After premiering brand spanking new works from some of Melbourne’s leading theatremakers, the 2015 Neon Festival of Independent Theatre is down to its final show. Luckily for us, it looks like a good ‘un. Indeed, it’s hard to imagine a better way to wrap up a season of boundary-pushing, forward-thinking productions than by paying tribute to some of history's leading heroines... and pitting them against each other in a full-scale battle royale. Beginning Thursday, July 9, Elbow Room’s We Get It boasts an enviable cast that includes Tamiah Bantum, Amy Ingram, Kasia Kaczmarek, Maurial Spearim, Sonya Suares and Emily Tomlins. Under the direction of Tomlins and Marcel Dorney, the actors will reimagine five classics for the modern age, in a playful performance that will challenge the way you think about these iconic characters — as well as the women who portray them. The post-show Neon Conversation event on Sunday, July 12 will feature the team at Elbow Room who’ll be joined by freelance writer and general powerhouse Clementine Ford.
As festivals go, they don’t get much bigger than South by Southwest. A ten-day marathon of music, movies and tech held in one of the most lauded cities in the world, no half-decent bucket list could be considered complete without a trip to this geek/music mecca at least once. But as awesome as it would be going as a punter, imagine what it would be like going as a guest. Well, if you’ve ever thought about submitting your film, demo tape or app idea (or are just interested in learning what the festival is about), you can pick up valuable insider info at the free Melbourne meet ‘n’ greet. Kicking off at 5pm on Monday, July 13 at Bar Open in Fitzroy, casual networking drinks will lead into a 6.30pm panel with a number of previous attendees and industry experts, moderated by SXSW Australasia and Hawaii representative Phil Tripp. The panel will then be followed by a screening of Outside Industry, a 90-minute documentary about the history of the festival thus far.
In between running one of Brisbane's favourite vintage cafe bars and teaching us where the best bits of Brisbane are, longtime Aussie music go-to The Grates are back for their first national headline tour since 2011. Brisbanites Patience Hodgson, John Patterson and Ritchie Daniell will be taking their Team Work Makes The Dream Work tour down Australia's east coast with Sydney punk garage band Straight Arrows and Brisbane punk/synth duo Pleasure Symbols. Described as "fun and thrashy pop punk at its best" by triple j, these three have a reputation for giving an incredible live show that'll have you on your feet. The Grates have been seriously productive over the last few months; after releasing their fourth celebrated studio album, Dream Team last year, they went on to absolutely crush it at Splendour In The Grass. The Grates' long-awaited return to the stage is sure to be one of those dance-till-you-drop affairs — here's hoping for a furious '19-20-20' throwback singalong to obliterate our vocal chords once and for all. Want to win tickets to see The Grates? Head over here.
Celebrate Chinese New Year with a feast fit for an emperor, as some of Melbourne's best Asian food trucks descend on Queensbridge Square. The Hungry Panda, White Guy Cooks Thai, Nem N' Nem Vietnamese Street Food, Flying Wok, the Korean Fried Chicken Truck and Caliko BBQ are just some of the tasty vendors who'll be on hand for Southbank's New Year festivities. In addition to the food, visitors will be able to see performances from members of Melbourne's Chinese community, and marvel at various illuminated installations, including the four-metre high Monkey Arch Corridor and the Chinese lanterns set up along Sandridge Bridge.
It wouldn't be a film adaptation of a Nicholas Sparks book without the glow of sunlight, the shimmer of a body of water, and some all-knowing, overly sentimental narration. Sticking as closely to the formula as it can, The Choice begins with all three. Other Sparks trademarks swiftly make themselves known: an opposites-attract romance featuring would-be paramours from different sides of the tracks; rustic homes in a scenic, small-town location; letters professing feelings of love and longing; and a sudden catastrophe threatening to tear the central duo apart. Original, this certainly isn't. Indeed, while the movie version of The Choice might not be directed or written by Sparks (those honours going to relative newcomers Ross Katz and Bryan Sipe, respectively), there's never any doubt that the author responsible for 18 sappy books to date is the most influential force behind this film. Audiences that have watched Channing Tatum and Amanda Seyfried in Dear John, Liam Hemsworth and Miley Cyrus in The Last Song or Zac Efron and Taylor Schilling in The Lucky One — yes, attractive white people hooking up is another of Sparks' staples — should know what they're in for. This time, charismatic veterinarian Travis (Benjamin Walker) and spirited medical student Gabby (Teresa Palmer) are the star-crossed parties in the spotlight, meeting when the latter accuses the former's dog of knocking up her own beloved pooch. Though Travis is already fooling around with barmaid Monica (Alexandra Daddario) and Gabby is dating local doctor Ryan (Tom Welling), sparks between the two soon fly (pun intended). The will-they-or-won't-they aspect of their relationship isn't the end of their tale, though. The first half of the feature charts their courtship, then the second half moves the characters to a hospital seven years later, where the titular decision comes into play. As it is in all movies made from Sparks-penned fare, wish fulfilment is the aim of the game, peddling the notion of an epic love story that will withstand even the harshest obstacles, and trying to push as many emotional buttons as possible in the process. But while there's nothing wrong with romantic fantasies or old-fashioned weepies, The Choice dials everything up way too many notches — clumsy meet-cute, overly adorable rapport, corny dialogue and tragic twist included. The film isn't just adhering to a template, it's lazily throwing clichés at the screen to see what sticks. At least Walker, who was previously the best thing about Abraham Lincoln: Vampire Hunter, oozes the requisite charm, while Palmer is given much more to do here than she did in the Point Break remake. The scenery also proves a highlight, though it's obviously a problem when the picturesque background is more engaging than the narrative. Of course, the more troubling thought is that there are still seven of Sparks' novels that haven't been made into movies… yet. We might all love Ryan Gosling and Rachel McAdam locking lips in the rain, but The Notebook has a lot to answer for.
Acclaimed musical theatre and cabaret performer Michael Griffiths brings his latest one-man show to Midsumma 2016. Following on from previous shows inspired by the likes of Madonna and Annie Lennox, Cole pays tribute to the life and music of Broadway composer Cole Porter. Written by Anna Goldsworthy, the show was a hit at the Adelaide Cabaret Festival last year. And if you want a little extra bang for your buck, you can catch it on a double bill with Carlotta: Queen of the Cross, featuring local cabaret icon Carol "Carlotta" Spencer recounting her life on the stage.
One of the biggest and most exciting events on the Midsumma 2016 program is the National Water Polo League's inaugural Pride Cup. Hosted at the Melbourne Sports and Aquatic Centre (MSAC), the event will feature men's and women's national league matches between the Victorian Seals and the Brisbane KFC Breakers. There'll also be an exhibition grudge match between Australia's only two LGBTQ water polo clubs, the Melbourne Surge and the Sydney Stingers. Naturally, we'll be rooting for the home team. The event also marks the first time that an Australian sporting code has organised a Pride Round as part of its national premiership fixture.
The funniest ladies in the country, together on a single stage. The Lesbian Comedy Gala has quickly become a staple of the Midsumma Festival calendar — and with damn good reason. This year's lineup includes Hannah Gadsby, Cal Wilson, Anne Edmonds, Sal Upton, Lori Bell and Geraldine Hickey. Doors open at 6pm for a 7.30pm start, giving you ample time to grab something to eat from Greek pop-up cafe Angela's Kitchen. Your ticket also gets you entry into the afterparty, featuring DJ Geraldine Quinn and dance tracks galore.
From February 5 to March 5, Gertrude Contemporary is hosting a solo exhibition of artist and filmmaker Amy Amos Gebhardt. The exhibition, named There Are No Others, is being displayed on multiple screens and explores the lives of people who live outside the confines of traditional gender binaries. The portraits show naked forms in extreme slow motion floating against clouds to represent the fluid, free-form nature of gender. Gebhardt collaborated with a team of musicians and cinematographers to pull together the ambient film series, which has recently been shown at Mona in Hobart. Showing alongside There Are No Others are two exhibitions also work a looky-loo: Jamie O’Connell's More day than Beyonce, and Urska Mindre's Slide. The opening night of There Are No Others is on February 5 from 6-8pm, and the exhibition will continue to show for one month afterwards.
Purveyors of all things creepy and cultish on the big screen and the small, you'll be happy to know Cinemaniacs are presenting a yuletide celebration unlike any other. Taking place this Saturday at Loop Bar in the CBD, The Christmas Trash TV Marathon is an ode to the best worst holiday specials, cartoons, music videos, toy commercials and general Christmas-themed crap. Unlike most events of this nature, however, viewers don't pay to get in. Instead, they pay to get out. See, the organiser's figure most people won't be able to cope with this much terrible retro television — and to be honest, they're probably right. Your time of entry will be written on your hand, and the amount you end up paying will depend on how long you last. Assuming you survive the whole six hours of secret programming, the event will only cost you five bucks. Well, that and your sanity. If you do need to step out for a moment, that's fine — just as long as you don't mind being handcuffed to an attendant. Image: David Zellaby via Flickr
Sometimes, a romantic comedy tries to do something different. Sometimes, it just seems like it does. The film's concept aside, there's little about 5 to 7 that defies convention; however even as it offers up the sweetness and convenience the genre is known for, plus a whole lot of culture clash commentary and comedy thrown in too, it proves an elegant effort to watch. Here, adherence to type doesn’t make for a bad film, just a routine one. 5 to 7 has certain charms, but you have to be willing to go along with quite a few contrived and heavy-handed elements to enjoy them — like being told, repeatedly and through montages, that there's a difference between Americans and the French. Chief among those obvious aspects is protagonist Brian (Anton Yelchin), aka the US-oriented party of the central couple. He's a 24-year-old aspiring writer who has dedicated his youthful years to his dream, preferring words to real-life experiences. If he sounds familiar, that's because he's the kind of earnest fellow many a movie is littered with. And those of his ilk often find their world changed through a chance meeting with a lovely lady, such as as the one that starts Brian's connection with European export Arielle (Bérénice Marlohe). After spotting her on the streets of New York City, Brian and Arielle chat and agree to cross paths again the next week. Their catch-ups then move to the titular hours of 5pm to 7pm, which is when she says she is available. The reason for her limited schedule: she’s married with two kids. While her diplomat husband (Lambert Wilson) is fine with her having an affair — in fact, he's having one as well, with an up-and-coming literary editor (Olivia Thirlby) — confining their extramarital dalliances to that daily period is just the way the French apparently do things. Cue Brian's intertwined infatuation and anguish, playing out over typical rom-com park strolls, hotel room liaisons and long chats about everyone's feelings. His parents (Glenn Close and Frank Langella) share reservations about their arrangement, but are similarly won over by Arielle — which shows just how lightly 5 to 7 skims the surface of its scenario. This isn't a film about challenging traditional ideas about relationships, or even exploring something different; it's simply a standard romance narrative navigating a series of problems, using adultery as a point of difference and wrapping everything up in "but she's French!" sentiments. Somehow, though, the actors and their subtle performances mostly make the movie work. Yelchin isn't helped by the writer-side of his character (with a wannabe author looking for his big break also frequent film fare), yet his awkwardness comes across as genuinely as his rapport with Marlohe. When they're just walking and talking, Woody Allen and Richard Linklater style, they're at their best, even if their dialogue remains a collection of clichés and clunky lines. That first-time feature writer/director Victor Levin likes to largely look on from afar, gives the film a leisurely pace, and knows how to put a graceful image together also helps the handsomely shot offering, which clearly aims to be one of cinema's classic love stories. Of course, 5 to 7 never reaches such heights, but it is a breezy and pleasing-enough attempt beneath the platitudes and predictability.
A backyard barbecue descends into chaos in this critically-acclaimed black comedy by playwright Lisa D'Amour. Winner of the 2013 Obie Award for Best New American Play and a finalist for the Pulitzer Prize for Drama, Detroit exposes the fragility of suburban existence and middle-class aspirations with a mix of insight and savage wit. Running from Friday, August 28 through to Saturday, September 26 at the Red Stitch Actors Theatre in St Kilda, the play's Victorian debut casts company regulars Brett Cousins and Sarah Sutherland as Ben and Mary. They're a married couple caught in a rut, whose lives are thrown into turmoil after they invite their new, younger, less well-off neighbours Sharon and Kenny, played by Ngaire Dawn Fair and Paul Ashcroft, for friendly an afternoon feed. Director Tanya Dickson is another returnee, having previously worked on Red Stitch's NSFW.
Sixty years after his death in a car accident at the age of 24, James Dean remains both an icon and an enigma. Much about him, including his hair and stare, have become instantly recognisable and commonly copied. Just as much about him, such as the contrast between his rebellious attitude and his evident shyness, still defies proper description. In Life, writer Luke Davies and director Anton Corbijn attempt to replicate what was seen on the outside and unpack what lurked on the inside of James Dean. That Davies wrote the novel and co-wrote the script of Australian drug drama Candy gives an indication of the intimacy of the storytelling. That Corbijn made his leap from photographs to music videos to movies with Control, a portrait of Joy Division's Ian Curtis, shows the style, patience and perceptiveness so keenly needed in such a biopic. Their approach to the smouldering Dean (as played by Dane DeHaan) is to show rather than tell the essence of the moody star, as seen in a snapshot spanning the lead up to the world premiere of his first film, East of Eden, plus his attempt to secure a role in his second, Rebel Without a Cause. Their entryway into his tragic narrative comes via 26-year-old Dennis Stock (Robert Pattinson), then an aspiring but struggling photographer looking to turn paparazzi gigs into acclaim, art and ongoing work. History already dictates that one of Stock's big breaks came courtesy of the series of candid images he snapped of Dean; however, they only eventuated after much convincing. From first meeting at a Hollywood party to exploits across Los Angeles, New York and Indiana, Life tracks Stock's efforts, Dean's reactions, their problems and personalities, and their blossoming friendship. The film bears the name of the magazine that would ultimately publish the photos, though that it doubles as an expression of a pivotal chapter in both its subjects' existences is always clear. Forget on-set antics and other markers of glitz and glamour, though, with the movie determined to stress that Dean didn't ever want to subscribe to the usual star behaviour. "I don't want to play their stupid games," he complains — and that he's often earning the ire of studio head Jack Warner (Ben Kingsley) by avoiding his publicity tasks also makes that evident. Indeed, Dean is painted as a picture of complexity above all else, and afforded a portrayal to match. DeHaan may be following in James Franco's footsteps again — after playing Spider-Man's Harry Osborn, too — but his efforts here do more than impersonate either figure. His mannerisms conjure the famous actor's mix of awkwardness and panache, so much so that taking your eyes off of him is impossible. That's not to discount Pattinson's latest impressive post-Twilight performance, nor the rapport that springs from the two circling around each other — it's just to highlight DeHaan's intensity. A similar level of concentration and attention to detail emanates in the graceful helming of Corbijn — and the visual precision of cinematographer Charlotte Bruus Christensen. The end result doesn't just step beyond the facade of a cinema treasure or tell the tale behind iconic images, it helps to create the same itself. Indeed, there's ample life in this film, which succeeds in capturing something and someone elusive.
Thanks to its not-so-inventive title, there's no need to worry about who the main players in Me and Earl and the Dying Girl are. There's the 'me' of the moniker, i.e. movie-loving high schooler Greg (Thomas Mann). There's his classmate and filmmaking partner-in-crime, Earl (RJ Cyler), who he describes as a colleague rather than a buddy. And then there's the unwell Rachel (Olivia Cooke), who Greg's mother forces him to befriend upon hearing that she has cancer. If you think it all sounds like a recipe for a coming-of-age effort steeped in feelings, peppered with pop culture references and always working towards everyone learning something, well, you'd be right. And the movie is as contrived and cliched as it sounds, even if it does strive to conjure up several layers of emotions. It won the audience award at both the Sundance and the Sydney film festivals — as well as the grand jury prize at the former — so it seems to be working on someone. Greg prides himself on neither fitting in nor standing out, which also means he doesn't really connect with anyone. Spending time with Rachel, rather awkwardly at first, threatens to change that. His world opens as hers starts to end, and for once, he can't avoid the consequences of actually caring about something. So, he channels his efforts into working with Earl on their latest short film following a series of comic recreations of classics, with previous efforts including Senior Citizen Cane and The 400 Bros. Movies about movie buffs, which are consequently littered with knowing nods and sly winks to movies gone by, can make for painful viewing for even the most avid cinephiles in the audience. Surprisingly, the affection for the medium that Me and Earl and the Dying Girl shows is actually among its most genuine and least calculated elements. Indeed, filmmaker Alfonso Gomez-Rejon played in similar territory with his previous effort, the remake/update/next instalment that was horror offering The Town That Dreaded Sundown. Both features share a winning way of making a love of movies part of their celluloid (or digital, as is more likely these days) fabric. Sadly, the alternating slivers of authenticity, ingenuity and subtlety evident in the cinema shout-outs are absent when it comes to the main event of chronicling the impact Rachel's circumstances have upon Greg — and almost as an afterthought, upon the scarcely used sidekick Earl's character clearly is, too. Stereotypical subplots abound as much as untraditional camera angles, yet all seem as flimsy and ill-deployed as the high-profile supporting cast (with Nick Offerman, Connie Britton, Molly Shannon and Jon Bernthal among the actors briefly sighted). It should all add up to more, especially when you consider that the script is written by Jesse Andrews, who penned the bestselling young adult book of the same name that Me and Earl and the Dying Girl adapts for the screen. Alas, trying too hard to convey both quirkiness and sentiment, including in the performances, just doesn't hit the mark the film is clearly aiming for.
Some films are just fun. They don’t have to be particularly good, and can even be so enjoyably bad as to become 'guilty pleasures'. Consider 2012’s Battleship. It’s an unbelievably stupid movie, so devoid of plot that the two-page instruction manual for the board game contains better exposition, but if it’s on, you can bet I’ll end up watching it. The Man From U.N.C.L.E. is almost one of these films. It’s fun, definitely, but not quite enough to feel like it will satisfy the ‘re-watchability test'. Like Mission Impossible, The Man From U.N.C.L.E. is based on a '60s television spy series, and in fact owes several of its key characters to Ian Fleming (who only withdrew from production once EON became worried it might impact upon his Bond films). The concept revolved around two agents, one an American named Napoleon Solo (played here by Man of Steel’s Henry Cavill) and the other a Russian named Illya Kuryakin (The Social Network’s Armie Hammer), who together took on the amusingly named T.H.R.U.S.H. Organisation. The forced partnership of antipodes has often proved a fertile device in storytelling, from Lethal Weapon's pairing of a black cop with a white one in 1980s LA during a period of tense race relations to that of a male spy with a female one in 1977’s The Spy Who Loved Me. The original Man From U.N.C.L.E. debuted less than two years after the Cuban Missile Crisis, making the undercurrent of Cold War cooperation both radical and remarkably progressive, as well as contributing significantly to its combined critical and popular success. Today, it carries a lot less weight, meaning The Man From U.N.C.L.E. feels particularly low in chemistry and tension, especially since the East/West clash is scarcely addressed. After some early (and excellent) bickering between Solo and Kuryakin, the unwilling companions never again wrangle over anything more substantial than the use of pet names for each other — ‘Cowboy' and 'Red Peril' — robbing the film of perhaps its only source of weighty antagonism. The Man From U.N.C.L.E. is, of course, just the latest in a series of, well, series that have been adapted for the big screen, only in this case there are two key distinctions. For one, it remains in the era of its progenitor, meaning the film is every bit swinging '60s, with its swanky costumes and groovy soundtrack matched by direction from Guy Ritchie that makes frequent use of split screens and transition wipes. Secondly, it’s not a parody. There are no in-jokes or tips of the hat to the original series, as per other recent offerings such as The A-Team, 21 Jump Street or Charlie’s Angels. That The Man From U.N.C.L.E. plays it straight makes for a refreshing change, but — just as was the case with 1998’s The Avengers and 2013’s The Lone Ranger — its attempt to recapture the charm of the original series unfortunately falls short of the mark, and its US-PG status renders it a particularly tame outing for someone like Ritchie at the helm. It feels more like Ritchie doing Soderbergh doing Mad Men, and while that may make it more child-friendly, it dulls the film for anyone who might actually remember the TV show. The cast, too, while aesthetically perfect, somehow fails to quite hit the mark. Cavill looks and sounds impossibly smooth (think Patrick Bateman minus the psychosis), while Hammer sports a cartoonish Russian accent and plays it with all the charisma of a turnip. Alongside them, Alicia Vikander somehow feels absent despite loads of screen time, Australian Elizabeth Debicki has fun as the unflappable villain, and Hugh Grant puts in the film’s best performance, making his cameo a tempting substitute for the lead should the film ever actually progress to the sequel it unashamedly sets up at its close.
Your mouth has never been more important in determining what other people should eat, thanks to The Village who are hosting a Food of Origin series over five weekends in August, showcasing cuisines from different continents. Each weekend, The Village (formerly the Belgian Beer Garden) will bring together some palate-packing delights from North America, Central & South America, Europe and Asia. Your role? Go famished. Get fuelled up. Then vote for your favourite. The weekly winner will be invited back for the final Trailer Park showcase in the last weekend in August. Europe can keep their summer because Melbourne’s going one better at The Village's Week 3 Trailer Park battle. The Brûlée Cart will be torchin' little cups of vanilla bean and chocolate Cointreau against the likes of Jakob's Kitchen, who are slicing buns for some gourmet sausages, including crowd favourite the eastern European cevapi sausage. Greek Street Food are bringing skewered meats to the show and wrapping up their offerings souvlaki style. Word is, Happy Camper Pizza’s gluten free bases are more deliciously-doughy than their silver tinned wheels. Tread lightly friends and nab one with mushrooms, artichokes and gorgonzola. Drink specials (including The Village Moonshine) will also be served in undercover bar, The Arbor. Want more? Whet those appetites further with these trucks that will be parked and waiting for you over the five weekends: August 1-2 - North America: Mr Burger, Smokin Barrys, TOASTA, Jay's Yogurt. August 8-9 - Central & South America: Taco Truck, Iv's Burritos, La Revolucion, Señor Churro. August 15-16 - Europe: Greek Street Food, Happy Camper Pizza, Jakob's Kitchen - Gourmet Sausages, The Brûlée Cart. August 22-23 - Asia: White Guy Cooks Thai, Hammer & Tong Food Truck, Nuoc Mama's, Gorilla Grill. August 29-30 - Best Of: The four chosen weekly winners will come back for the Trailer Park Showcase.
If the holiday of your dreams is set in Spain, eating Spanish food, drinking Spanish wine, and sleeping soundly like a Spanish baby until you can fit in more food and wine, then we have a lot in common. Unfortunately this isn't an open invite to a gastronomic vacay of gluttony in the south of Spain — although it's certainly not something we would not get in the way of — but it is an event that could give you a taste of what it's like to do such a thing. Because the all-out Spanish eating holiday is exactly what Bomba's Jesse Gerner and Andrew Fisk did. Earlier this year, the two ventured out on a 14 day tour of Andalusia and the Canary Islands — all in the name of research, of course. What ensued sounds like some serious eating, and they're bringing back all the best parts to their CBD restaurant in two special Sunday lunches. Sunday 23 August will highlight their time spent in the Canary Islands (where the most famous dish is potatoes cooked in seawater), while the following Sunday, the 30th, will move onto Andalusia, where seafood and beef both feature heavily. The lunch will be spread over four courses, and include tapa, raciones and dessert for $65 per person. To book, email info@bombabar.com.au or call Bomba on (03) 9077 0451.
Expect the unexpected and the downright bizarre at this late-night party/video projection show at the Fringe Club in North Melbourne Town Hall. CULT is described as "a queer mash up of your old VHS collection versus your hacked Netflix account" – and while we have no idea what exactly that means, it sure does sound intense. This one time only event will also feature live orchestration and promises to make for an evening you won't soon forget. This event is one of our top ten picks of the Melbourne Fringe Festival. Check out the other nine here.
It’s difficult not to see Betrayal as playwright Harold Pinter’s justification for his own affair with Joan Bakewell. At its core is a message similar to the existentialist theatre of Albert Camus: who can judge these characters in a world where there is no judge, where no-one is innocent? Emma (Alison Bell) meets her former lover Jerry (Nathan O’Keefe) in a pub, and tells him she’s finally going to leave her husband, Jerry’s best friend. Plagued by guilt, Jerry confesses to Robert (Mark Saturno), only to discover he has known for years, and had affairs of his own. The play’s structure has a kind of reverse chronology — ending with the beginning of the couple’s affair and interspersed with scenes that move forward in time, and director Geordie Brookman draws on the artifice a revolving set and costume-lined stage to emphasise these shifts. Saturno takes on a gift of a part with relish as her cuckolded (and cuckolding) husband Robert, his delivery steeped in arch, brittle bite. It’s a performance that skates dangerously close to the edge of something like caricature but instead manages to ride the rhythms of subtext and rhythms of Pinter’s text to deeply satisfying effect. The only flaw in this otherwise excellent State Theatre Company of South Australia production is Jordan Sweeney’s sound design. Even if the advent of digital technology makes the possible choices on offer endless, ironically it seems like the fondness Australian theatre 'composers' have for Logic bundles of glitchy scratches and sub-heavy bass is having a depressing, flattening effect upon our contemporary theatre. The one upside to the appearance of this well-worn modern palette here, in a production that otherwise hews so closely to the play’s original setting in costume and style, is that it forces us — however bluntly — to reflect upon our modern context’s relationship with the idea of infidelity. This is especially potent at a time when we’ve got access to the kinds of tools that would facilitate the characters various 'betrayals' — whether websites like Ashley Madison, or dating apps like Tinder.
Arctic oil drilling. Corporate and government corruption. The dangers of nuclear waste. Some of the biggest environmental issues facing Planet Earth today are in the mix at this year's Environmental Film Festival Australia. Hosted over eight days at Kino Cinemas on Collins Street, the festival begins on Thursday, September 3 with the world premiere of João Dujon Pereira's Black Hole. Filmed over the course of more than a year, the film documents the community battle to save Leard State Forest in NSW from being cleared to make way for a controversial coal mine. The screening will be followed by a Q&A with both the director and former Greens leader Bob Brown. Other highlights on the program include a special planetarium screening of coral reef documentary Coral: Rekindling Venus, and a biodynamic food tasting that pairs perfectly with the film Good Things Await. For the full EFFA program, visit their website. Image: Black Hole.
Love your spirits? Then you won't want to miss this gin-soaked masterclass at Pilgrim Bar on the banks of the Yarra. In the first of a new series of Talk + Taste information sessions, the riverside venue is welcoming Sam Ng, global ambassador at Four Pillars Gin, to take attendees through the art of making — and drinking — high quality gin. Yep, turns out you've been drinking it wrong this entire time. The liquor starts flowing down by the river at 6.30pm on Thursday, February 18. Tickets cost $15 and come with drink tastings and canapés. The event is scheduled to run for an hour, but let's face it: you'll probably spend the whole evening there. Keep your eyes on Pilgrim Bar's website and Facebook page for info about future Talk + Taste events.
Sequels to romantic comedies are rare. When a movie trades in the dream of finding love and living happily ever after, exploring what comes next tends to ruin the fantasy. That's the problem My Big Fat Greek Wedding 2 faces as it endeavours to revisit the characters from its popular predecessor — and like Bridget Jones: The Edge of Reason and Sex and the City 2, it struggles. Everyday relationship issues, coping with kids and the minutiae of marriage are more the domain of sitcoms than rom-coms, after all. It's little surprise, then, that this return to the big fat Greek world wouldn't feel out of place on the small screen, rather than in cinemas. In fact, 2002's My Big Fat Greek Wedding already inspired one season's worth of television, My Big Fat Greek Life, back in 2003. The latest extension of the story ignores the TV series' existence, although it firmly follows in its footsteps. In fact, from the angsty teenaged daughter who wants nothing to do with her parents, to the demanding relatives who can't keep out of each other's business, it's the kind of fare you'd expect to watch in 30-minute weekly episodes in the comfort of your own living room. After close to two decades together, Toula (Nia Vardalos) and Ian (John Corbett) have well and truly settled into wedded bliss — and made themselves a little too cosy and complacent, they begin to realise. They try to reignite the spark in their romance; however Toula's obsession with where their only child, Paris (Elena Kampouris), will go to college doesn't help matters. Nor does the sudden need of her elderly mother (Lainie Kazan) and father (Michael Constantine) to throw their own wedding ceremony, after discovering that their marriage certificate wasn't formalised 50 years earlier. Cue a second big fat Greek wedding, and an excuse to get the whole gang from the first film (including Australian actress Gia Carides) back together. The broader group is still a collection of walking clichés, with neither subtlety nor skirting stereotypes high on the film's list of priorities. Given that their antics are constantly commented on by a couple of snarky neighbours, observations about the difference between Greek and American culture provide the bulk of the movie's content. And while such obvious insights are clearly designed to be jokes by Vardalos, who writes as well as stars, they rarely inspire more than the occasional laboured chuckle. And yet, Vardalos' honey-coloured view of her ancestry, the immigrant experience and the eccentricities of living with such a big, close Greek family as she wades further into middle age remain sweet, even if they're hardly amusing the second time around. There are traces of ragged charm to this Kirk Jones-directed effort, like slipping on an old item of clothing and finding it still technically functional – even if it is rather scruffy and well-worn. If the film's core couple are too comfortable, so is the sitcom-style sequel itself. It knows that recapturing its initial magic is a difficult task, but it also knows that it may as well try anyway — and doesn't even contemplate attempting something more.
A long-time local favourite, Sam Simmons took out the prestigious Barry Award at last year's Melbourne International Comedy Festival for his brilliant Spaghetti for Breakfast. Now he's back with a brand new show he's called Not A People Person. Anyone who's ever seen him perform before will probably agree it's a fairly appropriate title. Prickly at the best of times, Simmons' new act is described in the MICF 2016 program as "a brand spanking new hour of mind-blending internal self-hatred, paranoia and comedy." With a logline like that, you know it's gotta be funny.
What could be better than an Australia Day BBQ, you ask? That's a free Australia Day BBQ. Lucky for all of us, that's exactly what's going down at Fitzroy's Glamorama. The recently opened Brunswick Street venue will be opening their doors a little earlier than usual, with the snags hitting the grill at 3pm sharp. There'll also be drink specials, including VB cans for $6 and Melbourne Bitter longnecks for $11. Guest DJs, meanwhile, will be on deck until late, playing the best indie, house, hip hop, rock and pop music that 2015 had to offer.
The world of haute couture is coming to the silver screen — and no, we're not talking about the new Zoolander movie. Returning to ACMI as part of the Virgin Australia Melbourne Fashion Festival, this year's Fashion on Film program is once again packed with documentaries bringing you all the latest garments from catwalks around the world. Running from February 25 through to March 14, the Fashion on Film lineup features half a dozen docos, exploring everything from the clothes of legendary designer Alexander McQueen to the history of the Borsalino hat, made famous by movie stars like Charlie Chaplin and Humphrey Bogart. Of particular note is Jeremy Scott: The People's Designer, a documentary about the titular fashionista featuring appearances from Miley Cyrus, Lady Gaga, Katy Perry, Jared Leto and Paris Hilton. That many celebrities can't be wrong. For the full Fashion on Film program, visit the ACMI website.
When Kate Mercer (Charlotte Rampling) starts to interrogate the lifetime she has spent with her husband Geoff (Tom Courtenay), she's not just dissecting her own relationship. She's also pondering one of humanity's great concerns. The pair argue about times gone by as they plan the party for their 45th wedding anniversary, and while the details prove specific to their situation, the broader questions they raise are universal. 45 Years echoes the thought everyone has had at least once: how well can we ever really know those closest to us? The Mercers' predicament arises, as these worries often do, after a blast from the past interrupts their present. When Geoff receives word that the body of his former girlfriend has been found, frozen in ice for half a century, his devastated reaction causes Kate to re-assess their romance. The duo should be commemorating their lengthy union, but instead they're drifting apart. In their countryside home, he's sorting through old photos and wallowing in memories, and she's looking at everything they've ever shared with fresh eyes. 45 Years tells of roads not taken, of buried doubts unearthed, and of the consequences of choices. But more than that, it tells of two people trying to understand their connection with each other. It might seem like a simple topic, as well as an oft-seen one; however Andrew Haigh's effort, adapted from the short story In Another Country by David Constantine, never comes across as just another relationship drama. Indeed, while bickering wives and husbands are hardly uncommon in film, marital issues take on a different tone and texture when they stem from such an extensive bond. With that in mind, 45 Years understands the closeness and complexity that can only come with time, as well as the heightened devastation unexpected revelations can cause. It's another insightful, empathetic offering from writer/director Haigh — and given that he previously delved into the first flourishes of love in Weekend, the poise and perceptiveness he demonstrates at the opposite end of the temporal scale can't be underestimated. Ever the intimate filmmaker, he once again strands his protagonists largely in a single setting, often letting scenes play out with minimal edits. He knows that his audience can see what will happen next; his films find their power and poignancy not in surprises, but in waiting for the expected emotions to unfurl. As a performers' showcase, 45 Years excels, with its central portrayals perfecting the requisite balance of affection and uncertainty. While Rampling proves the more animated of the pair, both convey the film's underlying contemplation of the true nature of personal connections. Together, they're the image of the couple everyone does and doesn't want to be. A long-term on-screen duo has rarely felt as real as this. https://www.youtube.com/watch?v=qXAnjA9tAnQ
It’s only May but so far 2015 has dealt Melbourne indie rock four-piece British India a pretty good hand. The lads released their fifth album Nothing Touches Me in March, Triple J has had their singles (like the makes-you-want-to-move ‘Suddenly’) on high rotation every since, and they put in a stellar big-shoe-filling performance at Bluesfest, when they stepped in for The Black Keys. In support of the new record, the band is currently travelling the country on a mammoth tour — they aim to play wherever ABC broadcasts — selling out shows and adding some more and then selling them out again. Catch them at The Corner Hotel on June 3 with Grenadiers and Tired Lion. Expect a solid dose of material from Nothing Touches Me, as well as all the old favourites — get ready to bring back 2008 with the inevitable ‘I Said I’m Sorry’ belt-out sesh. Quicksticks, snap up your tickets first here — word on the street is they won’t last much longer.
This review is of the Sydney run of this production in December 2013. If you listen to many theatre reviewers, you'll believe there's something wrong with you if you enjoy the opening act of Oedipus Schmoedipus, apparently the Sydney Festival's most divisive work. But I'm here to say it's bloody brilliant (emphasis on the bloody — it's basically writer-performers Zoe Coombs Marr and Mish Grigor killing each other and themselves in numerous vivid ways). The comedic timing, the ingenious weapon concealment, the improbable wailing of 'Love the Way You Lie' — the whole thing really comes together as a surreal mash-up of comic-book violence and a celebration of the craft of stage blood. There are other highlights in the hour that follows, as the women of post riff on the death scenes from some 2500 years of drama, from Aeschylus to Shakespeare, Moliere, Ibsen and Wilde. The ensemble has a gift for making layered, surprising shows out of seemingly novelty premises — in Who's the Best? they tried to empirically determine which one of the group was the best all-round human, and in Everything I Know About the Global Financial Crisis in One Hour they intentionally plunged into socioeconomic analysis without doing any research. Following Oedipus Schmoedipus's gory opener, the group attacks the death question with an arsenal including absurd comedy monologues, wordplay, group dancing, frenetic kabuki drops and two dozen fresh volunteers each night, squirming on stage while following carefully choreographed directions. It's fun to watch all this smash together — there's a strain of modern Dada to post's comedy, as randomness, nonsense and juxtaposition play their parts. The crazy experiments of durational performance artists are felt too. Perhaps the problem is that the methods don't quite match the mission this time around. Although their previous works allowed the audience glimpses of poignancy, in the face of a big subject like death — the biggest subject, some might say — most of what post fling at us seems pointless. Unless the only point that can be made about death is that it's pointless, in which case, everything is perfect. What can be said for sure is that the show seems to throw up more obstacles than aids to the audience's engagement. Though the entertainment value falls rather than climbs in Oedipus Schmoedipus, it's great to see the spirit of experimentation grip the Upstairs Belvoir arena. Post are one of the most exciting forces in devised performance in Sydney, and they deserve to be up here. Oddly enough, considering the show's whole premise is playing on the theatrical canon, it's fans of said canon who will likely hate the result. Intrepid arty genre-hoppers, your presence is required.
Listen up, lords and ladies of dance, three of Melbourne's most loved DJs have joined forces for maximum good vibes at Alia Dance bar this Friday. Andrew McClelland from Bella Union's fabulous fortnightly parties, Finishing School, and Ding Dong’s DJ Kieran are working with newcomer DJ Dan Hall to bring you a night filled with more genre-spanning than you can poke a stick at. You can expect anything from R&B and urban, to punk and '60s soul, British indie to pop. All they ask is that you dance it out at Yeh! Yeh! Entry is a cool ten bucks, which will get you a free shot with entry and cheap beer and wine before eleven. Plus, such a measly fee will supply all of the hip-shaking tunes you’ve ever loved at every awesome house party ever. In short, don’t stop 'til you get enough.
Delve into Mongolian hip-hop, witness a high-tech Indonesian shadow play, and snap a photobooth selfie with the glamorous Siem Reap Lady Boys. It's all part of Mapping Melbourne, a four-day celebration of contemporary independent Asian artists working across art, dance, music, film, theatre and spoken word. With a focus on shifting cultural identity and engagement with the urban space, the multidisciplinary, multicultural festival features more than 40 artists from around Australia and Asia. In addition to the above, standouts on the program include a freestyle dance battle, a bunch of art exhibits and a closing night party that includes music and performance art plus free Japanese dumplings and massages. Seriously. Free massages. As a matter of fact, almost all of the events at Mapping Melbourne are free. For the full program and venue list visit Multicultural Arts Victoria.
Ten years after the conclusion of the Irish Civil War, a local folk hero returns to his small country village, much to the chagrin of the conservative priests and landowners. Sounds like a typical set-up for a Ken Loach movie; the 78-year-old English director has made a career out of grim, socially conscious dramas about the injustices perpetrated against the working class. But while Jimmy's Hall certainly contains many characteristics typical of the veteran filmmaker, the film ultimately stands out as one of his lightest and most hopeful works. Not that that's saying a great deal. Indeed, while Jimmy's Hall is buoyed by its faith in the power of the people, the Loach film it most immediately recalls is actually one of his bleakest. 2006's Palme d'Or winner The Wind That Shakes the Barley chronicled the bloody Irish conflict of the early 1920s, and in some ways could be seen as a spiritual prequel to Jimmy's Hall — a film in which the personal and social fallout of the war is still being felt a decade latter. Dublin-born actor Barry Ward plays Jimmy Gralton, a real-world political activist and the hero of Loach's tale. After spending the '20s living in America, Jimmy returns to Ireland largely to care for his elderly mother but soon draws the ire of the community's ruling elite — led by the overzealous Father Sheridan (Jim Norton) — when he decides to reopen the dilapidated village dance hall. To the priest, it's only logical that where American jazz and pelvic thrusts holds sway, communist schemes soon follow. If it all sounds similar to the plot of Footloose, that's because it is. It's obvious why Loach, an ardent leftist, was attracted to Gralton's story. Jimmy is an easy hero to root for; a man of the people, fighting tooth and nail for the little guy against a stuffy, unfeeling villain. It's an appealing underdog story, rousing if rather simplistic. Screenwriter Paul Laverty's dialogue can be pretty on the nose in regards to the politics of the era, and let's face it, Loach has never been one to keep his ideological sympathies hidden. Thankfully, the film is rather more subtle when it comes to the dynamic between Jimmy and Oonagh (Simone Kirby), his onetime sweetheart who has since married somebody else. A scene in which the two of them dance silently in the moonlit hall is one of the most beautiful moments that Loach has ever put to film. Likewise, his portrayal of the villages' young people — determined not to make the same mistake as their parents — shows a more optimistic side of the filmmaker than audiences may have come to expect.
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
Nobody makes blockbusters quite like Christopher Nolan. The mastermind behind Inception and The Dark Knight trilogy, this British-born filmmaker has an incredible knack for blending complex storytelling with jaw-dropping visual spectacle. To celebrate the release of his latest work, Interstellar, the team at the Astor Theatre are bringing a selection of his grandest movies back to the big screen. Better yet, a number of them will be shown with pristine 35mm film prints, just as their maker intended. Indeed, while most of the film industry has made the jump to digital video, Nolan is one of the only directors in Hollywood who still insists on shooting with film. His old-school commitment to celluloid makes him a perfect fit for The Astor, as the single screen movie palace remains among a small handful of cinemas in Australia still capable of projecting film prints. The Astor Nolan retrospective begins on November 13, with the dream-hopping action thriller, Inception. After a week off, the series picks up with his Batman saga over three consecutive Thursdays, before concluding with Interstellar (in 2K digital) on December 18.
It's the end of the year, work is winding down and every day is a day closer to the extended family Christmas party. Things seem a little slow, right? A little dull? A tad exhausting? Don't know what to do to keep you going from now until Chrissy? It's all good guys, Coburg's got this. Every Friday from 5.30 until 10pm, you can get your festive on early at the Coburg Night Market. Get out on some balmy December nights and support the community culture that makes Melbourne, well, Melbourne. With wine tasting, face painting and live music, there's not much else you could want. Except maybe a health check and/or energy assessment — but wait! Coburg's got this! Thanks to Coburg Leisure Centre and Moreland Energy Foundation Ltd, all your health and energy needs can be met in between tasting some wine and munching on some market foods. Local acts The Furbelows, The Public Opinion Six, Sin Frontera Trio, Emilee South, Kylie Auldist and Nicky Bomba will feature across two stages over the four Fridays. If that's not enough, then the big man himself is sure to be a major drawcard. Santa and his elf will be waiting for you to whisper sweet nothings into their ears before posing for the obligatory festive photo. Like we said, Coburg's got this.
Those masters of dark yet joyful surf rock are back with a one more album and one less band member. After weathering a near-breakup, this newly downsized dup are returning to Australia for a full national tour to usher in the lazy summer months. If one thing's for sure, fans will get something different from what they've seen before. The band's new album Encyclopedia is a blunter, simpler take on their classic sound. The Drums' own brand of misanthropy is more persistent and when paired with their characteristic whistling and hand clapping give the band a new eerie quality. In the face of original member Connor Hanwick's desertion earlier in the year and a fan base that seems to have gradually forgotten their favourite kings of the summer roadtrip soundtrack, The Drums have come back with a new kind of emotion behind the same sound. Get set for a new incarnation of The Drums, clapping their hands and shaking their fists. https://youtube.com/watch?v=nWc4mZoGK2k
Can building a garden win the affection of a royal landscape architect, as well as the respect of the king? That may be the plot of A Little Chaos, but it isn't the point. There are more fascinating things afoot in this period romance. Kate Winslet stars as Sabine De Barra, gifted with a green thumb and fingers to match, as well as the gall to want to use them. She flouts the conventions of 17-century France in other ways, too: in voicing her opinions and in shunning the tradition of manicured lawns that has seen Andre Le Notre (Matthias Schoenaerts) design the outdoor areas of King Louis XIV (Alan Rickman). Yet, something about Sabine intrigues Andre, inspiring him to hire her to assist with a new project. Her vision of an alfresco addition to the Versailles palace, complete with a complex water feature, doesn't conform to expectation — just like Sabine herself. Together, the trio treads a tentative path to a more modern way of thinking, and not just in terms of gardening. This is Sabine and Andre's tale — including the threat to their blooming bond from his promiscuous yet possessive wife (Helen McCrory) — but the king's acceptance of a landscaper outside the norm is key to the story's gentle breaking down of gender stereotypes. Of course, in keeping with the time it depicts, the steps made are small in size, though they remain considerable in their fictionalised impact. Seeing Sabine strive and hopefully succeed always feels like the film's main goal, as paired nicely with a peek into what life was really like for women in the royal court. Indeed, as handsomely acted as the entire affair is, and as swept up in the period details, the slow-burning love story is actually the least interesting aspect of A Little Chaos. It's not that Winslet and Schoenaerts don't sell the romance. Their performances — her sorrowful but spirited efforts especially — are among the highlights of the film. It's just that the script rightfully cares more for the characters' professional rather than personal endeavours, and so does the audience. That would be the doing of Rickman, who co-wrote the screenplay and directed the feature in addition to acting as the monarch in the middle. In his second stint as a filmmaker after 1997's The Winter Guest, the man best known to many as Harry Potter's Severus Snape is delicate and determined, two traits the movie champions. Rickman also takes the obvious route more than once, whether lingering on the sumptuous scenery or letting Stanley Tucci turn up as yet another comic cad, once again stealing all his scenes. The formula behind the finesse is hardly surprising; the feature is called A Little Chaos, after all. The movie's title is clearly designed to reflect its heroine's wild ways within a system of order, and it does so. That it also captures the film's willingness to test boundaries within the tale itself, but not in its treatment, couldn't be more fitting.
Meet Philip Lewis Friedman (Jason Schwartzman), an emerging writer on the cusp of the release of his second book. He likes to tell off his ex-girlfriends for their lack of support and dress down his former college roommate for not living up to his standards. He assumes his talented photographer girlfriend, Ashley (Elisabeth Moss), will hang around despite his lack of attention and affection. There's no mistaking it; he doesn't really seem like a nice guy. Philip is the lead character in Alex Ross Perry's third film after Impolex and The Color Wheel, but Listen Up Philip does more than just follow the ups and downs of a self-absorbed jerk. In an act of structural daring, it tells his tale alongside Ashley's awakening that she's much better off without him. Also included is the plight of Philip's new mentor, Ike Zimmerman (Jonathan Pryce), a famous novelist renowned for his self-imposed isolation, but now having second thoughts about his life choices after spending time with his new protege. Indeed, wondering about decisions made in the pursuit of a dream — be it about professional success, romantic fulfilment or perpetuating an enigma — sits at the heart of the film, a line of thinking almost everyone can relate to. It's easy to see where things strayed from the expected path for the trio, even if it isn't always easy to watch how things move forward, particularly for the ever self-sabotaging Philip and the just as egotistical Ike. Also striking is the intersection and influence of their deeds, on each other, and on others on top of that. Listen Up Philip may start out with a stereotype of movie depictions of writers, complete with wrestling notions of ambition, arrogance, inspiration and irrelevance; however, what it does so brilliantly is map out the flow-on effects of anxiety, envy and striving for success. Thankfully, as awkward and abrasive as many of the scenarios in the script rightfully prove, Perry approaches the film with humour, empathy and balance. The narration of an all-seeing, never-sighted figure (voiced by Eric Bogosian) helps make the comic and considerate skew apparent, as does perfect casting. Schwartzman and Pryce play to the movie's sharpness, and Moss and Krysten Ritter (as Ike's long-neglected daughter) to its unanticipated understanding. In fact, Listen Up Philip actually resounds with more warmth than you might think. Moss brightens every scene she is in, not just stealing the show but demanding the camera's focus on her expressive face and her command of emotion. Hers is a performance of the lived-in variety, a feeling the feature matches in its handheld movements, naturalistic lighting, super-16mm film stock and jazz score. Actually, it's that textured sense of reality that makes the movie shine, even more than showing the bleakness of poor choices while revelling in dark comedy. In that embrace of complication, there's a lot to like, and even love — even the initially unlikeable Philip.
Swords, sandals, speeches and spectacle: in a Ridley Scott-directed epic, all are to be expected. It comes as no surprise that Exodus: Gods and Kings has each in abundance. Men fight, moral dialogue dominates, and 3D computer-generated imagery delivers everything from palaces and now-fallen monuments to parted seas and giant waves. What might come as a surprise is that Scott’s latest round of swinging steel fares better than it perhaps should. The veteran helmer’s vision of the tale from the Old Testament Book of Exodus falls between his lauded Gladiator and less applauded Kingdom of Heaven. Repetition reigns in an over-extended, blood-soaked effort, but so does a strong sense of character and contemplation. For those unfamiliar with biblical narratives, the story of Moses swaps between sides in one of the greatest tussles in Judaism. In Egypt circa 1300 BC, a punishing regime saw the empire’s 400,000 Hebrew inhabitants worked to death as slaves — a system that had been in place for over 400 years. Moses (Christian Bale) grew up alongside Pharaoh-in-waiting Rhamses (Joel Edgerton), unaware of his true heritage. Upon discovering he belongs to the people his friend so willingly exploits, he is exiled, but remains unwavering in his quest for change. So far, so standard — at least where film depictions of the oft-covered pseudo-sibling-rivalry circumstances are involved. Indeed, standard is an apt description for a feature that goes through the motions in relaying its well-documented plot points. Moses and Rhamses argue. God sets Moses on a mission. Plagues — a river of blood, frogs, locusts and more — try to convince Rhamses of the right decision. Bale’s involvement, as culturally questionable as his and other casting may be, provides a stirring central performance and a strong protagonist. In channelling the conflict at the heart of the story, he broodingly expresses the impact of Moses’s many battles — with himself, his origins, his identity, and the notion of faith. In an effort that muses at length about these issues, he offers an eloquent manifestation of the inherent struggle. The film suffers whenever he isn’t on screen, though such instances are rare. Elsewhere, the rest of the cast doesn’t fare as well, more as a result of a script tinkered with by four writers than anything else. With eyeliner aplenty, Edgerton simmers with corruption and confusion, and Ben Mendelsohn hams it up (in an unlikely Animal Kingdom reunion). Ben Kingsley is quiet but convincing as a symbol of the oppressed, but many other big names — Aaron Paul and Sigourney Weaver, most notably — are given little to do. The less said about the squandering of talented actresses such as Golshifteh Farahani and Hiam Abbass, the better. Thankfully, among the clumsiness and the bulging roster of familiar faces, Exodus: Gods and Kings finds the midway point between the overblown and unnecessary, and the interesting and epic. Come for the biblical action, stay for the powerful lead performance, and witness an average but still engaging take on a famous tale.
It takes a truly talented band to reach the heights of international stardom without a drummer, but New Zealand eight-piece Fat Freddy’s Drop make it look a synch. They’ve been touring for well over 15 years now, their inimitable horn-based sound, bringing together a soul, dub, reggae fusion that sends audiences loco. Now, they’re bringing their brass, bass and organic melody and lyricism to Australia for a nationwide tour. Testament to Fat Freddy’s Drop success is their ability to remain independent and reassured that the crazy little thing they’ve got going on is worth it. They were first band to hit number one in New Zealand with an independently produced record, and said album, Based on a True Story, is still the highest selling album by a national artist in the country’s history. They’ve released three studio albums, two live albums and several singles, and even built a studio. As for their live performances, they’re infamous for their energy. From the music to the atmosphere, the reggae sounds hit hard, and the techno spin Fat Freddy’s Drop has taken lately keeps the rhythm dynamic.
Put one foot in front of the other, keep going, and you’re on a journey — and sometimes an adventure that captures attention. Add a few interesting incidents, and/or intentions fuelled by self-discovery, and you might just have a book and then probably a film. In fiction, it worked for Forrest Gump; in reality, it worked for Into the Wild. It is in the footsteps of the latter, not the former, that Wild follows, as it turns the true trek of Cheryl Strayed into a cinematic hike. In 1994, Strayed (Reese Witherspoon) was 26 and struggling with her lot in life, lingering grief inspiring a raft of destructive decisions. With her marriage in tatters, and her daily routine in the doldrums, she opted to take time out to achieve what seemed an impossible feat: walking the 1770 kilometres of the Pacific Crest Trail alone, and truly coming to terms with her identity and existence in the process. Of course, helmer Jean-Marc Vallée and scribe Nick Hornby don’t just jump from point A to point B in telling Strayed’s tale on screen, nor is the considerable physical feat the point of their film. As might be expected from the linear-averse director of Cafe de Flore, as well as the emotionally astute screenwriter of An Education, flashbacks during Strayed’s wander prove as crucial as the walk itself. The usual array of dire events and moments of discovery furnish the familiar storyline, one that continually emphasises its message of persevering regardless of the circumstances. So too do glimpses of the naturalism that flavoured Vallée’s last feature (and one also based on real-life circumstances), Dallas Buyer’s Club, as well as Hornby’s witty way with words. There may be few surprises in the movie that evolves as a result, but that doesn’t mean that the voyage it depicts isn’t worth taking. Expressive cinematography and fine-tuned editing help immerse the audience in Strayed’s fractured yet persistent mindset and rough yet picturesque surroundings, creating an offering of style and sensitivity in charting a predictable triumph over adversity. As awards bodies have duly noticed, however, Wild is less remarkable for the plight it portrays and its manner of doing so, and more worthy of praise for the accompanying performances. Eschewing glamour, playing a real figure and inhabiting a gruelling experience are all common fodder for accolades and attention, yet Witherspoon is as committed to getting to the heart of her endeavour as the character she plays. Laura Dern radiates empathy and earnestness in the role of Strayed's mother, even if her scenes are tinged with tragic cliches. Indeed, that’s the film from the start of its travels until the end: weighty but always apparent, contemplative while laced with truisms, and making more than a modest attempt at striving for something beyond the usual.
For the uninitiated, Nas’s debut album Illmatic is widely regarded as his magnum opus, if not one of the best rap albums ever created. Songs like ‘Halftime’, ‘It Ain’t Hard To Tell’, and ‘New York State Of Mind’ are both ageless and highly representative of their time. In other words: it’s gold. To celebrate the record’s 20th anniversary, Nas has been touring Illmatic, playing it start to finish, all over the world. Now, it’s Australia’s turn. Nas will be headlining Sugar Mountain Festival in Melbourne, but also playing solo shows in Brisbane, Sydney and Perth. As well as tearing through Illmatic, he'll be performing a few other hits from the records that followed. While Illimatic may have been groundbreaking, the albums after that certainly weren’t shabby either, and this is a rare chance to relive something truly great in hip-hop history. If you want to go to there, we recommend snapping up some tickets quick-smart. Don’t sleep (cause sleep is the cousin of death).
For a slightly more civilised evening, dinner at Pope Joan for New Year's Eve is less about the boozy d-floor sessions and more geared toward a sumptuous feast of the finest local produce in a relaxed but festive setting. Tasty morsels you can look forward to include duck cigars and salmon wings, vitello tonnatos and king prawns, Flinders Island lamb and carrot terrine, and for dessert there's chocolate mousse, wattleseed sponge, fennel and smoked salt. It's $95 for the feast and matching drinks will set you back $150. We can honestly say you'll be in exceptional hands for the last meal of 2014.
It's been nearly four months since we were first introduced to MPavilion and, though they debuted with the extraordinary promise of 118 free arts events, we're now unfortunately having to face the the last few. The temporary venue will be shutting up its petal-like structures for the final time on Sunday, February 1. Now, to celebrate the creative spirit with which the project was founded, MPavilion is hosting an incredible artwork from the UK's Alisa Andrasek and Jose Sanchez. Previously seen at in the London Design Museum, 2012 Olympics and The Future Is Here exhibition at RMIT, BLOOM is an enormous structure composed of small interchangeable components like giant hot-pink Lego. On Tuesday, January 27, four design agencies (Assemble, Edwards Moore, Sibling, and ARM Architecture) will face off against one another to manipulate pieces of the artwork into the best new form. You're invited to head along along from 10am-1pm to watch the action or lend a helping hand. From the sheer size of the thing, it looks as though they may well need it.
Another summer, another EDM sweatfest. While its more well-behaved, boutique festival cousins have been dropping off one by one over the last few years, Future has only upped the ante, with this year's giant lineup boasting more than 200 artists. And sure, wrestling with singlet-clad bros fistpumping to Avicii isn't everyone's idea of fun, but while you're waiting for the beat to drop there's a load of other international and local artists to check out in the meantime. There's Drake of course, who recently dropped his surprise mixtape, If You're Reading This It's Too Late, '90s legends The Prodigy, German techno pioneer Sven Väth, and irresistibly catchy pop artist Kiesza. Locally, watch out for Brisbane management company Mutual Friends, who manages producers along the likes of Young Franco and DJ Butcher, Sydney stalwart DJ Deckhead (whose Drake stunt exploded on social media), and house producer Acaddamy, who has played alongside Disclosure and Dusky. Plus, Darude's going to be there. So if you've ever wanted to see 'Sandstorm' dropped by the dude who created it, this is your big chance.
Like your films short, though not necessarily sweet? Keen to check out up-and-coming homegrown talent? If you answered yes to either of the above questions, then Flickerfest is the event for you – but this really shouldn’t be news. Australia’s leading Academy® accredited and BAFTA recognised short film festival has been running for 24 years now. Come February 18, the fest’s annual national tour stops by Kino Cinemas to share the local love via a jam-packed Made in Melbourne program. Over 2,300 entries were received for Flickerfest 2015, and only the top 110 shorts made the cut for the entire national tour, so the handpicked Melbourne flicks are certain to be something special. The moving and mesmerising Grey Bull, the thrillingly scary Waterborne, and the very funny time travel film I’m You Dickhead are just a few of the shorts in the session. Of course, it wouldn’t be a festival without a bit of post-film fun, aka the afterparty. Hang around after the screening for delicious food from misschu and drinks from Little Creatures, Vodka O, Rosnay Wines and Phoenix Organic Juices, all included in the ticket price.
An antihero in a spiral of self-destruction? Here we go again. In The Gambler, Jim Bennett (Mark Wahlberg) descends into a dangerous gambling addiction from privileged heights, risking more than most people dream of. He comes from a rich family and has a plum associate professor job teaching literature. He also has two big debts to the type of people you don’t want to owe money to, is thinking about taking on a third and walks around scowling beneath his sunglasses. A good guy with good vibrations Jim is not, as his put-upon mother (Jessica Lange) would confirm. He isn’t anything special either, as he admits in rants on genius to his students — including star pupil Amy (Brie Larson) — about his failed novelist career. His story has been seen before, quite literally given that the film remakes the 1974 movie of the same name. And yet, there’s something fascinating about Jim, The Gambler, the drifting and grifting, and the overall mood of just not giving a damn. Perhaps it is seeing Wahlberg as a different type of character, relying on looks and glances rather than muscle and weapons. He’s more than a step away from the well-intentioned heroes he usually plays. He is also paired well with The Wire’s Michael Kenneth Williams and John Goodman, both standouts as two of the formidable loan sharks trying to collect their cash. It isn’t a coincidence that Marky Mark does his best work with conflicted protagonists caught in dubious situations; think Boogie Nights and the more recent Pain & Gain. He may not show the depths of compulsion others have managed, but he convinces as someone given every advantage and opportunity to make the right choice, yet constantly, selfishly and damagingly, opting otherwise. Also effective is Rupert Wyatt’s direction, a clear change of pace from making Rise of the Planet of the Apes. The script, by The Departed’s William Monahan, relies on the gimmick of time, giving Jim seven days to settle up or get killed, but Wyatt’s ‘70s-influenced look and feel — favouring patient pacing, wide spaces and lingering moments — helps patch over a story that’s often more than a bit too convenient. The Gambler isn’t without its troubles, almost unforgivingly furnishing Larson and Lange with little to do, their talents wasted on their slight roles. The film also hits the audience over the head with its blunt themes and a few silly twists, not to mention heavy-handed music cues. Pulp’s Common People as Larson’s supposedly normal Amy walks along campus? A choral rendition of Radiohead’s Creep as Wahlberg’s Jim ponders his actions? We get it. There’s a reason that antihero stories just keep on coming, feeding viewer interest in complicated folks in tricky situations. The Gambler may not sell everything about its scenario, but it embraces its grating character and its familiar circumstances with style and assurance. Like Jim, the film goes all in, never playing it safe or hedging its bets. There are worse things to take a punt on.
The ReelGood Film Festival is back for round two, out to prove that sometimes the sequel can be even better than the original. After a successful launch in 2014, this returning one-day film forum once again aims to promote the work of local filmmakers, screening 24 shorts over the course of an afternoon and promoting discussion between directors and their audience. Organised by Melbourne-based film website reelgood.com.au, this year’s festival will be hosted at the Schoolhouse Studios in Collingwood on Sunday, March 29. Films start at 1pm and screen in groups of two and three, giving viewers the chance to grab a drink and have a chat in between sessions. The festival closes with a small awards ceremony, with prizes given out for Best Film and Audience Favourite. For more information on the ReelGood Film Festival, check them out on Facebook.
There's no doubt about it, the Scandinavians are a stylish bunch, with their immediately recognisable modern and minimalist aesthetic. We largely have Finnish architect and designer Alvar Aalto to thank for this iconic and organic form, and the NGV is paying tribute to his great work in their latest exhibition Nordic Cool. The exhibition will focus on pieces created from the 1920s to the 1960s including ceramics, glass, silver, furniture, textiles and lighting. Is it a sculpture? Can I sit on it? What would this go with in my house? These are all questions you’re likely to ask while perusing Nordic Cool, which will most likely send you into an irrefutable desire to redecorate your abode. Just don’t head straight to IKEA after visiting this exhibition, it will only lead to disappointment.
Celebrate Aboriginal voices in the contemporary Australian screen industry, at the latest edition of Blak Nite Screen in the Treasury Gardens this weekend. Hosted across two nights by actor Aaron Pederson, the free event will include live music, Q&A sessions and film screenings, as well as a tribute to one of Australia's most iconic Indigenous performers. The evening begins on Friday, February 6 at 7pm, with a set by singer and guitarist Frank Yamma. After that, Pederson will be joined in conversation by the legendary actor David Gulpilil, as well as acclaimed Indigenous director Darlene Johnson. The talk will be followed by a screening of Rolf de Heer's Charlie's Country — for which Gulpilil just won an AACTA award — along with Johnson's hour-long biographical documentary Gulpilil: One Red Blood. Saturday will begin at the same time, with a performance by Ursula Yovich. She'll then join Pederson, as well as Jon Bell, Bruce Carter and Jub Clerk, in a talk about the rise of the Blak New Wave in Australian film and television. The night will conclude with three segments of the recent Australian anthology film The Turning, plus episodes of Gods of Wheat Street and Redfern Now.
Classic film buffs, clear your calendars: the big screen matinee is back. Starting February 1, Palace Kino on Collins Street are dedicating Sunday afternoons to cinema’s golden oldies, screening quintessential titles from critically-acclaimed filmmakers for a fraction of the regular price. The series begins, in suitably epic fashion with David Lean’s Dr. Zhivago. Other standouts in February and March include Taxi Driver, Blade Runner and Gone with the Wind, along with the first two parts of The Godfather trilogy and the mesmerising horror film The Shining. Looking further ahead, genre lovers can get revved up for Mad Max and Mad Max 2, dropping just in time for the reboot in early May. Also on tap: a handful of Hitchcock classics like Rear Window and The Birds, early Bond flicks Dr. No and From Russia with Love, plus several much-loved comedies including The Castle and Monty Python and the Holy Grail. Check out the complete Vintage Classics program here.
