Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=1SEoi8r1Z4Y SUPERNOVA Stanley Tucci and Colin Firth aren't lazy, bad or bland actors. The former has an Oscar nomination for The Lovely Bones, the latter won for The King's Speech, and neither can be accused of merely playing the same character again and again. And yet, whenever either pops up on-screen, they bring a set of expectations with them — or, perhaps more accurately, they each instantly remind viewers of the traits that have served them so well over their respective four-decade careers. In features as diverse as The Devil Wears Prada and the Hunger Games films, Tucci has given a distinctive sense of flair and presence to his many parts, as well as his innate ability to appear bemused and sarcastic about life in general. Whether as Mr Darcy in Pride and Prejudice or as Mark Darcy in the Bridget Jones movies, Firth has enjoyed immense success playing reserved, introverted, dry-witted men who are more likely to ruminate stoically than to outwardly show much emotion. Teaming up in Supernova, both talents draw upon these characteristics once more, as writer/director Harry Macqueen (Hinterland) wants them to. But here's the thing about this pair of stars, who shine particularly bright in this affecting drama: far from ever settling into their own comfortable niches, they're frequently delving deeper, twisting in different directions and offering up untold surprises. A famed novelist less interested in putting pen to paper than in peering up at the stars, Tucci's Tusker knows how to defuse any scenario with his charm in Supernova, but it's apparent that he often uses that canny ability to avoid facing a number of difficulties. An acclaimed musician with an eagerly anticipated concert in the works, Firth's Sam often says little; however, the fact that he's grappling internally with feelings he can't quite do justice to in words always remains evident. Travelling around England's Lakes District, they're not just on an ordinary campervan holiday. Neither man has simply been whiling away their time before their long-awaited returns to performing and writing, either. With stops to see Sam's sister (Pippa Haywood, Four Kids and It) and her family, and to reunite with old friends, the couple are making the most of what time they have left together. Tusker is unwell, with early-onset dementia increasingly having an impact on not only his everyday life, but upon the shared existence they've treasured for decades. Read our full review. https://www.youtube.com/watch?v=ilNHPfOOeIs GUNDA Move over Babe, Piglet, Porky and Peppa. Thanks to monochrome-hued documentary Gunda, cinema has a brand new porcine star. Or several, to be exact; however, other than the eponymous sow, none of the attention-grabbing pigs in this movie are given names. If that feels jarring, that's because it breaks from film and television's usual treatment of animals. Typically on-screen, we see and understand the zoological beings we share this planet with as only humans can, filtering them through our own experience, perception and needs. We regard them as companions who become our trustiest and most reliable friends; as creatures who play important roles in our lives emotionally, physically and functionally; as anthropomorphised critters with feelings and traits so much like ours that it seems uncanny; and as worthy targets of deep observation or study. We almost never just let them be, though. Whether they're four-legged, furry, feathered or scaly, animals that grace screens big and small rarely allowed to exist free from our two-legged interference — or from our emotions, expectations or gaze. Gunda isn't like any other movie you've seen about all creatures great and small, but it can't ignore the shadow that humanity casts over its titular figure, her piglets, and the one-legged chicken and paired-off cows it also watches, either. It's shot on working farms, so it really doesn't have that luxury. Still, surveying these critters and their lives without narration or explanation, this quickly involving, supremely moving and deeply haunting feature is happy to let the minutiae of these creatures' existence say everything that it needs to. The delights and devastation alike are in the details, and the entire movie is filled with both. Filmmaker Victor Kossakovsky (Aquarela) looks on as Gunda's namesake gives birth, and as her offspring crawl hungrily towards her before they've even properly realised that they're now breathing. His film keeps peering their way as they squeal, explore and grow, and as they display their inquisitive, curious and sometimes mischievous personalities, too. Sometimes, this little family rolls around in the mud. At other times, they simply sleep, or Gunda takes the opportunity to enjoy some shut-eye while her piglets play. Whatever they're doing, and whenever and where, these pigs just going about their business, which the feature takes in frame by frame. In one of the documentary's interludes away from its porcine points of focus, the aforementioned chook hops about. Whether logs or twigs are involved, it too is just navigating its ordinary days. In the second of the movie's glimpses elsewhere, cattle trot and stand, and their routine couldn't seem more commonplace as well. Read our full review. https://www.youtube.com/watch?v=hbn8-Tpa3no AALTO Sometimes, a documentary doesn't need words, as Gunda wholeheartedly demonstrates. Aalto features plenty, all spoken as voiceover and delving into the life of great Finnish modernist architects Alvar and Aino Aalto; however, the film's visuals would've still kept viewers glued to the screen if not even a single syllable was uttered. For the bulk of the doco's duration, savvy director Virpi Suutari (Entrepreneur) fills the screen with the couple's handiwork. Furniture from the 1930s onwards and buildings up until the 1970s are seen in loving detail, with the feature's imagery zooming in on the former and walking through and soaring above the latter. Some might be familiar, especially on the homewares side — IKEA has taken a few cues from some of their designs over the years — but viewers new and well-acquainted alike will find much to catch their eye. With its smooth bends and sculptural look, the bentwood Paimio Chair is a thing of unshakeable beauty. The unpredictable curves in the pair's various wavy vases are just as vivid to behold. Combining an undulating appearance with rough bricks that Alvar complimented as "the lousiest in the world", Baker House at the Massachusetts Institute of Technology is far more striking than any other college dormitory. And there's minimalistic grace in the buildings at the University of Jyväskylä, which are among the few sites seen in the feature with people in them. To see these pieces and places, and others like them, is to be submerged into the Aaltos' way of viewing the world. Aalto doesn't just stare at the marvellous items designed by its namesakes, though. Suutari also draws upon home videos to tell their story, uses multiple unseen narrators to unfurl and comment upon their tale, and gives voice to letters penned between the pair whenever one travelled away from the other. Indeed, this isn't just a professional portrait, but a personal one, too — and a film made with admiration but not devotion. While Alvar became a world-renowned star, he isn't the sole reason that Aalto remains a famous design name. He also wasn't without his flaws. Accordingly, Aalto doesn't blindly sing his praises, peddle stock-standard male genius tropes or solely peer his way. Yes, the documentary's title mirrors its focus. Aino was a pivotal part of his architectural practice; "regardless of how the drawings are signed, they clearly worked as a team," the film's narration offers. After Aino's death, Alvar's second wife Elissa, another architect, also proved just as crucial. It would've been easy to simply worship Alvar, but Suutari cannily broadens the story around his work — and makes a better, and more interesting and engaging doco as a result. https://www.youtube.com/watch?v=VzvwJiBFhSg CREATION STORIES Whenever someone gets 'Wonderwall' stuck in their head, they partly have Alan McGee to thank. The Scottish music industry executive and Creation Records co-founder happened to be at the same Glasgow bar as Oasis in 1993, and saw the band being turned away by management despite their claim that they were booked to play a gig. When the Manchester-based group was eventually allowed in, McGee checked out their set. He quickly offered them a recording contract and, yes, history was made. His impact upon the music world doesn't end there, either, with McGee managing The Jesus and Mary Chain, putting out records by Primal Scream and My Bloody Valentine, and getting involved in the acid house scene as well. That means that Creation Stories has much to cover. The lively biopic initially frames its episodic jumps through McGee's life via a chat between the exec (Ewen Bremner, T2: Trainspotting) and a journalist (Suki Waterhouse, The Broken Hearts Gallery), but that's just an excuse to leap back into his memories. From there, the film pinballs from his unhappy teenage years with his doting mother (Siobhan Redmond, Alice Through the Looking Glass) and stern father (Richard Jobson, Tube Tales), and his early attempts to soar to music stardom in London, to Creation's many financial ups and downs and his involvement in politics. Creation Stories is adapted from McGee's autobiography of the same name, with Trainspotting author Irvine Welsh and playwright Dean Cavanagh penning the script; however, it often feels as if McGee himself saw Rocketman and asked for his own version. That sensation comes through stylistically, thanks to the frenetic pace, vibrant splashes of colour and ample scenes of drug-fuelled partying. It's also evident in the impressionistic approach applied to McGee's life, telling a tale that mightn't always be 100-percent accurate in every minute detail but is wholly designed to capture the wild mood and vibe perfectly. Both movies boast Lock, Stock and Two Smoking Barrel stars as their directors, too, with Nick Moran (The Kid) jumping behind the lens here. And, the two films also benefit from standout lead performances, with Bremner as stellar as he's ever been on-screen. Indeed, the actor best known as hapless heroin addict Spud couldn't be more important in Creation Stories. So much of the film's chaotic ride through McGee's highlights and lowlights rests upon Bremner's larger-than-life portrayal, peppy presence, mile-a-minute gift of the gab and deceptive charisma, so its central talent was always going to make or break the film. There's no shaking its general adherence to the rock biopic genre, though, but there's also no doubting its alluring energy. https://www.youtube.com/watch?v=LLg86R4Ay-Y THE UNHOLY The Exorcist was not an easy movie to make, as exceptional documentary Leap of Faith: William Friedkin on The Exorcist made clear. But over the past four decades, the horror masterpiece has proven a very easy film to emulate again and again — or, to try to ape in anything that pairs religion and scares, at least. Copying it is nowhere near the same as matching it, of course. That's especially the case when most one-note flicks that attempt the feat simply think that crosses, creepy females and stilted, unnatural body movements are all that it takes. The Unholy is the latest example, to uninspired, unengaging, unoriginal, unconvincing and thoroughly unsurprising results. Adapted from the 1983 James Herbert novel Shrine by seasoned screenwriter turned first-time feature director Evan Spiliotopoulos (Charlie's Angels, Beauty and the Beast, The Huntsman: Winter's War), the movie's premise has promise: what if a site of a supposed vision of the Virgin Mary and subsequent claimed miracles, such as Lourdes in France and Fatima in Portugal, was targeted by a sinister spirit instead? But, despite also boasting the always-charismatic Jeffrey Dean Morgan (The Walking Dead) as its lead, all that eventuates here is a dull, derivative and not even remotely unsettling shocker of a horror flick. The fact that The Evil Dead and Drag Me to Hell's Sam Raimi is one of its producers delivers The Unholy's biggest scare. Looking constantly perplexed but still proving one of the best things about the film, Morgan plays disgraced journalist Gerry Fenn. After losing his fame and acclaim when he was caught fabricating stories, he now makes $150 per assignment chasing the slightest of flimsy supernatural leads. His current line of work brings him to the small Massachusetts town inhabited by Father Hagan (William Sadler, Bill & Ted Face the Music) and his niece Alice (Cricket Brown, Dukeland), the latter of whom is deaf. Thanks to a barren tree, a creepy doll, an eerie chapter of history and a strange run-in with Gerry, however, she can soon suddenly hear and speak. She says that can see the Virgin Mary, too. Swiftly, word about her story catches the church, media and public's attention. Even if Spiliotopoulos had kept the novel's title, it'd remain obvious that all isn't what it seems — the film starts nearly two centuries ago with a woman being burned alive at the aforementioned tree, so nothing here is subtle. But instead of pairing an exploration of the dangers of having faith without question with demonic bumps and jumps, The Unholy embraces cliches with the same passion that satan stereotypically has for fire. The cheap-looking visuals, Cary Elwes' (Black Christmas) wavering accent and the bored look on co-star Katie Aselton's (Synchronic) face hardly help, either. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11, March 18 and March 25; and April 1 and April 8. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective and Voyagers.
Symmetry, pastel hues and an astonishing cast: they're all now part of your 2023 plans. Two years after The French Dispatch hit cinemas, Wes Anderson is returning to the big screen with Asteroid City, his 11th feature. Even better: it's now officially on the release slate for the year, featuring a Moonrise Kingdom-esque setup and just about every well-known actor that the filmmaker has ever worked with before (and then some). First, mark midyear in your diary. Asteroid City just locked in a US release date of June 16, 2023, and hopefully it'll reach cinemas Down Under not too long afterwards. That timing makes it an obvious choice to play at the 2023 Cannes Film Festival, where The French Dispatch and Moonrise Kingdom also premiered, and then possibly hit the Sydney Film Festival, Melbourne International Film Festival and New Zealand International Film Festival in this part of the world. Next, the premise. Those Moonrise Kingdom vibes spring from Asteroid City's plot, with the film following a Junior Stargazer/Space Cadet convention in the titular — and fictional — American desert town. Students and their parents descend on the contest from around the country, all in the name of scholarly competition; however, then world-changing events shake things up. Anderson penned the script alongside his frequent writing partner Roman Coppola, who also co-wrote Moonrise Kingdom and The Darjeeling Limited, and has a story credit on Isle of Dogs and The French Dispatch. [caption id="attachment_881607" align="alignnone" width="1920"] Raffi Asdourian via Flickr[/caption] Helping bring the story to life on-screen is everyone from Jason Schwartzman (I Love That for You), Scarlett Johansson (Black Widow), Jeffrey Wright (The Batman), Tilda Swinton (Guillermo del Toro's Pinocchio) and Ed Norton (Glass Onion: A Knives Out Mystery) to Adrien Brody (See How They Run), Liev Schreiber (Ray Donovan), Willem Dafoe (The Northman), Tony Revolori (Servant), Stephen Park (Warrior) and Bryan Cranston (Better Call Saul) — and, of course, Jeff Goldblum (Jurassic World Dominion) — all of whom are Anderson regulars. They'll be joined by Tom Hanks (Elvis), Margot Robbie (Amsterdam), Steve Carell (The Patient), Matt Dillon (Proxima), Hong Chau (The Menu), Hope Davis (Succession), Rupert Friend (Obi-Wan Kenobi), Maya Hawke (Stranger Things), Jake Ryan (Uncut Gems), Grace Edwards (Call Jane), Aristou Meehan (The Contractor), Sophia Lillis (IT: Chapter Two), Ethan Lee (Mr Robinson) and Rita Wilson (Kimi). We told you that the cast list was hefty. It's too early yet for a glimpse at Asteroid City, but you can check out the trailer for Moonrise Kingdom below in the interim: Asteroid City will release in the US on June 16, 2023, with exact dates Down Under yet to be confirmed — we'll update you when the local release date is locked in. Top image: Moonrise Kingdom.
Netflix is making a controversial docu-soap about Byron Bay influencers. Hulu's next star-studded miniseries was shot in the area. And, come June, Stan will unveil a new eight-part series that was also filmed in the coastal town and New South Wales' Northern Rivers region. It seems that streaming services and TV networks everywhere are mighty keen to beam the spot's scenic backdrops into our homes — and, in the latter case, to get everyone hooked on a local mystery-drama. Called Eden, the Stan series begins with a missing person. When 20-year-old Scout (Sophie Wilde, Bird) returns to the titular beach community after a year at Juilliard in New York, she realises that her best friend Hedwig (BeBe Bettencourt, The Dry) has changed. Following a drug-fuelled night that sees them delve into their feelings, Hedwig disappears but Scout can't remember a thing. From there, the show charts the secrets and revelations festering beneath the surface of its small-town setting, all as Scout tries to find her bestie. Also pivotal: flashes back to Hedwig's summer. If it sounds somewhat familiar, that's because plenty of TV shows — Twin Peaks and The Killing, just to name two — have begun with missing people. That type of premise doesn't seem to be disappearing from our televisions anytime soon. Still, in both its first teaser and just-dropped full trailer, Eden tries to find its own look, vibe and mood. Come Friday, June 11, you'll be able to find out how it unfolds — and watch a cast that also includes Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), Samuel Johnson (Molly), Christopher James Baker (True Detective), Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road) and Maggie Kirkpatrick (The Letdown). Behind the camera, the show stems from head writer Vanessa Gazy (Highway) and writing team Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People's Problems) — and directors John Curran (Chappaquiddick), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Alex & Eve). Plus, the creator of Skins, Bryan Elsley, helped created Eden, too, with Fiona Eagger and Deb Cox (Miss Fisher's Murder Mysteries). Check out the full trailer for Eden below: https://www.youtube.com/watch?v=R0LOYAPh3es Eden will be available to stream via Stan on Friday, June 11. Top image: Every Cloud Productions.
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. C'MON C'MON The last time that Joaquin Phoenix appeared in cinemas, he played an overlooked and unheard man. "You don't listen, do you?" Arthur Fleck asked his social worker, and the entirety of Joker — and of Phoenix's magnetic Oscar-winning performance as the Batman foe in the 2019 film, too — provided the obvious answer. Returning to the big screen in a feature that couldn't be more different to his last, Phoenix now plays a professional listener. A radio journalist and podcaster who'd slide in seamlessly alongside Ira Glass on America's NPR, Johnny's niche is chatting with children. Travelling around the country from his New York base, C'mon C'mon's protagonist seeks thoughts about life, hopes, dreams, the future and the world in general, but never in a Kids Say the Darndest Things-type fashion. As Phoenix's sensitive, pensive gaze conveys under the tender guidance of Beginners and 20th Century Women filmmaker Mike Mills, Johnny truly and gratefully hears what his young interviewees utter. Phoenix is all gentle care, quiet understanding and rippling melancholy as Johnny. All naturalism and attentiveness as well, he's also firmly at his best, no matter what's inscribed on his Academy Award. Here, Phoenix is as phenomenal as he was in his career highlight to-date, aka the exceptional You Were Never Really Here, in a part that again has his character pushed out of his comfort zone by a child. C'mon C'mon's Johnny spends his days talking with kids, but that doesn't mean he's equipped to look after his nine-year-old nephew Jesse (Woody Norman, The War of the Worlds) in Los Angeles when his sister Viv (Gaby Hoffmann, Transparent) needs to assist her husband Paul (Scoot McNairy, A Quiet Place Part II) with his mental health. Johnny and Viv haven't spoken since their mother died a year earlier, and Johnny has previously overstepped when it comes to Paul — with the siblings' relationship so precarious that he barely knows Jesse — but volunteering to help is his immediate reflex. As captured in soft, luxe, nostalgic shades of greyscale by always-remarkable cinematographer Robbie Ryan (see also: I, Daniel Blake, American Honey, The Favourite and Marriage Story), Johnny takes to his time with Jesse as any uncle suddenly thrust into a 24/7 caregiving role that doesn't exactly come naturally would. Jesse also reacts as expected, handling the situation as any bright and curious kid whose world swiftly changes, and who finds himself with a new and different role model, is going to. But C'mon C'mon is extraordinary not because its instantly familiar narrative sees Johnny and Jesse learn life lessons from each other, and their bond grow stronger the longer they spend in each other's company — but because this tremendously moving movie repeatedly surprises with its depth, insights, and lively sparks of both adult and childhood life. It's styled to look like a memory, and appreciates how desperately parents and guardians want to create such happy recollections for kids, but C'mon C'mon feels unshakeably lived-in rather than wistful. It doesn't pine for times gone by; instead, the film recognises the moments that linger in the now. It spies how the collection of ordinary, everyday experiences that Johnny and Jesse cycle through all add up to something that's equally commonplace, universally relatable and special, too. Conveying that sentiment, but never by being sentimental, has long been one of Mills' great powers as a filmmaker. He makes pictures so alive with real emotion that they clearly belong to someone, and yet also resonate with everyone all at once. With C'mon C'mon, the writer/director draws upon his own time as a parent, after taking inspiration from his relationship with his father in Beginners, and from his connection to his mother and his own upbringing in 20th Century Women. Read our full review. FLEE When Flee won the World Cinema Documentary Grand Jury Prize at the 2021 Sundance Film Festival, it collected its first accolade. The wrenchingly affecting animated documentary hasn't stopped notching up deserving acclaim since. A spate of other gongs have come its way, in fact, including a history-making trifecta of nominations for Best International Feature, Best Documentary and Best Animated Feature at this year's Oscars, becoming the first picture to ever earn nods in all three categories at once. Mere minutes into watching, it's easy to glean why this moving and compassionate movie keeps garnering awards and attention. Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen (What He Did) has created one of the best instances of the combination yet — a feature that could only have the impact it does by spilling its contents in such a way, like Ari Folman's Waltz with Bashir before it — however, it's the tale he shares and the care with which he tells it that makes this something unshakeably exceptional. Rasmussen's subject is Amin Nawabi, an Afghan refugee using a pseudonym. As his story fills Flee's frames, it's also plain to see why it can only be told through animation. Indeed, the film doesn't cover an easy plight — or a unique one, sadly — but Rasmussen renders every detail not just with eye-catching imagery, but with visuals that flow with empathy at every moment. The filmmaker's protagonist is a friend of his and has been for decades, and yet no one, not even the director himself, had ever previously heard him step through the events that the movie chronicles. Amin is now in his 40s, but he was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen. His life to-date has cast him in other roles in other countries, too, on his journey to house-hunting with his boyfriend as he chats through the ups and downs for his pal. That path — via Russia and Sweden — is one of struggle and acceptance. It's a chronicle of displacement, losing one's foundations and searching for a space to be free. It's also an account of identities fractured and formed anew, and of grasping hold of one's culture and sexuality as well. Flee explores how global events and battling ideologies have a very real and tangible impact on those caught in their midst, a truth that the feature's hand-drawn look underscores at every turn. And, it's about trying to work out who you are when the building blocks of your life are so tenuous, and when being cast adrift from your family and traditions is your status quo. It's also an intimate portrait of how a past that's so intertwined with international politics, and with the Afghan civil war between US-backed rebels and the nation's Soviet-armed government, keeps leaving ripples. Plus, Flee examines how someone in its complicated situation endures without having a firm sense of home, including when acknowledging he's gay after growing up in a place where that wasn't even an option. Clearly, Flee is many vivid, touching, devastating things, and it finds an immense wealth of power in its expressive and humanistic approach. There's a hyperreality to the film's animation, honing in on precisely the specifics it needs to within each image and discarding anything superfluous. When a poster for Jean-Claude Van Damme's Bloodsport can be spied on Amin's 80s-era Kabul bedroom, for instance, Rasmussen draws viewers' eyes there with exacting purpose. There's impressionistic flair to Flee's adaptive style as well, with the movie firmly concerned with selecting the best way to visually represent how each remembered instance felt to Amin. A scene set to A-ha's 'Take on Me' presents a fantastic example, especially given that the Norwegian group's pop hit is famed for its animated music video — something that Rasmussen happily toys with. Read our full review. QUO VADIS, AIDA? Films about war are films about wide-ranging terror and horror: battles that changed lives, deaths that reshaped nations, political fights that altered the course of history and the like. But they're also movies about people first, foremost and forever: folks whose everyday existence was perpetually shattered, including those lost and others left to endure when hostilities cease. Quo Vadis, Aida? is firmly a feature about both aspects of war. It homes in on one town, Srebrenica, in July 1995 during the 1992–95 Bosnian War, but it sees devastation and a human toll so intimate and vast in tandem that heartbreak is the only natural response. A survivor of the war herself, writer/director Jasmila Žbanić (Love Island, For Those Who Can Tell No Tales) knows that combat and conflict happens to ordinary men and women, that each casualty is a life cut short and that every grief-stricken relative who remains will never forget their magic ordeal — and she ensures that no one who watches Quo Vadis, Aida? can forget the Srebrenica massacre, or the fact that 8372 civilians were killed, either. A teacher-turned-interpreter, the eponymous Aida Selmanagic (Jasna Đuričić, My Morning Laughter) is Žbanić's eyes and ears within the demilitarised safe zone established by Dutch UN peacekeepers. The film doesn't adopt her exact point of view aesthetically — we see Aida, and plenty; Quo Vadis, Aida? wouldn't be the same without the tenacity and insistence that radiates from her posture and gaze — but it lives, breathes, feels, roves and yearns as she does. What she translates and for who around the UN base varies but, as she roves, she's primarily a channel between innocents scared for their lives and the bureaucracy endeavouring to keep the Bosnian Serb Army away. She visibly feels the weight of that task, whether speaking for the injured, scared and hungry all crammed into the facility or passing on instructions from her superiors. Aida has a mother's and wife's motivations, however: above all else, she wants her husband Nihad (Izudin Barjović, Father), a school principal, to be with her and to be safe — and the same for their sons Hamdija (Boris Ler, Full Moon) and Sejo (Dino Barjović, Sin), obviously. It's a mission to even get them in the base, with Colonel Karremans (Johan Heldenbergh, The Hummingbird Project) and his offsider Major Franken (Raymond Thiry, The Conductor) determined to not show any appearances of favouritism, especially with so many other refugees pleading to be allowed in outside. But Aida hustles, including getting Nihad sent to negotiations with Serbian General Ratko Mladić (Boris Isaković, Last Christmas) as a town representative. And as the General's brash, cocky, swaggering troops start escorting out the base's inhabitants and putting them onto buses depending upon their gender following those talks, Aida makes every desperate move she can to save her family. Quo Vadis, Aida? equally chronicles and shares Aida's reaction to the chaos and trauma around her. With Nihad, Hamdija and Sejo's lives at stake, the peacekeepers that Aida is helping refusing to assist by expanding the protections she enjoys to her loved ones, and the UN making moves that bow to Mladić — refusing to act otherwise, more accurately — Žbanić's film was always going to bustle forward in lockstep with its protagonist's emotional rollercoaster ride. That said Quo Vadis, Aida? is also an exacting movie in laying bare the complexities bubbling within the base, and the broader scenario. Unflinchingly, it sees how ineffective the UN's actions are, as ordered from far away with no sense of the reality on the ground. It recognises how outnumbered the peace effort is in Srebrenica, too. It spies the ruthlessness of the General and his forces, as was destined to happen when given even the slightest leeway. And it also spots how determined Aida is to safeguard her family, all while hurrying around thousands of others in the same precarious circumstances but without the possibility of anyone even trying to pull strings in their favour. Read our full review. UNCHARTED Some movies sport monikers so out of sync with their contents that someone really should've had a rethink before they reached screens. Uncharted is one of them, but it was never going to switch its name. The action-adventure flick comes to cinemas following a decade and a half of trying, after the first Uncharted video game reached consoles in 2007 and the journey to turning it into a movie began the year after. Accordingly, this Tom Holland (Spider-Man: No Way Home)- and Mark Wahlberg (Joe Bell)-starring film was fated to keep its franchise's title, which references its globe-trotting, treasure hunting, dark passageway-crawling, dusty map-coveting storyline. But unexplored, unfamiliar and undiscovered, this terrain definitely isn't — as four Indiana Jones films to-date, two National Treasure flicks, three Tomb Raider movies, 80s duo Romancing the Stone and The Jewel of the Nile, and theme park ride-to-screen adaptation Jungle Cruise have already demonstrated. Uncharted mightn't live up to its label, but it is something perhaps unanticipated given its lengthy production history — a past that's seen six other filmmakers set to direct it before the Zombieland movies' Ruben Fleischer actually did the honours, plenty of screenwriters come and go, and Wahlberg once floated to play the saga's hero Nathan Drake rather than the mentor role of Victor Sullivan he has now. That surprise? Uncharted is fine enough, which might be the best likely possible outcome that anyone involved could've hoped for. It's almost ridiculously generic, and it sails in the Pirates of the Caribbean flicks' slipstream as well, while also cribbing from The Mummy, Jumanji and even the Ocean's films. Indeed, it borrows from other movies as liberally as most of its characters pilfer in their daily lives, even nodding towards all things Fast and Furious. It's no worse than the most generic of its predecessors, though — which isn't the same as striking big-screen gold, but is still passable. The reasons that Uncharted just hits the barest of marks it needs to are simple and straightforward: it benefits from Holland's charms, its climax is a glorious action-film spectacle, and it doesn't ever attempt to be anything it's not (although reading a statement of intent into the latter would be being too generous). It also zips through its 116-minute running time, knowing that lingering too long in any one spot wouldn't serve it well — and it's as good as it was going to be given the evident lack of effort to be something more. While you can't make a great movie out of these very minor wins, they're all still noticeable pointers in an okay-enough direction. Getting audiences puzzling along with it, delivering narrative surprises even to viewers wholly unfamiliar with the games, asking Wahlberg to do anything more than his familiar tough-guy schtick, making the most of the bulk of its setpieces, providing the product of more than just-competent direction: alas, none of these turn out. In a film that acts as a prequel to its button-mashing counterparts, Holland plays Drake as a 20-something with brother issues, a vast knowledge of cocktail histories that's handy for his bartending gig, an obsession with 16th-century Portuguese explorer Ferdinand Magellan and the gold he might've hidden, and very light fingers. Nate's elder sibling dipped out of his life after the pair were caught trying to steal a Magellan map as orphanage-dwelling kids, in fact, which Sully uses to his advantage when he first crosses his path in a New York bar — and, after some convincing, Nate has soon signed up to finish the quest he's been dreaming about since childhood. Naturally, this newly formed duo aren't the only ones on the Magellan treasure's trail. The wealthy Santiago Moncada (Antonio Banderas, The Hitman's Wife's Bodyguard) is descended from the explorer's original financiers and boasts a hefty sense of entitlement, while knife-wielding mercenary Jo Braddock (Tati Gabrielle, You) and enterprising fortune-hunter Chloe Frazer (Sophia Ali, India Sweets and Spices) are each chasing a windfall. Read our full review. ALINE In a 1997 ballad that'll forever linked with the on-screen sinking of the world's most famous ship, Celine Dion told us that her heart would go on. Whether the Canadian singer's ticker will physically defy mortality is yet to be seen, but Aline, the fictionalised biography based on her rollercoaster ride of a life, certainly takes the idea to heart by overextending its running time. It's easy to see why the 'Because You Loved Me', 'The Power of Love' and 'Think Twice' crooner demands a lengthy feature. Also, compared to the big-budget superhero blockbuster standard, Aline's 128 minutes is positively concise. At every moment, however, this Valérie Lemercier (50 Is the New 30)-directed, -co-written and -starring film feels like it's going on and on and on. Near, far, wherever you are, it limps along despite packing plenty of ups and downs into its frames. A key reason: it primarily plays like the result of Lemercier simply opening up that door to Dion's Wikipedia page. Dion's story has everything from childhood fame and enormous career achievements to relationship scandals and personal tragedies, and Lemercier and her co-scribe Brigitte Buc (who also co-penned the filmmaker's 2005 featured Palais royal!) don't overlook any of it. But Dion's immense success doesn't necessarily make her overly fascinating, and nor do the many twists and turns her path has taken since she was born into a large Quebec family — arriving as the youngest of 14 children — and then found fame as a teen. Or, in her defence, they don't make her particularly interesting in a movie that's content to tick through everything that life has thrown her way like it's marking off a checklist rather than fleshing her out as a person. Viewers glean all of the necessary biographical details from Aline, but little sense of its subject, especially buried under Lemercier's unconvincing blend of soapy comedy and loving affection. The name Celine is mentioned in the film, as one of the script's gags — and Aline Dieu (Lemercier) is quick to correct the record. But before anyone is calling her anything much, she's a gifted singer crooning at her family's bar and proving in big demand locally, which sparks one of her brothers to record a demo. The tape's recipient, manager Guy-Claude Kamar (Sylvain Marcel, Les Honorables), can't quite believe that the slender girl in front of him comes with such a voice, and soon helps guide her career from strength to strength. Pitstops along the way include a pause so Aline can enjoy being a teenager, her mother Sylvette's (Danielle Fichaud, District 31) dismay when she falls for the much-older Guy-Claude, vocal troubles that require a three-month break from even speaking and the struggle to get pregnant. Among the highlights: winning a singing contest in Dublin, a big Hollywood awards ceremony, a lengthy US residency and all that chart-topping. Eurovision isn't mentioned by name in Aline, and nor is Titanic or the Oscars, mirroring the change to Dion's moniker (and those of her loved ones and key figures in her life). But the film does weave in the star's own songs, which makes its altered details elsewhere feel uncanny, and like the movie is caught between a parody and a love letter. The montage-esque handling of big and small moments alike doesn't help, cramming in minutiae from Dion's real-life tale but never giving anything room to resonate. Neither does the perfunctory direction and by-the-numbers dialogue, which can't elevate the film beyond Behind the Music-style recreations. Lemercier's choices, including playing Aline at all ages — from childhood through to now — could've resulted in goofy inspiration. Perhaps that's what, every night in her dreams, she saw and felt. But while happily absurd, the movie that results is an over-packed jumble and drag, like getting 'My Heart Will Go On' stuck in your head for head for a quarter-century. A STITCH IN TIME When A Stitch in Time begins, it's with weary veteran musician Duncan (real-life veteran musician Glen Shorrock) playing his weekly gig at a Sydney RSL. But the crowd is sparse, inspiring the venue's newly installed manager to proclaim that it's time for a change to draw in a bigger and younger audience. The silver-haired Liebe (Maggie Blinco, The Nightingale), Duncan's long-standing partner, is singled out as the type of patron that the bar wants to move past — an observation that's rightfully and instantly met with anger. But when they're alone, Duncan's demeanour towards the woman that's been by his side for decades through jousts at fame and a lifetime of dealing with unrealised dreams is hardly affectionate. He wants acclaim and praise, and still to make the record he's always fantasised about, all while Liebe simply keeps quiet and cooks bacon for breakfast. A Stitch in Time tells Liebe's story as she finally finds the courage to step away from the toxic relationship that's defined her life, all thanks to a trip to a local market and the resulting encouragement from up-and-coming Chinese Australian designer Hamish (Hoa Xuande, Cowboy Bebop). A skilled dressmaker, she once had her own dreams of success, but let them slip aside to support Duncan. Now, his utter contempt for her renewed interest in rekindling her fashion prowess is the push she needs to seek a change after all these years. In first-time feature writer/director/producer/editor Sasha Hadden's hands, Liebe's path from there charts both an expected and a bleakly complex path — stitching together setbacks, roadblocks and miseries as part of a pattern for a brighter future and a predictably feel-good ending. One part schmaltz, one part domestic grit: that's the combination at the heart of the nonetheless sunnily hot A Stitch in Time, with the film teetering between the two accordingly. It's an awkward mix, despite the movie's efforts to lay bare the reality facing Liebe in trying to start again after living the bulk of her life — attitudes faced, financial difficulties and internal struggles among them — and its mission to spin a heartwarming story about a character and demographic often relegated to the big-screen sidelines. Again and again, the feature's script layers heartstring-pulling complications on top of each other, such as Liebe's childhood escape from Nazi Germany and her health woes after moving into a sharehouse with Chinese university students. It similarly adores saccharine moments, and uses the gimmick of going viral not once but twice. Thankfully, A Stitch in Time pays far more respect to its ageing protagonist than its recent equivalents (see: Queen Bees, Never Too Late, Poms, Dirty Grandpa and The War with Grandpa). That said, it still doesn't trust that viewers would feel for Liebe and her plight without either the laundry list of traumas thrust her way or the cheesy twists of fate that arrive to save her. The roster of talent that Hadden has amassed both on- and off-screen do their best to lift the material, however. That includes via spirited performances from not just Blinco but also Belinda Giblin (Home and Away) as Liebe's long-estranged pal Christine, plus the warm rapport between Blinco and Xuande — and also crisp lensing from legendary Australian cinematographer Don McAlpine (an Oscar nominee for Moulin Rouge!). THE LAST MOUNTAIN In films about humanity's undying yearning to conquer the planet's towering heights, what goes up doesn't always come down — to tragic results. But the quickly growing genre of documentaries that's sprung up around scaling mountains, or trying to, does traverse both the highs and the lows. It spans tales of life-altering success against the odds, chronicling all the hard work and near-fatal slips along the way, as seen in Oscar-winner Free Solo and the similarly uplifting The Dawn Wall. It also includes clear-eyed accounts of disaster, with the phenomenal Sherpa easily at the peak. And, it covers accounts of mountaineers who strived to climb lofty peaks and their own dreams, but ultimately saw their lives cut short doing what they love, such as The Alpinist. The Last Mountain falls into the latter camp and twice over, stepping into the stories of British mother-and-son duo Alison Hargreaves and Tom Ballard. In 1995, 33-year-old Hargreaves aimed to scale the three highest mountains on the globe: Everest, K2 and Kangchenjunga, all without the help of bottled oxygen or Sherpas to transport her gear. She achieved the first in May, becoming the first woman to do so. Next, she attempted the second in August, but died on the descent. In the aftermath, to help process their grief, Hargreaves' husband Jim Ballard, seven-year-old son Tom and four-year-old daughter Kate made a pilgrimage to K2, a trip that unsurprisingly left an enormous imprint upon her children. Tom was in his mother's womb when she climbed the north face of the Eiger in Switzerland, so he was perhaps fated to love the pastime with the same passion. He became an acclaimed alpinist himself, until a February 2019 trip to Pakistan's Nanga Parbat, at the age of 30, to attempt the never-before-completed Mummery Spur. Twenty-four years elapsed between Hargreaves and Ballard's final climbs, at mountains that sit less than 200 kilometres apart — and the symmetry in their lives, loves, passion for alpinism, untimely demises and final resting places is nothing short of haunting. That's how it feels to watch The Last Mountain, all the more so because the documentary devotes much of its running time to unpacking how haunted his sister Kate, also an avid rock-climber, feels after the deaths of both her mother and brother to doing what they adored. With filmmaker Christopher Terrill (Britain's Biggest Warship) along for the trip, she once again heads to Pakistan and Kashmir, this time to get as close as is safely possible to where Tom met his end. Symmetry abounds here as well, including in a tearful reunion with Big Ibrahim, the local guide who carried her on his back for the trek the first time around. The Last Mountain doesn't simply rely upon its heartbreaking echoes, or the Hargreaves–Ballard family's personal plight, as bolstered with archival material and interviews both of Alison and Tom. (Given the passage of years and the change in technology since, there's more and better footage of Tom in action, and it's a spectacular sight to behold.) A lesser film would've been happy with all of the above and still proven gripping; however, Terrill also unpacks the intricacies around celebrating extreme alpine and rock-climbing feats, then looking for someone to blame when treks finish badly — even without examining how the media backlash that swelled around Alison for dying and leaving her kids behind more than a quarter-century ago. Indeed, the back and forth that steps through the events leading to Tom's death, after uncharacteristically taking on a climbing partner in Italian Mummery Spur fanatic Daniele Nardi, is as complicated as the emotions that visibly course through Kate every time that she's in front of the camera. The Last Mountain is a clear tribute, and another ode to humanity's pull to the mountains, but it's also willing to be as thematically complicated as the terrain that looms so large within its frames. 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 October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3 and February 10. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car and Death on the Nile.
Just when you thought they couldn't possibly squeeze any more shiny new additions into Chadstone's newly-launched Social Quarter precinct, along comes the final piece of the puzzle. Introducing, Cityfields — an all-day bar and diner with a European lean from the team behind South Melbourne's much-loved Half Acre. It's the realisation of a plan that's been a long time in the making and it's well worth the wait. The polished yet effortlessly chic venue really impresses. Unfolding across two levels, this grand, light-filled space makes a statement, imagined with the help of designers Pasquale Cook and Studio Manifold. It's got a show-stopping curved staircase lit by vintage chandeliers, lofty 12-metre-high ceilings and an assortment of seating, indoors and out, with soaring double doors to greet you as you enter. On the ground floor, both the public bar and restaurant plate up the same day-to-night culinary offering; the menu taking cues from Half Acre, then adding a dash of European bistro flavour. There's a touch of Aussie influence, an abundance of local produce and plenty of wood-fired elements on show throughout. That might mean kicking things off with the wood-roasted pumpkin dip, dainty olive and anchovy gildas, kingfish crudo finished with native lime, and hand-cut salami with caperberries and pickles. There's even a nod to the potato cake done with goat milk yoghurt and a sweet pickle relish. Vibrant salads range from a classic niçoise to a seared beef and lentil number, while pasta fiends can cosy up to the likes of gnocchi cacio e pepe with shaved pine mushrooms, and a hearty pairing of Sicilian tomato pesto and bone marrow. Or, dig deeper with the porchetta sided with rich quince jus, a cheeseburger or one of four wood-fired steak cuts teamed with very French accompaniments. You'll also find a roving dessert cart doing the rounds, though it's hard to pass up the house-made soft serve in flavours like anzac biscuit and olive oil, and macadamia Milo affogato. Locals lead the crafty beer lineup and the wine list is expansive, with a handful of signature cocktails headlined by a riff on the gin fizz. Taking pride of place atop the bar, the Sling Shaker jiggles away blending the contents of up to six cocktail shakers at once. And just in case you needed any more excuse to stop by for a tipple, happy hour runs from 4–7pm every Monday to Thursday. But, despite the impressive offerings of Cityfields' ground floor, that's far from it. Set to open next month is the venue's sophisticated second level, home to a 40-seat dining room as well as the Terrace Bar and Terrace Garden. Rooftop sips and al fresco long lunches await. Find Cityfields at Chadstone Shopping Centre, 1341 Dandenong Road, Chadstone. It's open daily from 12pm–late. Images: Pete Dillon
To be released December 24, 2012, The Kombi Trail is a tale of nine students fresh out of university who embark on the journey of a lifetime with the Cold War as a backdrop and a VW Kombi as means of transportation. This book tells of who they met, where they went and what they experienced. Among bizarre and sometimes frightening circumstances the young men encountered. Written by Robert Cox, Roger Sherwin, and Tony Thompson, this is tale straight out of 1961 and over three different continents. It's an entertaining tale of the relationships between these men and those they meet. Sharing a home and life-changing experiences, these men and their VW Kombi conquer treacherous mountain passes, severely unstable roadways, and river crossings. The young men travel to Anatolia, the Middle East, Asia and Africa. Here are some pictures (via Retronaut) of their travels, the people they met and of course, the VW Kombi. take a look at these photos and keep your eyes peeled for the release of the book.
When a TV show comes to an end, it isn't always the end. Plenty of beloved favourites have returned after they've said farewell, from Twin Peaks and Veronica Mars through to the about-to-drop Party Down revival. But one series that looks like it's staying gone is Mindhunter, the absolute best true-crime effort that Netflix has ever created — and one that's been missing from our screens since 2019. In the platform's ongoing quest to keep our eyeballs glued to the small screen, it pumps out new original shows with frequency. There are now so many to choose from, you could easily watch nothing else. But, both as a true-crime series and a Netflix series in general, Mindhunter has always stood out from the crowd. Combine filmmaker David Fincher ( Gone Girl, Mank), non-fiction book Mindhunter: Inside the FBI's Elite Serial Crime Unit and a whole heap of real-life serial killer cases, and you get the greatest show the streamer has ever made. Naturally, after season one in 2017 and season two in 2019 — both of which were exceptional — viewers were keen for more of Mindhunter's look into the origins and operations of the FBI's Behavioural Science Unit. They're the folks who interview mass murderers to understand how they think, then use the learnings to help stop other killings, with the series drawing on its factual source material to dramatise the unit's beginnings. Alas, additional episodes haven't eventuated, with Netflix letting the cast's options expire in early 2020, and now David Fincher confirming that Mindhunter won't be getting a third season. "I'm very proud of the first two seasons. But it's a particularly expensive show and, in the eyes of Netflix, we haven't attracted a large-enough audience to justify such an investment," Fincher said in a new interview with French publication Le Journal du Dimanche (as per a translation). "I don't blame them, they took risks to launch the series, gave me the means to do as I dreamed Mank and they allowed me to venture on new paths with The Killer [Fincher's upcoming film, which'll hit the service before the year is out]." Mindhunter really does boast the kind of concept that easily could span on forever. The show's main characters are fictional, such as agents Holden Ford (Jonathan Groff, Knock at the Cabin) and Bill Tench (Holt McCallany, Nightmare Alley), plus psychologist Wendy Carr (Anna Torv, The Last of Us), but the details they're delving into aren't. Also real: notorious figures such as Ed Kemper (Cameron Britton, A Man Called Otto), David Berkowitz (Oliver Cooper, The Goldbergs) and Charles Manson (Damon Herriman, Nude Tuesday), to name a few. With a hefty lineup of killers and cases to cover — and still prove fascinating and gripping in this always-meticulously made show — season three wouldn't have lacked in inspiration. But hopes for a third season have long looked as paltry as Holden Ford's social etiquette, and just keep getting dimmer. Fincher has still been rather busy making other things for Netflix of late. That includes producing Love, Death and Robots, then directing Mank and now The Killer — which stars Michael Fassbender (X-Men: Dark Phoenix) alongside Tilda Swinton (Three Thousand Years of Longing), and sees Fincher return to his fondness for crime (see also: Seven, Zodiac). Check out the trailer for Mindhunter's second season below: Mindhunter's first and second seasons are available to stream via Netflix. Via Le Journal du Dimanche. Images: Merrick Morton/Netflix.
After having called AC/DC Lane home for twenty years, in 2019 legendary rock haunt Cherry Bar was forced to close up shop and relocate. It almost didn't happen. In July of that year, it closed its doors for what seemed to be forever, but grit and determination saw the iconic venue live on. "It is my intention to take the name, the staff and the sticky carpet to a new Melbourne address with a long lease and a safe and secure future for live local music and late-night rock n roll revelry," co-owner and booker James Young stated in a Facebook post. Having played host to everyone from Lady Gaga to the Arctic Monkeys, Cherry Bar long held a special place in the hearts of those in Melbourne who love to rock out and amassed an army of die-hard fans over its lifetime. Back in 2014, the venue took just three days to crowdfund $90,000 for necessary soundproofing works, following the threat of mass noise complaints from a new residential building erected next door. But like all good things rock n' roll (think Keith Richards), it just won't die. And aren't we glad. The current iteration is just 500 metres down the road from its former spot and has space for 230 punters. It's got live music and DJs on most nights of the week and has a fully stocked bar to keep the night rolling along nicely.
We've all seen skincare products targeted towards men that position themselves as hyper-masculine. Instead of sticking to the stereotypically simple idea of masculinity, a new Melbourne company is trying to do things a little differently. Stuff is a personal care brand that's promising to make you smell and look good, all while promoting healthy masculinity. The company offers a lineup of products covering everything you need to stock up your bathroom from deodorant (appropriately labelled Spicy Pits) to face wash. Each product is available separately or you can stock up in one easy sweep by buying the $30 Face and Body Bundle, the $36 Face and Pit Kit, the $45 Starter Kit or the $65 Squad Kit. While Stuff is proud of its products, it's equally focused on pushing away from toxic masculinity and championing healthier modern blokes. "The only ads for men we could recall featured guys spraying themselves with excessive amounts of chemical-ridden deodorant, causing flocks of gorgeous women to chase after them," Stuff Founder and CEO Hunter Johnson said. "Consumer brands shape culture, and there is a huge opportunity for Stuff to help tackle the escalating crisis around masculinity." "It's a confusing time to be a man and we want STUFF to support men as they navigate a new era of masculinity," Johnson said. Whether you're currently in your third week or first day of lockdown, or you're out exploring the world, it's a good time to treat yourself to some self-care items. Stuff also offers free shipping on orders over $35 and ships Australia-wide. You can browse the range at the Stuff website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
In 2020, we all started paying extra attention to where we've been, in case venues we've visited were also attended by confirmed COVID-19 cases. And, with Victoria now facing another bout of locally acquired cases, frequently checking the state's list of exposure sites is once again a regular part of Melburnians' routines. The state's Department of Health maintains a register of places that positive COVID-19 cases have visited, and urges Melburnians to get tested and/or self-isolate if they've also visited at specific times. But, you can also see all of the venue alerts across the state on an interactive map. Called COVID-19 Near Me, the statewide map gives locations specific hues depending on the action visitors are being urged to comply with, making it easy to see whether or not you must get tested and self-isolate or just monitor for symptoms. For example, red-coloured venues are T1 close contact locations and, therefore, visitors are to get tested immediately and self-isolate for 14 days, even if they receive a negative test. Orange is used for T2 spots, with visitors urged to get a test and self-isolate until receiving a negative result — whereas blue shows lower-risk T3 locations that require visitors to monitor for symptoms and get tested should any appear. At the time of writing, the map was last updated early on Thursday, August 5. Unlike the Victorian Government's pre-existing map for COVID-19 cases by local government area and postcode, this map is not run by the government, but is instead powered by its official data. So, Victorian residents are urged to also check the official Victorian DHHS website if they have any concerns about venues they may have visited. As has proven the case throughout the pandemic, everyone in the state with even mild cold and flu symptoms is encouraged to come forward and get tested for COVID-19. You can check out all existing COVID-19 venue alerts at covid19nearme.com.au. To find out more about the status of COVID-19 in Victoria, head to the Victorian Department of Health and Services website. Images: COVID-19 Near Me as of Thursday, August 5.
Nicolas Winding Refn might've only made three films this decade, but they've all left an imprint. With Drive, Only God Forgives and The Neon Demon each boasting glistening neon hues, pulsating electronic soundtracks and grim, gritty underworld stories, how could they not? It has been three years since the Danish filmmaker's last movie, and while he doesn't have another big-screen release on the horizon just yet, he does have something else in store. Come mid-June, viewers will be able to watch new Amazon series Too Old to Die Young. Even better — all ten episodes are reportedly feature-length. As well as co-creating and co-writing the show with comic book writer and cartoonist Ed Brubaker, Refn directed every instalment, so fans can basically expect the equivalent of ten new movies from the Pusher, Bronson and Valhalla Rising helmer. In the series' first sneak peek, a cop (Miles Teller) talks about killing someone, Los Angeles' criminal underworld features prominently, the city gleams by night, John Hawkes and Jena Malone look secretive, and Cliff Martinez's distinctive beats kick in. Story-wise, hit men, Yakuza soldiers, Mexican cartel assassins and Russian mobsters all pop up as well, as does plenty of violence. Yes, it seems like Refn is in very comfortable territory. Chatting with The Hollywood Reporter last year, Brubaker described Too Old to Die Young as "the most Nicolas Winding Refn thing that ever existed, honestly". Billy Baldwin, Callie Hernandez, Cristina Rodlo (Miss Bala), Augusto Aguilera (The Predator), Nell Tiger Free (Game of Thrones), Babs Olusanmokun (Black Mirror), video game creator Hideo Kojima and Aussie actor Callan Mulvey help round out the cast. Check out the initial trailer below: https://www.youtube.com/watch?v=v5ebyEQLYCI Too Old To Die Young hits Amazon Prime Video on June 14.
Following the success of the Northcote original, All Are Welcome has expanded its baked goods empire to a second spot on High Street. If you have a craving for a carb, be it sweet or savoury, this is the place to go to fill it. The selection here is probably best described as pan-European, with the daily offer ranging from croissants and kouign-amann to khachapuri and one of the best sausage rolls in town. Seasonal treats — think hot cross buns and mince pies — are also available. In addition to its single-serve goods, All Are Welcome also offers impressive celebration cakes and excellent fresh loaves to up your daily bread game. Images: Julia Sansone
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 for June. NEW STUFF TO WATCH NOW https://www.youtube.com/watch?v=D5RDTPfsLAI DA 5 BLOODS A fiery examination of both the Vietnam War and US race relations, Da 5 Bloods is a Spike Lee film through and through. It nods liberally to its influences, such as Apocalypse Now, but only the acclaimed Do the Right Thing and BlacKkKlansman filmmaker could've made a war movie this affecting, incisive, entertaining and politically astute — especially given its focus on African American men expected to fight and die for the same country that still struggles to treat them equally. Plot-wise, the part combat drama, part heist thriller, part history lesson follows four ex-soldiers (Delroy Lindo, Clarke Peters, Norm Lewis and Isiah Whitlock Jr) who make the trip back to Ho Chi Minh City decades after the conflict. They're searching for buried gold, as well as for the remains of their beloved squad leader (Chadwick Boseman, as seen in flashbacks). In Lee's hands, and with Lindo taking charge as a PTSD-afflicted, MAGA hat-wearing veteran, the results are energetic, passionate, and both intellectually and emotionally stunning. Da 5 Bloods is available to stream via Netflix. https://www.youtube.com/watch?v=ZEiwpCJqMM0 THE VAST OF NIGHT When strange things start happening in a 50s-era New Mexico small town while most of its residents are attending a school basketball game — unusual lights in the sky, and eerie sounds interrupting both radio broadcasts and phone calls — radio DJ Everett (Jake Horowitz) and phone switchboard operator Fay (Sierra McCormick) decide to investigate. That's the premise behind The Vast of Night, and it couldn't be more simple and straightforward; however this smart and engaging sci-fi film is inventive and compelling from the moment it begins. In terms of its narrative, a few surprises pop up, even for those with a knowledge of history. But it's the movie's strong focus on character and its commanding style that's always riveting. Every shot, every camera movement and, crucially, every single sound contributes to an ambitious and gripping filmmaking debut (and a certain calling card) from first-time feature director Andrew Patterson. The Vast of Night is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=oWYPlhHbKtM RAMY In Ramy's first season, creator, writer, director and star Ramy Youssef explored the daily life of his on-screen surrogate: Ramy Hassan, a twenty-something New Jersey-based American Muslim of Egyptian heritage. Ramy struggles to reconcile his culture, religion and family's expectations with his own wants, needs and dreams, continually professing his desire to make the right choices while often overtly following questionable paths. In the show's just-released ten-episode second season, the same still rings true — although, this time, Ramy seeks guidance from a new Sheik (Moonlight and Green Book Oscar-winner Mahershala Ali, who's excellent as always) while getting closer to the latter's daughter (MaameYaa Boafo). Youssef won a Golden Globe for his first-season performance earlier this year, and he's just as great in the next batch of episodes; however, it's the show's continual refusal to gloss over, ignore, excuse or accept Ramy's frequent array of self-sabotaging decisions that stands out. The just-released second season of Ramy is available to stream via Stan. The show's first season is also available, too. https://www.youtube.com/watch?v=lGcJL6TG5cA SNOWPIERCER First, the bad news: Snowpiercer, the series, isn't directed by Bong Joon-ho. Now, the good news: while it isn't as great as Bong's film — because, honestly, how could it be? — it takes the same dystopian concept, heightens the suspense and drama, and serves up a class warfare-fuelled survivalist thriller that also spends its first five episodes unravelling a murder-mystery. Think constant twists, reveals and reversals, cliffhangers at the end of almost every scene, and a 'Murder on the Snowpiercer Express' kind of vibe. Once again, it all takes place on a 1001-car locomotive carrying the last remnants of humanity while constantly circling the frozen earth. Hamilton's Tony Award-winning Daveed Diggs plays an ex-detective who has spent seven years in the tail end of the train, only to be summoned to the upper carriages when bodies start piling up. Also excellent: Jennifer Connelly as the engine's all-seeing, ever-present head of hospitality. The first five episodes of Snowpiercer, the series, are available to stream via Netflix — with new episodes dropping weekly. https://www.youtube.com/watch?v=qaMIcuVH83M&feature=emb_logo THE BEACH Whenever Warwick Thornton makes a new project, it demands attention — and the Indigenous Australian filmmaker has never made anything quite like The Beach. The director of Samson & Delilah and Sweet Country turns the camera on himself, chronicling his quest to escape his busy life for an extended soul-searching getaway. With only chickens and wildlife for company, Thornton bunkers down in an electricity-free tin shed in Jilirr, on the Dampier Peninsula on the northwest coast of Western Australia. He fishes, cooks, chats to the chooks, wanders along the shoreline and reflects upon everything that's led him to this point, with this six-part documentary series capturing the ups, downs, sublime sights and epiphany-inspiring moments. Unfurling quietly and patiently in the slow-TV tradition, Thornton's internal journey of discovery makes for both moving and absorbing viewing. Indeed, combined with stunning cinematography (as shot by Thornton's son and Robbie Hood director Dylan River), it just might be the best piece of Australian television you see this year. The Beach is available to stream via SBS On Demand. ONES TO WATCH OUT FOR LATER IN THE MONTH https://www.youtube.com/watch?v=9_ozcr43fP4 WHAT WE DO IN THE SHADOWS First hitting cinemas back in 2014, What We Do in the Shadows is a perfect comedy. It's clever and creative, finds new ways to satirise and deploy familiar tropes, genres and formats, and features a spot-on cast — and, of course, the Taika Waititi and Jemaine Clement co-directed, co-written and co-starring movie is also sidesplittingly funny. Thankfully, the film's US TV spinoff also fits the above description. Focusing on a group of vampires living in a Staten Island sharehouse (rather than the original movie's Wellington location), it could never be considered a mere small-screen copy. Instead, it's a lively and captivating addition to the broader What We Do in the Shadows universe, which also includes New Zealand series Wellington Paranormal. Back for a second season (and already renewed for a third, too), the What We Do in the Shadows television show has two specific aces up its sleeves, too: the combined on-screen talents of Matt Berry, Kayvan Novak and Natasia Demetriou as three of the central bloodsuckers, plus the time to delve deeper into their undead world. The second season of What We Do in the Shadows is available to stream via Foxtel Now from Thursday, June 25, with new episodes added weekly. https://www.youtube.com/watch?v=7q6Co-nd0lM EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA As music, spandex and glitter fans everywhere know, the Eurovision Song Contest didn't go ahead this year. That's left a sizeable Europop-shaped hole in plenty of hearts; however Netflix's new comedy is here to help. Called Eurovision Song Contest: The Story of Fire Saga, the film follows two Icelandic singers who've always wanted to represent their country at the famed sing-off. Lars Erickssong (Will Ferrell) and Sigrit Ericksdottir (Rachel McAdams) aren't particularly well-liked in their homeland, but when they're named as the next Eurovision contestants, they're determined to prove that chasing their lifelong dream was worth it. Directed by Wedding Crashers, The Change-Up and The Judge filmmaker David Dobkin, Eurovision Song Contest: The Story of Fire Saga looks set to feature plenty of Ferrell's over-the-top antics, as well as icy backdrops and a song called 'Volcano Man'. Also on offer: a fierce rivalry between Fire Saga and fellow competitor Alexander Lemtov (Legion's Dan Evans), and a cast that spans Pierce Brosnan and Demi Lovato. Eurovision Song Contest: The Story of Fire Saga will be available to stream via Netflix from Friday, June 26. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=rA87ltqFEIQ IT'S ALWAYS SUNNY IN PHILADELPHIA This May, when It's Always Sunny in Philadelphia was renewed for a 15th season, it made history. When those episodes make it to the screen, the cult US sitcom will become the longest-running live-action comedy series that's ever aired on American television. That mightn't sound all that surprising given the general concept — a group of friends (Charlie Day, Glenn Howerton, Rob McElhenney, Kaitlin Olson and Danny DeVito) try to run their own Irish pub and usually fail at everything they attempt — but It's Always Sunny in Philadelphia's dark, nihilistic and irreverent sense of humour is all its own. This is a show that's dedicated most of its episodes to a whole range of taboo topics, after all, while also watching its characters stage a twisted rock opera and make their own version of Lethal Weapon 6. Indeed, when it comes to satirising despicable behaviour and attitudes, It's Always Sunny is on another level. Amazon Prime Video is now streaming the first 13 seasons, which means you now have 144 episodes to binge. The first 13 seasons of It's Always Sunny in Philadelphia are available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=Skpu5HaVkOc ALMOST EVERY FAST AND FURIOUS MOVIE It's the big-budget franchise that likes driving speedily and passionately, can't get enough over-the-top car antics and loves filling its frames with a constant onslaught of hectic stunts. It's also the Vin Diesel, Paul Walker, Jordana Brewster and Michelle Rodriguez-starring saga that adores family — and Corona-swilling friends who become family — just as much as vehicular mayhem. And, it's ridiculously entertaining. Not every Fast and Furious movie is a winner (2 Fast 2 Furious definitely isn't, for example), but this huge series boasts more than a few high points. Of course, 2020 will no longer see the saga's ninth official film hit cinemas, with F9's release postponed until 2021 due to COVID-19; however you can now marathon the first seven movies on Stan. Come for a Point Break ripoff that swaps surfing for street racing, which is where it all began. Then, stay as everyone from Tyrese Gibson, Gal Gadot, Eva Mendes and Ludacris to Dwayne Johnson, Luke Evans, Jason Statham and Kurt Russell shows up, because of course they do. The Fast and Furious collection — featuring the franchise's first seven movies — is available to stream via Stan. https://www.youtube.com/watch?v=cw1euaNtuXM SYDNEY FILM FESTIVAL'S PAST HITS Due to the COVID-19 pandemic, this year's Sydney Film Festival didn't take place physically. Instead, it moved online, making 33 new films available for cinephiles to stream at home. And, as part of the one-off virtual move, SFF 2020 also features a whole heap of ace movies that have previously screened at the festival — 40 of them in fact, all thanks to a Sydney Film Festival Selects collection on SBS On Demand. It's a best-of lineup, so get ready to revisit Studio Ghibli co-production The Red Turtle, Taika Waititi's Boy, the Greta Gerwig-starring Frances Ha, Aussie comedy That's Not Me and New Zealand's The Breaker Upperers. You can also feast your eyes on Palme d'Or winner The Square, Scandi thriller The Guilty, Turkish drama Mustang and Xavier Dolan's Heartbeats, among other films. And, they're all available to watch for free. The Sydney Film Festival Selects Collection is available to stream via SBS On Demand until Friday, July 10. Top images: Da 5 Bloods via David Lee/Netflix; Ramy via Craig Blankenhorn/Hulu; Eurovision Song Contest: The Story of Fire Saga via Elizabeth Viggiano/Netflix.
A few years ago New Zealand's famously sulphur-scented town of Rotorua was a thriving centre of tourists and adventure-seeking locals alike, thanks to attractions like zorbing, luge rides and more. The region was hit particularly hard by COVID which saw tourist numbers dry up and adventure outlets forced to close. With borders now open, those looking for a spot to spend a long weekend over the ditch shouldn't overlook it in favour of some of its flashier city siblings. In fact, Rotorua recently joined places like Bucharest, Athens, and Seychelles on Forbes' list of the top 50 destinations to travel to in 2023. Concrete Playground recently visited Rotorua for the weekend and found it rich not only in culture, but in luxe and relaxing experiences. Here's our guide on where to eat, drink, play and stay next time you're in this hot pool hotspot. EAT AND DRINK You're might be already familiar with Eat Street, a famous laneway of restaurants and bars in the heart of Rotorua, but there is a far greater bevvy of spots hidden around the town's streets — you just need to know where to look. Fuel up with a morning coffee and brunch at Junction on Fenton, a family-friendly eatery attached to the historic I-site building in town. Here you can learn a little about the area before fuelling up for the day with a filling feed — we'd recommend the aptly named breakfast dish 'No Time to Waffle' to send your blood sugar sky-high. For a relaxed yet vibey dinner of share plates and truly excellent cocktails, look no further than Poco Tapas on Arawa Street. Tucked up an unassuming staircase above a lawyer's office — don't get confused by the very corporate entry — this eatery specialises in share plates like flatbreads and dips, fried chicken and some truly standout vegetable side dishes. The cocktails are also excellent. Don't sleep on the espresso martini. Unlike many of New Zealand's tourism hotspots, Rotorua isn't stacked with wineries — but its best-kept secret for wine fans is, surprisingly, found up the gondola. If you're begrudgingly being forced into some daredevil activities, find an excuse to sneak away to Volcanic Hills' tasting room. Rotorua's only cellar door, this stunning spot offers vinos with lake views — and is also in a great supervisory position over the luge. Make sure to include a walk through the Redwoods on your weekend trip — either marvelling from the ground or from 20 metres in the air during the treetop walk. Once you've sufficiently worked up an appetite, head to Eastwood Cafe, a chic eatery found in the stunning new Scion Innovation Centre on the outskirts of the forest. Perfect for a post-ride or hike refuelling, this new spot is a real standout, thanks to its modern fit-out, stacked menu and above all, a giant authentic pizza oven behind the counter churning out fresh 'zas. Conk yourself into a carb coma with the carbonara pizza which manages to combine two excellent Italian dishes in one. Feeling extra peckish? Splurge on a side of spicy chicken wings — and do not miss the daily $10 margarita. PLAY You're going to need at least three days in Rotorua to really soak up all the activities so book that annual leave now. And don't worry if you're not a thrill seeker or 'outdoorsy' type — even those without a penchant for adrenaline will find plenty to do. For an activity that manages to blend both exercise and geology (but in a fun, non-school-like way), opt for a kayak tour with Paddle Board Rotorua. These tours allow you to see steaming geothermal activity from the water and get up close and personal with some pretty stunning geysers — which have a cute tendency to explode when you're near them. On our trip, a geyser blew that guide swore hadn't happened in the three years he'd been running the tours. This was very exciting and only mildly terrifying. If you've never seen a real-life kiwi (the bird, not the people) you're going to want to pay a visit to the National Kiwi Hatchery — yes, this is where that famous picture of Harry and Meghan with the kiwi was snapped. The tireless work this team does is, quite simply, amazing: retrieving kiwi eggs and bringing them to their onsite incubators, raising them as hatchlings and allowing them to grow strong enough to survive in the wild — without being food for pests like stoats and rats. You'll get to see eggs being incubated, the hatching process and newly hatched kiwi chicks, and all of your ticket cost goes into back into the hatching programme. After all that education, it's time to find your zen. Luckily Rototua is known for its hot pools. For an authentic clay-smeared experience, hit Hell's Gate. Here you'll soak in the mud pools slathered in the good grey stuff before getting into the "health-giving" sulphur pools for an Insta-worthy soothing soak. Just be sure to give your swimsuit a good wash separate from the rest of your clothes — ours still smell a little sulphury a few months down the track. Otherwise, opt for one of the Polynesian Spa's famous private pools for a delicious soak overlooking the lake. STAY If you're looking for a romantic spot to soak up the views and just get away from it all, there are several glamping experiences nearby, including the stunning Kokako Retreat, 30 minutes from Rotorua. With an outdoor tub, firepit and epic sunset views, it's the perfect way to really feel like you've managed to escape from the city. If you want to stay right in the heart of things — including a stone's throw from some of the aforementioned eateries — opt for the newly refurbished Pullman Rotorua. Rooms start from AU$170 a night, and the staff are extremely friendly and accommodating. The buffet breakfast each morning is worth a stay alone. GETTING THERE Rotorua is located in the Bay of Plenty region of New Zealand's North Island: a three-and-a-half-hour drive from Auckland and a five and half-hour drive from Wellington. Alternatively, there are breezy twice-daily 45-minute flights from Auckland Airport. Feature image: The Polynesian Spa
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. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy in reality, but the fictional locale that shares its name on-screen. It unmistakably sports an otherworldly topography dotted by dugouts to avoid the baking heat, and hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo. Limbo is available to stream via ABC iView and Prime Video. Read our full review. RENFIELD It's a bloody glorious setup: Nicolas Cage, actor of a million unmissable facial expressions, star of almost every movie he's asked to be in (or so it can seem) and wannabe bloodsucker in 1988's must-be-seen-to-be-believed Vampire's Kiss, playing the dark one, the lord of death, the one and only Dracula. In Renfield, that stellar idea makes for frequently bloody viewing — cartoonishly, befitting an OTT horror-comedy with Nicolas Cage as Dracula. And the pièce de résistance that is Cage getting his fangs out as the Bram Stoker-created character, who was inspired by the IRL 15th-century Wallachian prince Vlad the Impaler? It is indeed glorious. The Transylvanian is the latest part he was born for, after stepping into his own shoes in The Unbearable Weight of Massive Talent, getting revenge over a pet pig in Pig, milking alpacas in Color Out of Space and screaming while dousing himself in vodka in Mandy (and, well, most things on his four-decade resume). Some movies have learned a simple truth, however: that putting Nicolas Cage in front of a camera and letting him unleash whatever version of Cage the film needs isn't always enough. That disappointment is usually on everything but Cage (see: his entrancing work in the otherwise average-if-lucky Willy's Wonderland, where he wordlessly battled demonic animatronics and made viewers wish he was around in the silent era), but Renfield has pre-emptively staked that lesson through its own heart. As the title makes plain, Cage's Dracula isn't the lead character. Instead, the long-suffering, insect-eating servant played by the feature's other welcome Nic, The Great's Nicholas Hoult, is in the sunlight. Accordingly, The Lego Batman Movie and Robot Chicken director Chris McKay doesn't even try to get his feature by on the Cageness of it all alone. That's a miscalculation. In fact, it's up there with the flick's Robert Montague Renfield pledging allegiance to the vampire that started all vampire obsessions. Renfield is at full power when Cage is front and centre, and feels like its blood is slowly being drained when he's out of the frame. Renfield is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INFINITY POOL Making his latest body-horror spectacle an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain. Within minutes, the feature visually inverts its stroll through its lavish setting, the camera circling and lurching. As rafters spin into view, then tumble into the pristine sky, no one in this film's frames is in Kansas anymore. Then, when fellow guest Gabi (Mia Goth, Pearl) gets James and Em into a tragic accident, which is followed by arrests, death sentences and a wild get-out-of-jail-free situation, no one is anywhere they want to be, either. Infinity Pool is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FAST X If you don't believe that Fast X will be one of the Fast and Furious franchise's last films, which you shouldn't, then it's time to face a different realisation. Now 22 years old, this family-, street racing- and Corona-loving "cult with cars" saga — its own words in this latest instalment — might one day feature every actor ever in its always-expanding cast. Dying back in 2013 hasn't stopped Paul Walker from regularly appearing a decade on. He's the first of the core F&F crew to be seen in Fast X, in fact, thanks to a flashback to 2011's Fast Five that explains why the series' flamboyant new villain has beef with the usual Vin Diesel (Guardians of the Galaxy Vol 3)-led faces. Playing said antagonist is Jason Momoa (Dune), who adds another high-profile name to a roster that also gains Brie Larson (Ms Marvel), Rita Moreno (West Side Story), Daniela Melchior (The Suicide Squad), Alan Ritchson (Reacher) and Walker's daughter Meadow this time around. It's no wonder that this 11th flick in the franchise (yes spinoff Hobbs & Shaw counts) clocks in at an anything-but-swift 141 minutes. It's also hardly surprising that living on-screen life a quarter mile at a time now seems more like a variety show than a movie, at least where all that recognisable talent is involved. There are so many people to stuff into Fast X that most merely get wheeled out for their big moment or, if they're lucky, a couple. Some bring comedy (the long-running double act that is End of the Road's Ludacris and Morbius' Tyrese Gibson), others steely glares and frenetic fight scenes (The School for Good and Evil and Dungeons & Dragons: Honour Among Thieves' always-welcome Charlize Theron and Michelle Rodriguez, respectively), or just reasons to keep bringing up Walker's retired Brian O'Conner (which is where Who Invited Charlie?'s Jordana Brewster still fits in). When more than a few actors pop up, it feels purely obligatory, like the F&F realm just can't exist now without a glimpse of Jason Statham's (Operation Fortune: Ruse de Guerre) scowl or getting Helen Mirren (Shazam! Fury of the Gods) going cockney. Fast X is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. YOU HURT MY FEELINGS When Seinfeld was the world's biggest sitcom, the show about nothing was also about everything. Its quartet of yada, yada, yada-ing New Yorkers was oh-so-specific, too, but also relatable. It's no wonder that the 90s hit made a star out of Julia Louis-Dreyfus, who ensured that Elaine Benes was a work of comedic genius — with a Best Supporting Actress Emmy and six other nominations to show for it — and someone who could've walked straight in off the street. In razor-sharp political farce Veep, the actor did much the same to ample accolades. Making a Vice President in a gleeful satire feel real is no mean feat. But Louis-Dreyfus is at her best, and a true sensation, whenever she's in leading-lady mode in front of writer/director Nicole Holofcener's lens. That's only happened twice so far; however, both 2013's Enough Said and now 2023's You Hurt My Feelings are as excellent as engaging, lived-in and astute character-led dramedies come. Holofcener's preferred type of tales rarely get a silver-screen run in these days of blockbuster franchises, endless sequels and remakes, and ever-sprawling cinematic universes. That battle earns an in-script parallel in You Hurt My Feelings, with novelist Beth (Louis-Dreyfus, You People) also struggling. Her first book, a memoir about her childhood with an emotionally abusive dad, didn't notch up the sales she would've liked. At lunches between Beth, her sister Sarah (Michaela Watkins, The Dropout) and their mother Georgia (Jeannie Berlin, Hunters), the latter still protests about how it was marketed. And, when she finally submits a draft of her next tome after toiling for years, Beth's editor (LaTanya Richardson Jackson, Grey's Anatomy) isn't as enthused. None of these situations give the movie its name, though, which stems from Beth's therapist husband Don (Tobias Menzies, This Way Up) and his opinion. When she overhears him tell her brother-in-law Mark (Arian Moayed, Succession) that he isn't that fussed about the new text, it's shattering, especially when he's been nothing but her heartiest cheerleader otherwise. You Hurt My Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE INSPECTION If war is hell, then military boot camp is purgatory. So told Full Metal Jacket, with Stanley Kubrick's masterpiece making that observation echo and pierce with the relentlessness of machine-gun fire. Now, The Inspection stresses the same point nearing four decades later, plunging into the story of a gay Black man enlisting, then navigating the nightmare that is basic training. This too is a clear-eyed step inside the United States Marine Corps, but drawn from first-time fictional feature filmmaker Elegance Bratton's own experiences. New Yorker Ellis French (Jeremy Pope, One Night in Miami) is the Pier Kids documentarian's on-screen alter ego — an out queer man who has spent a decade from his teens to his mid-20s homeless after being kicked out by his ashamed mother Inez (Gabrielle Union, Strange World), and pledges his post 9/11 freedom away for a place to fit in, even if that means descending into a world of institutional homophobia and racism. It would've been easy for Bratton to just sear and scorch in The Inspection; his film is set in 2005, "don't ask, don't tell" was still the US military forces' policy and discrimination against anyone who isn't a straight white man is horrendously brutal. Life being moulded into naval-infantry soldiers is savage anyway; "our job is not to make Marines, it's to make monsters," says Leland Laws (Bokeem Woodbine, Wu-Tang: An American Saga), Ellis' commanding officer and chief state-sanctioned tormentor. And yet, crafting a film that's as haunting as it is because it's supremely personal, Bratton never shies away from Ellis' embrace of the Marines in his quest to work out how he can be himself. There's nothing simple about someone signing up for such heartbreaking anguish because that's the only option that they can imagine, but this stunning movie is anything but simple. The Inspection is available to stream via iTunes and Prime Video. Read our full review.. SWEET AS On the silver screen, Australia's golden landscape is frequently the place where pain dwells. Even when spinning fiction, films such as Mystery Road, Goldstone, Sweet Country, High Ground, The Furnace and The Survival of Kindness scorch reality's horrors and heartbreaks into celluloid with ample help from an ochre-hued backdrop that can only belong to the land Down Under. In Sweet As, the red earth of Western Australia's Pilbara region similarly couldn't be more pivotal; however, this coming-of-age drama from first-time feature director and writer Jub Clerc (The Heights) — who previously contributed segments to anthology movies The Turning and Dark Whispers: Volume 1, draws upon her own adolescent experiences for her full-length debut, and crafts the first WA flick that's helmed and penned by an Indigenous female filmmaker — deploys its patch of Aussie soil as a place where teenagers find themselves. Murra (Shantae Barnes-Cowan, Firebite) is one of Sweet As' adolescents learning to be shutterbugs, albeit not by choice. With her mother Grace (Ngaire Pigram, also a Firebite alum) grappling with addiction, the 16-year-old is traversing a path to child services' care when her police-officer uncle Ian (Mark Coles Smith, Mystery Road: Origin) enrols her on a trip that she doesn't initially want to take. With youth workers Mitch (Tasma Walton, How to Please a Woman) and Fernando (Carlos Sanson Jr, Bump) as their guides and chaperones, Murra, Kylie (newcomer Mikayla Levy), Elvis (Pedrea Jackson, Robbie Hood) and Sean (fellow first-timer Andrew Wallace) are soon hurtling into the outback on a minibus with cameras in their hands — to snap the sights away from their ordinary lives, and also step beyond everything that they know, form new friendships, gain a different perspective and gaze as intently at themselves as they do at the earth from behind a lens. Sweet As is available to stream via iTunes and Prime Video. Read our full review. GUARDIANS OF THE GALAXY VOL. 3 Bickering and bantering. Battling all over space. Blasting retro tunes. That's Guardians of the Galaxy's holy trinity, no matter where its ragtag crew happens to be in the Marvel Cinematic Universe. Since 2014's Guardians of the Galaxy Vol. 1, Peter Quill aka Star-Lord (Chris Pratt, The Super Mario Bros Movie) and his pals have offered the MCU something shinier than the gold-hued Adam Warlock (Will Poulter, Dopesick): a reprieve from the ever-sprawling franchise's standard self-seriousness. Friends but really family, because Vin Diesel is involved, this superhero team got gleefully goofy in their initial big-screen outing, 2017 sequel Guardians of the Galaxy Vol. 2 and 2022's straight-to-streaming The Guardians of the Galaxy Holiday Special. They've popped up elsewhere across the comic-book film saga plying a sense of silliness, too. Welcomely, even when they're slipping into Avengers and Thor flicks, they've always felt like their own distinctive group surfing their own humorous but heartfelt wavelength, a power that isn't generally shared across Marvel's output. Arriving to close out the Guardians' standalone trilogy, Guardians of the Galaxy Vol. 3 zooms into the movie series' fifth phase with a difference: it's still a quippy comedy, but it's as much a drama and a tragedy as well. Like most on-screen GotG storylines, it's also heist caper — and as plenty of caped-crusader flicks are, within the MCU or not, it's an origin story. The more that a James Gunn-written and -directed Guardians film gets cosy within the usual Marvel template, however, the more that his branch of Marvel's pop-culture behemoth embraces its own personality. Guardians of the Galaxy Vol. 3 couldn't cling tighter to its needle drops, of course, which leap to the 90s and 00s this time and hit with all the subtlety of a Zune player being thrown at the audience. It also stuffs out its duration and over-packs its plot. But, the obligatory post-credits sting aside, this farewell to part of the MCU always feels like a zippy, self-contained Guardians of the Galaxy movie — including when it's also a touching dive into Rocket's (Bradley Cooper, Nightmare Alley) history — rather than a placeholder for more and more future franchise instalments. Guardians of the Galaxy Vol. 3 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE FLASH Living with your choices, and facing the fact that you can't always take back mistakes and fix traumas, fittingly sits at the heart of The Flash's narrative. While the Barry Allen (Ezra Miller, Fantastic Beasts: The Secrets of Dumbledore) that audiences have also seen in Suicide Squad, Justice League and Shazam! enters The Flash calling himself "the janitor of the Justice League", answering Alfred's (Jeremy Irons, House of Gucci) calls to clean up Batman's (Ben Affleck, Air) chaos offers a handy distraction from his family situation. Understandably, he's still grief-stricken over his mother's (Maribel Verdú, Raymond & Ray) murder. He's also struggling to prove that his incarcerated father (Ron Livingston, A Million Little Things) wasn't the killer. Cue messing with the space-time continuum, using his super speed to dash backwards to stop his mum from dying — and, as Bruce Wayne warns, cuing the butterfly effect. Back to the Future devotees know what follows when someone tinkers with the past. The Flash director Andy Muschietti (IT, IT: Chapter Two) and screenwriter Christina Hodson (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) count on viewers being familiar with the consequences, and with the Michael J Fox-starring 80s classic. Amid navigating various iterations of its protagonist and, as revealed in its trailers, getting Michael Keaton (Morbius) back in the cape and cowl as the Dark Knight three decades after the last Tim Burton-helmed Batman flick — plus finding time for Supergirl (Sasha Calle, The Young and the Restless) — this DCEU entry splashes around its broader pop-culture nods with gusto. Given that was Gunn's tactic in Marvel's Guardians of the Galaxy movies, right down to also mentioning Kevin Bacon and Footloose, perhaps Barry might have a DCU future after all? Whatever happens, The Flash's riffing on and namechecking other beloved films isn't its best trait. There are multiples of much in this movie, which includes multiple ways to slather on fan service. The Flash 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 and June, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok and Carol actor — "our Cate", of course — best be making space next to her Oscars for The Aviator and Blue Jasmine as a result. Well-deserved accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them) and, as the Golden Globes showed, they're not likely to stop till this awards season is over. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Directing a film for just the third time in 22 years — and the third at all, as well as the first since 2006's Little Children — writer/helmer Todd Field begins Tár with the woman, the myth and the legend. Since the feature's US release, viewers have been known to think that Lydia is an actual person, which has proven instantly memeable, yes, but more importantly is a testament to the detail and potency of the filmmaker's layered script. As Gopnik advises, Tár is a protégé of the one and only (and real) Leonard Bernstein, the first female chief conductor of the Berlin Philharmonic and an EGOT-winner. She has a book in the works, Tár on Tar, and she's soon to record her dream piece, Gustav Mahler's Symphony No. 5. She's not fond of having her successes ascribed to battling sexism, but she's proud, confident and authoritative talking about her career, field and leap to the top of classical music. Not mentioned in this early celebration, unsurprisingly: the behaviour that'll come back to stalk Lydia, involving her treatment of mentees and students, and cracking her hard-carved place in an elite realm. With two Academy Award nominations to his name for screenwriting, for both Little Children and his 2001 feature debut In the Bedroom, Field is in his element plotting Tár's intricate and tangled life that just keeps getting more and more knotted — and penning and directing a film that's equally as complicated. Tár is many things and never merely one thing, but it's a psychological character study above all else. As the feature charts its namesake's downfall from the heights that the picture opens with, and unpacks her arrogance and ambition, it unravels Lydia. As it examines her professional dealings and personal bonds, sees transactional connections wherever she goes and shows her scant regard for most folks other than herself (although she'll happily bully a schoolgirl for her young daughter Petra, played by first-timer Mila Bogojevic), the movie chips away at Lydia's carefully established personality and mystique. And, as her standing plummets amid a scandal, and her relationships with it, the film probes and ponders who she truly is anyway — and why. Is Tár a groomer, predator and liar? A talent who took her lust for triumph too far? A celebrity overly enamoured with her own fame and power? Is she a woman fracturing? Someone literally haunted? An egotist using and emotionally bruising, then getting what she deserves? Tár is too crafty — and well-crafted — a drama to quickly or easily tick most of those boxes for its protagonist, and finds much of its depths (and much of its fuel for Blanchett's performance) in provocatively giving all of the above attention. As Lydia belittles Juilliard kids in showy lectures about JS Bach, grinds first violin Sharon down to just one of her offsiders, capitalises upon Francesca's own conducting dreams, weathers a storm with her past favourite Krista (debutant Sylvia Flote) and throws her current approval towards new Russian cellist Olga (acting newcomer Sophie Kauer), Tár is also as precise at building the world that its titular character dwells in, where her genius and thrall draws in everyone, enables her, and lets Lydia herself believe that everything is excused and even worth it if it results in her art. Collaborating with cinematographer Florian Hoffmeister (Pachinko), editor Monika Willi (Happy End), costume designer Bina Daigeler (1899), production designer Marco Bittner Rosser (Only Lovers Left Alive) and composer Hildur Guðnadóttir (Joker), Field does indeed fashion Tár immaculately. A film of cool hues, firm lines and rich surfaces — Lydia's suits encapsulate the look perfectly — as well as a gripping, tension-dripping beat, it's a film where every choice seen and heard is revealing about its story, central figure and themes. Tár is also a movie of striking scenes revelling in such tightly constructed surroundings, all with Blanchett at their centre. Every choice she makes with her facial expressions and body language, whether Lydia is regaling fans, instructing pupils, pushing aside loved ones or luring in new points of interest, is a compelling, entrancing masterclass. When Tár picks up the baton, plays the piano, holds court, tries to navigate her own fall and perhaps even orchestrate her own second rise: these moments, whether loud and intense or quiet and contemplative, are hypnotic and loaded, too. But, across a 158-minute duration that never feels that long and shows zero signs of bloat, Field fills his frames with more than just one outstanding player. He could've simply let Blanchett's awards-worthy efforts be Tár's everything alone, and this'd still be captivating, bold and intelligent. Again, there wouldn't be a film this piercing without her, and it rises in tandem with her astounding work. In what's hopefully not his last picture for another decade and a half, however, Field sees what Lydia can't and won't. Casting German acting royalty Hoss and French Portrait of a Lady on Fire standout Merlant, both of whom bring texture, vulnerability and visible signs of pain to their pivotal characters, makes a statement: that no story is one person's only.
Maybe your 21st birthday was the best night of your life. Or, perhaps you're still planning for the 21st to end all 21sts. Apologies to everyone in those two categories, plus everyone in general as well — because Splendour in the Grass' just-announced 21st-birthday lineup with Lizzo, Flume, Mumford & Sons, Lewis Capaldi and the Yeah Yeah Yeahs has all other 21st shindigs beat. Lizzo was first unveiled as one of this year's Splendour headliners back in March, and now she has some good as hell company on the full — and huge — bill. When the fest returns to the North Byron Bay Parklands stage from Friday, July 21–Sunday, July 23, the US rapper, songwriter, singer and flautist will top the Friday night, with Flume doing the same on the Saturday and Mumford & Sons following on the Sunday. Flume's set is an Australian exclusive, celebrating ten years since his self-titled album and coming after his recent Australian tour in late 2022. Mumford & Sons are also doing an Aussie-exclusive gig, after last heading our way in 2019. Among their ample company, Lewis Capaldi will take to the stage on the Friday night, while the Yeah Yeah Yeahs will play Saturday — making the trip to Australia after initially headlining 2022's Splendour in the Grass lineup, but cancelling in the lead up. Music lovers hitting Byron Bay can also look forward to Hilltop Hoods, Sam Fender, J Balvin, Slowthai, Little Simz, Idles and Tove Lo, plus Arlo Parks, Ball Park Music, 100 Gecs doing another Aussie exclusive, Pnau and King Gizzard & the Lizard Wizard — and more. Enough talk — here's what you're waiting for: View this post on Instagram A post shared by Splendour in the Grass (@splendourinthegrass) SPLENDOUR IN THE GRASS 2023 LINEUP: Lizzo Flume (Australian exclusive: ten years of Flume) Mumford & Sons (Australian exclusive) Lewis Capaldi Yeah Yeah Yeahs Hilltop Hoods J Balvin Sam Fender Idles Little Simz Slowthai Tove Lo 100 Gecs (Australian exclusive) Arlo Parks Ball Park Music Iann Dior King Gizzard & The Lizard Wizard 070 Shake Pnau Ruel Loyle Carner Benee Marlon Williams Rainbow Kitten Surprise Hooligan Hefs Peach PRC Palace Dune Rats Tkay Maidza Noah Cyrus Skegss Sudan Archives Cub Sport Meg Mac X Club. Claire Rosinkranz Jack River The Smith Street Band Lastlings Jeremy Zucker Young Franco Sly Withers MAY-A The Vanns Telenova Vallis Alps Jamesjamesjames Kaycyy RVG Teenage Dads Balming Tiger Automatic Harvey Sutherland Gali Del Water Gap Royel Otis Shag Rock Big Wett Mia Wray Memphis LK Gold Fang Milku Sumner Forest Claudette Full Flower Moon Band William Crighton Hellcat Speedracer Triple J Unearthed Winners Mix Up DJs: Tseba Crybaby Latifa Tee Foura Caucasianopportunities Luen Mowgli DJ Macaroni Crescendoll Splendour in the Grass will take over North Byron Bay Parklands from Friday, July 21–Sunday, July 23, 2023. Tickets go on sale at 9am on Friday, April 14 — head to the festival website for further details. Top image: Charlie Hardy.
Australians, it's time to roll up your sleeves — because the nation's slow-moving COVID-19 vaccine scheme has just been given a crucial boost. In a newly announced change, all Australian adults of any age can now get the AstraZeneca jab. All you need to do is go to your GP and specifically request the AZ vaccine. Prime Minister Scott Morrison revealed the news during a late-night press conference yesterday, Monday, June 28, in which he addressed several aspects of the country's vaccine rollout. Specifically, he announced a new no-fault indemnity scheme for general practitioners who administer COVID-19 vaccines, so they're covered if their patients have any adverse reactions. Australia's current health advice notes that the AZ vaccine is preferred for folks over the age of 60, and that anyone younger should have the Pfizer vaccine; however, if you're below that cutoff and would still like the AZ jab, your doctor can now give it to you. "This relates to encouraging Australians to go and chat to their GP about their vaccination, and to have their vaccination administered," said the Prime Minister. "The advice does not preclude persons under 60 from getting the AstraZeneca vaccine, and so if you wish to get the AstraZeneca vaccine, then we would encourage you to go and have that discussion with your GP," he explained. "We are also providing the indemnity scheme for those general practitioners so they can actively engage with you and you can make the best decision for your health." While that part of the Prime Minister's press conference didn't mention age limits, he was specifically asked about under 40s, and confirmed that any Aussie adult of any age can now go to their GP to get the AZ shot. "If they wish to go and speak to their doctor and have access to the AstraZeneca vaccine, they can do so," he said. That's welcome news for everyone under 40 that's keen to get jabbed, but hasn't been able to due to Australia's staged vaccine rollout. Until last night, adults aged between 16–39 weren't eligible to get vaccinated unless they fell into a number of specific categories. You had to either be of Aboriginal and Torres Strait Islander descent; work in quarantine, border or healthcare roles; work or live in an aged care or disability facility; work in a critical and high-risk job such as defence, fire, police, emergency services and meat processing; have an underlying medical condition or significant disability; or participate in the NDIS, or care for someone who does. Aussies under 40 who'd prefer the Pfizer vaccine will still need to fall into one of the aforementioned groups. Since Thursday, June 17, the Australian Technical Advisory Group on Immunisation has recommended the use of AstraZeneca vaccine in people aged over 60 only due to the risk of rare blood clotting disorders that've been linked to the vaccine when given to younger folks. That change followed an early recommendation back in April, which noted the AstraZeneca vaccine wasn't preferred for anyone under 50. But anyone of any age, including those under 60, can now still get the AZ jab — after making an informed decision by talking to their doctor. For further information about Australia's vaccine rollout, head to the Australian Department of Health website.
Melburnians can now dine in at restaurants, cafes and pubs — but with restrictions in place around what you can and can't do when you get there, you may prefer to bring the experience home. If you're enjoying the comfort of your own space, with the freedom to cosy up to your loved ones, or to invite a bunch of friends over for a socially responsible dinner, you can still order from a number of excellent Melbourne bars and eateries that are happy to bring restaurant quality dining to you, or bottled cocktails if that's more your vibe. In partnership with Belvedere, we've found eight venues delivering quality meals and cocktails (as well as other celebratory drinks) so you can level up your next night in, and stay nice and cosy indoors.
If you want to stand out in Melbourne's bottomless brunch scene, you have to up the ante. Well, The Smith in Prahran has done just that, kicking off a brunch series with stellar food, bottomless booze and its very own gospel choir. Hallelujah, Gospel Brunch is here and will be running every Saturday from 12.30–2.30pm. Not only is the menu heavenly — think Aperol French toast, cured market fish, bacon rosti and coconut rice pudding — but there's also a fab brunch drinks list featuring cocktails, like the Sicilian Spritz, Rosé José and Lavender Bomb, as well as house wine, bubbles and beers. The best part? The roaming gospel choir will sing out your favourite tunes while you tuck into the sumptuous spread. With a sleek bar, leafy courtyard and striking dining space, The Smith is the perfect place to while away a sunny day, bottomless tipple in hand. Gospel Brunch is debuting on Saturday, November 10 and costs $60 per person. Looks like Saturday sessions are sorted, team. Bottoms up.
Even under normal circumstances, heading to the UK to see a theatre show isn't in most folks' budgets. So, for years now, Britain's National Theatre has beamed its performances into cinemas around the world via a series called NT Live. Over the past 12 months, however, the theatre has adapted to the online realm — first putting a selection of recorded productions on its YouTube channel for everyone to view for free, and now launching its own streaming platform. Both initiatives have the same name — National Theatre at Home — but now, instead of waiting to see which play drops online each week, you can browse through a selection of shows whenever you like. The new streaming service does come with a fee, costing around AUD$18 (£9.98) per month or approximately AUD$184 (£99.98 per) year, but subscribers then have unlimited access. There's also a rental option, where you just pick whichever production you want to see and pay a one-off cost (from around AUD$13.50/£7.99) to watch within a 72-hour window. All of National Theatre at Home's catalogue consists of previously recorded productions — which means that you can get cosy on your lounge, put your feet up and pretend you're at the theatre watching some of the company's greatest hits. New shows are added monthly, with subscribers receiving early access to new additions, as well as behind-the-scenes glimpses. At the time of writing, theatre fans can choose between the first-ever National Theatre Live broadcast, Phèdre with Helen Mirren; William Shakespeare's Coriolanus, starring Tom Hiddleston; and a London-set modern update of Federico García Lorca's Yerma with Billie Piper. Other titles include Medea with I May Destroy You's Michaela Coel — plus Julie, an updating of the play Miss Julie, starring Vanessa Kirby. And some works, such as Mosquitoes with Olivia Colman and a new Nigerian-set version of Chekhov's Three Sisters, are being released for the first time. On the technical side of things, you can stream National Theatre at Home via any web browser, or using Apple products (with iOS and tvOS), Google (through Android and Android TV), Roku TV and Amazon Fire TV. National Theatre's back catalogue is rather hefty — and star-studded, too. Accordingly, here's hoping that some of the company's absolute masterpieces also make the jump to the National Theatre at Home streaming platform in the future. Fingers crossed that its stripped-back version of Mary Shelley's Frankenstein, as directed by Trainspotting and Yesterday's Danny Boyle, and starring Benedict Cumberbatch and Jonny Lee Miller, is one of them — or its production of A Streetcar Named Desire with none other than Gillian Anderson as Blanche DuBois, alongside Ben Foster and Vanessa Kirby. National Theatre at Home is now available online, with subscriptions costing around AUD$18 (£9.98) per month or approximately AUD$184 (£99.98 per) year. Top image: Coriolanus. Photo by Johan Persson.
While introducing The Rover at the Sydney Film Festival, just a few days ahead of its wider theatrical release, writer-director David Michôd said he finally understood the concept of "second album syndrome". Born in Sydney, Michôd shot to international prominence in 2010 with the release of his debut feature Animal Kingdom — the gripping, nihilistic crime drama that scored Jackie Weaver an Oscar nomination and left critics wondering what this striking new Australian talent would tackle next. "The first that became apparent to me after Animal Kingdom played at Sundance in 2010 was that I had about a million more opportunities available to me than I'd had before," Michôd tells Concrete Playground the day after the festival screening. "I spent a couple of years doing a lot of meetings, reading a lot of scripts and looking at a number of different ways of putting movies together. And then I ended coming back to The Rover." AN ELEMENTAL FABLE "There was a very early skeleton that Joel Edgerton and I worked on in about 2007," Michôd explains. "At the time, we thought it would be a movie for Joel's brother Nash to direct. It was an action movie in the desert. But I was also very aware as I was writing it that it was full of stuff that was more me than Nash." "When I revisited the screenplay after Animal Kingdom, I went in and stripped out a lot of the action, and made solid that dark, elemental fable that I had always wanted the movie to be," Michôd remembers. "I really loved the idea of making a movie that was working in a tonal world that was similar to the menace and the brood of Animal Kingdom, and yet would be very different on a formal level." The result is a bleak, minimally plotted thriller set in a barren future Australia, a decade after Western society's collapse. "I hadn't ever really been out to the desert in Australia before," says Michôd of the film's setting. "I loved being out there. I loved the strange stillness of it. I loved the feeling of being in a place that, if left to my own devices, would swallow me whole." VOICES IN YOUR HEAD At the centre of The Rover are actors Guy Pearce and Robert Pattinson, playing unlikely allies in Michôd's grim, lawless world. After working together on Animal Kingdom, Michôd wrote Pearce's role specifically for him. "I like to write with actors voices in my head, and I certainly wrote The Rover with Guy's voice in my head," the writer-director says. Pattinson's character, on the other hand, he describes more as "a blank canvas". "For one reason or another, I didn't have a particular actor in my head as I was writing it, and so then I got to go through that exhilarating process of seeing people bring it to life [in auditions]… Rob was the person who came in with a version of the character that was beautifully in tune with what I had always imagined. It was instantly clear to me that he was a really good actor, but it was also clear that he had a really beautiful understanding of the character's vulnerabilities and aspirations." "It's always nerve-wracking when you're casting," Michôd continues, "because this is where the movie lives and dies. It's kind of a cliché to say that 80 percent of a director's work is in casting, but it's kind of true. If you cast the movie wrong, it can be very difficult to salvage." A BRUTAL SORT OF LOVE When asked what it is that draws him to such bleak and brutal stories, Michôd takes a moment to pause. "For some reason," he says, "I really enjoy the feeling of creating moments that feel menacing and beautiful and sad. There's something about that on a basic human emotional level that is very powerful for me. "Having said that", he continues, "I think that Animal Kingdom is a way bleaker movie than this one. Because Animal Kingdom is about, at its core, a young man discovering that there is nothing other than self-interest. That sort of weird little world you're left with at the very end of Animal Kingdom is a completely loveless world. And it's one that I would never particularly want to revisit. I wouldn't even necessarily want to know what happens to those characters, because they'll probably just continue to eat themselves alive." "Whereas to me, The Rover starts in a really brutal and inhospitable place, but at its core is about how even in those circumstances, people still have a basic need to form intimate human connections with other people. To the extent that, as weird as it sounds, The Rover, to me, is a movie about love." The Rover is in cinemas now. Read our review here. https://youtube.com/watch?v=ChM2icbWo9w
Three Australian choreographers have joined forces on the Australian Ballet's newest show, Verve. Powered by explosive movement and intense emotion, it's a journey from darkness to light – from unbridled anger to sublime calm – accompanied by a soundtrack that swings from German electronica to Tchaikovsky. The first act, Filigree and Shadow, is the work of resident choreographer Tim Harbour. He carries the audience into a dark, uncertain world, driven by animal aggression. Think sudden moves, shadowy lighting, an architect-designed set and a score by German collective 48nord, who mix experimental and new music with post-pop and neo-rock. Next up is Constant Variants, the creation of fellow resident choreographer Stephen Baynes. This strikingly contrasting piece travels into a world of beauty and tranquility. Expect to be carried away by a neoclassical dance of extraordinary grace and poise, set to Tchaikovsky's Variations on a Rococo Theme, which features a breathtaking solo cello section. Rounding out the performance is Aurum, a new work by Alice Topp, who debuted on the mainstage in 2016 with Little Atlas, and has choreographed for Megan Washington and Ben Folds. Aurum's focus is on hypnotising pas de deux (dance duets), which explore the intricacies and dynamics of close personal relationships. An all-Australian team is behind every aspect of Verve's set design and lighting. It includes resident lighting designer Jon Buswell (Constant Variants) and legendary lighting designer Benjamin Cisterne (Filigree and Shadow), as well as multi-award winning set and costume designer Michael Pearce (Constant Variants) and renowned architect Kelvin Ho (Filigree and Shadow). Images: David Kelly and Jeff Busby
Empty streets. Long lines of cars at COVID-19 testing sites. Six-foot buffers between people. Doomscrolling. Rampant online misinformation about the pandemic. Five years ago, these were all a reality — and that's when Ari Aster has set his fourth feature. Eddington is also the acclaimed writer/director's fourth film in seven years, following Hereditary in 2018, Midsommar in 2019 and Beau Is Afraid in 2023. Two years after stressing out Joaquin Phoenix in the latter flick, the filmmaker has more tension and chaos in store for the Oscar-winning actor, all in the early days of the COVID-19 pandemic. Eddington ventures into a New Mexico town of the same name, and into the locale's attempts to cope with the abrupt change to life as its citizens know it. Phoenix (Joker: Folie à Deux) portrays the spot's sheriff Joe Cross, who decides to run for mayor against incumbent Ted Garcia (Pedro Pascal, The Last of Us). Both the first teaser trailer earlier in 2025 and the just-dropped full sneak peek at the A24 release — which premiered at Cannes in May — paints an unsettling picture, not just for the feuding Joe and Ted, but also for Joe's wife Louise (Emma Stone, Kinds of Kindness). Offering a calmer vibe is Vernon Jefferson Peak (Austin Butler, The Bikeriders), whether he's meeting Joe or popping up preaching on the internet. The storyline: putting Joe and the mayor on a collision course that leads to arguments and slaps in the new trailer. Their conflict unsurprisingly causes ripples throughout Eddington, in a tale that's set to see townsfolk clash in a period that we all know couldn't have been more heightened and stressful. Aster is back cultivating unease, then, as he did so expertly in his initial three features. Alongside Phoenix, Butler, Stone and Pascal, the filmmaker has enlisted Luke Grimes (Yellowstone), Deirdre O'Connell (The Penguin) and Micheal Ward (Empire of Light) to help among his cast. Eddington releases Down Under on Thursday, August 21, 2025. If you're in Sydney or heading to the Harbour City for the 2025 Sydney Film Festival, it's also screening there until Sunday, June 15, as well as at the fest's SFF 2025 Back By Popular Demand sessions until Friday, June 20. Check out the full trailer for Eddington below: Eddington releases in cinemas Down Under on Thursday, August 21, 2025 — and is also screening at the 2025 Sydney Film Festival until Sunday, June 15, and at its SFF 2025 Back By Popular Demand sessions until Friday, June 20.
Fitzroy's Poodle Bar and Bistro is gearing up for a buzzy event next weekend to commemorate the launch of its recently renovated courtyard. Renowned winemaker and award-winning journalist Mahmood Fazal will be taking over the restaurant's wine list for a one-off lunch banquet on Saturday, April 27. Fazal's debut shiraz will be available, among other excellent vinos. The superb wines will be paired with a delicious $65 lunch, featuring torched bonito, the terrine du jour, a grilled black heart and guanciale skewer, and a hanger steak with pepper jus and fries. This special event takes place from 1pm–late on Saturday, April 27 at the bistro's new patio. Book your spot while tickets are still available at the website.
On the off-chance you've already slurped your way through Melbourne's recent boom of new hot pot restaurants (think Panda Hot Pot and Jiyu Thai), here's yet another one to check off your hit-list. The boldly executed Chef David has landed on Elizabeth Street in a vision of marble, metallics and neon blue. Sibling to Melbourne's two David's Spicy Pot outposts, as well as Russell Street's David's Hot Pot, the new restaurant's dishing up spicy Sichuan hot pot against a futuristic, multimillion-dollar backdrop. There are seats for 200 diners, ceilings hung with dazzling chrome chandeliers and a high-tech sound system for the program of live acts and DJs to come. The menu's handy 'how-to' guide is useful for both seasoned hot pot fans and novices alike, with the kitchen offering a hefty nine different soup base options to tempt all levels of spice tolerance. You can select up to three to fill your table's communal hot pot — perhaps the easygoing dried fish maw and chicken number, or the Signature Spicy Instagram Soup starring 130 herbs and spices, and an animal character shaped out of beef tallow. Then, pimp it out with your choice of high-quality meat cuts, plenty of offal, vegetables, tofu and market-fresh seafood, along with sausages, dumplings and various meatballs. Each is listed on the menu with a handy suggested cooking time A range of dipping sauces lets you customise things further. But it's not all about the hot pot, of course — the kitchen's also whipping up an offering of grilled dishes, barbecued skewers and snacks that include everything from deep-fried pork belly to crisp sticky rice doughnuts. And, since this one's kicking on until 4am each night, we're guessing the lineup of tap beers, Japanese whisky and creative cocktails should get a solid workout of its own. Find Chef David at Level 1, 462 Elizabeth Street, Melbourne. It's open from 5pm–4am daily.
Finding the ideal gift is always a challenging task, but when you're on the lookout for some gastronomic delights to give away, it's likely that Indulge Canterbury has just what you need. As masters of the humble hamper, these aren't your everyday selections of odds and ends, rather baskets full of tantalising treats that everyone would be grateful to receive. The store is located at the centre of Maling Road and has a walk-in cheese vault so you can explore the expansive collection. Meanwhile, there's also a thoughtful selection of fine food and wine that's great for any occasion. Images: Tracey Ahkee.
What better way to dive into the pleasures of Phillip Island than by taking a quick drive south through the picturesque plains to Phillip Island Winery? From here, you'll experience stellar panoramic views from the winery's vantage point, which you can make the most of by sitting outside next to the roaring fire pit and sipping a shiraz. If you're keen to sample a few vinos, head to the cellar door for an expert-led tasting session, where you'll try everything from sparkling to pinot gris, chardonnay, rosé, pinot noir and a full-bodied cabernet sauvignon. The cellar door allows walk-ins, but bookings are a must for large groups. Good wine calls for good cheese, naturally, so be sure to order a charcuterie board ($39) or vegetarian grazing platter ($35), both of which come with a bunch of regional cheeses. If you're after a a full-fledged feed, then book a table in the on-site restaurant. The menu changes seasonally, but you can expect the likes of pizzas, house-made gnocchi, curries and salads. [caption id="attachment_722675" align="alignnone" width="1920"] Visit Victoria[/caption] UPDATE: JULY 24, 2020 — Due to COVID-19, Phillip Island Winery is currently operating with reduced opening hours. Be sure to check the website before heading there.
It ain't always easy being green. But this week, Burgertory is making it an absolute breeze — especially if you like things in buns. The Richmond burger bar is teaming up with plant-based meat producer v2food for an extended takeover — and the duo's celebrating by handing out free burgs this Thursday, July 21. Head in from 5.30pm to nab yourself a free plant-based burger, while enjoying the day's live entertainment and taking a few snaps with the venue's new foliage-filled v2-inspired fitout. There'll also be a stack of prizes up for grabs, including an e-bike. While the freebies will be flying until 10pm (or until they're gone), Burgertory's v2 takeover will continue for the next few months, with a special v2 vegan burger menu on offer. The new green interiors will also be sticking around for the duration.
Hard to believe Melbourne fromagerie Milk The Cow (MTC) turns ten this year. What did we do for deep-fried camembert before this place? To mark the occasion, Milk The Cow is running a special $10 for Ten Years Winter Menu at its flagship St Kilda outpost. It features a range of past favourites and new dishes, including a croque monsieur that MTC fans have been demanding for a long, long time. "We've always resisted adding a sandwich to the menu, despite everyone telling us we should. We wanted to be very true to our wine bar sensibilities, but after a decade, it finally felt like the right time to put on this classic French sandwich – just don't call it a toastie!" says owner Daniel Verheyen. The $10 menu has a bunch of options, including two-cheese cheeseboards, goats cheese madeleines with Meredith chevre, and Dutch Bitterballen (croquettes stuffed with a three-cheese mix, camembert, Provolone Piccante and Parmigiano Reggiano). You'll also be able to get $10 Glühwein (mulled wine), French onion soup and Kronenbourg on tap. Milk The Cow's $10 menu is available weekdays between 3–6pm until Thursday, August 31. Images: Supplied
Wubba lubba dub dub, Rick and Morty fans. Yes, everyone's favourite interdimensional adventurers are finally back. It's been way too long since a certain eccentric scientist and his anxious grandson caused chaos across the multiverse, with the animated sitcom's third season releasing in 2017 — and if you've been feeling the duo's absence over the past two years, you're not alone. Even the just-released new trailer for the series' next batch of episodes recognises the elephant in the room — or the lack of Mr Meeseeks and Mr Poopybutthole on our screens, to be specific. Those beloved characters are back, too, alongside Rick Sanchez and Morty Smith (both voiced by show co-creator Justin Roiland); Morty's mother Beth (Sarah Chalke), father Jerry (Chris Parnell) and sister Summer (Spencer Grammer); and all the world-hopping craziness that anyone could ever hope for. If you've been counting down the days since the last episode hit back in October 2017, the fourth season will rejoin the smartest Rick and Morty-est Morty in the universe — and absolutely anything could happen from there, really. If you're just getting schwifty with the series for the first time, Rick and Morty doesn't just ape a concept straight out of Back to the Future (aka a lab coat-wearing old man, his teenage sidekick, and their time- and space-jumping antics), but filters that idea through the inventive minds of Roiland and Community's Dan Harmon. After proving such a huge hit across its first three seasons, there's plenty more Rick and Morty to come, with the show renewed for a huge 70 episodes by US network Adult Swim last year (which is more than double the 31 that the comedy has aired to date). Of course, all that animated insanity takes time to put together, hence the delay. The first five new episodes are slated to drop from mid-November in America — watch this space for local release details. And that's the wayyyyyy the news goes — check out the fourth season's trailer below: https://www.youtube.com/watch?v=Rw6BrzB1drs Rick and Morty's fourth season will start airing weekly from November 10 in the US. We'll keep you updated with a release date Down Under once one comes to hand.
Cancel your plans for Sunday, June 20, because you're spending an afternoon supporting local musicians. Originally set to take place over three days but adapting and rescheduling following Melbourne's lockdown, Ballroom Blitz will see Cool Sounds, Snowy Band, Martin Frawley and Emily Ulman play the new Brunswick Ballroom. Formerly the Spotted Mallard, the site has reopened all shiny and fresh for 2021. Come check out these fresh digs and see newish and emerging acts who were robbed by the pandemic of their chance to tour in 2020 The Sunday session starts at 3pm — and will treat you to some of the city's best up-and-comers. Images: Nicole Cleary
If you're a fevered festival-head, you'll know all about New Year's Eve favourite Beyond the Valley. At the end of 2022 an eclectic bill of musos will be taking to the stage in Barunah Plains, a region west of Melbourne, to see out the year with a dance floor heaving with good vibes. Nelly Furtado is heading up the festivities, and she'll be joined by the likes of Flight Facilities, Kaytranada, Charlotte De Witte and Lime Cordiale, too. It's set to be a big one. Now to squeeze as much fun as you can out of your festival experience, you don't just rock up without some forward thinking. To have the best time, you've got to know what you're doing — you've gotta plan. In our opinion, even the most experienced Aussie summer festival-goers could do with a few hacks. That's especially true with the influx of new tech and gadgets that work hard to see that our experiences are funner, easier and cheaper. Take, for example, inDrive, the new-to-Australia ride-sharing biz that lets you negotiate your own fares, and choose your own driver (based on star rating, pick-up time and car). Torn between surge pricing and waiting who-knows-how-long for public transport? That's not how you finish off a fest. Together with inDrive, we spoke to Taylah Hume, Beyond the Valley's Customer Experience Manager, about how to make the most out of summer festival season. BOOK YOUR RIDE BEFORE YOU GO "I cannot stress this enough — sort out your transport ahead of time! If you're going to a single-day event, make sure you've decided how you're getting home (or to kick-ons). No hitchhiking home please, and no one has time for surge pricing. Luckily there are businesses making this easier and cheaper — like inDrive, the ride-share app that lets you choose a pick-up time, a driver and your fare. You'll have no need to worry about being stung with surge pricing at the end of your night. That's a huge win for those of us on a budget — we don't need costly surprises at the end of a big festival when we're heading home. You can party as hard as you like, start and end your experience on a high with heaps of peace of mind." PACK D-FLOOR SNACKS "The best way to ensure you're not partying on an empty stomach — and crashing early — is to snack on the dance floor! I've never been as popular as when I opened a bag of chips in the middle of the dance floor on the second day of a camping festival. Don't forget to pack yourself some sweet treats, too. People are always so practical with their festival shopping and forget about the fun stuff. I bring lamingtons to every camping festival — they're perfect for summer festivals as they don't melt in the heat! You're welcome." [caption id="attachment_879657" align="aligncenter" width="1920"] Beyond the Valley[/caption] ARRIVE EARLY "Always arrive early to catch the opening acts, because you'll never be disappointed — these artists are booked for a reason! And when they start getting more traction, there is no greater flex than telling your friends you were onto them months ago, duh. You'll also give yourself plenty of time to enjoy the festival's other activities — there's always more going on beyond the stages. Arrive early to get the full experience without rushing." DON'T BE AFRAID TO OVERPACK "You don't have the creature comforts of home, so a camping festival is the one time it's okay to overpack. My essentials? Face masks, a few extra pairs of socks, a portable charger, duct tape (you'd be surprised how often this comes in handy). And don't just come prepared with items, come prepared with an itinerary too. Who are your must-sees? When are they playing? And if you're still working it out, the best way to get prepared is to create a playlist ahead of the event — with both the artists you're already into and the new acts you want to check out all queued. Listening to the playlist on your way to the event is the best way to hype your crew, too!" KEEP YOUR KEYS IN A SAFE PLACE "There is nothing worse than having a big day/night/weekend — you're tired, the funs worn off — and then realising you have no idea where you left your keys. You want to be able to get home, and you want to be able to get inside once you're there. Make sure you keep them in a safe place — and make sure that safe place is not inside your tent (the tent that is currently packed up and wedged in between everyone else's belongings in the back of the car), because I guarantee you'll be getting the silent treatment the whole car ride home. If you can't tell, I learnt this one the hard way." If you're heading to a music festival this summer, or simply enjoying your city, inDrive will make sure you get to where you need to go — without any surge pricing. Head to the website for more information and to download the app. Top image: Mackenzie Sweetnam (first)
It's Friday night and you're in the mood to binge on pork dumplings, but before you reach for a cold beer or glass of wine to wash down those hot, juicy pockets of joy, consider cracking open a bottle of champagne. You may have noticed a rise in the number of pink champagnes in your local bottle shop, and that's because this bubbly booze is a surprisingly versatile drink, even with the most flavoursome dishes. We've partnered with the pioneers of rosé champagne, Moët & Chandon, to bring you a list of unusual dishes to try the next time you're popping open a bottle of pink — from delicate wagyu beef carpaccio to simpler summer-ready salads. As rosé champagne is crafted from three of Champagne's grape varieties — pinot noir, chardonnay and meunier — it's one of the best quality rosé champagnes to purchase for your next dinner party. Take some inspiration and go wild with your own menu pairings — this French fizz complements many a feast. [caption id="attachment_759771" align="alignnone" width="1920"] Mariha Kitchen[/caption] WAGYU BEEF CARPACCIO WITH JUNIPER BERRIES For an unlikely but heavenly marriage of texture and flavour, try wagyu beef carpaccio dressed with juniper berries. The red meat will give you that boisterous protein hit and the slightly sweet, slightly spiced addition of juniper berries is a fantastic complement to the pinot noir notes of rosé champagne. And, as raw meat rarely has pronounced tannins, this is the perfect meal for when you're craving red meat but don't want to spoil the wild strawberry and raspberry notes in a good bottle of bubbly. [caption id="attachment_759773" align="alignnone" width="1920"] Lilechka75[/caption] BEETROOT RISOTTO WITH TALEGGIO CHEESE AND PINK PEPPERCORNS This is one of those pairings that looks as good as it tastes — it's pink and purple with a glossy rich glow from the risotto. The subtle sweet character of the beetroot and the richness of the creamy Italian taleggio cheese are incredibly well-suited to a bottle of crisp rosé champagne as the vibrancy and the acid in the wine cuts through the creaminess. Plus, the addition of pink peppercorns gives the dish a gentle spice that can open up the flavours of any glass of wine. If it's true what they say — that anything with a little pink pigment is perfect for pink bubbly — then this dish is proof. [caption id="attachment_759782" align="alignnone" width="1920"] Martin Turzak[/caption] MOROCCAN LAMB STEW WITH ROAST SUMAC Slow cooking meat, such as lamb, tends to mellow out the tannins in the meat, giving you really tender, slightly sweet meat that's very welcoming to the crisper style of rosé. Try Moroccan lamb stew with roasted sumac for a hearty dish that's an unlikely, yet delicious, match with rosé champagne. The lamb pairs with the dry notes of the wine, plus the gentle spice of the sumac brings out the aromatic elements of the rosé champagne. It's sure to create a whole new flavour experience that's an impressive flex for your next dinner party. [caption id="attachment_749216" align="alignnone" width="1920"] Duck & Rice; Steven Woodburn[/caption] DIM SUM As a rule, any kind of pastry is an excellent companion to champagne, but fatty and salty snacks like dumplings and spring rolls aren't well known companions for pink fizz. Introduce a light rosé champagne to your next dim sum feast of pork or prawn dumplings and it'll open your mind to a world of underrated matches for your new favourite bubbly. Salty-sweet pork and buttery prawns wrapped in pillowy dough couldn't ask for a better partner than a crisp glass of rosé champagne to give a sensation of freshening the palate. [caption id="attachment_617490" align="alignnone" width="1920"] NOLA Smokehouse[/caption] KINGFISH CEVICHE WITH PINK GRAPEFRUIT Seafood is a longtime friend of sparkling wine, and while champagne might go great with smoked salmon, rosé champagne is destined for top-end ceviche. The fattiness of kingfish ceviche with the fruity acidity of pink grapefruit makes for a party dish well matched to a robust rosé champagne, such as Moët & Chandon's Rosé Impérial, which has gooseberry, raspberry and wild strawberry notes. For a little kick, add a chilli dressing to really brighten the whole experience. Much like the rosé champagne itself, this pairing packs a big punch but always finishes with a fresh taste in your mouth. [caption id="attachment_759780" align="alignnone" width="1920"] Z Kruger[/caption] MORETON BAY BUGS WITH GARLIC BUTTER This is one of those dishes that is difficult to pair with wine, simply because it's so good on its own. With a buttery sweetness, Moreton Bay bugs need the strength and complexity of a wine big enough to really match it in richness without ruining the lobster-like flavour. Rosé champagne is that complementary partner. The creaminess of the garlic butter is mellowed by the acidity in the rosé, and the dry notes of the champagne go well with the soft-sweet juiciness of the bugs. [caption id="attachment_759786" align="alignnone" width="1920"] Sarsmis[/caption] WATERMELON AND FETA SALAD For a super-simple summer salad, we suggest marrying a subtly sweet watermelon to a briny feta cheese. Try building your salad at a picnic location to keep the flavours as fresh as possible, and remember to bring an ice bucket for the pink champagne. The fresh and healthy salad is an effortless match for a crisp glass of rosé champagne, as the wine's natural fruit characters, minerality and acidity pairs well with light fruit-based dishes. Moët & Chandon's Rosé Impérial is a fruity and elegant champagne with gooseberry, raspberry and wild strawberry notes. Find out more here. Top image: Oriental Teahouse.
Camel racing in Oman. Whale diving in the Revillagigedo Islands, Mexico. A sauna at 2800 meters high in the heart of Dolomites. Chances are, without the world's top tier traveling shutterbugs, we'd never get to see these weird and wonderful parts of our eclectic, beautiful world. Luckily, globally-acknowledged cornerstone of publicising places-you've-never-been National Geographic brings the world's best travel photographers together, all vying for the prestigious blue ribbon in the annual National Geographic Traveller Photo Contest. This year, Nat Geo's Photo Contest judges reviewed nearly 18,000 photographs — and these ten are the top of the crop. Photographers entered their works into four categories: Travel Portraits, Outdoor Scenes, Sense of Place, and Spontaneous Moments. Have a flick through, we're pretty sure you'll be making at least one of these your desktop wallpaper immediately. Images: National Geographic.
Looking to step up your boozy brunch game beyond the usual mimosas and smashed avo? Venture down the coast and you'll find yourself a winner at Hotel Sorrento, which has just kicked off a new series of bottomless brunches infused with the flavours of Hong Kong. Running every second Saturday from 1–3pm, the feasts take place in the seaside venue's Hong Kong-inspired diner ShiHuiShi, helmed by Head Chef Junlin Yi. Book a spot and you'll sit down to a flavour-packed spread of Cantonese cuisine spanning the modern and the traditional. Expect plates like prawn toasts paired with whipped cod roe, mushroom and tofu san choi bao, and crispy chicken ribs elevated with a Sichuan mayo. Oh, and dumplings galore, of course. While you dine, you'll enjoy two hours of free-flowing sips, including the punchy Pink Lotus cocktail starring lychee and Thai basil, and a lemon myrtle and kakadu plum vodka-based creation they call the Ginga Ninja. Tickets are $75, which also includes a post-brunch drink at Hotel Sorrento's Salt Bar, to enjoy overlooking the bay. Images: Jordan Price
If last summer was the summer of seltzer, we're ready to call the upcoming season the summer of canned cocktails. And if the seltzer wave showed us anything, it was that convenience will almost always win out over taste. So the next natural step? A convenient sip that tastes great. Here at CP, we think the espresso martini is an ideal canned candidate. The frothy, caffeine-infused libation holds a special place in the cocktail canon. While it's not considered a classic in the traditional sense — legend has it that it was created in the 1980s by a London bartender who was asked by a young female patron for something that would "wake me up, and then fuck me up" — a case could certainly be made that it is perhaps the most influential of cocktails. Think of the last time you had one when you were out and about — chances are, you spotted someone else with one in hand and decided it would be a good idea to have one yourself. Then, your crew decided it would be a good idea too, and so did the crew next to yours, and all of a sudden it was espresso martinis all round. Does any other cocktail have this kind of effect on people, friends and strangers alike? Unlikely. Beloved though it is, the espresso martini is notoriously tedious to make. Enter Mr Black — that equally beloved Australian producer of the eponymous coffee liqueur — which is bringing your dreams of espresso martini o'clock that much closer to reality with its new canned version. This velvety smooth blend of Mr Black, vodka and cold brew arabica coffee is supercharged with nitrogen, meaning that just a couple of shakes is all it takes to have a picture-perfect pour every time. The only question: where will you be having your canned, ready-to-serve espresso martini this summer? We've asked our editors for how they'll be enjoying theirs, so read on for inspo on how to drink yours. [caption id="attachment_872385" align="alignnone" width="1920"] Declan Blackall[/caption] AT A DINNER PARTY A beautifully set table, salty snacks to start, multiple courses, delightful company: the recipe for a stellar dinner party. Honestly, I'll live a happy life if it's filled with good food and good company. Add an expertly balanced espresso martini — that sits pretty in the fridge till the minute I want its frothy topped pour in my hand — and we're talking peak enjoyment. Whether you're hosting or attending, you'd be a goose to miss a minute of the tableside vibes. Measuring nips and the risk of spills? Trust me, stay seated with a coffee-laden tinny. Be it for the ease of the sip or the few extra hits of caffeine you'll squeeze into your day. (Or, level up the experience with a martini glass kept icy in the freezer till the second you're ready for it — a serve that's still miles easier than the 'real' deal.) Grace MacKenzie, Branded Content Manager [caption id="attachment_871106" align="alignnone" width="1920"] Dave Kan[/caption] AT A MUSIC FESTIVAL For the first time since 2019, festival season is here. I had the privilege of enjoying a couple of espresso martinis at this year's Festival of the Sun, taking full advantage of the fest's BYO policy to enjoy a cold can of Mr Black in the campsite before heading off to catch Middle Kids. If you're heading to any of this summer's BYO events — whether that's Victoria's Meredith Music Festival or Jungle Love in Queensland — I highly recommend doing the same. If you're not one for camping, you could also pick up a four-pack of espresso martinis to enjoy as the perfect pre-festival tipple for any one-day gatherings you might be heading to. You best believe I'll be cracking a can before catching Fred again.. at Laneway, TISM at Good Things and the Boiler Room stage at Mode Festival on Cockatoo Island. Ben Hansen, Junior Editor [caption id="attachment_872384" align="alignnone" width="1920"] Declan Blackall[/caption] AT A GAMES NIGHT My friends and I are not the types to stay out late — we prefer a reserved night of dignified card games that, inevitably, devolve into screaming at each other over a Monopoly board. Personally, I find that the tactical and economic strategies of board games need an energised and level head. That's when a good espresso martini comes in handy. But, why bother making one when I can keep an emergency reserve in my fridge? That way, there's more time for me to clearly present my case as to why I should be the new owner of the Kings Cross Station card. Alec Jones, Junior Writer [caption id="attachment_872387" align="alignnone" width="1920"] Jael Rodriguez (Unsplash)[/caption] ON A HOT-GIRL WALK The post-work, summer-evening hot-girl* cocktail walk is a wordy but delightful concept I now have down to an artform — after years of practice — so let me share my secrets. This divine intersection between exercise and cocktail hour is a way to decompress after work and celebrate summer — while still hitting those steps, getting a little fresh air and soaking up some Vitamin D. I like to pop a chilled canned espresso martini or two into my fanny pack, along with sunglasses, keys and phone (tip: this one from Kmart is the perfect size), and trot along with a friend discussing the week's scandals. If possible, find a nearby hill to scoot up so that when you reach the peak, you're perfectly glowing for golden hour. (We are always glowing darling, sweating). Find a grassy spot to park up, crack your bevvies, watch the sunset and cheers to being healthy — but not too healthy. That's balance, baby. *hot-boy and general hottie walks also firmly encouraged, all other aspects remain the same. Sarah Templeton, Aotearoa New Zealand Editor [caption id="attachment_872388" align="alignnone" width="1920"] Declan Blackall[/caption] AT HOME WITH A GOOD BOOK For me, one of the few good things that came out of two years in and out of lockdown was the discovery that I really appreciate my own company. And maybe it's a sign that I'm getting older, but I've come to realise that solo time can be a genuine indulgence. My favourite way to spend time on my own: switching off my phone and sitting down with a good book for an uninterrupted afternoon of losing myself in a fictional world of my own choosing. This process will also involve making myself a fresh pot of coffee in my French press and taking long, slow sips — but, next time I'll be trading out the beans for a velvety smooth and perfectly frothy espresso martini poured from the can. This way, I can get the caffeine buzz I need with far less effort and a little extra kick — I'm already indulging after all, so I may as well go all out. Nik Addams, Branded Content Manager For more info on Mr Black Espresso Martini, head to the website. Top image: Declan Blackall
Ten-year anniversaries are traditionally celebrated with tin, but fantastic NZ designer Karen Walker has no time for such banalities. To mark ten unconventional years in the eyewear game, she has released the 'Celebrate' collection, entirely done in gold. If they look like lavish versions of what's come before, well, that's exactly what they are. Each style is an iconic favourite from a previous year's collection. So there's 2005's Annie, earlier seen on this vampire; 2013's Northern Lights, earlier seen on this grande dame; and 2012's Number One, earlier seen on this balloon. The metal frames have been encased in a clear epoxy resin, making them look like solid gold. But you'll be looking more Greek island hopper, less Daft Punk member thanks to the warm, amber-brown mirrored lenses, which is what's really elevating these golden oldies to the next level. Here's to another ten years of taking loud, playful and sometimes silly risks on our faces, and another ten years of waiting to see who/what will model Karen Walker's designs next. Check out the festive campaign for Celebrate, shot by Derek Kettela, below. To see out the full collection or just dive in and buy, head to the Karen Walker Eyewear website. Each style is priced at NZ$399 ($358) and is in store from October 9.
Australia is continuing to ramp up the nation's efforts to contain the spread of COVID-19, with significant impacts on both mass gatherings and international travel. After banning events with more than 500 people last week, the government has now increased that ban to all non-essential events with more than 100 people. And, after imposing a mandatory 14-day self-isolation requirement for all arrivals into the country (which came into effect on Monday, March 16), Australians are now being told not to travel full-stop. In his latest press conference on the topic at 9am AEDT on Wednesday, March 18 — following the latest meeting of Australia's new coronavirus national cabinet last night — Prime Minister Scott Morrison put the travel restrictions bluntly. "The advice to all Australians is do not travel abroad," he announced. As part of the effective international travel ban — which is in effect indefinitely and, like other measures currently put in place, is expected to last at least six months — travel advice for Australians is now at level four for the first time in the country's history. It applies to absolutely everywhere in the world, and the Department of Foreign Affairs and Trade's Smart Traveller website has been updated to reflect the advice. The latest move comes after the government also advised last night that all Australians currently overseas should return to the country immediately. "If you wish to return home, do so as soon as possible," the Smart Traveller site now states. Adding extra urgency for Aussies abroad are the current changes within the airline industry, with flights by Australian airlines being slashed significantly. Qantas and Jetstar have cut their international flights by 90 percent until at least the end of May, and Virgin Australia this morning announced that it will suspend all international flights from March 30. Also in this morning's announcement, the Prime Minister said that "domestic air travel is low risk" at present, with no restrictions put in place by the government. Qantas, Jetstar and Virgin Australia's reductions will affect flights within Australia, however — Qantas and Jetstar are cutting domestic services by 60 percent, while Virgin is doing so by 50 percent. Still within the country, he Prime Minister advised that Australians should not travel to remote Indigenous communities, which fall into the sensitive, high-risk category that the government is aiming to protect with its current mass-gatherings ban. Australians are also still implored to continue to take social distancing measures, including staying home as much as possible, staying 1.5 metres from anyone else if you do go out and refraining from social physical contact such as shaking hands. For more information about DFAT's travel restrictions and current advice, visit the Smart Traveller website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kgbo via Wikimedia Commons.
What do you get when you cross a World Bartender of the Year, some of Melbourne's most iconic coffee beans, and a healthy amount of ST. ALi's coffee liqueur? Well, you get ST. ALi & The Queen, of course. St ALi's newest addition to its lineup is a European-style all-day venue that will sit in the new $500 million Munro development on Queen Victoria Market's doorstep. Think ST. ALi's signature coffee in the morning, a market-driven breakfast and lunch menu, and coffee-infused cocktails in the evening. View this post on Instagram A post shared by ST. ALi COFFEE ROASTERS (@st_ali) Don't expect your standard espresso martini here (although the love-it-or hate-it staple will be available), as the cocktail menu comes specially designed by World Bartender of the Year 2022 winner, Orlando Marzo. Along with the freshly shaken or stirred stuff, Marzo's bottled cocktails, LORO, will also be available to purchase. "I'm very excited to collaborate on an all-day bar that captures 360 degrees of hospitality — from coffee and pastry in the morning, to all-day aperitivo with cocktails and food," says Marzo. "The vicinity to the market excites me, particularly to build a sense of community with the ritual of the 'shopping and spoil kind of scenario' — don't we all have a little treat that we like to get when we shop? … ST. ALi & The Queen [will] be a great addition to the most iconic food precinct in Melbourne." It's not just cocktails that shine, as Executive Chef Greg McFarland has designed a food menu influenced by Queen Vic Market to make the most of the fresh produce available on-site. The marble bar counter will also feature a "grab 'n' go" selection of sandwiches and pastries, along with an array of pantry items from ST. ALi's specialty grocery store. Inside, high-top tables designed to meet the needs of the morning coffee rush feel right at home with a backdrop of exposed concrete floors, natural lighting, and glass house made from recycled materials that reflect the design ethos of Fiona Lynch, who designed the interior of the space. ST.ALi & The Queen is open Monday–Sunday from 7am. Images: Supplied.
Rebels, Revolutionaries and Us is TEDxMelbourne's most daring and event to date. The event will ask the audience to immerse themselves in the ideas of a group of individuals who have taken the path less-travelled, embraced controversy, and challenged themselves to create a better world. Speakers will include Dr James Martin — a specialist in how drug traders are using the dark net — and Deng Adut, former child soldier turned defence lawyer and refugee advocate. Dr Justin Coulson will relay how he raised a family of rebellious girls and world-renowned relationship therapist Jaida Suheyla Simone will explain how relationships should be understood through science and not psychology. Amongst the experienced and wise will be Laura Youngson, the co-founder of Equal Playing Field, an initiative that organised a world record-breaking, all-female football game played on top of Mount Kilimanjaro earlier this year. Joining the agenda of captivating speakers will be a mix of inspiring performers and artists that include African-born, Sydney-based poet and singer-songwriter Sampa The Great, the mesmerising electronic duo Electric Fields and the genre fusing Opal Oceans. Not only will your brain and ears be well fed — your tummy will be too with a star-studded lineup of chefs serving up some top-notch food. Frank Comorra of MoVida will serve up bold Spanish flavours whilst Adam D'Sylvia of Coda will blend Asian and European tastes and techniques. Nicky Reimer of Bellota will showcase flavours that often get lost in modern cooking techniques and Joanne Ward of Om Nom will present the desserts.
Think there's just one Hottest 100 in January? Think again. The second important countdown of the month actually goes rather well with the music poll that just proclaimed 'Heat Waves' by Glass Animals the nation's best track of 2020 — and picked Mashd N Kutcher's Daniel Andrews-inspired 'Get on the Beers' as the 12th most popular song of the past 12 months. In the GABS Hottest 100 Aussie Craft Beers list, great brews are in the spotlight. And, just like its music counterpart, a worthy victor has come out on top. That'd be Bentspoke Brewing Co, with the Canberra brewery taking out the top spot with its Crankshaft American IPA. In doing so, it bested Stone & Wood's Pacific Ale, the winner of the 2011, 2015, 2016 and 2019 polls, which was named this year's second-placed brew — as well as 2017 and 2018 winner Balter Brewing Company, which came in third. Bentspoke had five beers in the top 100 list in total, which is clearly something to toast to — also coming in tenth for its Barley Griffin Australian Pale Ale, 15th for its Sprocket American IPA, 19th for its Cluster 8 Imperial IPA and 32nd for its Red Nut Red IPA. Reacting to the news, head brewer and co-owner Richard Watkins said that everyone at Bentspoke was "blown away that our small independent brewery from Canberra can take Crankshaft to the number one spot in Australia's biggest beer poll. Crankshaft holds a very special place in our hearts as one of our original beers on tap when we first opened in Canberra in 2014. We are thrilled with the support for Crankshaft from Canberra and around Australia." Clearly, plenty of folks sipped more than a few brews throughout 2020. Run by GABS — or the annual festival also known as the 'Great Australian Beer SpecTAPular' — the countdown is a people's choice poll decided by booze-lovers around the country. Now in its 13th year, almost 40,000 voters took part this time round, a new record. Elsewhere on the list, 15 brews that first wet lips in the past year were included in the GABS Hottest 100, and a whopping 85 percent of the beers on the list are made by independently owned breweries. If you're particularly keen on either, GABS has also released rundowns of the Hottest 100 New Craft Beers and the Hottest 100 Indie Craft Beers (those owned independently) plus the next 100 from the main countdown. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Your Mates, Black Hops, Ballistic, another appearance by Balter, Bridge Road and Young Henry's round out the top ten, while Kaiju!, 4 Pines, Philter, Modus Operandi, Stomping Ground, Heads of Noosa, Gage Roads, Grifter, Hawke's, Mountain Goat and Pirate Life are among the other brands featured. Working your way through the whole 100 isn't just a great way to show your appreciation for locally made brews, either — consider it research for the 2021 countdown. GABS HOTTEST 100 AUSSIE CRAFT BEERS OF 2020: 1. Bentspoke 'Crankshaft' (American IPA) ACT 2. Stone & Wood 'Pacific Ale' (Australian pale ale) NSW 3. Balter 'XPA' (Extra pale ale) QLD 4. Your Mates 'Larry' (Australian pale ale) QLD 5. Black Hops 'G.O.A.T.' (New England IPA) QLD 6. Ballistic 'Hawaiian Haze' (Hazy pale ale) QLD 7. Balter 'Hazy' (Hazy IPA) QLD 8. Bridge Road 'Beechworth Pale Ale' (American pale ale) VIC 9. Young Henrys 'Newtowner' (Australian pale ale) NSW 10. Bentspoke 'Barley Griffin' (Australian pale ale) ACT 11. Kaiju! 'Krush!' (Extra pale ale) VIC 12. Feral 'Biggie Juice' (New England IPA) WA 13. Capital 'Capital XPA' (Extra pale ale) ACT NEW 14. Capital 'Coast Ale' (California Common) ACT 15. Bentspoke 'Sprocket' (American IPA) ACT 16. Black Hops 'Pale Ale' (Australian pale ale) QLD 17. Black Hops 'Hornet' (American IPA) QLD 18. Beerfarm 'Royal Haze' (Hazy IPA) WA 19. Bentspoke 'Cluster 8' (Imperial IPA) ACT 20. 4 Pines 'Pacific Ale' (Australian pale ale) NSW 21. Philter 'XPA' (Australian pale ale) NSW 22. Balter 'IPA' (American IPA) QLD 23. Modus Operandi 'Modus XPA' (Extra pale ale) NSW NEW 24. Balter 'Captain Sensible' (American pale ale) QLD 25. 10 Toes 'Pipeline' (Australian pale ale) QLD 26. Burleigh 'Twisted Palm' (Australian pale ale) QLD 27. Stomping Ground 'Gipps St Pale Ale' (American pale ale) VIC 28. Your Mates 'Sally' (American IPA) QLD 29. Moon Dog 'Old Mate' (American pale ale) VIC 30. 4 Pines 'Pale Ale' (American pale ale) NSW 31. Big Shed 'Boozy Fruit' (New England IPA) SA 32. Bentspoke 'Red Nut' (Red IPA) ACT 33. Stone & Wood 'Cloud Catcher' (Australian pale ale) NSW 34. Gage Roads 'Single Fin' (Australian pale ale) WA 35. Modus Operandi 'Modus Pale' (American pale ale) NSW 36. Colonial 'Pale Ale' (American pale ale) WA/VIC 37. Heads Of Noosa 'Japanese Lager' (Pale lager) QLD 38. Modus Operandi 'Sonic Prayer' (American IPA) NSW 39. Ballistic 'Oaked XPA' (Extra pale ale) QLD 40. Grifter 'Pale' (Australian pale ale) NSW 41. Hop Nation 'J-Juice' (New England IPA) VIC 42. Black Hops 'Super Hornet' (Imperial IPA) QLD 43. Brick Lane 'One Love' (Australian pale ale) VIC 44. Grifter 'Serpents Kiss' (Fruit beer) NSW 45. Modus Operandi 'Former Tenant' (Red IPA) NSW 46. Capital 'Trail Pale Ale' (American pale ale) ACT 47. Akasha 'Hopsmith' (American IPA) NSW 48. Capital 'Rock Hopper' (American IPA) ACT 49. Black Hops 'Neverland' (Hazy IPA) QLD NEW 50. Black Hops 'Caribbean Haze' (Hazy IPA) QLD 51. Balter 'Dry Haze' (Hazy IPA) QLD NEW 52. Cronulla Beer Co 'Next Level XPA' (Australian pale ale) NSW NEW 53. Brick Lane 'Brick Lane Draught' (Australian pilsner) VIC NEW 54. Dainton 'Blood Orange Neripa' (New England IPA) VIC 55. Ballistic 'Mexican Hot Chocolate Stout' (Sweet stout) QLD 56. Hawke's Brewing 'Hawke's Patio Pale' (American pale ale) NSW 57. Dainton 'Jungle Juice' (Hazy IPA) VIC 58. Black Hops 'Send It' (Blonde ale) QLD 59. Modus Operandi 'Lost In The Fog' (Hazy pale ale) NSW NEW 60. Mountain Goat 'Goat' (Pale lager) VIC 61. Colonial 'South West Sour' (Hoppy sour) WA/VIC 62. Your Mates 'Macca' (Helles lager) QLD 63. Moon Dog 'Splice Of Heaven Pine-Lime' (Milkshake IPA) VIC 64. Brick Lane 'Base Lager' (Helles lager) VIC 65. Ballistic 'Lager' (Classic pilsner) QLD NEW 66. James Squire 'One Fifty Lashes' (Australian pale ale) NSW 67. Hawke's Brewing 'Hawke's Lager' (Australian pilsner) NSW 68. Your Mates 'Donnie' (Dark ale) QLD 69. Little Creatures 'Pale Ale' (American pale ale) WA/VIC 70. Coopers 'XPA' (American pale ale) SA 71. Bridge Road 'Beechy XPA' (Australian pale ale) VIC 72. Capital 'Evil Eye' (Red IPA) ACT 73. Capital 'Hang Loose Juice' (New England IPA) ACT 74. Your Mates 'Eddie' (Session pale ale) QLD NEW 75. Coopers 'Original Pale Ale; (Australian pale ale) SA 76. Burleigh 'Bighead' (Pale lager) QLD 77. Deeds 'Juice Train' (New England IPA) VIC 78. Bridge Road 'Bling' (English IPA) VIC 79. Pirate Life 'South Coast Pale Ale' (American pale ale) SA NEW 80. Colonial 'IPA' (Australian IPA) WA/VIC 81. Dainton 'Supertrooper' (Imperial IPA) VIC 82. Blackman's 'Juicy Banger' (Hoppy lager) VIC 83. Akasha 'Mosaic' (American IPA) NSW 84. Coopers 'Hazy IPA' (Hazy IPA) SA NEW 85. Moon Dog 'Beer Can' (Hoppy lager) VIC 86. Hawkers 'West Coast IPA' (American IPA) VIC 87. Jetty Road 'Pale Ale' (Australian pale ale) VIC 88. 4 Pines 'Amber Ale' (American amber/red) NSW 89. Brick Lane 'Avalanche' (Hazy IPA) VIC NEW 90. 10 Toes 'Culture Kick Sour' (Berliner weisse) QLD NEW 91. Bridge Road 'Little Bling' (Session IPA) VIC 92. Hawke's Brewing 'Hawke's Legend' (Australian IPA) NSW 93. Capital 'Summit Session Ale' (Session pale ale) ACT 94. Hawke's Brewing 'Hawke's Opener' (Australian IPA) NSW NEW 95. Feral 'Hop Hog' (American pale ale) WA 96. Grifter 'Pink Galah' (Kettle sour) NSW 97. Ballistic 'Watermelawn' (Gose) QLD NEW 98. Furphy 'Furphy Refreshing Ale' (Kölsch) VIC 99. Moon Dog 'Lager' (Helles lager) VIC 100. Bad Shepherd 'Peanut Butter Porter' (Porter) VIC For more information about the GABS Hottest 100 Aussie Craft Beers of 2020, head to the GABS website.
With You &Proud is an initiative launched by American Express as part of the brand's ongoing activity as a major sponsor for Sydney WorldPride. The campaign invites Australians to nominate the loved ones in their life who deserve to be celebrated for their support of and commitment to the LGBTQIA+ community. If you know a legend who fits the bill, you can nominate them here and go in the running to win a phenomenal WorldPride experience for you and the one you've nominated. Fifteen winners will score a package that includes tickets to the sold-out opening ceremony featuring Kylie (no surname necessary) and Charli XCX, VIP viewing access of the Mardi Gras Parade, and dining and entertainment vouchers at top Sydney venues. Flights and accommodation will also be provided for interstate recipients. So as prizes go, this one is a certified banger. Scroll for the full details. Speaking of certified bangers, it is apt that the campaign is fronted by Lisa and Jess Origliasso of The Veronicas. The mighty pop queens have consistently used their platform to support and celebrate the rights and spirit of the queer community throughout their career. The duo launched their involvement with the following statement: "For Jessie, as a member of the LGBTQIA+ community, and for both of us as passionate allies, we're honoured to bring American Express' With You &Proud initiative to life — we can't wait to celebrate this incredible community and share our personal stories of pride together." "Having grown up deeply connected and involved with the LGBTQIA+ community from a young age and creating safe space for all at our shows for 18 years, representing Australia for WorldPride and being part of this incredible initiative will be an absolute personal and career highlight." The Veronicas join NBL player Isaac Humphries and MasterChef alum and beloved food personality Khanh Ong as With You &Proud ambassadors. Full Prize Details Recipient packages will include curated experiences made up from the below: 2x tickets to Sydney WorldPride Opening Concert featuring Kylie Minogue 2x tickets to Kinky Boots performance Double pass Sydney Harbour Bridge Climb Experience Merivale dining experience voucher Saint Peter dining experience voucher 2x Club Cindy Parade viewing passes Hair styling experience or make up experience House of Priscilla voucher for costume shopping Flights and accommodation at Sydney Harbour Marriott Hotel at Circular Quay, for interstate travellers Nominations are open until 11:59pm AEDT on Sunday, 29 January. For T&Cs visit the website.
The glowing Apple emblem on the cover of your Macbook has far surpassed 'icon' status. But in a sea of identical Apple laptops, how will yours stand out? With our list of 10 quirky Macbook decals, we can guarantee that your laptop will no longer remain anonymous in the coffee shop or library. 1. Banksy-esque An ode to the king of street art. 2. The Last Supper Perhaps a little irreverent, but hilarious nonetheless. 3. Moustache Parade Disguise your Apple logo in an array of dapper 'taches. 4. Typewriter Bring it back with a vintage-vibe typewriter. And then be thankful you can write that essay on your Mac. 5. Harry Potter 'Dark Mark' Join the dark side, Potterheads, with the Macbook mark of He-Who-Shall-Not-Be-Named. 6. Apple Bottom Apple Bottom jeans, boots with the fur. Everyone was looking at...your Macbook. 7. Marilyn Monroe Carry a little of Marilyn's effortless sex appeal in your briefcase. 8. The Giving Tree Recall the tear-jerking children's book with this too-cute-to-handle decal. 9. Bullet Simplistic, and a little cheeky, this decal will make everyone look twice. 10. Lego Man For all the little Lego men that your mum stepped on or vacuumed up.
Get ready to toss a coin to your witcher, again. Then, get ready to toss more coins in the future. Actually, get ready to throw a whole heap of round-shaped currency — because Netflix isn't just bringing back The Witcher for a second season, but is also expanding the whole Witcher universe in multiple ways. Fans already knew that the show itself will finally return on Friday, December 17, two years after the streaming platform aired the first season. But Netflix has also just renewed it for a third season before that second season even airs. It's also planning to release a second animated film and a new Witcher series for kids and families, adding to already-in-the-works prequel series The Witcher: Blood Origin and the recently released animated flick The Witcher: Nightmare of the Wolf. Basically, the service is committing to the Henry Cavill (Zack Snyder's Justice League)-starring fantasy show — and to his icy locks — in a big way, and for all audiences. Toss a coin to our growing Witcher universe! We can officially announce The Witcher Season 3, along with a second anime feature film, and a new Kids and Family series set in the world of The Witcher. pic.twitter.com/E032fDAXYx — The Witcher (@witchernetflix) September 25, 2021 Need a refresher on the story so far? Haven't watched the first season yet? If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens in the early 2000s, although they were poorly received. In the Netflix show, Cavill plays the witcher of the title: Geralt of Rivia, a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). In the first season, the latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marked Cavill's return to TV a decade after starring in regal period drama The Tudors. As well as Chalotra and Allan, the first season also featured Jodhi May (Game of Thrones), MyAnna Buring (Kill List), Lars Mikkelsen (House of Cards) and Australian actor Eamon Farren (Twin Peaks). Netflix initially dropped the first trailer for season two back in July, which'll cover a homecoming, include more all-round eeriness, and also serve up more time with both Geralt and Ciri. He's bringing her to his childhood home of Kaer Morhen, where he'll need to keep protecting her — from her powers, and from The Continent's kings, elves, humans and demons, who are battling for supremacy. If you're keen for a bigger glimpse, the platform has also released a couple of other clips and trailers to tide you over until December: The Witcher's second season will hit Netflix on Friday, December 17. The show's first season is currently available to stream.
Showing your love for Gelato Messina's wares is easy. When you're not tucking into its regular scoops and nabbing its specials, you can don its merchandise line or get saucy with its personal lubricant. And, you can sip your way through Messina cocktails, too, including the returning Easter option that Cocktail Porter will bring to you. No, a ready-to-drink tipple won't arrive at your door. Instead, this Messina DIY drinks kit lets you whip up your own boozy beverages — and, because it's that time of year, you'll be sipping the end results out of an Easter egg. You read that correctly, because what's the point of being an adult at Easter if you can't combine sweet treats with alcohol, and do so in quite the OTT (but delicious) way? Going big on salted caramel, this kit helps solve the familiar dilemma everyone has had since they hit drinking age. No one likes choosing between tucking into an orb of chocolate and having another beverage, after all, and now you don't have to. One note: there isn't actually any gelato as part of the pack, but the cocktails do use Messina's popular dulce de leche topping as a pivotal ingredient. So, you'll get that, as well as Baileys, cold-drip coffee and Mr Black Coffee Liqueur. You'll also receive chocolate Easter eggs, obviously, which you'll pour your mixed liquids into — as well as pieces of salted caramel popcorn to pop on top. You can pick between two different-sized packs, with the small kit costing $80 and making five drinks, and the large costing $145 and making 12. Cocktail Porter delivers Australia-wide, if that's your Easter drinking plans sorted. To order Cocktail Porter's salted caramel Easter egg cocktail kit, head to the Cocktail Porter website.
In October of 2010, Google revealed that it had developed cars that drive themselves automatically, and that they had been in the road-testing phase for several months. At that point, the cars had been tested on over 140,000 miles of California highway, with only one accident to report. The accident, it turns out, was a result of human error: an uninvolved driver rear-ended the Google car at a red light. Each tester car was manned by a driver, ready to brake or steer if an emergency should occur, and an engineer, who monitored the software operations from the passenger seat. The Google cars are designed to minimise human driving error, making driving safer, and possibly more space and fuel efficient. Computer-operated cars could hypothetically drive closer together and with less excess gas usage than human drivers. Around the time of the press release, it was estimated that Google's cars would take at least 8 years to go from design to production, as design and legal kinks would take a long time to work out. This Wednesday, after 200,000 miles of road testing, Google put Steve Mahan behind the driving wheel. Mahan, who has lost 95% of his vision, was ecstatic at the freedom provided by the self-driving car. His first stop was to a Taco Bell, where the car successfully navigated the drive-through. "This is some of the best driving I am ever done," said Mahan, who would value the "independence and flexibility" a Google automated car would provide him. It may sounds like the stuff of science fiction, but following Mahan's test drive, self-driving cars may be a lot closer to reality than we realised. https://youtube.com/watch?v=cdgQpa1pUUE [via Mashable]
If you've been suffering from the ol' wardrobe blues, consider Tumnus your knight in shining armour. Having just launched in Melbourne this month, this genius initiative operates a bit like an online library, allowing you to borrow clothes from other fashionable folk in your area. And it all kicks off with a special launch event at Collingwood's LVDI Studios from 7pm this Friday, April 27. Guests at the opening night pop-up will get the lowdown on all things Tumnus, while mingling with local style heroes and enjoying sips courtesy of Temple Brewing, Patient Wolf Gin, Strangelove and Innocent Bystander. The Tumnus team has also pulled together a cracking lineup of guest speakers for the night, including stylist Simone Farrugia, fashion writer Leeyong Soo and musician Lisa Mitchell. If you're keen to jump right into the fashionable stuff, sign up online, bring along some quality threads that haven't been getting much love of late (Tumnus recommends five pieces), and you'll be able to try on and borrow some other gear to take home for five weeks. Some pieces are free to borrow (you'll just have to pay for cleaning and delivery), while other items require a deposit. Otherwise, just come along for a stickybeak and get on board later — the pop-up will be open from 10am till 7pm on Saturday and Sunday, too. The launch event is free, though you'll need to RSVP to secure your spot.
It was first teased close to two years ago and has had us dreaming of hot springs-based Gippsland getaways ever since. And now, after flooding put a hold on last month's planned launch, Metung Hot Springs is finally officially open for business. The first phase of the $100 million precinct from the minds behind Peninsula Hot Springs opened its doors on Friday, November 18 — so lock in a road-trip and let the pampering begin. As we've all been eagerly dreaming about, the 25-acre site is primed to be a haven of wellness and indulgence, surrounded by coastal bushland and located within strolling distance of the quaint lakeside village of Metung. While it's not quite all systems go just yet, the precinct's initial offerings are enough to warrant a well-deserved road-trip. You can soak away your worries in the various hot springs pools, treat your feet to a reflexology walk, bathe beneath geothermal showers and get the blood pumping with dips in the icy plunge pools. And up at the Hilltop Escarpment, overlooking Lake King, there's a collection of private cliff-top barrels where you can float while revelling in some very dreamy views. Those looking to indulge in some extra 'me' time can immerse themselves in the offerings of the onsite day spa, centred on authentic Larn'wa Aboriginal Lore wellness rituals incorporating ethically-sourced native botanical spa products. You'll find a range of treatments and packages to complement your bathing adventures, from facials and full-body relaxation massages, to aromatherapy rituals and things done with hot stones. Since its location four hours out of Melbourne is a touch too far for day trips, onsite accommodation will be a big part of the Metung Hot Springs offering — currently, that includes safari-style glamping tents, located both by the lagoon and along the hillside. Each is decked out with its own four-poster bed complete with luxe soft furnishings, plus a private balcony and geothermal bathing barrels. As announced earlier, the bathing precinct is also joining forces with — and renovating — the nearby former Kings Cove Golf Course, soon to relaunch as the Metung Country Club. It'll have its own resort-style accommodation and facilities, and a revamped clubhouse and restaurant, with 'stay, bathe and golf' packages on offer across the two sites. The whole project is being brought to life with the help of $1.5 million in funding courtesy of the Victorian Government's Gippsland Tourism Recovery Package, as well as an additional $1.5 million from the federal and state governments' Local Economic Recovery Program. Want more? Victoria's proposed bathing and hot springs trail is set to start taking shape over the coming summer months, while the Mornington Peninsula's much-anticipated Alba Thermal Springs and Spa is already taking guests. Find Metung Hot Springs at 73 Storth Ryes Avenue, Metung, Victoria. Online bookings are now open for bathing, spa services and accommodation. Images: Sharyn Cairns
Maybe you've spent much of 2020 glued to the small screen, viewing your way through this year's lockdown periods. Perhaps, as cinemas have been reopening around the country, you've flocked to the big screen to get your movie fix. Either way, if you've been thinking and supporting local — as has been the trend all-round in 2020 — then you've had plenty of Australian films and television shows to watch. And, from this hectic year, the best of the bunch have just been named 2020 AACTA Award nominees. The AACTA Awards — which were previously called the AFI Awards, before changing their name — span multiple types of screen content, so there's a hefty number of local productions vying for a gong when the winners are announced on Monday, November 30. From the initial rundown of nominees — with more set to be revealed on November 12 — three of the year's best Aussie movies rank among the top film contenders, with teen cancer drama Babyteeth scoring 12 nods, the blistering True History of the Kelly Gang picking up ten and the latest version of The Invisible Man receiving eight. Other movie nominees across directing, acting and cinematography categories include the family-friendly H is for Happiness, horror flick Relic, zombie movie Little Monsters, sheep farming comedy-drama Rams and Helen Reddy biopic I Am Woman. In terms of stars, everyone from Hugo Weaving, Richard Roxburgh, Russell Crowe and Ben Mendelsohn to Eliza Scanlen, Tilda Cobham-Hervey, Essie Davis and Deborah Mailman are in the running — as well as overseas actors such as Elisabeth Moss, Lupita Nyong'o, Sam Neill and George MacKay. On the TV front, if you've been watching Mystery Road's latest season and mini-series Stateless, they each picked up seven nods a piece. Comedy-wise, series nominees include At Home Alone Together, Black Comedy, The Other Guy, Rosehaven and Upright. The 2020 AACTA Awards will take place on Monday, November 30. Here's a rundown of the major nominations — and you can check out the full list of nominees as they're announced on the AACTA's website: AACTA NOMINEES 2020 FILM AWARDS: BEST FILM Babyteeth H is for Happiness I Am Woman The Invisible Man True History of the Kelly Gang Relic BEST INDIE FILM A Boy Called Sailboat Hot Mess Koko: A Red Dog Story A Lion Returns Standing Up for Sunny Unsound BEST DIRECTION Shannon Murphy, Babyteeth John Sheedy, H is for Happiness Leigh Whannell, The Invisible Man Justin Kurzel, True History of the Kelly Gang Natalie Erika James, Relic BEST LEAD ACTOR George MacKay, True History of the Kelly Gang Sam Neill, Rams Richard Roxburgh, H is for Happiness Toby Wallace, Babyteeth Hugo Weaving, Measure for Measure BEST LEAD ACTRESS Tilda Cobham-Hervey, I Am Woman Laura Gordon, Undertow Elisabeth Moss, The Invisible Man Lupita Nyong'o, Little Monsters Eliza Scanlen, Babyteeth BEST SUPPORTING ACTOR Fayssal Bazzi, Measure for Measure Russell Crowe, True History of the Kelly Gang Aaron Jeffery, The Flood Ben Mendelsohn, Babyteeth Wesley Patten, H is for Happiness BEST SUPPORTING ACTRESS Emma Booth, H is for Happiness Essie Davis, Babyteeth Bella Heathcote, Relic Deborah Mailman, H is for Happiness Doris Younane, Measure for Measure BEST SCREENPLAY Rita Kalnejais, Babyteeth Abe Forsythe, Little Monsters Leigh Whannell, The Invisible Man Natalie Erika James and Christian White, Relic Shaun Grant, True History of the Kelly Gang BEST CINEMATOGRAPHY Andrew Commis, Babyteeth Brad Shield, Bloody Hell Geoffrey Hall, Escape From Pretoria Bonnie Elliott, H is for Happiness Stefan Duscio, The Invisible Man BEST DOCUMENTARY Brazen Hussies Brock: Over the Top Looky Looky Here Comes Cooky Firestarter — The Story of Bangarra Slim & I Suzi Q TELEVISION AWARDS: BEST DRAMA SERIES Bloom Doctor Doctor Halixfax: Retribution The Heights Mystery Road Wentworth BEST TELEFEATURE OR MINISERIES The Gloaming Hungry Ghosts Operation Buffalo The Secrets She Keeps Stateless BEST COMEDY SERIES At Home Alone Together Black Comedy The Other Guy Rosehaven Upright BEST LEAD ACTOR IN A TELEVISION DRAMA Fayssal Bazzi, Stateless Bryan Brown, Bloom Jai Courtney, Stateless Ewen Leslie, Operation Buffalo Aaron Pedersen, Mystery Road BEST LEAD ACTRESS IN A TELEVISION DRAMA Jada Alberts, Mystery Road Rebecca Gibney, Halixfax: Retribution Asher Keddie, Stateless Pamela Rabe, Wentworth Yvonne Strahovski, Stateless BEST COMEDY PERFORMER Milly Alcock, Upright Anne Edmonds, At Home Together Luke McGregor, Rosehaven Tim Minchin, Upright Celia Pacquola, Rosehaven BEST GUEST OR SUPPORTING ACTOR IN A TELEVISION DRAMA Rob Collins, Mystery Road Darren Gilshenan, Stateless Damon Herriman, The Commons Callan Mulvey, Mystery Road Ed Oxenbould, Bloom BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Cate Blanchett, Stateless Jacqueline McKenzie, Bloom Ngaire Pigram, Mystery Road Tasma Walton, Mystery Road Jacki Weaver, Bloom
