When Table 19 begins, it would have you believe that there's nothing worse than being stuck at the random table at a wedding. There is. It's watching a film about being stuck at the random table at a wedding. Sure, in both situations you're stranded in a place that you mightn't want to be. But at least one has food, drinks and dancing to help pass the time. For those sitting in the cinema, prepare for an experience that's awkward, tedious, cliched and sappy, as the newly single Eloise (Anna Kendrick) heads to her oldest friend's nuptials. She was once slated to be the maid of honour, but dropped out when she was dumped via text message by the bride's brother (Wyatt Russell). Relegated to the worst berth on the seating chart that she helped plan, she's soon sharing a table with a bunch of guests that "should have known to send regrets, but not before sending something nice off the registry". Eloise's fellow undesirables include an ageing former nanny (June Squibb) thrilled to have even been invited, a hormone-fuelled teen (Tony Revolori) whose mother has told him to look for love, the obligatory weird cousin (Stephen Merchant) who's kindly but has a secret, and a bickering couple (Lisa Kudrow and Craig Robinson) who don't know why they're there. Obvious revelations and cheesy life lessons follow, flowing as freely as champagne and hors d'oeuvres. We suppose you could commend director Jeffrey Blitz (Spellbound) and writers Jay and Mark Duplass (Jeff Who Lives at Home) for their effective recreation of an unpleasant situation, right down to the stylistic and structural choices that give the audience the same limited view of the main celebrations as the characters. No one should be rewarded for laziness, though, and if Table 19 excels at anything, it's that. The fact that everyone spends much of the movie arguing about what their table assignment means isn't the least bit amusing or entertaining, nor does it offer any real commentary about America's obsession with status. Instead, it simply feels like an attempt to pad out a by-the-book script that jumps between misfit comedy and rom-com, but doesn't stray from the familiar path with either. It won't come as a surprise that this slice of supposed hilarity peddles a message about the joy that can arise from unexpected connections and making the most of a bad situation. Alas, as great as Kendrick, Merchant, Squibb and company have proven in the past, here they're average at best, and in some cases downright awful. Without any signs of character development, Kendrick's signature persona wears thin; you really have seen her do this all before. She fares better than some of her co-stars, however, who might find themselves wishing they didn't RSVP for their parts. https://www.youtube.com/watch?v=2BrKGHl5EXQ
Victoria's stunning Inverloch region is an epicurean haven, with plenty of top-notch local produce and cool-climate vino. If you find yourself atop Gippsland's rugged cliffs in the small regional town of Kilcunda, be sure to visit Udder & Hoe. This quaint little tin-shed store, set behind Kilcunda General Store, is packed to the brim with goods, heroing local producers and farmers. Here, you'll find tubs filled with fresh produce, stacks of freshly baked sourdough, olive oils and buckets filled with nuts and grains.
Just because your bank account is looking a little empty, doesn't mean you've got to resort to sad, uninspiring lunchtime fare. At least, not this week, with food app Ritual dishing up tasty meals for just $1 a pop. Having launched in Sydney late last year, the mobile order and pay app is now available in Melbourne — and it's offering a very sweet deal to celebrate. It's dropping the price of select menu items from 150 of its CBD restaurants to just $1 a pop until November 8. In this budget-friendly lineup you'll find feeds from some of your favourite CBD vendors, which normally clock in at around $15. We're talking classic burgs from Betty's Burgers, cream cheese bagels from 5 & Dime, salami toasties from The Meating House and rice paper rolls from Roll'd. There are also $1 ice bubble teas from Coco Fresh Tea & Juice, coffees from Mister Munro, croissants from Weirdoughs and Chunky hot dogs from Chunky Town. Just remember that you do need to pick up your drink or meal, so make sure the eatery is in walking distance. [caption id="attachment_737291" align="alignnone" width="1920"] Chunky Town by Julia Sansone[/caption] Download the app and you'll be able to tap into three of these $1 deals over the week the offer is running. Which means a few mornings of extra shut-eye, thanks to not having to whip up lunch yourself. You'll also get to road test some of Ritual's nifty features, including a 'skip the line' function that allows you to order ahead and avoid queues, and 'skip the trip', where you can group together multiple orders from the one office to save everyone from making the same trek. There are a couple of restrictions, though. The deal is only valid between 5am and 5pm daily, and you can only order once per day and once per restaurant. You can check out all the nitty-gritty details over here. Ritual is offering three $1 meals or drinks per user through its app (for Android or iOS) until 5pm on Friday, November 8. Top image: Betty's Burgers
Look, we could be mad. We could have been angry when LCD Soundsystem — the legendary band that called their final show at Madison Square Garden back in 2011 — turned up on the 2016 Coachella lineup. We could have been mildly annoyed when they announced they were reuniting last year. And we could have been pissed when they showed up on this year's Splendour in the Grass lineup and did shows in Sydney and Melbourne. But we're not. We can't be — we're just so goddamn happy the band's back together. And now, less than six months since LCD graced our shores, they've announced that they'll be back in 2018. The band will return to Australia in February for headline shows in Sydney, Melbourne, Brisbane and Perth. Call all your friends. Tickets will sell out so get your fingers ready for 3pm (2pm in Brissie) on November 27 if you're a Frontier member, or, for everyone else, 11am on November 30. LCD SOUNDSYSTEM 2018 TOUR DATES Monday, February 12 — HBF Stadium, Perth Thursday, February 15 — Sidney Myer Music Bowl, Melbourne Friday, February 16 — Hordern Pavilion, Sydney Wednesday, February 21 — Riverstage, Brisbane. LCD Soundsystem will tour Australia in February 2018. You can buy tickets here. Image: Matt Biddulph via Wikimedia Commons.
After crushing the hopes of literally tens of thousands of people when they slammed the brakes on multiple planned games of store-wide hide and seek, the fun police at IKEA have come up with a strange new promotion to try and win back community support. Starting today, the blue and yellow furniture leviathan is offering people in Sydney (Melbourne, you're probably next) the chance to help get its new Marsden Park location ready for opening, creating what they're calling the world's first Customer Built IKEA. Sounds fun right? After all, who doesn't want to work at IKEA? Roles up for grabs include IKEA Ball Pit Tester and IKEA Meatball Taster, both of which will presumably require rigorous, hardcore on-the-job training. We're sure it'll look just terrific on your resume though. You can also apply to be an Ultimate IKEA Assembler, as outlined in this kind of funny but also kind of cringeworthy promotional video. https://www.youtube.com/watch?v=1zhSa22FLu8&feature=youtu.be Look, it may not sound as fun as playing hidey with 30,000 friends, but you've got to give the Australian IKEA team credit for trying. They've also pledged their support to a number of volunteer programs in the local area, in order "to give back to the community." Besides, who are you to turn down a year's supply of free meatballs? They've even got a vegetarian option, with the launch of their new Gronsaksbullar veggie ball. Almost forgiven, but not yet forgotten, IKEA. For the chance to participate in IKEA's indentured servitude program fun new activity, find the Customer Built Store tab on their Facebook page.
UPDATE, January 7, 2022: Wrath of Man is available to stream via Binge, Google Play, YouTube Movies, iTunes and Amazon Video. Too many times in his now 23-year feature filmmaking career, Guy Ritchie has happily crammed a heap of his favourite things into a bag, shaken it about, spilled it out onto the screen and called it his next movie. The British director likes twisty crime capers, dialogue peppered with slang and wisecracks, and memorable character nicknames. He loves chopping his narratives up into parts, then piecing them back together in a non-linear fashion. And, he's rather fond of enlisting sizeable ensemble casts, then switching between their varying perspectives. He's keen on trying to keep his audiences guessing, too. That said, he also likes having someone explain the inner workings of a plan, then showing said scheme in action while those descriptive words echo above his needle drop-heavy soundtrack. If you've seen Lock, Stock and Two Smoking Barrels, Snatch, Revolver, RocknRolla or The Gentlemen, you'll recognise all of the above. And, you'll know that in three of those films, Ritchie managed to point his lens at another of his favourite things as well. Lock Stock and Snatch didn't just make Ritchie a star, but also catapulted Jason Statham to fame. The pair found a groove that worked for them, and it changed their lives — until, with Revolver, it didn't. With revenge thriller Wrath of Man, Ritchie and Statham reunite after 16 years apart. During that stretch, the former subjected the world to his terrible Sherlock Holmes films, fared better with left-field additions to his resume like The Man From UNCLE and Aladdin, but didn't quite know what to do with King Arthur: Legend of the Sword. The latter has become an action go-to over the same time — with both forgettable and memorable flicks resulting, including three Fast and Furious movies and a stint scowling at Dwayne Johnson in the franchise's odd-couple spinoff Hobbs & Shaw. Accordingly, Ritchie and Statham reteam after heading in their own directions. Thankfully, they're not just interested in rehashing their shared past glories. From Wrath of Man's first moments, with its tense, droning score, its high-strung mood and its filming of an armoured van robbery from inside the vehicle, a relentlessly grim tone is established. When Statham shows up shortly afterwards, he's firmly in stoic mode, too. He does spout a few quippy lines, and Ritchie once again unfurls his narrative by jumping between different people, events and time periods, but Lock, Stock Again or Snatch Harder this isn't. Instead, Wrath of Man is a remake of 2004 French film Le Convoyeur. While walking in someone else's shoes turned out horrendously for Ritchie with the Madonna-starring Swept Away, that isn't the case here. Statham plays Patrick Hill, the newest employee at the Los Angeles-based cash truck company Fortico Securities. On his first day, his colleague Bullet (Holt McCallany, Mindhunter) dubs him H — "like the bomb, or Jesus H," he says — and the nickname quickly sticks. H joins the outfit a few months after the aforementioned holdup, with the memory of the two coworkers and civilian killed in the incident still fresh in everyone's minds. So, when gunmen interrupt his first post-training run with Bullet and Boy Sweat Dave (Josh Hartnett, Penny Dreadful), they're unsurprisingly jumpy; however, H deals with the situation with lethal efficiency. Cue glowing praise from Fortico's owner (Rob Delaney, Tom & Jerry), concern from his by-the-book manager (Eddie Marsan, Vice) and intrigue about his past from the rest of the team (such as Angel Has Fallen's Rocci Williams and Calm with Horses' Niamh Algar). Ritchie leaps both forwards and backwards from there, teasing out H's backstory and also exploring exactly what's brought him to his current gig. But this isn't just his tale, as seen via the time spent with Jackson (Jeffrey Donovan, Let Him Go), Jan (Scott Eastwood, The Outpost) and their fellow military veterans — plus glimpses of Agent King (Andy Garcia, Words on Bathroom Walls). The ominous mood remains steadfastly intact as Wrath of Man fleshes out the details, and composer Christopher Benstead (The Gentlemen) keeps working overtime with the nerve-rattling thrumming. Both could be accused of overplaying their hands, but they're effective. The same applies to Statham's no-nonsense tough guy routine, which never wavers, yet never becomes monotonous either. He exudes menace from the outset, as he typically does on-screen, but here it's of the baked-in variety. Wrath of Man isn't short on narrative twists, moving parts on justifications for H's behaviour, but there's an internalised sense of pain and anger in Statham's performance that never feels as if it's just going through the plot-dictated motions. Statham still glowers, throws around fists and shoots bullets like a man on a mission — and growls his lines like each word is a weapon, too — all of which happens often. But Wrath of Man is a streamlined rather than an indulgent action film. While it runs mere minutes shy of two hours, it doesn't pad out its frames with overblown and overly chaotic filler. As Godzilla vs Kong and Nobody also demonstrated recently, the power of cleanly shot and coherently staged action scenes really can't be underestimated. Viewers should be swept up in the action, rather than lost in it, which Ritchie, cinematographer Alan Stewart (Tom and Jerry) and editor James Hebert (Edge of Tomorrow) understand. Ritchie and co-screenwriters Marn Davies and Ivan Atkinson (The Gentlemen) also know the difference between a complicated storyline and a convoluted one. They wade into murky thematic territory, including exactly why folks might be driven to wage violent campaigns of vengeance or carry out intricate robberies, but don't ever expect to deliver easy answers. Wrath of Man doesn't come close to reaching the heights of fellow LA-set heist films Point Break and Heat, and it's also well aware of the crime and revenge genres' many conventions; however, it finds its niche. It also leaves its audience looking forward to the next collaboration between Ritchie and Statham — an as-yet-untitled spy film that's already been shot — rather than dreading that they'll simply stick to their decades-old greatest hits. https://www.youtube.com/watch?v=vcOP5kQrABk
As part of the City of Yarra’s annual Leaps and Bounds music festival, Ali Bird and Richard Stanley of Aarght Records are making Sundays a little more tune-filled for everyone. Kicking off at midday for three Sundays in July, a solid lineup of bands, top notch vinyl record market and smorgasbord of treats await to round off your weekend . Let’s be honest, cheap Bloody Marys, Uncle Dougie’s BBQ and vegan cupcakes from Sweetie Pie & Cuddle Cakes is just what the doctor ordered for a Sunday recovery session. We have to admit, Copacabana on Smith St is an unexpected venue choice, but the daggy and unpretentious 'so bad it’s good' vibe might just be the ticket. Musical goodness to look forward to includes Dick Diver, Scott and Charlene’s Wedding, The Galaxy Folk, Total Giovanni and Misty Nights DJs on July 13. Then it's Harmony, Bitch Prefect and Empat Lima on July 20. The Independent Record Fair, which will also be held on July 13, will see local labels such as Two Bright Lakes, Mistletone, It Records, Bedroom Suck and Chapter Music selling records from their own artist catalogues. Sounds like a pretty good way to spend a chilly winter Sunday to us.
Finding new ways to spend time at home is a very 2020 problem. Cooking, watching, making, scrolling through your social media feeds — by now, we've all been there and done that (over and over in fact). But, we're guessing you haven't tucked into a three-course Italian meal, sipped your way through two litres of wine and shaped ten kilograms of clay into ceramics, all without leaving your house. On Sunday, August 2, ceramics studio Céramiques is teaming up with Vino Quarantino and Ellie's Table to offer Melburnians a unique way to spend an afternoon. To your door, the trio will deliver everything you need to enjoy all of the above — all as part of a Wine, Dine and Claytime Experience. For $180 for two people, you'll receive a Ceramiques claykit, a two-litre bottle of Vino Quarantino's cabernet sauvignon from Somerset Crossing Winery and two three-course dinners from Ellie's Table. On the food menu: focaccia, creamy seasonal beans and toasted artichoke hearts, homemade pappardelle with vodka sauce, plus toasted hazelnut tiramisu. And, if there's four of you, it'll cost you double, and you'll obviously receive double the clay, wine and meals as well. Available to order now, the Wine, Dine and Claytime Experience will be brought to your door via contactless delivery between 1–6pm on the day — and you'll need to live in Melbourne metropolitan and its surrounding suburbs. Once you've feasted, downed your vino and moulded your clay, you'll be able to Céramiques to arrange glazing and firing of your handcrafted pieces, too. [caption id="attachment_777573" align="aligncenter" width="1920"] Ceramiques[/caption] Céramiques, Vino Quarantino and Ellie's Table's Wine, Dine and Claytime Experience are available to order now, for delivery from 1–6pm on Sunday, August 2.
Faces carve deep impressions in Longlegs, in both their presence and their absence. As Agent Lee Harker, Maika Monroe (God Is a Bullet) does so with a clenched jaw, permanently on-edge eyes and mere bursts of words, aka the guise of a woman who'll never stop being vigilant in every moment but doesn't always know exactly why. As the movie's namesake, as announced in the opening credits, Nicolas Cage (Dream Scenario) has audiences straining to catch whatever glimpse they can whenever they can — and when a full look comes, it's scorching and haunting in tandem in the stare alone. Blair Underwood (Origin) gives Harker's boss Carter a weary gaze, but with fully rounded life experience beyond his FBI gig evident behind it. Alicia Witt (Switch Up) plays Ruth Harker, mother to Lee, as distance and struggle personified. As she relays a tale as survivor Carrie Anne Camera, Kiernan Shipka (Twisters) demonstrates how disconnected a grim reality can be from a dream. For his fourth feature following 2015's The Blackcoat's Daughter, 2016's I Am the Pretty Thing That Lives in the House and 2020's Gretel & Hansel — the first of which also starred Shipka — writer/director Osgood Perkins has clearly assembled an excellent cast for his unease-dripping, get-under-your-skin, torment-your-nightmares serial-killer thriller. Another face leaves an imprint beyond his actors, however. Bill Clinton's portrait assists with setting the scene as it adorns bureau offices, with the majority of the movie taking place in the 90s. Think the FBI and three decades back, and there's no lack of pop-culture touchstones. The Silence of the Lambs is one. Monroe's portrayal as a newly minted operative tracking a murderer is every bit as layered, complex and unforgettable — and awards-worthy — as Jodie Foster's (True Detective: Night Country) Oscar-winning performance was. Twin Peaks and The X-Files, Point Break, even Cage's own Face/Off: they all also hail from the 90s and spin stories around the Federal Bureau of Investigation. This lineage is impossible not to ponder every time that Perkins reminds Longlegs viewers of the period that he's working with via Clinton's likeness — and it's a bold move. Getting your audience recalling other films and TV shows can simply spark the wish that they were watching those titles instead, especially when the list is as glorious as the aforementioned flicks and series. But the filmmaker who first started out in horror as a child actor walking in his father's footsteps — Anthony Perkins played Norman Bates in Alfred Hitchcock's Psycho; Osgood was young Norman in Psycho II — makes good on the gambit. No one with their peepers glued to Longlegs would rather be ingesting anything else, no matter how equally exceptional, as it weaves its hypnotic spell. Longlegs bedevils and bewitches early, and earlier than its main era. The pristine snow that surrounds a young girl (Lauren Acala, Motherland: Port Salem) in her yard is a visual blank slate, soon darkened in shadow when Longlegs arrives with happy birthday wishes — and the mood, as thrumming through in feature first-timer Andres Arochi's cinematography, plus Graham Fortin (Ari's Theme) and Greg Ng's (Allegiance) editing, is as thick as the white blanket across the ground with apprehension and tension. When the movie hops forward, already festering is the feeling of an innocent state sullied. That's before learning about Harker and Carter's case, with a string of murder-suicides resembling each other garnering their attention. Families perish, fathers attacking before turning their violence upon themselves, which might be open and shut if there weren't a spate of such incidents over decades, if questions about motive weren't glaring, if a compulsive force — supernatural or otherwise — hadn't earned some thought and if letters in code signed by Longlegs weren't also found at the scenes. There's more than a tightly wound ball of anxiety to Harker, who sports a surname that brings being pursued and toyed with by Dracula — who Cage played in 2023's Renfield — to mind. (Longlegs is the second 2024 horror film to nod to Bram Stoker in its characters' monikers, after Ishana Night Shyamalan's The Watchers.) The movie's lead is also a source of intuition and perhaps clairvoyance, which the FBI is keen to capitalise upon. Indeed, that's why she's been assigned to the Longlegs investigation. She's as dedicated as dedicated comes when sifting through the analogue array of clues, too, with paper and tape amid dimly lit, cabin-esque interiors adding to the tactile sensation. As terse phone calls with her mum illustrate, there's nothing distracting her from her gig, either. Via framing, frequently with symmetry, Perkins conveys that Harker isn't just consumed by chasing down Longlegs — it might be the on-screen fate of ample detectives, including in Se7en and Zodiac, two David Fincher masterpieces that are also patent influences, but the hunt is consuming her back. With the fellow chillers that beat Longlegs to existence, and with elements as familiar in horror as serial killers, the occult, crime-solving procedural crusades, fixated sleuths and all-encompassing disquiet — to name just a few genre go-tos plastered across Perkins' cinematic mood board — the approach is fondness-meets-the filmmaker's own interpretation. That's the picture's guiding principle everywhere, including in Monroe and Cage's immense contributions, each of which is among their respective career highlights. All of Longlegs' key parties know that viewers have seen plenty of these same pieces before in a myriad of ways, and possess a single-minded resolve to avoiding serving up the same. Monroe does this with It Follows and The Guest on her filmography, the 2014 one-two punch about evil lurking among the ordinary and safe spaces terrorised. Cage does it with four decades of efforts that've solidified him as not just a singular actor but the singular actor, and ceaselessly able to surprise. Perkins crafts Longlegs as a dollmaker might, with the utmost of care apparent in each and every component, all building a creation that feels like it's staring piercingly back at you. He isn't afraid of a surreal Lynchian vibe, showing that waking life can immerse you in as much of a frightscape as the worst that your brain can conceive while slumbering — perhaps the most-alarming realisation that there is — but, again, as run through his own filter. He also isn't scared of using sound design to burrow that agitation deep into the audience's subconscious, so that Longlegs is distressing your soul before you, like Harker, are even aware. Chief among the film's strokes of genius is how inescapable its intense dread is, regardless of which traditional horror symbols taunt those watching or how much of Cage as Longlegs can be seen. In an instant classic, all of its pivotal faces are mirrors, then, reflecting the viewer's own.
Trying new kicks on in-store is one thing, but how about really putting them through their paces in a multi-sensory obstacle course? Next weekend, Nike's celebrating its new Epic React running shoes by bringing its House of Go pop-up to Melbourne. Taking over the Collingwood Arts Precinct on March 3 and 4, it's a chance for punters to score a first-hand taste of Nike's latest and greatest running technology...or simply to have some good old-fashioned kidult fun. Perfect if you missed out on last month's inflatable obstacle course. Sign yourself up for one of the free 30-minute sessions and you'll get to don a pair of Nike's whizz-bang new kicks, to best experience all the House of Go activities on offer. Get some air-time jumping through a giant treadmill, squelch through a room of foam, slip down slides and feast your eyes on dazzling light installations along the way. Out the other end, you'll be greeted by striking works by acclaimed Indigenous artist Reko Rennie as you recover with ice cream and groove to beats by Nike's resident DJ.
Here's something that 2023 has that 2022 didn't: a Golden Globes ceremony. In his opening monologue, this year's host Jerrod Carmichael addressed the reasons why, including the Hollywood Foreign Press Association's historical lack of diversity. He also unpacked why he was asked to take to the microphone: "because I'm Black". Sparkling dresses, gleaming tuxedos, almost every famous face ever, plenty of shiny trophies going to worthy talents: that was all a part of the 2023 Golden Globes, which handed out its gongs on Wednesday, January 11 Australian and New Zealand time. So were frank speeches about the state of the industry, and the paths that many of this year's award-winners took to getting the accolades they deserve. When Ke Huy Quan said that "for so many years, I was afraid I had nothing more to offer" — chatting about the gap between starring in Indiana Jones and the Temple of Doom as a kid to making Everything Everywhere All At Once in 2022 — there really shouldn't have been a dry eye in the house. When his co-star Michelle Yeoh spoke about the surprise she garnered when people in the US discovered that she could speak English, the anger was palpable. Yeoh and Quan are just two of this year's Golden Globe winners, emerging victorious from a hefty list of nominees. Covering big- and small-screen contenders, they had ample company. And, among award recipients and presenters alike, the important and entertaining moments kept coming, such as Colin Farrell thanking Jenny the donkey from The Banshees of Inisherin, Elvis' Austin Butler asking to be played off to 'Suspicious Minds', Wednesday's Jenna Ortega telling everyone to watch 1962 French New Wave classic Jules and Jim, and Carmichael apologising "as a gay man" to Jennifer Coolidge in response to The White Lotus' second season. Also among the highlights: Carol Burnett Award-recipient Ryan Murphy giving 2022 Globe-winner MJ Rodriguez, the first trans woman to score a Golden Globe, a moment of recognition to make up for last year's lack of a ceremony; Volodymyr Zelenskyy's beamed-in speech; Steven Spielberg talking about finally being ready to dive into his own past directly after flirting with it across his filmography; Coolidge's mile-a-minute run-through of her rollercoaster career, and saying she'd come back for more American Pie; and Quinta Brunson's shoutout to Bob Odenkirk. Next stop for winners of the Golden Globe's film categories: the Academy Awards. Is Australia's own Cate Blanchett set to win her third Oscar, after picking up a Globe for Tár? Can Bollywood gem RRR keep winning fans everywhere it goes? Will 2023 keep being Yeoh and Quan's year, as 2022 was? These are your new questions. Amid all of the above, if you're wondering who and what else nabbed Golden Globes this year, the full rundown is below — and you can also check out our picks for the 15 winners you can watch right now: GOLDEN GLOBE NOMINEES AND WINNERS: BEST MOTION PICTURE — DRAMA Avatar: The Way of Water Elvis The Fabelmans — WINNER Tár Top Gun: Maverick BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — DRAMA Cate Blanchett, Tár — WINNER Olivia Colman, Empire of Light Viola Davis, The Woman King Ana de Armas, Blonde Michelle Williams, The Fabelmans BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — DRAMA Austin Butler, Elvis — WINNER Brendan Fraser, The Whale — WINNER Hugh Jackman, The Son Bill Nighy, Living Jeremy Pope, The Inspection BEST MOTION PICTURE — MUSICAL OR COMEDY Babylon The Banshees of Inisherin — WINNER Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Triangle of Sadness BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — MUSICAL OR COMEDY Lesley Manville, Mrs. Harris Goes to Paris Margot Robbie, Babylon Anya Taylor-Joy, The Menu Emma Thompson, Good Luck to You, Leo Grande Michelle Yeoh, Everything Everywhere All at Once — WINNER BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Diego Calva, Babylon Daniel Craig, Glass Onion: A Knives Out Mystery Adam Driver, White Noise Colin Farrell, The Banshees of Inisherin — WINNER Ralph Fiennes, The Menu BEST MOTION PICTURE — ANIMATED Guillermo del Toro's Pinocchio — WINNER Inu-Oh Marcel the Shell with Shoes On Puss in Boots: The Last Wish Turning Red BEST MOTION PICTURE — NON-ENGLISH LANGUAGE All Quiet on the Western Front Argentina, 1985 — WINNER Close Decision to Leave RRR BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE Angela Bassett, Black Panther: Wakanda Forever — WINNER Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All at Once Dolly De Leon, Triangle of Sadness Carey Mulligan, She Said BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Brendan Gleeson, The Banshees of Inisherin Barry Keoghan, The Banshees of Inisherin Brad Pitt, Babylon Ke Huy Quan, Everything Everywhere All at Once — WINNER Eddie Redmayne, The Good Nurse BEST DIRECTOR — MOTION PICTURE James Cameron, Avatar: The Way of Water Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once Baz Luhrmann, Elvis Martin McDonagh, The Banshees of Inisherin Steven Spielberg, The Fabelmans — WINNER BEST SCREENPLAY — MOTION PICTURE Todd Field, Tár Daniel Kwan, Daniel Scheinert, Everything Everywhere All at Once Martin McDonagh, The Banshees of Inisherin — WINNER Sarah Polley, Women Talking Steven Spielberg, Tony Kushner, The Fabelmans BEST ORIGINAL SCORE — MOTION PICTURE Carter Burwell, The Banshees of Inisherin Alexandre Desplat, Guillermo del Toro's Pinocchio Hildur Guðnadóttir, Women Talking Justin Hurwitz, Babylon — WINNER John Williams, The Fabelmans BEST ORIGINAL SONG — MOTION PICTURE 'Carolina' by Taylor Swift, Where the Crawdads Sing 'Ciao Papa' by Alexandre Desplat, Guillermo del Toro, Roeban Katz, Guillermo del Toro's Pinocchio 'Hold My Hand' by Lady Gaga, BloodPop, Benjamin Rice, Top Gun: Maverick 'Lift Me Up' by Tems, Rihanna, Ryan Coogler, Ludwig Göransson, Black Panther: Wakanda Forever 'Naatu Naatu' by Kala Bhairava, M.M. Keeravani, Kala Bhairava, Rahul Sipligunj, RRR — WINNER BEST TELEVISION SERIES — DRAMA Better Call Saul The Crown House of the Dragon — WINNER Ozark Severance BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — DRAMA Emma D'Arcy, House of the Dragon Laura Linney, Ozark Imelda Staunton, The Crown Hilary Swank, Alaska Daily Zendaya, Euphoria — WINNER BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — DRAMA Jeff Bridges, The Old Man Kevin Costner, Yellowstone — WINNER Diego Luna, Andor Bob Odenkirk, Better Call Saul Adam Scott, Severance BEST TELEVISION SERIES — MUSICAL OR COMEDY Abbott Elementary — WINNER The Bear Hacks Only Murders in the Building Wednesday BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — MUSICAL OR COMEDY Quinta Brunson, Abbott Elementary — WINNER Kaley Cuoco, The Flight Attendant Selena Gomez, Only Murders in the Building Jenna Ortega, Wednesday Jean Smart, Hacks BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Donald Glover, Atlanta Bill Hader, Barry Steve Martin, Only Murders in the Building Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION Black Bird DAHMER — Monster: The Jeffrey Dahmer Story The Dropout Pam & Tommy The White Lotus — WINNER BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Jessica Chastain, George and Tammy Julia Garner, Inventing Anna Lily James, Pam & Tommy Julia Roberts, Gaslit Amanda Seyfried, The Dropout — WINNER BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Taron Egerton, Black Bird Colin Firth, The Staircase Andrew Garfield, Under the Banner of Heaven Evan Peters, Dahmer — MONSTER: The Jeffrey Dahmer Story — WINNER Sebastian Stan, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION Jennifer Coolidge, The White Lotus — WINNER Claire Danes, Fleishman Is in Trouble Daisy Edgar-Jones, Under the Banner of Heaven Niecy Nash, Dahmer — Monster: The Jeffrey Dahmer Story Aubrey Plaza, The White Lotus BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION F. Murray Abraham, The White Lotus Domhnall Gleeson, The Patient Paul Walter Hauser, Black Bird — WINNER Richard Jenkins, Dahmer — Monster: The Jeffrey Dahmer Story Seth Rogen, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES Elizabeth Debicki, The Crown Hannah Einbinder, Hacks Julia Garner, Ozark — WINNER Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES John Lithgow, The Old Man Jonathan Pryce, The Crown John Turturro, Severance Tyler James Williams, Abbott Elementary — WINNER Henry Winkler, Barry For further details about the 2023 Golden Globes, head to the awards' website.
Staying on a private island seems like something reserved for Beyonce, Jay Z and Blue somewhere in the Caribbean (and most definitely with some kind of a yacht). Because where do mere mortals even access entire islands, anyway? And do you have to be a millionaire to access one? These are all questions people who haven't had the pleasure of erasing all unwanted human contact from their lives for a period of time ask. All we know is that, in the words of Liz Lemon, we want to go to there. Enter Satellite Island. Just off the coast of Tasmania, the small 30-hectare piece of land in the D'Entrecasteaux Channel is every bit the idyllic alpine Tasmanian dream getaway you could hope for. And when you visit, it's totally, 100% only inhabited by you. The island has been owned by the Alstergren family for a few generations, but when Will and Kate inherited it six years ago, they decided to open it to the public for the first time. Which is great news for everyone else, because it's crazy beautiful. Sea cliffs drop down into that clear, fresh Tassie water, blue gums cover the landscape and you can see across to Bruny Island. Just take a look at where you could be sleeping. The island is yours to explore, with walking tracks, kayaks and fishing rods available for use. You can walk around the island in an hour and a half, so do that. Plus, Bruny Island is only a five minute boat ride away, so duck over there for all your cheese, wine and oyster supplies and come back and eat them on the deck as the sun goes down. Oof. Satellite Island is accessible from the Satellite Island private jetty at Middleton, about a 40 minute drive from Hobart. The manager will meet you to take you to the island. For more information, visit their website. Image: Tess Newman-Morris via Instagram
In 2014, the ultimate celebration of French cinema in Australia will mark its silver anniversary with one of its most impressive programs yet. Lighting up Palace Cinema locations around the country, the 25th annual Alliance Francaise French Film Festival has film-faring Francophiles covered, with light-hearted comedies to searing dramas, as well as hat-tips to two of France's most legendary filmmakers. The festivities kick off on opening night with a screening of Nils Tavernier's inspiring sports drama The Finishers, followed by a post-film cocktail party. Other big tickets include the bloody Palme d'Or-nominated epic Michael Kohlhaas, Bruno Dumont's lauded biopic Camille Claudel 1915 and the Monaco-set espionage thriller Möbius starring The Artist's Jean Dujardin. Lighter options can be found in the festival's romance and comedy streams. Stylish indie ensemble 2 Autumns, 3 Winters has garnered plenty of positive buzz internationally, while Bright Days Ahead offers something for the older crowd, recounting the tale of a newly retired senior who strikes up an affair with a much younger man. Patrons can also preview the works of France's future filmmaking elite, with a program of short films from renowned Parisian film academy La Fémis. At the other end of the spectrum, fans of the classics might enjoy a retrospective of the works of new-wave pioneer Francois Truffaut, including his medium-shifting masterworks Jules and Jim and The 400 Blows. Closing night serves up another iconic slice of French cinema, in the form of Jacques Tati's wonderful 1958 comedy Mon Oncle. For the full Alliance Française French Film Festival program, visit http://www.affrenchfilmfestival.org/ https://youtube.com/watch?v=_0ENuOOgY2Y
Snakadaktal are one of those bands that pop their head out occasionally to remind us of how incredibly talented they are. They won Triple J Unearthed High in 2011 and debuted on the Hottest 100 for that year at number 22 with 'Air', no easy feat for a band fresh out of high school. They then went into the studio bunker for most of 2012, only releasing the dance-friendly wonder 'Dance Bear', which also snuck onto the Hottest 100 despite the band hibernating most of the year on the production front. This time, though, they are set to keep their pleasurable pop where everybody can see it, with their solo nationwide tour. It comes on the back of releasing their debut LP Sleep in the Water, which if lead teaser track 'Ghost' is anything to go by, will certainly feature many claims for entry into a third consecutive Hottest 100. The dream-inducing wizards will be playing at The Forum on August 24 and they will be supported by Fishing and Velma Grove. This should not be missed. https://youtube.com/watch?v=MNN1JWnXzyQ
Whether you're celebrating Galentine's Day, Valentine's Day or Singles Awareness Day this February, we're betting that a holiday to look forward to would make the occasion even better. So is Virgin Australia, and it only has sunny, summery spots in mind. The focus of its latest flight sale: trips to Queensland. Destinations from the Gold Coast up to Cairns are covered, and dates with plenty of sun, surf and sand between autumn and spring, too. Starting on Wednesday, February 14, this is a one-week-only sale — so you've got until 11.59pm AEST on Tuesday, February 20 to get booking, unless sold out earlier. More than 300,000 fares on offer. While the sale is focused on one part of the country, you still have options in terms of departure points and destinations. Within Queensland, you can leave or arrive in Brisbane, Cairns, Townsville, Rockhampton, Hamilton Island, the Gold Coast, the Sunshine Coast, Emerald, Gladstone, Mackay, Mt Isa and Proserpine. And, around the rest of the country, flights to and from Adelaide, Alice Springs, Canberra, Darwin, Hobart, Launceston, Melbourne, Newcastle, Perth and Sydney are available. One-way fares begin at $69 — which'll get you from Sydney to the Sunshine Coast and vice versa, and also from Brisbane to Cairns and Brisbane to Proserpine (to hit The Whitsundays) or the reverse. Other sale flights include Sydney–Gold Coast from $79, Brisbane–Hamilton Island from $86, Melbourne–Cairns from $115 and Adelaide–Gold Coast from $119. If you're wondering when you'll need to travel, the travel periods depend on the leg — but the general range is from Wednesday, March 6–Thursday, September 12. The sale has the backing of the Australian and Queensland governments' Tourism Recovery Package, to help the Sunshine State's tourism industry after ex-tropical cyclone Jasper. Only select fares cover seat choice and checked baggage, however, with the airline announcing back in 2021 that it now splits its economy flights into three types. Economy Lite doesn't include checking any baggage or picking your seat, but Economy Choice does — and Economy Flex gives you extra flexibility (hence the name) if you have to change your plans later. Virgin's Queensland summer sale runs from Wednesday, February 14–11.59pm AEST on Tuesday, February 20 — or until sold out. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
If you're after a cure for your Christmas meat-and-beer hangover, don't be put off by the hordes of children swarming the Moana showings. This Boxing Day, if you can block out their shrieks, you'll be rewarded with one of Disney's best animated films to date. Although to be honest, when you look at the team behind the film, that's not really that surprising. At the helm are The Little Mermaid directors John Musker and Ron Clements, kickin' it old school and revisiting a narrative structure as old as time. Moana (Auli'i Cravalho), the title character and daughter of a Polynesian prince, is launched on a quest to save her people after a curse threatens their island. After she's chosen by the ocean (who turns out to be a major source of comedic relief), she defies her sea-fearing father and seeks out Maui (Dwayne Johnson). Maui, a shape-shifting demigod, is the one who originally put the curse on the islands by stealing the heart of the goddess Te Fiti. Once Moana finds and wrangles Maui into submission, the pair travel together to recover his magical fish hook and restore the heart. Along the way, Moana discovers something about her people – they weren't always bound to their islands. Her quest isn't about seeking family honour, love, or personal development – she's an island chief with bigger concerns. The complete lack of any romantic notions is also refreshing. Moana is a cocktail of all of the best elements of the Disney princess tropes – a desperate quest, charismatic supporting cast, catchy tunes and an animal sidekick – but with one subtle but important difference. Unlike most Disney princesses, Moana doesn't need a training montage to become a boss bitch, because she's strong to begin with. Not only is she a dutiful and diligent chief-in-training, she respects her parents, listens to her grandmother, champions the underdog and walks to the beat of her own drum. She's superficially goofy, but not in a way that undermines her capability or authority. She's a beautiful role model, and maybe the best Disney princess so far. Moreover, the movie's score, written by Lin-Manuel Miranda, Mark Mancina, and Opetaia Foa'i, is the music its heroine deserves. Prepare your ears to hear the main refrain 'How Far I'll Go' more than that damn 'Let It Go' song from Frozen. We ain't mad, though, because it's the perfect summer jam. https://www.youtube.com/watch?v=LKFuXETZUsI
Nick Stanton, Guy Bentley, Mark Catsburg and Jon Harper made a splash with their much-loved South Yarra diner Ramblr...and even more of a splash when they announced its sudden closure. But the Chapel Street space has scored a fitting successor, reincarnated as the guys' latest venture, Leo's By The Slice. New sibling to fellow hits Leonards House of Love and Leonardo's Pizza Palace, the Chapel Street restaurant is an ode to the classic pizza slice shops of New York City. And, while it might share some DNA and name inspiration with the rest of the stable, Leo's is proving it's very much its own animal. In front, expect a cosy space that nods to the takeaway joints and Pizza Huts of your childhood, complete with familiar red laminate benchtops, chequered floors and group-friendly booths. Beyond, lies a moody back bar where you'll happily find yourself shooting pool and kicking back over a few post-pizza craft brews. The menu is a short, sweet and simple lineup of eight pizzas, available only by the hot, cheesy slice. But don't go expecting anything too similar to that of Carlton sibling Leonardo's – here, it's all about that authentic New York-style pie, crisp-edged and pliable. You'll find the likes of a classic pepperoni, a loaded meatlovers and even plant-based options including the vegan Chinese bolognese (a nod to an old Ramblr signature). Swing by at lunch (12–4pm) and you can team a slice of margherita with a can of Grifter beer for an easy $9.99. The drinks lineup is concise, but interesting, with craft beers, natural wines and easy-drinking cocktails. A vending machine has more brews, alongside a tidy range of Leo's merch. Images: Kate Shanasy.
There's already a huge dose of colour and fanfare set to descend on St Kilda's Fitzroy Street in February for the annual Midsumma Pride March. But just in case you need a little bit more, you'll find it waiting inside Prince Public Bar at a vibrant, sugar-dusted pop-up by Digby Cakes. Kicking off Saturday, February 4 — then returning on Sunday, February 5; Saturday, February 11; Saturday, February 18 and Saturday, February 25 — the takeover will see the venue's pastry cabinet stocked with an eye-catching, smile-inducing curation of cakes and cookies. If you're yet to drool over Louie Digby's talents on Instagram, now's the perfect chance to get acquainted. In honour of Midsumma, expect a rainbow-inspired range of oozy cookies priced at $6 a pop, along with colourful cakes at $10 a slice. During opening week, we're told they'll even be rainbow cupcakes up for grabs. Digby's sweet treats will be available from 8am each day of the pop-up, until sold out, with Prince Public Bar slinging its usual coffee menu to match.
USB sticks are stripped back to basics with Flashkus, an innovative design by Russian company Art Lebedev Studio. Reflecting on the disposable nature of electronic storage, the design team foresaw a near future in which "all electronics will be contained on the tip of a detachable cardboard module." Each Flashkus is created from thin strips of recyclable cardboard, allowing for easy disk-labeling and the potential to recycle the body of the disk once you're done. The Flashkus is eco-friendly, no-nonsense and minimalistic. The team behind its creation predict it "is going to be an even more convenient storage device than the floppy disk was back then."
Directed by Joe Carnahan (The A Team) and produced by Ridley and Tony Scott, The Grey tells the story of a group of oil-rig workers who find themselves stranded on the freezing Alaskan tundra after their plane home crashes. John Ottoway (Liam Neeson) is forced to lead a group of roughneck men in their fight for survival when the men come under attack by a pack of vicious, aggressive wolves. The wolves are on the hunt for these stranded humans as they see them as intruders in their territory who must be killed. The Grey is a thriller that keeps you on the edge of your seat in the fight between man versus nature. The film is based on the short story Ghost Walker by Ian MacKenzie Jeffers. To win one of five double passes to see The Grey, just make sure you are subscribed to Concrete Playground then email your name and postal address through to hello@concreteplayground.com.au
By Their Own Hands is a startling contemporary take on Greek tragedy from The Hayloft Project. If you've seen previous shows from Hayloft (such as their excellent production of Thyestes) you'll know that startling contemporary takes on old stories are something they do very well. By Their Own Hands is another tour de force, unique in its approach and powerful in its effect. It's a two-hander, featuring Benedict Hardie and Anne-Louise Sarks, and seldom will you see two performers bring such warmth and empathy to the gruesome tales of the Old Greeks. It starts with storytelling. Audiences are invited onto the stage and Hardie and Sarks walk among you all, recounting a story about the people of an ancient city. Occasionally they will endow one of the audience with the role of a character in the story. Some are made major players — the night I go the man with the most impressive beard is given the role of king — while others are bit parts, servants or messengers or people on the street. Don't worry, there's no audience participation expected. The action is all in the performers' well-honed words, with thechosen audience members there to give face to these faceless characters of myth. It's a neat device to make characters who are obscure, because of the age of the story or their minor role in events or the outrageousness of their behaviour, seem like real and vital people. The text too is very personal, the focus on quirks of personality, secret thoughts, everyday events and personal moments. There is so much humour, pathos and romance in the story that it is easy to forget there is a tragedy brewing. Taking on a tale that normally gives people the squeams (you'll know it sooner or later, depending on how well you know your Greeks), it turns it into an unfortunate series of events happening to likeable people. It is very humanising and completely banishes Greek tragedy's usual overtones of the drear and bizarre. The impact of the tragic climax, when it happens, is far stronger for it. Later in the piece, we return to our seats and the performers depict key moments from the story again, once in full abstract shock mode and then again solely through snippets of conversation between the characters. We see events in turn at their most grotesque and then at their most gentle. We go from horror to humour to heartbreak. It is an unusual mix of elements that patch together into something very special and deeply affecting. Hardie and Sarks are both wonderful performers and their script, which they also wrote themselves, shows a keen eye for psychology and relationship dynamics. I haven't seen a show this acutely observed and powerful since... well, since the last time I went to see the Hayloft Project. This is a company with its finger on the pulse of human drama, and I'd need a dictionary of superlatives to tell you how much I love their work.
Gird your livers, beer lovers, for Melbourne's annual celebration of all things hoppy and gold is back for 2016. The program for this year's Good Beer Week features more than 270 free and ticketed events across Melbourne and Victoria, from workshops to tastings to food and brew degustations, and even an honest to God fashion show. In fact, there's so much happening that they've tacked on three extra days, bringing the grand total to ten. Hardly a traditional week — not that we're complaining. Running from Friday, May 13 to Sunday, May 22, the sixth annual Good Beer Week is split into various different streams. For those who like a drink with their dinner, the Foodie section features a number of enticing events, including a Vietnamese degustation at Uncle and a four-course Louisiana beer dinner at Ding Dong Lounge. The party-packed Good Times section, meanwhile, includes the opening and closing night shindigs, both of which will be held at Beer Deluxe. Other standout events include a showcase of female brewing talent at The Fox Hotel and an afternoon of beer, Reuben sandwiches and 90s hip-hop at 5 Points Deli. The remaining sections are divided based on your level of beer expertise. Beer 101 features various workshops and presentations, including a hands-on cider making class at Arbory and an 'Australian tour' held at Pilgrim in Fed Square, featuring six different beers from six different states. The Beer Geek and Beer Lover sections, on the other hand, are best suited to beer-swilling veterans. Learn the ins and outs of nano-brewing courtesy of the folk at Henry Street Brewhouse in Kensington, or throw yourself into the annual Pint of Origin showdown at bars and pubs all over the state.
Taking diners on a flavour trip through Southeast Asia is something Noah Crowcroft does on the daily, as Executive Chef of Fitzroy's much-loved Rice Paper Scissors. And while his upcoming feasting series embarks on a similar journey, this time he'll be joined in the driver's seat by some well-known foodie friends. The restaurant's Collingwood event space Aunty Kim's is the setting for this new Sunday lunch series, with each event set to hero a different cuisine guided by Crowcroft's special guest of the day. The Lunch with Friends program kicks off on May 21 with Jerry Mai (Pho Nom, Annam) delivering a warm homage to her Vietnamese heritage, complete with tables covered in newspapers and laden with fresh herbs. Expect dishes like betal leaf wraps stuffed with grilled nem nuong, and grilled barramundi paired with mam nem (fermented fish sauce) and pineapple. Malaysian-born MasterChef alum Diana Chan takes the reins on July 23 to serve up a taste of home, while Mark Tagnipez (former Head Chef at Supernormal) will be drawing inspiration from his own globe-trotting kitchen adventures to plate up a tropical-leaning lunch on August 27. Daman Shrivastav of India @ Q by DDs Kitchen in Kew helps wrap things up on October 15 with a feast of layered Indian flavours. Each of the lunches comes in at $119 per person.
No one has ever eaten just one roll of sushi. Or, if they have, they haven't done so willingly. Once you devour one coin-sized piece, you instantly want more. And more. You get the picture. Enter Sash Japanese's $39 Thursday deal, which sees the Windsor restaurant serve up all-you-can-eat sushi. Eight different types are on offer, so you can dig into as many rolls of soft shell crab and watermelon, salmon and avocado, miso kingfish, wagyu beef and wasabi tuna as your stomach can handle in around 90 minutes. You don't have to buy a drink for the deal to be valid, but if you decide to, you can pick from Aussie and Japanese beers, sake, Victorian wines and a range of Japanese-inspired cocktails, including the Yuzu Cheesecake ($18) made with sake, lemon and green tea. The endless array of seaweed-wrapped rice and filling is an ongoing special, on offer from 5.30pm till 10.30pm each Thursday. We do recommend you either head in early or grab some friends and book a table (it only takes bookings for groups of five or more) — some Thursday nights, Sash has over an hour wait for tables.
People do crazy things in the name of live art. They nail their testicles to roads in Russia, sew their own mouths shut, and get people to shoot them point blank. There's a reason artists have a reputation for insanity. But it's not all that often we talk about it in a cohesive way. Why does this happen, what is it for, and is there a future in it? Artists Moira Finucane, Natalie Abbott, Casey Jenkins and Stelarc will be joined in discussion with Julieanne Pearce at The Wheeler Centre for a debate on the topic. Finally, we have the chance to ask: was this really worth it? This event was featured in our top ten things to see at the Festival of Live Art. See the full list here.
The first of Red Rock Deli's Secret Suppers has been and gone, with MasterChef Australia 2010 winner Adam Liaw kicking things off in May. The exclusive supper series — running until September at secret locations across Sydney and Melbourne — sees some of Australia's most talented chefs whipping up mouth-watering, three-course feasts inspired by Red Rock Deli's new limited-edition range. And when we say exclusive, we mean it — only 20 lucky guests get to tuck into each lavish dinner. On Wednesday, May 15, Malaysian Australian chef Adam Liaw put up an Asian-fusion feast. After guests were picked up from Central Station's Grand Concourse entrance and whisked away to a mystery location, Liaw dished up plates inspired by Red Rock Deli's Thai red chilli and creamy coconut chips. In the first course, Liaw made chilli the hero with a Korean bo ssam of pork, prawns and herb kimchi, while his dessert of coconut and lychee pavlova with mango sauce incorporated the creamy texture of coconut. But it was the melt-in-your-mouth braised ox cheeks in red chilli and coconut curry that was the real winner — to recreate it at home, check out the recipe here. If Liaw's dinner is anything to go by, the upcoming suppers will be quite something. Duncan Welgemoed of Adelaide's famed African-inspired wood fire joint, Africola, is up next. The dinner will take place on Thursday, June 20 and will be inspired by Red Rock Deli's flame grilled steak and chimichurri flavour. To nab tickets for Sydney's upcoming Red Rock Deli supper, enter the ballot here to be given the chance to purchase tickets. Images: Conrad Coleby and Kitti Gould.
After the mild let down of last year's supermoon, you could be forgiven for not engaging in the hype of major celestial movements. But last night's total solar eclipse didn't disappoint astronomers, token stargazers and brazen US presidents alike. The eclipse wasn't visible from our part of the world, instead passing over the the US — starting over Oregon in the west and finishing over South Carolina on the east coast. As the name suggests, a total eclipse is when the sun is completely obscured by the moon. This is a pretty rare event — Time and Date says that, on average, it takes about 375 years for a total solar eclipse to happen again in the same place — so, naturally, everyone turned out to catch a glimpse. NASA live streamed the event, The Weather Channel live tweeted the lead-up to totality, and even Donald Trump stepped out of the White House to look directly at the sun. Yes, he did that. Someone: don't look into the ec- Donald trump: pic.twitter.com/71wpDiwPr1 — sarah (@sarahburhans_) August 21, 2017 So while we wait for a solar eclipse to pass over Australia — the ABC reports that the next one will take place in 2028 and will pass directly over Sydney — here's some of the most epic images from last night's total solar eclipse. Only 11 years to go. A post shared by Getty Images (@gettyimages) on Aug 21, 2017 at 11:51am PDT A post shared by Reuters (@reuters) on Aug 21, 2017 at 1:44pm PDT A post shared by NASA (@nasa) on Aug 21, 2017 at 2:03pm PDT Amazing composite images capture the moon during a previous total solar eclipse, shot by Czech photographer Miloslav Druckmüller #Eclipse pic.twitter.com/LAHenYm2Qi — sobore (@sobore) August 21, 2017 PHOTO: TOTAL SOLAR ECLIPSE 2017 from Green River Lake, WY. I truly think I had the most beautiful spot in the whole path. More photos soon. pic.twitter.com/jLDBMHJJU4 — Ben Cooper (@LaunchPhoto) August 21, 2017 Timelapse: Total solar eclipse brings darkness to Oregon. https://t.co/q3jBRYgob2 pic.twitter.com/MgESS6odoW — ABC News (@ABC) August 21, 2017 A post shared by NASA (@nasa) on Aug 21, 2017 at 3:57pm PDT Top image: Wikimedia Commons.
If you've even the smallest creative bone in your body, Django Unchained will tickle it. Wildly creative, funny, and frightening, true to form yet never predictable, this is one of those films that makes you want to write one of these kinds of films. Set two years before the start of the American Civil War when slavery was still rampant in the south, it's tempting (if also stupid) to think of Django Unchained as some sort of bizarre prequel to Spielberg's Lincoln. Initially the eponymous Django (Jamie Foxx) walks wearied and defeated in a chain gang until he's unexpectedly freed by the eccentric dentist Dr King Schultz (Christoph Waltz). This mannerly yet murderous bounty hunter then offers Django the chance to both exact revenge and make his fortune by murdering white outlaws in exchange for money. With the crosshatched scars of countless lashings on his back a daily reminder of such men's cruelty, Django leaps at the chance and soon proves a natural in the business. His wife, however, remains the property of vile plantation owner Calvin Candie (Leonardo DiCaprio), a character so heinous and sadistic that Tarantino subsequently deemed him 'beyond redemption', and hence a rescue plan takes form. It's perhaps no surprise, then, that this Tarantino tale of slavery and vengeance dials the violence up to 11 from almost the opening scene and never looks back. It does occasionally border on 'look-away' levels of horror; however — just as it was with Inglourious Basterds — this 'revenge porn' sub-genre of cinema uncomfortably satisfies through its savagery. Moreover, Tarantino's preparedness to brutally kill off any (and, often, all) his principal characters without even a moment's notice lends every scene an undercurrent of unpredictable tension that commands your attention. Traditionally, Tarantino's main shortcoming as a director has been his fondness for playing with form in a manner that denies his audiences the opportunity to entirely immerse themselves in the experience. Whether through unexpected soundtrack choices, mid-movie title sequences or just direct conversations with the audience, you're aware you're watching a movie and hence sit entertained but not always engrossed. Those same elements are at play again in Django, but for the first time since Kill Bill, they advance and enhance the plot rather than specifically (and jarringly) draw your attention to it. In short, it's a delightful return to form. https://youtube.com/watch?v=_iH0UBYDI4g
Digital nomad visas and remote working have never been more attainable, so if you've ever toyed with the idea of taking your skills abroad, Tourism Authority of Thailand is giving you the chance to try before you fly (away forever) with its Live Your Best Digital Nomad Life competition. Up for grabs is a Concrete Playground Trips voucher valued at $3000 (covering return flights to any major airport in Thailand and accommodation for any hotel in Thailand hosted on the CP Trips website), a $500 Klook voucher to spend on top experiences, activities and travel essentials such as transport and SIM cards, as well as $1500 worth of Visa travel vouchers which should cover you for long-tail boat rides along Chao Phraya River in Bangkok, trekking in Chiang Mai's Doi Inthanon National Park, hopping on island escapades in Phuket or Krabi and all the Tom Kha Kai you can consume in a week. That's a total prize value of $5000. And who knows — at worst you can enjoy a change of WFH scenery. Or after a week you might love the Thai hospitality, your digital nomad life (and affordable living) so much, that you'll decide never to come back. Want to find out more about remote working in this incredible part of the world? Here's what you need to know to get yourself set up for a working holiday in Thailand. [competition]885290[/competition]
Cyclists, for a long time considered well behind the peloton in the fashion stakes, seem to be catching up. Leading designers are decking them out in fashionable threads, and now the helmet is even starting to look good. Perhaps fuelled by the rise in cycle chic, designers are now rethinking the humble lid and giving it a new look — after all, what’s the point of looking sharp in your $650 jacket if you cap it off with a Stackhat? Designboom have gathered together some of the more interesting takes on the humble helmet. Some simply add some quality materials to the traditional design, others take inspiration from the military, or nature. The more radical ideas start with a blank slate, and end up with something foldable that can be slipped in your handbag or back pocket. They might look great and suit your new outfit perfectly, but many of them wouldn’t meet Australian safety standards. Which is a shame, as it seems that a lot of cyclists would rather be a traffic-victim than a fashion-victim. [via Designboom]
Shane Barrett adores wine. After shopping at specialty supermarket Terra Madre on Northcote's High Street one evening, the co-owner of Melbourne CBD Spanish tapas restaurant and rooftop bar, Bomba, was on the hunt for a bottle and found that the area was not awash in liquor stores. So, he teamed up with longtime Bomba business partners Jesse Gerner, Andrew Fisk and Kelly O'Loghlan to open his own. The four have opened a brand new bottle shop which focuses on boutique producers who practice sustainable, organic and biodynamic principals, alongside handpicked international wines. And they've named it for a fellow wine lover, Samuel Pepys. "Samuel Pepys was a naval administrator in London in the 1600s," says Barrett. "He was a diarist who loved good wine and food. If you read any of his entries they're quite entertaining — he was an old day foodie for lack of better words." The interiors (which the boys conceived themselves) are homely, welcoming shoppers with a cluster of suspended plants that overlook wire racks caressing bottles. Various wines are also available to taste, you'll find the daily offerings written on the chalkboard by the counter. "We want people to feel comfortable coming here and spend a bit of town browsing, we have products the general public won't be familiar with," says Barrett. "We all travel to Europe about two times a year and import a lot of wines ourselves," he adds, referring to their distribution company, Armada Imports. The store hosts about 400 wines, a 200 strong spirit list, a full Riedel glassware range and a selection of cigars (la-di-da). Local wines from Patrick Sullivan are available, as are bottles from the Mornington Peninsula's Polperro Estate. Find Samuel Pepys at 96 High Street, Northcote. Open from 12pm – 9pm daily. For more information head to the store's Facebook, Instagram or website.
The oldest floral festival in Australia, the Grafton Jacaranda Festival focuses on the hundreds of lilac-blossomed trees that line the town's streets. First held in 1935, the festival brings together art exhibitions, live music, markets and parades for a week-long celebration from October 27 through November 4. While the jacaranda blooms are of course the main attraction, it's by no means the only event you'll have to look forward to during the festival — think a dragon boat race and a riverside circus and carnival, along with buskers, fireworks and stallholders aplenty. Grafton takes their tree heritage seriously and currently holds the title for biggest jacaranda on the National Tree Register of Big Trees (yes, it is a real registry). While in town, visit 'The Gorge', a tree which measures at a massive 30 metres high with a six-metre circumference. It deserves a nice big hug, we reckon.
Frolic amidst the flowers in the picturesque Carlton Gardens before tucking into a feast fit for a king. Part of the Melbourne International Flower & Garden Show, Gardens by Twilight will welcome a convoy of food trucks to the grounds around the Royal Exhibition Centre for an after-dark picnic of the most spectacular kind. Kicking off at 6pm on Friday, March 18, this ticketed event will feature morsels from Toasta, Speedy Gonzales, Yo India, Let's Do Yum Cha, Smokin' Barrys, Manny's Doughnuts and many more. Once you've eaten your fill, picnickers can check out some of the highlights of the Flower Show by night, including the Landscape Show Gardens and the Great Hall of Flowers. For more information about the Melbourne International Flower & Garden Show, visit melbflowershow.com.au. Image: Jason Edwards Photography.
Ready player one, for a music festival unlike any you've ever been a part of. Taking over Fitzroy's Evelyn Hotel on March 3 and 4, Square Sounds is Australia's only event dedicated to chipmusic — that is, tunes inspired by and/or made using video game consoles. It may sound rather niche, but that's where you'd be wrong – as it happens, you can wrangle quite a bit of sound out of an old Game Boy. Whether you're into prog rock or deep house, the eclectic Square Sounds program should have something to fit your taste. Indeed, this year's festival will welcome chipmusic artists from the US, Japan, France and Sweden, as well as right here in our own backyard. Punters can even get in on the action themselves via 7bit Hero, an audiovisual experience that turns your phone into a joystick while Brisbane-based musician Hans van Vliet provides the live soundtrack.
Were you planning on spending the long weekend wrapped in a blanket cocoon with a season of Keeping Up with the Kardashians and a packet of Malteser mini eggs? Well, even if you weren't, here's a good enough reason to do just that: an all-reality TV streaming service is launching in Australia on Tuesday, March 22. hayu is the latest subscription video on-demand service to launch in Australia, and it's essentially Netflix but purely for reality TV. The service is part of NBCUniversal International, and will pull from their massive back catalogue of content to offer full 'box sets' of over 3000 episodes of shows like the Kardashians, Real Housewives and Made in Chelsea. Most new episodes will be available on the same day as their US release, and the platform will allow you to share snippets (i.e. Kardashian quotes) directly to your Facebook, Instagram or Twitter. It's either your worst nightmare or a vision of heaven you never thought would be socially realised. "We're excited to be unveiling March 22 as the launch date for hayu in Australia," said NBCUniversal's Jay McNamara, EVP Strategy Development and Analysis. "Curated by reality experts for reality fans, hayu is fully integrated with news feeds and social media and, uniquely, its next-generation functionality will enable Australian fans to share some of the content they love." Binge watchers of reality TV will be ecstatic (if not just secretly) over this news. As for all the haters.. hayu will launch on Tuesday, March 22. You'll be able to get a 30-day free trial, with the subscription costing $5.99 per month thereafter. For more info, visit hayu.com.
Forbidden love — so much more appealing than ordinary, feasible love. Centuries ago a Frenchman called Racine adapted a play by Euripides which British poet laureate Ted Hughes later spent the last few months of his life translating, perhaps as a sort of self imposed penitentiary act for not protecting his partner in poetry, Sylvia Plath, from her own passionately wrought fantasies. Hughes' highly regarded free verse translation of Phèdre has been adapted for the stage by the Bell Shakespeare Company. The plot is a psychologically compelling, proper Greek tragedy complete with pathos, jealousy and screaming frustration. The character Phèdre is a cursed, cougar-esque queen afflicted with an all-consuming passion for her stepson Hippolytus — ignore the name, he's a handsome if diffident 'objet d'adoration'. Fatefully, Phèdre's husband Theseus is missing, presumed dead. At the encouragement of her well-meaning nursemaid Oenone, Phèdre decides to confess her dangerous and libidinous obsession to the boy in the hopes that he will respond with equal passion. Instead, Hippolytus backs away from the raving madwoman in her stilettos and tight pants in horror, as his pursuer stumbles across the stage, half-crippled by her unrequited lust. It's an unfortunate time for Theseus to return unexpectedly home – literally from Hell – and hell hath no fury like a woman forced to think on the spot of how she became so visibly distressed. Phèdre accuses Hippolytus of rape and Theseus promptly invokes the power of Neptune to curse his son, who retreats quite understandably to the blonde and bare-footed Aricia with a view to intertangling limbs and lives. Director Peter Evans highlights how our lives can become defined by destructive relationships – both with ourselves and with others – if we allow them to. From the scratchy heartbeat of the fitful soundscape to the frenzied intensity of an apparently powerful woman seeking control in a world where female control just isn't possible, it's easy to identify with her quest and subsequent failure to achieve fulfillment. Her powerlessness turns love into mania and passion into a destructive force. The male characters are victims, too; Theseus too readily believes his son is a rapist, perhaps because of his own philandering history. His realisation that he’s got it fatally wrong comes much, much too late. Some stories transcend space and time and Phèdre remains a remarkably compelling psychodrama in the context of contemporary life. Anna Cordingley's set is as damaged as the characters hearts and Hughes' translation is lean, mean and lyrical. The most tragic thing about Phèdre is that she realises how the contamination of her consciousness is self-induced: the foregone conclusion of forbidden love. Photo by Rush.
If you've ever had a sneaky little go with some small person's Lego blocks once they're all tucked up in bed, LEGOLAND sees you, tips you their hat… and raises you an adults-only night at their Melbourne Discovery Centre. It's not just any evening for more mature Lego fans, but a LEGOLAND birthday party to mark the centre's second year of operation. With no children to get in the way (or outdo your creations), you'll be able to have free reign of LEGOLAND to check out the 4D cinema, hop on the rides rides and build to your heart's content in the brick pits. Challenge yourself by taking on the master builder or a speed build and vie for the prizes up for grabs — there'll even kids' party games, a treasure hunt, balloon animals and face painting, so you can go full inner child mode. BYO shameless excitement, taste for glory, and bustling creativity, as well the eagerness to wear a birthday hat and devour a Lego cupcake. The party takes place from 7pm on Thursday, April 4, with doors opening from 6.30pm. Tickets cost $32.50 — and because it wouldn't be a birthday party without heaps of snacks, there'll also be mini hot dogs, mini burgers, mini donuts, milkshakes and spiders, some of which might just be Lego-shaped.
The Abbotsford Anglers are a lousy, Saturday morning, suburban cricket team, led by Ted (Stephen Curry), a sweet but kinda hopeless guy who lives in a mate's garage and works at a sports store. When his best mate, Rick (Brendan Cowell), announces his plans to marry and have children (which, to the boyish Ted, amounts to no less than treason), Ted can see his beloved cricket team will be overtaken by nappies, wives and all the other dreadful trappings of manhood. Oblivious to the inevitable fact that the times and the nature of his friendships are a-changing, Ted leads his D-grade team into the depths of India for a tour of glorified park cricket. It’s here that tensions arise, friendships are frayed, life lessons are learned and Ted must finally man up, grow up and fondly leave his teenage dreams behind. Save Your Legs! is about as blokey and Strayne, and silly as you’d expect a cricket bromance penned by Brendan Cowell to be. There's alot of toilet humour and alot of Channel Nine's "Wide World of Sports" theme music going on. Admittedly, I’m not the film’s target audience member (in other words, I’m not a cricket-obsessed, "nice Aussie bloke"), but it’s lovely to see a film that doesn’t take itself too seriously. Until it does, when the cricket metaphors start coming thick and fast (“There’s only one innings in life. You only get once chance” and so forth). Underlying all the beer and bravado, Save Your Legs! is about mateship and coming of age, with an affectionate portrait of everyday Aussie battlers that puts it in the same cinematic bracket as The Castle and Kenny. If the idea of a crew of drink-addled guys swanning around stoking chaos sounds familiar, it's because the film is also a bit of an Australianisation of The Hangover. Cowell and Curry give endearing performances as man-boys who are forcefully and finally shoved out of adolescence and into adulthood at the ripe old age of thirty-five. As a lighthearted, nostalgia-drenched film, Save Your Legs! hits a six.
Northcote's High Street is worlds apart from the dusty expanse of Burning Man. But after this month, they'll share something in common: both will have played host to interactive neon art installations by renowned Aussie artist Carla O'Brien. You might be familiar with O'Brien's signature work, Neon Angel Wings, which shot to global fame after Katy Perry posed for a snap with them installed at the US festival back in 2016. Now, the artist's taking over the Northcote stretch affectionately dubbed The Rise, for a two-weekend pop-up installation celebrating diversity. From December 9–12 and again from December 16–19, Northcote Rise Neon Art Park will see a swag of playful neon pieces grace Civic Square at the Northcote Town Hall. Expect hot pink poodles, vibrant flowers and interlocking hearts, on show as the sun dips each night. And yes; those angel wings will be making an appearance so you can have your own little Burning Man moment, right here on home soil. [caption id="attachment_837854" align="alignnone" width="1920"] Melanie Desa[/caption] Images: Melanie Desa
UPDATE, December 23, 2022: The Batman is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. Why so serious? That question is answered quickly. Also, badging Pattinson's turn in the cape and cowl 'emo Batman' is 100-percent accurate. It's meant to be, because violence isn't just about experiencing or inflicting pain, but also about processing the emotions stirred up. Apply the label to The Batman's unrelentingly dark and rainy aesthetic as well and, once again, it suits. Lensed with such an eye for the absence of light by Australian cinematographer Greig Fraser (a Dune Oscar-nominee) that he's painting with the shadowiest of shadows, this is a grimmer Batman than Christopher Nolan's trilogy, moodier than Ben Affleck's stint, and gloomier than the Michael Keaton, Val Kilmer and George Clooney-starring movies (not to mention the upbeat and campy 60s TV series that gave us the Batusi). Like teen shows, the tone of any given Batman entry reflects the surrounding times, and the tenor here is bleak, bruised and battered. Call the prevailing batmosphere cinema's own bat-signal and that's oh-so-fitting, too. Batman is bruised and battered himself in The Batman. He flinches when jumping from skyscrapers in his winged batsuit, grimaces upon impact and sports contusions beneath his mask before that. In spurts of Taxi Driver-style narration — where he could be one of screenwriter Paul Schrader's lonely men wrestling with the world (see also: The Card Counter) — he seethes about his self-appointed task, past and the state of Gotham, exposing his psychological scars as well. That doesn't change when a serial killer who dubs himself The Riddler (Paul Dano, Okja) and must love David Fincher movies (Seven and Zodiac especially) commits The Batman's opening murder, the first in a chain targeting the city's elite. This other angry mask-wearing vigilante is also waging a war on Gotham's corruption, and leaving puzzles to be solved along the way — with Batman assisting police lieutenant Jim Gordon (Jeffrey Wright, The French Dispatch), and being aided by nightclub waiter-cum-cat burglar Selina Kyle (Zoë Kravitz, Kimi) in turn. What makes one man's angst-riddled quest noble but the other's deranged? As The Batman broods over that conundrum, the line between its titular figure and The Riddler is the finest it has perhaps ever been. Reeves isn't interested in another hero-with-a-sob-story spin on Batman, but in surveying the tragedy that seeps through his grimy and dank rendering of Gotham — yes, even dimmer than in Joker — and plotting the choices that spirit its abandoned residents towards either improving or destroying the city. The longer he chases The Riddler, via altercations with crime kingpin Carmine Falcone (John Turturro, Severance) and club-owner Oswald 'The Penguin' Cobblepot (Colin Farrell, The North Water), the more that Bruce/Batman flies parallel to his new foe. Selina slinks along a similar route, too, as coloured by her own history — plus the missing friend she's desperate to find, which is what connects her with Batman to start with. This many different Batman films and shows in, it isn't easy to make the Dark Knight an entrancing and surprising character again — Christian Bale did, Affleck didn't — but Pattinson's casting is exceptional. Since he stopped visibly sparkling in the Twilight saga, his role choices have been near-impeccable as Cosmopolis, The Rover, Maps to the Stars, The Lost City of Z, Good Time, High Life and The Lighthouse have shown, and The Batman slides seamlessly into his enviable recent resume. There's soulfulness and tension to his portrayal of the Gotham crusader's inner turmoil, not just matching the Nirvana's 'Something in the Way'-meets-'Ave Maria'-soundtracked mood of melancholy, but also rippling in every glance, glare, step, jump and thrown fist. There's also a deep-seated intensity; a willingness to play both Bruce and Batman as weird, awkward and unsettled; and a welcome lack of boundaries between his character's two personas. Reeves hasn't just scored a pitch-perfect lead, though. At just a batwing's flap shy of three hours, his film comes packed more convenient plot developments than necessary, but it has time to cement the savvy Kravitz among the most memorable versions of Catwoman — and to refreshingly play up her sexual tension with Batman. It also ensures that the quietly commanding Wright, hypnotically unhinged Dano and prosthetics-laden Farrell all have room to shine, though The Penguin is hardly a big player. It gives the latest Batmobile a helluva revved-up entrance and breathlessly thrilling car chase, and lets wide-framed, rhythmically choreographed action scenes roll long so that viewers feel the toll they wage on the movie's main man. Spotting everything that influenced The Batman isn't an enigma, of course, and The Riddler would be thoroughly disappointed. But the way that everything is spliced and shaken together, and the mood — and it's definitely a mood — makes this weighty, heavy, sublimely shot, excellently cast, always-engaging blockbuster feel new, and all things Batman with it.
If you experienced lauded director Barry Jenkins' last film Moonlight, then you would know that he's able to load his movies up with an emotional punch like no one else can. And if you believe the early reviews for his latest production If Beale Street Could Talk, this time around could possibly be even more powerful. Starring Kiki Layne as Tish and Stephan James as Fonny, this adaptation of James Baldwin's acclaimed novel is a love story set within the bustling world of 1970s New York. As the leading couple fall in love and come to expect their first child, their promising future is left in tatters when Fonny is arrested for a crime he didn't commit. Elegantly adapting Baldwin's celebrated portrayal of black America, the three-time Academy Award-nominated Jenkins offers up a cinematically stunning masterpiece that considers the power of love and family alongside a razor-sharp social commentary. Currently sitting at a 94% fresh rating on Rotten Tomatoes, it seems like Jenkins has produced yet another massive success. You can catch his latest flick nationwide from Thursday, February 14 — be sure to check out the trailer here beforehand. But if you can't wait until Thursday, we've got our hands on a bunch of double passes to the preview screening at Palace Como Cinemas on Wednesday, February 13. To be in with a chance, enter with your details below. [competition]707676[/competition]
If you've been keeping an eye on the NGV's programming, you'll know that the gallery's currently playing host to Terracotta Warriors: Guardians of Immortality: a major collection of ancient Chinese statues crafted between 221–206 BCE. And the figures are such a big deal, they've even inspired an unlikely themed high tea, happening at the Sofitel Melbourne in collaboration with the team at Dulux. Here, you can have a crack at painting (and eating) your own mini terracotta warriors, bringing chocolate figurines to life with some artistic flair, a paintbrush and a rainbow of edible Dulux paints. There'll be fountains of the stuff, pouring vibrant colours including Midas Touch, Mint Twist, Symphony Red and China White. To match, Sofitel pastry chef David Hann is whipping up an Asian-accented high tea buffet of sweet and savoury bites, from steamed pork buns to crispy wontons with chocolate, ginger and pineapple. The arty high tea will set you back $99, including a glass of bubbly and unlimited tea and coffee. An extra $19 will get you free-flowing sparkling wine. The Sofitel x Dulux Terracotta Warrior High Tea is happening in Sofi's Lounge every Saturday and Sunday at 2.30pm between May 25–October 13. The NGV International's Terracotta Warriors: Guardians of Immortality exhibition runs from May 24–October 13.
Christmas markets are always excellent for those of us who tend to leave gift purchasing until the last minute — and, thankfully, Etsy is setting up their markets all over Australia in the final weekend of November. Etsy Made Local is a grassroots initiative that celebrates crafters, collectors and artisans in local communities, and provides them with the opportunity to sell their creations both online and in a physical space. So whether you're on the hunt for handmade wares or vintage goods, these guys have got you covered. The markets will be held in Brisbane, Perth, Adelaide, Melbourne, Sydney and Canberra. Because each market focuses on the best local talent, each market will be filled with different stallholders and unique creations. Supporting creative small businesses and scoring a killer Christmas gift is a win for everyone involved, so head to Collingwood's Rupert on Rupert on Saturday, November 28 and get your festive shopping done early, for once.
The trio behind the CBD's family run Armenian restaurant Sezar and The Black Toro in Glen Waverley will open a third eatery in Windsor this April. Dubbed Shukah, it'll continue the family's focus on Armenian flavours, but you can expect a more casual vibe. Shukah's menu will combine Armenian food with European and other Middle Eastern influences. "It's not traditional stuff," says executive chef Garen Maskal, who co-owns the restaurants with cousins Aret and Sasoon Arzadian (they're brothers). "But anyone familiar with those flavours will get it. There'll be a lot of spices, fresh herbs and slow-cooked meats." The centrepiece will be a Mibrasa charcoal oven, to be imported from Spain. Maskal describes it as "an upright oven, but fully powered by charcoal and super hot — anywhere from 350 to 400 degrees." From that, you'll be getting smoky, charry meats, fish and vegetables. Matching them will be a "small, punchy" wine list, including Lebanese, Georgian and Armenian drops, as well as a range of cocktails. On top of that, the team is collaborating with Brunswick's Kettle Green Brewing Co to come up with a unique beer that'll be light and floral to counter Shukah's spices. Erika Lancini is taking care of the design, with pastel colours and, for seating, a mix of banquettes and high stools. A big picture window looks onto the street and there are plans to open a courtyard out the back in time for summer. The space at 104 Chapel Street, has room for 40 inside and a few outside. "It's like a light-hearted version of Sezar," Maskal says. "It's not a bar, but you can pop in and out for a quick drink or mezze, or go the full slog." Shukah will open at 104 Chapel Street, Windsor in April. We'll update this story once an opening date has been announced.
There is only one direction to build in Hong Kong: up. The island is so densely populated by both humans and towering structures that buildings just get taller and taller as the population swells ever larger. These monolithic buildings of commerce and habitation dwarf the masses on the streets below, and this feeling has finally been captured in a series of photographs that truly convey the dizzying depths of the tiny island. Romain Jacquet-Lagreze, a French graphic artist, captured the city from the ground looking up. Using the diverse range of vertical perspectives that Hong Kong has to offer, including shopping centres, commercial skyscrapers and residential towers, he showcases the uniqueness of a "relentlessly growing city" for his book Vertical Horizon. Hong Kong appears to be the subject to capture at the moment, with this series following earlier exhibitions concerning life in Hong Kong. In early April, Michael Wolf showcased the artistry of architecture and density of the nation's skyscrapers for a project celebrating the unseen beauty of Hong Kong's heights. His depiction of stunning symmetry conveys an urban painting that beautifies even the plainest towers. This followed the Society for Community Organisation's commissioning of vertigo-inducing photographs to highlight the claustrophobic nature of Hong Kong life, with whole families living in less than 40 feet of space. With more than 110,000 people per square kilometre in Hong Kong, these artworks highlight the unseen problem of inadequate housing. If more space is to be sourced, expect Hong Kong to get taller and taller. Via PSFK, Inhabitat and PetaPixel.
It wasn't just a Twitter thread — it was the Twitter thread. Whether you read Aziah 'Zola' King's viral 148-post stripper saga live as it happened back in October 2015, stumbled across the details afterwards as the internet lost its mind or only heard about it via Zola's buzzy trailer, calling this stranger-than-fiction tale a wild ride will always be an understatement. Its instantly gripping opening words, as also used in Janicza Bravo's (Lemon) savvy, sharp, candy-hued tweet-to-screen adaptation, happen to capture the whole OMG, WTF and OTT vibe perfectly: "you wanna hear a story about how me and this bitch fell out? It's kind of long, but it's full of suspense." In the film, that phrase is uttered aloud by Zola's eponymous Detroit waitress (Taylour Paige, Ma Rainey's Black Bottom). Still, the movie firmly embraces its origins. For those wondering how a filmmaker turns a series of tweets into a feature, Bravo handles the task with flair, energy, enthusiasm and a clear understanding of social media's role in our lives. Much of the phrasing that the real-life Zola used has made its way into the conversational script, which was co-written by playwright Jeremy O Harris. Each time that occurs, the film echoes with tell-tale swooshes, whistles and dings. But those words and alerts are just the starting point; as Zola's chaotic narrative unfurls, it comes to life with a mix of the hyperreal, the loose and the dreamy. It doesn't merely tell a tale taken from the tweetstorm to end all tweetstorms, but also uses every aesthetic choice it can to mirror the always-on, always-posing, always-sharing online realm. The other person that Zola refers to in her initial statement is the cornrow-wearing, blaccent-sporting Stefani (Riley Keough, The Lodge), who she serves at work, then joins on a jaunt to Florida. They immediately hit it off, which is what inspires the invite to head south — a "hoe trip" is how Zola describes it — however, what's meant to be a girls' getaway for a stint of lucrative exotic dancing in Tampa soon gets messy. The drive is long, and Stefani's boyfriend Derreck (Nicholas Braun, Succession) quickly dampens the mood with his awkward, try-hard schtick. Then there's X (Colman Domingo, Candyman), who, while introduced as Stefani's roommate, is actually her pimp. Trafficking Zola into sex work is the real plan of this working holiday, she discovers, but she's ferociously adamant that she won't be "poppin' pussy for pennies". As the woman both relaying and riding Zola's rollercoaster of a story, Paige is fierce and finessed. It's a tricky part; making the dialogue sound authentic, and also like it could've just been rattled off on social media with a mix of emojis and all caps, requires a precise tonal balance, for starters. So does ensuring that Zola always feels like a real person, especially given the tale's ups and downs. That said, Paige is guided by Bravo at every turn, with recognising how things play online and how they pan out in reality — and the frequent disconnection between the two — one of the filmmaker's biggest masterstrokes. That's exactly what a flick that's based on a Twitter thread should offer, rather than just mining posts for punchy content that's already proven popular. Using the platform as source material definitely doesn't equal an endorsement here. Instead, it sparks a brash and bouncy feature that interrogates its inspiration and the mechanism that turned it into a whirlwind, rather than serves up a cinematic retweet. Zola also draws upon David Kushner's Rolling Stone article 'Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted', because 148 tweets can't cover everything. Nonetheless, plenty of the film's success emanates from its almost-surreal 16mm imagery and its airy, eerie-scored atmosphere, too. Its namesake's early words aren't misleading: this is a narrative filled with suspense. The waves it surfs in its mood and stylistic decisions cause just as must jitteriness, though — in a fantastic way. Zola hangs together immaculately, and it constantly feels as if Bravo, cinematographer Ari Wegner (The Power of the Dog), editor Joi McMillon (If Beale Street Could Talk) and composer Mica Levi (Monos) could go anywhere. That's a powerhouse lineup of talent, after all, with the latter trio's resumes spanning some of the killer films of the past decade: Lady Macbeth, In Fabric, True History of the Kelly Gang, Moonlight, Under the Skin and Jackie all included. Alongside Paige, Zola's cast is equally impressive, even if it initially appears as if a few might simply stick to type. Keough could've stepped off of American Honey's set and onto this one, and not just because they're both road-trip movies, yet adds another tricky yet memorable performance to her filmography. Written into her character, and conveyed in her portrayal as well, is a dissection of cultural appropriation. Stefani acts like she's Black in lieu of forming her own identity, is wilfully ignorant of that fact while being openly racist, and provides a pinpoint-precise portrait of oblivious, exploitative, all-devouring whiteness. Similar ideas bubble through Braun's work as the gangly and bungling Derrek — a twist on his acclaimed Cousin Greg persona, but with far less cash — and the concept of adopting a part and facade also lingers in Colman's scarily compelling and icily charming efforts. These are layered performances, befitting the rich and multi-faceted film they're in. Nothing in any movie is ever just one thing, but Zola demonstrates that notion with commitment and command. It's there in the feature's bold approach, including its eagerness to unpack its genesis on several levels. It's there in the film's gleaming yet never glamorous appearance as well, which almost pitches itself into the world of fantasy while steadfastly recognising that nothing about its story is seductive or alluring. And, it echoes in the tiniest of choices. Take an early moment, in a bathroom, where both Zola and her new pal take a leak. Shot from above, this is the smartest peeing scene you're ever likely to see, and expresses so much about its central duo purely by peering at their urine. Turning tweets and piss into a must-see movie? That's cinematic alchemy.
As part of the Melbourne Art Fair program this August, TIME will take place in various locations across the city of Melbourne. A site-specific video installtion, TIME will showcase a variety of works from artists such as Michaela Gleave, Jess Johnson, Simon Ward, Sriwhana Spong and Angela Tiatia, in a female-heavy four days of art and culture. Curated — again by two cool women of the art world — by Hannah Matthews (Senior Curator at the Monash University Museum of Art) and Rachel Ciesla (Curator and Administrator of Galleries and Programs, Melbourne Art Foundation), TIME sees art pieces — all considering the idea of now — spread across Melbourne, sprawling from Buxton Contemporary to QT Melbourne. Video locations and times can be found here, as well as the full Melbourne Art Fair program. Find Angela Tiatia's The Fall (2017) at Buxton Contemporary; Jess Johnson and Simon Ward's Webwurld (2017) at Fed Square; Michaela Gleave's A Galaxy of Suns (2016-18) at the QT Melbourne; and Sriwhana Spong's This Creature (2016) at the Melbourne Art Fair. Images: Angela Tiatia, The Fall (2017)
This time last year, the Brisbane Street Art Festival was in full swing, with creative folks brightening up the Queensland capital with their artistic work. While the fest ranks among the many, many events changing their plans in 2020, you can still watch street art come to life before your eyes this weekend — via a two-day live stream. Teaming up with Brisbane art space Superordinary, BSAF is unleashing 19 artists on the building. Naturally, they'll be painting up a storm. Every inch of the space will be transformed, and everyone can see it happen. That doesn't just cover street art-loving Brisbanites, either, because online streams are handy that way. The weekend-long event runs across Saturday, May 16–Sunday, May 17, with the action streamed via Twitch. As well as oh-so-much painting, there's also interviews, Q&As and roving performances — all while social distancing. https://www.facebook.com/BrisbaneStreetArt/photos/a.10150176402908346/10158102825878346/?type=3&theater Top image: Gus Eagleton.
Singer-songwriter Gregory Alan Isakov is a bit of an anomaly in the music world. Despite his success in music (he has clocked over 300 million streams on Spotify), Isakov still spends as much time as possible on his land, sewing seeds, growing crops and recording in his home studio. It's a testament to Colorado's beauty — the US state is famous for its vast prairies, rugged mountains and tumbling waterfalls. It's also a musical paradise, with 360 festivals held every year. And we want you to experience all that this state has to offer. So, to celebrate Isakov's upcoming Australian tour, we're giving away a trip to his homeland. For five days, you and a mate will get to explore some incredible scenery, plus see Isakov live in concert at the legendary Red Rocks Amphitheatre in Denver. This epic prize, worth a cool $5596, includes return flights to Denver, Colorado, three nights in a loft-style room in lower-downtown hotel The Maven, tickets to Isakov's show and a bunch of other local adventures — all thanks to Visit Denver. Next up, thanks to Colorado Tourism Office, you'll have two days of free exploration around Colorado with a rental car and accommodation in a town of your choice (within two hours' drive of Denver). And if you don't land the main prize, we also have tickets to give away to his concert here in Melbourne on Friday, March 8. Enter with your details below for a chance to win. [competition]709426[/competition] Image: Colorado Josh.
Melbourne prides itself on being the thinking person's city. We don't have Brisbane's sun or surf and we certainly don't have the picturesque views of Sydney. With weather that fluctuates between the howling gales of Siberia and the scorching highs of the Sahara, we're pretty much forced to sit inside all day and read books. Now we're taking full advantage of all those smarts: from October 27 - November 2 the City of Melbourne is hosting Melbourne Knowledge Week. Featuring 90 events, this mini-festival scattered across the CBD spans the fields of science and medicine, design and urban planning, business, art, culture and technology. Featuring talks, panels, workshops, walking tours and performances, Melbourne Knowledge Week is all about ongoing discussion, interrogation and learning. The highlight of the arts program will undoubtedly be The Crack Up at Malthouse Theatre. A "transmedia dance performance", this work will incorporate live dance and virtual performers against a high-resolution 3D backdrop. The cutting-edge work will then be followed with a panel entitled 'Performance and Technology: where to from here?’. If your smarts come from books rather than the stage, you might instead be interested in 'Stop Apologising for Your Arts Degree' — a forum on the versatility and use of humanities, and a guaranteed pick-me-up to your post-university slump. Alternatively, you can explore the uses of virtual reality technology or debate the pros and cons of making Melbourne a 24-hour city. There's really no need to choose at all. With most events offered free of charge, you may as well hit up as many as possible. Your education shouldn't stop with your final VCE exam. Check out the full program here.
