If you've ever wanted to know what Melbourne's best chefs do in the shadows, this is your chance. After a successful August debut, Ombra's ongoing monthly dinner series, Shadow Thieves, is back for a follow up feed — and this one looks like it's going to be even better than the last. For September, it's all about the understudies — that is, the young, up-and-coming sous chefs from the city's best restaurants. Josh Pelham of Estelle by Scott Pickett will be there, as will Peter Cooksley (The Town Mouse), Matt Hammond (Elyros), Andreas Becerra (MoVida) and McKay Wilday (Ombra). Taking on a course each, they've put together a five-course menu for the night, which you can take a peek at here. Needless to say, it's impressive. 'The Understudy' dinner will be held on Monday, October 5 at Ombra Salumi Bar on Bourke Street. A ticket will set you back $120 — but for forking out, you'll get five of Melbourne's best dishes matched with five stellar Victorian wines. The Shadow Thieves dinners are set to continue, with nights centred around cheese, crab and spirits all in the pipeline.
In the spirit of Grand Final footy fever, Saxe is celebrating the long weekend with an Aussie feast on the public holiday Friday (Friday, September 27) from 2–4pm. A free-flowing frenzy of Four Pillars cocktails will be available for the whole two hours, as will a sharing menu of reworked Australian classics from chef and owner Joe Grbac. For $75 per person, you and your mates can spend the afternoon sipping unlimited Four Pillars gin cocktails, and eating the Aussie-inspired menu. The latter includes pork Chiko Rolls with jalapeño sauce, crumpets with mushroom jam, beef tartare with macadamia and jerusalem artichoke, as well as a chicken, bacon and mushroom orecchiette. Cocktail-wise, the unlimited drinks will include the gin and juice (with Bloody Shiraz gin), a negroni spritz, the Melbourne Calling — with lemon, Four Pillars sherry cask gin and rosemary — and the Springtime, with lime, ginger, rare dry gin, soda and flower syrup. To ensure your spot at Saxe this Grand Final weekend, you'll need to head over to the website — or call 9089 6699 — to make a booking.
Think about how nervous you feel when you're on a first date. Now imagine that it's happening in front of a theatre full of people. In an era of online dating, when people are judged based solely on a handful of selfies, theatremaker Bron Batten transports the rituals of modern romance from your smartphone to the stage for Melbourne Fringe 2016. Onstage Dating is exactly what it sounds like: each night, a different volunteer gets put through the ringer, as Batten gleefully deconstructs the conventions of contemporary courtship. Will true love flourish, or will the night end in disaster? Either way, it sounds like fascinating viewing. Image: Theresa Harrison.
With The Big Short and Nightcrawler still fresh in moviegoer's memories, Money Monster isn't the first film to ponder the impact of the global financial crisis, or peer into the television business in times of trouble. Nor is the best, boldest or even most star-studded contemplation of either topic. Instead, it's a solid thriller that may repeat a few statements we've already heard, but does so with a stellar command of tension and tone. If the pressure-fuelled dramas of the '70s combined with the beat-the-clock action efforts of the '90s, something like Money Monster would be the end result. Lee Gates (George Clooney), the host of the financial TV program that gives the movie its name, certainly seems like a remnant from another decade. His show would've been huge in the late '00s, and his exaggerated on-screen persona, loud proclamations, cheesy costumes and skimpily clad back-up dancers along with it. But a week after one of Gates' hot stock tips crashes, Money Monster's live broadcast is hijacked by the gun-wielding Kyle Budwell (Jack O'Connell). The Queens delivery guy has lost all his savings, wants answers, and is willing to strap a bomb to Gates' chest to get them — while the world, and the show's director Patty Fenn (Julia Roberts), watch on. Screenwriters Jamie Linden, Alan DiFiore and Jim Kouf are content to litter their script with more than a few convenient, predictable developments: Gates knows the failing company's head honcho (Dominic West), Budwell has a pregnant girlfriend at home, and Fenn is about to jump ship for a job at a rival network. However director Jodie Foster (The Beaver) proves determined to let the unease of the situation, and the performances it inspires, drive the film. The result is a film that's stressed and enraged from beginning to end, content in the knowledge that its audience feels the same. Foster endeavours to capture the incredulous, furious reaction the bulk of the population had to recent economic circumstances, channeling it into one heightened scenario and bearing witness to the fiery results. Every technical choice, be it the grey sheen of the film's visuals, the swift speed of its editing or the terse beats of its score, is calculated to promote a very precise mood. Even when the formula behind the film is obvious – and even with Foster offering a few humorous moments to lighten things up – Money Monster still delivers an urgent, edge-of-your-seat experience. She's aided in her efforts by the top work of her cast. Playing charismatic and controlled, Clooney and Roberts demonstrate why they've stayed at the top of the acting game for so long, though it's O'Connell that commands attention. Against his high-profile co-stars, he proves a bundle of raw, restless energy perfectly suited to the film's tone.
The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok and Carol actor — "our Cate", of course — best be making space next to her Oscars for The Aviator and Blue Jasmine as a result. Well-deserved accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them) and, as the Golden Globes showed, they're not likely to stop till this awards season is over. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Directing a film for just the third time in 22 years — and the third at all, as well as the first since 2006's Little Children — writer/helmer Todd Field begins Tár with the woman, the myth and the legend. Since the feature's US release, viewers have been known to think that Lydia is an actual person, which has proven instantly memeable, yes, but more importantly is a testament to the detail and potency of the filmmaker's layered script. As Gopnik advises, Tár is a protégé of the one and only (and real) Leonard Bernstein, the first female chief conductor of the Berlin Philharmonic and an EGOT-winner. She has a book in the works, Tár on Tar, and she's soon to record her dream piece, Gustav Mahler's Symphony No. 5. She's not fond of having her successes ascribed to battling sexism, but she's proud, confident and authoritative talking about her career, field and leap to the top of classical music. Not mentioned in this early celebration, unsurprisingly: the behaviour that'll come back to stalk Lydia, involving her treatment of mentees and students, and cracking her hard-carved place in an elite realm. With two Academy Award nominations to his name for screenwriting, for both Little Children and his 2001 feature debut In the Bedroom, Field is in his element plotting Tár's intricate and tangled life that just keeps getting more and more knotted — and penning and directing a film that's equally as complicated. Tár is many things and never merely one thing, but it's a psychological character study above all else. As the feature charts its namesake's downfall from the heights that the picture opens with, and unpacks her arrogance and ambition, it unravels Lydia. As it examines her professional dealings and personal bonds, sees transactional connections wherever she goes and shows her scant regard for most folks other than herself (although she'll happily bully a schoolgirl for her young daughter Petra, played by first-timer Mila Bogojevic), the movie chips away at Lydia's carefully established personality and mystique. And, as her standing plummets amid a scandal, and her relationships with it, the film probes and ponders who she truly is anyway — and why. Is Tár a groomer, predator and liar? A talent who took her lust for triumph too far? A celebrity overly enamoured with her own fame and power? Is she a woman fracturing? Someone literally haunted? An egotist using and emotionally bruising, then getting what she deserves? Tár is too crafty — and well-crafted — a drama to quickly or easily tick most of those boxes for its protagonist, and finds much of its depths (and much of its fuel for Blanchett's performance) in provocatively giving all of the above attention. As Lydia belittles Juilliard kids in showy lectures about JS Bach, grinds first violin Sharon down to just one of her offsiders, capitalises upon Francesca's own conducting dreams, weathers a storm with her past favourite Krista (debutant Sylvia Flote) and throws her current approval towards new Russian cellist Olga (acting newcomer Sophie Kauer), Tár is also as precise at building the world that its titular character dwells in, where her genius and thrall draws in everyone, enables her, and lets Lydia herself believe that everything is excused and even worth it if it results in her art. Collaborating with cinematographer Florian Hoffmeister (Pachinko), editor Monika Willi (Happy End), costume designer Bina Daigeler (1899), production designer Marco Bittner Rosser (Only Lovers Left Alive) and composer Hildur Guðnadóttir (Joker), Field does indeed fashion Tár immaculately. A film of cool hues, firm lines and rich surfaces — Lydia's suits encapsulate the look perfectly — as well as a gripping, tension-dripping beat, it's a film where every choice seen and heard is revealing about its story, central figure and themes. Tár is also a movie of striking scenes revelling in such tightly constructed surroundings, all with Blanchett at their centre. Every choice she makes with her facial expressions and body language, whether Lydia is regaling fans, instructing pupils, pushing aside loved ones or luring in new points of interest, is a compelling, entrancing masterclass. When Tár picks up the baton, plays the piano, holds court, tries to navigate her own fall and perhaps even orchestrate her own second rise: these moments, whether loud and intense or quiet and contemplative, are hypnotic and loaded, too. But, across a 158-minute duration that never feels that long and shows zero signs of bloat, Field fills his frames with more than just one outstanding player. He could've simply let Blanchett's awards-worthy efforts be Tár's everything alone, and this'd still be captivating, bold and intelligent. Again, there wouldn't be a film this piercing without her, and it rises in tandem with her astounding work. In what's hopefully not his last picture for another decade and a half, however, Field sees what Lydia can't and won't. Casting German acting royalty Hoss and French Portrait of a Lady on Fire standout Merlant, both of whom bring texture, vulnerability and visible signs of pain to their pivotal characters, makes a statement: that no story is one person's only.
When Araliya announced they were opening a sister venue in St Kilda, it was a little surprising. Sri Lankan doesn't scream Fitzroy Street. Actually, it's not clear what Sri Lankan screams at all, but now southside has it's very own restaurant dedicated to the cuisine. It's Araliya number two, the second venue from Sam and Dee Wedande who, after a massive 30 years in Hawthorn, have taken this institution into new, unchartered territory. But this isn't just a clone of the Hawthorn outpost. And rightly so; that never would have worked. Araliya St Kilda, complete with new branding and steeze, now has a focus on small sharing plates, the bar and booze. Bartender Anton Turco Bertolotti has come on board to add cocktails into the mix — basil martini, anyone? — and to orchestrate more of a casual bar feel. Likewise, the fit out is sleek, modern and a world away from what you would have seen in Hawthorn. Aesthetically, it's somewhat reminiscent of Golden Fields (before it became Luxembourg) a few doors down. Sri Lankan food can be a bit of a mystery, so in order to demystify the process, here's the jist: sort of like a lovechild of Indian and African cuisine, the spices are heavy, thick and cockle-warming. In a way that's similar to African, the dishes are designed to be eaten with vegetables (ordered as sides) and lots of roti. Naturally, it's all made for sharing. If you're not sure how to go about ordering though, just ask the waitstaff. The highlight of our meal was, undoubtedly, the fennel curried duck leg ($18.50/$32). This is where Sam's lifetime of experience in the kitchen shines. If you order it — and the only reason you shouldn't is if you're morally disinclined to eat duck — expect the meat to fall right off the bone and, subsequently, melt in your mouth. It's best mopped up with roti (crisp, but still chewy — the best kind) or some thosai: pretty similar to dosa, they are Sri Lanka's own lentil (gluten free!) pancakes, served with green coconut chutney and herb salad ($8.50). While we found these dishes well priced, the same can't be said across the board. The Godhamba roti roll omelette with crab, goat's cheese, tomato and green chilli was holy by roti roll standards, but a bit too steep at $27 a pop. Particularly as you'll want another one. Similarly, the sides of veggies — shredded Brussels sprouts and coconut, lentils, pickled beetroot — were a necessary addition to the table, but an expensive one at $14 each. We'd suggest sacrificing your waistline for your wallet, though, and spending that dough on dessert. The roti cigars filled with fresh coconut, spiced, topped with treacle and served with an incredible cinnamon ice-cream ($15) are perfect, and manage to stay fresh without being too sweet. But that's what this place is: sweet. It's certainly St Kilda's sweetest Sri Lankan restaurant. In this weird place where your neighbours are both rowdy English backpackers and Andrew McConnell, the new and improved Araliya seems to have found a space to slot in.
UPDATE, March 18, 2022: Spencer is available to stream via Prime Video. With two-plus decades as an actor to her name, Kristen Stewart hasn't spent her career as a candle in the wind. Her flame has both blazed and flickered since her first uncredited big-screen role in The Flintstones in Viva Rock Vegas but, by Elton John's definition, she's always known where to cling to. After jumping from child star to Twilight heroine and then one of the savviest talents of her generation, she's gleaned where to let her haunting gaze stare so piercingly that it lights up celluloid again and again, too. Spencer joins Stewart's resume after weighty parts in Clouds of Sils Maria, Personal Shopper, Certain Women and Seberg, and has her do something she's long done magnificently: let a world of pain and uncertainty seep quietly from her entire being. The new regal drama should do just that, of course, given its subject — but saying that director Pablo Larraín has cast his Diana well, pitch-perfect head tilt and all, is a royal understatement. Larraín also trusts himself well, making the kind of movie he's made three times now — not that Jackie, Ema and Spencer are carbon copies — and knowing that he does it phenomenally. Both essaying real-life figures and imagining fictional characters, the Chilean filmmaker keeps being drawn to tales about formidable women. His eponymous ladies could all be called strong female leads, but Larraín's features unpack what strength really means in various lights. Like her predecessors in the director's filmography, Diana faces searing traumas, plus ordinary and extraordinary struggles. She scorches away tradition, and values letting her own bulb shine bright over being stuck in others' shadows. Viewers know how this story will end, though, not that Spencer covers it, and Larraín is just as exceptional at showing how Diana's candle started to burn out. The year is 1991, the time is Christmas and the place is the Queen's (Stella Gonet, Breeders) Sandringham Estate, where the Windsors converge for the holidays (yes, Spencer is now prime seasonal viewing). As scripted by Peaky Blinders and Locked Down's Steven Knight, the choice of period puts Diana in one of the most precarious situations of her then decade-long married life, with her nuptials to Prince Charles (Jack Farthing, The Lost Daughter) turning into an "amicable separation" within 12 months. Spencer's focus is on three days, not all that defined the People's Princess' existence before or after, but she can't stop contemplating her past and future. The Sandringham grounds include the house where Diana was born, and those happier recollections — and time spent now with her children (debutants Jack Nielen and Freddie Spry) — give her a glow. Alas, all the monarchical scrutiny simmers her joy to ashes, unsurprisingly. Larraín is one of today's great detail-oriented filmmakers, a fact that glimmers in his approach to Spencer — and did in Jackie, too. Both character studies let snapshots speak volumes about broader lives and the bigger narratives around them, including when poised as "a fable from a true tragedy" as the title card notes here. 'Poised' is one word for this fictionalised imagining of real events, which builds its dramas in an immaculate chamber, lets heated emotions bounce around as it tears into privilege and power, and allows audiences to extrapolate from the meticulous minutiae. Specific tidbits are oh-so-telling, such as the demand that Sandringham's guests hit the scales upon arrival and leaving, their weight gains deemed a sign of how much they enjoyed themselves. Bolder flourishes are just as exacting, like the way the place is lensed to make the Princess of Wales resemble a doll being toyed with in a playhouse, as well as a Jack Torrance substitute trapped in her own Overlook Hotel The Shining-style. Often boldly and claustrophobically ominous in its vibe and visuals, and deliberately so — as equerry Major Alistair Gregory, overseer of every move made at the estate, Timothy Spall (The Last Bus) perfects the eerie mood — Spencer can be called a horror film and the label fits. Terror, distress, contempt and cruelty are all part of Diana's Sandringham experience, the first two emanating from the former Lady Spencer and the latter pair frequently flung her way. This is a slice-of-life biopic as well, obviously, and also a Princess of Wales time capsule thanks to its exquisite staging and costuming. Larraín does leap into lingering memories occasionally, which lets the movie survey an array of its central figure's famed outfits with a keen eye. The appearance of things, be it her crumbling marriage or herself, is the key tenet she's being told to uphold, after all — but the decreed version decided by others, not her own, down to dictating exactly what she's permitted to wear and when. Spencer's nightmare of not being able to be one's self, especially under an unyielding spotlight, sees Diana's inner turmoil manifest in multiple ways. Her bulimia and self-harming speak of tainting appearances, and forcefully; her hallucinations of fellow ill-fated royal Anne Boleyn and her general anxiety make her fragile emotional state plain. She's introduced getting lost en route, then earning ire for being late, rebellious and just someone the Windsors must deal with — and the anguish that Stewart wears like a second skin is given ample origins. Spencer's magnetic lead portrayal is smartly underplayed, though, even as the heft of Diana's evident woes, and fight for survival amid the ghosts of history, fame and expectation, fills rooms. In fact, Stewart is all the more powerful for her fine-tuned vulnerability and introspection than something bigger would've been, as past examples have shown. The Crown has done Diana well so far, but the less remembered about 2013's Naomi Watts-starring Diana, the better. Every technical choice on Larraín's part beams brightly, too — or, if dim, it's by design. Spencer looks the grey 90s British drama picture, with cinematographer Claire Mathon (Portrait of a Lady on Fire) baking in grey tones even when the hue isn't visible. Continuing to do stellar things with tension-dripping film scores, Radiohead's Jonny Greenwood adds this in alongside The Power of the Dog to his recent standouts. Spencer does capture warm moments, including sympathetic rapports with some estate staff (with compelling turns from The Shape of Water's Sally Hawkins and The Green Knight's Sean Harris, both ever-reliable), but it also ensures that the rarity of such exchanges in Diana's life is heartbreakingly clear. The upbeat 80s single "All I Need Is a Miracle" might set a glorious closing note, but this is always an equally bold and sensitive — and enthralling — portrait of England's rose wilting not from the sunlight she craves, but from the royal inferno.
UPDATE, September 24, 2021: Minari is available to stream via Stan, Google Play, YouTube Movies, iTunes and Amazon Video. Films about the American dream aren't simply about chasing success. The circumstances and details change, but they're often movies about finding a place to call home as well. Such a quest isn't always as literal as it sounds, of course. While houses can signify achievement, feeling like you truly belong somewhere — and that you're comfortable enough to set your sights on lofty goals and ambitions that require considerable risks and sacrifices — transcends even the flashiest or cosiest combination of bricks and mortar. Partly drawn from writer/director Lee Isaac Chung's own childhood, Minari understands this. It knows that seeking a space to make one's own is crucial, and that it motivates many big moves to and within the US. So, following a Korean American couple who relocate to rural Arkansas in the 80s with hopes of securing a brighter future for their children, this delicately observed and deeply felt feature doesn't separate the Yi family's attempts to set up a farm from their efforts to feel like they're exactly where they should be. When Jacob Yi (Steven Yeun, Burning) introduces his wife Monica (Yeri Han, My Unfamiliar Family), pre-teen daughter Anne (first-timer Noel Cho) and seven-year-old son David (fellow newcomer Alan S Kim) to their new 50-acre plot, he's beaming with pride. He's bought them "the best dirt in America," he says. It might only span a trailer, a field and a creek, but he's certain that it will revolutionise their lives. Although both Jacob and Monica still spend their days in a chicken sexing factory to pay the bills, Jacob is confident his agrarian dream will reap rewards. The path he's chosen isn't a glossy fantasy, though. From trying to work out where best to build a well to provide water for his crops, to endeavouring to convince stores to buy his wares, Jacob weathers more than his fare share of struggles. Monica's worries about their isolation, and about money, also weigh heavily, as do Anne and David's attempts to fit in, the latter's heart murmur and the change that sweeps through the family when Monica's mother Soonja (Youn Yuh-jung, Sense8) joins them. "Grandma smells like Korea," the curious and precocious David complains about his newly arrived grandparent — and it's a telling line of dialogue. When Jacob and Monica talk about their promises when they first got married, remembering how they said they'd "move to America and save each other", their words are just as revealing. Minari doesn't spin a broad culture-clash narrative, but it does intricately and intimately explore what it means to be pulled in two directions. It's well aware that leaving one's homeland isn't the same as surrendering one's heritage, and that anyone who hasn't been through the same experience can't always spot the difference. Born in US, David and his sister don't have the same connection to Korea as their parents; however, they're reminded of how they stand out in American's heartland on a daily basis. Jacob and Monica have different visions of what their life should entail, and how to maintain ties to the past — he wants to grow Asian vegetables to sell to markets who cater to other immigrants, while she wants to live in a larger city as part of the Korean diaspora — but they're constantly navigating the same push and pull. Fellow recent American-made releases Crazy Rich Asians and The Farewell also traversed comparable thematic territory, but through US-based Chinese American women who made eye-opening trips abroad — to meet their partner's relatives or visit their ailing grandmother. By contrast, Minari devotes every second to the Yi family's American lives. Rather than being driven by a homecoming, the film focuses on turning that soil that Jacob gushes over into the Yis' home. The power that radiates from Chung's choice here can't be underestimated. Nor can his decision to frame much of the movie from David's perspective, and to eschew overt conflicts for everyday dramas. Through a pitch-perfect blend of all three, Minari sees Arkansas as both a challenge and a playground. Starting anew here isn't easy, even with everything from overgrown grass to dutiful church visits taking on a larger-than-life feel from David's wide-eyed viewpoint, but Minari, Jacob and his loved ones are all committed to taking the bad with the good. In the Yis' case, setbacks come their way, adjustments are necessary and tense moments abound, but their dedication to calling their farm home manages to survive tough reality checks. The film's overall story can be summarised neatly — a Korean American family moves to middle America — but Minari's charms and triumphs aren't ever simplistic. As movies influenced by personal real-life tales can be at their best, this is a gorgeously and thoughtfully detailed picture, with Chung realising that trading in specific minutiae is far more resonant, compelling and relatable than opting for sweeping generalisations. Lensed by cinematographer Lachlan Milne (Hunt for the Wilderpeople), the feature's visuals operate in the same fashion, offering exacting slices of life that also shimmer with a shared, nostalgic mood. Indeed, this precise and vivid film is told with such honest and tender emotion that it was always bound to feel equally unique and universal. Minari isn't Chung's first feature, thanks to 2007's Munyurangabo, 2010's Lucky Life and 2012's Abigail Harm, but it's the kind of heartfelt yet meticulous movie that instantly cements him as a filmmaker to watch. Young Kim does take his debut leap into cinemas, and makes just as strong an impact, stealing every scene he's in. Considering that the child actor stars opposite the always-magnetic Yeun, who turns in his latest excellent performance and may well receive an Oscar nomination for his efforts, that's no minor feat. Han, Youn and Cho are just as stellar, though, as is Will Patton (Halloween) as a devout but kindly Korean War veteran who virtually becomes another member of the family. The way that Minari's cast comes together so exceptionally couldn't be more apt, actually. They each find the space to explore hard-earned dreams, and feel like they're taking viewers home with the Yis in the process. https://www.youtube.com/watch?v=NbE96sCJEjo
If someone asked you to name vodka's ingredients, you'd probably say grain or potatoes. Over at Vodka+, however, it whips up the spirit using Barossa Valley grapes, drawing upon Australia's strong wine history. The Melbourne-based outfit's top drop also features Bass Strait rainwater and lemon myrtle from Queensland, sharing the love around the country. The result: a tipple has a particularly rich and smooth taste, although it's not the only product in the company's range. If you can never decide what to pair vodka with, the brand has its own lineup of sugar-free premixes. Pick from flavours such as ginger, matcha frappe, lemon and lime, acai and berry, and pink grapefruit. Vodka+' range is available via its online store — whether you're after a bottle of vodka by itself, a few premixes, or a mix-and-match pack showcasing its entire line.
Winner of the Grand Jury Prize at Sundance and the Camera d'Or at Cannes, Beasts of the Southern Wild is the impressive debut feature film from young director Benh Zeitlin. The film, which opens in cinemas from September 13, sees six-year-old Hushpuppy battle a hot-tempered father, melting ice-caps and monstrous creatures called the aurochs as she searches for her mother. Featuring moving performances from Dwight Henry as Wink and Quvenzhané Wallis as Hushpuppy, Beasts of the Southern Wild is a truly one-off fantasy drama that is at once magical and powerfully grounded. Concrete Playground has 10 double passes to giveaway to see Beasts of the Southern Wild. For a chance to win, make sure you're subscribed to Concrete Playground then email your name and postal address to hello@concreteplayground.com.au
With September comes some much-needed spring and — to build on the beers in the sun you've no doubt been raring for — so too comes Oktoberfest. The famous German beer drinking festival runs for three weeks, kicking off before actual October, and it's a big deal in Munich, Bavaria. It's certainly not a small deal here, either, with Hofbräuhaus Melbourne, located right in the heart of Chinatown, leading the fray in the festivities in this part of the world. It's one of the oldest German restaurants in the country and has been celebrating Oktoberfest for more than fifty years — so, it knows how to throw a party. Starting on Saturday, September 21 and running for five weeks, the opening party will bring huge steins of bier, obviously, as well as live entertainment, stein carrying comps (it's even harder than it looks) and Bavarian feasting. The winner of the competitions can get themselves a whole year of free Hofbräuhaus bier, so it's worth doing a few arm days at the gym between now and then. The day will start at 12pm for the Oktoberfest Lunch session, with a traditional keg tapping in the restaurant at 3pm. Afterwards, the party will be kicking on in the 'bierhall'. If huge biers and German comfort food are your things, then it's time to crack out the lederhosen or dirndl and prepare yourself for the festivities. Plus, over the course of the five-week party, you can go into the running to win a trip for two to Bavaria, including flights, a private tour in a Bavarian brewery and a hot air balloon ride. All you have to do is spend a minimum of $65 per person between Saturday, September 21 and Friday, October 25. Table bookings are necessary — book here or over the phone.
Ever wondered who designed the iconic black and yellow Solo can? Les Mason was not only the original Solo man, but was Australia's Don Draper equivalent in the 1960s, revolutionising mundane graphic design, and making it into an art form worthy of critical praise and galleries. From the iconic product designs of melt-in-your-mouth-and-hand Cadbury to the ever-classy Epicurean magazine, find out what advertising was like pre-photoshop at Les Mason: Solo. This free exhibition at NGV Design Studio will feature over 200 designs and photographs from the maverick graphic artist — a captivating insight into Mason's prolific career. Praised for his critical eye and bold use for experimentation in design, Les Mason was the first to combine Dada and Surrealism into advertising. The exhibition showcases his rigorous and disciplined process that had the ability to influence consumer decision-making, from vibrant colour rainbow graphics to packaging, architectural graphics and more. Les Mason: Solo is showing now, and will run until February 21.
If you're the sort of person who likes to eat meat until you start shaking with the meat sweats and can (m)eat no more, then a festival very relevant to your interests is coming to town. Meatstock Festival, a two-day celebration of all things animal, is setting up its smoky self in the Melbourne Showgrounds on the weekend of March 23 and 25. Not just your regular food festival, bands on the Meatstock lineup include Bob Evans, Henry Wagons, The Sweet Jelly Rolls, Long Johns, Frank Sultana, Cigany Weaver, Mojo Juju, Adrian Eagle, The Little Quirks and Benny Walker. Sure, there'll be less music than there is at Woodstock, but there will be 200 percent more tasty meat-related foods. The food stars of the show are Burn City Smokers, Black Bear BBQ, Rangers Texas BBQ, Fancy Hank's and more. Try some of each, or make your way through all of the food stalls and then fall into a sweaty, cholesterol-heavy heap — don't say we didn't warn you. Finally, for a little old-fashioned rivalry, the festival will be running its Butcher Wars, which will basically be a bunch of hopefully unbloodied people running around competing and wielding various knives. There's also Barbecue Wars too, heating up the grill in more ways than one. What a weekend.
Samurai! Robots! Sword-fighting school girls! It can only be Japanese cinema. The Japanese Film Festival, which started on November 29 and will be screening at both ACMI and Hoyts Melbourne Central, is far from being a straight forward ninja fest. The program covers an eclectic range, from opening nighter Thermae Romae, about an Ancient Roman architect travelling forward in time in search of modern toilets, to A Terminal Trust, a pensive drama tackling the hard topic of euthanasia, to Helter Skelter, a thriller set in a beauty-obsessed world of celebrity and plastic surgery. ACMI is also running a free program of sixties classics from Yasuzo Masumura, one of the key figures in Japan’s answer to the New Wave. Now in its sixteenth year, the festival showcases the wonderful diversity of Japanese film, challenging audience expectations and defying cultural cliches. Although the sword-fighting school girls will be there too.
Remember the girl who supposedly left a heartbroken (and potentially drunken — but who's to say when Messina's involved) break-up voicemail on Gelato Messina's answering machine when she found they had closed early on New Year's Eve? Well, you can thank her, because this afternoon Messina is delivering tubs of a gelato created in her honour — for just $1. Yep, $1. In an attempt to win back upset ice cream lover Cecillia, Messina has made a bespoke creation from her favourite flavours. And from salted caramel gelato with baked cheesecake, candied macadamia nuts and hazelnut fudge, the Voicemail was born. Perhaps as an act of good faith, Messina is selling it in 500-gram tubs for just $1. You just have to order it through Deliveroo today — Tuesday, January 24 — between 3pm and 5pm. It's available for delivery in the Sydney CBD and inner east area and around Fitzroy and South Yarra in Melbourne. If you miss out on the delivery window, don't chuck a tantie (or ring Messina) — the Voicemail is going to be available on Deliveroo past 5pm (albeit at a regular price).
This year's Australian Open is a food lover's dream, showcasing a smorgasbord of cuisines from across the planet and catering to every palate. One of the hottest seats is Bar Atrium with its Yarra and city skyline views — the perfect backdrop to a three-course Lebanese-inspired brunch curated by Melbourne's own celebrated master of modern Middle Eastern cooking and food pop-up king, Tom Sarafian. As the sun sets, the venue transforms into an 'After Eight' experience, featuring bar snacks by Sarafian and cocktails from The Everleigh. Meanwhile, at John Cain Arena's Fusion Feast you'll find dishes from beloved chefs like Ross Magnaye of Serai and Jessi Singh of Daughter-In-Law. Enjoy tastes of Italia at Garden Square with Lygon Street Italian. Iconic Melbourne joints King & Godfree, D.O.C, and Brunetti Classico will serve up classic Italian dishes from pizza al taglio to delish porchetta rolls. And that's just the tip of the iceberg. Seafood lovers can head to the AO Courtside Bar, where Bondi's Fish Shop is serving up bar bites, while Fishbowl makes another appearance at Grand Slam Oval, serving fresh and flavoursome items from its Street Food concept menu. For a taste of Spain, visit Abel Lusa's Cambio de Tercio for traditional and modern tapas. Not far away, the Piper-Heidsieck Champagne Bar offers a touch of fancy, a perfect spot for sipping champagne while watching the matches. For those looking for salvation amid the Aussie summer heat, don't miss the signature Peach Melbourne soft serve at AO Ballpark. Or head to the Peroni Bar for ice-cold respite. Canadian Club's Cabana Bar (to accompany the already-announced Racquet Club) and the Squealing Pig Wine Terrace are also on hand to provide tournament-goers with some quality watering hole options. If kicking back and relaxing with an Aperol Spritz while in the thick of the Aus Open atmosphere is more your thing, head to Terrazza Aperol. Rockpool Bar and Grill, Penfolds Restaurant and Stokehouse are also back for another Australian Open appearance, as are the much-loved Rod Laver Arena Superboxes by Shane Delia's Maha and Nick and Nora's. So, with all that being said, our tip for the Australian Open? Wear loose pants.
CHiPS is an extraordinarily annoying film. Annoying, because it's 85 per cent predictable, homophobic rubbish, but also 15 per cent genuinely funny. The quality of those few jokes that do land hence raises the question: was the writer, director and star Dax Shepard just lucky on those rare occasions? Or was he simply lazy on all others? Given the movie is merely the latest in a long line of old TV show reboots, laziness seems the more likely contender. This hypothesis gains further credibility when you consider the comedic chops of Shepard's cast, which includes Michael Peña, Kristen Bell and Maya Rudolph, among others. Hell, Shepard himself is no mug when it comes to making us laugh; how he, or anyone else, could possibly think this script was strong enough to move into production may forever remain a mystery. The plot of CHiPS is at once hideously convoluted and entirely predictable. Peña plays Frank "Ponch" Poncherello, an FBI agent going undercover into the California Highway Patrol in order to expose a gang of corrupt officers suspected of carrying out a series of armoured car robberies. He's partnered up with probationary officer Jon Baker (Shepard), a former X-Games motorcyclist whose body is now in a state of such ruin it's comparable to that of Lloyd Bridges' Admiral Benson in Hot Shots. Addicted to pain killers and determined to win back his adulterous trophy-wife Karen (played by Shepard's actual wife Kristen Bell), Baker is an Owen Wilson-esque modern age man forever discussing the closure of issues and expressing concern for Peña's presumed homophobia. Together, Ponch and Baker cycle around California, occasionally doing police work, but mostly just swearing, masturbating and blowing things up until the movie just sort of ends. The funny bits are funny – a moment involving a hit and run with paparazzi, for example, elicited actual applause from our audience. But successful gags are so few and far between that it makes the exercise of discovering them feel like too much for too little. Vincent D'Onofrio does a solid job imbuing his gang leader character with at least some degree of complexity when all other characters around him are merely caricatures. But it's not nearly enough to save this otherwise decidedly dull and frequently downright cringeworthy affair. https://www.youtube.com/watch?v=0IfqqUTW-i4
After a massive reno, Wyndham Cultural Centre is set to open in early July. And one of the first shows scheduled for the theatre is King Stingray and Electric Fields. The two bands, which, between them, have scored tonnes of awards and toured all over the world, will appear in a double bill on Saturday, July 5. Tickets are available online. King Stingray, which hails from the Northern Territory, put out its debut EP in 2022, straight away scoring five ARIA nominations and the prize for Breakthrough Artist of the Year. Since then, they've been touring internationally — right now they're making their way through Europe. Electronica duo Electric Fields had a similarly speedy rise to fame. After launching in 2015, they were touring China, Scotland and New Zealand within six months. 2024 saw them become the first duo to represent Australia at Eurovision with the song One Milkali (One Blood).
Jono Gooley's upcoming exhibition, The Skull of the Unknown Sheep, gives us an intimate and varied glimpse at the process of making art. The subject, a desiccated sheep's skull, is rendered over and over from different angles and with different mediums to evoke a sense of artistic progression and multiplicity. Gooley is a Melbourne-based artist and graduate of the Victorian College of the Arts, who generally creates large-scale oil and airbrush portraits. However, The Skull of the Unknown Sheep shows Gooley experimenting with various mediums, including soft pastels, Copic markers, watercolours, graphite and charcoal, as well as some sculptural works (check out his process in this time-lapse video). The exhibition opens on Sunday, June 26 with a viewing and performances from Yakini, The Gaza Stripper and Dhana Bhutan from 4-8pm. The gallery will also be open from 11am till 5pm on June 27 and 28.
Melburnians, cancel your lunch plans for Wednesday, March 8. Actually, maybe cancel your morning plans as well. Whatever you already had on your agenda for the day, it can wait, because this is happening again: In-N-Out Burger is back in Melbourne for one of its late-notice burg-slinging pop-ups. From 9am–3pm, the American chain will hit St Kilda's Newmarket Hotel on Inkerman Street, serving up burgers within that six-hour window — or until sold out. Jimmy's Burgers, aka James Hurlston, announced the news on his Instagram account. And yes, these pop-ups always happen with very little notice, as you might remember from past In-N-Out frenzies before the pandemic. View this post on Instagram A post shared by James Hurlston (@jimmysburgers) On the menu: the chain's double-double, animal-style and protein-style burgs, all while stocks last — with limited quantities available. If you've been to one of In-N-Out's previous Melbourne pop-ups, you'll know these burgers sell like, well, cult-status burgers — so you'll have to get there ASAP on Wednesday. Work can wait. The In-N-Out burger pop-up will run from 9am–3pm on Wednesday, March 8 at St Kilda's Newmarket Hotel, 34 Inkerman Street, St Kilda. Images: Thank You (21 Millions+) views / Craig Lloyd via Wikimedia Commons.
Blackman's Brewery is located in Torquay, off the Great Ocean Road and just back from the beach — an ideal location for a surfer's brewery. But apart from the location, the Wildcard series is the main draw here as you can only get the single keg batches at the brewery. It doesn't get more small batch than that. The kitchen is open until late, with a pizza and seafood menu that is crafted around the brews.
In Little Men, growing up is filled with illuminating revelations — some obvious, and some that can only be gleaned over time. Case in point: when 13-year-old New Yorkers Jake (Theo Taplitz) and Tony (Michael Barbieri) become firm friends thanks to a chance meeting and a shared love of fantasy novels, everything instantly seems brighter. But as circumstances conspire to test their bond, they also discover that even the strongest glow casts a shadow. Theirs is a case of opposites attracting. Jake is quiet, reserved and fond of art, while Tony is outgoing, outspoken and dreams of becoming an actor. To them, this doesn't matter — but life has a way of telling them otherwise. They're able to see past class clashes and playground taunts until conflict grows between Jake's father Brian (Greg Kinnear), a struggling actor, and Tony's mother Leonor (Paulina García), who runs a dress shop in the building that Jake's family has just inherited. Raising the rent in line with the area's increasing gentrification would make a drastic difference to both. For Brian, it would mean a steady source of income and a chance to lessen the financial burden on his wife Kathy (Jennifer Ehle). For Leonor, it would mean having to close her store and move on. While the importance of many of Little Men's exchanges might be readily apparent, this isn't a film that trades in big moments, takes sides or offers easy solutions. Instead, it thoughtfully and patiently observes as Jake and Tony respond and adapt to the complex reality around them. In that way, it calls to mind writer-director Ira Sachs' previous film, the bittersweet Love Is Strange. Indeed, Little Men could've easily been called Life Is Strange — and, like its predecessor, much hinges upon the work of its cast. It's the understated performances of Taplitz and Barbieri, specifically, that ensures the film stays on track, with the two bringing their characters to life without an ounce of cliche. When Jake and Tony decide to give their respective parents the silent treatment until they resolve their feud, their posture and expression says plenty. As the younger actors excel at making their gradual, subtle coming-of-age awakening feel authentic and relatable, Kinnear, García and Ehle help paint the world around them in the necessary shades of grey. Of course, the film's naturalistic palette doesn't quite use those tones — in fact, it favours crisp imagery and a whimsical, upbeat score. But crucial to both is balance, rather than exaggeration. Life, after all, is comprised of more than just one simple extreme or the other.
If you were raised in '80s, prepare to re-live your childhood. Melbourne’s most iconic art-deco movie palace is devoting its screen, for an entire week, to Frank Oz and Jim Henson’s beloved, puppet-filled fantasy adventure, The Dark Crystal. The centrepiece of the current Astor Theatre calendar, The Dark Crystal follows Jen, a child-like ‘gelfling’ on a quest to reunite the pieces of a mystical stone and defeat the evil Skeksis. Although its elaborate animatronics and dark themes were considered too scary by many concerned parents in 1982, the film is now rightfully remembered as a classic. Besides, there’s nothing in the film even remotely as terrifying as David Bowie bulging out of his pants in Henson’s follow-up, Labyrinth. In any case, whether you grew up with The Dark Crystal, weren’t allowed to see it, or are planning on catching it for the very first time, the big-screen at the Astor should prove the perfect place to do so.
Get ready to swap your flat white for a frothy märzen because Preston is about to become a mini Munich. Or, at least Tallboy & Moose will when it hosts its Oktoberfest party from 4pm on Friday, September 22. It's not just a party, though. The electricity of competition will also be in the air. Six local homebrew heroes from the Merri Mashers Homebrew Club will be competing in a German brew showdown on the night. And the best part? You get to decide who will take home the title of People's Choice Champion. Who says democracy is dead? Tallboy & Moose isn't just sitting on the sidelines. It will be slinging two special Oktoberfest beers: Prost in Translation märzen and Sleight of Hand schwarzbier. The night will also have its own Oktoberfest menu featuring weisswurst, bratwurst, weisn hendl (roast chicken) and kartoffelsalat (potato salad). There's also going to be 'bretzels' and 'boobzels', as well as other salty takes on body parts available on the night thanks to German Baking Queen. Oh, and free tastings of each beer entered in the homebrew competition will also be available on the night, to add a nice cherry on top of what's shaping up to be an Oktoberfest celebration to remember. PS: a word of advice? Book a table. Spots are bound to fill up faster than you can say prost.
Is there anything better than a burger? How about one for just a cheeky fiver? Well, we've got good news for you. Yo My Goodness, aka YOMG, is now offering its top-quality burgers, shakes, fries and frozen yoghurt to northside Melburnians at its new Moonee Ponds location. And, to celebrate its new digs, it's slinging $5 burgs. Head to the fun-loving diner from Friday, May 7 to Sunday, May 9 and you'll be chomping on cheesy burgs for cheap. The $5 deal is limited to the Yo My with Cheese, loaded with a grass-fed angus beef, double cheese, lettuce, tomato and YOMG's secret sauce. The cheese burger usually comes in at $11, so we'd say this is quite the steal. Plus, vegetarian and vegan options are available for herbivores, as well as gluten-free buns. And, if that wasn't enticing enough, by grabbing yourself a tasty burg, you'll also be in the running to score one of five YOMG Golden Tickets. The tickets will be in random burgers throughout the weekend and, should you find one, you will then receive a $500 YOMG voucher. YOMG's $5 burger weekend is exclusive to YOMG Moonee Ponds and is available online and in store. Burgers are available from 11.30am.
As both a comedian and a dramatic actor, Bob Odenkirk has earned a lifetime's worth of well-deserved praise. Writing for Saturday Night Live and starring in Mr Show with Bob and David each sit on his resume, as does his pivotal part in Breaking Bad and lead role in the exceptional Better Call Saul. But in Nobody, Odenkirk highlights a facet of his work that's easy to overlook. Jumping into a new genre, he makes viewers realise a truth that cuts to the heart of his talents. Every actor wants to be the person that can't be replaced, and to turn in the type of performances that no one can emulate; however, only the very best, including Odenkirk, manage exactly that. A movie so forged from the John Wick mould that it's penned by the same screenwriter — and boasts the first film's co-director David Leitch (Atomic Blonde) as a producer, too — Nobody could've featured any existing action go-to. It could've been an easy knockoff of well-known hit, joining the swathe of direct-to-video and -streaming titles that use that very template. It could've given Bruce Willis his next role to sleepwalk through, added yet another Taken-style thriller to Liam Neeson's resume or proven one of Nicolas Cage's more straightforward vehicles of late. Thankfully, though, Nobody is all about the ever-watchable Odenkirk and his peerless and compelling ability to play slippery characters. When Nobody begins, Hutch Mansell's (Odenkirk) life has become such a routine that his weeks all unfurl in the same fashion. Plodding through a sexless marriage to real estate agent Becca (Connie Nielsen, Wonder Woman 1984), and barely paid any notice by his teenage son Blake (Gage Munroe, Guest of Honour) and younger daughter Abby (debutant Paisley Cadorath), he catches public transport to his manufacturing company job every weekday, always puts the bins out too late for the garbage truck on Tuesday mornings, and usually earns little more than polite smiles from his family while he's cooking them breakfast that they fail to eat. Then, the Mansells' suburban home is randomly burgled. Hutch confronts the thieves in the act, has a chance to swing a golf club their way, yet holds back. But when Abby notices that her beloved cat bracelet is missing in the aftermath, he decides to take action — a choice that leads him to an unrelated bus filled with obnoxious guys hassling a female passenger, and eventually sees unhinged Russian mobster Yulian Kuznetsov (Aleksey Serebryakov, Leviathan) threatening everything that Hutch holds dear. Derek Kolstad's script — his first feature screenplay beyond the John Wick franchise — teases that there's more to its protagonist's story right from the outset. He communicates with his in-hiding brother (RZA, The Dead Don't Die) via radio, for starters, and his elderly father (Christopher Lloyd, I Am Not a Serial Killer) has a gun and multiple forms of ID stowed away in the closet at his retirement home. But Nobody isn't a twist-filled thriller that snakes, weaves and tries to keep its audience guessing. Lean and economical across its swiftly flowing 92-minute running time, it instead pairs frenetic action scenes with a character study. Yes, the stellar John Wick movies do the same, but don't underestimate the difference that Odenkirk makes. Cartoonishness can come with the territory when a film unleashes punch after punch, and Nobody is rarely subtle, except where its star is involved. On the small screen, he's currently part of the best tragedy there is, with viewers watching as the enterprising Jimmy McGill becomes Breaking Bad's shady Saul Goodman. Here, he gives the same amount of flesh to a seeming mild-mannered everyman with a complicated background, simple dreams and a formidable battle to reconcile the former with the latter. Also helpful: Odenkirk's ability to deliver the line "give me the kitty-cat bracelet" without it ever sounding like a joke. With dialogue like that, Nobody could've quickly slid into parody, but that's never Kolstad and director Ilya Naishuller's (Hardcore Henry) vibe. While there's a knowing undercurrent to the film as it keeps thrusting its various frays to the fore, that mood — like so much in this cinematic cavalcade of violence — is intricately tied to Odenkirk. Indeed, Nobody constantly has fun with its casting, riffing on its star's unlikely addition to its genre in multiple ways. Some are visual and blatant. Odenkirk doesn't resemble Hollywood's typical action hero, after all. Nobody isn't a particularly contemplative movie, but it also emphasises how dismissively Hutch is treated by everyone in his orbit, despite secretly possessing skills that his detractors can only fantasise about. Of course, fans already acquainted with Odenkirk's knack for complex characters will instantly spy the texture to Hutch, who thankfully never joins the ranks of toxically pent-up men stereotypically pushed to their supposed breaking points. Hutch is barely interested in being a vigilante, in fact. He doesn't snap in a frenzy. Rather, he just wants to return to the one thing that he's always been good at, especially after spending a couple of decades in a rut. Again and again, Odenkirk is both essential and crucial to Nobody — but its fight choreography was always going to stand out. In line with its central character, all of the movie's attacks prove resourceful instead of slick. They're exceptionally, elaborately and engagingly executed, including by its star, who does most of his own stunts; however, they're also somehow both scrappy and dynamic. Naishuller doesn't skimp on bloodshed or style, though. He wants every over-the-top showdown to strike a chord, and he gets his wish. But it's the first big confrontation, on that bus, that Nobody will forever be remembered for. As well as being kinetically yet tightly shot and staged, it manages what Odenkirk does so well, and repeatedly: anchoring this gleefully OTT symphony of brutality in the everyday and commonplace. https://www.youtube.com/watch?v=ngy7grwzFTw
It makes no earthly sense that Melbourne, the city that lives and breathes handmade wooden fruit platters, doesn’t have a regular enough design and craft market. So many plant pots bereft of macramé holders, so many wine stoppers untopped with animal butts, so many heads unadorned by flower crowns. The good people at the Australian Centre for Contemporary Art (ACCA) feel the same way and are bringing his injustice to an end, by hosting a bi-monthly design market in the ACCA forecourt. The Upmarket (great pun, friends) will bring Melbourne’s best designers together on the first and third Saturday of every month. You can expect a full (and free) day of shopping with stalls featuring some of the best independent design on offer in the city (so much better than buying online). The Upmarket will also feature creative workshops for all ages, there'll be an entire section named The Larder, dedicated to take home organic and local produce, while The Heart of Dining will fuel your fire for the day with street food aplenty. Emerging and student designers can also get a slice of the pie by applying for one of the five rotating stalls dedicated to up-and-comers. So Melbourne, close that Etsy tab — you’ve got a market to attend. The Upmarket is launching September 5 at ACCA Forecourt, 111 Sturt Street, Southbank. Open 9am-4pm, free entry. For more information, head to www.theupmarket.com.au.
Yes, you read that right. Concerns for the Palais, not the Palace Theatre, have been raised this week as Port Phillip Council have desperately advocated the need for renovation at the iconic St Kilda venue. Circulating a pretty foreboding brochure, the council have started lobbying the state government to fund a $15 million short-term renovation with a commitment to another $25 million down the track. "If we don't act now, the Palais faces imminent closure," the brochure reads. For many of us this news may come as a monumental shock. After all, the Palais added an exciting new show to their program just this morning. Bob freakin' Dylan played there last week! How much damage could the mild-mannered Tambourine Man possibly have done? Nonetheless, the theatre is understandably ageing. Built in 1927, the colossal beachfront venue was one of the largest and most regal of its kind in the southern hemisphere. Now, its most recent condition assessment reports a damaged exterior, a lack of support to the interior dome, and outdated electrical infrastructure. Concrete is literally crumbling off the walls to the footpath below. Port Phillip Council have erected a scaffolding around the sides of the building and boarded up old windows for sake of pedestrian safety, but such efforts understandably fall short of their $35 million plan. Unfortunately, chances are it'll be like that for a while. Initial reaction to the request for funding has been negative. "State governments simply do not take responsibility for heritage theatres," said former mayor Dick Gross to The Age. "There is an infrastructure crisis in schools and hospitals, and for them to expect the begging bowl to work is a complete misunderstanding of state politics in an election year." Obviously we've only heard the start of this debate and the campaign could pick up a lot of steam as the November election grows closer. The whole thing is made further complicated by the fact that Port Philip Council rejected a development scheme in 2009 that would have seen the Palais gain $20 million for restoration purposes. Regardless, this news is another blow for Melbourne music lovers. We're still licking our wounds from the fight for the Palace, and only yesterday had to suffer the news of Bennetts Lane Jazz Club closing its doors. Are we up for another fight? Are we willing to front millions of tax dollars for it? Why are all our venues so doomed these days? Via The Age.
That amplified rant at the next table over: bunch of loud jerks or theatre performance? In a bold attempt to blur the lines between reality and fiction, a series of short plays will be performed in Eeny Meeny cafe in Frankston as part of the Anywhere Theatre Festival. Running August 28-31, To Be Determined is a collection of four short plays written by award-winning playwright Alex Broun and directed by Jessica Moody. The plays all focus on young people and the consequences of relationships, as audience members receive an almost voyeuristic experience in overhearing the actors' louder-than-usual private cafe conversations. Audience members are invited to take a seat in the cafe, without initially being aware of who the actors are and who else is part of the crowd. The ticket price includes a platter of savoury food from the menu, with full bar service and hot drinks available throughout the performance. Yes, you may be watching experimental theatre, but you can’t forget the cafe latte that goes with it. Of her choice of setting, Moody explains, "The intimacy of the cafe performance enables the audience to overhear the conversations by young people, providing insight to the labyrinth of youth, while undergoing the Melbourne tradition of keeping company over coffee." The cast includes Melbourne actress and cabaret artist Ilana Charnelle Gelbart, film critic Tom Heath and Lindsay Templeton, who will also be performing in the Melbourne Fringe Festival later this year. Started in Brisbane in 2011, The Anywhere Theatre Festival is coming to Frankston for the first time from August 22 to September 6. The festival celebrates live performance happening anywhere but a traditional theatre, including a moving vehicle, a bike shop, a skate park, McClelland Sculpture Park, an indoor rock climbing centre and out in the street. For tickets and more information, see the Anywhere Theatre Festival website.
For a long time the western suburbs have been left off the grid. Cultural maps showing the best dining spots in Melbourne usually stop at North Melbourne, as if there weren't anything beyond Racecourse Road. And while these areas — think Kensington, Footscray, Yarraville, Flemington — have been traditionally frequented by those who actually live there, the western suburbs are slowly falling into the hands of our old friend and foe: gentrification. The resulting western scene is a brilliant mix between the old and the new. The demand for new wave cafes and restaurants has seen modern dining make more of an appearance, while the old institutions still remain tried and true. Western establishments now serve gourmet burgers and artisan doughnuts to go with our long-loved dumplings, laksa and injera. The suburbs left of the centre have been bubbling with brand new ventures lately, so we've put together the best of the west. No excuses for neglecting this side of town — Kensington is only two stops out of the city, after all. Eat8bit It's hard to believe there's room left in Melbourne for another burgeoning burger joint, but there's always a place for any kind of themed food venture – especially one with a digital edge. Eat8bit is Footscray's latest and greatest (and only) burger outlet and patties are already being downloaded by the dozen. Setting up shop on Droop Street's corner complete with Space Invader-esque burger prints and Yoshi, Pac-Man and Mario table numbers. it's best to seek these guys out early in the day if you want to nab a table and an 8bit with cheese. Take a big ol' byte of this little spot. 8 Droop Street, Footscray; (03) 9687 8838; www.eat8bit.com.au The Rusty Fox The Rusty Fox cafe, deli and foodstore is a favourite hangout for the discerning locals of Kensington. It's not somewhere you'd necessarily plan to sit and linger — The Premises down the street attracts the big brunch crowds — instead the idea here seems to be to drop in, order a coffee to go, but not before you fill your boots with delectable local deli produce. But co-owner Rebecca Creighton is a long-time pastry chef and boy can the lady bake some fine-tasting cakes, with gorgeous presentation to boot. Creighton often bakes whatever feels right on the day; some days might be more of the apricot frangipane or white velvet lamington kind, with others lending themselves to a plum and ricotta tart or gluten-free rhubarb cinnamon teacakes. Take a deep breath in — we haven’t even mentioned the home-made sauces, jams, curds, dulche de leche and cafe de paris butter. 501 Macaulay Road, Kensington; (03) 9372 1218; www.therustyfox.com.au Frying Colours This is owner and chef Min Hui Lee's first restaurant and, boy, is it off to solid start. It's clear that this establishment is focused on creating a flawless balance between the flavours of soy, bean paste and chilli that make Korean food so distinguishable. Frying Colours' dark wood surfaces with heavy industrial lights give off an intimate and sophisticated feel for nighttime dining, while the large entrance windows ensure plenty of light during the lunchtime rush. While Korean barbecue can be a messy affair, the FC Mixed Grill is no hassle and ready to serve; with chicken thigh, marinated scotch fillet and the soy pork belly, all flame grilled. Induldge in FC fried chicken, eggplant skewers and the unmissable wasabislaw, best washed down with Korean soju or an experimental cocktail. 520 Macaulay Road, Kensington; (03) 9939 9679; www.fryingcolours.com.au I Love Dumplings No fancy metaphors, clever pop culture references or humorous double entendres here... just an exclamation of something to which most Melburnians can relate. I Love Dumplings is certainly not trying to be coy, and if you too love steaming hot morsels of flavour, then this is the place for you — it's not often you find a dumpling house this good beyond the CBD. This relatively new little gem, tucked inconspicuously on the Kensington-Flemington border that is Racecourse Road, is already proving to be a neighbourhood favourite. Striking a great balance between the frenetically no-frills style of some dumpling houses and the high-end, high-price style of others, this is a solid, well-priced local haunt for the inner west. There's more to love here than just the dumplings, but they are worth the trip alone. 311 Racecourse Road, Kensington; (03) 9372 5218; www.ilovedumpling.com.au Cobb Lane Matt Forbes' latest venture, Cobb Lane, has been open for business in Yarraville for a short while now and we're dedicated, happy little eaters. Found down Anderson Street, Cobb Lane is a small cafe. Think 15 seats, a rack for the freshly baked breads, a small cabinet full of cakes — the main event, let's be honest — and a kitchen that can be seen in all its glory. The menu is small, but covers a lot. Think bircher muesli, house made gin-cured salmon and poached eggs and a full black pudding-focused British breakfast. But it's really all about the sweets. The carrot cake is sizeable and perfectly moist, the peanut butter and chocolate chip cookie is gluten free, salty, sweet, crisp and chewy all at once — both works of art. Pair your sweets with a pony blend from Clement Coffee and get your hips and shoulders ready — prepare to load up. 13 Anderson Street Yarraville; 03 9687 1538; www.cobblane.com.au Words by Lauren Vadnjal, Bryanna Perriam, Julia Gaw, Hannah Valmadre and Amy Collins.
Next time someone complains that you're glued to your phone, tell them that you're earning free food. Yes, that's the dream the burger-slinging legends at Royal Stacks is making come true with their new interactive game. Getting your favourite meat-and-bread combo is about to become as easy as spending hours doing something that, let's face it, we all already do. Available to download from the iTunes store from December 2, Royal Stacks' foray into phone-based entertainment combines fun with freebies, and virtual burgs with the real thing. Created by Melbourne's PlaySide Studios, the Tetris meets Jenga-like game requires players to stack ingredients onto a bun, line everything up to make the ideal tower of pixellated deliciousness, and try to make sure the massive creation doesn't topple over — all while building the biggest burger possible. In the process, as you work your way up from Royal Stacks' Single Stack to The King — and work through different skins and themes — you'll receive points that can be used in store for things like burgers, fries, milkshakes and frozen custard. And, if you visit a Royal Stacks joint on the day the game launches and download it while you're there, you'll also get a free serving of fries. Okay, so we all know that this is a clever piece of marketing — but we all want free burgers. Basically, it's the best of both worlds — and everything a game-playing burger lover (aka everyone) could've hoped for, really. Available to download from iTunes.
Eating, drinking and being merry is what heading to the Yarra Valley is all about; however, come April 2017, nosh and booze-loving visitors will have even more reason to be happy. That's when the region is holding their first wine and food festival showcasing everything it has to offer. And yes, it really is about time. Yarra Valley Wine and Food Festival will take over Rochford Winery from April 1 to 2, 2017, marking the first time that the area's big and small wineries have come together to showcase their tipples. Names such as DeBortoli Wines, Hanrahan Vineyard, Balgownie Estate, Oakridge Wines, Squitchy Lane and Sutherland Estate will feature among more than 50 producers of plonk. And if you're keen on specific varietals rather than individual winemakers, you'll be able to explore your favourite kinds of drop at the event's dedicated laneways. Fancy a wander down Pinot Noir Lane or Sparkling Lane, anyone? Beer and cider lovers will also be catered for with their own laneways, too, as will many a hungry stomach. In total, over 100 food and drink artisans are slated to take part — including some of the best food trucks from both Melbourne and the Yarra Valley region. The two-day event will also boast a masterclass program that'll teach aficionados the tricks of the trade and let eager drinkers taste rare drops that can no longer be purchased, a wine barrel art competition showcasing the talents of local creatives, live music and entertainment, and segway rides. Plus, every attendee will receive a free commemorative wine glass with their ticket, in case you need any help remembering the occasion. Yarra Valley Wine and Food Festival runs from April 1 - 2, 2017, at Rochford Winery. For more information and to buy tickets, visit the www.yarravalleywineandfoodfestival.com.au or the festival's Facebook page.
Sometimes, you can plan for the future. Other times, you just have to adapt and innovate. When East Brunswick cafe Pope Joan found themselves the victims of three robberies over the course of 18 months, they decided to do the latter, making the bold move to stop accepting cash. After announcing the change on their Facebook page earlier this week, the Nicholson Street hangout has gone completely cashless, with cards now reigning supreme as a form of payment for their caffeinated beverages and daytime food fare. They might've also jokingly stated that you can pay using your "favourite pet or first born child", but it's plastic or nothing here — with no minimum spend necessary (and no, bitcoin isn't an acceptable). While the motivation behind the move is something no eatery should have to deal with, Pope Joan are now helping leading the way in phasing out notes and coins as a form of buying goods. Brisbane's Pablo & Rusty's became the country's first cash-free cafe last year, and while it hasn't started a trend yet, it's surely only a matter of time until digital money becomes everyone's preferred form of currency.
If you're lucky enough to have Mondays off work, you probably already know that Cinema Nova has $7 movie tickets before 4pm and $9 tickets thereafter. Our favourite independent arthouse cinema on Lygon Street has 16 screens and an exciting roster of films, talks and curated events, so head down to Carlton tonight and see what's on offer. Just across the road is popular Pidapido, serving up artisanal gelato. Pair your popcorn with a scoop of cold and creamy stuff, made daily using quality ingredients from local Italian producers. Flavours on offer include pistachio, rose, ricotta and fig, coconut and Nutella swirl.
Still recovering from High-Rise, Ben Wheatley's seductive, satirical, Tom Hiddleston-starring movie that divided audiences a few months ago? Well, prepare for the British filmmaker's latest to get you all fired up again. Fresh from premiering at the Toronto International Film Festival, all-star shootout Free Fire is making its way to Aussie screens as part of Monster Fest's 2016 program. Featuring Brie Larson, Cillian Murphy, Armie Hammer, Sharlto Copley and Australia's own Noah Taylor, Free Fire has been compared to The Raid; however it's not the only flick worth getting excited about. Monster Fest will also screen father-son coroner thriller The Autopsy of Jane Doe, which just won Fantastic Fest's best horror feature award; the world premiere of grindhouse crime effort Mondo Yakuza; and a doco that peers behind Burt Reynolds vehicle Smokey and the Bandit. And, there's more where that came from. Talk about variety. The new additions join a lineup that's proving more than a little jam-packed, including opening night's faint-inducing Raw and a Nightmare VHS Board Game Party. More titles are still to be announced — but if you like horror and genre fare in general, you're going to want to start booking tickets. Monster Fest 2016 runs from November 24 to 27 at Melbourne's Lido Cinemas. For more information, visit the festival's website.
Mexico's annual Cinco De Mayo fiesta is one of the world's most famous cultural celebrations, but unless you're one lucky human you likely won't find flights in time to experience the real thing. Fortunately, there's a way to get amongst the festivities right here in Melbourne. And what's more, it's free. That's thanks to Rolling Stone AU/NZ and Cholula, a household name in hot sauce. Together, the two are throwing Cinco Sounds: a one-off Cinco De Mayo party taking over Yarraville's Hotel Mexico this Saturday, May 3. Headlining the event are Aussie indie-electro pop duo Client Liaison, Triple J Unearthed finalist Lotte Gallagher, and local Melbourne mariachi band Queen of Hearts. This is a big combination for several reasons: for one, it's among Client Liaison's first performances of the year after their tour hiatus, so they'll be rip-roaring back into performing and bringing all the energy their fans have been missing. They're supported by some other stars in their own right. Lotte Gallagher is regarded as one of Australia's best up-and-coming alt-rock artists and Queen of Hearts' all-female mariachi lineup brings a touch of authenticity with music that's as much about storytelling as it is soundtracking. No Cinco De Mayo bash is focused solely on music, though. Every party needs great food, and that's where Cholula comes in. Rolling Stone AU/NZ and Cholula will deliver the goods with a spicy mix of tacos, margaritas, top-shelf tequila and mezcal throughout the night. With Cholula's authentic hot sauce, spicy taco seasoning and tasty salsa at the heart, you'll be able to sample special dishes that pay homage to each Cinco Sounds artist. Plus, you can wrap your hands around exclusive Cinco de Mayo cocktails with your Cholula Mexican meal. To get your free ticket to Cinco Sounds at Hotel Mexico on Saturday, May 3, visit the website. By Elise Cullen and Alec Jones
Shacky are pint-sized, solar-powered dwellings situated on picturesque private properties, surrounded by stunning countryside and absolutely no mobile reception. In other words, stay at one of these and you'll have no choice but to switch off. That way, you can focus on what matters — lazing about in a queen-sized bed, finding total relaxation under a high-pressure shower and, on cold nights, snuggling up next to a pot-bellied stove. Should you feel peckish, your hosts — who live on the property, but well out of sight — will organise a feast of local produce. There are just three properties so far; one on an olive grove in the Victorian High Country, another on a cattle farm in the Yarra Valley, and one located in 100 acres of bushland in the Grampians.
From the wild, WTF and wonderful finalists, the Art Gallery of New South Wales has announced their 204 Archibald Prize winner. Fiona Lowry has won the prestigious prize for her portrait of Penelope Seidler. Runner up was Mitch Cairns with his portrait of Red Richardson AM. The Wynne and Sulman Prizes have also been announced. Taking the Wynne for landscape or sculpture was Michael Johnson with his abstract Oceania High Low: And the Sulman (best subject painting, genre painting or mural project) landed on Andrew Sullivan's T-Rex: Check out our picks for weirdest and most wonderful Archibald finalist tales over here.
Art of either great or dubious origins. Airport facilities where items can be stored — art masterpieces included — without their owners abiding by taxation rules. Both played parts in Christopher Nolan's Tenet; however, it's no longer the only recent thriller to include the two. The Lost Leonardo doesn't feature a phenomenal heist of a disputed piece from a freeport, but it is as tense and suspenseful as its 2020 predecessor. It also tells a 100-percent true tale about the artwork dubbed the 'male Mona Lisa'. Exploring the story of the Salvator Mundi, a painting of Jesus that may hail from Leonardo da Vinci, this documentary is filled with developments far wilder and stranger than fiction (sorry not sorry Dan Brown). And while there's little that's astonishing about the film's talking heads-meets-recreations approach, it still couldn't be more riveting. Although the Salvator Mundi itself is thought to date to the 15th century, The Lost Leonardo only jumps back as far as 2005. That's when the High Renaissance-era piece was sold for US$1175, and when Alexander Parrish and Robert Simon, art dealers eager to dig up sleepers — works from renowned masters that've been mislabelled or misattributed — suspected there might be more to it. The pair tasked restorer Dianne Modestini with tending to the heavily overpainted and damaged work, which revealed otherwise unseen details in the process. Cue a now-prevailing theory: that the Salvator Mundi sprung from da Vinci's hands. That's a shattering revelation given that, despite the prominence that the Mona Lisa and The Last Supper enjoy, the list of surviving works attributed to da Vinci barely hits 20 — and that's with questions lingering over his involvement in quite a few. Uncovering one of his previously unknown paintings was always going to be huge as a result; locating it in such a way, and for so cheap, only bolsters the extraordinary tale. Debates over the painting's provenance have continued for the past 16 years, although that's not the only reason that The Lost Leonardo exists. The piece has increased in fame over the last decade thanks to two factors, including the Salvator Mundi's inclusion in a 2011–12 da Vinci exhibition at the National Gallery, London, placing it alongside the author's accepted works — and its sale for US$75 million in 2013, then for US$127.5 million, and finally again in 2017 for a whopping US$450.3 million. Its unglamorous discovery, the ongoing argument over authenticity, the legitimacy gained by exhibiting in one of the world's most influential galleries, that it's now the most expensive painting ever sold: these details are unpacked and analysed by writer/director Andreas Koefoed (At Home in the World) via his array of interviewees — and so is the fact that, when that mind-blowing sale occurred, Saudi Arabia's Crown Prince Mohammed bin Salman was the secretive buyer. It's little wonder that the filmmaker has chosen to unfurl the ins and outs of these remarkable events as if he's joining the dots and puzzling together the pieces right in front of viewers' eyes, making The Lost Leonardo a detective story of a doco. It isn't a new approach, let alone a unique or unusual one, but it savvily relies upon the combined force of a ripping yarn and rollicking storytelling. Within all those twists and turns also sits a vital examination of art, money and power. That works by artists such as da Vinci can end up lost at all is a marker of art's links to wealth and class, and of pieces being controlled by the rich behind closed doors to the detriment of the artistic greater good and public access. The same notions play out in the jaw-dropping Christie's auction, as bids rise to more than double the expected amount (which still would've made it the most expensive painting ever sold) and it becomes evident that the Salvator Mundi won't be purchased by a gallery for public display. The frenzied atmosphere, which the auction house stages like a piece of theatre, is all about control and status. Letting the world see a masterpiece isn't even an afterthought. An entire documentary could be made about that auction alone, and the techniques deployed to turn it into such a production. Case in point: a Christie's promotion that showed the emotional reactions of art lovers peering at the piece — ordinary folks all visibly moved, and also Leonardo DiCaprio. The reality that art is a business couldn't be painted on a larger canvas. That art is about prestige, too. In getting these points across, Koefoed's choices aren't always subtle — Sveinung Nygaard's (Huss) score would suit a heist film, there's a slow-drip pace to the documentary's early sections to ramp up the intrigue, and sparking a future fictionalised feature based on The Lost Leonardo feels like a clear aim — but everything about the film is always entertaining and effective. Here's hoping that certain-to-arise dramatisation turns out more like American Animals than The Goldfinch; the former was based on a true story, the latter on a Pulitzer Prize-winner for fiction, but the details here are so juicy, gripping, layered and important that they deserve to be told with the greatest care. As one interviewee puts it, it's the tale of finding a spaceship with unicorns on one's lawn. As the whole cast of talking heads explains — dealers, academics, restorers, art critics and buyers alike, vocal naysayers included — it's the story of commerce usurping creativity and history, regardless of the mystery behind the potential da Vinci work. Perhaps there'll even be a sequel: an NFT of Salvator Mundi now exists, because of course it does.
In summers gone by, Melburnians have descended upon the city's zoo to listen to live tunes, all while adorable animals were right there in the vicinity. No, scoping out these critters isn't just the domain of school excursions. This February and March, the venue still wants you to come by to see its creatures — but this time, it's pairing them with an outdoor cinema program. Melbourne isn't short on spots to watch flicks under the stars, thanks to everywhere from Moonlight Cinema and Barefoot Cinema to the Classic and Lido's rooftop setups, but this just might be the cutest yet. You'll sit on the zoo's lawns, catch new and retro movies, and get to peer at all those animals. In fact, your entry ticket lets you into the zoo from 5.30pm, while the film won't start playing until around 8pm, depending on sunset times. As for what you'll be watching between Thursday, February 3–Saturday, March 12, other than lions, elephants, gorillas, lemurs, koalas, wombats and more, the lineup spans recent releases such as The French Dispatch and Licorice Pizza, plus flat-out classics like Purple Rain, Romeo + Juliet and Alien. On the new front, there's also a sneak preview session of Joaquin Phoenix's excellent new drama C'mon C'mon, while the old-school selection includes 10 Things I Hate About You, Picnic at Hanging Rock, The Shining, The Princess Bride and Stop Making Sense as well. The Birds and Jurassic Park are very fitting flicks on the bill, too, but there's no sign of We Bought a Zoo — sorry. If you're peckish while you're there, a different food truck will set up shop each night, or you can nab food hampers by Baketico and Raymond Capaldi. Tickets start at $35 for non-members, and also cover DJs spinning tunes and keepers giving talks before the movies. And, you'll be doing a good deed with your visit, with proceeds from ticket sales going to Melbourne Zoo's Marine Response Unit.
They're globe-hopping, ass-kicking, world-saving spies, but women: that's it, that's The 355. When those formidable ladies are played by a dream international cast of Jessica Chastain (Scenes From a Marriage), Lupita Nyong'o (Us), Penélope Cruz (Pain and Glory), Diane Kruger (In the Fade) and Fan Bingbing (I Am Not Madame Bovary), the tickets should sell themselves — and Chastain, who suggested the concept and produces, wasn't wrong for hoping that. Giving espionage moves the female-fronted spin that Bond and Mission: Impossible never have isn't just this action-thriller's quest alone, of course, and nothing has done so better than Atomic Blonde recently, but there's always room for more. What The 355 offers is an average affair, though, rather than a game-changer, even if it so evidently wants to do for its genre what Widows did for heist flicks. The film still starts with men, too, causing all the globe's problems — aka threatening to end life as we know it via a gadget that can let anyone hack anything online. One nefarious and bland mercenary (Jason Flemyng, Boiling Point) wants it, but the CIA's gung-ho Mason 'Mace' Browne (Chastain) and her partner Nick Fowler (Sebastian Stan, The Falcon and the Winter Soldier) head to Paris to get it from Colombian intelligence officer Luis Rojas (Édgar Ramírez, Jungle Cruise), who's gone rogue and is happy to sell; however, German operative Marie Schmidt (Kruger) is also on its trail. The French connection goes wrong, the two women get in each other's ways, but it's apparent — begrudgingly to both — that they're better off together. They need ex-MI6 cyber whiz Khadijah Adiyeme (Nyong'o) to help, while Colombian psychologist Graciela Rivera (Cruz) gets drawn in after making the trip to stop Luis going off the books. No stranger to covert affairs or formidable women after penning Mr and Mrs Smith, but helming only his second movie following the awful X-Men: Dark Phoenix, director/co-writer Simon Kinberg spreads the action across several continents — including a foot chase in Marrakesh and an auction in Shanghai, which is where Lin Mi Sheng (Fan) joins the story. Scripting with TV veteran Theresa Rebeck (Smash), his big setpieces all play with the film's gender focus, mostly dissecting how women are so often overlooked in various situations; the indifference given wait staff, the invisibility of women in male-dominated societies and the way they're meant to be pure eye candy at black-tie occasions all earn the movie's ire. But these sentiments, like everything else in the feature, are blatant and straightforward at best. The mood the movie vibes with: "James Bond never had to deal with real life," as Cruz is given the misfortune of uttering. From that aforementioned opening scene through to almost every supporting part, it also never escapes attention that men still run The 355's world. That doesn't just include the obvious, because yes, that's sadly the reality we all still live in and the film is making a statement about that very fact; they're everywhere and everyone in the film, other than its central quintet. Whether to further push Chastain and co to the front or to hammer home what it's like to be a woman in this male-centric life, it doesn't leave any room for ladies who aren't these 'strong female lead'-style super spies. Also glaring: that every single one of Mace, Marie, Khadijah, Graciela and Lin's backstories are defined by men, from other halves of the boyfriend, husband or friends-with-benefits varieties to fathers, mentors, children and patients. The 355 should be better — with its dialogue, clearly; with its girl-power, girl-boss, girls-can-do-anything messaging; and at celebrating more than five women, or even showing them. (If you were going to pick five ladies to do the job, though, this casting is spot-on.) It could use a sense of style and charm beyond Nyong'o's suits and the gang's personality-matched auction outfits, and its over-edited action scenes put Kinsberg two for two with tanking a crucial part of his directorial efforts to-date. Women can star in mediocre action movies as well, however. That isn't meant to be the picture's big push for gender parity, but The 355 is also exactly what seemingly millions of bland men-led actioners have been serving up for decades upon decades. It packages it up in an Ocean's 8-meets-Bourne approach, or a more self-serious Charlie's Angels, but these run-of-the-mill flicks have long been everywhere, just without as much oestrogen. The Bond and Mission: Impossible franchises have their own, too. Great idea, winning intentions, stellar cast, generic execution: even by paying all that lip-service to how hard it is to be a woman (especially thanks to those truisms, in fact), that's also The 355. It's lucky that its pseudo–Fox Force Five are so watchable, and so committed to making the most of their thinly written parts, including in their fight choreography — and yes, if only they were gifted some of the fun that Pulp Fiction conjured up about that fictional series, or of Kill Bill, which essentially saw Quentin Tarantino bring the idea to life. A sequel mightn't eventuate for Chastain, the particularly great Kruger, Nyong'o and Cruz, and also Fan to get another spin at the worthy concept, but the groundwork is laid anyway, because that's just one espionage-movie trope in a list of thousands that's delivered here. The 355 is ordinary instead of awful, thankfully, and sometimes it's slightly better than that. But it's also haunted by all those should'ves and could'ves, and by being oh-so-basic with its killer lady spies, their battle against misogyny and their quest to claim some much-needed on-screen space.
On this Saturday, October 2, you might be celebrating a massive win from the weekend, commiserating a loss, or simply trying to up the vibes as another lockdown weekend looms. Thankfully, the good folk at famed cocktail bar The Everleigh and gelateria Pidapipo have the perfect treat for all three scenarios. Their latest well-timed collaboration is bringing a lineup of rich, boozy milkshakes to Melburnians for one day only. The pair will take over the Everleigh's pop-up Corner Bar from 2pm, where co-owner — and renowned mixologist — Michael Madrusan will be shaking up a trio of limited-edition takeaway concoctions crafted on Pidapipo gelato. Each pays homage to a different classic cocktail, coming in at $17 a pop. In the lineup, you'll find the Dominicana, a blend of dark rum and coffee flavours; the gin-based Ramos starring citrus and vanilla notes; and the Bee's Kiss celebrating dark rum and honey. They'll be available until 5pm, or until sold out. [caption id="attachment_826308" align="alignnone" width="1920"] The Everleigh Corner Bar[/caption]
Not for the first time, the eyes have it, but then they always have with Tammy Faye Bakker. Not one but two films called The Eyes of Tammy Faye have told the 70s and 80s televangelist's tale — first a 2000 documentary and now this new Jessica Chastain-starring dramatisation — and both take their monikers from one of the real-life American figure's best-known attributes. In the opening to the latest movie, the spidery eyelashes that adorn Tammy Faye's peepers are dubbed her trademark by the woman herself. They're given ample focus in this biopic, as OTT and instantly eye-grabbing as they they are, but their prominence isn't just about aesthetics and recognition. This version of The Eyes of Tammy Faye hones in on perspective, resolutely sticking to its namesake's, even when it'd be a better film if it pondered what she truly saw, or didn't. In the path leading to her celebrity heyday and the time she was a TV mainstay, Tammy Faye's life saw plenty. It began with an unhappy childhood stained by her stern mother Rachel's (Cherry Jones, Succession) refusal to be linked to her at church, lest it remind their god-fearing Minnesotan townsfolk about the latter's sinful divorce. But young Tammy Faye (Chandler Head, The Right Stuff) still finds solace in religion, the attention that speaking in tongues mid-service brings and also the puppets she starts using as a girl. Come 1960, at bible college, her fervour and quirkiness attract fellow student Jim Bakker (Andrew Garfield, Tick, Tick… Boom!), with the pair soon married even though it gets them kicked out of school. Unperturbed, she keeps seeing their calling to the lord as their way forward, first with a travelling ministry — puppets included — and then with television shows and their own Praise the Lord network. From her mid 20s through until her late 40s, when multiple scandals spelled their downfall — involving Jim's alleged sexual assaults, as well as the misuse of funds donated to Praise the Lord by its loyal viewers — much of Tammy Faye's life was lived in the public eye, too. That gives both Chastain (The 355) and director Michael Showalter (The Big Sick) copious materials to draw upon beyond the original The Eyes of Tammy Faye, and also turns their film into a glossy recreation. There's no shortage of details to convey, but that's primarily what Abe Sylvia's (Dead to Me) script is content with. Depiction doesn't equal interrogation here, and does skew closer to endorsement; Tammy Faye's outsized appearance, her makeup and outfits getting gaudier as the Bakkers' fame keeps growing, can border on parody — it's camp at the very least — but that isn't the same as asking probing questions about the movie's central figure. Chastain serves up a performance that seems primed to delve deeper. With the exceptional Scenes From a Marriage star leading the show, the eyes don't just have it, or the hair that just keeps getting bigger, or the ostentatious clothing. In the twice Oscar-nominated actor's hands — with a third nod likely for this very portrayal — there's heart and soul behind Tammy Faye's larger-than-life persona, thoughtfully and sympathetically so. As she was with The 355, Chastain is also one of The Eyes of Tammy Faye's producers, and her investment in the part is apparent in every aspect of her portrayal. The film was clearly built around her work, which is excellent, but the picture plays like that's its whole point. Indeed, when it comes to seeing past the blatant, already-known and openly endorsed about its subject, and to genuinely unpacking her role in the prosperity gospel her husband promoted, the movie conspicuously stops short. The Eyes of Tammy Faye nonetheless gives its protagonist far more depth than decades of joking about her have afforded. It also keenly draws attention to the ways she masterminded her and Jim's success, pushed to be seen as an equal in male-dominated evangelical circles and broke with right-wing doctrine to promote god's love for all. In one of the feature's best scenes, the film shows her refusing to merely sit and gossip with the other wives as Jim hobnobs with religious media moguls Pat Robertson (Gabriel Olds, Amazing Stories) and Jerry Falwell (Vincent D'Onofrio, The Unforgivable). In another, it recreates Tammy Faye's emotional TV interview with AIDS-positive Christian pastor Steve Pieters (Randy Havens, The Suicide Squad). Still, it never escapes notice that Showalter and Sylvia choose not to connect more than a few dots, or to ponder if they should be. In their retelling, their point of focus is smart, astute and dedicated, but has the scantest of links with Praise the Lord's demise. As a result, there's too often a Wikipedia-meets-cinema air to The Eyes of Tammy Faye. While that's helpful for newcomers to the Bakkers, and there are fascinating titbits to cover — such as Heritage USA, their Christian theme park, which came third in patronage only to Disney World and Disneyland at its height — it's also the marker of a tame and standard film. Of course, the movie is unsurprisingly scathing towards Jim's clutched-to belief that god wants them to be wealthy, the tactics used to fleece his followers to put the idea into action and his preaching that faith is the path to riches, as it should be. (That's a line of thinking still trotted out in theology today, abhorrently so.) If only the rest of the feature had that bite, or more, as it luxuriates in its era-appropriate costuming and decor, and in its leading lady's compelling work. Early in the picture, in one of its displays of childhood dejection, Rachel demands that Tammy Faye "stop performing". Those words loom large over The Eyes of Tammy Faye, even with Chastain's performance its best element (and with Garfield turning in a fine effort as well). Frequently, the movie resembles as much of an act as Tammy Faye's take on femininity does — staging the minutiae for the world to see, but too rarely daring to peer past the caked-on surface. It ensures that its eponymous figure is embraced for more than her makeup, yet still stays skin-deep regarding the bulk of her complexities and contradictions. That doesn't make this a terrible movie, but it does spark a straightforward and simplistic biopic that prays for more gumption, bombast, pluck and verve.
This news isn't like rain on your wedding day. It doesn't resemble finding a black fly in your chardonnay. And it definitely isn't anything like hitting a traffic jam when you're already late, either. But, it will have you singing those lines — and it is news that you oughta know — because 15-time Tony Award-nominated musical Jagged Little Pill is heading to Melbourne. The Broadway show's debut trip Down Under was first announced back in April; however, its planned September launch in Sydney was then postponed due to lockdown. Now, it's locked in to make its Aussie premiere in December in the Harbour City, before hitting up Melbourne from January. The entire Aussie run marks the acclaimed production's first trip beyond Broadway, in fact — and it'll play the Comedy Theatre from Sunday, January 2, 2022. Inspired by Alanis Morissette's 1995 album of the same name, Jagged Little Pill the Musical weaves a story around songs from that iconic record. So yes, it's a jukebox musical like Mamma Mia!, We Will Rock You and Rock of Ages. Famed tracks 'Ironic', 'You Oughta Know', 'Hand in My Pocket', 'Head Over Feet' and 'You Learn' all feature, in a production that boasts music by Morissette and her album co-writer and producer Glen Ballard, lyrics by Morissette, and a book by Juno Oscar-winner Diablo Cody. And, songs such as 'Thank U', 'So Pure', 'That I Would Be Good', 'So Unsexy' and 'Hands Clean' all pop up as well, even though they hail from the musician's subsequent albums. At present, tickets are on sale for shows until Sunday, February 6, all starring Natalie Bassingthwaighte. She'll play Mary Jane Healey, with Jagged Little Pill the Musical telling the Healey family's tale as they struggle with their seemingly idyllic suburban lives after a troubling event in their community. Expect to hear Morissette's tunes — including two new songs written just for the show — used in a story about social issues relevant to today, but also with an overall message of hope, healing and togetherness. Images: Jagged Little Pill the Musical original Broadway cast, Matthew Murphy.
There's something special about visiting a vineyard. Seeing the grapes up close and meeting the people who create big kids' juice makes you appreciate every drop of vino that little bit more. But going to a winery has been a little trickier this year. So, to makes things easier, we're bringing the high country to your house with Delatite Wine's DIY Wine Blending class. On Friday, September 17 and Friday, September 24, you can take part in an online wine blending workshop with Delatite Winery's David Ritchie and Andy Browning. Throughout the session, you'll sample the leafy aromatics and blueberry characters of the 2019 cabernet. Then, you'll get to enjoy the rounded, juicy goodness of the merlot from the same year. You'll also learn about Delatite's own wine blending process and discover why it chose to make wine naturally and without filtering. Plus, you'll be encouraged to make your very own blend to go in the running to win a $150 voucher to spend at the winery's restaurant (when you're finally able to visit). To ensure you've got the right goods, you'll be sent a sampling kit filled with all the essentials. The pack will include four different bottles of Delatite wine, an empty bottle for you to build your own blend in, a measuring cylinder, wine pourer, tasting mat and more. Just make sure you register a week before kick-off to ensure it arrives in time for the class. Sound like a superior way to kick off your weekend? Delatite Winery's DIY Wine Blending will take place at 5pm on September 17 and September 24. For more information and to book yourself a spot, visit the website.
Did you miss out on your annual regional getaway this winter? Do you feel like you need a little bit of the nourishing country life to get you through the next few weeks of lockdown? If that's you, and you're a gin lover to boot, we've got a lil' something that'll fill up your empty mini break cup — in more ways than one. You can experience the high country at home thanks to our pals at Glenbosch Wine Estate. Across two weeks starting September 17, you and your mates can attend an online rooibos gin tasting session with Dirk Bester from the Beechworth-based estate. The 90-minute session will include a guided tasting of four delicious gins. Plus, you'll learn how to make your own bathtub gin just like it was done in the prohibition era. To make sure you've got the right tools for the job, Glenbosch Wine Estate will send you a supply pack boasting 500ml of Glenbosch Craft Original Gin, a botanical wheel and tasting quadrant, a botanical box featuring eight botanicals, citrus and more. All you need to round up are a few household items including a cutting board, knife, glasses, tonic water, ice and tea strainer. Gin Appreciation with Glenbosch will take place at 7pm September 17, September 24 and October 1. Sound like a genius way to level up your next after-work drinks? For more information and to book, visit the website.
Cherry Bar's upcoming gig lineup copped a bit of a wallop thanks to lockdown 2.0, but it's not all bad news for music lovers. Fans can still treat their ears to some tunes from the rock 'n' roll bar, with a series of ticketed live-streamed shows available on the website. There's a growing back catalogue to enjoy over the next few weeks of iso, featuring much-loved acts like the Pierce Brothers, Dallas Crane and Perth rocker Kim Salmon. But you'll also find plenty more live streams to come, as organisers pull together a virtual gig program to fill that musical void while doors are closed. Coming up this Saturday, July 18, catch Three Kings live to your lounge room, kicking off a show at 8pm. The 'blues super group' of Melbourne, the trio is known for its greasy blues and promises to take you on a journey through music history. Tickets to this one start from $15, though fork out $50 and you'll score a personalised shout-out from the band during the gig, while throwing some extra support behind Cherry Bar. Image: Jake Roden for Visit Victoria.
After months of wearing trackies while WFH (don't get us wrong, it's been great), it might be time to level-up your wardrobe. And what better way to do so than by buying a suit? Sure, it might be a big transition from sweats, but right now you can get one for a serious steal — so why not get some new threads for that fancy event you have on further down the track? Or, you know, when you actually have to go back to corporate life in the office. Known for its top-quality menswear M.J. Bale is hosting a massive warehouse sale both online and in-store. The Australian fashion house favours timeless, well-made pieces over seasonal trends — although it is always sartorially suave. Now, for ten days only, you can get discounted suits, coats and tuxedos, as well as more casual attire such as jackets, pants, knitwear and shirts. Best of all, you can nab them all at up to 75 percent off. The sale is running from Friday, July 17 till Sunday, July 26. You can jump online here to check out what's on offer. If you live in NSW or Queensland, you can also go to your closest M.J. Bale outlet store. In Sydney, head to Birkenhead Point or DFO Homebush; Brisbanites can head to DFO Brisbane. M.J. Bale's Warehouse Sale is running from July 17–27 both online and at its outlet stores.
If 2020 has been good for anything, it's upskilling. No doubt you started making sourdough from scratch, did some DIY projects around the house or took up an online course. You probably attempted to mix up a negroni, amaretto sour or perfectly balanced martini at some point, too. But, if your concoctions didn't quite match the expertise of the bartender at your favourite watering hole, now's your chance to level up. This winter, three top Aussie bartenders are bringing the festivities to your living room with a series of online cocktail classes. Kicking off the series is Eau de Vie Melbourne's Jonny Linstead on Thursday, August 20, from 6–6.30pm. He'll be showing you how to make a vodka-based martini dubbed the D'Vine Time. At the same time on Thursday, September 3, Brisbane bartender Millie Tang, behind old-world cocktail bar The Gresham, will be mixing up a twist on the classic Moscow Mule: the Polish Pony. Then, rounding out the three-part series will be award-winning bartender Kate McGraw from Sydney's izakaya-style bar Isabel on Thursday, September 17. Fittingly, she'll be whipping up a Kyoto Highball, which will have you dreaming of trips to Japan. [caption id="attachment_777922" align="alignnone" width="1920"] Polish Mule[/caption] A collaboration between premium vodka distiller Belvedere and drink delivery company Boozebud, the at-home cocktail classes will focus on top-quality natural ingredients. Each drink recipe will have a 'less is more' approach, so you'll be making cocktails that you'll actually be able to recreate — again and again and again. The masterclasses are free to stream via Facebook. For Jonny Linstead's class head here, Millie Tang's here or here for Kate McGraw's. But, to make the most of it, you'll want to get a cocktail pack delivered beforehand. The packs cost between $93.99–99.99. Purchase your cocktail packs via Boozebud, then head to the respective Facebook events at 6pm on August 20, September 3 and September 17 to take part in the virtual masterclasses. Images: Kate McGraw, cocktail, Jonny Linstead and Millie Tang
