel like a big deal in her old college town and to get nostalgic with familiar faces. But, she primarily ends up hanging out with the students who now live in her old house, and regressing emotionally. In in its narrative, I Used to Go Here delivers few surprises. And yet, this keenly observed film knows how it feels to walk in Kate's shoes, and how to make those emotions drip from the screen as well. It helps that both Rey and Jacobs invest depth and emotion into every frame; indeed, this would've been half the movie it is otherwise. I Used to Go Here is available to stream via Stan. NEW SHOWS TO CHECK OUT WEEK BY WEEK https://www.youtube.com/watch?v=miQqyfO66uw MARE OF EASTTOWN Kate Winslet doesn't make the leap to the small screen often, but when she does, it's a must-see event. 2011's Mildred Pierce was simply astonishing, a description that both Winslet and her co-star Guy Pearce also earned — alongside an Emmy each, plus three more for the HBO limited series itself. The two actors and the acclaimed US cable network all reteam for Mare of Easttown, and it too is excellent. Set on the outskirts of Philadelphia, it follows detective Mare Sheehan. As the 25th anniversary of her high-school basketball championship arrives, and after a year of trying to solve a missing person's case linked to one of her former teammates, a new murder upends her existence. Mare's life overflows with complications anyway, with her ex-husband (David Denman, Brightburn) getting remarried, and her mother (Jean Smart, Watchmen), teenage daughter (Angourie Rice, Spider-Man: Far From Home) and four-year-old grandson all under her roof. With town newcomer Richard Ryan (Pearce, The Last Vermeer), she snatches what boozy and physical solace she can. As compelling and textured as she always is, including in this year's Ammonite, Winslet turns Mare of Easttown into a commanding character study. That said, it's firmly an engrossing crime drama as well. Although yet again pondering the adult life of an ex-school sports star, The Way Back's Brad Ingelsby isn't just repeating himself by creating and writing this seven-part series, while The Leftovers and The Hunt's Craig Zobel takes to his directing gig with a probing eye. The first two episodes of Mare of Easttown are available to stream via Binge, with new episodes available weekly. https://www.youtube.com/watch?v=rg_160Be71g THE HANDMAID'S TALE Fans of The Handmaid's Tale have had to wait longer than expected for its fourth season, with the dystopian series' next batch of episodes among the many things that were postponed due to the pandemic. But, now it's here — and yes, the word you're looking for is 'finally'. Basically, it's time to trade one source of anxiety and tension for another. Watching the series has never been a stress-free experience, and that continues this time around. Given that the show is all about toppling a totalitarian society that's taken over the former United States, tearing down its oppression of women under the guise of 'traditional values', and fighting for freedom and equality, sending your blood pressure soaring is to be expected (and reading Margaret Atwood's 1985 book wasn't a calm experience, either). After season three's cliffhanger, June (Elisabeth Moss, The Invisible Man) is still battling against Gilead. In fact, after everything that the oppressive regime has done to her and her loved ones — and the ways in which it has changed life for women in general — she's firmly out for justice and revenge. That involves taking new risks, but that's what a rebel leader has to do. And we all know that stress and tension is only going to keep building as The Handmaid's Tale drops its new episodes week by week. The first three episodes of The Handmaid's Tale season four are available to stream via SBS On Demand, with new episodes available weekly. INSTANT AND OLD-SCHOOL CLASSICS TO WATCH AND REWATCH https://www.youtube.com/watch?v=Dc5hiLqHa6g ZAMA Nine years is a rather long time to wait for a filmmaker to make a new movie. But, for fans of Argentinian director Lucrecia Martel, that's exactly the period that passed between her 2008 thriller The Headless Woman and 2017's exceptional Zama. Although there was never really any doubt that the latter would be something special when it finally surfaced, the acclaimed auteur well and truly made her comeback with an effort that matches her reputation: mythic. Here, Martel takes on Antonio di Benedetto's 1956 Argentinean novel Zama to explore the story of an 18th-century Spanish magistrate — the Don Diego de Zama (Daniel Giménez Cacho, The Promise) of the movie's title. He's stuck in a small South American town, desperately hoping for a transfer and, as he waits and his patience slips, he's also quickly losing his grip on everything. Narrative-wise, Zama has plenty to say about colonialism and class, and uses drama, comedy and tragedy to do so; however, it's how Martel conveys the film's tale and dives into its themes that sears this inimitable movie into viewers' brains. As its protagonist's ideas of his own grandeur are chipped away moment by moment, Zama, the feature, charts the opposite trajectory with its exquisite imagery, hypnotic rhythm and distinctive logic. Zama is available to screen via Binge. https://www.youtube.com/watch?v=KH-aPyydgoE SNOWPIERCER Whenever Bong Joon-ho makes a movie, the entire world should take notice. It did with Parasite, with the masterful thriller nabbing Cannes' Palme d'Or, Sydney Film Festival's prize and four Oscars to prove it (and a slew of other awards as well). But, arriving two titles and six years earlier on his filmography, Snowpiercer didn't initially get the same amount of attention. Yes, it sparked an immensely watchable TV remake; however, it didn't attract eyeballs en masse. It should've, but that's the thing about movies once they're out there in the world: if you've missed them, you can always hunt them down. When it premiered in Australia, also at SFF, more than a few folks in the audience walked out. They robbed themselves of a smart, savage and supremely entertaining dystopian action-thriller, all set on the perpetually moving train that gives the film its title. Adapted from the French graphic novel Le Transperceneige by Bong and co-screenwriter Kelly Masterson (Before the Devil Knows You're Dead), the film transports the world's class, social and economic struggles into the locomotive's stratified carriages, and charts the inevitable uprising that follows when those left at the back of the train decide to rebel. Bong's first English-language feature, it boasts a killer cast, too, including Chris Evans (Knives Out), Song Kang-ho (Parasite), Tilda Swinton (The Personal History of David Copperfield), Jamie Bell (Rocketman), Octavia Spencer (The Witches) and John Hurt (Jackie). Snowpiercer is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=P8lT_X8Oycc FRIDAY NIGHT LIGHTS Clear eyes, full hearts, can't lose. If those six words already mean something to you, you're clearly a fan of Friday Night Lights — which, although it only spanned five seasons and 76 episodes, is one of the very best dramas of the 00s. It wasn't guaranteed to be a hit, or to even be any good, though. Initially, Friday Night Lights was a 1990 non-fiction book about small-town high-school football. Then, it became a grim sports film, starring Billy Bob Thornton when he was fresh off of Bad Santa. Both the text and the movie still exist, of course, but it's the TV series that everyone now thinks of when the Friday Night Lights name comes up. It's the show that made everyone think of Kyle Chandler (Godzilla vs Kong) as their coach and their dad, too, because they're the roles he plays to absolute perfection here. The general premise remains the same, this time following the Dillon Panthers. Chandler's Eric Taylor steps into the head coach role just as the team's star quarterback is injured, which sets up the storyline for the first season. Not just centred on sport, the series also dives deep into the everyday lives of its players in its fictional Texas community, and their loved ones as well — which is where everyone from Connie Britton (Promising Young Woman), Taylor Kitsch (21 Bridges) and Jesse Plemons (Judas and the Black Messiah) to Michael B Jordan (Just Mercy) and Jurnee Smollet (Lovecraft Country) pop up. All five seasons of Friday Night Lights are available to stream via Binge. Top images: The Serpent, Mammoth Screen Ltd, photographer: Roland Neveu.
The roof at New York's world famous Metropolitan Museum of Art is playing host to a most unusual dinner party. Created by prolific Argentinean artist Adrián Villar Rojas, The Theater of Disappearance consists of more than 100 characters and objects from the Met's incredible collection that have been digitally scanned and cast as sculptures, before being spread around the Iris and B Gerald Cantor Roof Garden. Made with 3D printers or through a computer-controlled milling process, the outdoor display mixes and matches artwork from all around the globe. Some figures sit around long white banquet tables, while others look out across the Manhattan skyline. Egypt's King Horemheb gives a piggyback ride to a woman in sneakers, who in turn holds Tutankhamun's head in her left hand. Plates and coins and goblets and even medieval armour lay strewn across the table. "I wanted to play with the doodles of culture," Rojas told The New York Times. Unhappy with what he sees as the sterile, constructed world of contemporary museums, he decided to imagine his own museum "without divisions, without geopolitics, totally horizontal." The Theater of Disappearance will be on display at The Met until October 29, weather permitting. Images via The Met on Twitter.
Connie's holds a place in every Melbourne night owl's heart, having spent the last five years slinging New York-style pizza until the wee hours from its hole-in-the-wall kitchen within Heartbreaker. Well now, our girl is moving on up, expanding into the space one level above her rock 'n' roll sibling, to gift us with Connie's Italian Diner & Rooftop Terrazza. Set to debut on Thursday, April 21, Made in the Shade Group's (The Everleigh, Bar Margaux) new incarnation of Connie's will take the form of a contemporary trattoria built on that classic Italian spirit of hospitality. It comes complete with tables draped in red-and-white checks, banquettes of red vinyl and walls adorned with vintage film posters. You'll spy a kitschy tank filled with tropical fish and a projector screen playing black-and-white Italian sitcoms. Like its pint-sized predecessor, the 100-seater takes name and inspiration from owner Michael Madrusan's beloved Nonna Connie. Here, that translates to a menu of traditional-leaning fare, which nods to Madrusan's memories growing up in his family's own Italian eateries. Helping to bring the vision to life is Head Chef Matteo D'Elia, who lists stints at Michelin Starred London restaurants Galvin at Windows and Bibendum on his resume. Expect to find yourself digging into classics like eggplant parmigiana, veal tonnato, lobster linguine and the now legendary Connie's 'Grandma Pies', while framed pictures of pop culture icons gaze on from the walls. There'll be a Sunday ragu, served family-style, and a tiramisu reimagined in ice cream sundae form. Meanwhile, the 'Terrazza' part of the new name references an adjoining leafy rooftop terrace, serving a weekend al fresco barbecue menu alongside Connie's usual a la carte lineup. Out here, you'll be able to match after-work aperitivo sessions with festoon lighting and city views. In true Made in the Shade form, the drinks offering is set to be a banger, with a range of top-notch classic sips and sparkling cocktails poured on tap or served by the bottle. A lineup of Italian vino comes courtesy of Bar Margaux sommelier Tom Smith. There's even a dance floor with a glittering disco ball for anyone looking to extend the Connie's fun post-dinner — a move that's set to be heavily encouraged. Find Connie's Italian Diner & Rooftop Terrazza upstairs at 234B Russell Street, Melbourne (above Heartbreaker), from April 21. It'll open from 5pm–late, Wednesday–Saturday.
Pushing ladies to the front has always been All About Women's focus, ever since the Sydney Opera House's key feminist festival first took to the stage back in 2013. In 2023, however, it's doing just that with an in-conversation event that couldn't be more perfect: Bikini Kill Speaks, featuring the seminal riot grrrl pioneers — aka Kathleen Hanna, Tobi Vail and Kathi Wilcox — chatting through their music, activism and why their message remains as relevant as ever after three decades. Hanna, Vail and Wilcox's session comes while Bikini Kill are in the country for their first Australian shows in more than 25 years, including stops at Mona Foma and Golden Plains, plus other solo dates around the country — Sydney Opera House among them. In fact, in addition to the in-conversation session, that gig will close out All About Women's 2023 event. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] When All About Women takes place in March, it'll run over three days — from Saturday, March 11—Monday, March 13 — growing again after it only just expanded to two days in 2022. In another big change, it'll be guided by four festival co-curators for the first time ever. Doing the honours: author, podcast presenter and gender equality advocate Jamila Rizvi; Gamilaroi academic and Tell Me Again author Dr Amy Thunig; feminist social commentator, novelist and writer Jane Caro AM; and Sydney Opera House's Head of Talks and Ideas Chip Rolley. The rest of All About Women's 2023 lineup hasn't yet been unveiled, but audiences can expect a range of international and Australian artists, thinkers and storytellers on the bill — exploring a broad variety of topics relevant to gender, justice and equality via panels, conversations, workshops and performances — when the full details drop on Tuesday, January 17, 2023. [caption id="attachment_837695" align="alignnone" width="1920"] Prudence Upton[/caption] "All About Women is unparalleled in its ability to attract audiences from across the country, with a passion for debates and discussions about gender. The festival always delivers a healthy dose of levity alongside its signature significant local and international conversations," said All About Women festival co-curator Jamila Rizvi. "Striking that balance between impact and frivolity is what my programming style is all about. To say that it is a privilege to co-curate the festival in 2023 is an understatement!" [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] In 2022, while the festival went ahead in-person for Sydneysiders, it also live-streamed to viewers both around Australia and worldwide. Whether that'll be the case again in 2023 hasn't yet been revealed, but if you live outside of the Harbour City, cross your fingers. All About Women 2023 will take place from Saturday, March 11—Monday, March 13 at the Sydney Opera House. The full program will release on Tuesday, January 17, 2023 — check back here then for further details. Tickets for Bikini Kill Speaks go on sale at 9am AEDT on Friday, December 2, with Sydney Opera House Insiders presales from 9am AEDT on Tuesday, November 29 and What's on presales from 9am AEDT on Wednesday, November 30. Top image: Debi Del Grande.
