Frustrated at the distant Australian release date for The Great Gatsby? Forget the flamboyance and pizzazz of Baz Luhrmann's film, because the best way to get lost in the decadent world of The Great Gatsby is through this 8-bit video game. Okay, maybe we're exaggerating a pinch, and maybe this isn't the best bit of Gatsby paraphernalia going around. But the Great Gatsby video game is undoubtedly the best Friday afternoon procrastination that we have stumbled across in a very long time. https://youtube.com/watch?v=yqTUKgQ_Cz4 The story behind the making of the game is a Gatsby-esque rags-to-riches tale in itself. Having come across the 8-bit Nintendo game at a yard sale and forking out a whopping 50c for it, the developers thought it deserved some time in the sun and transformed it into an open-source online game. For all the Gatsby fans out there, the thrill of playing as a butler-and-showgirl-killing Nick Carraway in search of both your fortune and the mysterious Gatsby himself is only matched by the games plethora of references, some of which we loved (like that deliciously smug gentleman reading a book and dishing out directions), and some which I imagine flew right over our heads. If nothing else, the game may just be one more thing to get us in the mood for Luhrmann's film, which by now we're busting to see. Via Fast Co.Create.
Just how many finished cigarettes have been stamped out on the footpath, or casually flicked into the gutter? According to Greenbutts, no less than 4.5 trillion annually. And while these trillions of cigarette butts (typically made from cellulose acetate) are technically biodegradable, they take between 10 and 15 years to decompose. In 2006, cigarette butts amassed to 24.7% of the rubbish collected during the International Coastal Cleanup. Greenbutts has introduced a 100% natural alternative to traditional, chemical-laden cigarettes. Greenbutts' cigarette filters are composed of plant seeds, natural flax, cotton and de-gummed hemp, all bound together by natural starch and water. When covered by a thin layer of soil, discarded Greenbutts will sprout into flowers: a much lovelier and eco-friendly sight than a squashed butt. [Via Lost At E Minor]
Wonder Woman. Ghostbusters. Annihilation. Hollywood has come a long way since the film days of yore, when female characters were under-represented and over-sexualised. Hasn't it? Well, maybe not quite. The costuming in this year's Tomb Raider reboot isn't quite as pervy as in the 2001 original, but outside of that there isn't much improvement. Certainly, things aren't different enough to really warrant a remake – or to catch the franchise up with the momentum of progressive feminism. This new film sees a young, broke Lara Croft (Alicia Vikander, replacing Angelina Jolie) follow in the footsteps of her mysteriously deceased adventurer father, crossing land and sea to find out what happened to him. Vikander does her best as the butt-kicking, braid-flicking protagonist – her guts and grizzle were enough to make me ponder my own laughable levels of fitness. That said, the fact I found myself thinking "grrrl you are ripped" about a zillion times gives you an indication of how little else there is to latch onto. Turns out a kick-ass heroine isn't enough to counteract crap writing. The dialogue in Tomb Raider is horribly stilted, so much so that the film's villain sounds like a parody of himself. If you had a dollar for every cliché out of his mouth – or for every time someone says something along the lines of "that's not the type of Croft I am – you'd easily have enough to cover the cost of your ticket. Despite what the writers might think, you can't just take a sub-par line of dialogue and repeat it until it becomes a zinger. The film's plotting, meanwhile, plays like a lazy mix of tropes from Raiders of The Lost Ark and The Hunger Games, with the moody origin story vibes of Batman Begins thrown in. Director Roar Uthaug doesn't manage any of it particularly well, although there are – spoiler alert – a lot of scenes where Vikander struggles in bodies of water, and they're all convincingly shot (I wrote the word "STRESSFUL" several times in my notes). The film also fails to take advantage of its strong supporting cast. Kristin Scott Thomas is chronically underused, while Nick Frost shows up all too briefly to deliver one of the movie's only genuinely funny moments (as opposed to its many unintentionally funny ones). At least the producers thought to cast someone other than a generic Hollywood white guy as Lara's partner in crime. Sadly, Daniel Wu's Lu Ren is relegated to the background in no time, and only pops up when required by the plot. The best bit of the entire Tomb Raider ordeal? To be honest, it was the very attractive promo men swinging around ropes in the foyer before the media screening. When that's the case you know you've got a dud on your hands. Our advice: give this flick a miss. https://www.youtube.com/watch?v=8ndhidEmUbI
More than a decade after making its off-Broadway debut, critically-acclaimed play The Exonerated will have its first ever Australian performance, courtesy of an independent Melbourne theatre company driven by an honourable cause. Written by husband-and-wife duo Jessica Blank and Erik Jensen, the play consists of six harrowing tales of death row inmates convicted of crimes they didn’t commit. It's grim stuff, particularly when you consider that all six stories were based on actual cases, whittled down from more than 40. The Melbourne show, at Chapel Off Chapel, is the latest production by The Sol III Company — a group which raises money for prison programs and to help overturn wrongful convictions in both Australia and the US. Money made from ticket sales will be donated to Innocence International and Liberation Prison Yoga. The Exonerated runs from May 20 to June 7. For more information, head over here.
If you thought Melbourne getting a George Costanza bar was cool (or maybe you're just more of a Beetlejuice fan), you'll be pretty impressed by New York City's latest attempt to one-up itself when it comes to themed establishments. Set to open early next month is a Tim Burton-inspired bar and restaurant, very aptly named Beetle House. Millennium made. The Manhattan bar comes from the same team who thought (and were indeed correct in doing so) that the island needed a Will Ferrell-themed bar, which opened in October last year. Beetle House, however, promises to recreate Halloween all year-long with "an atmosphere and menu inspired by the works of Tim Burton". Perfect for the regular Edward Scissorhands or ghosts stuck haunting the East Village. Potions will include the likes of the This Is Halloween (a concoction of pumpkin, cinnamon and apple liqueurs, ginger beer and apple cider) and the We Come In Peace, which is a questionable mix of salted caramel vodka, RumChata, cream and a caramel swirl salted rim. Other well-named sips include the likes of Edward's Lemonade, It's Showtime and Beetlejuice (naturally). Drink at your own peril. To eat, you can choose from the likes of Beetle Bread bruschetta, the Victor Van Pork burger and the Sweeney Beef steak. Beetle House is located in the East Village at 308 East 6th Street. If you've got a trip planned to NYC anytime soon, we suggest booking a table in advance lest you have to go to an unthemed restaurant instead.
It's not like you need an excuse to get stuck into some hummus, but this week, Bar Saracen Head Chef Tom Sarafian is giving you a few extra reasons to load up on his restaurant's famed chickpea dish anyway. The kitchen has been quiet at the Punch Lane venue for the past few weeks, with the doors closed to both dine-in guests and takeaway orders during this current stretch of restrictions. Which has left Sarafian with a little extra time up his sleeve. And that time's now being used to whip up batches of signature hummus to raise much-needed funds for those impacted by last week's devastating Beirut explosion. The Lebanese capital holds a special place in the chef's heart and has been the catalyst for some of his best work. "I honestly wouldn't have learnt to make this hummus (or a lot of my dishes) and share it with Melbourne if it wasn't for my trips to Beirut, and the hospitality and generosity of its people," said Sarafian in a statement. https://www.instagram.com/p/CDpx6bxjH3E/ So now, for the first time in a little while, you'll be able to get your mitts on Bar Saracen hummus by the tub, all for an excellent cause. The 300-gram serves come paired with sumac pita crisps, clocking in at $20, with all proceeds going to Lebanese Red Cross. If you live within ten kilometres of the CBD venue, you can have a tub dropped to your door for free, with complimentary home deliveries running Sunday, August 16, and Monday, August 17. Can't wait that long and live within five kilometres of the restaurant? You can swing past Bar Saracen between noon and 3pm this Thursday to Saturday, to nab some fundraiser hummus straight from the source. If that's not in your allowed radius, thankfully a stack of other venues will also be selling the hummus tubs (for $15 with no crisps) this weekend, including Baker Bleu, All Are Welcome, Wild Life Bakery, Meatsmith, Falco Bakery, Spring Street Grocer and Park Street Pasta & Wine. Check in with your closest to see when they're open and whether they've got stock. Hummus le Beirut is available to buy online now, and can be picked up from Bar Saracen from 12–3pm, August 13–15 or home-delivered from August 16–17.
You've probably heard all about the power of blockchain, but we bet you didn't know cryptocurrency could get you free burgers and gelato. Well, it can (kind of). To celebrate the launch of Liven Coin (LVN), the world's first digital currency for food, Liven has teamed up with Gelato Messina and 8bit to bring you a whole month of crypto-inspired dishes. And if you're a new Liven user, you can get your hands on them for free — or discounted if you're an existing user. Available in Sydney and Melbourne until Monday, November 19, the limited-edition dishes are both creative and innovative. It allows you the opportunity to invest in LVN coin just by dining at your favourite restaurants and rewards you every time you eat out. 8bit will be serving up the Insert Coin burger with a beef patty, american cheese, smashed avo, feta and the much-loved 8bit sauce. New users can score it for free while existing users will get $5 off. Meanwhile, Gelato Messina will sling scoops of ChipOCurrency, a decadent peanut butter gelato with white chocolate and potato chips. New users can get two scoops for free and existing users get one. If one month of freebies is not enough, Liven is also giving one lucky person free gelato and burgers for 12 beautiful months — all you have to do is enter with a quick comment on this Facebook post. Good luck and happy feasting.
This is what cheese dreams are made of: Flinders Street favourite Arbory Bar is hosting daily three-cheese fondue until the end of August. Running throughout winter, indulge in a hot, buttery combination of Swiss Gruyere, San Rocco La Fontella and Truffle Pecorino at one of Melbourne's best bars. The hot cheese will set you back $20 per person and is available for pairs to up to groups of four. "Alongside the molten fondue, you'll find sliced French baguette, truffle potato rosti, pretzels and pickles, for all your dipping pleasures. There's something for everyone," Executive Chef James Gibson says. If you're really looking to ward off Melbourne's dipping temperatures, you can add a selection of cured meats to the table for an additional $20. The Arbory team has promised a rotating selection along the lines of capocollo, bresaola and prosciutto, so you'll have an excuse to visit a couple of times this winter. Images: supplied.
Have you ever felt overshadowed by a more successful sibling? Chin up. Odds are you never felt it as bad as poor old Edmund Shakespeare. A struggling actor fifteen years the junior of his rather more successful older brother, little is known about the youngest Shakespeare boy — well, other than the fact that he may have been the inspiration for the villainous bastard Edmund in his brother's play King Lear. Ouch. Now, some four centuries later, another playwright will draw his inspirations from the life of anonymous Edmund, along with a multitude of other characters both historical and imagined. Edmund. The Beginning is the new one-man show from veteran theatre maker Brian Lipson, who'll take the stage for a limited season at Arts House in North Melbourne. It's Lipson's first solo outing since his acclaimed show A Large Attendance in the Antechamber won a pair of Green Room Awards back in 2000.
Since 1999, Teage Ezard's eponymous fine diner has lived on Flinders Lane. But now it is no more, with Ezard this week announcing the permanent closure of the CBD spot. Together with Ezard's other more casual restaurant Gingerboy — and much of Melbourne's hospitality scene — Ezard temporarily closed in late March due to COVID-19 restrictions. That closure was switched to a more long-term decision on Thursday, June 4, when the acclaimed chef announced on social media that the restaurant would not be reopening. "Today we announce the end of an era," Ezard said in the post. "As we work towards exciting new beginnings, we have decided to close Ezard restaurants." Ezard's Yarra Valley restaurant, Ezard at Levantine Hill, has also shut up shop, with the winery announcing it will be offering 'an exciting new wine and food offer' when it reopens to the public on June 25, 2020. https://www.instagram.com/p/CA_m4S5jtIa/ As for Ezard, he says new projects (yes, plural) are in the works for 2021. "For many months, we have been evaluating, reshaping and planning for exciting new projects to come in 2021. As a company, we're exploring casual dining and experiential ventures," Ezard said. The chef's hawker-style CBD spot Gingerboy remains open and continues to be takeaway-only for the time being. Both pick up and delivery are available at present, with the restaurant offering its dumplings, curries and bottled Korean barbecue sauce to-go. Ezard is now closed. We'll let you know when more information about Teage Ezard's new ventures are announced.
Shop pre-loved bric-a-brac, clothing, accessories, antiques and collectibles, records and more at the Geelong Vintage Market. The impressive indoor market is open seven days a week and there are over 60 stalls to browse, so make sure you dedicate a good couple of hours to take a look around. Got some extra things you want to offload? The market takes donations and can also buy your second-hand goods — it offers top dollar for good quality vinyl, CDs and CD singles (remember those?). If you need to refuel, pop next door to The Pickers Union for a great brunch and coffee. Images: Julia Sansone
Originally scheduled to run in April as part of the now postponed Wominjeka Festival's tenth anniversary edition, this thought-provoking exhibition will instead kick off from Tuesday, August 4. As with all of the festival's parties, workshops and events, Blak to the Future III is a project helmed by First Nations peoples — this one's been put together by artist and curator Rosie Kalina. Showing for free at the Footscray Community Arts Centre's Roslyn Smorgon Gallery, the exhibition features works from a dynamic group of young creatives, offering a collective peek at a decolonised Aussie future. Emerging Indigenous talent including Soju Gang, Kyle Taylor, Caleb Thaiday, Tre Turner and Kalina herself deliver a broad mix of visual art works and textile pieces designed to get you thinking. And don't miss the sprawling collaborative mural, which is set to take pride of place within the exhibition space. Image: Gianna Rizzo
Sweet tooths, assemble. Pastry chef Pierre Roelofs and his team of wicked enablers have packed up their summer soft serve pop-up and resurrected their legendary Dessert Evenings, shattering our halfhearted plans to cut down on the sweet stuff like the ears on all those chocolate Easter bunnies we devoured over the weekend. Oops. After five years at Cafe Rosamond in Fitzroy and a short stint at Adriano Zumbo's Fancy Nance in South Yarra last year, Roelofs' dessert extravaganzas are making the move to a new home: Milkwood in Brunswick East. Hosted every Thursday night at the cosy Nicholson Street cafe, diners can expect a four-course degustation — the catch being that all four courses are dessert. The menu is top secret and changes every time. We can tell you that previous evenings have involved ridiculous concoctions of mascarpone, strawberry, honey, orange, cardamom and speculaas, as well as a deconstructed bread and butter pudding served in one of Roelofs' famed dessert test tubes. The first dessert evening will kick off next week on Thursday, April 7 with sittings at 7pm, 8.20pm and 9.40pm. You'll need to book in advance — so for the love of the dessert Gods, do so right away. Pierre Roelofs' Dessert Evenings will be held every Thursday evening at Milkwood, 120 Nicholson Street, Brunswick East. The four-course degustation will cost $55, and you can book here.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=0T4GIqEYyNk&feature=youtu.be RAYA AND THE LAST DRAGON Featuring a vibrant animated spectacle that heroes vivid green and blue hues, a rousing central figure who is never a stock-standard Disney princess and lively voice work from an all-star cast, Raya and the Last Dragon boasts plenty of highlights. Directed by Don Hall (Big Hero 6) and Carlos López Estrada (Blindspotting), co-directed by Paul Briggs and John Ripa (both Disney art and animation department veterans), and penned by Qui Nguyen (Dispatches From Elsewhere) and Adele Lim (Crazy Rich Asians), the Mouse House's new all-ages-friendly release also embraces southeast Asian culture with the same warm hug that Moana gave Polynesia and Pixar's Coco sent Mexico's way — and it's always detailed, organic, inclusive and thoughtful, and never tokenistic. But perhaps its biggest strength, other than the pitch-perfect vocal stylings of Awkwafina as the playful, mystical half of the film's title, is its timing. Disney first announced the feature back in August 2019, so the company can't have known what the world would suffer through from early 2020 onwards, of course. But a hopeful movie about a planet ravaged by a destructive plague and blighted by tribalism — and a feature that champions the importance of banding together to make things right, too — really couldn't arrive at a more opportune moment. COVID-19 has no place in Raya and the Last Dragon; however, as the picture's introductory preamble explains, a virus-like wave of critters called the Druun has wreaked havoc. Five hundred years earlier, the world of Kumandra was filled with humans and dragons living together in harmony, until the sinister force hit. Now, only the realm's two-legged inhabitants remain — after their furry friends used their magic to create the dragon gem, which saved everyone except themselves. That's the only status quo that Raya (voiced by Star Wars' Kelly Marie Tran) has ever known. Her entire existence has also been lived out in a divided Kumandra, with different groups staking a claim to various areas. With her father Benja (Daniel Dae Kim, Always Be My Maybe), she hails from the most prosperous region, Heart, and the duo hold out hope that they can reunite the warring lands. Alas, when they bring together their fellow leaders for a peaceful summit, Raya's eagerness to trust Namaari (Gemma Chan, Captain Marvel), the daughter of a rival chief, ends with the Druun on the rampage once again. A movie about believing not just in yourself, but in others, Raya and the Last Dragon doesn't shy away from the reality that putting faith in anyone comes with the chance of peril and pain — especially in fraught times where the world has taken on an every-person-for-themselves mentality and folks are dying (or being turned to stone, which is the Druun's modus operandi). If the narrative hadn't been willing to make this plain again and again, including when it picks up six years later as Raya tries to reverse the devastation caused by Namaari's actions, Raya and the Last Dragon wouldn't feel as genuinely affecting. Raya and the Dragon is screening in Australian cinemas from Thursday, March 4, and will also be available to view via Disney+ with Premier Access (so you'll pay $34.99 extra for it, on top of your usual subscription fee) from Friday, March 5. It'll hit Disney+ without any extra fee on June 4. Read our full review. https://www.youtube.com/watch?v=DSFpK34lfv0 NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's true whether she's playing overt or understated characters, or balancing those two extremes. In Fargo, the first film that earned her an Oscar, McDormand is distinctive but grounded, spouting midwestern phrases like "you betcha" but inhabiting her part with texture and sincerity. In Three Billboards Outside Ebbing, Missouri, her next Academy Award-winning role, she's an impassioned mother crusading for justice and vengeance, and she ripples with deep-seated sorrow mixed with anger so fiery that it may as well be burning away her insides. Now, in Nomadland, McDormand feels stripped bare and still a commanding force to be reckoned with. She's tasked with a plucky but struggling part — defiant and determined, too; knocked around by life's ups and downs, noticeably; and, crucially, cognisant that valuing the small pleasures is the hardest but most rewarding feat. It'll earn her another Oscar nomination. It could see her nab a third shiny statuette just three years after her last. Along with the attention the movie received at the Golden Globes, both are highly deserved outcomes because hers is an exceptional performance, and this was easily 2020's best film. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot where she spent her married years turns into a ghost town when the local mine is shuttered due to the global financial crisis. A slab of on-screen text explains her predicament, with the film then jumping into the aftermath. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it truly sees everyone in its frames, be they fictional or real. Nomandland understands their plights, and ensures its audience understands them as well. It's exquisitely layered, because its protagonist, those around her and their lives earn the same term — and Zhao never forgets that, or lets her viewers either. Nomadland screened in Australian cinemas during a two-week preview season in 2020, starting Saturday, December 26. From Thursday, March 4, 2021, it's back on the big screen for its general release season. Read our full review. https://www.youtube.com/watch?v=5ICPoXlmTO0 CHAOS WALKING Adapted from the book series of the same name, Chaos Walking has weathered a difficult path to cinemas. The tedious and generic space western releases ten years after the rights to turn Patrick Ness' novels into films were first acquired, four years since the movie was originally shot and two years after major reshoots following unfavourable test screenings. It went through a plethora of rewrites, too, with I'm Thinking of Ending Things' Charlie Kaufman on scripting duties at one point, and Ness (A Monster Calls) and Spider-Man: Homecoming's Christopher Ford getting the final credit. Navigating such a mess rarely bodes well for a movie, so the fact that Chaos Walking proves dull and derivative shouldn't come as a surprise. Even with its cast filled with impressive talent, and with Edge of Tomorrow filmmaker Doug Liman begin the lens, it's hard to see how it might've fared better, with its premise an instant struggle. Set in 2257, the film follows colonists from earth on a planet called New World, who are plagued by a strange phenomenon. A multi-coloured haze hovers around men's heads — and only men — showing their every thought. The sensation has been dubbed 'the noise', and experiencing it while watching sure is rackety. Indeed, 'noise' is the absolute right word for the entire movie. In his pioneer village, teenager Todd (Tom Holland, The Devil All the Time) can rarely control his noise. While the Mayor (Mads Mikkelsen, Another Round) is able to filter the words and images that project from his mind — and also rock a furry red coat and wide-brimmed hat far better than anyone should — few others have the same ability. Seeing what everyone is thinking is a tricky way to live at the best of times, and it applies to the entire population, because women have been wiped out in a war attributed to the planet's original inhabitants. But Todd's troubles multiply when he discovers a spaceship, as well as Viola (Daisy Ridley, Star Wars: Episode IX — The Rise of Skywalker), its sole surviving occupant. The mayor and his followers don't take kindly to the first female in their midst for years; however, supported by his adoptive fathers Ben (Demian Bichir, The Midnight Sky) and Cillian (Sons of Anarchy creator Kurt Sutter), Todd isn't willing to surrender the only girl he's ever seen to an angry mob. Cue a tale of toxic masculinity that dates back to 2008, when first instalment The Knife of Never Letting Go hit bookshelves, and feels timely in the current social, political and cultural climate. That said, this isn't a complex, layered or thoughtful film. Instead, it's content to stress its themes in such a broad and easy manner that getting Holland to hold up a sign saying "the patriarchy is bad" would've been more subtle. Indeed, Chaos Walking really just uses these notions as a backdrop for a predictable and formulaic dystopian story, and as a handy reason to motivate its conflicts, in a movie that plays like a hodgepodge of far better sci-fi and western fare. Read our full review. https://www.youtube.com/watch?v=mCvQzzKdgV4 ABOUT ENDLESSNESS The latest feature from acclaimed and always distinctive Swedish auteur Roy Andersson (Songs From the Second Floor, You, the Living, A Pigeon Sat on a Branch Reflecting on Existence), About Endlessness plays like the filmmaker's response to an oft-used — and overused — piece of worldly wisdom. Relishing the little things has become a greeting card-level piece of advice that's trotted out far too frequently and easily, but this vignette-fuelled drama contentedly peers at and contemplates everyday occurrences, flitting from one snippet of story to another across its brief 78-minute duration. It sees the happy moments, and the bleak ones. It has time for inconsequential instances, for clear flights of fancy and for real-life events that changed the shape of history. It spies the magical, the mundane, the merciful and the menacing, gives them all their time in the spotlight, and weaves them into a moving catalogue of the human condition. And, although the writer/director remains in his comfort zone, he crafts this latest treatise on merely existing into a movie that cuts deeply and feels bold rather than familiar. With Andersson's renowned eye for the sublime and the absurd, the film sees the juxtaposition at the heart of living. It knows that, in some shape or form, life is bound to continue on forever. It's also aware that individual lives are inescapably finite. When pondering mortality, these two truths can be hard to reconcile, especially given that the minutiae that makes up each and every day lulls us into a false sense of feeling as if it'll never end — and About Endlessness embraces all of this thorniness and complexity in its own way. Via poetic parcels of narration that declare "I saw a man begging to be spared", "I saw a woman who had a problem with her shoes" and "I saw a man who wanted to save the honour of his family, then regretted it" — plus other such short descriptions — About Endlessness works through instance after instance of people searching for meaning, happiness, and a reason to see their existence as anything more than a parade of breaths and heartbeats. The voice offering such narration is female, proves choosy about which scenes she decides to comment on, but is clearly affected by everything that plays about before her all-seeing vision. When it comes to anything approaching an explanation, though, Andersson remains sparse and careful. And yet, this is a detailed film that overflows with intricacy, intimacy and emotion, and with glorious artistry in every single frame. Every shot looks both naturalistic and staged, as is the filmmaker's custom, which evokes the feeling that you're stealing glimpses of life that are equally rich and routine in tandem. Whether a dictator, a man of faith or someone crying on public transport takes temporary pride of place (or, in the latter's case, if a fellow passenger is asking why he can't just be sad at home like everyone else), these short moments have a cumulative effect that's striking and profoundly insightful. Take, for example, an oh-so-short clip of young women spontaneously dancing outside a cafe, which is delightful, instantly touching and speaks firmly to the fact that life is as consistent in its joys as it is in its woes. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters and The Little Things.
From March to September each year, Aussie Rules football is Melbourne's favourite sport. From Wednesday, April 3, 2024, via a sprawling showcase that marks the NBA's first official global touring exhibition, basketball wants to join in as well. The NBA Exhibition celebrates hoop dreams and all things b-ball, and is making its first-ever visit to the Victorian capital. After premiering in Warsaw, Poland in 2021, The NBA Exhibition bounced into Brisbane in November 2023. Now, at The District Docklands, it's Melbourne's turn, bounding through basketball history at the same time. Catnip for fans of Air and Winning Time: The Rise of the Lakers Dynasty, this sports-focused affair is big in scope and size, surveying the culture of hopping onto the court and the lifestyle that goes with basketball, too. Visitors can traverse 1100 square metres and make their way through 20 themed sections. Created with the National Basketball Association, The NBA Exhibition aims to lure in b-ball diehards, casual followers and folks that haven't thought about the sport since their school PE lessons alike — and attendees of all ages. Looking at basketball memorabilia is part of the presentation, but so is throwing a ball around yourself and, thanks to the virtual and augmented reality aspect of the showcase, taking snaps with your favourite NBA players. So, you can get a photo with the Larry O'Brien Championship Trophy, too — aka the coveted prize that each year's NBA Finals' winner receives — and shoot hoops, see how far you can jump and test your reflexes as well. Fancy a picture showing that you can slam dunk, even if you can't? There's a section of The NBA Exhibition for that. Eager to watch NBA highlights using VR goggles? That's also on the agenda. Keen to get surrounded by iconic NBA moments? That's what the infinity room is for. With names like Michael Jordan and Shaquille O'Neal obviously featuring — and Kobe Bryant, Steph Curry, Giannis Antetokounmpo, Magic Johnson and Larry Bird as well — other elements of The NBA Exhibition include a heap of balls and shoes on display; footwear and hand prints from past and present players; art that was commissioned for a pop-up NBA Gallery exhibit in Sydney in 2022, featuring Australian and First Nations artists; and celebrating NBA players that've made the jump from Australia, which is likely to feature Patty Mills, Ben Simmons, Luc Longley, Andrew Gaze and more. Images: Muse Marketing and Entertainment.
A favourite at this year's Sundance and on our critics' best list from last month's Sydney Film Festival, you may have heard about A Ghost Story — the film where Casey Affleck stands around underneath a sheet. Reuniting this year's Manchester by the Sea best actor Oscar winner with his Ain't Them Bodies Saints co-star Rooney Mara and writer/director David Lowery (also of Pete's Dragon), Affleck's character dons the sheet after he is killed — but, despite that, it's still one of the best movies of the year so far. Moody and minimalistic (as a costume anyone could make gives away), the film breathes new (after)life into the idea of haunted houses in a thoughtful and emotion-filled manner. As Affleck's ghost lurks, the movie offers up an astute understanding of how mourning and memories linger over time, and remain forever intertwined with certain places. https://youtu.be/ui92Scs8Mns [competition]630133[/competition]
It's the kind of music event every pet-lover dreams of, and it's back for another year of cute puppies and pumping sounds. That'd be Dogapalooza, of course. Yep, it does have a rather excellent name — and that merry moniker is just the beginning. After wowing crowds with their first fest last year, the dog-friendly shenanigans are bound to get tales wagging again at Richmond's Burnley Park. Expect everything from ethical eating options (including Dogapalooza's own in-house vegan BBQ) to boutique dog product vendors. Even though the music lineup isn't announced until August 26, we're betting that won't find the likes of Bow Wow and Snoop Dog on the bill, as on-theme as they would've been. That said, we're sure that the roster of acts will get your toes tapping regardless — and the paws of your furry best friend, of course. Dogapalooza isn't just about a day of music-oriented bliss in the sun with your pet pooch, though. All proceeds go raised will go towards helping canines in need via Oscar's Law and Melbourne's dog rescue groups Stafford Rescue Victoria, Melbourne Animal Rescue and Puppy Tails Rescue. Dogapalooza takes place at 11am on October 9 at Burnley Park, Richmond. Tickets are on sale now, and check out the festival's Facebook page for more information.
Scienceworks' new exhibition Museum of the Moon takes a close-up look at the moon. It features a seven-metre sculpture of the celestial body, complete with NASA imagery on its surface. While it's technically designed for teenagers, you'll still find it fun if you're into the cool stuff that science Even more adult-friendly is the accompanying Party Beyond event that is happening on Saturday, April 27. With Scienceworks open late and the event only open to those over the age of 18, attendees can get a hit of adult science along with their glass of adult drinks (suck it, kids). Food and drinks will be available to purchase, and you won't be mulling over whatever you've just learnt about the moon — performances by singer and activist Mama Alto, afro-futurist Cumbia Cosmonauts, electro-pop artist Geryon and keyboardist Waterfall Person will be featured throughout the six exhibition spaces. Take a look at the unseen (like gravitational waves) in the Beyond Perception installation while Rebel Yell performs her industrial techno tunes — or party inside the Planetarium with multi-instrumental musician Synthotronica. Plus, DJ Biscotti will be spinning everything from 70s French boogie to Nigerian disco at the Admissions counter. Image: Museums Victoria/Benjamin Healley.
Melbourne's getting another alcohol-fuelled brunch, and this one has a dress code — of leotards, lycra, spandex, leg warmers, and anything glittery, sparkly, shiny and neon. While you're channelling a thoroughly 80s vibe, teased hair won't go astray. Perhaps it'll even make you more aerodynamic on the roller rink. On Saturday, August 24, it's time to dress up in all of the above and strap on a pair of roller skates. You can't dance around a Roller Disco Brunch without them. The rink will pop up at Seaworks in Williamstown, running in conjunction with the 1.5-kilometre Pac-Man-inspired maze — so you can do both in one day if you do choose. When you're not busting out your smooth retro moves to plenty of the era's hits — yes, Cyndi Lauper songs will be given a spin by the DJ — you'll be tucking into bottomless mimosas and pizza slices. There will be three 90-minute brunch sessions: at 11am, 1pm and 3pm. These will set you back $75.23 and include your food, booze and skate hire. If you just want to get your skate on, there'll be four more sessions on the Saturday — at 5pm, 6.30pm, 8pm and 9.30pm — as well as three on the Friday night. These just include a turn on the skates and are $39.55 each. Peachy keen, jelly bean? You can buy tickets now. UPDATE: MAY 28, 2019 — This article previously stated that the Roller Disco Brunch would be held on June 29, 2019. This has now been changed to August 31, and the above has been edited to reflect the new date.
The astroturf has been rolled out and the deck chairs have been prepped for balmy summer nights for South Wharf's annual outdoor cinema. The cinema at outdoor bar Common Man has launched again, offering a program of hard-to-dislike films such as La La Land, Ferris Bueller's Day Off, Dirty Dancing and Pretty Woman on a 6x3-metre screen while you wash down that choc top with an espresso martini. Yes, the garden bar will be serving up cocktails, frosé, beer and wine in a can. And if you're hoping not to get out of your seat during the movie, you can also purchase cheese plates and fried chicken beforehand. The cinema will run on Wednesday, Thursday, Saturday and Sunday nights March 31, and tickets are just $14.
You know Melbourne winter has hit when two things arrive: mulled wine and fondue. Transit Bar is following suit and breaking out the molten cheese this winter with a $15 fondue deal, running all-day every Wednesday and Thursday. $15 gets you your choice of fondue, and you can also load up with dessert ($15) or one of Transit's signature cocktails (also $15). There are three different fondues to choose from, and each one comes with a crispy potato rosti, Campari onions and a cress salad. There's the traditional, gooey raclette and Chardonnay fondue; a herby variant with caviar, chives and crème fraiche; or a sinfully sweet black pepper, dark chocolate and raspberry. Take your pick. For dessert, Transit are serving up some freshly piped and fried cinnamon churros with hot chocolate sauce. Bonus points if you order chocolate fondue followed by chocolate churros. Last but not least, Transit is also running half-price oysters between 6pm and 7pm, Friday to Sunday. You know where to go this winter. Images: supplied.
Based on the philosophy, "books are not commodities, they are works of art", My Bookshop by Corrie Perkin was launched in 2009 and has since grown to become one of Melbourne's most-loved hangouts for writers and bookworms of all ages. Founded by prominent journalist Corrie Perkin, the bookstore offers a huge variety of texts to dive into, with the latest novels, biographies and striking coffee table books all up for grabs. Situated amid the bustling local shopping destination of Hawksburn Village, this bookshop is the perfect place to spend an afternoon on the hunt for something new to read. Images: Parker Blain.
Jennifer Lawrence, Bradley Cooper and a panther circle around a film, and each other. Who will come out alive? That’s the crux of Serena, a romantic melodrama tantalisingly bleak, though too beholden to its too-obvious symbolism. It strives for the emotional complexity of times and films long since passed, but can only offer a shaky — albeit pretty — approximation. Starting in North Carolina’s golden-hued Smoky Mountains in 1929, a wilful woman and a wild cat enter the life of a Depression-era logger; of course, for all their sleek allure, they’re both omens of worsening times. She is the titular Serena, determined to become involved in a waning timber empire beyond the bounds normally expected of her gender. He is George Pemberton, in love not only with his new wife but with making as much money from his woodland as he can. The feline threatens their livelihood, but no more so than their own vices. Adapting Ron Rash’s 2008 novel of the same name, Serena charts the troubles and tragedies that spring in their wake: feuds, premonitions, medical emergencies and illegitimate children among them. Tangled up in the drama are a jealous business partner (David Dencik), interfering sheriff (Toby Jones), single mother (Ana Ularu), and loyal enforcer (Rhys Ifans). If that sounds over the top and outlandish, that’s because it is. A host of problems and people test the lovers’ fates well into the realm of contrivance and convenience. Serena aims to hark back to features of the Golden Age, where spirited femmes headlined tales of moral corruption as fully realised figures. Here, as the catalyst for drama, the central sultry dame is only ever painted as brash or unhinged. As a love interest, she is only ever idolised or maligned. Starkly absent is the nuance needed to render the film a throwback in anything more than superficial terms — and the insistence upon linking Serena’s untamed nature with the creature stalking through the trees certainly doesn’t help matters. With 2010 foreign-language Oscar winner In a Better World among her output, director Susanne Bier is no stranger to heightened circumstances and the quandaries that arise as a result, though her pedigree amounts for little. A clumsy script proves her undoing, alongside an approach favouring slow reveals at the expense of tension. Plot machinations aplenty aren’t the same as a genuinely involving narrative. Reunited after Silver Linings Playbook and American Hustle, both Lawrence and Cooper are effective, suffering as they are from the same over-stretched material. Too often, they are reduced to smouldering separately or sliding through a series of sex scenes, always looking the part but never really fitting in. Alas, that’s the attractively shot and staged Serena from start to finish, lumbering along and constantly felling any source of interest. As everything builds towards the inevitable finale, audiences will strain to care just who lasts the length of the feature’s running time.
Winter might still be months away, but the final series of Game of Thrones is set to air on April 14. If the show's comeback will have you spiralling into an all-consuming GoT hole, then you will probably want to get in on Melbourne's latest themed event. Call your banners and get ready for an immersive medieval-style banquet reminiscent of the series. Prepare for a meal that not only replicates the fascinating and often terrifying world of GoT that so many have come to depend on for meaning in life, but will include a brunch feast, lots of ale, and some murderous entertainment. Many details of the event are still shrouded in mystery (much like the eventual outcome of the series), including the date and price. The location hasn't been announced, but will be somewhere in the inner city. But we can guess the specific theme. Taking its cues from a particularly notorious episode of HBO's hit series, this immersive banquet will surely be styled after the Red Wedding. Yes, you can assume there'll be some recreations of scenes from George R. R. Martin's saga — although here's hoping there's no regicide at this one. If, like Jon Snow, you know nothing, then you're in for an entertaining feast. Costumes are welcome, but no pretend (or real) weaponry. The banquet will happen in Melbourne later this year. Further details — and tickets — will be released soon via email. We'll let you know when they are.
When it was first published in 2011, A Discovery of Witches swiftly became a bestseller. Thankfully for readers instantly enamoured with Deborah Harkness' supernatural novel, there was more where that came from. The book was just the first instalment in the All Souls trilogy, with its follow-ups arriving in 2012 and 2014 — and, since 2018, fans have been able to watch a TV adaptation starring Australian actor Teresa Palmer as a Yale University historian and witch, as well as Downton Abbey's Matthew Goode as a biochemistry professor and vampire. Palmer plays Diana Bishop, with A Discovery of Witches chronicling her story after she finds a bewitched manuscript and gets reluctantly drawn back into the magical world. Where the show's first season charted her initial efforts to protect the enchanted text, known as Ashmole 782, the currently screening second season kicks off with a jump back to London more than four centuries ago.
As attempts to combat COVID-19 ramp up around the globe, venues and organisations everywhere are temporarily shutting down. New York's Metropolitan Opera is one of them; however, it's not letting its fans spend their self-isolating days without their beloved artform, announcing nightly live-streamed opera performances from its collection. From Monday, March 16 US time (Tuesday, March 17, Down Under), the NY institution is streaming a different opera each evening. Called Nightly Met Opera Streams, the program kicked off with high-profile shows such as Bizet's Carmen, Puccini's La Boheme, Verdi's Il Trovatore and La Traviata, Donizetti's La Fille du Régiment and Lucia di Lammermoor, and Tchaikovsky's Eugene Onegin — streaming each for 23 hours from 7.30pm New York time each night. Other highlights included, Nico Muhly's Marnie, Verdi's Aida and Borodin's Prince Igor. On Monday, May 4, Mozart's Le Nozze di Figaro is streaming, followed by Thomas's Hamlet on May 5, Saariaho's L'Amour de Loin on May 6 and Strauss's Capriccio, plus a double bill on Sunday, May 10 featuring Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci. And, if you missed Puccini's celebrated La Boheme, you can catch it again on Friday, May 8. https://youtu.be/afhAqMeeQJk Even better — Nightly Met Opera Streams is free, so you can enjoy world-class opera recorded live (and streamed in HD) without either paying a cent or leaving your couch. Nightly Met Opera Streams commence on Tuesday, March 17, Australian and New Zealand time, with a new show live-streamed every day and available for 23 hours afterwards. For further details, visit the Met Opera website. Top image: Bengt Nyman via Wikimedia Commons. Updated May 5.
"International in flavour, cosmopolitan in style." It seems this nostalgic pop duo know exactly how to describe themselves. Harvey Miller and Monte Morgan may come across as a tongue-in-cheek late '80s novelty band, but it would be a mistake not to take them seriously. Their single from last year, 'Feeling', is some seriously sweet synth-pop that is full of heart, and the latest track 'Free of Fear' summons you to the dance floor — pastel suit and over-sized aviators optional. Client Liaison have built their fan base from their live shows, and they've sold out their last two gigs in Melbourne. If you need further convincing, their music is only currently available as a digital download or vinyl, so if you want to hear everything they've got to offer, get down to the Northcote Social Club. Go on — put it on the Diners Club Card, cash in those Ansett frequent flyer points and party like it's 1989. https://youtube.com/watch?v=oo5VopP64Mk
On most weekends, somewhere in Melbourne is hosting a beer festival. They might not happen every single weekend, but they definitely pop up with frequency. Only one is called the Great Australasian Beer Spectapular, however, and dedicates itself to weird, wild, wonderful and inventive varieties that are made exclusively for the booze-fuelled party. And that very fest has locked in its dates for 2023. If you're a newcomer to GABS, as the festival is known, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then, it started spreading along Australia's east coast capitals, as well as to New Zealand. Now, its 2023 plans will see it return for its homegrown event from Friday, May 19–Sunday, May 21 at the Royal Exhibition Building. While only dates and venues have been confirmed so far, and not brewers heading along or the beers they'll be whipping up, attendees can look forward to an event that's considered to be one of the best craft beer and cider festivals in the Asia Pacific region. And, you can grab tickets from the GABS website from 3pm on Friday, March 3. One big reason: it'll pour at least 1200 kegs — which in past years have been inspired by breakfast foods, savoury snacks, desserts, cocktails and more — from 240 taps. In 2022, peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum and sour gummy bears all got a whirl. The event surveys both Australian and New Zealand breweries, plus folks from the US and UK, with more than 120 set to be pouring their wares this year. Also on the bill: other types of tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. In fact, Archie Rose, Monkey Shoulder Whisky and Yellow Tail Wines will all be making their GABS debuts. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which'll span a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders in 2023, as well as local food trucks and vendors to line your stomach. Yes, that includes the Mountain Goat air guitar championship, the Balter tins of glory, the Atomic wheel of pourtune and the Black Flag skate ramp. Updated March 3.
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But that European or American trip could soon become a whole lot more bearable, with Qantas not only working towards launching direct flights between the east coast and both London and New York by 2022, but beginning to run trial journeys this year. In October, November and December, the airline will pilot three ultra long-haul research flights, using new Boeing 787-9s. The aircraft will simulate two routes that are at the heart of Qantas' proposed new non-stop plan, which is called Project Sunrise, flying from New York and London to Sydney. That New York trip will mark the first world's first flight by a commercial airline direct from the Big Apple to Sydney, while the London jaunt will be the second time such a journey has been made. The last time the latter happened was back in 1989, when Qantas made the trek on a Boeing 747-400 with just 23 people on board. Don't go packing your bags, though — the aim is to gather data about inflight passenger and crew health and wellbeing, with only around 40 people making the trip. They'll be comprised of crew and Qantas employees, and they'll be fitted with wearable technology devices to monitor their monitor sleep patterns, food and beverage consumption, physical movement and use of the entertainment system during the flights. The results will then be assessed by scientists and medical experts from the Charles Perkins Centre. Pilots will also take part, working with Monash University researchers to record their melatonin levels before, during and after the flights, as well as their brain wave patterns and alertness — to help ascertain the best work and rest pattern when they're commanding those long-haul services. While spending nearly a day on one single plane is better than jumping on and off different vessels multiple times, it's not without its physical, mental and emotional toll — as anyone who has made the trip with Qantas from Perth to London knows, which is what makes this testing so important. Announcing the trial, Qantas Group CEO Alan Joyce explained that, "for customers, the key will be minimising jet lag and creating an environment where they are looking forward to a restful, enjoyable flight. For crew, it's about using scientific research to determine the best opportunities to promote alertness when they are on duty and maximise rest during their down time." Back in 2017, Qantas first revealed that it was exploring non-stop routes from Sydney — routes that would eclipse those direct flights between Perth and London, which launched in March 2018. Since then, the airline has been pursuing the idea enthusiastically, putting out a call for aircraft that can handle the trip and widening their plan to include departures to and from Brisbane as well. In numbers, the planes will need to be able to handle more than 19 hours in the air (around 20 hours and 20 minutes between Sydney and London, and 18-hours and seven minutes from Sydney to New York). The airline has done its homework, analysing a decade's worth of wind and weather data to confirm the lengthy routes are actually possible. Now it just needs the aircraft, with Airbus and Boeing both pitching vessels (A350 and 777X) that are capable of doing the job. Qantas is expected to announce their decision, including whether the whole project will progress to making commercial flights, by the end of December 2019. Right now, the world's longest direct flight clocks in at over 19 hours, with Singapore Airlines flying 15,322-kilometres along its Singapore-to-New York route. Previously, the journey from Doha and Auckland earned that honour, taking around 18 hours to travel 14,529 kilometres.
Festival season is well and truly upon us, with the Woodford Folk Festival the latest event to announce its program. If you fancy seeing out 2019 and welcoming in 2020 while catching a heap of bands, wandering between arts performances and getting a little muddy across a grassy patch of southeast Queensland, the fest has you covered for its whopping 34th year. Taking place at Woodfordia about 90 minutes north of Brisbane, this year's event will be held for six days between Friday, December 27, 2019 and Wednesday, January 1, 2020 — with Amanda Palmer, Lior, Horrorshow, The Herd, Kate Miller-Heidke, Electric Fields, Emma Louise, Archie Roach with Paul Grabrowsky, and Kasey Chambers among its high-profile talent. In total, over 2,000 artists will put on more than 1600 shows across the festival's 25 stages, all in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots. With the lineup featuring everything from music, art, circus and cabaret to yoga, dance and comedy, there's plenty of other highlights — including a spoken word, comedy and performance program that tasks American Gods and Stardust author Neil Gaiman with reading from his work as the sun sets on the first day of the new year. Elsewhere, Woodford's 2019–20 bill spans arts, dance and meditation workshops, plus a heap of circus and cabaret shows. And, if you're bringing littlies, the event's Children's Festival within the broader fest is also returning. Or, you can explore Woodfordia's rainforest plants on a guided tour, eat a feast of bush foods, play a real-life fantasy game and soak in the flames at the fest's annual closing fire ceremony. Fancy celebrating New Year's Eve with an Elton John sing-along? Woodford won't go breaking your heart, because that's on the agenda also. While the annual Queensland festival has weathered an uncertain future in recent years, it remains a staple of the state's end-of-year calendar — and visit will also boast a whole heap of stalls around the grounds (195 in 2018–19), turning the site into a mini-village for its duration. That includes everything from bars, cafes and restaurants, to an on-site doctor's surgery and two general stores. As always, camping is available at one of the fest's multiple campgrounds, or you can nab a ticket just for the day. Either way, expect to have company, as around 132,000 people attend each year. The 2019–20 Woodford Folk Festival runs from Friday, December 27, 2018 and Wednesday, January 1, 2019 at Woodfordia on the Sunshine Coast. To view the program and buy tickets, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
With the FIFA World Cup kicking off shortly, Nike Football has released part three of its #riskeverything campaign. The film – "The Last Game" – is a five-minute animated feature starring some of the world's greatest footballers, on a mission to save football from the hands of a villainous mastermind, The Scientist. Let the games begin.
Listen to Autre Ne Veut's album Anxiety and you will quickly understand the hype surrounding this young American R&B artist. If you don't have time, just take in 'Play By Play'. Have your credit card handy whilst doing so as by the end of the first chorus you will be reaching for it to secure yourself a ticket to hear that falsetto live as it sends everyone into a dancing frenzy (who would have thought a falsetto could do such a thing?). Join me there. If you would prefer to go with your friends you already know, then that is fine too, just make sure you do not miss Autre Ne Veut, else you'll miss out on the opportunity to say 'I saw him when' five years down the track. https://youtube.com/watch?v=j9uE46sMugw
UPDATE: Tuesday, January 20 — With a majority of the Melbourne Music Week events selling out, this year's extended program has been expanded again with six new events being added. Punk rockers Skeggs and Ruby Fields will be taking to the Sidney Myer Music Bowl on Saturday, February 20 for Live at the Bowl, artists and musicians Atong Atem, Adolfo Aranjuez, Birdz and more will be taking over the Immigration Museum on Friday, February 26 and indie-rock groups Primo! and Floodlights will be performing across the city. Check out the full extended program here. With venues closing, gigs cancelling and festivals postponing, Melbourne's live music industry took a big hit during COVID-19. But, when restrictions slowly started easing, the City of Melbourne announced that the annual Melbourne Music Week is still going ahead — and that it will take place over three whole months. Originally set to take place in November (before Victoria's second round of restrictions), the aural celebration will now run from Wednesday, December 9–Sunday, February 28. As always, expect plenty of gigs in unusual Melbourne venues. Expect lots of local talent as well. The numbers paint an impressive picture — with more than 330 artists playing at more than 35 locations and venues, tallying up over 200 events and sessions. And that's just from the first program announcement, with more artists and gigs due to be revealed in January 2021. So, who can you see? In MMW's 11th year, the event will kick off with Wominjeka (MMW Welcome) — featuring a Welcome to Country and citywide smoking ceremony curated by Kee'ahn, a performance by Aboriginal dance group Dijirri Dijirri, additional live programming at four different city locations, and a show at Section 8. Also on opening night, the Music Victoria Awards will take over the Melbourne Recital Centre, which you can also watch via livestream. That's how it all starts — but, as for how MMW means to go on, there'll be shows by Baker Boy, Adalita, Cable Ties and High Tension, plus an audio-visual performance by Melbourne producers Ara Koufax and iconic DJ and academic Simona Castricum. Also on the bill: Blake Scott, Banoffee, Mick Harvey, Private Function and Allysha Joy. And, you can play techno bingo (which'll be seated, but otherwise it's exactly what it sounds like), take a tai chi class or learn how to vogue with Kiki Dévine. Venue-wise, you'll be hitting up the Capitol Theatre, The Forum, Max Watts, Colour, Cherry Bar, Curtin and more — and, unsurprisingly, outdoor gigs are a big part of the lineup as well. Can't make it to everything? Streaming is here to stay, and will help you check out plenty of MMW's shows. Updated December 2.
Drop into almost any fitness class you feel like, without worrying about gym contracts? That's the idea behind Esquared, a new app that lets you find and book your chosen workout session regardless of where it's held (and, crucially, regardless of whether you're a member at the venue in question). Aiming to add some extra flexibility to your fitness routine, Esquared is all about hooking you up with the right class in the right place, giving you control of when and where you work out. Need to go for a spin on one side of the city one day, and hit the barre on the other side over the weekend? Not sure where your schedule will take you, but still keen to fit in a training session when and where you can? Esquared has you covered. Drawing upon a range of participating gyms, the app allows you to pick the session, timeslot and venue that suits you, pay in advance and then walk right in. And, with data displayed in real time, you can select classes on the same day, the next day or any time in the next 30 days. Founded in the UK by former accountant turned pro-athlete Eleni Plakitsi, Esquared will jump from London to Sydney on Monday, September 3, with more than 50 partner gyms already onboard — spanning everywhere from CBD and Surry Hills spots, to the likes of Bondi, Manly, Double Bay, Newtown and North Sydney as well. It's offering a $40 credit to everyone that signs up in advance and, once it's up and running in Australia, will give users access to classes and gym floors across its participating venues. The no-strings-attached, on-demand approach to heading to the gym is also slated to roll out in Melbourne and Brisbane later in the year, with dates yet to be announced. For more information, keep an eye on www.esq2.com.au.
Krimper is an odd name for a cafe. It immediately conjures images of bad '90s hairstyles and large crimping tools. However, nothing about this venue is outdated. Delve down Guildford Lane, just off Queen Street, and you may think you're lost. Look for the small pink sign among the mess — you've found it. As you walk in, you'll be hit with the somewhat familiar warehouse vibe of the Melbourne laneway cafe scene. This gem, however, is complete with Macklemore singing 'Thrift Shop' on the speakers, bike racks for your portable transportation and a cute little bar down the back. Krimper derives its name from its history. Once a sawmill, the warehouse was more recently the workshop of 20th-century furniture maker Schulim Krimper. After deliberating on what to do with the space, owner and architect Mun Soon felt it was only fitting to turn it into a cafe. Now, ready and open for business, Proud Mary coffee is on the machines and Matthew Sinclair is behind the stove. When it comes to the menu, there is a nice deviance from the expected Melbourne brunch menu. For something sweet try the organic soy and brown rice pudding with agave syrup and fresh fruit ($7.50) or the orange blossom spelt waffles with blueberries, banana, ricotta and maple syrup ($14). For those hankering for savoury try the silver beet and saffron potato omelette served with toast ($14.50), or, if they are on the specials board, go for the corn fritters with gravalax salmon, cream cheese and poached eggs ($18). Lunch regulars include crab and avocado salad with coriander and toasted flatbread ($22) and the New York pastrami sandwich with sauerkraut and mustard on rye ($12). When the afternoon hits and coffee just isn't hitting the spot anymore, Krimper also serve up wine and beer from their small drinks list and are open until 9pm Friday nights for after-work drinks. We'll meet you in the laneway.
Whether you like your bubble tea alcoholic, vegan or filled with creamy cheese, you'll want to make a bee line to Melbourne's newest festival. Taking over Melbourne Central, the inaugural Bubble Tea Festival will see six of the city's best bubble tea makers come together for four very-tasty days. Coinciding with Lunar New Year, the festival will run from Friday, January 24–Sunday, January 27. During that time, the CBD shopping centre's bubble tea retailers will be serving up weird and wonderful limited-edition flavours. You'll find honeydew frozen tea at Chatime, sakura lychee tea at Gotcha, taro smoothie at Gong Cha, strawberry cheese tea at Heekcha and an alcoholic lychee number at B. Lucky & Sons. [caption id="attachment_758003" align="alignnone" width="1920"] B Lucky & Sons[/caption] Joining the party is a pop-up Nuttea store — a Taiwanese vegan nut mylk tea store, which'll be serving up a ruby black tea made with plant-based cream — and a Bubble Tea Mart filled with adorable merch. To get your hands on the merch, you'll need to first buy a drinkable bubble tea from one of Melbourne Central's eight retailers and grab a Boba Token. You can then exchange this token for bubble tea-themed cups, keyrings, totes, straws, earring, Airpod cases and more. To round out the fun, there'll also be free tunes from the likes of Eurovision contender Jaguar Jonze, DJ Jade Zoe and DJ Small Fry. Images: Gotcha
Already boasting zip rides, bridge climbs, tower walks and bungy experiences, there's an endless number of reasons why Queenstown is dubbed the 'adventure capital of New Zealand'. Now there's one more, with the introduction of a human catapult that reaches speeds of almost 100 kilometres per hour in 1.5 seconds. Launched by the leaders of adventure tourism in New Zealand, AJ Hackett Bungy, the world-first Nevis Catapult is found in the Nevis Valley. The attraction, which has been called the "biggest and most extreme catapult in the world", sees thrill seekers shoot 150 metres out across a ravine before dropping towards the valley floor and experiencing a series of vertical bounces. From release to recovery the experience takes between three to four minutes. Only accessible by 4WD bus and housed in a pod alongside the Nevis Swing, the catapult is a combination of height, flight and speed using a winch system developed over years of research. The technology for the multi-million-dollar catapult was developed with the company's research team before being built in a testing facility in Christchurch. Testing has been conducted over the past nine months — beginning with weighted barrels, before moving on to a test dummy phase and finally human testing. Co-founder Henry van Asch says he first came up with the idea when travelling around France during the 1980s with Bungy co-founder, AJ Hackett. "I played around with the idea by riding my mountain bike with a Bungy cord attached, off bridges." he says. Adult tickets for the Nevis Catapult ring up at NZD$255. For more information, visit bungy.co.nz. Image: James Morgan Photography.
Sunny al fresco spaces are hot property coming out of lockdown, so there's never been a better time for waterfront pop-up Pétanque Social to make its anticipated return for 2021–22. Joining Crown Melbourne's riverside precinct from November 5 till the end of autumn, the open-air bar is inspired by the Tuscan countryside this year. While there'll be none of the namesake pétanque as part of this new incarnation, there will be lots of red cushioned day beds to unwind on, plenty of terracotta hues and a striking mural by local artist Melina McGough. Here, you can kick back on cushy communal lounges and pretend you've been whisked far from home, as you sip summery cocktails and ice-cold brews, and listen to the roster of live DJs. Meanwhile, snacks rule the food offering, which celebrates some of Crown's best-loved kitchens — expect everything from Nobu's wagyu taco to 400 Gradi's famed pizza. The bar's also showing off a renewed focus on sustainability this year, with an onsite kitchen garden, a rainwater collection system, solar panels and a series of 'energy bikes' that allow guests to charge their phone batteries using pedal power. Pétanque Social will launch on Friday, November 5, opening from 4–11pm Thursdays, and 12–11pm Friday–Sunday.
Everyone's favourite 'candy man' hit Aussie shores in January, with the smash-hit musical production of Charlie And the Chocolate Factory landing in Sydney. And now, it's Melbourne's turn, with the announcement that the show will do a season at Her Majesty's Theatre from this August. Roald Dahl's classic sugar-dusted tale is being brought to life in its Australian debut by a collaboration between theatre producers John Frost, Craig Donnell, Langley Park Productions, Neal Street Productions and Warner Bros. Theatre Ventures. Following the worldwide popularity of both the original book and the 1971 Gene Wilder film of the same name, the musical has been confirmed a sweet success internationally, scoring rave reviews during its stint on Broadway last year and selling out a heap of shows in Sydney. With original songs like The Candy Man and I've Got a Golden Ticket featured alongside new tunes from the songwriters of Hairspray, this confection of a show promises to lure audiences of all ages into, shall we say, a land of pure imagination. It's directed by three-time Tony Award winner Jack O'Brien, with music by Tony, Grammy and Emmy Award winner Marc Shaiman, lyrics courtesy of Grammy and Tony Award winners Scott Wittman and Marc Shaiman, and choreography by Tony Award nominee and Emmy Award winner Joshua Bergasse. Charlie and the Chocolate Factory's Melbourne season will kick off on August 9, 2019, with performances running on Wednesday to Sunday. Top image: Joan Marcus, the original Broadway cast 2017.
Melbourne's love affair with food trucks continues. Get down to Queen Vic Market after work on Friday and immerse yourself in the smells of sizzling Asian street food. Every Friday night throughout October and November, QVM will welcome Melbourne's favourite Asian food trucks to park along Therry Street and fire up their grills. Our recommendation: don't even bother with lunch. Vendors on site will include Let's Do Yum Cha, Hoy Pinoy Filipino BBQ, Nem N' Nem Vietnamese Hawker Kitchen, White Guy Cooks Thai and The Korean Fried Chicken Truck. Basically, whatever your preferred Asian cuisine, Stir Fridays have got you covered. Should go quite nicely with a few after-work drinks. QVM are also promising an array of live entertainment, including the team from Gyoza Records spinning the decks.
Do gelato and cocktails go hand-in-hand? Gelato Messina believes they do. To prove it, Messina has invited Starward Whisky to take over its Windsor outpost for three nights from February 21–23. The Messina Creative Department head chef Remi Talbot has joined forces with the Melbourne whisky's founder David Vital to bring the shop its first alcoholic pairing in the form of an eight-course gelato degustation. While menu details are sparse, we do know that one dish will comprise of apple and green shiso sorbet with pickled baby turnips and an oyster emulsion — and it'll be paired with a cocktail of Starward's Two-Fold whisky, apple kombucha, grilled melon vermouth and black lime. To find out the other seven dishes, you'll just have to head along on the night. Sessions are selling out quickly, so, if you'd like to go, we recommend booking in ASAP. It'll cost a pretty penny at $190 per head — but, if you're willing to break the bank for one night of culinary delight, we reckon this one will be worth it.
Burgers are no longer the stuff of late-night drunken binges or awkward family barbecues — this fashionable food of the moment has officially shaken its association with shitty fast food and transcended into a five-storey shrine in the inner suburbs. Prepare to put on an extra few kilos this festive season. Opening in December, Easey's will be a huge elaborate diner perched just off Smith Street. Finding a home in the space designed by ITN Architects on Easey Street, this sprawling feast factory will no doubt be defined by its strange characteristics; namely the three full and intact train carriages that sit on the top floor. These carriages will be open to all diners, finally offering you the golden opportunity to chow into a huge burger on public transport without offending anyone. This strange and decidedly excellent idea comes to us from Jimmy Hurlston and Jeremy Gaschk. While Gaschk earned his stripes with cafes like Silo (since re-launched as Brothl) and Two Birds One Stone, Hurlston has taken an unconventional route to where he stands today. Better known by his first name, Hurlston is the brains — and more importantly, mouth — behind Jimmy's Burgers. Jimmy has become a local icon defining himself as "One man in search of the best burgers our world has to offer". Pictures of his regular feasts could basically form the working definition of the words 'food porn' and his exploits have even been turned into a much-loved book. The dude seriously knows his stuff. With multi-pattied, vegetable-less bacon burgers already planned, Jimmy's not taking the opportunity lightly. In case that doesn't sound like your thing, there will also be a wholefoods cafe on the ground floor of the restaurant serving quality coffee, sushi and raw foods. But really, you should make it worth your while. If you're going to go to a five-storey burger restaurant, you may as well go all in. Via Broadsheet. Photos via Easey's and Jimmy's Burgers.
Melbourne's already home to Australia's first permanent booze-free bar and bottle shop, and it also played host to a zero-alcohol pop-up bar by Dan Murphy's. And now, in huge news for anyone taking it easy on the alcohol front, we're getting the country's first-ever, major low- and no-booze drinks festival. Courtesy of Revel — the minds behind Pinot Palooza and cheese fest Mould — Picolo is set to debut on Saturday, February 11, 2023, at Port Melbourne's Timber Yard. A drinks showcase of not-so-boozy proportions, it's out to spotlight the hottest drops making a splash on Australia and New Zealand's 'no-low' drinks scene; from craft beer and vino, to spirits-style creations and cocktails. Across two sessions (12pm, 5pm), guests will be able to sip their way through goodies from 30 different producers. Expect pours from familiar names like Lyres, Heaps Normal, Four Pillars, NON, Sobah, Banks Botanicals, Giesen and Better Beer, with plenty more to be announced. Also on the bill: a live cocktail competition featuring bar talent from the likes of HER, Pearl Diver and more. Competitors will each whip up their own signature cocktail using products showcased on the day, to be judged by a panel of beverage experts. You'll also enjoy artisan bites from the Mould Cheese Collective stand, DJ tunes, a roller-skating rink, food pop-ups, giveaways and games — including Heaps Normal's 'beersketball' challenge. Tickets to Picolo clock in at $35, which gets you all your tastings and a Revel wine glass to keep. And all that with zero hangover awaiting you the next morning.
For those who aren't afraid to let their mind run wild when decorating their home, Fenton & Fenton offers some delightful opportunities. Upon entering the store, you'll be immediately struck by the bold pieces on display across a huge collection of homewares, furniture and art created by many of the world's leading designers and artists. Drawing inspiration from the globe's most vibrant cities, Fenton & Fenton's showcase of colourful new and vintage products offers limitless home decoration possibilities.
2022 is flying by, but if the year's hectic pace is getting you down, here is some small solace for you. Melbourne's Boho Luxe Market is determined to make you remember those times when you could dip your toes in the ocean without a care in the world, and take you to a sun-dappled place of dreamcatchers and flower crowns. Hitting Federation Square on Sunday, December 11, it'll be split into two sections: a bohemian market brimming with Christmas gift ideas held in the Atrium, and another stocked with an all-vegan lineup of wares popping up at Deakin Edge. Across both markets, you're in for a day of complete Christmas wanderlust. Shoppers can expect to find a huge array of fashion, jewellery, art and design items, as well as heaps of stalls slinging ethical activewear, accessories and skincare products. Of course, there'll be lots of tasty things on offer, too, including all the pantry items you need to pull off a top-notch vegan Christmas. While you're there, you can unleash your creative side with a guided workshop on crafting Christmas wreaths or baubles. Plus, there'll be psychic readings, henna artists and hair-braiding pop-ups to further get you in the boho spirit.
Not content with terrifying Melburnians with just one unsettling shipping container installation at a time, the folks at Realscape Productions are bringing all four of their disquieting Darkfield experiences back to the city for another heart-quickening run. The four immersive shows are taking over a Chinatown lot, serving eerie thrills from Friday, December 16–Monday, February 6. For the uninitiated, each of these interactive experiences involves stepping inside a 40-foot steel box, sitting in pitch darkness and listening to a particularly immersive soundscape while the production plays with your sense of reality. Included in the lineup is return favourite Flight, which has you strapping yourself into a section of a real commercial airliner, then pondering the many possible outcomes if the cabin suddenly happened to lose pressure. Séance also plays on the concept of sensory deprivation, but instead thrusts audiences on a journey into the supernatural realm as they join a medium in trying to contact the spirit world. [caption id="attachment_739297" align="alignnone" width="1920"] 'Flight', by Mihaela Bodlovic[/caption] Meanwhile, Eulogy sees participants transported through a dark, labyrinthine hotel under the guidance of a chaperone, with 60-degree sound and speech recognition technology used to lend an eerie dreamlike vibe. Finally, there's Coma, which unfolds as you lie in a bunk bed and tumble into a dream state along with your fellow supine participants, the total darkness imparting a spooky sense of solitude. The four shows will run at various times throughout the duration of their stay, with general admission tickets available online for $25 ($30 for Eulogy). [caption id="attachment_852678" align="alignnone" width="1920"] 'Séance'[/caption] Top Image: 'Coma', by Mihaela Bodlovic, Darkfield by Alex Purcell.
Apologies to backyard cricket, barbecues and water sports. Sure, they're ace things to do in summer in Australia, but movie buffs only have eyes for one outside activity. That'd be outdoor cinemas — and if you're keen catching a flick in Mt Martha under thes tars, Sunset Cinema is heading to The Briars from Wednesday, December 21—Friday, January 20. Whether you're eager for a moonlit date night or gathering the gang in the open air, this season's program has something on the bill. That includes opening with Christmas flicks, including Elf, Love Actually, Home Alone and The Nightmare Before Christmas — and recent hits such as Top Gun: Maverick, The Menu , Don't Worry Darling and Strange World. Also on the list: classics Dirty Dancing and The Princess Bride, aka openair movie staples. BYO picnics are encouraged, but if you want to enjoy a sparkling, cocktail or brew throughout the film, the onsite bar will be serving a range of drinks. Didn't pack enough snacks? There'll be hot food options, which you can order online and then pickup, plus plenty of the requisite movie treats like chips, chocolates, lollies and popcorn.
UPDATE, December 22, 2021: Annette is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Dreamy and dazzling from its first moments, rock opera Annette bursts onto the screen with a simple question: "so may we start?". As the opening credits roll, the long-awaited latest film from Holy Motors director Leos Carax addresses its audience before it poses that query — via an unseen announcer who tells viewers "you are now kindly requested to keep silent, and to hold your breath until the end of the show" — but the movie doesn't begin to truly kick into gear until the filmmaker himself asks if things can get going. Images of a recording studio flicker, with Carax on one side of the glass and Ron and Russell Mael, of art-pop duo Sparks, on the other. Carax tells his real-life daughter Nastya that the fun is about to commence, and the Mael brothers start singing and playing keyboard, with a band around them. Soon, however, everyone is on their feet and spilling out into the street, with the feature's stars Adam Driver (Star Wars: Episode IX — The Rise of Skywalker), Marion Cotillard (We'll End Up Together) and Simon Helberg (The Big Bang Theory) joining them in the glorious, song-fuelled, sing-and-walk scene. No one is playing a character here yet, but they're all still playing a part. They're finally coming together for the big spectacle that is this eagerly anticipated film — which has been in the works since 2016 — and they're setting the vibe in a bold and sensational way. The tune is pure Sparks, with the pair both composing the movie's music and writing the feature itself with Carax. The tone bubbles with the pair's avant-garde sensibilities, too, and the whole song echoes with the promise of remarkable things to come. Grand and resonant despite its low-key staging and setting, Annette's memorable opening number ends with the Maels, Carax and his daughter, and some of the film's supporting cast members farewelling the feature's two protagonists — with Driver and Cotillard putting on clothing their characters will favour during the rest of the movie during the track. "Bye Henry," the crowd exclaims as the standup comic played by Driver zips off on a motorcycle. "Bye Ann," they chirp at the opera star played by Cotillard as she's chauffeured off in a black SUV. The audience is sent tumbling through the looking glass now, and diving in deep. Nine years ago, Carax gave the world a once-in-a-lifetime gem. Annette is a different film to Holy Motors, obviously, but it gleams just as brightly and with the same beguiling, inimitable, all-encompassing allure. There's an ethereal, otherworldly quality to Carax's work — of heightening reality to truly understand how people feel and act, and of experimenting with artforms to interrogate them — and that sensation seeps through every second of his gleefully melodramatic musical, which deservedly won him the Cannes Film Festival's Best Director award. Everything about Annette has been turned up several notches on every setting, from its lush and lavish imagery to its cascade of toe-tapping, sung-through tunes that keep propelling the narrative forward. Every character detail, both external and internalised, has been amplified as well. This is a movie where Driver's Henry wears the same shade of green over and over like a uniform, beaming his envy at every turn. It's a film where sex scenes involve singing, as though they're the only way these characters can really convey their innermost emotions. And, it's a feature where the titular character — the baby born of Henry McHenry and Ann Defrasnoux's mismatched but passionate and all-consuming love — is played by a marionette. This is a tragedy and a fairy tale, in other words, because life so often veers between elements of both. Henry and Ann "love each other so much", as another of Annette's catchy tunes intones repeatedly, but it's apparent from the outset that their chalk-and-cheese affair has its struggles. Early on, the film contrasts their on-stage antics to quickly but effectively express their dissimilarities. In a show called The Ape of God, Henry broods over the microphone as he struts and shakes in nothing but underwear and a bathrobe, and opines about how he loves killing his audiences with his brutal and brusque comedy. He talks about how Ann is always dying in her operas, with cuts to her sweet soprano singing and heartbreaking death scenes underscoring his point. These juxtapositions keep simmering as the paparazzi charts the couple's romance, and as Ann's pregnancy brings Annette into their lives. The girl has an astonishing gift, but her presence can't save the movie's star-crossed lovers — or moonlit paramours, to be more accurate — from continuing to weather stormy seas. The Maels and Carax haven't held back in almost every facet of the feature; that aforementioned delight of an opening number is perhaps the most restrained thing they splash across the screen. The story sprawls, the lively and clever songs keep coming, and this intricately, overtly stylised affair pushes wave after wave of hypnotic imagery, mesmerising music and heated, near-Shakespearean relationship dramas into its frames. Expectedly and welcomely given the melding of creative minds behind it, it's a movie filled with idiosyncrasies and eccentricities. It's so very Carax, as fans of the director's back catalogue will instantly spot. It's so very Sparks as well, which is evident even if you're new to the duo despite their five-decade-plus career, or if you've only just discovered them via stellar documentary The Sparks Brothers. It's "so much" just like Henry and Ann's love, and it adores it — and it happily and vibrantly melds elements of cinema, gigs, opera and live performance, all while weaving in everything from commentary about celebrity culture and stints of singing cunnilingus, and also knowing that it's constantly toeing the line between oh-so-exaggerated and oh-so-heartfelt. Annette is also long, and both looping and sometimes a little loopy. It satirises, unpacks and embraces, and it loves being multiple paradoxes at once. It thrusts forward with its own pull — but once you're caught in the thrall of its exuberance, playfulness, overwhelming emotions and surreal touches, you're as subject to its whims as Henry and Ann. Inhabiting those parts, Driver and Cotillard commit to the ride. The former visibly cycles between resembling both Ron and Russell Mael in one of the film's devilishly joyous small flourishes, and bustles through the movie like a force of nature. The latter always feels like her co-star's delicate counterweight, while also ensuring that Ann's light, grace and yearning shine through. Their strings are being pulled masterfully by Carax and Sparks, as are viewers' — and yes, we want them to start, and then to never stop.
Shannon Bennett's new seafood restaurant Iki-Jime on Melbourne's Collins Street is branching out. It's putting seafood on the back-burner for three nights as it puts dessert front and centre. The restaurant is hosting a series of dessert degustations, taking place on a Wednesday each month. On each night, four courses of dessert will be served up to the sweet-toothed guests sitting at Bar Jime (located just in front of the pastry chefs and bartenders at work). While exactly what desserts you'll be eating will change each time, expect interactive and theatrical dishes — such as chocolate domes that melt in front of your eyes and plates that look like paintings. Different cocktail pairings will be available each night, too, with the December ones featuring spicy Christmassy spirits, and February's showcasing Tassie gin. The dessert degustation itself will set you back $55, with cocktail pairings an additional $30. To make reservation, head to the website. Images: Emily Weaving. Updated: December 12, 2018.
The worst movie ever made. The best worst movie. A film so inexplicably inept that it's somehow enjoyable. From painfully hilarious to laughably excruciating, The Room has earned every reaction imaginable since it first premiered 15 years ago — groans, cheers, spoons thrown at screens and a pitch-perfect behind-the-scenes dramatisation in The Disaster Artist all included. That leaves Best F(r)iends: Volume One with considerable shoes to fill, although what constitutes success for Greg Sestero and Tommy Wiseau's second big-screen collaboration isn't quite the same as other movies. Should the duo's new project serve up another so-bad-it's-good cult flick? A genuine attempt to demonstrate its stars' real talents? Something with enough references to The Room to keep fans interested? Or just a picture that's simply watchable? Prepare to say "oh hi" to a film that won't make you want to hurl cutlery (either ironically or out of annoyance), but won't stick in your mind for much more than the obvious reasons. A dark comedy that garners laughs on purpose this time, Best F(r)iends is a moody and odd exploration of a moody and odd friendship between a drifter and a mortician. Signs about ninjas, a black market in human teeth, a corpse dressed as a clown and a decades-old murder case all feature. So does a fiendish plan to steal an ATM filled with cash, and Wiseau finally telling people where he's from (if you're wondering, the answer is "planet earth"). Dishevelled, down on his luck and wearing a white t-shirt covered in blood, Jon (Sestero) is struggling to get by on the Los Angeles streets. Writing pithy lines on pieces of cardboard to beg for money isn't going well, with only black-clad, lank-locked, platform shoes-wearing undertaker Harvey Lewis (Wiseau) giving him the time of day. More than that, Harvey gives Jon a job at his backstreet morgue, and soon they become business partners. Between moving coffins, preparing bodies and hearing Harvey's strange odes to his dead clientele, Jon discovers that his new pal has a stash of gold dental scrap extracted from the dead — and that it's worth a lot of money. Writing the script as well as starring, Sestero drew upon two real-life elements for Best F(r)iends: Volume One. Firstly, trading in dental gold really happens. Secondly, on a road trip back in 2003, Wiseau thought Sestero was trying to kill him. Both shape the film's plot, although the needlessly convoluted story could use a little more shaping. Originally conceived as one picture but split into two after shooting, Best F(r)iends: Volume One drags out its narrative to set things up for the forthcoming Volume Two. But while it ends on an obvious (yet still intriguing) cliffhanger, much of what comes before spends too long catering to Wiseau's unusual mannerisms and cultivating a bizarre atmosphere. To be fair, making this film without playing up the absurdity of its premise and its star would be unthinkable. Indeed, most of its modest highlights spring from knowing and loving both The Room and The Disaster Artist, rather than from Best F(r)iends itself. That said, throwing in a scene where Jon and Harvey chat while passing a basketball around (sound familiar?) threatens to take things a little too far. If this is your first introduction to Wiseau and Sestero, it'll seem especially weird. But let's be honest, the only people seeing Best F(r)iends are folks who can recite most of The Room's iconic lines in their sleep. Also, let's be clear: Best F(r)iends: Volume One isn't The Room. It nods to the cult hit, leans on it, but knows that it can't recreate its predecessor. That kind of lightning doesn't strike twice and can't be forced — and whether that's a good thing or a bad thing is up to the individual viewer. With near-newcomer Justin McGregor directing, Best F(r)iends: Volume One is softly shot, montage-heavy and a little too eager to be seen as a mix of Nightcrawler and Mullholland Drive, yet still proves competently made. And if you find yourself actually engaged by Wiseau's stilted performance and his completely unique presence, then the movie definitely achieves something. It won't tear you apart with laughter or leave you wondering how in the hell it got made, but very few films can manage that. https://www.youtube.com/watch?v=OTu9N40E_MI
