If you love gin, you've probably floated the idea of making your own — especially after a few glasses of the stuff. Making gin isn't easy, but if you want to learn about the process, you've gotta go to the source: the gin makers. So take a break from swilling G&T's for $9 a pop at your local and learn how to create your own ~bespoke~ gin with Bass and Flinders Distillery this World Gin Day. The gin-sperts are leaving their post at Red Hill and setting up shop at Richmond's Romulus & Remus this Saturday for an afternoon of gin education and gin making. As well as a bit of a history lesson, the distillers will share their techniques and help you create your own signature gin — and if it's the best of the batch, it might even become Romulus & Remus' house spirit. Tickets are $80, which includes a full Italian spread, a bottle of your gin to take home and a lot of gin knowledge that's sure to impress your mates.
Maggie Gyllenhaal and Hugh Dancy head up a stellar cast in Tanya Wexler's offbeat comedy Hysteria, based on the true story of Dr. Mortimer Granville — the man who created the world's first vibrator, back in 1880. In a search to cure the baffling female medical condition of the day, 'hysteria', the young doctor (played by Dancy) and his new boss Dr. Dalrymple (Jonathon Pryce) create the 'feather duster', offering women intimate manual relief from their condition – and, by chance, generating a surprising increase in business. The film is a joyful and light-hearted take on the birth of the sex toy, likely to put a knowing smile on a few faces in the audience. Concrete Playground has ten double passes to give away. To be in the running to win a pair of tickets to Hysteria, make sure you're subscribed to Concrete Playground then email your name and postal address to hello@concreteplayground.com.au
Comedians held up as the voice of Generation Y tend to make us a little bit sceptical. Still, after winning the Best Newcomer Award at last year’s Edinburgh Fringe, we’re willing to give New Yorker Alex Edelman the benefit of the doubt. Millennial marks the 25-year-old Edelman’s first trip to Australia, although we suspect it’ll be the first of many. Get in on the ground floor so you can brag about seeing him first.
To criticise a Tarantino film is an undertaking not without its share of reservation. Perhaps even trepidation. The first instinct is self-doubt: “Did I miss something? Was I simply in the wrong mood? Is three hours just the norm now?” After so many hits, there's an almost ‘infallibility’ to the man, a near reverential status through which both fans and critics dismiss any purported shortcomings as either misinterpretations or outright lunacy on your part. There’s no denying Tarantino’s talent – he’s a writer and director of extraordinary vision whose early films in particular command regular repeat viewing. But he is, ultimately, just a man. And men, and their movies, sometimes fall short of perfection. So, then, we come to The Hateful Eight, the opening titles of which declare it 'the 8th film by Quentin Tarantino’ (Kill Bill is counted as just one film for those playing at home). It’s also the second (though presumably not last) western from a director who recently said "you have to make at least three Westerns to call yourself a Western director. Anything else, you're just dabbling". Set in the unforgiving snowy mountains of Wyoming a few years after the Civil War, the film's a slow-burn thriller played out almost entirely in two tiny, cramped locations: a four-person stagecoach and an isolated cabin by the name of 'Minnie’s Haberdashery'. Cast-wise, many of the Tarantino regulars are there, along with a handful of newcomers. Kurt Russell leads the pack as John ‘the Hangman’ Ruth, a ridiculously moustachioed bounty hunter escorting wanted felon Daisy Domergue (Jennifer Jason Leigh) to the gallows. Along the way they happen upon two additional passengers: fellow bounty hunter Major Marquis Warren (Samuel L Jackson) and the soon-to-be local Sheriff Chris Mannix (Walton Goggins). Tarantino’s opening dialogues have become iconic, and this one's so long it comprises the entire first two ‘chapters’ of The Hateful Eight, accounting for almost a full hour of the film. It’s not without its charms, but compared to the unrelenting tension of Inglorious Basterds, or the glorious bastardry of Reservoir Dogs, this feels overblown and indulgent. By far its most compelling character is also its least involved: Daisy, a feral, black-eyed murderess whose wry smile after having her nose broken offers more menace and mystery than the sixty minutes of material that surrounds it. The remainder of the film plays out at Minnie’s, and if nothing else it’s a masterclass in cinematography. Shot on Ultra Panavision 70mm film stock (last used fifty years ago on Khartoum), Tarantino captures astounding depth and detail within an almost impossibly small space. It’s here, too, where we discover the rest of the ‘eight’: the loner cowboy (Michael Madsen), the Confederate General (Bruce Dern), the dandy Hangman (Tim Roth) and the Mexican stablehand (Demian Bechir). Trapped by the blizzard outside that absolutely makes you feel cold, suspicions steadily compound until, inevitably, tensions boil over into a phenomenally violent conclusion. That’s no spoiler, by the way. It’s just Tarantino. There’s still a lot to like about The Hateful Eight. The performances are outstanding, the story’s engaging and it’s peppered with all the usual Tarantino easter eggs (Red Apple cigarettes, anyone?). The score, too, by veteran composer Ennio Morricone is terrific, so unsettling it almost deserves to be christened the ‘hateful ninth’. Like Django Unchained before it, race relations (or the lack thereof) underscore much of the movie's themes, representing a definite politicalisation for the director, whose script offers up lines such as “when n****** are scared, that's when white folks are safe”, later countered with “the only time black folks are safe is when white folks is disarmed”. Ultimately, though, length returns as the film’s principal failing. It’s so long that some cinemas are even showing it with a 12-minute intermission, and it's hard not to escape the feeling that a concerted edit down to 90 minutes would have robbed it of nothing whilst ensuring the wonderful 'slow burn' steered clear of 'sluggishness'. …unless I just missed something? https://www.youtube.com/watch?v=gnRbXn4-Yis
Perhaps the rarest thing in Hollywood is the producer who says, “You know what? That was great, so let’s just leave it there”. As a result, we get sequels. Lots of sequels. Prequels, too, and spinoffs. One need only look at American food portions to recognise it’s not a nation possessed of the ability to know when enough is enough. The application of restraint (at least in the entertainment world) seems a decidedly British trait, sparing us from horrors like Love Actually 2: The Re-Loving or Slumdog Billionaire, and allowing gems like Faulty Towers to end after a mere 12 episodes, before there was any risk of overstaying its welcome. It’s not that sequels are bad, but there’s a grace to knowing when something should become a sequel (or even a franchise) and when something that’s both critically acclaimed and financially successful should nonetheless stand alone and untouched, forever. It’s not hard to see why 2012’s surprise hit Ted found itself a challenge to that notion of restraint. The film took in over half a billion dollars worldwide and, despite its often controversial content, proved one of the funner comedies of the year. It’s the kind of movie where you hear they’re making a sequel and you think, "yes, I laughed quite a lot in the first one, and I like laughing, so I’ll welcome more of that, thank you." Even the plot of the sequel offered a genuine extension of the original, with the living, breathing, foul-mouthed and pot-smoking teddy bear ‘Ted’ (voiced by writer/director Seth MacFarlane) told that his marriage to Tami-Lyn (Jessica Barth) has been nullified on account of him being deemed ‘property'. TED 2 hence finds itself a civil rights story that literally (and repeatedly) compares a teddy bear’s struggle to adopt a human baby with the plight of African slaves being considered human in the eyes of the law. Seth MacFarlane, ladies and gentlemen. Seth MacFarlane. Is it funny? Absolutely. MacFarlane is a clever and talented comedian who knows how to extract laughs from a variety of different setups, be they gross-out, shock value or pop-culture referential. But is it consistently funny? Not even close, and the quantity over quality approach means a lot of the film is rendered uncomfortably dull (or worse, offensive) as a result. The latter is particularly concerning, with racism, sexism and homophobia all rearing their heads over and over again in Ted 2, as though somehow MacFarlane has completely lost sight of the distinction between ‘confronting' and straight-up ‘wrong’. Drenching Mark Wahlberg’s character, John, in a shelf load of semen is a tough sell at the best of times, but suggesting his plight is made all the worse because it’s “black guy’s cum” demonstrates just how far off the mark Ted 2 consistently lands. When it gets things right, of course, the film shines. The opening titles are a delightfully choreographed musical number straight out of the golden age of cinema, and Liam Neeson’s brief cameo as a gravely serious man concerned about the purchase of cereal marketed strictly for children is terrifically funny. Amanda Seyfried, too, puts in a nice turn as both Ted’s lawyer and John’s love interest, even enduring constant barbs about her Gollum-esque eyes. But overall the film leaves a bad taste in your mouth and regret in your heart that the bottled lightning of the original couldn’t have just been left alone and untouched, forever.
Once a month, Melbourne’s own King of Sweets, Darren Purchese, puts on an unforgettable afternoon tea at The Langham. This Friday will be the last one for the year, so if you're a bit of a sucker for sugary goodness this could be a pretty delicious pre-Christmas treat. Darren's shop, Burch & Purchese Sweet Studio, has become well-renowned as one of Melbourne's top dessert destinations. Their bold flavour parings and inventive design draws a crowd all year round, and once you've had a bite of their Lamington Eclair, it’s pretty easy to see why. For the high-tea purists there'll also be The Langham’s signature fluffy scones, ribbon sandwiches and all the tea and coffee your heart desires. There are three session times available throughout the day: 10.30am-12pm, 12.30-2.30pm and 3pm-5pm. For those of you who have too much last-minute running around to do in December, don’t fret. The Burch & Purchese high teas will be running again once a month next year as well.
If you thought the rivalry between the north and the south of the river was intense, you don't know nothing about the battle between North and South Carolina. The two have a distinctive take on the food of the Deep South — and if you turn up to Rockwell and Sons on Sunday, March 1, you'll be able to find out why. As part of the Melbourne Food & Wine Festival, visiting master of the pit Rodney Scott will be championing South Carolina's barbecue, while Rockwell's Casey Wall will be doing it North Carolina style. Both will be featured on the special North-South one-day only menu, so you can decide for yourself. Bookings aren't necessary. Just rock up and grab a table. Menu items will be priced accordingly.
In 2011, in this very country and galaxy, a pop culture favourite gained a singing, stripping burlesque parody. It's the mash-up that was bound to happen. Who hasn't looked at George Lucas' space opera, its sprawling drama and ample spectacle, and wondered what a steamier, funnier version with more visible butt cheeks would look like? Russall S. Beattie clearly did, and had a good feeling that other people would give it a shot. The Empire Strips Back was the end result. It became a hit around Australia, then took itself overseas to much acclaim. Now it's returning home for a 2020 tour — once again showing local audiences that lightsabers aren't the hottest thing in the Star Wars galaxy. The saucy show promises "seriously sexy stormtroopers, a dangerously seductive Boba Fett, some tantalising Twi'leks, a delightfully lukewarm Taun Taun, a lady-like Skywalker [and] the droids you are looking for", according to its website. Apparently Yoda doesn't get the sexed-up treatment, but there is plenty of song, dance, acrobatics and — because it's burlesque — the removal of clothing. A dancing Chewie and Han is just the beginning of this cheeky take on Star Wars cosplay. Given that it's got an upbeat soundtrack, the costumes are extremely detailed and the show throws out lots of references to George Lucas' original plot, it's not surprising that local audiences — presumably the same ones that pack out Star Wars parties and large-scale screenings with a live orchestra — have latched onto the production. Heading to The Palais on Saturday, February 1, The Empire Strips Back sits alongside Dame of Thrones in Beattie's pop culture parody stable — so if you've already seen one of your fantastical screen obsessions get the burlesque treatment, then you know what you're in for. If you're super keen, you can also nab a Wookieerotica magazine online: a 116-page, 70s-style men's mag, just casually featuring all of your favourite jedis, siths, ewoks and other Star Wars characters. Either way, it could be a great introduction to burlesque or Star Wars, depending on which way you're coming at it. Pre-sale starts at 9am on Tuesday, November 12. Images: Jon Bauer, Leslie Liu and Josh Groom.
A dark Shakespearean crime drama, 2010's Animal Kingdom was one of the most resounding Australian films in years. Not only did it launch the international careers of Ben Mendelsohn and Jacki Weaver, it also heralded the arrival of writer-director David Michôd, a filmmaker whose tightly controlled aesthetic suggested even greater things to come. His sophomore effort is The Rover, a barebones narrative that mirrors his debut in both its technical precision and its nihilistic tone. What's missing, however, is a similarly compelling set of characters. Without them, a pervasive sense of bleakness soon swallows the movie whole. Based on an idea by Michôd and actor Joel Edgerton, the film takes place across desolate stretches of the outback, a decade after Western society has collapsed. While drinking alone in a gloomy roadside bar, a heavily bearded Guy Pearce sees three gun-toting criminals steal his car. The rest of the movie follows his efforts to get the car back. Michôd would have known from the very first word that comparisons to Mad Max were inevitable. Despite this, The Rover is not an action flick. Methodically paced and dripping with menace, the film actually has more in common with something like Ted Kotcheff's Wake in Fright, which likewise capitalised on the intensity of its outback setting. Meticulous technique — including razor-sharp editing, oppressive sound design, a brooding score and dispassionate cinematography — sets audience members on edge. The violence, when it comes, is sudden, shocking and unglamorous. Yet beneath the craft, the film feels decidedly hollow. Pearce is a great actor, but there's only so much variance he can bring to such a single-minded protagonist. Robert Pattinson, meanwhile, gives a woefully misjudged performance as Pearce's unlikely travelling companion, the slow-witted brother of one of the thieves Pearce is trying to track down. His constant twitching and incomprehensible Southern drawl seem like the efforts of an actor trying desperately to play against type. Good on him for trying, but the fact is it just doesn't work. So the film descends into meaninglessness and futility. Michôd's future world is bereft of human compassion — grandmothers pimp their grandkids, people hunt dogs for food, and our protagonist commits murder without a moment's hesitation. By the time the movie ends, you're left broken and exhausted. And while it takes a lot of skill to achieve that, it never really feels like it was worth it.
Speaking prior to the screening of his movie in Sydney, director Christopher Miller explained: "Our one, enduring rule for this film was that it had to be story focused. It could never be permitted to descend into a 90 minute toy commercial". For he and co-director Phil Lord, then, The LEGO Movie is mission accomplished. Set entirely within a world of those clickable bricks and yellow-faced characters, LEGO tells the story of Emmet Brickowski (Chris Pratt), an eternally optimistic construction worker whose pep is matched only by his extraordinary genericism. Emmet is the epitome of commercial dronery: a franchise-coffee-drinking, pop-music-listening nobody who always follows the instructions. That all changes, however, when he stumbles upon the 'Piece of Resistance' and becomes entangled in a power struggle between the ruthless President Business (Will Ferrell), his enforcer 'Bad Cop/Good Cop' (Liam Neeson) and the resistance agent 'WyldStyle' (Elizabeth Banks). It's...a little hard to describe the sensation of watching this film. Yes, it's computer generated, but what those computers generated were lego pieces. So, if there's an explosion, that explosion is made up of thousands of tiny red, yellow and white lego circles — not CGI fire. The effect is mesmerising. The digital design team (Australia's Animal Logic), wholly adopted the 'rules and grammar' of Lego, meaning characters could only bend at the waist and all vehicles moved as they would if being controlled by a human hand. That device alone lends itself to dozens of jokes, and in terms of laughs, The LEGO Movie delivers in spades. This is, after all, the team behind both 22 Jump Street and the sublime Cloudy with a Chance of Meatballs — two films that wield pop-culture references and drop cameos like nobody's business. Where other movies in this genre can often lapse into brand promotion or smulch, The LEGO Movie retains an acute self-awareness that never permits itself to take anything too seriously. As such, the in-jokes are amongst the strongest and nostalgia is used almost exclusively as a source of comedy rather than to pull on the heart strings. That's not to say the film is without a point. Its jabs at corporatisation land more heavily than one might expect for a 'kids movie', and its determination to encourage imagination and exploration 'beyond the instructions' is at times so concerted it borders on pro-anarchism. In the end, this is a family-friendly movie in every sense, yet the truth is, adults will derive more pleasure from the viewing than their children. LEGO is a wry, playful and intelligent piece of filmmaking that, like Toy Story before it, rises far above its station and offers up a truly enjoyable experience. https://youtube.com/watch?v=fZ_JOBCLF-I
Before watching The Nest, you mightn't have imagined Jude Law playing Mad Men's Don Draper. He didn't, of course. But this new 80s-set psychological thriller about a corroding marriage brings that idea to mind, because it too follows a man who spends his days selling a dream, thinks he can talk and charm his way into anything, and may have unleashed his biggest spin upon himself. More often than not, Law's character here has used his charisma to get whatever he wants, and to evade whichever sticky personal and professional situations he's plunged himself into. Indeed, stock trader Rory O'Hara slides easily into Law's list of suave on-screen roles, alongside the likes of The Talented Mr Ripley and Alfie. But there's also a tinge of desperation to his arrogance, as the actor showcased well in miniseries The Third Day. A Brit who relocated to New York and married horse trainer Allison (Carrie Coon, Widows), Rory looks the picture of Reagan-era affluence but, when he suddenly wants to return to London to chase new work opportunities, the cracks in his facade start widening. When Rory proposes the move to Allison, she's reluctant. From the instant she first spies the centuries-old Surrey mansion he's rented for them, her teenage daughter Sam (Oona Roche, Morning Wars) and their son Ben (Charlie Shotwell, The Nightingale), she's mistrustful as well. Rory crows about how Led Zeppelin once recorded an album there as he tours her through the cavernous property, but the glassiness in Allison's eyes shows that she can't unthinkably subscribe to his glossy view of their relocated existence. That remains true even after he buys her a new horse, and brings home a fur coat for her to wear to his work get-togethers, where he brags about his prowess, success and eagerness to expand his property portfolio with a city apartment. It takes time for Allison to confront Rory's lies, and for his efforts to swindle and cajole his way out of financial strife to tear apart the O'Haras' lives; however, that Rory's posturing and pretence will crumble isn't a matter of if, but when. While it's obvious from the outset that trouble is afoot — from early images that survey the family's almost too-idyllic NY life, in fact — filmmaker Sean Durkin isn't in any rush to unleash The Nest's full nightmare. The writer/director made his feature debut with 2011's cult thriller Martha Marcy May Marlene, so his big-screen career pre-dates Hereditary and Midsommar's Ari Aster, but he's just as committed to evoking a climate of pervasive, unshakeable dread. And, he wants his viewers to linger in it, because his characters must. Allison is forced to live with the knowledge that little is right, but the way she chain-smokes hurriedly illustrates that she also knows how far her fortunes could fall. Every move Rory makes is driven by his need to paint a gleaming portrait of himself, and he's aware that it's a reverse Dorian Gray situation: the shinier and flashier he makes everything seem to anyone who'll listen, the more he rots inside. Durkin doesn't just rely upon an exacting pace and a festering mood of gloom, though. Reuniting with cinematographer Mátyás Erdély (Son of Saul) after 2013 miniseries Southcliffe, he gives every second of The Nest an eerie look — whether staying a few beats longer than normal on its opening shot, lensing vast rooms to emphasise their emptiness, repeatedly peering at the film's characters through glass or breaking out the most gradual of zooms. A sense of distance echoes through the movie, mirroring how the O'Haras can never get close enough to what they really want. Reminders of conflict are perched everywhere, especially in the way that Erdély plays with light and shadow across the family's faces. Decadence abounds, too, but in an overstressed fashion via wood-panelled walls and deep colours seething with darkness. The score by Arcade Fire's Richard Reed Parry plays up the threat and menace, while few recent films have compelled their audience to pay such attention to their unsettling sound design. All that tension and unease conveys not only Rory and Allison's domestic discontent — and, as one rebels and the other frets, Sam and Ben's as well — but also the false promises of chasing capitalism-driven fantasies. When, in a vulnerable exchange, Rory says that his job is pretending that he's rich, The Nest slices savagely into the toxic and false notion that money, belongings and status equal happiness. That should have viewers thinking about Mad Men again, but Durkin takes to the subject like he's making a biting horror movie rather the 21st century's best TV drama so far. The film is called The Nest, after all, and that luxurious abode evokes terror in a number of ways. It's the ultimate symbol of living beyond one's means and attempting to fake it till you make it. It's worlds away from the humble upbringing that Rory's trying to hide. It has more than enough space for Allison to fill with her worries, and to lose her sense of self in. And, in, every creak and suddenly open door, it reflects the paranoia that accompanies trying to be someone you're not. Law is perfectly cast, and Durkin is now two for two, but Coon is as essential to The Nest as her fellow lead and her director. As she demonstrated in Gone Girl and on TV in The Leftovers and Fargo, she's so adept at cutting to the heart of a character's complexities with minimal fuss that her performances feel like their own form of shorthand. And, that's crucial here. As Rory's bluster sees him increasingly flounder, Coon ensures that audiences know exactly how it's affecting Allison at every turn. Cue many of The Nest's most haunting scenes, because there are few things more gut-wrenching than realising that the life you don't even love is a sham, but wading through it day after day nonetheless. https://www.youtube.com/watch?v=G9OR8RC2t7Q
In The Post, journalists strive to source, confirm and publish reports about a government cover-up spanning several decades. In America's highest office, and among the connected and influential, the powers-that-be attempt to silence the story. It's a true tale, and one that couldn't be more relevant today. At the moment, if the media tried to reveal something as significant as the Pentagon Papers — which detailed the lies four consecutive US administrations told the public about the country's involvement in the Vietnam war — we all know what would happen. Tweets would fly, thick, fast, and probably misspelled. "Fake news!" they'd scream, over and over again. If you're not familiar with the real-life scandal that rocked Washington in the early 1970s, it all starts with marine turned military analyst Daniel Ellsberg (Matthew Rhys) and a treasure trove of leaked classified documents. Once The Washington Post editor Ben Bradlee (Tom Hanks) begins to suspect that their rivals at The New York Times have a big scoop in the works, the two newspapers battle it out to piece together the story. The Nixon administration pushes back, placing publisher Katharine Graham (Meryl Streep) under considerable pressure to kill their investigation. While the government accuses the press of violating espionage laws and causing irreparable damage to American security, the journalists stand by their belief in the First Amendment as well as the importance of speaking truth to power. Complicating matters further is the paper's impending stock offering, with the board and investors nervous about possible controversy. There's perhaps never been a better time to make a movie about an attack on the freedom of the press, or the need for the media to scrutinise the workings of the country's leaders. That feeling is inescapable while watching The Post, to the point that many of its rousing speeches could easily be uttered today. That said, director Steven Spielberg dedicates the bulk of the film's time to the procedural business of reporters doing what they do: chasing leads, combing through documents, butting up against deadlines, and more. Tracking their hard work, as well as the difficult decisions and fierce opposition that comes with it, the drama is solid, smart and polished. Working together for the first time in their long and illustrious careers, the same can be said of the movie's two stars. The Post is an ensemble effort, with Bob Odenkirk, Carrie Coon, Tracy Letts and Sarah Paulson all fantastic in pivotal parts. But the central performances of Hanks and Streep are particularly instrumental in the film's hard-earned thrills. Hanks ensures Bradlee's hard-nosed determination shines through, while Streep brings quiet courage to a trickier and ultimately more resonant role. Among The Post's many timely subjects, the dismissive treatment Graham endured as the first female publisher of a major American paper does not escape attention. Nor does her fortitude in fighting back. With Spielberg in the director's chair, working with a script by first-timer Liz Hannah and Spotlight Oscar-winner Josh Singer, none of the above should be surprising. Increasingly at home making serious-minded dramas as the decades go by — see Lincoln and Bridge of Spies in recent years — the filmmaker's handling of tone and pace suits the story and subject matter perfectly. With frames filled with period detail and steely hues (the picture was shot by his now 16-time cinematographer Janusz Kaminski), Spielberg favours an old-fashioned, no-nonsense approach that nonetheless proves thoroughly rousing. And really, how better to handle a movie like this. This tale might be history, but these days it feels like anything but. https://www.youtube.com/watch?v=N1VcCv9JOPQ
If you’ve been teetering on the brink of comic book and superhero fatigue, meet the movie that just might push you over the edge. In the case of the latest version of Fantastic Four, it’s not just the fact that every month seems to see a new film in the genre reach cinemas (or the knowledge that this particular content was translated to the screen just last decade). It's also the feature's embrace of cliché, grim tone and a complete lack of energy that causes it to grate, and then some. Fantastic Four is yet another gritty reboot of a superhero origin story. In case you can’t remember the 2005 film of the same name and its 2007 sequel Fantastic Four: Rise of the Silver Surfer (or in case you’ve willingly forgotten them), the series mythology concerns a quartet of friends who get genetically altered and gain superpowers — stretchy limbs, rock-like skin, bursting into flames and invisibility. The characters first created in 1961 by Stan Lee and Jack Kirby are now brought back to the big screen by Chronicle writer/director Josh Trank. Reed Richards (Miles Teller), Ben Grimm (Jamie Bell) and Johnny Storm (Michael B Jordan) travel to another dimension and come back changed, with the latter's sister Sue (Kate Mara) also caught up in the fallout. Their one-time friend Victor Von Doom (Toby Kebbell) goes with them...but doesn’t fare quite so well. With X-Men: Days of Future Past writer Simon Kinberg and The Lazarus Effect's Jeremy Slater helping on the script, Trank’s take is as stern and serious as his cast are young and fresh-faced — think Fantastic Four filtered through the template of a teen drama, even if the actors are slightly older than that. Outcasts come together, trouble ensues, and everyone tries to come to terms with their trauma in a manner not unlike many after-school specials. Yes, life lessons are also learned, including the all-important “never drink and teleport” and “don’t touch the green, glowing goo”. It all makes for as low-key, downbeat affair as comic book adaptations have seen, with the cast the saving grace. The presence of the five key players — plus Reg E Cathey as Johnny and Sue's father — is a welcome one, although their performances hardly live up to the great work they've delivered in the past. Bell's version of the Thing is the feature's highlight, though we hear much more of the actor than we see. In his brooding brute of boulders, a glimpse of the emotion Trank is aiming for is apparent, albeit only briefly. That Teller and co. hardly shine could be a reflection of the stilted dialogue they’re spouting, (including a blatant one-line rip-off of Ghostbusters) as well as the unengaging series set-up they're immersed in. When all the lab scenes, messy action and cheap-looking special effects ultimately build up to the bestowing of the group’s name (aka the movie’s title), disappointment isn’t the only emotion you'll be feeling. As a concept, there’s plenty of interest in Fantastic Four — and yet filmmakers keep floundering in bringing it to the screen. A sequel is already slated, of course, and here's hoping that it tells a new tale with a smattering of enthusiasm, rather than blandly rehashing familiar territory.
Every studio wants a Marvel Cinematic Universe to call its own, or an equivalent that similarly takes a big bite out of the box office — and that very quest explains why Morbius exists. On the page, the character also known as 'the Living Vampire' has been battling Spider-Man since 1971. On the screen, he's now the second of the web-slinger's foes after Venom to get his own feature. This long-delayed flick, which was originally due to release before Venom: Let There Be Carnage until the pandemic struck, is also the third film in what's been dubbed Sony's Spider-Man Universe. As that name makes plain, the company is spinning its own on-screen world around everyone's favourite friendly neighbourhood superhero, because that's what it owns the rights to, and has started out focusing on villainous folks. So far, the movie magic hasn't flowed. If that explanatory opening paragraph felt like something obligatory that you had to get through to set the scene, it's meant to. That's how Morbius feels as well. Actually, that's being kinder than this draining picture deserves given it only has one purpose: setting up more films to follow. Too many movies in too many comic book-inspired cinematic universes share the same fate, because this type of filmmaking has primarily become $20-per-ticket feature-length episodes on a big screen — but it's particularly blatant here. Before the MCU's success, the bulk of Morbius would've been a ten-minute introduction in a flick about supervillains, and its mid-credits teasers would've fuelled the first act. Now, flinging every bit of caped crusader-adjacent material into as large a number of cinematic outings as possible is the status quo, and this is one of the most bloodless examples yet. Jumping over to the SSU from the DCEU — that'd be the DC Extended Universe, the pictures based around Batman, Superman, Wonder Woman, Suicide Squad and the like (but not including Joker or The Batman) — Jared Leto plays Morbius' eponymous figure. A renowned scientist, Dr Michael Morbius has a keen interest in the red liquid pumping through humans' veins stemming from his own health issues. As seen in early scenes set during his childhood, young Michael (Charlie Shotwell, The Nest) was a sickly kid in a medical facility thanks to a rare disease that stops him from producing new blood. There, under the care of Dr Emil Nikols (Jared Harris, Foundation), he befriended another unwell boy (debutant Joseph Esson), showed his smarts and earned a prestigious scholarship. As an adult, he now refuses the Nobel Prize for creating artificial plasma, then tries to cure himself using genes from vampire bats. Morbius sports an awkward tone that filmmaker Daniel Espinosa (Life) can't overcome; its namesake may be a future big-screen baddie, but he's also meant to be this sympathetic flick's hero — and buying either is a stretch. In the overacting Leto's hands, he's too tedious to convince as a threat or someone to root for. He's too gleefully eccentric to resemble anything more than a skit at Leto's expense, too. Indeed, evoking any interest in Morbius' inner wrestling (because saving his own life with his experimental procedure comes at a bloodsucking cost) proves plodding. It does take a special set of skills to make such OTT displays so pedestrian at best, though, and that's a talent that Leto keeps showing to the misfortune of movie-goers. He offers more restraint here than in Suicide Squad (not to be confused with The Suicide Squad), The Little Things, House of Gucci or streaming series WeCrashed, but his post-Dallas Buyers Club Oscar-win resume remains dire — Blade Runner 2049 being the sole exception. It mightn't have revived the film, but the answer to one of Espinosa's troubles could've been Matt Smith, who cuts a far more compelling figure as the grown-up version of Morbius' ailing pal Milo. The lanky Last Night in Soho star is saddled with a role somehow more cartoonish than Leto's, and with a character who doses himself with the same bat-derived serum but loves it — and, even without a spot of remorse for the body count he swiftly causes, he's the the most fascinating thing on-screen. Alas, in the latest underwhelming script by Dracula Untold, The Last Witch Hunter, Gods of Egypt and Power Rangers screenwriters Burk Sharpless and Matt Sazama, Morbius and Milo are meant to be two sides of the same coin, but there's no depth or poignancy to their relationship. It just feels like a means to an end, giving Morbius another struggle to brood over. That shouldn't come as a surprise seeing that's the movie's whole gambit as well. It doesn't help that the entire idea behind Morbius and Milo's friendship, and their reason for seeking a solution in bat DNA, is abhorrently ableist. Positing that both men can only be happy if they're free of their genetic ailment could never be anything else. Folks with a health situation that causes suffering may wish to farewell it, but the image of throwing away crutches, becoming more mobile, gaining extra senses and floating in the air is thoroughly tasteless when presented as the only alternative to having a medical condition. Doing something different would've required thought, however, which Morbius lacks again and again. No one could be bothered to flesh out its protagonist, or wonder why its villain outshines him, or worry that Leto and Smith have zero chemistry together, after all. And clearly nobody was concerned that the film looks wearyingly dull to suit its story, that its CGI is laughably atrocious and overdone at every moment, or that it's a vampire flick that's afraid of blood and gore. Amid the murky cinematography by Oliver Wood (Holmes & Watson) and erratic editing from Pietro Scalia (Solo: A Star Wars Story), each compounding the movie's woes, Morbius also includes a weak attempt at a romance courtesy of fellow researcher Martine (Adria Arjona, 6 Underground), plus a crime angle via detectives Stroud (Tyrese Gibson, Fast and Furious 9) and Rodriguez (Al Madrigal, Physical) — all thankless. Its stab at giving the superhero/supervillain realm a mad scientist skew, a monster-movie chapter and a gothic horror spin proves dead on arrival as well, as does its evident pilfering from Mary Shelley's Frankenstein. That this is the best version of Morbius after almost two years spent sitting on a shelf is as illogical as the film's many plot holes. This misfire only sinks its teeth into bland monotony; vampires aren't the only things that suck within its frames.
The Espy has a reputation for rounding up an excellent bunch of musos for New Year's Eve festivities, and this year is no different. This time around the Espy will play host to the ever-partystarting Architecture in Helsinki alongside Kingswood, DZ Deathrays, Adalita, The Griswolds, Bad//Dreems, Money For Rope, Mighty Duke and The Lords, EMPRA, Maids, Magic Bones and many others who'll be gracing the stage from 7pm. Tickets are $72.95 for this genuinely awesome lineup, so if you're keen to rock out while seeing in the new year, look no further. NYE AT THE ESPY 2014 LINEUP: Architecture in Helsinki Kingswood DZ Deathrays Adalita The Griswolds Bad//Dreems Money For Rope Mighty Duke And The Lords EMPRA Maids Magic Bones + more
There's a difference between passion and talent, though few people dare to explain that to Marguerite Dumont (Catherine Frot). The fictional character, inspired by a real-life New York socialite, lives for music. Unfortunately, as much as she loves belting out a song, she can't hold a tune to save her life. "Does she always sing like this?" asks young critic Lucien Beaumont (Sylvain Dieuaide) when he first hears her voice at one of her frequent soirees. He's as shocked by the response as he is at the sound ringing in his ears; "No. She's come a long way," he's told. Marguerite tells her tale, transporting the story to 1920s France to avoid conflicting with another film about its obvious source of inspiration, the forthcoming Florence Foster Jenkins. If you think a narrative about a wealthy woman's repeated attempts to sing in public would be riddled with both tragedy and comedy, you'd be right. However writer-director Xavier Giannoli (Superstar) struggles to find the ideal balance between the two. It's not just many of the characters that are outwardly laughing at, not with, the aspiring opera star. Always trying to find humour in the situation, the movie itself seems to be trying to inspire the same reaction. Indeed, the film's depiction of the behaviour of those closest to her demonstrates this approach. Marguerite's husband (André Marcon) belittles her to anyone who'll listen, while her loyal butler (Denis Mpunga) hopes to profit from his photographs of her outlandish behaviour. When Lucien befriends the wannabe soprano after reviewing her concert, he's clearly secretly joking at his new pal's expense. The feature stresses again and again that no one wants to ruin Marguerite's fantasy of grandeur, though it also makes plain that they're enjoying watching her make a fool out of herself. Showing them as much empathy as it does its protagonist, Marguerite follows in their footsteps. Accordingly, any kindness in the movie is tinged with unmistakable cruelty — and it's an uncomfortable mix to say the least. Frot's performance won a Caesar award, and proves the most nuanced and convincing element of the film. Sadly, she's left languishing in an effort that treats her character in a cartoonish manner. Any intended satire about the falseness of upper-class society fails to hit the mark. While Marguerite's tone proves awkward, it's technical artistry is never in doubt. Giannoli's skills as a filmmaker are best evidenced in the sumptuous imagery he brings to the screen, which shows levels of texture and intricacy his script does not. In fact, the movie's detailed production design and lingering cinematography often sit at odds with its comical treatment of its central figure. If only the care and affection of the former could've extended to the latter.
Twerking is no longer something only attempted after a few drinks on a Saturday night or in front of YouTube in the privacy of your own home. On Monday night, 19 August, Twerkshop at The Workers Club returns, which means not only is there an opportunity to seriously hone your twerking skills before next weekend, there is a community of like-minded people out there just waiting to spend their evening twerking with you. The twerkshops run for an hour and teach you how to shake it. I really think the name is self-explanatory. You don’t need me to tell you what would happen in a twerkshop. If you’re still confused, the Hip Hop Hotties, describe the class as ‘Ghetto Zumba’. Their Facebook page proclaims that there “Ain’t better twerking than in the backroom off the Twerkers Club!” and I have to agree. The music will always be perfect to twerk to. There’ll be none of the disappointment that comes after getting ready to twerk right before the song changes. It’s a twerkshop! The music is always twerk-appropriate. Plus, post-twerkshop you’ll have the best ass muscles ever. Really. Sessions run between 7-8pm and 8-9pm on a Monday night, and you can register by emailing Emily Dayani at twerkshop.melbourne@gmail.com. Dress code is “something comfy to get jiggy wit it in” and it's currently for ladies only. If you’re not sure how to prepare or contain your excitement until Monday, copy this three-step tutorial from a cat as practice.
When we think Shakespeare, we think tragedies of misfortune, histories of sovereigns and comedies of error. The latter of which is obviously the most fun — especially when it’s put on by Australia’s leading classical theatre company, Bell Shakespeare. The Comedy of Errors is a high-octave, crude-innuendo, neon-lit, slapstick-laden romp through mistaken identity, class structure, gender politics and table tennis etiquette. It takes Shakespeare’s couplets and transports them to a sleazy, red-light port-town called Ephesus, which kind of looks like Kings Cross in Sydney if it got mongrelised with Chapel Street. Now, the plot: a father is so proud of his two identical twin boys that he decides it will be a lark to adopt a second pair of identical twins for them to keep as man-servants. Bascially, Egeon has considerable wealth but not much common sense. On the squally waters home, a shipwreck separates him and two of the boys from his wife and their matching twins. But that’s not enough to ensure confusion and chaos for the rest of their lives. This is Shakespeare we’re talking about — so he obligingly doubles up on the doubling up and gives each set of twins the same damn name. Cue chaotic hilarity over the course of a single night many years later when both sets of twins mooch around Ephesus without once meeting each other. They confuse, enrage and arouse each other’s lady-friends, and make multiple entrances and exits through many doors, eventually culminating in an outrageous chase scene. The busty, rumbustious Adriana (Elena Carapetis) is a stand-out in this scene with her gift for slow-motion hilarity and comical facial expressions. Shakespeare’s script hasn’t been tampered with. It’s remarkably clear and surprisingly relatable. Puns and one-liners fly fast and furious, and the flashing strobe lights in a club scene turn every cast member’s face just the right shade of sickly green before they vomit splashily over the stage. The effortless appeal of this new take on the Bard is due both to the timeless device of mistaken identity and director Imara Savage’s terse nods to notions of immigration and 'errors' of judgement. Designer Pip Runciman has created a visual fiesta of colour with floral jackets, leopard-print bustiers, pink vinyl and bunny ears, and the debauched climax that will make you laugh until you are incontinent. Go — before your doppelgänger gets there first. Image by Matt Nettheim.
Ever feel like you deserve a prize for just how much you love your wine? Are your efforts as an amateur sommelier yet to be properly rewarded? WineMarket are ready to make your dreams come true with a truly massive giveaway. Every case of wine you buy from WineMarket this February will put you into the running for a five-night getaway on the West Coast, complete with a wine lover's experience of Margaret River and a chance to explore Perth in style. Along with flights and four-star accommodation the lucky winner and a friend will win a tour of a Margaret River winery, a fancy dinner for two in Perth, a scenic tour around the city, five days' car hire and more (to the value of $4500+). The more cases you buy and the more friends you get involved, the better your chances, so now's the time to stock up your cellars for a rainy day. Or if you've already got a healthy supply, get an entry just for signing up to WineMarket's newsletter. Check out the WineMarket website for all the details and to enter. Just hurry — the competition closes on Saturday, February 28, 11.59pm. To all you wine lovers, we salute you and wish you luck.
People do crazy things in summer. With a head full of new year's resolutions, and a body full of unspent Christmas carbohydrates, we feel the need to explore new horizons. We want to discover things; hike through rainforests; go to the zoo more often. All of this can be pretty exhausting though. Maybe a trip out to see Heide's new exhibition will be enough to quell this strange urge of ours. Future Primitive is a collection of works from Australia and New Zealand that explores our modern fascination with primitivism. Totems, tribal motifs, and an intrigue with the ancient — the art on show creates a surreal trans-continental world of eschewed cultural history. Influences stem all the way from the European Dadaists to individual tribal cultures of the Pacific, and the result is intriguing enough to warrant the trip out of the city. With the work of 19 artists on show, there are a broad range of fascinations and interpretations on show. However, the main thread of stifling colonialism is hard to shake. With historical context, the work can easily become dark or menacing — an eerie trip into a land forgotten by time.
Those searching for the next big thing on Australia’s EDM scene should look no further than Perth trap duo, Slumberjack. Their debut EP, featuring tracks like 'Body Cry', which has racked up over a million plays on Soundcloud, and the Hype Machine-smashing 'Horus', has generated plenty of interest both here in Australia and overseas. Morgan Then and Fletcher Ehlers make some damn fine and infectious dance music that demands you to start flailing your limbs uncontrollably, and they’re finally coming to Melbourne to prove it. The night has been christened 'The Slumber Party', and it’s been suggested you rock up in your jim jams and crash into the pillow pit. They’re even handing out free sleeping masks on entry. In other excellent news, Slumberjack have recently been announced to open for Alison Wonderland at her Wonderland Warehouse Project 2.0. And while this secret warehouse support slot is sure to be boundless amounts of fun, we recommend heading to their headlining show this weekend at Can’t Say to experience the lads in their element.
The Gertrude Street Projection Festival will light up the night for the twelfth year in a row, when it returns to Fitzroy this winter. Running for nine nights from July 26–August 3, the free community-driven event will once again showcase spectacular light compositions from local and international artists up and down the northside drag. Some of the glowing work you'll see around the suburb include a video installation by Papua New Guinean artist Taloi Havini; Voice, a piece by Yandell Walton with a focus on climate change; an eerie spirit person by printmaker Tom Civil; and a virtual reality 'cabinet of curiosities' that combines walking, touching and listening to stories. In addition to the 22 projections — which will illuminate everything from shopfronts to footpaths to the trees in the Atherton Gardens and even a skate crew — this year's festival will also feature a program of special events, including parties, pop-ups, and live music and DJ sets, plus a few culinary offerings to tempt you out into the cold from 6pm till midnight each night. Kicking off the festivities will be a free opening night party, complete with a krumping session, at Foresters Hall and it'll wrap up with a block party — with five projections and five hours of performances — at Atherton Gardens. Gertrude Street Projection Festival runs from 6pm–midnight.
You may know Guy Grossi from his Italian cuisine empire (which includes Grossi Florentino), but if you'd like to get to know his food a little better, book a ticket to his Aussie Wine Month event on May 20. He'll be teaming up with Yering Station's Maxime Croiset to curate and cook a completely unique, intimate five-course lunch. They'll each be bringing their own style to the table as well as collaborating on a couple of dishes. Canapes and matching Yering Station wines will flow freely and, best of all, all proceeds will be donated to the Children's Cancer Foundation. Charity has never been so delicious.
Attention all wannabe heroes: something big is coming. This March, much-loved comic company Marvel will bring its world-class Avengers S.T.A.T.I.O.N. exhibition to Melbourne. The immersive exhibition, held at Federation Square, will give would-be caped crusaders the chance to delve into the history, engineering, genetics and technology behind Captain America, Hulk, Thor, Iron Man and the rest of their superhero team. Visitors will also undergo training, as if they were learning to become agents of S.H.I.E.L.D., and can explore bespoke equipment and costumes including the Hulkbuster suit, Captain America's uniform and shield, Iron Man's MK armor and Thor's hammer, Mjölnir. Avengers S.T.A.T.I.O.N. combines complex science and technology, developed by Marvel to help bring the successful film franchise to life. Space agency NASA have also contributed to the interactive experience, helping to enhance its scientific authenticity. After successful stints in cities including New York, Seoul and Paris, the exhibition will now head Down Under for the very first time. It'll be open 11am–6pm Mondays, Tuesdays and Wednesdays, 11am–10pm Thursdays, 10am–10pm Fridays and Saturdays, and 10am–6pm Sundays between March 16 and July 15. Last year Marvel broke records when it brought its Creating the Cinematic Universe exhibition to Brisbane, drawing in close to 270,000 fans. Avengers S.T.A.T.I.O.N. is expected to be even bigger.
Bangarra Dance Theatre is celebrating its 25th anniversary with another masterful fusion of storytelling and contemporary dance. Building on one of the earliest collaborations between Aboriginal people and the new settlers, Patyegarang traces the relationship between a spirited young indigenous woman and an English astronomer. It's a little bit like Australia's own Pocahontas adaptation but with cutting edge choreography. As the colonial fleet arrived on Eora country in the late eighteenth century, Patyegarang befriended Lieutenant William Dawes and in a courageous display of trust, began teaching him her local language. Lifted from the pages of Dawes' notebooks and modelled into an endearing portrait of friendship and cultural exchange, this production encourages a more nuanced understanding of 'first contact.' It also enlivens the legacy of Patyegarang as a striking visionary and educator. Assured by the experienced hand (or foot) of artistic director Stephen Page, along with a deeply moving soundscape by David Page, this is Bangarra's first full-length Sydney story. Imbued with a spirit of optimism and collaboration, Patyegarang promises an electric tribute to our first people, excavating an overlooked historical tale and providing an opportunity to reflect on Australia's future as a new nation.
Honouring the enduring culture, strength and resilience of First Peoples, the Koorie Heritage Trust (KHT) has put together a powerful collection of events for NAIDOC Week around this year's theme: 'The Next Generation: Strength, Vision & Legacy'. Together, this showcase highlights the community's young leaders and their enduring vision through forward-thinking design and emotive art exhibitions filled with personal moments. Running from 1–6pm on Friday, July 11, the KHT NAIDOC Week Market is a free celebration featuring 20 First Peoples stallholders, spanning fashion, homewares, jewellery and more. Stacked with local talent and brands, including Clothing The Gaps, Haus of Dizzy and Mob Melts, this is your chance to roam them all in a single location. Once you've finished browsing the abundant creativity, guests are invited to the Elders Lounge in the Birrarung Building, where a series of free, hands-on workshops and activities are ripe for all-ages fun. Plus, the market coincides with the free NAIDOC in the City concert taking over Fed Square, with the likes of Electric Fields, Isaiah Firebrace and Scott Darlow taking the stage. Beyond the NAIDOC Week Market, KHT also presents two fascinating solo exhibitions until Sunday, August 10. Connections to Home features the deeply personal carvings and paintings of Uncle Col (Marra) Clark, a respected Barkindji and Ngiyampaa Elder. Meanwhile, Coming Home sees Yorta Yorta and Baraparapa artist Jenny Murray-Jones draw from the KHT's collection and her recent works, exploring themes of Country, Kinship, and the enduring impact of colonisation and institutional life. Images: Tiffany Garvie.
Cherry season is here, and Gimlet at Cavendish House has decided to get in on this sweet time of year by creating a festive-themed cherry masterpiece. Cherries Jubilee will play a starring role in Gimlet's supper menu, which is only available after 10pm on Fridays and Saturdays. The dish is a performance, prepared tableside for a dramatic flair — it's perfect if you want to impress your latest right swipe. Fresh local cherries are flambéed with kirsch, cognac, orange peel and lemon verbena. It's served with whipped cream, kirsch-soaked baba and Gimlet's house-made pistachio gelato. The dessert will take the place of the Crêpes Suzette — but don't worry, it'll be a temporary adieu, as the Cherries Jubilee will only be available until the end of January. As for cost, it'll set you back $50, and serves two. While you're there, you will want to try the rest of the supper menu. Grab yourself a Livener cocktail (Tanqueray gin, champagne, raspberry and lemon) and some oysters, if it's that kind of night. The pipe rigate with blue swimmer crab is always a winner, and the Gippsland strip steak will serve you well. But if there's one thing on the menu you simply must order along with your Cherries Jubilee, it's the cheeseburger. You can thank us later. The Gimlet Supper Menu is available Fridays and Saturdays from 10pm. Find Gimlet at Cavendish House at 33 Russell St, Melbourne.
If there are two things Melbourne loves, it's a festival and a pop-up. Thankfully for us, the Sydney based Festival of Dangerous Ideas is popping up at Princess Theatre this Sunday. A cross between a writer’s festival and Alain de Botton’s School of Life, the day promises five of the most controversial and provocative international speakers the Sydney event could muster. The day’s discussions will challenge notions of complacency, demand a critical review of how we live and prompt our potential to change. Live dangerously. Set aside your Sunday to indulge your mind in some scintillating ideas from some of our brightest minds. Our pick? We Have Outsourced Ourselves with Arlie Hochschild at 1.30pm. See the full day's lineup here.
Sometimes it seems like most up-and-coming bands gather their inspiration from the same batch of indie artists. If you've grown tired of the monotony, fear not, for some new sounds are coming to Australia soon — Japanese alt sounds, that is. Sonny King of Melbourne rock band Lucy's Crown is eager to show just how great Japanese alternative music can be with Australia's first Japan Music Festival. Featuring bands Jill, 101A, Sparky Quano and Kaimokujisho, King set out to represent the large range of sound that exists in the underground music scene of Japan, from J-Pop to J-Rock. "I was on tour with Lucy's Crown in Tokyo and was astonished just how good the Japanese underground bands were that we played with and thought that Australia should see them," says King. Choosing bands that were enthusiastic about coming to Australia was another big factor in how the acts were chosen. He also took into account how Australian audiences might respond to them. "It was a difficult process because there were so many good bands but we wanted diversity in both music and image and we also needed them to be accessible to the people going to the gigs," says King. Japanese music, especially of the underground variety, is constantly evolving. Yet it still holds onto the roots of the previous musical trend. Bars and clubs that cater to a particular music genre or band are very popular in Tokyo. "There are Ritchie Blackmore bars, Yngwie Malmsteen bars, Jeff Beck bars, clubs and restaurants for The Stones and The Beatles, '60s bars, '70s bars, '80s bars, the list is almost endless," says King. King is optimistic about the future reach of Japanese music in Australia. With the internet becoming such an influential way to get smaller bands heard, it's only a matter of time before musicians from Japan and other similar countries break into international markets. The problem, he says, is the oversaturation now prevalent in the music world. "It's a bit like learning to read and then being taken to a world library and being told to help yourself," says King. "You'd start with what is familiar, Australian, English, American, etcetera. and eventually you'd get around to the Japanese stuff, and that's the same with exploring world music." Though this is only the first Japan Music Festival, King is optimistic about the future. "We already have the foundations in place for next year and are receiving discs from Japanese bands who want to come." With four shows scheduled in three cities, and music and instrument demonstrations happening at select JB Hi-Fi stores, the Japan Music Festival promises music entirely different from the usual festival line-up. For now, King is keeping focused on running a successful first festival. "This is the inaugural event so once it's finished I can sit back, take a look at it with fresh eyes and raise the bar for next year." The Japan Music Festival is at the Esplanade Hotel on April 3 and The Retreat in Brunswick on April 6.
It's time for another food-focused celebratory day, with fried chicken in the spotlight. At its Melbourne Central store, NeNe Chicken is naturally celebrating its main culinary attraction. Not only is it giving away freebies, however — it's also giving away gold-dusted poultry pieces. Head on down from midday on Saturday, July 6, and a free serving of Korean-style original-flavoured wingettes and drumettes will be waiting if you're one of the first 100 people through the door. If you like fried chook and free lunches, you'll want to be one of them. And honestly, who doesn't love both? By nabbing a serving, you'll also go in the draw to receive a free dish of pieces coasted in edible 23-karat gold. Yes, really. That said, you will need to hang around until 12.30pm to see if you're one of the five winners — and if your National Fried Chicken Day will be extra shiny.
If you're the kind of person who is quick to take offence, you might want to give the latest play from writer Declan Greene a miss. Indeed, all you need to do is look at the title to know that The Homosexuals, or Faggots, is not the kind of show to pull its punches. On stage at the Malthouse Theatre from February 17 to March 12, Greene's blistering social satire follows Warren and Kim, a pair of wealthy gay men who find themselves in an awkward situation involving a politically incorrect costume party and an easily offended academic. What follows is a farce that takes the piss out of hypocrites on both the right and the left, and has been described by the playwright himself as one of the more provocative things he's ever written. Rehearsal image: Brett Boardman/Malthouse Theatre.
Snack on crispy pork belly bao while hunting for a bargain at the first ever outing of Market on High. The inaugural edition of this new monthly market will take over the band room at the much-loved Northcote Social Club this Saturday, where you'll find stallholders selling everything from jewellery to vintage clothing. Open from 11am to 3pm at the High Street watering hole, the market's organisers promise to feature an "eclectic range of stalls", and have been teasing some of the highlights via their Facebook page. Still, as excited as we are about the retail therapy, we're equally keen on the Market on High menu. You're sure to shop responsibly after a couple o' espresso martinis or a cheeky jug of Pimm's. And who could say no to cheddar and jalapeno croquettes, or sausage rolls made with confit duck?
One of our favourite food trucks, Ghost Kitchen, is teaming up with local urban winemakers Noisy Ritual to bring you a winter warming feast. Held at the winery's brand new Brunswick East cellar door, the specially-designed three-course dinner will champion Taiwanese cuisine. And, of course, each course will also be paired with Noisy Ritual's best drops. Running for one night only this Thursday, August 4, you'll be able to eat your way through rich, vibrant dishes like marinated pork belly with seasonal vegetables and sticky, sweet black sesame rice balls. It is the middle of winter after all, and we can't think of a better way to wait it out. Spaces are limited so book early. And good news: vegetarians can be catered for.
All it takes is the sight of a figure standing by a riverbank for Embrace of the Serpent to lure viewers in. The man, Karamakate (Nilbio Torres), isn't the only point of focus in the film's opening frames – in fact, the entirety of his dense, foliage-filled surroundings attract just as much attention, as does the stunning black-and-white photography that surveys every leaf and branch. It's his patient stance amidst such a thriving natural environment, however, that dares viewers to unearth more about him, the place he calls home, and the manner in which their stories intertwine. As a young shaman in the Amazon in 1909, Karamakate greets a canoe paddled by two men with caution. The local guide Manduca (Miguel Dionisio Ramos) doesn't worry him, but Theo (Jan Bijvoet), the German explorer with him, gives him pause. The outsider is ill, and only Karamakate knows how to locate the rare flower that could heal him, though it's a task that'll take the trio into the dangerous depths of the jungle. Later, as an older man in the 1940s, Karamakate (now played by Antonio Bolivar Salvado Yangiama) assists an American named Evans (Brionne Davis) on a similar voyage. Images of a slithering snake demonstrate the literal meaning of the movie's title, though writer-director Ciro Guerra and his co-scribe Jacques Toulemonde Vidal have the powerful squeeze of another predator on their minds. As the duo fashion a poetic road movie (or river movie, to be more precise) inspired by the diaries of real-life explorers Theodor Koch-Grünberg and Richard Evans Schultes, they ponder the impact of colonialism upon the traditional culture. Though their tone is peaceful and their images pristine, their condemnation of Western interference is clear. It's fitting that Embrace of the Serpent flits between past and present, since it also finds contrasts in a plethora of other pairs. As audiences watch Karamakate assist his two different companions, they don't just witness a film that compares the old and the new. They also traverse a blend of history and myth, broach the gap between the physical and the philosophical, dissect the clash between nature and technology, and discover what happens when the dreamlike and the devastating collide. It takes not just skill but artistry to craft a feature that's so loaded with potency and beauty. Every frame here leaves an impression, while still allowing viewers to soak everything in at an unhurried pace. Thanks to the visually wondrous efforts of cinematographer David Gallego, watching Embrace of the Serpent proves an experience that values just that. And while Guerra's underlying statement is never hidden, it's never shouted, either. Indeed, this is a film of waiting and uncovering something special. Sharing Karamakate's initial patience is recommended — and will be rewarded by one of the most distinctive movies in recent years.
When Jake Bugg's self-titled debut album hit the UK charts at #1, he was just 18. Fast forward three years and it looks like only a 'Lightning Bolt' would stop him. He's released another two full-lengths, the latest being On My One, which came out on June 17. Combining blues, folk, country and surprising dash of hip hop, its preoccupation, Bugg told iHeart Radio is loneliness. Naw. "Some of the songs, they are personal, and some of them, whenever I want to get away from personal things, I write stories to try and put myself somewhere else," he said. The last time we Aussies saw him was in 2015, when he supported Mumford and Sons in their wildly popular Gentlemen of the Road tour. There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
If you saw a giant on the street, you'd stare in wonder. Your jaw would drop, your eyes would pop, and you would marvel at the sight in front of you. Once the shock wore off, you'd also be more than a little bit scared. But, if the lumbering creature in front of you actually turned out to be rather nice, you'd probably want to be his friend. In fact, if he was so harmless that he was being bullied by his fellow behemoths, you'd want to help him. That's how orphan Sophie (Ruby Barnhill) reacts when she meets the individual she comes to call the Big Friendly Giant (Mark Rylance). Roald Dahl's 1982 novel The BFG told this tale, and now so does Steven Spielberg's years-in-the-making film. Given that one penned books that have brightened childhoods for decades, and the other has made movies that achieved the same feat, bringing the two together seems like a perfect fit. Add E.T. screenwriter Melissa Mathison to the mix, and The BFG should be primed to capture hearts and minds alike. Indeed, as the film revels in its state of dream-like awe — and explores the awe-inspiring dreams the titular giant disseminates to the sleeping masses — there's plenty of affection on display. And as it contrasts the friendly antics of the BFG with his cruel, carnivorous comrades with names like Fleshlumpeater (Jemaine Clement) and Bloodbottler (Bill Hader), it offers a sweet reminder that seemingly frightening figures can also be outsiders with their own problems. You don't run to the queen (Penelope Wilton) and her offsiders (Rebecca Hall and Rafe Spall) for assistance if you're not in a hefty spot of bother, after all. Alas, amidst the leisurely life lessons about identity and acceptance, gibberish-infused dialogue and more than a handful of fart jokes, there's also an air of calculation. The BFG thinks, dreams and renders everything it can in the biggest possible manner — but, more than doing the source material justice, the CGI-heavy effort also wants to stress its size. There's a difference between employing specific camera angles to ensure that audiences know they're supposed to be wowed, and actually causing that reaction. There's also a difference between contemplating vast emotions and genuinely inspiring warm, fuzzy feelings. Accordingly, while it provides servings of fantastical spectacle and heightened sentiments, The BFG strives a little too hard to capture the usual Dahl and Spielberg magic. Thank goodness, then, for Rylance, who anchors the entire feature with an endearing motion-captured lead performance. After winning an Oscar for his turn in Bridge of Spies, he's the best thing about a Spielberg movie for the second time in a row. Though young Barnhill proves more precocious than poignant, their shared scenes — and the gentle kindness that radiates from Rylance every time he's on screen — are worth the price of admission alone.
Enjoy the art of fine dining at a special one-off lunch at the National Gallery of Victoria. As part of their Degas: A New Vision exhibition celebrating the work of acclaimed painter Edgar Degas, NGV International has invited renowned French chef Philippe Mouchel to serve up a three-course feast beneath the Great Hall's stained glass ceiling. Guests will be greeted with a drink on arrival, before sitting down to enjoy the work of a master at the top of his game. Mouchel has trained under Michelin-starred chefs, and headed the kitchen at some of the top restaurants in Melbourne, including his brand new venture named after himself. Point is, while the $175 price tag may be a little on the steep side, rest assured you're paying for quality. Once you've had your fill of the culinary arts, you can wander through the exhibition, which features more than 200 works from the turn of the century impressionist. If you're feeling a little too full, you can come back another time. Entry is included in the cost of lunch, and is valid until the exhibition finishes on September 18.
Thirteen years ago, an orange-and-white clownfish swam away from his home and into our hearts. He wasn't alone, with his anxious father Marlin (Albert Brooks) just as endearing, and forgetful blue tang Dory (Ellen DeGeneres) an ideal comic offsider. Charting a child's adventurous first steps in the world and a parent's fear of the dangers that might come, their tale was always bound to strike a chord. Pixar know it as one of their biggest hits; you know it as Finding Nemo. If that film coined a catchphrase, it'd have to be "just keep swimming," which was Dory's favourite piece of advice. It is far from surprising that the line pops up again in the sequel to the animated feature, or that returning writer-director Andrew Stanton and co. have taken it to heart. Indeed, Finding Dory is the movie equivalent of paddling along and letting the current sweep you forward. Cheerfully content to ride in its predecessor's slipstream, it just keeps swimming, with the film's irrepressibly upbeat nature ensuring it stays bubbly and buoyant. Nemo (Hayden Rolence) going astray again would've been a stretch, so this time, it's Dory who wanders beyond the patch of ocean the central trio calls home. In fact, it turns out that she's done so before — not that she can really recall. When Dory starts getting flashbacks of her loving mother and father (Diane Keaton and Eugene Levy), she decides to follow her memories. Marlin and Nemo join her epic swim to the Marine Life Institute in California, where Dory believes her parents might be waiting. A crafty octopus (Ed O'Neill), near-sighted whale shark (Kaitlin Olsen) and some sun-loving sea lions (Idris Elba and Dominic West) pop up along the way. Still, Finding Dory belongs to its key trio. In fact, the strengths of the film spring from spending more time in their company — particularly Dory, who might be a bit absent-minded, but is never treated like a joke. Time and again, Pixar films find the right blend between emotional insight and character-driven comedy, and both are on display here. Brought to life by energetic voice work, bright CGI visuals and well-placed, action-packed interludes, the movie thoughtfully fleshes out the makeshift family at its centre. Of course, while Finding Dory represents the animation studio at its kind-hearted best, it also demonstrates their increasing fondness for rehashing old stories. There's much about this follow-up that feels a little too familiar. Returning to bathe in warm, well-known waters can certainly be fun, but for all its easy comforts and nostalgic pleasures, it's not quite as vibrant the second time around.
Head on down to the Batman Market, where things are getting exciting after sundown. Every Saturday evening in June and July, the market in Coburg will throw open its gates, enticing locals out into the cold with the promise of a feed and some bargains. They've got food trucks, stalls and live entertainment, plus a bar stocked with beer, wine and cocktails. Who needs summer anyway? Winter Nights at the Batman Market will run from 4-9.30pm each Saturday until July 30. Visitors can get their grub from a rotating roster of food trucks, including beef spare ribs from T Rex Bar-B-Que, slow-cooked lamb from Marinade, and gravy-smothered poutine from Le Petit Montreal. The live music lineup, meanwhile, includes a bunch of local favourites, such as acoustic trio Malcura and alt-Latin stars Funkalleros. Dancing will no doubt be encouraged, and shouldn't be too hard either — at least not after you've had a few White Russians from the public bar.
With Melbourne's winter Scorsese exhibition currently in full swing, there's never been a better time to delve into the master filmmaker's back catalogue. Sure, most of us have at least heard of Taxi Driver and Goodfellas, but in a career that spans more than five decades, that's just the tip of the iceberg. Screening select Friday nights at ACMI from June to September, Scorsese: Friday Night Cinema will explore a few of Marty's lesser-known gems, along with a pair of recent critical favourites. Each of the five films will screen twice throughout the season, beginning on Friday, June 17 with the film that won Scorsese his long-overdue Oscar, The Departed. That'll be followed on July 8 by his criminally underrated black comedy After Hours, and chased down by The Wolf of Wall Street on July 22. The season will take a break in early August during MIFF, before returning with a vengeance with two of Marty's celebrated music documentaries: The Last Waltz and Shine A Light. For more information and screening times, go here.
Haunted house films tend to follow an obvious formula: things go bump in the night, people get scared, and an escalating array of supernatural hijinks ensue. If you've seen one, you probably feel like you've seen them all — and The Conjuring 2 isn't going to change that. Thankfully, it isn't going to make horror fans abandon building-based scares either. Given that the latest movie — based on the exploits of real-life paranormal investigators Ed and Lorraine Warren — is a sequel, a certain amount of predictability is to be expected. Still, knowing how the follow-up to 2013 surprise hit The Conjuring will play out doesn't render its creaking floors, slamming doors and ghostly visions any less effective. Both frights and fun can be found as an English family attempts to break free from a malicious force, with the former largely springing from sudden noises and ghastly faces, and the latter resulting from the screams they inspire. Six years after Ed (Patrick Wilson) and Lorraine (Vera Farming) helped the Perrons through the events of the first film — and a year after the Amityville case that still remains their biggest claim to fame — the Hodgsons of Enfield need their expertise. Trying to raise four children alone, single mother Peggy (Frances O'Connor) is already doing it tough before spooky occurrences start targeting her 12-year-old daughter Janet (Madison Wolfe). When the Warrens are called in, they're not just asked to assist; they're also tasked with determining whether the otherworldly infestation is real. Of course, relishing the chilling ordeal inflicted upon the bewildered Hodgson clan is the film's primary focus, rather than exploring the hoax side of the story or even spending too much time with the evangelical exorcist and psychic assessing the situation. And as easily foreseeable as the jumps and jolts that follow prove, they're also teeming with tension thanks to the film's other significant presence: director James Wan. After kicking off the Saw and Insidious franchises, Wan did the same for The Conjuring, investing what could've been a routine horror movie with the right amount of vintage thrills and visual flair. Returning to the series after an action-packed stint at the helm of Fast and Furious 7, he does the same again, even if lightning doesn't exactly strike twice. Whether you've heard of the Enfield poltergeist before or you've simply seen The Exorcist, there's no escaping the been-there, seen-that status of The Conjuring 2. Thankfully, Wan's fondness for letting the camera prowl around the house in question, and his precise sense of timing when it comes to both the unexpected and the lingering, ensures that familiarity doesn't breed contempt. Instead, it's the length of the film, and the raft of repetitive scenes that help pad it out to 133 minutes, that may end up stretching your patience. Accordingly, the Hodgsons aren't the only ones fated to think that everything goes on too long — and the last thing horror viewers want is to feel bored and anxious at the same time. Luckily, when the movie works, it really works, a versatile performance by Wolfe at the centre of the sinister proceedings included.
In Frances Ha, Greta Gerwig became the on-screen embodiment of a predicament most twenty-somethings can relate to: knowing what you don't want out of life, rather than what you do. In Mistress America, she offered a different side of failing to achieve your dreams, this time from a slightly older perspective. Now, in Maggie's Plan, she grapples with the fact that you can't control everything, no matter how hard you try. Consider it the next phase in her ongoing examination of the idiosyncrasies of quarter-life malaise. Written and directed by Rebecca Miller (The Private Lives of Pippa Lee) based on an unpublished novel by Karen Rinaldi, the film explores two schemes hatched by the eponymous Maggie (Gerwig), a college careers advisor whose life is...well...a bit of a mess. When the film opens, she's telling her married best pal Tony (Bill Hader) about her intention to become a mother using sperm donated by their high school classmate turned pickle entrepreneur Guy (Travis Fimmel). Cut forward three years and she instead has a daughter with John (Ethan Hawke), an anthropology professor and aspiring novelist who's struggling to cut ties with his imposing ex-wife Georgette (Julianne Moore). Although it may certainly sound like one, to simply call Maggie's Plan a romantic comedy doesn't quite do the film justice. While the situations the characters find themselves in are by no means unique, there's a level of intricacy to all the major players that ensures Miller's screenplay feels as authentic as it does amusing. When Maggie tries to muster a polite response to Guy's offer to help her get pregnant "the old-fashioned way", for example, her awkwardness feels ripped from reality. That's the gift that both Gerwig and Miller bring — an understanding of how to convey life's ups and downs in a way that's equally playful and relatable. The two prove as an apt a pair as Gerwig and Frances Ha filmmaker Noah Baumbach, — yet they're not the feature's only standouts. Adopting a severe Danish accent that she takes time to settle into, Moore proves both hilarious and surprisingly sympathetic. Of course, with its jaunty jazz score and New York setting, Maggie's Plan can't escape the shadow of other, similar films gone by. It's not only Baumbach that springs to mind, but Woody Allen — though any resemblance is likely by design. Miller has crafted a movie knowingly comprised of familiar parts, but cleverly filled with astute reflections that tell the tale from a fresh perspective. https://www.youtube.com/watch?v=nAoEoWrOe8g
Art, technology and the human experience coalesce at a new exhibition at Geelong Gallery. Presented in partnership with the University of NSW and Museums and Galleries NSW, People Like Us features the work of a number of contemporary artists from around Australia and the world, and combines sound, music, the moving image and interactive technology to explore the way new media influences our lives. On display at the gallery until August 21, People Like Us encourages visitor interaction. Take a virtual bike ride through Sydney, journey through human blood vessels, or download an app that syncs a multimedia artwork with the rhythm of your heart. Other highlights of the free exhibition include a symphonic tribute to the victims of the Hillsborough human crush disaster, a video work featuring a robotic surgical procedure, and a series of audio portraits of purring cats. If that's not worth taking the trip to Geelong, then we don't know what is. Image: Angelica Mesiti, Rapture (silent anthem), 2009, single-channel video, colour, 10 minutes, 10 seconds. Courtesy the artist and Anna Schwartz Gallery.
Choose the conventional, or go with something else. It's a question Mark Renton (Ewan McGregor) knows oh-so-well. Every time the former Edinburgh heroin addict turned Amsterdam accountant has unleashed one of his catchy "choose life" monologues — first in Trainspotting, now in the sequel — that's been his central dilemma. In the long-awaited follow-up to the 1996 cult classic that introduced him and his fellow layabout mates Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller) and Begbie (Robert Carlyle), it's a choice that remains as relevant as ever. Initially, Renton chose skag. Then, he chose to fleece his friends after a lucrative drug deal so he could live life on the straight and narrow. Now, back in his old stomping grounds, he doesn't quite know which option to go for. Before long he crosses paths with the pals he hasn't seen for 21 years, finding Spud still struggling with his habit, and Sick Boy running both a failing pub and a blackmail racket with his Bulgarian girlfriend Veronika (Anjela Nedyalkova). At least Renton's safe from Begbie, who has long been locked up for his ultra-violent ways…at least, until he orchestrates a jailbreak. So it is that the characters reunite, in one way or another, and find themselves taking stock of their unfulfilling lives. But things are rather different than they were in '96. It was with the energetic drumbeat and aggressive drawl of Iggy Pop's "Lust for Life" that the foursome made their debut all those years ago, back when they were young, searching for fun, spoiling for trouble, hooked on various substances and sensations, and nothing about them was clean, orderly or clear-cut. Two decades later, an air of chaos still prevails – but in trying to make sense of the past to cope with the present and face the future, messiness is the very thing the characters are trying to eliminate. From a narrative perspective, that's easier said than done. While T2: Trainspotting spins its story around the futility of reliving former glories, director Danny Boyle seems unable to resist the urge to replicate, redefine and retell. There's nostalgia here, and melancholy, but also a sense of indulgence, with many a phrase, situation, scene, shot, soundtrack choice and even snippets of old footage harkening back to the original. Sometimes the movie successfully interrogates its history. Sometimes it's an empty rehash. Mostly, Renton sums it up perfectly: "choose history repeating itself". Still, it's a pleasure to catch up with the iconic characters again, as well as with the actors that play them – although sadly, the first film's female stars Kelly MacDonald and Shirley Henderson get barely more than cameos. McGregor and Miller are rarely better than when they're just catching up and talking rubbish together, and Carlyle still plays psychopathic with brutal flair. But, it's actually Bremner who steals the show — and his tragicomic Spud who receives the most fulfilling storyline, while also suffering most from the film's need for neatness. Ultimately, the battle between the engaging and the all-too-easy is what you'll find coursing through T2: Trainspotting's veins. https://www.youtube.com/watch?v=EsozpEE543w
Ring in the Year of the Rooster at the Queen Vic Market with Chinese food and live entertainment over the next two and a half weeks. On Saturday, January 28 between 10am and 2pm, the market will play host to a variety of performances, including music acts and a martial arts show. There'll also be a free cooking demonstration by celebrity chef Elizabeth Chong, ahead of a three-course ($80 per person) Chinese banquet — featuring suckling pig, tea-smoked ocean trout and cumquat custard tarts — at Pickett's Deli and Rotisserie from 7pm that evening. The festivities will continue on the night of Wednesday, February 1 when the Summer Night Market takes on a distinctly Chinese flavour, complete with lion dancers and traditional drumming on the main stage. Finally, the market will host a two-day lantern festival starting February 11, where you can gorge yourself on delicious Chinese food all weekend long.
Celebrate the Year of the Rooster by feasting like a pig at Spice Temple this Chinese New Year. From January 23 until February 5, the restaurant will be offering a special banquet menu devised by Neil Perry and Head Chef Graeme Hunt, featuring ingredients meant to promote good fortune in the coming year. Priced at $120 per head, banquet dishes include lobster and pomelo salad with plum dressing ("prosperity"), chargrilled wagyu scotch fillet with black bean and chilli ("longevity"), red braised pork belly with enoki mushrooms ("harmony") and caramel chocolate and peanut parfait ("love"). Matching wines are also available, for an extra $55 per person. "Food is the cornerstone of Chinese New Year," said Hunt. "We've created the perfect celebratory menu featuring a range of new dishes and interesting flavours that are uniquely Spice Temple."
Cowboys, bucking bulls, flying mud: think of a rodeo, and all three come to mind. Setting Neon Bull in the thick of the Brazilian circuit, writer-director Gabriel Mascaro knows this. In fact, he invites it. With audiences' heads initially filled with the stereotypical sights and sounds that many an American movie has reinforced, he revels in revealing something different. Scene by scene, he immerses viewers in a version of the sport known as vaquejada, as well as the world that exists beyond the usual hats, boots, and attempts at grabbing cattle. In the process, he introduces us to the often overlooked people lurking behind the scenes. For Iremar (Juliano Cazarré), it's a modest existence as well as a tough one, with two dreams enlivening his otherwise routine days of transporting animals and chalking the bulls' tails before they enter the ring. Whenever and however he can, he bides his time through fashion — drawing outfits onto the naked women in the magazines his co-worker Zé (Carlos Pessoa) covets, and making costumes for their driver Galega (Maeve Jinkings) to wear when she moonlights as a dancer. With Zé, he also schemes to steal a prized horse's semen. Neon Bull isn't a quirky caper, as much as it might sound like it. Indeed, with scenes of Galega shimmying in the dark while wearing a giant horse mask, a subplot involving another worker's obsession with straightening his long locks, and yet another involving breaking into a textile factory, the film could easily be treated as a comedy. Mascaro doesn't avoid laughs, but rather than emphasise the humor, he lets any chuckles spring naturally and honestly. His characters and their lives are filled with lived-in eccentricity; all he and Cemetery of Splendour cinematographer Diego Garcia need to do is watch. Episodic and observational, it's the kind of approach a documentarian would take, so it shouldn't come as a surprise that most of Mascaro's career has been spent making factual films. As a result, although he's working with actors and there's never any doubt that his movie is fictional, even the most surreal and fanciful of sequences feel real. Galega's young daughter Cacá (lyne Santana) perhaps illustrates this best. Looking on with wide eyes, she's fascinated with Iremar, yet accepts everything ordinary and unusual that she sees. Here, in the heat and the dust, with the people who have become her makeshift family, that's just the way things are. Commentary about the film's country of origin shades Neon Bull's frames. Iremar and his pals show that life is changing in the rodeo realm, just as it is in broader Brazil. The movie also investigates the link between those who walk on two legs and those who walk on four. We care for, corral and try to conquer these animals, yet the film shows that in a lot of ways we're really not all that different. Laced with empathy, insight and more than a few narrative, visual and emotional surprises, Neon Bull proves a winner.
The latest artistic endeavour from experimental filmmaker Amiel Courtin-Wilson, best known for his divisive features Ruin and Hail, Breaking Waves is a multi-screen installation that charts the life's work and obsession of a kindred spirit: Melbourne-born composer Percy Grainger. On display at the Ian Potter Museum of Art throughout the duration of this year's Melbourne Festival, the film combines fragments of Grainger's music along with high speed, close-up cinematography. The end result aims to provide "an impressionistic gateway into the motivations that drove a singular artist". Image: courtesy of the Grainger Museum collection, University of Melbourne.
The stars of the local and international jazz scene are getting ready to blow. Running from June 3 to 12, the Melbourne International Jazz Festival is back for another year featuring another stellar lineup. From concert performances to club sessions — as well as walking tours, workshops and artists in conversation — it's a copacetic celebration of jazz in all its forms. Standout shows on the jam-packed program include the free opening night concert on the stage at Federation Square, a reworking of Van Morrison classics by celebrated jazz singer Vince Jones, and a tribute to the legendary Billie Holiday from American vocalist José James. Those after something a little more intimate, meanwhile, can swing by Bennetts Lane, Uptown Jazz Cafe or Dizzy's Jazz Club, where you can catch a different festival show practically every evening. For the full Jazz Festival program visit melbournejazz.com. Image: Kim Densham.
From Korean fried chicken to American-style barbecue to a good old fashioned burger with cheese and extra bacon, Melbourne is all about food truck dining these days. Which is great — unless, of course, you don't eat meat. Unfortunately for vegetarians and vegans, a lot of the city's best mobile food vendors don't focus on animal product-free food. Sure, there are options out there — they're just a little bit more difficult to track down. Well, they were — until now. To celebrate World Environment Day, The Food Truck Park in Preston is inviting some of Melbourne's best vegan and vegetarian vendors to park their wheels for a meat-free gastronomic extravaganza. Rice and Dice, Vegilicious, Woking Amazing, Boho Blends, Jerry's Vegiburgers, The Butter Thief and Bomba Pizza are just a few of the trucks tapped for the event, with plenty more expected to rock up on the night. Doors will be open from 5-10pm on Friday, May 3 and then again from noon until 10pm on Saturday, May 4.
