Winter is upon us, the gloves and beanies are out of storage, and it's time to start loading up on sweets and carbs. That's how every June starts — and, this year, Krispy Kreme wants to help with the latter. How? By giving away an extremely excessive number of doughnuts. You're probably now wondering what constitutes an excessive amount of doughnuts. No, polishing off a packet by yourself doesn't count, at least in this instance. Krispy Kreme's giveaway is going big, with the chain slinging 10,000 original glazed doughnuts on Friday, June 7 in conjunction with National Doughnut Day. Whether or not you're a big fan of food 'days', we're guessing you are quite fond of free doughnuts. To snag yourself a signature glazed freebie, head to your closest Krispy Kreme store, with Melburnians able to hit up nine locations from the airport to the city. The National Doughnut Day deal isn't available anywhere other than Krispy Kreme stores, or via online orders or third-party deliveries. There's also a limit of one freebie per person, and the giveaway only applies to the original glazed variety. The 100,000 doughnuts will be spread across the participating stores around the country, so you'll want to get in relatively early if you want to kick off your Friday with a free sweet and doughy treat. Obviously, whether you nab one or not is subject to availability.
Imagine if your quick trip to the convenience store was even faster and more convenient? Well, this could soon be a reality, as 7-Eleven Australia launches its new cashless, cardless concept store, where transactions are all processed via smartphone. The app-based technology was first trialled alongside the regular point-of-sale system at the group's Exhibition Street store in the CBD, but this new Richmond store will be the first in Australia to rely on it entirely. Operating similarly to Amazon's groundbreaking, fully automated grocery store, which opened in Seattle last year, 7-Eleven's new process ditches physical checkout counters in favour of a smartphone app. Customers scan barcodes of their selected items as they move through the store, then pay via the 7-Eleven Mobile Checkout App, which is linked to their credit card. 7-Eleven launches Australia's first cashless and cardless convenience store in Melbourne's inner suburb of Richmond where customers use their smartphones to complete their transactions. https://t.co/AH8jNCtwjU pic.twitter.com/szMtsszQG9 — 7-Eleven Australia (@7ElevenAus) May 29, 2019 According to 7-Eleven, the payment process has been honed to be as quick and user-friendly as possible. And with zero queues, it means means less time waiting to sink your teeth into that late-night sausage roll. Like Queen Lizzie, we're guessing people will cheat the self-service system — putting pricey Ben & Jerry's tubs through as $1 Slushies — but 7-Eleven says there'll be plenty of staff on hand to greet, assist and keep an eye on the customers. While no more check-out free stores have been in Melbourne or interstate just yet, the company says it is exploring more "ultimate convenience" options, such as delivery and micro store formats. We'll let you know if it decided to launch any more. You can find 7-Eleven's new app-driven concept store at 2/658 Church Street, Richmond. You'll need to download the 7-Eleven store app from the Apple Store or Google Play before you shop.
The beloved Cameo Cinema will once again showcase some of the summer's most talked-about films on its magnificent outdoor movie screen under the stars. From mid-November until April 2017, audiences will get the chance to nestle down in deckchairs and beanbags, with craft beer, homemade choc-tops and freshly popped popcorn in hand. If that's not worth the drive out to Belgrave, then we just don't know what is. The full Cameo Outdoor Cinema summer program has us pretty excited. The season begins with a midnight, moonlight screening of Fantastic Beasts and Where to Find Them. Remember: if you don't come dressed as a wizard, you're doing it wrong. Other titles include new Nick Cave and the Bad Seeds doco One More Time With Feeling, the much-anticipated Trainspotting sequel, British Film Festival fave A Monster Calls and based-on-fact film Lion. Animal lovers will also be pleased with a pair of Bring Your Pet sessions, of A Dog's Purpose and Red Dog: True Blue. We're a little more sceptical about a Valentine's Day showing of Fifty Shades Darker, although the wine and ice cream giveaways should at least keep you partially distracted from the movie. It doesn't hurt that the Cameo concessions are a cut above what you'll find at your local shopping centre multiplex. They've got craft beer and boutique wines, edamame, and lollies from The Sassafras Sweet Co., to name but a few. Alternatively, you can bring a picnic of your own – this is one cinema where you won't have ushers pestering you about bringing in outside food.
Fitzroy’s Centre for Contemporary Photography is home to the first major survey of leading Australian artist David Rosetzky's work. True Self: David Rosetzky Selected Works is a curated culmination of 15 years of practice from one of our country's most prolific photo and video artists. Increasingly collaborating with artists from different fields and exhibiting across a range of mediums including photograph, video art, photo-collage and sculpture, a recurring theme of Rosetzky's work is the discrepancy between how we perceive ourselves and how others perceive us. Allowing viewers to journey the transition from early lo-fi, singular portraits through to longer-duration pieces with cinematic tone, the exhibition covers a broad range from Rosetzky's personal and commissioned pieces. Included in the more refined spectrum of work is Portrait of Cate Blanchett, a 9-minute video work commissioned by the National Portrait Gallery in Canberra in 2008. The video portrait is set against the simple background of an interior workshop of the Sydney Theatre Company, textured by a contemplative Blanchett as she navigates and manipulates her actions and movements in front of the camera. This introspective style of private and public exploration through the medium of video portraiture is relatively unknown terrain, at which Rosetzky is certainly a pioneer. Also featured in the exhibition is Half Brother (2013), a major new video work commissioned by the CCP.
The World's 50 Best has just unveiled its long list, ranking the best restaurants in the world from 51 to 120 (expanding, for the first time, beyond 100). And there are quite a few dramatic changes. Melbourne's Attica — which was last year's top ranking Aussie restaurant at number 20 — has dropped 64 places, coming in at 84. Fellow Victorian Brae, which last year ranked 58, has this year missed out on the top 100, coming in at 101. The surprising changes don't seem to have just affected Australia's entries, either, with Eater noting that Thomas Keller's famed NY restaurant Per Se had dropped 35 places, down to 115 from last year's 81. This could mean, in seemingly sad news for Australia, that no national restaurants will feature in the top 50. But, hope is not completely lost. Seeing as it hasn't made an appearance in the long list, the 50 could, possibly, feature Sydney fine-diner Quay. This year will be the first time the restaurant, which has previously featured in the top 100 list nine years in a row between 2009 and 2017, has been reviewed by the World's 50 Best since its extensive renovations in 2018. [caption id="attachment_677791" align="alignnone" width="1920"] Quay by Nikki To[/caption] While the World's 50 Best is exceedingly popular, it's not without controversy. The awards have copped much criticism for prioritising "expensive European-esque tasting-menu restaurants run by men", as stated by Eater, and for its separate 'Best Female Chef' award. Famed chef Dominique Crenn, of the acclaimed Atelier Crenn in San Francisco, won the award in 2016 and has long been critical of the list's lack of diversity. Crenn slammed the female-specific award in an interview with the Washington Post, saying, "It's stupid. A chef is a chef." The late and great Anthony Bourdain also questioned the award's modern-day relevance — way back in 2013. https://twitter.com/Bourdain/status/319441022688051200 The World's 50 Best will be announced at a ceremony in Singapore next Tuesday, June 25. Get ready for some big changes here, too — this year, there will be an equal gender balance across the award's 1000-plus global voting panel for the first time. Plus, the awards have this year barred any former winners from being on the list, so there'll be no Eleven Madison Park nor Osteria Francescana. You can check out the full list of the World's 50 Best top 50–120 restaurants here. The top 50 will be announced on Tuesday, June 25. Top image: Attica
If you've seen director Joe Wright and Keira Knightley's subtle and affecting period dramas Atonement and Pride and Prejudice, you might think you know exactly what you're in for with Anna Karenina. And you could not be more wrong. This is an Anna Karenina full of risks. It's a melodrama with the zippy editing of a Guy Ritchie film, the Gallic filigree of Jean-Pierre Jeunet, and, above all, the flourish and symbolism of a work of theatre. In fact, pretty much the whole film has been transplanted to within the confines of a theatre, a conceit that brilliantly suggests a society ruled by pretence and observation. In this world, society balls play out on stage, affairs unfold within the wings, and when a character visits the poorer part of town, he climbs three storeys into the shaky rafters. When the St Petersburg elite sit down to watch a piece of theatre, the curtain lifts on the next scene in their lives. Does it hammer you over the head with this metaphor? Absolutely. Are we bothered? No. Anna Karenina is knowing in its heavy-handedness, and all power to it for embracing the brashness of what is, after all, culture's most populist medium. It doesn't always succeed, but where it takes you is mostly great and always interesting — and that's the bigger achievement. It's kind of extraordinary to read that the whole world-within-a-theatre idea only came 12 weeks before the shoot, because it's a striking marriage of theme and methodology. Wright already had two names known mostly for their imposing stage work attached to the project — screenwriter Tom Stoppard (indeed, many of the scene changes call to mind Rosencrantz and Guildenstern Are Dead) and choreographer Sidi Larbi Cherkaoui, whose expertise informed the smallest gestures as well as an expressive waltz — alongside ever-intense film composer Dario Marianelli, and they each play their part in taking the movie one bold step further away from the expectedly realist to the dizzyingly theatrical. Leo Tolstoy's famously vast novel has of course been whittled down, so that everything that happens on screen elucidates the central theme of infidelity and whether it is an impulse "of the animal or the soul". By the time Anna (Knightley) dives into the arms of besotted military officer Count Vronsky (Aaron Taylor-Johnson), desire and repercussion has been examined from every angle, and we feel for both the lovers and Anna's betrayed, dispassionate husband, Karenin (Jude Law, who's excellent here). It's also still a tale of two cities (St Petersburg and Moscow, in a Sydney-Melbourne-type rivalry) and the country, with their contrasting characters and morality. It's easy to conclude that this Anna Karenina is a superficial portrait of a superficial society, but that would be to dismiss how emotionally powerful it is in key moments, particularly an intricately choreographed society scene that communicates the oppressiveness of gossip. At other times, mainly when the campiness loses its originality and grabs at cliche, the film goes off the rails, and it sadly detracts from Anna's fate. Wright and co. should be applauded for having the guts to do things differently and birth an Anna Karenina unlike any of its predecessors. It's worth watching, and more than once.
Dust off your sombreros, amigos. The latest international excuse for a good time to reach our shores is Cinco de Mayo — a celebration of all things Mexican (which, if we’re being nit-picky, is really more of an Americanisation than anything but shh, let us party). In celebration, the folks at Corona and Beach Burrito Company Fitzroy are putting together a fiesta, complete with face painting by local street artists and the first ever Taco Time Trials Eating Contest. For the less competitively inclined but equally taco-happy, Cinco de Mayo falls conveniently on a Tuesday, and Beach Burrito Co’s regular $3 taco deal applies, so your pesos’ll stretch further. With what you’ve got left, you can sip salt-rimmed margaritas, down trays of tequila shots (not recommended) or share a bucket of ice-cold Coronas. And, of course, come prepared to smash and whack your way to glory, because they wouldn’t be doing Mexico right without pinatas.
Back in 2000 and 2003, the world probably didn't need a couple of films based on Charlie's Angels, with Cameron Diaz, Drew Barrymore and Lucy Liu taking on the hit 1976–81 television series. Almost two decades later, the world doesn't really need a third Charlie's Angels movie about a private detective agency, its formidable ladies and their globe-trotting hijinks, either. But the franchise is back anyway — with a few new faces. Also called Charlie's Angels, the latest flick both revisits the franchise's familiar scenario with a fresh cast, and reportedly continues on from both the TV show and the the first two films. Star-wise, it features Kristen Stewart, Aladdin standout Naomi Scott and British up-and-comer Ella Balinska. Elsewhere, Elizabeth Banks sits in the director's chair, co-wrote the script and plays Bosley. Well, one of them — Patrick Stewart and Djimon Hounsou both pop up as Bosley, too. Like her Twilight co-star Robert Pattinson, Stewart has made some savvy film choices since farewelling the vampire romance saga, including Clouds of Sils Maria, Certain Women and Personal Shopper — and while this upbeat action flick about kick-ass ladies saving the world clearly shares little else in common with her recent dramatic roles, here's hoping it continues her good run. She certainly seems to be having plenty of fun in the two Charlie's Angels trailers so far, with the latest combining ample espionage antics with a shout-out to day drinking. Music fans can also look forward to the new movie's soundtrack, with Ariana Grande, Miley Cyrus and Lana Del Rey all collaborating on the song 'Don't Call Me Angel' — and Grande featuring on four other tracks. The film's big collaborative tune is a bit of a throwback of its own, given that 2000's Charlie's Angels also featured a killer hit, aka Destiny's Child's 'Independent Women'. Catch the latest glimpse of the new Charlie's Angels in the trailer below: https://www.youtube.com/watch?v=7VTg3YWqHuQ&feature=youtu.be Charlie's Angels releases in Australian cinemas on November 14, 2019.
When Sofia Coppola won this year's best director prize at Cannes, it was only the second time a woman had claimed the category in the festival's 71 outings. Nominated for the same award at the 2003 Oscars, she became only the third female to even get a nod (Kathryn Bigelow's history-making win for The Hurt Locker was still six years away). As a female filmmaker – even one who is part of a Hollywood dynasty – Coppola exists a world where women are trapped by circumstances beyond their control, but remain determined to break free of their confines. It's little wonder that her movies concern characters doing the same, depicting their struggles in astute, impassioned, eye-catching fashion. Inquisitive minds and longing hearts striving to shatter gilded cages: this is Coppola's cinematic specialty. It proved true with The Virgin Suicides, Lost in Translation, Marie Antoinette, Somewhere and The Bling Ring – indeed, if someone once told Coppola to show what she knows, it would appear that she took their advice and ran with it. With The Beguiled, she adds the inhabitants of a civil war-era girls school to her growing squad of ladies seeking something other than the life they've been saddled with. To her resume, she adds a handsome period piece that doubles as a scathing satire. In the second big screen version of Thomas P. Cullinan's novel A Painted Devil (following a 1971 Clint Eastwood vehicle), the violence of the civil war finds the women of Miss Farnsworth's Seminary for Young Ladies left to their own devices. Headmistress Martha (Nicole Kidman) runs a tight ship, with teacher Edwina Morrow (Kirsten Dunst) assisting, giving pupils such as Amy (Oona Laurence), Jane (Angourie Rice) and Alicia (Elle Fanning) life and needlework lessons. Then wounded Union soldier Corporal John McBurney (Colin Farrell) wanders into the school grounds, forcing the group to reluctantly do the Christian thing by letting him rest and recuperate before they turn him in. The expression "a fox in the henhouse" might seem to apply here, as stereotype-reinforcing as it can be. But Coppola doesn't let a predator loose; rather, she uses an outsider as a catalyst to show just what lurks inside her dollhouse. That said, the eyebrow-arching Kidman, yearning Dunst and flirtatious Fanning are much, much more than mere playthings for the film and their gentleman guest, although that doesn't stop him from trying to worm his way into their hearts and nightgowns. Beneath the school's meticulous veneer, the women react to the sudden male presence in their midst, with desire cutting both ways (sometimes literally). The result is a smart, savvy exploration of lust and power in the long-running battle of the sexes. It's also a film that refuses to conform to expectations, just like its protagonists. While every inch the Coppola movie (complete with music by Phoenix), The Beguiled is as much a genre flick about the interplay of sex and violence as it is a nuanced drama about restraint, a textured character study of its fenced-in figures, and a razor-sharp comedy of manners. Within her candle-lit, painterly frames springs a feature that couldn't be more alluring yet tenacious and rebellious, nor more appropriately so. https://www.youtube.com/watch?v=HxUXvbqgdN0
It's no secret that when it comes to cocktails, Melbourne can mix it with the best. In the past year alone, the Victorian capital has been named among Punch's top five global drinking destinations for 2023, Bar Liberty's Nick Tesar took out the title of Australia's Best Bartender and CBD bar Caretaker's Cottage nabbed a spot in the latest edition of The World's 50 Best Bars extended 51–100 list. So what more fitting place to host Australia's groundbreaking new immersive cocktail exhibition, Art of Mixology? Transforming Southbank's Kingpin into an interactive gallery space from Friday, March 3–Sunday, March 12, the showcase is set to serve up a heady fusion of art and drink design that'll shine a fresh light on the world of cocktail making. It's being brought to life with the help of award-winning production agency VANDAL and R L Foote Design Studio. [caption id="attachment_888883" align="alignnone" width="1920"] Kingpin[/caption] Gracing the adults-only exhibition are works by six renowned local artists, who've each been commissioned to reimagine a different cocktail as a signature installation, complete with striking visuals, soundscapes and other interactive elements. Among them are interdisciplinary digital artist Mikaela Stafford (whose vibrant works have appeared at the Tate Modern), celebrated artist and food designer Ryan L Foote, and projections maestro and White Night regular Nick Azidis. [caption id="attachment_888877" align="alignnone" width="1920"] Mikaela Stafford[/caption] Making your way through Art of Mixology, you'll encounter their creative interpretations of various Kingpin cocktails, resulting in everything from large-scale sculptures and visual illusions through to aromatic bubbles floating through the space. Highlighted drinks include a lychee rose martini, the Zombie and the elegant Butterfly Flower. The exhibition is designed to be explored as you would a giant interactive cocktail menu, pondering each concoction and its ingredients before settling on your chosen sip. Of course, along with the visuals and other sensory details, your tastebuds are in for a treat here — each of the six featured cocktails will be available for visitors to enjoy while they're soaking up the art. Tickets come in at $20, which includes your choice of one signature cocktail (or booze-free alternative). You can purchase more drinks while you're there, too. [caption id="attachment_888884" align="alignnone" width="1920"] Kingpin[/caption] [caption id="attachment_888879" align="alignnone" width="1920"] Kingpin's Butterfly Flower[/caption] Art of Mixology will run from Friday, March 3–Sunday, March 12 at Kingpin, 8 Whiteman St, Southbank. Tickets are $20, available online.
Vivid Sydney today let loose their second major program announcement with their plans for Vivid Creative Sydney 2011. Creative Sydney will run from 30 May to 12 June, with over 50 global and local creative leaders coming together to explore the power of creative industries to transform society. And like everything else under the Vivid banner, it aims to bring the best of the world's ideas to Sydney and inspire the hell out of you. This year Creative Sydney is expanding to include more free sessions and for the first time a presence at the Opera House. The program includes short and snappy show and tell presentations, in-depth conversation sessions, and creative futures, where artists and entrepreneurs present their vision of the ideas that will shape society in the future. Over the next week the full range of live music showcases, debates, film screenings and parties will be unveiled, but already the lineup of speakers looks pretty awesome. Key speakers include Matthew Stinchcomb, EU director of Etsy, and will mark Etsy's first official engagement with their third largest market, and Fabian Rigall, founder of Future Shorts and Secret Cinema. Also lined up are Murray Bell and Andrew Johnstone, the founders of the internationally successful Semi-Permanent conferences, swimwear brand We Are Handsome and Ben Briand, winner of the Cannes Young Director Award and Best Narrative Video at the 2010 Vimeo Awards. Registration for the events opens 9am on Monday 2 May, and it's recommended you get in quickly with over 15,000 people expected to attend.
Australia's finest gin makers are on their way to Federation Wharf for a two-day celebration of that most sensational of spirits. Juniperlooza is a home-grown gin festival that should in no way be confused with Junipalooza (spelled with an 'a'), which took place in October and is a totally different thing. We know it's confusing, but are you really going to complain about Melbourne getting two events dedicated to gin? Yeah, we didn't think so. Held at Pilgrim and Riverland Bars on the weekend of November 19 and 20, Juniperlooza will showcase some of Australia's best gin, from the likes of Archie Rose, Adelaide Hills, Four Pillars and many more. There'll also be food to help line your stomach, music to get you moving, and special talk + taste sessions to fill your brain with gin wisdom. Hopefully you can still remember it the next day. UPDATE NOVEMBER 15, 2016: To kick things off a little early, Juniperlooza will be giving away free G&Ts from 4.30-6.30pm on Tuesday, November 15 at Riverland on the Yarra. All you have to do is get the Zomato app and bookmark Riverland.
Take your protein pills and put your helmet on. Picture yourself face to face with David Bowie's Ziggy Stardust 1972 bodysuits, Kansai Yamamoto’s trouser suits for the '73 Aladdin Sane tour, the Union Jack coat designed by Bowie and Alexander McQueen for the '97 Earthling album cover, props from Jim Henson's Labyrinth. We know, you're sweet to start freaking out. Opening next July, the Australian Centre for the Moving Image (ACMI) will play host to the acclaimed David Bowie is exhibition, celebrating the kickass career of the man himself. Created by London's Victoria and Albert Museum (V&A), the exhibition is a Bowiephile's dream — an unprecedented collection of over 50 stage costumes alongside tour sets (including the designs for the '74 Diamond Dogs tour), handwritten set lists and lyric sheets, Bowie's own sketches, rare live and interview videos, musical scores and diary entries, photographs and album artwork. Basically, if you're a Bowie fan, this is next level squealworthy material. "The mystery of David Bowie as an enigma is so lovingly explored in this incredible immersive exhibition you’ll feel as if you’ve stepped inside the mind of this astonishing cultural and pop icon," says ACMI Director & CEO, Tony Sweeney. "Bowie is a figure whose social and creative influence and significance far exceeds his status as a pre-eminent rock performer and in David Bowie is, his incredible career is showcased in glorious detail." Presented exclusively in Australasia by ACMI as part of Melbourne Winter Masterpieces, the exhibition explores Bowie's influences and legacy in a lengthy narrative layout (tracing Ziggy Stardust through Berlin and Thin White Duke phases), delving into his career as a musician, of course, but also reminding fans of his top notch cult film career, stints as a writer and his lifelong ability as a stage performer. V&A curators and brains behind the whole Bowie show, Victoria Broackes and Geoffrey Marsh, handpicked over 300 objects and films for the exhibition — a research process we're pretty damn jealous of. "The exhibition looks in-depth at how Bowie’s music and radical individualism has both influenced and been influenced by wider movements in art, design, film and contemporary popular culture over an incredible 50-year career and demonstrates how Bowie has inspired others to challenge convention and pursue freedom of expression," they said. The exhibition comes to Australia under a furious amount of buzz — its world premiere this March in London became V&A's fastest selling exhibition ever, recording record numbers of over 311,000 visitors. As the exclusive venue for David Bowie is, ACMI have crafted a specially-curated program of talks, screenings, live performances and special events to pair with the Major Tom-a-thon. David Bowie is will open at ACMI on 16 July 2015 as part of the Victorian Government’s Melbourne Winter Masterpieces series. Tickets go on sale to the general public in November 2014. To register for exclusive pre-sale ticket opportunities, visit acmi.net.au/bowie.
From the ruthless world of magazine publishing to the blood and guts of an Aussie hens weekend gone supremely wrong: that's been Aisha Dee's journey of late. There's far more to the Gold Coast-born actor's career so far, of course, including coming to fame as a teenager back in 2008 courtesy of The Saddle Club, subsequent parts on Dead Gorgeous and Sweet/Vicious, and showing up in St Vincent-starring satire The Nowhere Inn. Still, on screens big and small alike, she's been garnering attention for navigating pressure-filled situations — and revelling in them. In Sissy, her latest role and her return to Australia after years working in the US, Dee is in positively savage territory. She plays the titular character, better known as @SincerelyCecilia on Instagram to the tune of 200,000-plus followers. Liking and subscribing is what her devotees do all day, responding to her calming and inspiring missives about being yourself and finding your bliss, and Cecilia's whole sense of self is built on that online adoration. Sissy is a comedy, too, with writer/director duo Hannah Barlow and Kane Senes having ample fun parodying the wellness and influencer industries. That said, when the movie's namesake attends a bachelorette shindig for her long-lost childhood BFF, old torments resurface and this proves firmly a horror flick as well. Dee wasn't initially approached to play Cecilia. When the script came her way, she was earmarked for Fran, fiancée to Emma, Cecilia's primary school bestie. But Dee felt an instant bond with Sissy's eponymous figure. She felt protective of her. "Honestly, I read the script and immediately I felt like I had to defend Cecilia," she tells Concrete Playground. "I cared so deeply for her. I really felt really connected to her and had a lot of empathy for what she was experiencing in the moment, and how easy it would be under those circumstances to kind of just slip and fall." Once you've seen Sissy, Dee's words obviously come with a caveat: clearly, she hasn't found herself in the exact same situation, behaving in the exact same way. But in a film that happily, smartly and entertainingly rips into a whole heap of targets — with humour and as a slasher flick alike — she makes Cecilia a compelling protagonist amid all the chaos. It's a bold performance, because The Bold Type isn't just an entry on Dee's resume. The international film festival circuit heartily agrees, with Sissy premiering at SXSW 2022, enjoying its Australian premiere in June at the Sydney Film Festival, and doing the rounds everywhere from Melbourne and Perth to South Korea and Scotland since. Dee hit the Harbour City midyear with the movie, which is now in cinemas across Australia — and chatted to us about social media, knowing that she had to play Cecilia, preparing for the part in hotel quarantine, making a different kind of Aussie movie and getting an opportunity she didn't think would happen. ON SOCIAL MEDIA'S PREVALENCE — AND SILLINESS "The film doesn't offer solutions, but I do think it poses questions and forces us, in a way that feels quite uncomfortable, to question our own relationship with social media and how we interact with it. I think it's hard to be a human in the world right now and not have some kind of relationship with social media, because it is such a prevalent part of our society now. Personally, I don't use social media in the same way [as Cecilia] — I wish I was better at it, it's not something that comes super naturally to me, to be posting on Instagram all the time. My relationship with social media has always been really about creating boundaries, because I find it a very triggering environment in terms of even just having the confidence to post something. I second-guess myself a lot, and I get very existential. Every time I post something, I'm like, 'well, what's the point? What is Instagram? What is a telephone?'. It's all pretty silly." ON NEEDING TO PLAY CECILIA "It was towards the end of 2020 — and, you know, we were all there for 2020. I had been in LA for most of that year, really only seeing a select few people and kind of feeling quite isolated socially, a bit awkward, and reexamining a lot of my relationships. And my manager sent me this script. Initially they wanted me for the role of Fran, and I could see that, because Fran felt really similar to a couple of characters I had played before. But literally, I couldn't shake the feeling that I felt like Cecilia was my little sister or my best friend, or just someone that I loved so deeply and cared so deeply for. It wasn't something that I planned or knew was going to happen when I read the script, but I felt like I had to honour it. I called my manager and I said 'please tell them that I really love the script, but I just don't feel connected to Fran as a character — but I feel really connected to Sissy, tell them that I love Sissy'. I said that knowing it was kind of presumptuous but not expecting them to ask to meet me at all, but they were really into the idea. I think they had had someone very different in mind — she was described as having blonde hair and being very petite and pale, and I am none of those things — but I just felt like something felt right. ON DRAWING ON 2020'S CHAOS FOR THE PART — HOTEL QUARANTINE AND ALL "There's the year of 2020 as a whole. But then, in order to get back home to Australia, I had to do two weeks of quarantine in hotel quarantine where you literally see no one. It is the most extreme version of isolation. I was on a really low floor in this big tall building, and every day at like 12pm, I would lose the sun. I would be out my window — like I needed the sun and I needed the fresh air, and I felt like I was going absolutely insane. So while I was in quarantine, I was actually sending Hannah and Kane, the writers and directors of the film, I was sending them videos as Cecilia. Just every morning I would wake up and do a different kind of like sermon or meditation or something, just because I did't really have anything to do. Getting out of quarantine, I definitely felt like Bambi on ice a little. I felt very awkward. I'm an awkward person to begin with, but having those two weeks alone in a room — it wasn't intentional but I do think it kind of leant itself to getting into some kind of headspace." ON RETURNING HOME TO MAKE A DIFFERENT KIND OF AUSSIE MOVIE "Something that jumped out to me when I was reading it was the way that there was this really heavy female gaze on the movie — which I think is rare for genre films to have such a strong female gaze. And beyond just Cecilia the character, you had a very small cast that consisted of an interracial lesbian couple, a gay man with disability and an Asian woman. And the only man that you really saw was a queer man." I loved this this. I just loved the world that I could see imagining it and reading it. It didn't feel like any other Aussie movie that I had seen. It really reflected the colourful, diverse, beautiful Australia that I know. I think unfortunately, up until kind of recently, Australian film and television really hasn't reflected that same colourful melting pot that like we all know actually exists here — so that was another big reason why I wanted to be a part of it." ON GETTING AN UNEXPECTED OPPORTUNITY "I definitely had hoped that I would be able to play a character like this. But, being realistic, opportunities like this don't come up every day for someone who looks like me, especially in the Australian film space. So I had always hoped that maybe I would be able to play a role like this, but the fact that the opportunity was actually presented to me is really, really, really cool. I guess it kind of was on my bucket list. But when I think about it, I don't know that I ever could've anticipated that this would be an opportunity that I would've had. And to me, it really meant nothing whether people were going to see it or they weren't, it didn't matter to me — because with independent film, you really are rolling the dice, chances are nobody's going to see it. The fact that like it's doing such big things is really cool. I think that honestly it's a testament to what can happen if the Australian film industry embraces diversity the way they should." Sissy released in Australian cinemas on November 3. Read our full review.
Oblivion is like a 'Best of' album for sci-fi movies. It's got the isolation and planetary caretaking of Moon or WALL-E, the post-alien-invasion devastation of Independence Day, the memory wipes and insurgency of Total Recall, the sentient and menacingly red-eyed robots of 2001: A Space Odyssey and the 'You maniacs!...You BLEW IT UP-edness' of Planet of the Apes. In fact, with so many classic hits, it's like the I Am Sam soundtrack, but where one of the tracks is I Am Legend. So if it's not terrifically original — if what we're talking about here is essentially a 'covers' film — is it worth seeing? Well, yes, thankfully, because like any good covers album, the tributes are done lovingly, respectfully and with a just enough reinterpretation to keep you interested. Oblivion is directed by Tron: Legacy's Joseph Kosinski, whose touch is immediately obvious both cinematically and aurally (although this time the pulsing soundtrack is provided by M83 rather than Daft Punk). Set in a fantastically bleak 2077, humanity has abandoned Earth save for two individuals, Jack (Tom Cruise) and Victoria (Andrea Riseborough), whose job is to monitor and repair a small fleet of aggressive security drones that hunt down any remaining alien invaders. Like every old cop in an action movie, Jack and Victoria are just two weeks away from retirement when the unexpected crash landing of another human, Julia (Olga Kurylenko), throws a spanner into the works. Jack wants to know who she is, whilst Victoria doesn't want anything to threaten their plans to rejoin the rest of Earth's survivors on an off-planet sanctuary. Performance wise, Cruise is dependably solid, though its Riseborough who steals every one of their scenes. Her Stepford Wife-esque emotional repression more than makes up for their lacklustre sexual chemistry and becomes especially compelling once Kurylenko is introduced into the mix. Morgan Freeman also makes a cameo in a Morpheus-type role; however, his performance is both fleeting and unremarkable. The true star of Oblivion is in fact the production design, brought to life in astounding detail via Claudio Miranda's (Life of Pi) engaging cinematography. Jack and Victoria's exquisite airborne apartment sits atop Earth's expansive wastelands, and the scenes in both are equally sumptuous. Coupled with Oblivion's many sci-fi tributes, Kosinski and Miranda's vision offers an enjoyable and fast-paced film that should appeal to a broad audience.
Bluesfest has lifted the lid on its first artist announcement for 2018, and heading the stampede is a pair of legendary musical figures: Lionel Richie and Led Zeppelin's Robert Plant, who will play with his band The Sensational Space Shifters. Plant's performance at the five-day Easter long weekend festival just outside of Byron Bay will mark 50 years since he first performed with Led Zeppelin, so the gravity of the performance is sure to be pretty huge. Other acts taking to the stage Tyagarah Tea Tree Farm over the weekend include Aussies Tash Sultana and John Butler Trio, Swedish duo First Aid Kit and what will surely be a captivating set by José González. Bluesfest returnees Joe Louis Walker, Dumpstaphunk and Eric Gales are on there too. Anyway, here's the full lineup. Better start making Easter plans because tickets are already on sale. BLUESFEST 2018 LINEUP Robert Plant and The Sensational Space Shifters Lionel Richie The John Butler Trio Tash Sultana The New Power Generation Chic Featuring Nile Rodgers First Aid Kit Jose Gonzalez Morcheeba Gov't Mule Lukas Nelson & Promise of the Real The California Honeydrops Eric Gales Bobby Rush Dumpstaphunk Joe Louis Walker Rick Estrin & The Nightcats + more to be announced. Bluesfest 2017 will run March 29 to April 2 at Tyagarah Tea Tree Farm, Byron Bay. More details and ticket info here. Image: Andy Fraser.
Time certainly does fly because award-winning butcher and artisan grocer Victor Churchill is officially celebrating its first birthday of its next-level slick Melbourne branch this month. So mark your calendars for Monday, November 7 and get ready for a week of celebrations. To commemorate the occasion, guests will be treated to complimentary canapés consisting of Victor Churchill's very-own charcuterie, parfaits and terrines. You'll also be given the chance to indulge in a delectable slice of Gateau Opera cake and, importantly, a glass of champagne. For those who have yet to pay a visit to the Armadale location on High Street, the space boasts a luxe interior featuring marble, copper, and glass. Some of the highlights include the charcuterie counter displaying exceptional cured meats and small goods, while the 'Pantry' is housed with a selection of locally sourced seasonal produce, condiments, wine and more. [caption id="attachment_832900" align="alignnone" width="1920"] Pete Dillon[/caption] Top Images: Victor Churchill - Supplied
Good news for those of the hardcore punk generation — or those who wish they were. After the disappointment felt due to the cancellation of their scheduled 2013 tour, Dead Kennedys are returning with their Bedtime for Democracy tour, playing a comprehensive string of shows around the country. Dead Kennedys — in all their changing forms — have been galvanising the masses against political apathy since 1978. The current lineup is East Bay Ray, Klaus Flouride, D. H. Peligro and Ron 'Skip' Greer, who'll take tunes from the group's extensive back catalogue. Show them your support (and your utter disdain for The Man) at 170 Russell on October 1, and be more punk than anyone else you have met in your life. Supported by The Bennies. https://youtube.com/watch?v=Ds_TRSoQkJ0
Fancy prancing through fields laced with the charm of provincial France? It's just casual summer weekendery when So Frenchy So Chic is in town. The ever-popular one-day French festival is waltzing back to Melbourne's Werribee Park Mansion for its eight year running on Sunday, January 13. If you haven't been before, expect an entire afternoon of French-inspired niceties, including (but not limited to) gourmet picnic hampers, tartlets and terrines, offensively good wine and croquet all to a chill French soundtrack. So Frenchy hinges around a solid lineup of eclectic artists you may be yet to meet — and this year, they're all female. Parisian solo artist — and former Nouvelle Vague frontwoman — Camille will top the lineup, returning to Australia for her first shows since 2011. Her most recent album was recorded in a 14th century monastery, which might give you a bit of an idea of what to expect from her otherworldly live set. Don't miss electronic pop trio Yelle, either — the group has performed at Coachella three times and its music is played in venues across France. Other on the lineup is up-and-comer Clara Luciani and jazz pop artist Cleéa Vincent. If you're not the most organised of picnickers, So Frenchy is putting on the works again with fancy picnic boxes and cheese plates. Filled with stuffed baguettes, niçoise salads, mini créme brûlées and goose egg meringues, the picnic boxes are one to preorder if you don't want to miss out. But So Frenchy won't let you go hungry; there'll be a huge banquet of seafood, charcuterie, crepes and more available on the day. And of course, there'll be plenty of Laurent Perrier Champagne, French beer, and rosé, red and whites whines as well. Early bird tickets are now on sale for $82 a pop. If you've got kids, you'll be happy to know that the whole thing is very family friendly, and children under 12 can get in for free.
UPDATE, August 9, 2020: Kusama: Infinity is available to stream via Google Play, YouTube and iTunes. Early in Kusama: Infinity, a series of black-and-white drawings and paintings take pride of place. Unsurprisingly given the documentary's subject, they're filled with dots. The artworks rank among Yayoi Kusama's earliest creations, with the Japanese icon starting her love affair with the medium — and with the circles that she repeatedly wields as a motif — when she was ten years old. Nearly eight decades later, she's still following those passions in pieces littered with dots and pumpkins, and in infinity rooms filled with orbs too. Of course, now the entire world gets to share in the eye-catching results. The path from creatively curious child to international superstar hasn't been quick or smooth for Kusama, which is the crux of Heather Lenz's film. As a kid, Kusama's mother would snatch away her paper while she was still drawing — and even as a twenty-something, it was only writing to American artist Georgia O'Keeffe that gave her the confidence to move to the US. Virtually ignored in conservative post-war Japan, she was hardly the toast of New York when she arrived in the late 1950s. That's the reality of an artist considered a sensation in her eighties: all of that fame and acclaim only came after a lifetime of hard work. Directing, writing, producing and editing her first full-length documentary, Lenz explores the inescapable truth at the heart of Kusama's story. In the process, she also gives viewers a Kusama 101 lesson. The dots, dilemmas and dramas flicker across the screen, furnishing a tale that's as much about the doors that wouldn't open to the young artist as it is about the boundaries that she dared to push. In Japan, she was a woman who defied convention by refusing to become a dutiful housewife. In America, she was both a woman in a male-dominated realm and a foreigner in an unwelcoming land. Everything about Kusama's story is vital and essential — as important and affecting as staring into one of her mirrored cubes, or seeing her dots completely envelop a room. But while Kusama: Infinity clearly recognises that fact, the movie remains happy to chronicle its subject in the usual art doco manner. Experts impart explanatory narration, sometimes as talking heads. Clips showcase a feast of different pieces, spanning paintings, sculptures, installations, videos and even America's first queer wedding ceremonies. Kusama herself lends her thoughts, which are relayed as interviews as well as voiceover. There's gorgeous sights and biographical insights aplenty, but the film never quite breaks the mould in the same fashion as the artist at its core. Thankfully, Kusama: Infinity's array of artwork works its charms. How could it not? If Kusama's pieces feel more than a little otherworldly just as they are, seeing them blown up on a big screen makes them larger than life. Colour, shape, movement, an intoxicating sense of repetition — they all dance through her creations, and through the movie as a result. As they do, one of the picture's opening remarks lingers: "I convert the energy of life into dots of the universe," Kusama offers. "And that energy, along with love, flies into the sky." Kusama herself proves the film's other highlight, for devotees and newcomers alike. Her work may tell a thousand stories — tales that the doco's well-selected archival photographs of the artist only enhance — however there's nothing like hearing about Kusama's life, motivations and roadblocks in her own words. There's nothing like seeing her chat to the camera either, with her bobbed red hair a-blazing. First spied wearing a vibrant crimson dress peppered with white polka dots while standing in front of one of her monochrome circle-filled drawings, she provides an instant visual reminder of why her art strikes a chord. It might be impossible to capture the enigma that is Kusama in one 85-minute documentary, but her inimitable allure is evident every time the artist herself brightens up the screen. https://www.youtube.com/watch?v=RRqxWNn3iQU
Underling, you have been summoned. This April, Secret Squirrel Productions — the c̶a̶b̶a̶l̶ c̶o̶v̶e̶n̶ group responsible for Underground Cinema — are tearing open a portal to hell with an immersive dining experience at a secret location in Melbourne. Dinner will be six courses. Pray you aren't one of them. Secret Squirrel, Melbourne's kings of immersive theatre and film experiences, have flung previous audiences back in time to ancient Rome, flogged them through a crash-course in zombie apocalypse survival and set them free inside Hannibal Lecter's debauched mind-palace. And, after a sold out launch in September last year, they are once again creating — in the words of creative director Tamasein Holyman — a "world of raw, dark beauty and absinthe-fuelled dreams" with a six-course banquet. The Feast of the Deceiver is an ancient and secret ritual — but here's what would-be acolytes of the Order should know. The feast will run over three nights on June 15, 16 and 17 with b̶l̶o̶o̶d̶l̶e̶t̶t̶i̶n̶g̶s̶ performances lasting from 7-10pm. The six-course degustation will combine game-play, problem-solving and live theatre. The dress code is black formal. The location is secret and will only be revealed 24 hours prior to the event. If you've been looking for a way to make the voices stop, this could be your chance. But remember — the demon is a liar. He will lie to confuse you. He will try to trick you. Don't listen to him. But do go to dinner. Editor's note: This event was initially scheduled to take place in April, but has since been pushed back to June. Images: Daniel John Bilsborough.
You may remember Lord of the Flies from high school English as being that book about the little boys stranded on a desert island who turn feral and start killing each other and hallucinating about beasts and talking pig heads. Even if you don't, that summary is pretty much the gist of it. It's quite a gory read but raises some interesting points on political power and human nature — universal themes but explored in a very masculine way due to the lack of female characters. But the latest stage adaptation by Sydney-based company US-A-UM wants to change that. Directed by Sydney Theatre Company's Kip Williams, the adaptation of William Golding's 1954 classic features an all-female cast, because who says women can't be bloodthirsty, murderous and politically manipulative? According to US-A-UM, their adaptation is "about gender, about stripping away constructed civilisation, and about how we read who can and cannot participate in behaviours that we assert as being innate to us all." Lord of the Flies will be making its debut as part of the Malthouse Theatre's Helium season of works by independent artists and ensembles.
Future Totoros and Ponyos may not eventuate; Studio Ghibli have announced a hiatus to their animation feature film department. Surrounded by rumours of an outright closure, Studio Ghibli's general manager, Toshio Suzuki, announced the movements on Japanese television today as a "brief pause". Responsible for the likes of Spirited Away, Grave of the Fireflies, Howl's Moving Castle, Princess Mononoke, Ponyo and My Neighbour Totoro among many, many other beloved tales, the animation studio is reassessing its filmic future. The news comes just under a year after legendary, Oscar-winning director Hayao Miyazaki announced his retirement in September 2013 and released his final film The Wind Rises in February this year. Differing translations of Suzuki's announcement caused minor havoc online (notably fuelled by so-called Ghibli insiders at Japanese website News Cafe and subsequently quashed by Kotaku). Although most thought the studio was closing its doors for good, newer, more accurate translations cleared things up. "On what to do with Studio Ghibli’s future, it is by no means impossible to keep producing [movies] forever," said Suzuki on the TBS program Jonetsu Tairiku. "However, we will take a brief pause to consider where to go from here." Producer and co-founder Suzuki stepped into Miyazaki's shoes and became general manager when the director retired from Ghibli last year, joining forces with other Studio half, director Isao Takahata (Grave of the Fireflies). So why is Ghibli shutting up shop? It seems to be a matter of money, a fair reason to reassess in a Michael Bay-peppered, box office landscape. According to Anime News Network, Studio Ghibli's latest film,When Marnie Was There opened at number three over the first weekend (July 19 - 20) with 378,790,697 yen (US$3,721,297) on 461 screens. That seems like a whole bunch, but the international market isn't so kind to arthouse-designated Ghibli. Marnie is set to hit US cinemas some time next year, with Australian release dates still TBC. Ghibli haven't covered up their financial struggle, most notably considering 2013's The Tale of Princess Kaguya a flop with tiny box office numbers (a huge step down from 2002's Acadamy Award-winning hit Spirited Away, which took US$274,925,095 worldwide). Suzuki said the studio is considering "housecleaning" or restructuring internally. While this doesn't entirely rule out a future shutdown, it seems the pause is centred around rebuilding the studio, managing copyrights and trademarks and possibly freelancing out projects — a good sign for Ghibli fans. But Kotaku has assured fans that Studio Ghibli is not dead yet, so we'll keep those good vibes delivered via Kiki and keep fingers crossed. Via Anime News Network, Kotaku and Hypable.
Since the first jabs started being put in arms around Australia at the beginning of 2021, two words have monopolised the discussion about the country's COVID-19 vaccine rollout: AstraZeneca and Pfizer. They're two of the companies with jabs approved for use in Australia so far, and it's their shots that folks who've been vaxxed to-date have been receiving. But from September, a third company's vaccine will be available to everyone rolling up their sleeves. On Monday, August 9, Australia's Therapeutic Goods Administration gave the Moderna COVID-19 vaccine approval to be used in Australia. As announced in a press conference by Prime Minster Scott Morrison, the TGA "has given provisional approval for the use of Moderna for Australians aged 18 and over." In its own statement explaining its decision, the TGA advised that "the Moderna COVID-19 vaccine has shown strong efficacy preventing symptomatic COVID-19 and severe COVID-19 in clinical trials." Elsewhere around the world, the vaccine has also received approval or authorisation to use in emergency situations in countries such as United Kingdom, Canada, the European Union, the United States, Switzerland and Singapore. The Therapeutic Goods Administration (@TGAgovau) has provisionally approved Moderna's COVID-19 vaccine for use in Australia.https://t.co/Yr7dj0G0ja pic.twitter.com/Kp0EMpck7V — Australian Government (@ausgov) August 9, 2021 Partly funded by a donation from the one and only Dolly Parton, Moderna's vaccine is actually the fourth to get the nod in Australia, following AstraZeneca, Pfizer and a jab from Johnson & Johnson — the latter of which hasn't been included in the country's vaccine rollout so far. Like the Pfizer vaccine, the Moderna jab is an mRNA-based vaccine. So, it uses a synthetic genetic code called RNA, which tells the cells in our bodies how to make the coronavirus' unique spike protein. Then, once our bodies have done just that, making the protein that's encoded by the mRNA vaccine, we're able to recognise the spike protein as being foreign to our system and launch an immune response against it. Two doses of the Moderna vaccine are required — and while the AstraZeneca jabs are recommended four–12 weeks apart, and the Pfizer jabs three weeks apart, Moderna's should be administered within 28 days of each other. Wondering what that the Moderna approval means in terms of boosting Australia's vaccine ability (because actually getting a jab isn't particularly straightforward as part of the country's slow-moving rollout)? The Prime Minister advised that Australia will be adding 25 million doses of Moderna to the 125 million doses of Pfizer and 53 million doses of AstraZeneca that are already part of the vaccine campaign. "We will have ten million of the Moderna doses arriving before the end of this year. The first one million doses is on track to arrive next month and will go to pharmacies. Then we will have three million in October, three million in November and three million in December," he said. With the addition of the Moderna vaccine, the Prime Minister also noted that he expected that 70-percent of eligible Australians would be fully vaccinated by the end of 2021 — the threshold at which the second phase of National Cabinet's National Plan to transition Australia's National COVID Response is set to kick in. At that stage, which applies both when Australia reaches that figure and each state and territory does as well, restrictions will be eased on folks who've had the jab, including around lockdowns and border controls. Lockdowns are expected to be less likely, low-level restrictions will still help minimise the spread of cases and assist contact tracing, inbound passenger caps for unvaxxed returning Aussies will be restored to previous levels and more vaccinated returning Aussies will be allowed to come home. For more information about the Therapeutic Goods Administration's approval of the Moderna COVID-19 vaccine, head to the TGA website.
Australians really love prawns — and Ballina Prawn Festival knows it. They've dedicated an entire day in honour of everyone's favourite crustacean, and that day is November 11. Set in Ballina's Missingham Park on the banks of the Richmond River, the day will be marked by parades, music, rides and all the prawns you can eat. The festival stalls will be sizzling prawns of all sizes while events happen in every direction, including a prawn shelling competition and a signature dish competition. There will also be a boat parade celebrating the prawn industry, fireworks, amusement rides, live music and sand castle building. Yeah, it'll be the truest form of an Aussie-as day.
What's better than one new Edgar Wright movie in a year? Two new flicks by the Scott Pilgrim vs the World, The World's End and Baby Driver filmmaker, of course. And, that's exactly what 2021 is delivering. Neither of the British director's latest movies fits his usual type, either — as phenomenal documentary The Sparks Brothers has already demonstrated, and the trailers for Last Night in Soho keep showing as well. Wright does indeed have a comfort zone, as his fans well and truly know. He first caught the film world's attention with zom-rom-com Shaun of the Dead, after all, and also toyed with both horror and comedy in Hot Fuzz. But he hasn't ever dived headfirst into mind-bending psychological thriller territory before, which is where Last Night in Soho dwells. No one is set to kill the undead to Queen's 'Don't Stop Me Now' here. That said, Anya Taylor-Joy (The Queen's Gambit) does play a singer in 60s-era London who appears to be a ghost. In the movie's initial teaser trailer, her character Sandie pops up when aspiring fashion designer Eloise (Thomasin McKenzie, Old) manages to venture back in time. Mysteriously travelling six decades into the past, Eloise looks in the mirror and sees Sandy's reflection, rather than her own. Both that initial sneak peek and the just-dropped new full trailer are filled with neon hues and an all-round trippy mood. In a feature that seems to take plenty of cues from horror and thriller flicks from the time it is set, things appear to get even more lurid as well. Impeccable period-appropriate set and costume design, vibrant pink lighting aplenty and an all-round dreamy feel also feature in the trailers so far, as Eloise finds herself coming face to face with her idol while plunged into a ghost story. Similarly playing a pivotal part: The Crown and Doctor Who's Matt Smith, who pops up alongside Taylor-Joy in the film's eerie 60s-set scenes. Whether following small-town cops in Hot Fuzz or jumping into the heist genre with Baby Driver — or directing late 90s/early 00s sitcom Spaced, too — Wright's work always stands out visually, and Last Night in Soho clearly promises to continue the trend. And, because the director loves his standout soundtracks, this one looks set to continue the trend. Expect glorious 60s-era tunes, obviously. Check out the full trailer for Last Night in Soho below: Last Night in Soho is slated to release in Australian cinemas on November 18. Images: Parisa Taghizadeh / Focus Features.
In 2020, when Gelato Messina decided that we'd all be much happier at home if we could bake and eat the company's OTT desserts, it kicked off its parade of tasty specials after Easter. So, while fans of sweet treats have been able to tuck into everything from cookie pies in choc chip, red velvet, choc-hazelnut, and peanut butter and jelly varieties to full tubs of both Iced VoVo gelato and Messina's own take on the classic Viennetta ice cream cake over the past year, we didn't get anything to pair with our chocolate eggs. Thankfully, that's changing in 2021. Up next: a hot cross bun version of the brand's sticky snails. Basically, it's their interpretation of a Cinnabon-style scroll, then combined with an Easter favourite. It's another of Messina's limited releases, and it'll be available at all of its stores for a very short period. Wondering what exactly Messina's hot cross bun sticky snail entails? Well, that spiced sticky hot cross bun dough is filled with choc chips and vanilla custard. Crucially, raisins aren't included — but it is topped with a cinnamon malt caramel. The sweet bake-at-home bite to eat can only be ordered online on Wednesday, March 17. It will set you back $65, which includes a one-litre tub of the brand's triple choc gelato hot tub, too — which features milk chocolate gelato, toasted white chocolate mousse and with Ecuadorian dark chocolate crack. Once you've placed your preorder, pick up will be available between Thursday, April 1–Sunday, April 4 from your chosen Messina store. And, after you've got the hot cross bun sticky snail safely home, you just need to whack it in the oven for 20–25 minutes at 160 degrees and voila. Gelato Messina's hot cross bun sticky snails will be available to order on Wednesday, March 17, for pick up between Thursday, April 1–Sunday, April 4 — keep an eye on the Messina website for further details.
Nuanced, enigmatic and thought-provoking, Young & Beautiful, the latest film from renowned French director François Ozon (Swimming Pool) is a portrait of 17-year-old Isabelle, a Parisian student. Set over a year and divided into four seasonal chapters, the film chronicles Isabelle's sexual journey from the awakening of her desires to embarking on a secret life. Driven by a transfixing performance from the incandescent Marine Vacth, Young & Beautiful is both psychologically probing and unerringly graceful in its nonjudgmental restraint. It fuels our emotions, captivates our intellect and leaves us wondering whether our motivations can ever truly be known. Young & Beautiful is in cinemas on May 1, but we're offering 66 competition winners the chance to see it with a friend at an exclusive preview screening we're hosting together with Incu on Wednesday, April 30, at 7pm at Kino Cinemas (45 Collins Street, Melbourne). To enter, click here. https://youtube.com/watch?v=cnaIFp_KrB4
More than once during Why Are You Like This, aspiring drag queen Austin (Wil King) attempts to shut out the world by scrolling through memes on his phone. Although the six-part ABC sitcom he's in isn't doesn't show him looking at any of the images that give the series its title, you can bet that he'd stumble across them. He'd have to. It's the internet — they're unavoidable. And, he'd likely do one of two things when he did find the memes on his screen: either flick past hundreds without giving a single thought to how they might relate his life, or keep viewing one after the other until he melts down because they hit a little too close to home. Irreverent and astute, honest yet hilarious, drawn from reality but also willing to poke as much fun as possible: that's Why Are You Like This' niche. Focusing on characters that can hardly be described likeable but are instantly recognisable, the series takes aim at the minutiae of 21st-century life. Witheringly funny, it knows that simply existing right now involves constantly being online, and also navigating the never-ending onslaught of expectations, information and opinions that comes with it. And, without flinching, it's also aware that just getting through the day in this non-stop environment can feel relentless and hellish. That's the situation that the show's three main figures, each in their early 20s, all find themselves facing in every one of Why Are You Like This' episodes. The days tick by, and the personal and professional problems just keep coming. It's a familiar laundry list, including getting fired, battling with colleagues, money troubles, hiding boyfriends, losing moon cups and trying to spark a workplace revolution but ending up getting other people sacked. So, yes, this trio is just like the rest of us — and they're just as glued to their phones while they're weathering everything from sudden social media backlash to dealing with frenemies. Penny (series co-creator Naomi Higgins, Utopia) wants to be an ally to everyone, a commitment that exhausts anyone who comes into her orbit. Her bestie Mia (Olivia Junkeer, Neighbours) matches that determination with both self-assurance and a self-serving mindset; if she's sticking up for anyone, it's always herself. Rounding out the trio is Penny's housemate Austin, the aforementioned fan of distracting memes. Alas, his glittery outfits, super-sized personality and blistering cynicism can't always hide his internal crumbling. Across the show's first season, these three friends keep trying to stand out in their own ways. They also routinely demonstrate both their best and worst traits in the process. In one episode, Penny goes overboard while trying to prove that she's Mia's closest friend. In another, Mia helps a new work colleague turn her cosplay hobby into cash — to take advantage of the sad men objectifying her — with creepy repercussions. And, when Austin gets tired of Penny's Marie Kondo obsession, it doesn't end well for her beloved belongings. The result: a must-see comedy that's as satirical as it is candid and relatable. Why Are You Like This knows that everyone and everything is awful at all times, leans in, and finds both the humour and the insight in that realisation. And, in terms of the series' style of comedy, the fact that Higgins created the show with lawyer and illustrator Humyara Mahbub and Aunty Donna's Mark Samual Bonanno says plenty. Indeed, like 2020's standout Aunty Donna's Big Ol' House of Fun, Why Are You Like This is ridiculously easy to binge in one sitting, then start re-binging again. Check out the trailer for Why Are You Like This below: https://www.youtube.com/watch?v=Sw_iVa6bZgs Why Are You Like This is available to stream via ABC iView.
It's the main reason most of Melbourne has made their way to Good Food Month over the last couple of years, and in 2017, the ever-popular Night Noodle Markets are back — and they're bigger than ever. But this year it will be sans Good Food Month — the four-week food showcase will scoot over to June 2018. As a standalone event, the market will see 30 different stalls converge on Birrarung Marr for a whopping 18 nights this October. Among the spoils will be all manner of noodles, dumplings and other delights from Hochi Mama, Mr Miyagi, Hoy Pinoy and Wonderbao. For dessert, Gelato Messina returns (predictably) with a menu of pure wonder (including a deep-fried gelato katsu sandwich) and a green tea and pistachio gelato version of the popular Japenese snack, onigiri. There will be live music and entertainment, a pop-up cellar door, a garden bar and many interactive displays to check out on a bellyful of bao. The Night Noodle Markets are once again at Birrarung Marr and will run from Thursday, November 9 until Sunday, November 26. They'll be open Monday and Tuesday 5-9pm, Wednesday and Thursday 5–10pm, Friday 5–11pm, Saturday 4–10pm, and Sunday 4–9pm. Entry is free but the place — if other years are anything to go by — will be packed. Image: Kimberley Moore.
Celebrated in Mexico and the USA, Cinco de Mayo is a holiday that fits in seamlessly with our ongoing obsession with everything Mexican, so we partnered with Corona to throw Cinco de Mayo celebrations in Melbourne's best Mexican bars. Here's how the night went down.
Every year, Japan comes to Australia — or, as far as movies are concerned, it does the next best thing. Since starting with three free film screenings back in 1997, the Japanese Film Festival has kept bringing the nation's many cinematic delights down under. And of course they're going to do so again for their 20th birthday. Travelling around the country with a hefty lineup of movies so new, many are coming straight from the Tokyo International Film Festival this month, JFF embraces the vast array of big screen treats its filmmakers have to offer. Sometimes, that means a poignant drama about a family banding together as a typhoon bears down. Sometimes, live-action adaptations of popular manga series are part of the equation. In fact, the 2016 lineup has both — check them out when they screen at ACMI and Hoyts Melbourne Central From November 24 to December 4.
Director Hiner Saleem takes the trappings of an old-school American Western, and infuses them with a distinctively Kurdish feel, in the Cannes selected drama My Sweet Pepper Land. Set in a remote village in Iraqi-Kurdistan near the borders of both Turkey and Iran, the film offers an intriguing new spin on the time-honoured genre — one that works in parallel to its examination of life after the fall of Saddam. The stoic Korkmaz Arslan plays our protagonist, Barlan. Once a high-ranking officer in the Kurdish resistance, the liberation he helped bring about has, ironically, left him at a loss. Ill-suited to his position in the new government, and eager to leave the home of a mother who wishes to see him married, Barlan takes a position as sheriff in an isolated mountain town, in the hope that he can maintain the newly established rule of law. It's a classic set-up that wouldn't feel at all out of place in a John Ford movie. Upon arrival in town, Barlan is quick to draw the ire of the local warlord Aziz Aga (Tarik Akreyi), who wishes to continue his smuggling operations with impunity. Barlan's cautiously loyal deputy (a moustachioed Suat Usta) warns his boss against a fight he cannot win. For the fiercely principled soldier, however, retreat is not an option. Saleem, best known for the award-winning Vodka Lemon, embraces the tropes of the Western genre, fostering a pleasing familiarity in a world that is otherwise foreign. The destruction of the one bridge into town means that everyone travels by horseback, while the local saloon, from which the movie takes its name, houses a posse of villainous henchmen. But Saleem also subverts expectations, both cinematic and cultural. Actress Golshifteh Farahani plays Govend, the local schoolteacher who, like Barlan, finds herself at odds with Aziz Aga — in her case because she's a smart, independent woman who refuses to cower in the face of intimidation. Scenes shared with her 12 overprotective brothers are played as humorous, until you realise that they too expect her to fall in line with male authority. Farahani, for her part, is no stranger to patriarchal attitudes, having been barred from her native Iran after posing nude in a magazine shoot in Paris. The overcast skies and grey-green hills of rural Kurdistan are a far cry from the scorched reds and yellows of the Old West, yet the two landscapes share a similar, inhospitable beauty. The wistful echoes of Govend's steel hang — a kind of round metal drum — fit with the film's contemplative pacing, while evoking quiet feelings of hope for a land rocked by instability and violence. https://youtube.com/watch?v=MYnNsHXbO_A
Everyone knows that SXSW is a haven for music, including unearthing new talent. The festival's screen side, showcasing your new favourite movies and TV shows, is just as famous. So is the fact that all manner of well-known names take to its stages to get chatting — plus the event's all-round focus on tunes, tech, innovation, films, television, games and culture, as Sydney first experienced in 2023. SXSW's Down Under leg also lets the community get behind the microphone, via a part of its conference programming called Session Select. More than that, it allows you to choose what makes it into this portion of the fest's lineup. All you need to do is vote, which is now open for 2024. [caption id="attachment_923287" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] It was in late 2023, after the inaugural SXSW Sydney proved a hit — and featured everyone from Black Mirror's Charlie Brooker and Chance The Rapper to Future Today Institute founder and CEO Amy Webb and Nicole Kidman onstage — that the Australian event confirmed that it'd be back in 2024. If you're wondering who'll be on the bill from Monday, October 14–Sunday, October 20, nothing else has been announced so far. But make your picks among the Session Select candidates and you can help shape the conference portion. You'll be choosing from proposed sessions from over 1000 organisations and folks, hailing from 35 countries. Whether you're interested in hearing more about and from Concrete Playground, TikTok, Reddit, Aussie airlines Qantas and Virgin Australia, Getty Images, or a bunch of Australian and international universities, you've got options. That's obviously just the start of a list that also spans Google, Meta, Leonardo.ai, Canva, Xero, Tourism Australia, the Australian Human Rights Commission and plenty more. [caption id="attachment_923316" align="alignnone" width="1920"] Paul McMillan[/caption] Whatever earns your vote, topics set to feature at the conference cover AI, the future of work, climate and sustainability, food, lifestyle and beauty, and the creator economy, for starters. In total, there's 23 tracks, all picked to reflect what's garnering conversation right now. The chosen sessions will start being announced from this month. Early-bird tickets to SXSW Sydney 2024 have also gone on sale, including platinum badges, which gets you into all SXSW Sydney events in the conference, and at the games, music and screen festivals; tech and innovation badges; and music, screen and game festival badges. There's also a new Under 25s option for the latter two — tech and innovation, plus music, screen and game — which offers a discount if you fit that age group. [caption id="attachment_923286" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] 2023's SXSW Sydney notched up 287,014 attendances from 97,462 unique attendees. Those figures came from 34,975 total tickets, with folks from 41 countries heading along to 1178 sessions. Among its wealth of highlights, last year's SXSW Sydney featured Brooker chatting about his hit series and technology's future; Chance The Rapper talking about 50 years of hip hop; Coachella CEO Paul Tollett discussing his own fest; Kidman exploring her work as a producer on the likes of Big Little Lies, Nine Perfect Strangers, The Undoing and Love & Death; the Australian premiere of Kitty Green's The Royal Hotel; and the world premiere of The Wiggles documentary Hot Potato: The Story of The Wiggles. The full lineup spanned a 700-plus strong bill of talent, covering over 300 sessions, and featuring more than 300 gigs across 25 venues. From talks and concerts to films, TV shows and games, there was no shortage of things to see. That's all in store again in 2024. SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details, tickets and to vote for Session Select conference sessions. If you're be interested in attending Concrete Playground's panels, please visit the voting pages for New Rituals: The State of Socialising and Hospitality and Appetite for Distraction: Youth, Information and the Digital Age in 2024 to show your support. Voting closes on Monday, April 22, 2024. Images: Brendon Thorne/Getty Images for SXSW Sydney.
Doublethink — a term coined by George Orwell to describe the state of believing, with equal conviction, two contradictory pieces of information. Ironically, it's perfectly encapsulated by those people who try to convince you that Orwell's sci-fi classic, 1984, is coming true, all the while checking their phones with an addict's fervour. Visual artist Matto Lucas is offering a hyper-exaggerated example of this concept. Taking cues from Orwell's dystopic masterwork, Lucas' Department of Total Freedom has announced its inaugural COMPLETELY UNMONITORED NORMAL HUMAN SOCIAL GATHERING EVENT #0001 at the Braybrook Community Hub as part of Melbourne Fringe. Lucas claims the free event, running across September 22–23 and 29–30, is an attempt to better understand the way we socialise in the current digitised climate. A way to 'celebrate our complete and obvious freedoms'. Audience members will participate in a speed-dating style round of dictated discussions, with an unknown fate awaiting those who deviate. Anyone who's not bluffing about having read 1984 will recognise this as a government exercise from miles away — it's being hosted by Maribyrnong City Council, after all. It's claimed to merely be an 'interactive performance'. Or is that Big Brother-speak? Guess there's only one way to find out. Two plus two is four. Remember that as you walk smiling into the arms of your oppressors this September. This interactive event will take place between 12–2pm and 6–8pm on September 22, 23 and 29 plus 12–2pm on September 30.
It takes a truly talented band to reach the heights of international stardom without a drummer, but New Zealand eight-piece Fat Freddy’s Drop make it look a synch. They’ve been touring for well over 15 years now, their inimitable horn-based sound, bringing together a soul, dub, reggae fusion that sends audiences loco. Now, they’re bringing their brass, bass and organic melody and lyricism to Australia for a nationwide tour. Testament to Fat Freddy’s Drop success is their ability to remain independent and reassured that the crazy little thing they’ve got going on is worth it. They were first band to hit number one in New Zealand with an independently produced record, and said album, Based on a True Story, is still the highest selling album by a national artist in the country’s history. They’ve released three studio albums, two live albums and several singles, and even built a studio. As for their live performances, they’re infamous for their energy. From the music to the atmosphere, the reggae sounds hit hard, and the techno spin Fat Freddy’s Drop has taken lately keeps the rhythm dynamic.
Already a high-impact showstopper on screen, George Miller's award-winning Mad Max: Fury Road takes on a life of its own as it's launched into reality for an interactive spectacular of performance, music, film, striking visuals and special effects at this year's White Night Reimagined. Running hourly across all three nights of the festival, the world premiere of Mad Max: Fury Road features a 15-minute live show and exhibition, bringing the post-apocalyptic action flick to life. Prepare to be wowed by some of the movie's famed vehicles — from the Doof Wagon to the Razor Cola Interceptor — as they descend on the Melbourne Museum forecourt. Snippets of film footage and video will be splashed across the facade of the Royal Exhibition Building, too, matched to a soundtrack, dazzling special effects and larger-than-life performances. Mad Max: Fury Road starts every hour on the hour on Thursday–Friday 7–11pm and Saturday 7pm–1am.
No pool of your own to splash about in at your leisure as those temperatures finally start creeping upwards? No worries — sleek Flinders Lane hotel W Melbourne has you sorted. For the first time, it's opening up its glam 14th-floor pool precinct WET to non-guests for midweek daytime dips, in all its gold-ceilinged, marble-clad glory. Thanks to the new Swim Club sessions, everyday folk can score 12-hour access to the luxurious pool zone, including its steam room and gym, without having to book a room. [caption id="attachment_870065" align="alignnone" width="1920"] C.Hawks[/caption] Ideal for those cheeky weekdays off work, or even for working poolside like a baller, Swim Club sessions are running from 8am–8pm weekdays. For $98, you'll enjoy access for the whole day, plus a fruit platter and mocktail on arrival, and all the amenities you could ask for — towels, showers, lockers and change rooms, included. Bookings are a must — you can nab one online here.
As Australians gear up for a postal vote on the issue of same-sex marriage, Melbourne City Council is showing its unequivocal backing of marriage equality by lighting up the Melbourne Town Hall in rainbow colours for the next two nights — just as it did in the wake of last year's Orlando nightclub shootings. Along with the municipal building's temporary makeover on Wednesday, August 16 and Thursday, August 17, the Council has also arranged a message in support of marriage equality to be screened up on Swanston Street's Young and Jackson Hotel's iconic rooftop sign for an hour from 11am today, and on rotation between Monday, August 21, and Sunday, September 17. We'll see even more of its endorsement in the coming weeks too, with local businesses offered window stickers backing the campaign. It all comes after Melbourne City Council last night endorsed a motion to campaign in support for marriage equality and to promote respectful dialogue surrounding the debate, with Lord Mayor Robert Doyle AC clear about the message they're hoping to send out. "When I think of Melbourne I think of equality," Doyle said. "I want Melbourne to take pride in its tolerant, welcoming, diverse culture. I believe all of our residents should have the opportunity to marry, if they wish." Melbourne City Council's a long-time supporter of marriage equality, having unanimously voted to back same-sex marriage back in 2015 and called on the Federal Government to legislate for it.
The Anna Schwartz Gallery presents Lauren Brincat’s 2013 solo exhibition It’s Not the End of the World, which will run from March 21 to May 11. Lauren Brincat is a Sydney-based artist who currently works in Mexico City. Well-known throughout Australia and the rest of the world, she has had many successful solo and group exhibitions. Her work can be seen in the collections of MONA, the MCA, the Art Gallery of Western Australia, and the Chartwell Collection at the Auckland Art Gallery. Brincat specialises in performance and object art but also works through video and sculpture, often pushing her own physical and cognitive limits. Inspired by early performance art of the 1970s and an an array of media, she has previously filmed herself as she hung from a diving board, eventually unable to hold on, and recorded her journey as she traipses over 100 blocks by foot. Find out what Lauren did next at Anna Schwartz.
When Respect first breaks out its titular track, it's the original Otis Redding version that echoes in the background. The song plays in the Franklin household as Aretha (Jennifer Hudson, Cats) and her family listen, and the scene bubbles with anticipation for the thing everyone watching knows will come. Shortly afterwards, the Queen of Soul tinkers at the piano in the deep of night, her excitement buoyant after hearing her first big hit 'I Never Loved a Man (The Way I Love You)' on the radio. Her sisters Erma (Saycon Sengbloh, Scandal) and Carolyn (Hailey Kilgore, Amazing Stories) join in, and they're all soon rearranging Redding's tune into the single that cements Aretha's status as a music superstar. For the entire film up to this point, viewers have also heard the Franklins, including patriarch and preacher CL (Forest Whitaker, City of Lies), refer to Aretha using a nickname. "Ree" they call her again and again, and soon "ree, ree, ree" is exactly what Erma and Carolyn sing on backing vocals. It's a neat and also exuberant moment. Respect quickly segues to Aretha and her sisters crooning 'Respect' at Madison Square Garden to a rapturous crowd, but watching the track come together has already proven electric. Something can be orderly and expected and potent and rousing all at once, as this movie happily demonstrates regarding its namesake — but for most of its 2.5-hour running time, Respect is content to careen between inescapably formulaic and occasionally powerful. In other words, Respect is a standard music biopic. The genre will never stop expanding — films about Elvis, Madonna, Boy George, Bob Marley, Amy Winehouse and Whitney Houston are currently in various stages of development — but flicks about famous musicians have peppered cinemas with frequency recently. Thankfully, Aretha's stint in the cinematic spotlight doesn't merely shuffle through a greatest hits album like Bohemian Rhapsody. All her well-known songs are accounted for, though, and it definitely doesn't strive to shake up the template as Rocketman managed so vividly. And with Judy and The United States vs Billie Holiday still fresh in filmgoing music-lovers' memories, Respect can't help feeling like it's striking the same beats. The faces and tunes change, but the overall journey remains undeniably similar. The fact that so many iconic female singers' stories navigate comparable paths is a horrible indictment of the way women have long been treated in the music industry; however, the fact that the movies telling their tales can't completely shake that air of familiarity can never quite do them justice. Respect begins with young Aretha (lively debutant Skye Dakota Turner) being roused from sleep by her father to sing at one of his well-attended house parties. It's 1952, and to an audience that includes Dinah Washington, Duke Ellington and Ella Fitzgerald, she breaks out a rendition of the latter's 'My Baby Likes to Be-Bop' — and "she's 10 but her voice is going on 30" is the shared reaction. This obviously isn't the last time that Aretha unleashes her astonishing voice in Respect, and that everyone in earshot reacts accordingly. When she's accosted by an unnamed man in her bedroom afterwards, it isn't the last time the film veers between highs and lows, either. First-time feature director Liesl Tommy and screenwriter Tracey Scott Wilson (Fosse/Verdon) repeat that pattern, embracing it as comfortably as their key figure croons any song she chooses. But where their subject transcends every ditty she trills, Respect can't be said to do the same. Even viewers unaware of the ups and downs of Aretha's life will still know where each second of the film is headed. The choice to end with 2016 footage of the real-life singer piping '(You Make Me Feel Like) A Natural Woman' is a classic biopic touch, of course, but it's preceded by far more predictable choices again and again. Accordingly, as a child Aretha wrestles with her mother's (Audra McDonald, Beauty and the Beast) untimely death, and her own abuse, to evolve from singing in church for her father and family friend Martin Luther King (Gilbert Glenn Brown, Stargirl) to starting her career under her dad's ferocious guidance. From there, she struggles to turn her early Columbia Records releases into successes, yearns to make music that means something to her and defies her father by marrying small-time producer Ted White (Marlon Wayans, On the Rocks). The children she has as a teenager remain with her family as her path leads to Atlantic Records, veteran record producer Jerry Wexler (Marc Maron, Joker) and recording with the Muscle Shoals Rhythm Section in Alabama, which is where early hits like 'Respect' and 'Ain't No Way' come to life. But her marriage to Ted isn't happy, and coping with his violence takes its toll. So does touring, recording and working non-stop, including when she weds her tour manager Ken Cunningham (Albert Jones, Mindhunter), and later decides to make her best-selling gospel album Amazing Grace. It's never a smart idea to remind your audience that a better movie exists on the same topic, so the decision to recreate parts of Aretha's Amazing Grace performance — as also seen in the magnificent documentary of the same name that only reached cinemas in 2019 — is misjudged. This section of Respect does let Hudson shine, and Aretha's music do the same, though. Alongside the dazzling costuming, they're the film's biggest assets the whole way through. While the script sticks to well-worn territory, cramming its subject's story to fit the usual music biopic mould and giving the entire affair a handsome period sheen, Hudson injects power and presence into her portrayal. The Dreamgirls Oscar-winner has the talent to do Aretha's songs proud, too. But she also makes viewers wish that everything around her performance, the tunes she's singing and the clothes she's wearing didn't fall victim to the usual cliches. This film has ample respect for the woman at its centre, but it also approaches the act of bringing her life to the screen like it's simply taking care of business.
Ex-boxer Henry 'Razor' Sharp (Sylvester Stallone) is reluctantly lured out of retirement to settle old scores with long-time personal and professional rival Billy 'The Kid' McDonnen (Robert De Niro) in an exhibition fight. The pair must resolve a disputed match from 30 years earlier, as well as the fact that they were both in love with the same woman, Sally (Kim Basinger). The inciting concept for this film is right there on the uncanny valley-esque photoshopped poster: it's Rocky vs Raging Bull! (Colleagues assure me that others have beaten me to the Rocky and Raging Bullwinkle gags, so there's really little pleasure to be gained here.) You have to wonder what they would have done if De Niro or Stallone had said no. Although given the last decade or so of their respective careers, perhaps this wasn't a huge concern. But one need only imagine the producers turning to, say, Arnold Schwarzenegger and Al Pacino to realise that the film's sole purpose for existing is its very specific casting. Perhaps the Alan Arkin mentor role was originally offered to Kirk Douglas, whose boxer Midge Kelly feature in 1949's Champion. But like Stallone's Expendables franchise, the idea of De Niro and Stallone settling old scores in a boxing ring is an idea that would have been far more exciting about 20 years ago. In 2013, it feels like an afterthought. It's an odd compliment to give a comedy, but I'm going to do it anyway: I like that it's not all that funny. Some of the jokes work, but most fall flat. What's heartening about this is that the film is confident to go for long stretches where they don't even try for a laugh. You can easily imagine the alternate version in which it's simply wall-to-wall bad jokes, and you become thankful you're not watching that version. The ratio of drama to comedy is an odd one, as if the movie can't decide which genre it wants to plant its flag in. It shouldn't work, but sort-of does. If this feels like muted praise, it's deliberate. Grudge Match is one of those ideas that works as a passing joke rather than an actual film, and the finished product should be a gigantic car crash. But the film's brazenness is admirable — it knows why it exists, and wastes no time apologising for the fact — and it is possible to have a good time with it. Just make sure your expectations are suitably lowered first. https://youtube.com/watch?v=1bQSOBJCPQE
Mona Foma, MONA's wild and weird summer music and arts festival, is back for 2018. And this time around, it's set to eclipse all previous incarnations, with the festival adding a program of Launceston events to its usual Hobart lineup. Further to the announcement of the MONA hotel and the move to Launceston back in July, this beefed-up presence also heralds the festival's biggest, most eclectic program to date, thanks largely to funding from the State Government. The Mofo 2018 lineup is a cracker, delivering 11 days of thought-provoking art and music to Tasmania's two largest cities and celebrating creativity and personal expression in all forms. Running from January 12 to 14, the Launceston leg will see singer-songwriter Gotye join the Ondioline Orchestra to pay homage to renowned French electronic composer Jean-Jacques Perrey (January 12 and 13), as well as a dance performance by Canada's The Holy Body Tattoo, scored live by post-rockers Godspeed You! Black Emperor (also January 12 and 13). Mofo's northern run will culminate with a huge, free party on January 14. To follow, January 19 to 21 will mark Mofo's final MONA appearance for a while, so it's exiting with a bang. The museum's outdoor stage will feature performances from the likes of punk poet Moor Mother, all-female Argentinian act Fémina and a collaboration between Tassie bassist Nick Haywood and The Hobart Liberation Orchestra. Martin Blackwell will deliver a 24-hour continuous performance soundtracked by an array of global instruments, while the MONA tennis courts play host to a challenging fashion runway courtesy of SAAKA's Hunger for Gluttony. Elsewhere in Hobart, the Violent Femmes will perform with the Tasmanian Symphony Orchestra, a one-day mini-Mofo will pull together local acts like Comrad XERO, Crypt Vapor and Phillipa Stafford, and the festival's official after-party Faux Mo will take over a huge new waterfront space at MAC2. Mona Foma 2018 will take place at venues across Launceston from January 12–14, at MONA from January 19–21 and across Hobart from January 15–22. Tickets are available here from Monday, October 16.
Maybe viewing old episodes of Aerobics Oz Style helped you stay active during 2020's first long lockdown. Perhaps you've been obsessed with the now-iconic Key & Peele aerobics meltdown sketch for years, as everyone should be. Or, you might've watched the excellent Kirsten Dunst-starring On Becoming a God in Central Florida and got bitten by the water aerobics bug. Whichever fits — or even if none of the above applies to you — leotards, exercise and all things 80s haven't been far from our screens in recent years. And, they'll feature again in a big way in Apple TV+'s new ten-part dark comedy series Physical. Set in the decade that's always going to be synonymous with leg warmers, Physical sees Rose Byrne make the leap from hanging out with talking CGI rabbits in terrible book-to-screen adaptations to getting hooked on aerobics. She plays Sheila Rubin, a San Diego housewife who has always played her dutiful part as expected, but struggles with her self-image and her sense of self in general. Then, the only form of exercise that TV shows and movies seem to think that anyone did back in the 80s suddenly enters her life. Cue a journey that brings Sheila success, sees her forge her own path beyond being a wife and mother, and also turns her into a lifestyle guru. As seen in both the first sneak peek last month and the just-dropped new trailer, she obviously won't be posting about her daily life on social media — but this show is set in the peak VHS era, so expect videotapes to play a part in the story. Physical is set to start streaming on Friday, June 18, and will drop its first three episodes in one hit before releasing the rest weekly afterwards. Naturally, big hair and spandex are set to play a huge part in the supremely 80s-looking series. Alongside Byrne, the show stars Rory Scovel (I Feel Pretty), Dierdre Friel (Second Act), Della Saba (Ralph Breaks the Internet), Lou Taylor Pucci (American Horror Story), Paul Sparks (The Lovebirds) and Ashley Liao (Fuller House). Desperate Housewives and Suburgatory's Annie Weisman created, wrote and executive produced Physical, and serves as its showrunner, while Cruella's Craig Gillespie, Dead to Me's Liza Johnson and Love Life's Stephanie Laing all enjoy stints in the director's chair. Check out the latest trailer trailer below: Physical starts streaming via Apple TV+ on Friday, June 18.
The national Flickerfest roadshow pulls into Melbourne on February 13 with its caravan of Australian and international short film hits. With their not-so-commercial prerogatives and YouTube-able length, short films are a very fun watch — and yet we rarely get to see them in public screenings. Flickerfest is one of the country's premier remedies for this. The festival is renowned for being Australia's only competition accredited by the Academy of Motion Picture Arts and Science and recognised by BAFTA, which means award winners here go on to be considered for Oscars. In 2013, this recognition has extended from the Best Short Film and Best Animation categories to cover the Best Australian Short, too. It's a huge badge of honour for Flickerfest, which had its humble beginnings 22 years ago at Balmain High School. Rock up to Kino Collins Street to see a 'best of' this year's competition, which ran in Sydney in January. Short films screening include Yardbird, winner of Best Australian Film at Flickerfest 2013; the Alexandra Schepisi-directed Lois, starring Jacki Weaver; and the newbie from former Tropfest winner Alethea Jones, Dave's Dead. International inclusions include Italian-made Tigerboy, winner of the Renault Award For Best Short.
Take a trip to the pictures with singer, pianist and cinephile Joe Stilgoe at this year's Melbourne Cabaret Festival. A smash hit at the Edinburgh Fringe where it has sold out the past two years, Songs on Film raids the soundtracks of some of the greatest movies ever made. Over the course of their hour-long show, Stilgoe and his band pay tribute to more than a century of Hollywood history, from golden age classics to Pixar and the jukebox of Mr. Quentin Tarantino. Two shows only.
It's been a long (long) time coming, but a rail line from Melbourne's CBD to Tullamarine Airport is finally close to getting off the ground, with the Victorian and Federal governments officially 'signing off' on the project today. Prime Minister Scott Morrison and Victorian Premier Daniel Andrews today announced the signing of the Heads of Agreement, which formalises the governments' financial commitment ($5 billion each) to the project. This means that a team can start on a full Business Case for the project, which is set to be delivered next year. If all goes to plan, construction will start in 2022 and be completed in nine years. Yep, mark down 2031 in your iCal — that's when you'll finally be able to banish the SkyBus from your life forever. The Melbourne Airport Rail Link (MARL) will run from the CBD to Tullamarine via Sunshine. As well as clearing some congestion on the roads, it's hoped that the connection will also help speed things up on the overcrowded Geelong and Ballarat train lines. The plan is for the line to link in with the $11.3 billion Metro rail tunnel, which will supposedly open in 2026. The Federal and State governments have committed $30 million to conducting a planning study for the infrastructure, which is likely to include extra train lines between Southern Cross Station and Melbourne's western suburbs. Well, about time. Sydney and Brisbane already have airport rail links, and Perth is currently in the process of building its own. Maybe this will finally kill or clarify that myth around the airport's secret underground 'station' as well.
Right now you're probably thinking about your next meal (we know we are). Will it be another Bon Appétit-inspired cook-up to impress everyone you're cooped up with in isolation, or have you earned yourself a night off from all that upskilling in the kitchen? If your enthusiasm for cooking has begun to wane, you may be reaching for your favourite takeaway app to start browsing the options for a quick fix. Before you do, check your booze stash. Trust us, there is a connection. At the moment, if you spend $50 or more on any Pernod Ricard products — such as vodka or gin for your quarantinis — you'll receive a $10 voucher to use on Deliveroo. [caption id="attachment_745926" align="alignnone" width="1920"] Mary's Burgers by Nikki To[/caption] While we don't want to encourage excessive drinking during the COVID-19 lockdown, it's possible that you've already emptied your last bottle of wine and those cocktails you were shaking in week one have made your liquor cabinet look a tad dry. Pernod Ricard's range includes champagnes, cognac, gin, tequila, rum, whiskies and wines from brands like Absolut, Glenlivet, Jameson, Kahlua and Monkey 47, as well as Australian whites and reds from Jacob's Creek and St Hugo Wines. And the best part is that you can make your purchase from any online or bricks-and-mortar store, including BWS, Dan Murphy's, Liquorland, Porters Liquor, and a number of other participating stores. Just make sure you keep your receipt. Once you've made your purchase, it's easy to claim your Deliveroo voucher. Simply upload an image of your receipt to Pernod Ricard's website and, once validated, you'll be sent a discount code to your email address. You can then use the Deliveroo code for any food order — whether you're craving a hangover-busting burger, an icy Gelato Messina, or a comforting curry. Find out more about the Pernod Ricard offer here. The offer runs until the end of July, or until stocks last, and once you have your Deliveroo voucher you can use it immediately or until April 8, 2021. Find all the FAQs here.
The current true crime craze has filled our ears with acclaimed podcasts and packed our streaming queues with must-watch TV programs. Now, it's turning a former teen idol into a serial killer. After singing his way through high school, playing frat pranks at college and saving lives on California beaches, Zac Efron is swapping teen musicals, Bad Neighbours flicks and Baywatch remakes for a stint as notorious serial killer Ted Bundy. The end result is Extremely Wicked, Shockingly Evil and Vile, which focuses not only on the horrific string of killings that would eventually lead to Bundy's arrest and execution (he confessed to 30 homicides, but is suspected of committing more), but also on his relationship with single mother Liz Kloepfer (Lily Collins). How did the infamous figure charm his victims? How did Kloepfer fall in love with a psychopath? Both questions sit at this heart of this crime thriller. As the movie's first trailer (below) demonstrates, it's quite the change of pace for Efron, who has been garnering impressive reviews for his performance. Also starring John Malkovich and Haley Joel Osment, the film screened at the Sundance Film Festival over the past weekend, debuting 30 years after Bundy's execution on January 24, 1989 — almost to the day, a case of gruesome timing that obviously isn't a coincidence. Extremely Wicked, Shockingly Evil and Vile director Joe Berlinger is clearly steeped deep in all things Bundy at the moment, with the filmmaker's other project — Netflix documentary Conversations with a Killer: The Ted Bundy Tapes — premiering just last week on the actual anniversary of the murderer's death. Berlinger created, wrote and directed the four-part series, and his name should be familiar to die-hard true crime fans beyond that. He was also behind the three Paradise Lost documentaries, about the Robin Hood Hills murders and subsequent West Memphis Three trials — movies that played an enormous part in bringing the case to broader attention. Outside of his usual genre, Berlinger also directed acclaimed music doco Metallica: Some Kind of Monster — and the band's James Hetfield also features in Extremely Wicked, Shockingly Evil and Vile. While you're waiting to Extremely Wicked, Shockingly Evil and Vile to hit local screens, check out the unsettling first trailer below: https://www.youtube.com/watch?v=-lW6Z38HHJw 'Extremely Wicked, Shockingly Evil and Vile' doesn't currently have an Australian release date. We'll update you if and when that changes.
Kiwis based in Australia hoping to see family across the ditch can start planning their sojourns home sooner than expected. New Zealand's planned five-step border reopening plan has been brought forward this week, with isolation requirements for double-vaccinated Kiwis returning home scrapped weeks earlier than expected. From 11.59pm on Wednesday, March 2, vaccinated Kiwis entering New Zealand from Australia will no longer need to self-isolate. Prime Minister Jacinda Ardern announced the change of plans amid New Zealand's current Omicron outbreak, which sees the country currently suffering the highest rates of COVID-19 transmission in the world. But Australians holidaymakers shouldn't get planning a quick weekend jump across the ditch just yet. Vaccinated Aussie citizens wanting a holiday in New Zealand still have to wait for step four of the original border reopening plan, which sees all travellers from Australia and from countries who don't require special visas able to enter NZ. While that is still currently proposed to happen around July this year, Aussies can cross their fingers they may be able to head across for an adventure holiday earlier. COVID-19 Response Minister Chris Hipkins advised last month that "the reopening to visa-free tourists is also likely to be brought forward, with July being the latest date we anticipate this happening." Of course, during all five steps, testing will remain critical. Every traveller will be required to undertake a rapid antigen test (RAT) on the day they arrive and on day five or six. All positive RATs must be registered and followed up with a PCR test. New Zealand had 19,599 new cases reported on Tuesday, March 1, with over 300 cases currently in hospital. Kiwis returning to New Zealand from Australia will not need to isolate upon arrival from 11.59pm on Wednesday, while Australian holidaymakers will need to wait to enter the country until later in 2022. For more information, head to the New Zealand Government's COVID-19 website.
