Another month, another round of Lune Croissanterie specials — aka the tastiest thing about flipping over your calendar. The beloved bakery celebrates all 12 parts of the year with a different lineup of treats, such as lamington cruffins among its January specials earlier this year, bolognese and bechamel-filled lasagne pastries in June, and Iced Vovo cruffins and tiramisu pastries in July. With spring now upon us, it's going pink and floral. On Lune's September menu: finger bun croissants and cherry blossom cruffins. If you like beloved desserts that have been turned into other sweet treats — or mashups, food hybrids and the Frankenstein's monsters of baked goods, all those labels fit — prepare to be in culinary heaven. They're both exactly what they sound like, which is delicious, and you can only get them between Thursday, September 1–Friday, September 30. If the finger bun croissants have your tastebuds in a tizzy, they're an old Lune favourite that's making a comeback in-store in Fitzroy and South Brisbane, and also online at the latter. They're made with traditional croissants that are brushed with strawberry syrup, then filled with a coconut milk frangipane and house-made strawberry jam. On top: a whipped coconut icing, because a finger bun isn't a finger bun without the icing. And yes, they're also dipped in desiccated coconut. Feel like celebrating spring with cherry blossom cruffins? You know how cruffins work by now — the ol' muffin-croissant mashup that they are — and these ones have been piped with whipped cherry blossom ganache and raspberry jam. That's what you'll find on the inside, which definitely counts. On the outside, expect a dusting of icing sugar and freeze-dried raspberry powder, then a cherry blossom meringue on top. And you can nab these from the same spots: in-store in Fitzroy and South Brisbane, and online at South Brisbane as well. The September specials list also boasts an everything croissant at all stores — a new product that's made from strips of herb filled pastry which are twisted into a bun, then covered with Lune's 'everything bagel'-inspired seasoning, and also piped with a chive cream cheese after they're baked. And, all stores are doing choc-chip cookies, too, which sees Lune fill its pain au chocolate with a biscuit frangipane and extra chocolate chips, then add dulcey ganache and chunks of choc chip cookies on top when they're out of the oven. Just at Fitzroy and South Brisbane (including online at the latter), there's coconut Kouign Amanns as well — and as a South Brisbane exclusive, asparagus danishes. If you're on snacks duty for September — in the office or at home — your job just got easier and tastier. Lune's September specials menu runs from Thursday, September 1–Friday, September 30, with different specials on offer at Fitzroy and the CBD in Melbourne, and South Brisbane and Burnett Lane in Brisbane. From the South Brisbane store only, you can also order them online. Images: Pete Dillon.
In 2019's Skint Estate, Cash Carraway told all; A memoir of poverty, motherhood and survival completes the book's full title. Penned about working-class Britain from within working-class Britain, Carraway's written jaunt through her own life steps through the reality of being a single mum without a permanent place to live, of struggling to get by at every second, and of being around the system since she was a teenager. It examines alcoholism, loneliness, mental illness and domestic violence, too, plus refuges, working at peep shows, getting groceries from food banks and hopping between whatever temporary accommodation is available. It's unfettered and unflinching, especially about how difficult it is to merely exist in London if you're not wealthy — and it's in that same spirit that Rain Dogs follows. An eight-part dramedy hailing from HBO and the BBC, and streaming via Binge in Australia and Neon in New Zealand, Rain Dogs isn't a direct adaptation of Carraway's text. It doesn't purport to bring her experiences to the screen exactly as they happened, or with slavish fidelity to the specific details. "It isn't autobiographical, but it definitely has firm roots in the chip on my shoulder!", the author advises about the series that she also created and wrote. This addition to 2023's new HBO highlights alongside The Last of Us remains not only raw, rich, honest and authentic but lived in as it tells the same basic story charted in Skint Estate's pages with candour, humour, warmth and poignancy. Slipping into Carraway's fictionalised shoes is Daisy May Cooper — and she's outstanding. Her on-screen resume includes Avenue 5 and Am I Being Unreasonable?, as well as being a team captain on the latest iteration of Britain's Spicks and Specks-inspiring Never Mind the Buzzcocks, but she's a force to be reckoned with as aspiring writer, recovering alcoholic, child-abuse survivor and mum (to Iris, played by debutant Fleur Tashjian) Costello Jones. When Rain Dogs begins, it's with an eviction. Cooper lives and breathes determination as Costello then scrambles to find somewhere for her and Iris to stay next. That's a constant battle, in fact, with the pair laying down their heads everywhere from cars and closets to palatial country houses and women's refuges in the search for somewhere to feel safe, settle in and truly belong. Costello knows that her heart resides in London; keeping it there is another matter. Working full-time isn't enough, and neither is taking odd jobs whenever she can — such as cleaning the apartment of artist Lenny (The Young Ones legend Adrian Edmondson) while he watches on and pleasures himself — to supplement her income. But she's adamant about attempting to do her utmost for Iris as she tries to pen her own memoir ("basically Oliver Twist but with big tits"). Among Rain Dogs' many unblinking truths, how tricky it is to make it in creative fields when you don't have the fiscal luxury of interning, working for exposure and accepting wages impossible to survive on even without a cost-of-living crisis — and if you also lack a well-to-do network of contacts to help get your foot in the door — echoes strongly. This isn't just Costello and Iris' tale, as devastatingly well-written and -performed as both characters are. This isn't just a story of a mother and daughter doing it tough, either, and facing more tragedies and heartbreaks than hard-earned joys. Rain Dogs is those things, but it's also an exploration of the complicated and imperfect support systems that spring beyond the bonds of blood. Enter Florian Selby (Jack Farthing, Spencer), alongside the aforementioned Lenny and Costello's best friend Gloria (Ronke Adekoluejo, Alex Rider). Each is as flawed and chaotic as Costello — Gloria is first met waking up in a phone booth with last night's party outfit on and no memory of how she got there, for instance — because Rain Dogs directs the clearest of eyes towards everyone. In episode one, when Costello's phone rings, "SELBY — DON'T ANSWER" gleams across her screen. They'll be chatting before episode two arrives, with Selby an inescapable part of Costello and Iris' existence, but the reason for her caution makes itself known quickly. A companion since Costello's university days and the closest thing to a father that Iris has, he completes their unconventional and dysfunctional family. That said, the self-described "classical homosexual" is as privileged as he is self-destructive, tussles with his mental health, and re-enters Costello and Iris' life after a year in prison for assault. He's devoted to them, relishing helping financially when he can — and he usually can — but, while he's Costello's platonic other half, toxic doesn't even begin to describe their relationship at its worst. Carraway has dubbed Rain Dogs as "an off-beat rom-com between Costello and Selby" and "a love story told from the gutter". On-screen, she poses the pair as soulmates caught in a storm of striving (to be better, and to give Iris they best they can), self-sabotaging and stark realities. One particularly excellent episode sees the trio live out a moneyed fantasy, yet it's tainted from the outset. They're not leaving London voluntarily. Rather, they're decamping because Selby's mother (Anna Chancellor, Pennyworth) has cut him off and banished him to their holiday home. Iris has never enjoyed such luxury, and Costello can't remember such stability — but, as months pass, Selby and Costello also can't stop their usual dynamic from flaring up. HBO isn't shy about confronting the vast economic inequality that's an infuriating fact of life today, usually in satirical portraits of the one-percent such as Succession and The White Lotus. Indeed, the US network is exceptional at making such shows smart and savvy must-see viewing. In Rain Dogs, it spends more time among the have nots than the haves — and it spies how everyday human nature is considered damning when you're poor but eccentric when you're rich. With a firm sense of humour, it pokes fun at the journalist that says she wants to unearth a new voice but twists Costello's words into poverty porn, the school mums claiming to sport liberal attitudes but quick to shame, and the photographer so turned on by playing poverty tourist that he climaxes early. With a steely gaze, it spots how easily Selby keeps coming back from his many missteps, and how widely and repeatedly Costello is punished for hers. Watching along with Rain Dogs is a revelatory rollercoaster, and it's stunning. Check out the trailer for Rain Dogs below: Rain Dogs streams via Binge in Australia and Neon in New Zealand. Images: Simon Ridgway, James Pardon and Gary Moyes/HBO.
They're doing more than just jamming: actors Kingsley Ben-Adir, Lashana Lynch and James Norton, plus writer/director Reinaldo Marcus Green, that is. Teaming up for Bob Marley: One Love, the first major biopic about its namesake — and a film driven by Marley's family, with wife Rita producing with children Ziggy and Cedella, plus their sibling Stephen the music supervisor — this quartet knows that their task is formidable and important. Anyone wondering whether the feature's focal point, a Jamaican icon and the initial person that anyone instantly thinks of when reggae is mentioned, could be loved is pondering a pointless question. Ben-Adir, who stars as Bob fresh from playing one of Barbie's Kens — and steps into another real-life figure's shoes again after giving One Night in Miami its Malcolm X and TV's The Comey Rule its Barack Obama — is among Marley's fans. He has company on the movie; of course, everyone should be. "He was an artist first, and one of the great, great songwriters. I don't know if there's anyone who can write songs [like him]. Like, he's top five, but my number one," he tells Concrete Playground. So for him, his job "was always about trying to understand him as an artist, and as a father, as a man," Ben-Adir explains. "Here's a musician who dedicated his life to writing songs that we now all get to enjoy. Understanding what that meant, to play the guitar and to write that many songs, that many albums, in that ten-year period, it was just incredible." Bob Marley: One Love arrives after documentaries have already had the sun shining on Marley's impact and legacy. A birth-to-death filmic biography isn't its aim or approach, then. The man, the music, the message: that's the movie's trinity as it hones in Bob in the late 70s, specifically around the making and touring of his 1977 album Exodus. The record was named the best album of the 20th century by TIME magazine; however, it's not just its contents but the political context in Jamaica that brought it to fruition that speaks volumes about the man behind it. "That was a period of time of musical genius, musical creation. Bob created Exodus, which was one of the greatest albums of the 20th century — and after the assassination attempt on his life in 1976, [and the] political turmoil in Jamaica, it was just such a rich period of time," says Green. The filmmaker both directs and co-writes, in his first feature since fellow biopic King Richard. "And also, he had made several albums that we can pull from. The backbone of the story is the music. So it felt such like a rich period of time in Bob's life, before he obviously gets sick — it just felt like a really prime time in his life that that captured the essence of who the man was," Green continues. [caption id="attachment_940714" align="alignnone" width="1920"] Antony Jones/Getty Images for Paramount Pictures[/caption] This isn't just a story of one person, either. Turning in the picture's other powerful main performance, Captain Marvel, No Time to Die and The Woman King's Lynch is Rita to Ben-Adir's Bob. It's as much her tale as well. "Frankly, if her voice wasn't as present as it is in the movie, if she wasn't as dynamic a character as she is in the movie, I wouldn't have taken the role," Lynch advises Concrete Playground. "Because I knew from afar before I had the role who she is, what she represents, how respected she is in Jamaica, in Ghana, in different countries over the world — that if it wasn't going to be that, then I don't have any business lending my voice to that." As for Happy Valley, Nowhere Special and Little Women star Norton, another veteran of playing real-life figures after Mr Jones and Rogue Agent, he brings influential record producer and Island Records founder Chris Blackwell to the screen. "It is daunting," he advises. "Especially if they're alive, because you know they're going to watch it — well, they might watch it one day — and there's only one person who's going to give you the full appraisal of your work: it's the person who you just played." With Bob Marley: One Love releasing in cinemas Down Under on Wednesday, February 14, 2024, we also chatted with Ben-Adir, Green, Lynch and Norton about the importance of finding the right person to play Bob, plus making a Bob Marley movie with his family so heavily involved — as well as why a Bob Marley biopic hasn't reached screens before and learning about the singer while working on the film. On Finding the Right Actor to Play Bob Marley — and Being That Actor Reinaldo: "We looked at thousands of tapes from everywhere, everywhere we could find. It's just hard. It's Bob Marley. You're looking for a needle in the haystack — and we're talking really good actors — that it just was really hard to find it. So when I saw Kingsley's tape, it was the first time that I thought it was possible. He had a look. He had an enigma. He had a vulnerability. He had a charisma. And his tape, it was pulling me closer to him. I was leaning in in a way that I hadn't leaned into any of the other tapes, and so I knew that there was a baseline. Obviously I wanted to meet him immediately. I didn't know Kingsley or Kingsley's work — or I didn't remember 'oh, that was the guy that played that'. And so it was interesting to find it and say 'oh, okay, he was a chameleon in those movies, he was able to disappear'. And there was something quite special about that. There was obviously a level of intelligence that I was looking for, somebody that was going to put in the work and be able to make an interpretation of Bob, rather than mimic Bob. So the tape gave me so much excitement that it was possible to even attempt to make a movie about Bob, and from that moment we went on the journey of discovering who the man was." Kingsley: "When the audition came through, I was told that as soon as you get the tape to us, the family will see it within 24 hours. So that's a good motivation to get your shit together and prepare something meaningful or worth sharing. That's what I always do when there's a big audition or interesting audition or something that feels substantial, you just take three to four days — you just need a bit of time to wrap your head around, in this case, Bob. I spent some time really watching him and watching him in concert and listening to some of his interviews. And yeah, I guess when I got the call saying that Ziggy had approved and wanted me to fly over and meet him, it was a pretty special feeling. I didn't have the job, but I was going over to meet Bob's child, which is really surreal." On Making a Movie About Bob Marley with the Help of Bob Marley's Family Kingsley: "Ziggy remembers a lot about him. He was in Zimbabwe with his dad. He was in Jamaica. What was so amazing was that the process of building the character was with Bob's friends and family. So I read all the books, but after a while you just go 'don't need those, I can just call people who knew Bob — I can just call people who were there in London with Bob, I can call people who are on stage with him'. It's really incredible, looking back. It was work, there was a lot to find out and there was a lot of work to do, but I loved working with Ziggy. All throughout the prep, we would message and talk, and then he was there with us every day on set, which was just game-changing. Neville Garrick [Bob Marley's art director] and Ziggy were with us every day from the beginning. And I mean, there wasn't a morning where Ziggy wasn't on set first. He was always there. Any questions? Anytime. And so my process was really our process — it was really a communal thing." Lashana: "You read everything. You read her book — thank god she wrote one. You watch everything. And then you hope that it makes sense. And it did, to a certain extent, until I called for some time with her. Then after I met her, I thought I could just throw away all the information, to be honest. It's really helpful to have facts, but it's more the types of beings that Mrs Marley and that Bob are and were at the time for everybody, is so intricate and so beautiful, that it requires a tapping in of their level of spirituality in order for me to even portray any of her. There needs to be a spiritual connection there. So I ensured that the energy was right, and whenever I didn't feel like I was approaching her well, I had to just take a beat with myself and remember who she is and what she deserves. And thankfully, this production knew that we had the children's support and guidance throughout the shoot. That helped us really get to those sweet spots in the movie." Reinaldo: "It was quite special obviously to meet Ziggy for the first time, and to understand why they were making this movie — and why me, and just try to try to get an understanding of that. Ziggy had seen a short film of mine called Stone Cars. It wasn't even the King Richard Oscar [attention] — he was talking about my short film, which I shot in South Africa, and I thought that was really interesting because I shot that film with no money, with no lights, all natural light. And it was raw, and I think that's what he was after. He was after something raw. He was after something pure. And once I knew that, I knew that he wanted to make something quite special. So that was just a connection. It was an immediate connection, somebody's valuing your short film work as a filmmaker. Since then I had learned a lot, so I was like 'okay, I can take what I learned from my short films and bring that to that'. I can bring that kind of energy. I can bring a City of God energy to this film in a way that maybe we hadn't seen on the screen, or I was hoping that that what we were trying to achieve was something different — not necessarily a musical biopic; a movie like City of God or Black Orpheus, something that felt organic and pure and raw. We were aligned right away when it came to that, to the visuals in the film, and what I wanted to look and feel like. I'm very grateful to him for that, and that was the start to a three-year-long journey." On the Process of Stepping Into Such Influential Figures' Shoes Kingsley: "What was really exciting about it originally, he's an icon and a hero and everyone knows Bob, and there's a huge pressure around that and the family are involved, but really when I started working, it was about understanding the musician — and understanding the meaning of his songs, and understanding what it was that Bob was trying to do. And my mind was just blown. I'd spend a few days on an album, then I'd move on to another one, then I'd get stuck on a song, then I'd be on that song for four weeks. And Cedella, Bob's daughter, sent me some files that only the family have. There were a number of interviews that are not available on YouTube or anywhere. I was listening to them and transcribing them all the way through, even when we were shooting. It was just amazing to get to listen to Bob talk over a 12-year-period so extensively about his religious beliefs, about writing, about life, about everything." Lashana: "I wanted to make sure that she was authentically portrayed, and that she was given the light and the flowers that she deserves — and that her spirit and her energy was in the film. So it was important for me to be able to rest firm in that at the beginning, and then be able to impart, I guess, the wisdom and the information that I gained from meeting her into the script and onto set. I think that the most-daunting thing at the very beginning was the fact that I have a responsibility to Jamaica. I represent Jamaica to the fullest. I'm of Jamaican heritage. My parents were born there. And also this is one of the queens of our country. So I knew that the responsibility was going to be big and that this had to be right. Once I saw how weighty that responsibility was, I just threw it away and decided to just focus on Mrs Marley, because she's who has the voice here and she's who people are going to remember — whether they're learning more about her because they know her already, or they don't know her and they're learning her for the first time. I wanted her portrayal to be balanced." James: "Chris Blackwell was a legend in his own right. In terms of music producers through the ages, there's no one really like him. As people have said, he's more one to introduce reggae to the world than anyone. And if you look at his roster of talent that he's represented and careers that he's launched, his taste is immaculate and he's clearly brilliant at his job. Also, the way that he kind of cross-pollinated, the way that he brought Junior Marvin into The Wailers because he knew the sound it would bring, which is nodded to in the movie — the guy's a genius. I think most music producers would say that there's only been one Chris Blackwell and there only will be one. So it was a responsibility to get him right. It was a pleasure and a privilege to learn about him. It was a privilege to meet him in Jamaica when we premiered the film, and I got to shake his hand — and I think he was approving of my portrayal. He didn't seem too upset, which is which is a relief." On Why a Bob Marley Biopic Hasn't Reached Screens Before Reinaldo: "I think time. Time wasn't right. I know they tried to make it for 30 years. Neville Garrick, who was our consulting producer on the film, told me I think he had tried to make it for 25 years. I had heard names like Oliver Stone and Scorsese, and many, many directors at some point, because everybody loves Bob. I just think time wasn't on their side. Time was on my side. It was the family's time. I think it was hopefully finding the right filmmaker. I think there's a time for everything and for whatever reason, this was our time. And we had to run with it. And also part of it was discovering who was going to play Bob. I think for so long it was trying to find who could carry the weight, who could carry that burden in in a lot of ways. Fortunately for us, it was Kingsley." On Learning More About Bob Marley by Making the Film James: "I was a fan, but like a lot of people, my life as a fan was limited to legend. I think probably when I was a teenager I was given or I brought that compilation, and I gorged on it. It became really, genuinely an important part of my teenage years and my 20s. He provided an apt soundtrack to those periods: the upbeat, celebratory moments; the crashes; the lower, more-pensive moments with 'Redemption Song' or whatever it might be. So I listened to his music and I didn't really know much about the context. And this is why I think this film for me and for hopefully the audience is going to be so important, because you realise that his message is so much bigger than his music. As there's a line in the film, the message and the music can't be separated. But it's been a real journey, a real revelation to me, to understand more about the man and where that message came from — and the fact that it came from struggle. Reinaldo: "I was definitely a fan. Grew up with the music in my household. My dad named me Reinaldo Marcus Green after Marcus Garvey [the Jamaican political activist], who Bob had studied, and so there were all these kismet signs that I was somehow supposed to be the person that helped bring this story to life. And I resisted it like I resist everything. 'Why me? It's too much. It's too hard. This is crazy. This is Bob Marley!'. But it was something about Bob in particular. He's a superhero. He's really unlike any other musician. He's like Peter Parker — he's a common man who then puts on a cape at night and rescues us with his music. It's a fantasy, and it's amazing when you see somebody that has that ability to transform our lives with his music. I mean, it's very rare to get that. You see the face, you see the image on the T-shirts and it's like 'who is that? Who is that man?'. I think we always we always feel that. He's a revolutionary, his spirit, what he was singing for. So going on that discovery was amazing. I only knew the tunes, right? Very rarely do you dissect lyrics. And that was the quest for me in this film, was really trying to understand where the music was coming from. I wasn't so well-versed in Jamaican politics, what was happening at that time, what was really going on — and Jamaica's rich history, and colonialism, and what was happening in politics. And so it was a great way for me to rediscover that period of time and do it through his music. I was hoping that we can weave the film in a way that the music comes out in a very organic way in the film that feels part of the fabric of how we made the movie; it's the DNA, it's the backbone, but it's not a musical." Bob Marley: One Love releases in cinemas Down Under on Wednesday, February 14, 2024. Read our review.
Usually when a festival dedicated to espresso martinis pops up, it takes over one place. Such boozy fests only tend to run for a day or so, or a weekend, too. But one of Australia's big hospitality chains is ditching both of those norms, because this drink needs a whole week and more than 200 pubs countrywide to truly get buzzing. Who needs sleep when there's caffeinated cocktails to sip and celebrate? The event: ALH Hotels' Espresso Martini Festival, which'll take over venues in New South Wales, Victoria, Queensland, South Australia, Western Australia and the Northern Territory from Monday, March 13–Sunday, March 19. If you're wondering why, the reason is the same that most food- or drink-themed fests pop up. Yes, there's an occasion dedicated to the beverage in question, with World Espresso Martini Day upon us on Wednesday, March 15. For the week around the espresso martini-fuelled date, ALH Hotels will pour Grey Goose espresso martinis no matter what time you drop by. Fancy a pick-me-up over lunch? After-work bevvies with your colleagues? A cruisy weekend session giving you some extra perk? They're all options — just don't expect to be tired afterwards. Among the venues taking part in NSW, Sydneysiders can hit up the Summer Hill Hotel, Kirribilli Hotel, New Brighton Hotel, The Ranch and Harlequin Inn. Victoria's list spans Young and Jacksons, Moreland Hotel, Elsternwick Hotel, The Croxton and Balaclava Hotel, too. In Queensland, options include Breakfast Creek Hotel, Brunswick Hotel, Oxford 152, Indooroopilly Hotel, Stones Corner Hotel and the RE in Brisbane, plus spots both up and down the coast. The full list also features pubs in SA such as the Watermark Glenelg, Royal Oak and Esplanade Hotel; venues in WA, complete with Hyde Park, the Belgian Beer Cafe and the Albion Hotel; and four places in the NT. [caption id="attachment_870392" align="alignnone" width="1920"] Breakfast Creek Hotel, Andrew S (Flickr)[/caption] ALH Hotels' Espresso Martini Festival runs from Monday, March 13–Sunday, March 19 at venues around the country — head to the pub chain's website for the full list and further details.
In the late 60s, a decade after first slinging slices in America's midwest, Pizza Hut started taking the second part of its name seriously. Thanks to a design by architect Richard D Burke, who agreed to a $100 fee for each location that opened — a hugely lucrative deal, it turned out — everyone knows the fast-food chain's famous silhouette. From 70s, 80s and 90s childhoods in particular, that angular roof instantly brings to mind family feasts, birthday parties and all-you-can-eat pizza specials that gave Sizzler a run for its money in Australia, dessert bar included. Brooklyn-based Aussie filmmakers Matthew Salleh and Rose Tucker, who previously made Barbecue and We Don't Deserve Dogs, are well-are of this history. In fact, they've made a documentary that's partly about it: Slice of Life: The American Dream. In Former Pizza Huts. They're equally cognisant of the nostalgic feeling that old Pizza Huts bring. "I kept thinking back to the soft-serve machine. As a kid, I was just drawn to that machine. I just wanted the soft serve with the sprinkles, the coloured sprinkles on top — my Pizza Hut dream was the soft-serve machine," Tucker tells Concrete Playground, chatting about the film that'll premiere at 2024's SXSW Sydney in October. Audiences will indeed remember their own experiences in Pizza Hut's distinctive buildings while watching Slice of Life. Craving pizza comes with the territory, too. Salleh and Tucker haven't tucked into Pizza Hut while making the movie, purely "because they're not in New York", Salleh advises, but they still understand the urge. "Occasionally we're editing and we'll see shots of pizzas, and I'll be like 'we need pizza'. Luckily, living in Brooklyn, you only have to walk about 150 metres to find some pretty awesome pizza. So if anything, it's just made me eat a lot more pizza in New York," he continues. Recalling times gone by for a global chain is just one of this doco's ingredients, however. Consider it a topping; at its heart, this film's main focus is right there in its title. While they weave in the Pizza Hut origin story, and that of those huts known around the planet, Salleh and Tucker are interested in how such immediately recognisable structures have lived on in new guises in the US once the brand left plenty of those buildings. Be it a Texan karaoke bar, a LGBTQIA+ church in Florida or a cannabis dispensary in Colorado, what made-over former Pizza Huts say about the pursuit of the American dream today is also as pivotal to their documentary as dough is to the world's most-beloved Italian dish. The pair boast a tried-and-tested approach, as their first two feature-length films also capitalised upon. Take one thing — barbecue cooking, canines, ex-Pizza Huts — then dive deep, building a portrait of what humanity's interaction with said subject explains about the world, people in general and/or a specific country. All three titles have also enjoyed a relationship with SXSW. Barbecue premiered at SXSW Austin in 2017, and was picked up by Netflix as a result. Then, We Don't Deserve Dogs was selected for the pandemic-affected US event in 2020. Now, after being one of the first films announced for this year's lineup, Slice of Life will bow at SXSW Sydney's second year. View this post on Instagram A post shared by Urtext Films (@urtext) If there's a spark of familiarity to Salleh and Tucker's latest concept, that's because the Used to Be a Pizza Hut blog has also been operating in this territory. It was a helpful resource for them, with its founder Mike Neilson among their interviewees. Wondering if the duo ever thought of expanding their remit beyond US Pizza Huts, as the site covers? They've dubbed their American focus "geographical discipline". Explains Salleh: "this is our documentary version of the great American road movie, I guess. We were tempted to to make this thing global, but then we knew we'd be probably making it for the next 20 years." Adds Tucker: "we really could, they built these things all over the place." What does having SXSW's support mean to the pair? "It's amazing. As an independent filmmaker, it's really, really tough to even get into a festival, so to do it with SXSW now three times is pretty special," says Tucker. "We're basically independent DIY, and so to be able to go to a festival that also has a little bit of a market and business side to it as well, and tries to bring those elements together is, I guess, what we try to do on a daily basis — bringing together the business of what we do and the creativity of what we do. So it's been a good fit over the years," advises Salleh. When you hone in on a specific topic per documentary, where does inspiration come from? Also, how do you know that you're onto a winner of an idea, and then get your subjects onboard? From the way that they handle to on-the-road projects to finding their former Pizza Huts and what they learned about America while making Slice of Life, we chatted through the details with Salleh and Tucker. On Where Salleh and Tucker Find Inspiration Rose: "I guess you could say we're just chronic people-watchers, and we're just interested in things that people get passionate about. So with Barbecue, that one's a fairly obvious one: people get really fired up about cooking and gathering with their family. There's a little bit of patriotism involved in that as well — everyone thinks they have the best barbecue — so it's a thing that gets people talking and gets people passionate. And similarly with dogs. People love their dogs and that's a global phenomenon." Matthew: "We have a scribble board of hundreds of ideas, and it's a survival of the fittest. It's when we can see that an idea will play out in a in a whole film, rather than be a short or something like that. I often say there's a taxi or Uber driver test, where an Uber driver will ask what you do for a living and you explain the film you're making, and they go 'ohh you have to go interview my best friend' — or if they know someone or if they can tell their passionate story. It was a similar thing with this new film, we would talk about it with people and they go 'ohh back in my town, the old Pizza Hut used to be ...'. There was either nostalgic remembrance of what it used to be or 'ohh now it's a mattress store', 'now it's a Hertz car rental' or any sort of interesting thing. So it seems to have really gotten people interested in talking passionately. And it's interesting as well, because there's a lot going around at the moment with people re-examining pop culture nostalgia and stuff like that. But then it just presented this amazing opportunity for us where we were actually able to go 'well, here's something pop culture and nostalgic, but it still exists in this strange way now'. So it was a way that we could combine the nostalgic memories of old Pizza Huts with this entrepreneurial spirit of people starting up businesses potentially in buildings they never thought they would, but making it work somehow." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "There's this idea of community that flows through these buildings. So when they're a Pizza Hut, they're a community hub. And it would be a really big deal if your small town got a Pizza Hut. It was a big, big deal. Then when they close down, that hub goes away. But now they're sprouting up again in these second, third, fourth, fifth lives, and those places are now similarly hubs for the community. They're the places that we were really focusing on trying to find — those places that still are that gathering point, or that third place that that people are drawn to and want to spend time with people in." Matthew: "And in a world where those sort of places are dying away, making this film coming out of the pandemic, where we had to eliminate that third place, those gathering places in the community‚ and even the fact that a lot of these businesses survived through some of those tougher times so that they can flourish now — that was very much part of our mind when we were making this. It's places where people can just get together, whether it's a church or whether it's a restaurant …" Rose: "Or a karaoke bar." Matthew: "… and just be part of their community." On Finding Slice of Life's Old Pizza Huts in Small Towns Across America Where Having the Chain in Town Was Originally a Source of Pride Rose: "We were actively seeking small towns. The most-rural town we visited is Walsenburg, Colorado — and that is in the middle of the country, small town, and it was a big deal. From memory, I think that the only other fast food they currently have is a Subway." Matthew: "Much less romantic." Rose: "But it was a huge deal to get this big building, this big Pizza Hut, that was right on the edge of town — it was a massive deal. And it was where all the sports teams would go on the weekend after finishing their game, it's where kids would go after their prom for their after party. Like, this was the place." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "And I think it was this idea that the town over didn't get the Pizza Hut — we got the Pizza Hut. We're all very hip and cosmopolitan now, we might almost chuckle a little at a chain store having meaning, something important to a community — but back in the 60s, 70s and 80s, when towns, especially towns across America, were trying to grow and trying to be something, these were the test of having made it, as it were. So that seemed to be a big part of it. And then there's also a practical consideration, because we basically had to become world experts in these old Pizza Hut buildings — and they survive more in small towns, because I think the ones that were in big cities have just gotten levelled with the passage of time." Rose: "Or they were never built in the first place. This is a building that worked in suburbia and out on the highways. I don't think there were any traditional Pizza Hut buildings built within New York City, where we live at the moment. So you're not going to find one here. But you go out a little bit, you go down into Long Island, suddenly they start popping up." On Salleh and Tucker's Two-Person Approach to Filmmaking Matthew: "The main thing is the incredibly small footprint. It's basically just myself and Rose, and we do pretty much the whole movie. So I direct and Rose produces. I do the shoot. I do the cinematography. Rose does the sound. We both edit it. We do a surround-sound mix and picture work on the film in our one bedroom apartment." Rose: "In the room we're sitting at now." Matthew: "We just basically do the whole film from a technical point of view by ourselves. And, one, it makes it cheaper and more versatile — but the most-important thing is that versatility in that we don't need to have bosses that we get approval from when we come up with an idea, and we can just stay in a place until we get the story, and we can move around and be this very intimate film crew. When we film, it's not this giant truck with 20 people turning up. It's me and Rose and a backpack. And that familiarity that people have with us it just gives a gives our film something else, I hope." On How Having Such a Small Filmmaking Footprint Helps Get Subjects Onboard Rose: "We love the intimacy that we can create with it just being the two of us. The fact that we're a couple as well, I think a lot of the people we're working with, a lot of people running these businesses are little husband wife teams as well. So there's definitely a connection that we just have. We run our own business. We understand the challenges of running a small business, and we like to think we're quite entrepreneurial as well. I think we have a lot in common with the people who we are filming with." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "When you run your own business, when you want to be sustainable and have your arts career that works as a business, you have to know as much about cinematography as you do about filing tax returns. We met with a lot of people that had a passionate thing they wanted. I think instantly of Ed running Big Ed's BBQ, who had this passion for barbecue and then instantly realised he was in over his head — and that very much resonated with me as a person that got way in over my head when I decided to start a film company however many years ago. That part of the storytelling also reminds me of my dad, who started his own business after working in government for many years. I think everyone that knows someone that's an entrepreneur, a sort of self-starter, it's a sort of crazy type of person. It was a lot of fun to hear those stories." Rose: "But we definitely had to win people over. And we'd always have a few conversations over the phone before we turn up with cameras and really explain what we were trying to do. I think particularly in this day and age, people can be a little hesitant with documentary, like 'ohh, are you making fun of me or is this a hit piece?'. And we would have to assure people that was not the case." Matthew: "Something we weren't sure about: people operate their businesses and lives out of these former Pizza Huts, and it's kind of a humorous concept. I'm like 'do they think it's humorous as well?'. And they certainly did. I remember our first phone call with everybody from the church in Boynton Beach that we filmed, and the first thing they wanted to tell us is that they'd given themselves a nickname of the Church of the Pepperoni. They think it's very funny as well. There's something about that sense of humour, it's a little wry smile when they know that they run out of an old Pizza Hut. But then you go beneath that and you go look through the window, effectively, and there's these amazing lives, and these really powerful and interesting people. View this post on Instagram A post shared by Urtext Films (@urtext) I would say that with a lot of pop culture and nostalgia, people try to remember the old thing. But for us to be able to actually go into those buildings, it was fascinating that you have a really diverse set of people — and America's an incredibly diverse country — and all of these people had one thing in common: the floor plan of their businesses were exactly the same. And it was kind of odd. A few months into filming, we'd be walking into like the fifth Pizza Hut and there'd be this weird déjà vu that would kick in — and I'd be like 'ohh, in Colorado, they put the door over that side, but I see you guys put it over here'. And there's this one bit where some of the old Pizza Huts, they always leak in the same spot — and they all go 'oh yeah, the leak'. Maybe there's something comforting in knowing that people around the world might have a common experience with you, even though you will never meet them. So that was very powerful for us." On the Research Process and Criteria for Picking the Former Pizza Huts Featured Matthew: "There were a couple that we'd heard about. You start Googling, and lots of people have documented a lot of these old buildings. But only the building. It was hard to know anything more about it. So we'd start with that process — it just started with conversations." Rose: "I would dive in and take a look at a business. You can tell a lot from their social media and things like that. You can tell when a place is a community hub, and they were the places we were looking for. And honestly, I would just shoot them a message or an email, and get on the phone and chat. I remember we called the owner of the Bud Hut in Colorado, and we talked to her for I think two hours. She was just so clearly so passionate and cared so much about her community, and we were like, 'well, that's an instant yes'." Matthew: "This is something that we've always believed as a core part of the films we make, that everyone's got an interesting story to tell. So in a way, I wasn't even really worried, because I'm like 'well, everyone's got an interesting story to tell'. Our job is to listen and find those stories. We try not to have too many preconceptions. We had ideas — as soon as we heard that there was a church down in Florida, we're like 'well that sounds amazing'. So there's ones like that. One of the interesting ones was Taco Jesús, a Taco restaurant in in Lynchburg, Virgina — not necessarily a place known for its Mexican cuisine. But funnily, that restaurant didn't even exist when we started shooting the movie. We only shot that a few months ago because we were looking back over some notes, and one of them was something that was closed down." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "I have a list of addresses and every few months I would sweep through them just to see if a new place had popped up. I was looking at this place in Lynchburg, Virginia, which, after it was a Pizza Hut, it was a another pizza restaurant — and I noticed they were permanently closed. And I was like 'that's interesting, I wonder who's going in there?'. I did a little online research and realised it was going to be this brand-new taco restaurant, and it looked beautiful." Matthew: "I think we saw a story that Jesús and his father-in-law were running it together, and I'm like 'there's a story that'. Then just your journalistic instincts kick in and you go 'oh, there's something interesting there'. I think, to be honest, as we spoke to people, it confirmed more than anything that all these are really fascinating stories that we have to capture." Rose: "There'll always be a few on the wishlist that we didn't get to, mainly just because we felt like we had a complete film. But there's always be the long list of places that maybe we could have visited — like there is a funeral home in Texas which would have been pretty interesting." Matthew: "There's actually two." Rose: "We could've kept filming forever." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "It's interesting when we talk about when you're completely independent and you've got to do it yourself, how do you get started — but how do you finish? That's almost as much the challenging question and it's usually, with us, through exhaustion. Usually it's desperately editing into the night. I remember with We Don't Deserve Dogs and a little bit with this film, you just stop eventually and go 'I think the movie is finished'. And you almost don't want to admit it's finished, because then you've got to work out what to do next. You've got to distribute and market the film, and all the rest of it. But this one was definitely one where we had a lot of the film down, and then we took a bit of a break. Then we went and filmed with Taco Jesús, and we just slotted that in." Rose: "It was the missing thing." Matthew: "It was the different side of the story that brought it all together. So it's nice, it's been a lot of fun, because at the moment we're doing all the technical stuff, the sound and the music and all of that, and it's really lovely to be able polish up this thing that we've been putting together for a few years now." On What You Learn About the US Today on a Cross-Country Road Trip That Examines How an Incredibly Nostalgic Symbol Has Been Reborn Rose: "I think we managed to capture a pretty hopeful version of humanity. I'd like to think that. I think you realise that if you watch the news a lot …" Matthew: "Which we all do." Rose: "… which everybody does, there's maybe an impression of America and what middle America is like, and I think we wanted to challenge that expectation a little bit. There definitely are, I think, more good people than bad everywhere we went. We were met with open arms in communities of all shapes and sizes and political persuasions." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "And we're just a bunch of hipsters from New York, so they should be very guarded. But no, to be serious, I think it's this thing where we came in to listen and hear their story, and so we didn't come in with this ulterior motive of 'we want to set up the story'. That's been a really important thing about the films we do. We film with multiple subjects, multiple locations and people, and we don't have this scribbled-out script that we want to fit. We go where the story takes us. If the story revealed a much angrier America, then we would have gone 'okay, well, what is that story?'. But for us, everyone was quite hopeful, quite proud — quite proud of being American, quite proud of their entrepreneurial side — which, by focusing just on that, was really interesting. We had this criteria for this movie: we want to meet people from all across America, but they have to be operating out of an old Pizza Hut restaurant. That limits you a little bit, and yet we found such diversity, such different people, different opinions, different lives, different stories. So it was nice, even with such limitations on your sample size, you can still find a very diverse America." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "I think Mark from the Yupp's Karaoke in Fort Worth, Texas, puts it best: 'our diversity is our strength'. And this is coming from a bartender in Fort Worth, Texas. It's pretty beautiful stuff. " Matthew: "I must admit that Yupp's Karaoke Bar was a lot of fun to film." Rose: "It was raging on a Tuesday night. It was just packed. And from what I understand, they now have lines on Saturdays — you can't get in. They are going absolute gangbusters." Slice of Life: The American Dream. In Former Pizza Huts. premieres at SXSW Sydney 2024, which runs from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details.
Whether you're a Melburnian or an upcoming visitor to the city, if your early winter plans involve heading out for a meal, the Victorian Government and the City of Melbourne want to give you an extra incentive. As initially announced at the beginning of May, the two government bodies have teamed up on a new dining scheme that'll offer 20-percent rebates for eating out in the CBD, Chinatown, Lygon Street, Docklands, North Melbourne, Kensington and Southbank. Originally called the CBD Dining Experiences Scheme, and now dubbed 'Melbourne Money', the initiative will kick off on Friday, June 11. It'll cover food and drink purchases in-store at restaurants, cafes and pubs, as well as bars, clubs, breweries and distilleries. The rebate applies to transactions between $50–500 (including GST), meaning that you'll get as little as $10 and as much as $100 back. The big caveat: you do have to purchase something to eat, with your drinks only covered if you're buying food. Another important thing to take into consideration: it works on a first in, first served basis. So, heading out as soon as the scheme starts — which happens to be on the Queen's Birthday long weekend — and submitting your claim for a rebate immediately afterwards is recommended. Both residents of and visitors to the City of Melbourne can get their cash back after they've been to a hospitality venue, received an itemised receipt at the time of payment, then taken a photo of it and uploaded it to the Melbourne Money website. Within five working days, you'll then score 20 percent of the bill's total via a transfer to your bank account. Melbourne Money forms part of the Victorian Government's next $107.4 million million in spending to revitalise the city, which is included in the 2021–22 Victorian Budget. The Victorian Government is providing $7.4 million towards the scheme, with the City of Melbourne kicking in another $1 million. The dining initiative is the latest scheme to help the state recover from the pandemic, following vouchers for travel to both regional areas and the CBD — and it adapts an idea that's already been rolled out in New South Wales (and, before that, in the UK as well). The Melbourne Money scheme kicks off on Friday, June 11. For more information, head to the City of Melbourne website. Top image: Josie Withers, Visit Victoria.
UPDATE, September 7, 2020: Emma is available to stream via Google Play, YouTube Movies and iTunes. Happiest when she's playing matchmaker, experienced at meddling in the affairs of others and accustomed to a comfortable level of standing in her village, Emma Woodhouse withholds judgement on no one. Since first popping up on the page 205 years ago, Jane Austen's heroine has always been a picture of youthful hubris. Case in point: the 20-year-old member of the upper class wouldn't dream of letting a friend marry a mere farmer. She eventually learns the error of her well-meaning arrogance, of course. That's the journey that Austen's Emma charts, following the titular character's evolution from unthinking snobbishness to genuine compassion. But if the fictional Miss Woodhouse was somehow asked to survey the latest film to tell her story, we're certain that her opinionated tendencies would still shine through. Renowned for eschewing the average and ordinary in the hope of a more romantic option, she'd at least arch an eyebrow at this dutifully faithful, perfectly palatable yet hardly spectacular adaptation. Emma may be stylised on its marketing materials as 'Emma.', as though it's putting a full stop on all big-screen iterations of Austen's novel; however it's unlikely to become the definitive book-to-film version of this tale. That title continues to belong to Clueless, a movie that modernised the details, played fast and loose with certain specifics, and turned Austen's comedy of manners into an even savvier delight than it already was. Devotees of the original text might consider that statement blasphemous, but Emma's musings on love, life, social status and human nature thrived under a bolder spotlight. Indeed, Clueless outshone the more traditional Gwyneth Paltrow-starring adaptation of Austen's novel that came out just a year afterwards, and did so easily. The difference a quarter-century ago, and now as well: Clueless engages with and re-interrogates the narrative and its insights, rather than just reverently recreating it. They all tell the same general story, though. For those who haven't committed the broad strokes to memory alongside Alicia Silverstone's 90s outfits, Austen's tale revolves around Emma (played in this 2020 iteration by Anya Taylor-Joy) and her current matchmaking mission. Her friend Harriet Smith (Mia Goth) receives a marriage proposal from local tenant farmer Robert Martin (Connor Swindells), with whom she's clearly besotted, but Emma is convinced that her pal can, should and must do better. So, she nudges Harriet towards seemingly kindly vicar Philip Elton (Josh O'Connor). As well as earning the disapproval of her neighbour George Knightley (Johnny Flynn), who she treats like a brother, Emma's interference causes significant ripples throughout the village. It doesn't help that the rich, handsome and vain Frank Churchhill (Callum Turner) has just returned to town, and the quietly accomplished Jane Fairfax (Amber Anderson), too — with the former considered a potential match for Emma herself, and the latter the target of her palpable jealousy. Well-heeled chaos ensues — as much chaos that can ensue within stately and sprawling country manors, while compliant, silent servants are always on hand, and amidst polite conversation constantly tinted with gossip (although as Downton Abbey keeps demonstrating, that's plenty). Emma circa 2020 does everything it's supposed to, including using its sumptuous production and costume design to paint a vivid picture of Regency-era England, but it adds little of its own personality. Austen's prose, here shaped into a screenplay by The Luminaries' author Eleanor Catton, still sparkles with wit. Making her feature filmmaking debut, photographer and music video director Autumn de Wilde retains the novel's playful mood, and pairs it with a sweeping sense of visual symmetry that'd do Wes Anderson proud. And yet, this adaptation feels mostly indistinguishable from the many other unchallenging film and TV versions of literary classics that've reached screens over the years. In fact, the end result is fine, but in the passable rather than excellent sense of the word. It can be a strange sensation, watching a movie that hits plenty of marks and still feels just standard, but that's this iteration of Emma. The film's various parts boast a variety of charms, and yet they never manage to leave much of an imprint. The main outlier: The Witch, Split and Glass' Taylor-Joy. There's little in the way of purposeful contemporary parallels in this take on Austen's tale but, in Taylor-Joy's hands, Emma herself seems like she could easily be passing judgement on her peers and their love lives via Instagram. As the overly chatty, far less wealthy Miss Bates, Miranda Hart (Call the Midwife) also stands out, especially when her character becomes the target of Emma's withering comments. But it might be Bill Nighy, playing Mr Woodhouse, that encapsulates the movie best. He's as reliable as ever, trots out all his usual moves, and inspires more than a few laughs and smiles — but you always know exactly what you're in for. https://www.youtube.com/watch?v=llt7-EQP6dg
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.
UPDATE, October 18, 2020: Bombshell is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Playing two women caught in the climate of sexual harassment that engulfed Fox News under former CEO Roger Ailes, Charlize Theron and Margot Robbie both turn in stellar — and now Oscar-nominated — performances in Bombshell. Aided by noticeable facial prosthetics, Theron steps into the shoes of real-life TV personality Megyn Kelly, serving up a pulsating vein of steeliness in every scene. As a fictional producer who calls herself an "influencer in the Jesus space" and an "evangelical millennial", Robbie's Kayla Pospisil possesses softer edges but still sports plenty of inner grit — especially when she summons up the guts to put her self-respect first, rather than her desire to feature on-camera on the right-wing network. But much like the unease that plagues both women until they decide to speak out, something definitely isn't right in the film that tells their tales. Bombshell is the slick, shiny version of this ripped-from-the-headlines story, which earned global attention when it broke back in 2016. Airbrushed to buffer away blemishes and avoid tricky spots, it's watered down to deliver an easy, glossy, simplified narrative. It doesn't help that 2019's Russell Crowe-starring The Loudest Voice already brought the same minutiae to the small screen — and in far greater detail, as you'd expect in a seven-part mini-series compared to a 109-minute movie. That said, Bombshell really isn't interested in diving as deep as its predecessor. Instead, wants to make a feisty flick about kick-ass women fighting back in a male-dominated realm. Fight back, Kelly did — although not at first. As the film unpacks, fellow anchor Gretchen Carlson (Nicole Kidman) leads the charge and initially suffers the consequences, going public about her inappropriate dealings with Ailes (a cartoonish John Lithgow) by suing him personally. Despite the head honcho's protests of innocence to Rupert Murdoch (Malcolm McDowell) and sons Lachlan and James (Ben and Josh Lawson), more women share their stories. Director Jay Roach (Trumbo) and screenwriter Charles Randolph (The Big Short) explore this, as well as Kelly's apprehension to join the chorus and Pospisil's experiences as a young, ambitious woman eager to score her big on-screen break. And yet, by championing these efforts but barely delving into Fox News' status as a conservative propaganda machine, Bombshell proves an empty shell of a #MeToo movie. The treatment that Kelly and Carlson (and the real-life women that Pospisil represents) received at the hands of Ailes — yes, literally — is infuriating and unacceptable, as all accounts of men exerting power over women for their own gratification are. Their ordeal doesn't just hark back to one man, though; it's inescapably intertwined with Fox News and the agenda it serves — notions that are scarcely considered here. Roach and Randolph hint at the network's public standing, illustrating the wider world's reaction to its political leanings via a woman who insults Carlson in a supermarket. The film paints Ailes as feverish about pushing the Republican party's perspective and currying favour with Donald Trump during the lead up to the 2016 election, even when the future president tweets sexist comments about Kelly. And, it lays bare the TV station's misogynistic internal culture, where women are forced to wear short skirts and sit behind clear desks. Still, it all feels like lip service in a movie that merely depicts, rather than dissects. If one was feeling generous, you could assume the film's powers-that-be just expect that everyone already knows Fox News' reputation, and the perspectives it pedals. Being realistic, however, Bombshell seems happy to brush past the network's toxic on-air views — because contemplating them in-depth means adding shades of grey that this visually bright feature is keen to avoid. Ailes is a clearcut villain, and deserves the scorn he's served, of course. But ignoring the fact that Kelly, Carlson and their fellow female Fox News employees all buy into a conservative agenda where behaviour like Ailes' continually festers, and do so because they share the same political views, means that Bombshell ignores the broader context that helped lecherous acts prosper at the network. Yes, it's an immensely complicated situation — but Bombshell rarely treats it as such, or recognises much in the way of texture. While Kate McKinnon is memorable as a Hillary Clinton-supporting lesbian who remains closeted about both preferences at Fox News, that's another case of the movie barely dipping its toes into more complex territory. Perhaps the film's skin-deep approach shouldn't come as a surprise, seeing that Roach also directed all three Austin Powers flicks and the first two Meet the Parents movies. Bombshell certainly tries to keep its tone light and sometimes even farcical, even though it deals with such heavy matters. Alas, what results is the kind of movie you'd expect given this tellingly glib piece of closing voice-over — one where its unambiguously heroic protagonists "got the Murdochs to put the rights of women above profits, however temporarily". https://www.youtube.com/watch?v=jjOdDd4NEeg
Among the many great filmmaker-actor pairings that cinema has gifted the world, Ryan Coogler and Michael B Jordan have spent more than a decade cementing their spot on the list. It was back in 2013 that the two first joined forces, one for his feature directorial debut and the other for his first lead film role, on Fruitvale Station. Each time that a new Coogler movie has arrived since, including 2015's Creed, then 2018's Black Panther and its 2022 sequel Black Panther: Wakanda Forever, Jordan (Creed III) has been a key part — and after playing Oscar Grant, Adonis Johnson and Killmonger for his go-to helmer, Jordan is at the heart of 2025's Sinners, too. Five pictures into their collaboration now, how does Coogler manage to double down on working with Jordan? Literally, actually. This time, in the director's first horror film, he has cast his favourite actor in two roles. Sinners focuses on brothers — twins, in fact, called Elijah and Elias — who find more than familiar faces awaiting when they try to start afresh upon returning to their home town. They also find much greater troubles than have been haunting them in their lives elsewhere. This is a movie set in America's south in the Jim Crow-era, as well as a film where being able to enjoy blues music at their local bar is a welcome escape for Sinners' Black characters. But as the just-released second trailer for the feature makes clear, there's more than a touch of the supernatural to Coogler's new flick. Yes, things get bloody. Cast-wise, the movie also gets stacked, with Hailee Steinfeld (The Marvels), Wunmi Mosaku (Loki), Delroy Lindo (Unprisoned), Jack O'Connell (Back to Black), Jayme Lawson (The Penguin) and Omar Benson Miller (True Lies) co-starring. Sinners marks the first time that Coogler hasn't either explored a true story, jumped into an existing franchise or brought an already-known character to the screen — and alongside him working with an original tale, he's also telling a personal one. Inspiration came from members of his family, including for the film's setting and pivotal use of music. But Coogler also considers every feature that he's made to be personal. Asked at a press Q&A about the movie and its new trailer if this tops the list in that regard, he advises that "it's interesting because at each point in my life, that statement has been correct — but never like this one". [caption id="attachment_988567" align="alignnone" width="1920"] Gage Skidmore via Wikimedia Commons[/caption] "I don't want to give all of this away, but each time I make something — and none of the films that I worked on have had the horror or the thriller element like this one has — but each time I'm conquering a fear, a personal fear of mine, and this one is no different," Coogler also shared. For Sinners, Jordan isn't the writer/director's only returning collaborator. For a picture that's partly shot on IMAX — "I got to get some advice from Chris and Emma, who are masters of the form," Coogler offered, speaking about Christopher Nolan and his producer and wife Emma Thomas — he also reteamed with pivotal talents behind the lens. Cinematographer Autumn Durald Arkapaw (The Last Showgirl), production designer Hannah Beachler (Renaissance: A Film by Beyoncé), editor Michael P Shawver (Abigail), composer Ludwig Göransson (Oppenheimer) and costume designer Ruth E Carter (Coming 2 America) each return from either Black Panther, Black Panther: Wakanda Forever or both — some, such as Göransson and Carter, with Oscars for their past efforts working with Coogler. The filmmaker also chatted about his clearly rewarding creative partnership with Jordan, Sinners' origins, its mix of genres and supernatural elements, and his aim with using large-format visuals — plus how Stephen King's Salem's Lot proved pivotal, the eeriness of twins, why making movies is a form of catharsis for him and more. On Making Five Films Now with Michael B Jordan — and How Their Collaboration Pushes Coogler Creatively "It's incredible. With Mike, he was a working actor when I met him. He had been on some incredible television shows, basically been a professional actor since he was a school-aged kid, but he hadn't had a feature-length role where he was the lead just yet. So when we worked together on Fruitvale, that was his first time in a lead role in a movie, and it was my first time making a movie — so in many ways, we've grown up together in the industry, in these situations. I've definitely found a kindred spirit in him. He's somebody who's incredibly gifted. In some ways, it's god-given: his charisma, his ability to channel empathy without even trying. But the other facets are the things under his control: his work ethic, his dedication to the craft. And the other thing is his constant desire to want to push himself, to increase his capacity, to continue to stretch. Having both those things rolled up into one, and being somebody who's around the same age, we became work friends and eventually have become like family since. It's an incredible gift to have somebody like that, who you can call up and say 'hey, I've got a new one for you, what do you think?'. And I know he is always trying to look for new challenges constantly. He doesn't want to rest on his on his laurels. And I thought that this role would be something where we could challenge each other." On Injecting Personal Elements Into Coogler's First Horror Film "Each time I've made a film, it's become more and more personal. With this one, I was really digging into two relationships. One with my maternal grandfather, who I never met, he died about a year before I was born — but he was from Merrill, Mississippi, and eventually moved to Oakland, married my grandmother, and actually built the house that our whole family was based out of in Oakland. And I had an uncle named Uncle James who I came up with my whole life, he actually passed away while I was in post-production on Creed, and he was from another town in Mississippi — and he wouldn't really talk about Mississippi unless he was listening to the blues, unless he had a little sip of old Italian whisky, then he would reminisce. And I miss him profoundly. With this film, I got a chance to dig into my own ancestral history here in the States — not dissimilar to what I was doing with the Panther films, like that generational ancestral history, this is right there for me. And I had a chance to really go to the south and scout and think. And the film is about the music that was so special to my to my uncle — and I couldn't be happier with the film that we'll be able to show you guys in a few months." On the Movie's Supernatural Aspects "The film is very genre-fluid. It switches in and out of a lot of different genres. Yes, vampires are an element of the movie. But that's not the only element. It's not the only supernatural element. The film is about more than just that, and I think it's going to surprise folks in a good way. My favourite films in the in the genre, you could take the supernatural element out and the films would still work — but the supernatural element actually helps to heighten it, helps to elevate it. So I was aspiring to make something in that in that tradition. And the film has elements of all of the things that I that I love. It's really a personal love letter for me to cinema, to the art form, specifically the theatrical experience. It's interesting working in a post-COVID time, when everybody was sequestered — and I know I found myself missing that experience of experiencing things in a room with folks I didn't know, but still reacting in the same way, or maybe reacting in different ways and getting to enjoy that. The film is meant to be seen in that capacity." On Using Large-Format Visuals, Such as Shooting in IMAX, to Draw Audiences In "The whole effort was for the experience to be immersive. We wanted to let folks experience this world. And for me, it's the world that my grandparents were a part of. It's the world that they came up in. And it's a time that's often overlooked in American history, specifically for Black folks, because it was a time associated with a lot of things that maybe we're ashamed to talk about — but I got to talk to my have conversation with my grandmother, who's nearly 100 years old, and do some really heavy research, and it was exciting. To bring that time period to life with the celluloid format that was around then, but with the technological advancements that IMAX can provide, it's really exciting — really exciting." On How a Stephen King-Penned Vampire Novel Proved an Influence "A big inspiration for the film is a novel called Salem's Lot, and in the novel — it's been adapted quite a few times and in some really cool ways, but what's great about that novel is when Stephen King talks about it, for him it was Peyton Place, which is another novel, meets Dracula. What happens when a town that's got a lot of its own issues, a lot of interesting characters, meets up with a mythological force of nature and it starts to influence the town? So that idea for me was a great way to explore some of the real things in this place that my grandparents and uncles who influenced my life came from — but also that a lot of American pop culture came from, right there. One of the things we explore in the film is blues music and blues culture, and that became so many other things that affect what we do today. So it was great to be able to explore that. And that music has a has a very close relationship with the macabre, so to speak, with the supernatural. You hear stories about Tommy Johnson and Robert Johnson selling that souls to be able to play the guitar the way they do — the deals being struck. It was called the devil's music — and the dichotomy of these incredible singers, even still to this day, they learned how to make music in the church, but yet they chose to make music that maybe was frowned upon." On the Catharsis of Making Movies for Coogler "I'm blessed to have been able to have found this medium. I found it out by accident. But where I can work out deep, philosophical, existential questions that I may be struggling with, I get to work them out while contributing to an artform that that means so much to me and my family. Watching movies for us was a pastime, and it was a way to connect, it was how we travelled. So I feel like the luckiest person on the planet — but yeah, it is a form of therapy. Each film brings me closer to understanding myself and the world around me, I think." On Jordan Portraying Twins — and Why Twins Feel Supernatural "These are guys who there's nothing supernatural about them outside of them being identical twins. Now, when you dig into the research on twins, it is pretty strange. We still don't totally understand how we have specific identical twins, because it's not something that can be inherited. It's an anomaly. What we did on this was I hired a couple friends of mine who are filmmakers, Noah and Logan Miller — we hired them as twin consultants. They're about the same age as me and Mike, and they were able to talk to Mike and myself while we were working on the script, and he was working on prepping the characters, on what it is like to have an identical twin. Some of that work was just fascinating — like this idea of ever since you achieved consciousness, there was another version of you, right there, right there in front of you, sharing space. And how they see the world — how they see the world as 'us versus everybody else'. The other aspect of it is the fact that they're not totally different. They're actually are quite alike. They're different in subtle ways that Mike found. But it's an absolutely brilliant performance — both performances. I can't wait for folks to see him. It's Mike unlike I've ever seen him before, and I know him pretty well." On Why the Time Was Right for Coogler to Tell an Original Story "I think in terms of timing — and timing is everything, it can really make or break a project, now more than ever. But for me, in being a writer/director, the timing first has to start with me. And it felt like I was at a point in my life where I did want to try to do something original. And I realised I had been working on things that were based on pre-existing things, maybe a real-life situation, maybe a pre-existing franchise and cinema, a pre-existing comic-book franchise, and so I felt the itch to want to try. I could kind of feel like the kids are growing up, I'm getting older, I can feel time on my on my backside. So it turned out to be the perfect timing for me, personally. And at terms of looking around at the world and where we are, those two things seem to be lining up. But at the same time, you don't have any control over that one. You've got to kind of start with yourself. Even then, I did want to still play with archetypes. I guess it's original, but I'm dealing with a lot of archetypes — not just a vampire, but the supernaturally gifted musician, the twins. When I was coming up, every neighbourhood would have those twins who were well-known, sometimes notorious, just had a reputation as local celebrities. That idea is something that we're exploring in this, and a lot of other ideas. So I'm still digging into pre-existing things and culture as best I can, but synthesising them through my own personal lens." Sinners releases in cinemas Down Under on Thursday, April 17, 2025.
You're sure to be a little worn out from your Earth Day's tree-hugging and recycling activities, so why not relax with an eco-friendly cocktail? These 100% organic drinks will keep you in the green holiday spirit. Like any cocktail, these begin with quality (and in this case, organic) liquor. Some Earth Day-friendly stand-outs include Square One Vodka from Marin County, California, Del Maguey Mezcal, which imports single-village mezcals from Mexico via Taos, New Mexico, and Kanon Vodka, from Sweden. Each company produces 100% organic spirits. Square One and Kanon focus on sustainable production, utilising wind power in their distilleries. Square One bottles even feature labels made of sustainably grown bamboo and cotton. With the main ingredient covered, all you need are a few organic limes and tangerines and some creativity. Good's cocktail enthusiast Ken Walczak shows you how. So Fresh, So Green 1 ½ oz. Square One Basil Vodka ¾ oz. lime juice ½ oz. ginger-peppercorn syrup* Shake with cracked ice. Strain into a chilled cocktail glass. Garnish with an organic lime wedge. * To make the ginger-peppercorn syrup: Combine 3 to 4 oz. of ginger, sliced thin, 1 tsp. black peppercorns, the skin and core of an apple, 2 cups sugar, and 3 cups water in a saucepan. Bring to a simmer over medium heat; simmer for about 40 minutes or until syrup has the desired flavor and consistency. Cool completely. Strain. El Niño 1 ½ oz. pepper-infused vodka* 1 ½ oz. tangerine juice [I squeezed organic Minneolas] 1 oz.Del Maguey Crema de Mezcal [i.e., mescal with agave syrup added] ½ oz. agave syrup Shake with cracked ice. Double-strain into a chilled cocktail glass. Garnish with a vodka-soaked pepper or a dried Fuyu persimmon. * To make the pepper-infused vodka: Remove the cores and seeds from a habanero, a jalapeño, two serranos, and an Anaheim pepper—preferably while wearing gloves. (Ripe peppers may be best overall, but firmer, crisper ones produce a “green” taste that is not entirely unwelcome in the cocktail, in addition to the heat.) Chop the peppers roughly. Clean and dry a mason jar thoroughly, place the chopped peppers in the bottom of the jar, and fill with an organic vodka (I used Kanon). Screw the lid on to the jar. Let the vodka infuse for 8 to 48 hours—longer infusion will result in more intense, spicier flavor. When the flavor is to your liking, strain the infused vodka. The vodka-soaked peppers can be retained as a garnish. [via Good]
The suburbs are twinkling. Yes, it's that time again: the merriest time of the year. If December to you means luminous festive decorations — November as well, or basically the second that Halloween is over — then simply driving through your neighbourhood can be jolly enjoyable. Wherever you look, there just might be a glowing set of Christmas lights sharing its seasonal merriment and brightening up the suburban streets. Of course, these lit-up displays really shouldn't cause such a fuss. They pop up everywhere every year, after all, and we're all well and truly aware of how electricity works. But glowing bulbs are just so hard to resist when it's the happiest portion of the calendar. Keen to scope out the best and brightest seasonal-themed houses and yards? An Australian website called Christmas Lights Search is likely to pique your interest, especially given that it has been updated for 2024. [caption id="attachment_882324" align="alignnone" width="1920"] Donaldytong via Wikimedia Commons[/caption] Christmas Lights Search is as nifty and handy as its name suggests, covering festive displays all around the country. To locate all the spots that you should head to, it's as easy as entering your postcode or suburb — or those of places nearby — and letting the site deliver the relevant options. Plus, it also rates the lights displays, if you want to either go big or stay home. It's constantly being updated as well, so, like the best combos of glowing trees, sparkling bulbs and oversized Santas, you might want to check it out more than once. When you pick an individual address listed on the site, you'll be greeted with some key information, too. The level of detail varies per listing, but expect to potentially peruse photos, the ideal hours to swing by, a date range and a description of what's on offer. All that's left is to get searching, plot out where you'll be heading every night between now and Christmas Eve, and get ready to see oh-so-many reindeer, candy canes and snowmen. Putting up your own Christmas lights for the neighbourhood to see? Spotted something in your travels that you think everyone else would like to check out? You can add both to Christmas Lights Search as well. [caption id="attachment_882325" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] To find festive displays near you, head to the Christmas Lights Search website.
UPDATE, February 12, 2021: Portrait of a Lady on Fire is available to stream via Stan, Google Play, YouTube Movies and iTunes. In Portrait of a Lady on Fire, Celine Sciamma tasks audiences with literally watching paint dry — and it's riveting. Viewers don't merely stare as the pigment settles, and they don't devote the whole film to glaring at a canvas. Still, in this sumptuous, striking romance, observing artist Marianne (Noémie Merlant) as she gazes at her latest creation couldn't be more crucial. She agonises over every brush stroke as if her soul depends on it, because it does, in a way. Her heart does at the very least. On an island in Brittany near the end of the 18th century, Marianne has been commissioned to paint a portrait of the betrothed Héloïse (Adèle Haenel). But how does anyone do justice to the face of the woman they've fallen hopelessly in love with? Hardly a blushing bride-to-be, Héloïse doesn't want to get married to an Italian man that she has never met, and she certainly doesn't want to sit for an artwork marking the occasion. She has previously refused to comply for another artist, making painting her traditional wedding portrait a tricky prospect. Accordingly, Marianne is enlisted by Héloïse's Countess mother (Valeria Golino) to be her daughter's new companion, to scrutinise her closely every chance she can, and then to craft the picture from memory in secret. As the women spend time together, walking by the sea as the wind swirls and slowly sharing aspects of their lives, their feelings simmer, then bubble, then boil heatedly. When Portrait of a Lady on Fire depicts Marianne peering obsessively at her picture of Héloïse — even wiping off the paint and beginning again when she's discontent with what's staring back — it shows her lost in thought and swept up in the throes of affection. And, because Sciamma is a gifted visual storyteller and Merlant a great actor, the film makes clear the significance of these moments without overplaying a single element. Watching paint dry is important, because every speck solidifies into a permanent token of how Marianne feels about Héloïse. Naturally, she's determined to convey those feelings in as precise and perfect a way as possible. Given the period, place, prevailing societal attitudes and expectations placed upon women, this portrait is the only enduring way that she can immortalise their love — and the weight of that truth is always heartbreakingly apparent. Equally beautiful and bold, Portrait of a Lady on Fire is a film that balances the reality of impossible circumstances with otherwise hopeful glimmers, as has become the French writer/director's custom. It's that dynamic that made Sciamma's last feature, girl-gang movie Girlhood, simultaneously perceptive, exuberant and emotionally raw, traits that are essential here, too. The solace that Marianne and Héloïse find in each other's arms in stolen blissful moments proves both tender and sizzling. Their yearning, inner awakenings, and struggle to contain their infatuation within such restrictive confines is palpable. And the fact that their lives aren't their own to decide — no matter how fiercely independent Marianne is, and encourages the more pragmatic Héloïse to be — constantly tints their restrained romance with an unflinchingly bittersweet hue. Bringing all of the above to life in a movie that's the epitome of slow-burning — pun intended, although a portrait of a lady does indeed catch on fire in the film — Merlant and Haenel are a dream duo. Their performances are so measured yet still so heaving with feeling, and their interplay so exacting yet still so quietly expressive, that they could escape the entire feature without saying a word. Writing and directing, Sciamma has penned intricate dialogue for them to speak, though. They say much without uttering a thing, and they also swap meaty exchanges about classic tales, memories and harsh truths. Sciamma won this year's Cannes Film Festival Best Screenplay award for her efforts, as well as acclaim and applause since; however her exceptional script wouldn't burn as brightly without her two leads. Thematically, narratively and emotionally, this could never just be a lush romantic drama brimming with uncomplicated passion and desire. In her first period-set tale, Sciamma was always going to confront the minutiae of life for women of the era — it's pivotal to understanding how the requirements placed upon her characters are so incompatible with their happiness, and why they must relish what brief joy they can. That said, Portrait of a Lady on Fire always looks like a lush romantic drama, whether its gorgeous imagery is watching paint dry, enjoying the scenery, or getting as lost in Marianne and Héloïse as they are in each other. Befitting a movie about a painter and a portrait, every frame could be hung on a wall. An exquisite piece in every way and one of the year's very best, this film earns all of the obvious fiery terms, because it sparks, blazes and simply sets the screen alight. https://www.youtube.com/watch?v=Bn_-YoG69Sw
From slinging back a shot of whisky with a frosty lager to chase, to sampling a flight of single malts with paired craft brews, whisky and beer have walked hand in hand for years. But what is it about these two particular drinks that just works? What other possibilities exist on the horizon of adult beverages, beyond the humble boilermaker? We caught up with Michael Nouri, brand ambassador of single malt whisky, Auchentoshan (pronounced 'ock-un-tosh-un'), to delve deeper into the world of fermented grains. No stranger to the heavenly duo, Auchentoshan are serving up their own take on whisky and beer throughout June in Sydney and Melbourne with the Auchentoshan & Ale, a refreshing cocktail of Auchentoshan American Oak, pale ale, fresh lemon juice and sugar syrup. So strap in, friends, to see why whisky and beer make up a power couple that rivals even the Underwoods. THE IRREFUTABLE FACTS OF CHEMISTRY While the idea of actually mixing whisky and beer together might seem a little counterintuitive, the result exposes a whole new level of flavours. By the very nature of their chemistry, the brew and spirit are simply destined to be partners in crime. "Whisky starts its life as beer," Michael explains, so from the get go, the two share characteristics that complement one another. "You're taking whisky back to its origins. The spirit has a great cereal-like, grain structure to its flavour profile, and so does beer," so putting the two together is a no brainer, like with the Auchentoshan & Ale, where the scotch's distinctive nut and citrus base notes match those of many pale ales. However, even though whisky and beer have so much in common, another important part of the pairing equation is the fact that they're also so different. As their shared characteristics are enhanced by combining the two, the differing aspects of their profiles are also accentuated. Since beer is so refreshing, it adds a nice counterbalance to the warmth and intensity of a straight spirit like whisky, Michael explains. Auchentoshan American Oak, for example, balances the sweetness of the oak with the subtle fruity hops and citrus acidity of pale ale; ice-cold frothiness meets with a slick heat, and that's where the magic happens. "You know what whisky tastes like, and you know what beer tastes like, but when you put them together, it's a completely different beast." AN ENDLESS WORLD OF POSSIBILITY When you've got two ingredients that both complement and contrast each other, you're left with a combination that's too great to fail, and what's even better is how there's an absolutely endless stream of pairing possibilities. From matching a young bourbon to a rich porter, to combining a crisp pale ale with a rounded scotch like in the Auchentoshan & Ale, there are endless whiskies and beers to try together, and the industry is always coming out with new variations. "The beer camp, just by virtue of the industry itself, is quite progressive," Michael says. And while the whisky world can be a little conservative, it is catching up with new trends and ideas. You have distillers like Auchentoshan who are challenging the norms, and triple distilling their whisky to create a delicate flavour that's great on its own, but also makes for an interesting drop to experiment with. "You've got a whole variety of experimentation happening now, with different grains, with rice, with quinoa and a whole variety of other stuff," and these new variations mean boundless products to pair up. BEYOND THE BOILERMAKER With these endless possibilities, comes a lot of experimentation. The boilermaker is almost old hat now that both brewers and distillers are trialling more and more combination styles. "That's the whole beauty of what we do, it's experimental. We're trying new things, we're discovering combinations, and we're finding new ways to bring something interesting to people that they've never thought was interesting before" — like combining scotch, pale ale, fresh lemon juice and sugar syrup into one refreshing tipple. But when it all comes down to it, it's important to bear in mind that "ultimately, all you want to do is sit there, close your eyes and enjoy that drink." We couldn't agree more. Sit back, close your eyes and enjoy an Auchentoshan & Ale found around Sydney and Melbourne until the end of June.
Does this represent a work of genius, or has Frankenstein lost control of the monster? In the eyes of Harvey Moon, 'drawing machines' are fascinating, not only for the work they produce, but also for the processes involved in their acts of creation. 'That loss of communication and that failure for a machine to communicate properly is what I find exciting and the randomness in which it produces these results,' he told the creators' project last month. Made of motors and servomechanisms, Harvey's machines act according to algorithms. However, despite our expectations that robots follow logical sets of rules, the responses are not always reliable. Unpredictable artworks are often the result. With one particular machine, titled 'Bugs draw for me', Moon has taken the concept further, by adding a cricket to the mix. Yes, one of those lively, chirping, hopping creatures that you wouldn't invite to your picnic. As a camera records the insect's movements, the machine lays them down visually. Apart from enjoying the suspense involved, Moon has also developed an interest in what the machines reveal about human behaviour. 'It plays with a different way of producing work, where we don't have to rely on our own physical bodies to produce art,' he explains. 'We can extend our system beyond our own hands.' [via the creators' project]
Drive-in meets rooftop at Melbourne's newest outdoor cinema, opening in Dockland's Harbour Town precinct on Boxing Day. The latest addition to the seemingly endless list of open-air screens around town (not that we're complaining, mind you), punters at The Backlot Rooftop Drive-In will enjoy new release films and 360-degree views of the city without ever having to get out of their car. Operated by the same team behind Backlot Studios, a private cinema and event space in Southbank, this modern-day drive-in will boast two separate screens, with each lot able to accommodate up to 65 vehicles. Tickets start at $50 per car — so depending on how many mates you can squish into the backseat and/or boot, this could prove to be a bit of a bargain. There'll also be a separate 'blue-deck' seating area, for movie-lovers who don't own their own car. Tickets for this section will be sold at $15 per head. The Backlot Rooftop is yet to reveal which movies they'll be showing, although we reckon you can expect blockbusters and plenty of them. Star Wars under the stars, for example, feels like it's probably a given. There'll also be pop-up takeaway stalls on-site, as well as a candy bar stocked with all the usual suspects including choc-tops and freshly popped popcorn. Speaking to The Age, co-founder Tony Ianiro confirmed that the cinema would operate "seven days a week, all-year round," and said they were also scoping out potential sites in Sydney, Brisbane and the Gold Coast. You can view the program as it's updated here.
Last year, you ate copious amounts of burgers, and to balance it out, bunches and bunches of kale. Your beer got craftier than ever before. You wanted to know more about where your food came from, so you chatted to farmers and ate locally-sourced produce. Instead of extensive menus overloaded with choice, you opted for simpler, cleaner and more expertly-prepared dishes. You kept food trucks doing the rounds. You learnt more about Korean cuisine. And you decided that food tastes better when you share it. So, what's in store for 2015? We're expecting sustainability and seasonality taken to extremes, with hearty broths and micro-seasonal menus; the decline of kale; the rise of roots; veggie-fuelled desserts; cheaper lobster; more restaurant swaps; and epic, multi-sensory dining experiences, thanks to the wonders of neurogastronomy. Here are eight trends to look out for. VEGETABLES IN DESSERTS If only your mama had thought of this when she was struggling to get those Brussels sprouts down your recalcitrant, pint-sized throat. Pretending that vegetables aren't vegetables at all, but actually dessert, is one surefire way to crank up your five-a-day tally. In countries like Vietnam, where beans, lotus root and the like frequently feature in sweet treats, this isn't a new thing. But we're only just getting on the healthy yet tasty dessert bandwagon. Parsnip's been the main contender in Australia so far, thanks to Three Blue Ducks' chocolate with smoked parsnip and Four in Hand's parsnip ice cream with matching chips. RESTAURANT AND BAR SWAPS It seems that chefs and restaurateurs the world over are growing increasingly restless. Rather than keeping their gastronomical discoveries to their local clientele, they're keen to share them across regions and even hemispheres via swaps. Thousands of Melbournians got lucky (or greedy) when Heston Blumenthal announced he'd be bringing his Fat Duck to town, while Denmark's Noma has just opened its doors in Tokyo for a two-month stint. The trend is picking up at bar level too, with the Rook and Black Pearl doing an exchange in May last year. BROTH The more finite the Earth's resources are starting to look, the less we want to waste. In ancient times, when frugality was a necessity rather than an eco-conscious choice, the humble broth was master. Concocted out of animal bones and veggie scraps, it turned mere leftovers into a comfort food feast. Today, broth is the logical extension of our continual move towards sustainable food production. What's more, only Thai restaurants can compete when it comes to names. A restaurant in Melbourne has already jumped on the inevitable: Brothl, while in New York, there’s Brodo. Bring on the broth in 2015. AFFORDABLE LOBSTER After years of exclusivity, the lobster is at last stepping off its high horse and coming down to the street. Heading up the new egalitarian approach in Sydney is Burger Liquor Lobster, which has popped up for summer in both Paddo and Manly, waving $15 lobster rolls and lobster popcorn in front of our seafood-craving faces. The crustacean is getting affordable in London, too, where new trendy hangout Burger and Lobster is selling 2000 lobsters per day across six shopfronts. HATTED CHEFS OPENING CASUAL DINERS This trend, which comes direct from Paris, represents the latest in the growth of premium dining in a casual atmosphere. Hatted chefs are expanding beyond their illustrious premises into bistros, where they're making high-end gastronomy accessible to a mid-range crowd. In late 2013, the team behind the Bentley and the Monopole opened an eatery in Potts Point’s once-bohemian Yellow House. Then, last year, chef Mark Best of Marque brought his cooking to (more of) the people with the opening of Pei Modern in both Sydney and Melbourne. MICROSEASONAL MENUS 'Seasonal produce' and 'paddock-to-plate philosophy’ are the well-established catch-cries of many an Australian eatery. It looks like they’ll be taken even further in 2015 with a trend towards microseasonal menus. These promise fresher and more interesting cuisine than ever before, with dishes changing not with each shift of the earth's axis, but with every passing day. The alterations are ever-so-slight and subtle, and entirely dependent on available ingredients. Sydney’s Q Dining is getting in early. UGLY ROOT VEGGIES Kale's been more ubiquitous than cuts to the arts over the past year or so. But we’re not sure how much longer it's going to fare, given the rise and rise of ugly root vegetables. We're not talking about the good old potato, but its numerous more exotic-sounding and tasting (if not especially good-looking) cousins. As mentioned, parsnips have been sneaking their way into dessert menus, but then there's the likes of celery root and kohlrabi. Sydney's Yellow is already onto it, with a dish made up of beef tartare, kohlrabi, smoked curd and rye featuring on their tasting menu. The good news is that you, too can get started — pick up your own ugly veggies at Harris Farm for half-price. NEUROGASTRONOMY Did you know that on average, a pink strawberry dessert tastes ten percent less sweet on a black plate than it does on a white one? Or that, if you drink a single malt whisky while surrounded by real grass and birdsong, it tastes more herbaceous? Try it, on the other hand, around red lighting and curved furniture and it'll seem sweeter. Starting to get what 'neurogastronomy' means? We now have scientific proof that all of our senses — rather than our tastebuds alone — influence how we perceive flavour. A professor at Oxford University by the name of Charles Spence is obsessed with studying this phenomenon. Spence and a bunch of fellow experts have been developing an intense multisensory dining experience, which combines textures, colours, aromas and temperatures, having previously worked with the likes of Ferran Adrià and Heston Blumenthal. Image credits: Speed Bump Kitchen, jane boles via photopin cc
If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this game-to-TV adaptation, he plays Joel, dad to teenager Sarah (Nico Parker, The Third Day), but consumed by grief and loss after what starts as an ordinary day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration — which screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand, from Monday, January 16 — ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, smart, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The worst thing that can be said about their new television creation is that fans of the original PlayStation title already know where it's headed, but that doesn't mean that there aren't surprises along the way. As a show, The Last of Us builds in backstories for some game characters only seen or spoken about. It introduces new faces. It toils to create not just one man and one girl's tale — plus the direct figures linked to their quest — but a portrait of life when normality as we all know it ceases to be. It devotes significant chunks of its time to people endeavouring to endure exactly as Joel and Ellie are amid an infestation that's turned the afflicted into not only zombies but monsters. In its 2003-set opening, Joel, his younger brother Tommy (Gabriel Luna, Terminator: Dark Fate) and Sarah try to outdrive the sprawling infection, only to learn swiftly, brutally and heartbreakingly how the earth's population responds when a mass-extinction event is upon them. If The Last of Us enjoys the kind of viewer success that earns a second season and then a prequel, and it deserves to, exploring the immediate aftermath from here would be a smart and gripping move for that jump backwards. That isn't the game or this first season's narrative, though, which then finds Joel with the resourceful Tess (Anna Torv, Mindhunter) in Boston's quarantine zone, making plans to go looking for the absent Tommy. They're in survival mode. Noticeably wearied, they've long avoided anything beyond remaining alive. But escorting the 14-year-old Ellie will require a broader mindset. From the outset, but also episode by episode, Mazin and Druckmann excel at world-building. Many will come to The Last of Us' week-by-week instalments having mashed buttons directing Joel and Ellie through their mission, but familiarity with the game is far from a pre-requisite for being whisked away by the series. Indeed, one of the thrills of the television show is its attention to detail in its rendering of a decaying planet, and also its appreciation for the little things that make persisting and persevering in such difficult times worth it. It revels in greenery and rays of light, in moments and sights that offer a rare cosy blast from the past for everyone who remembers the before times, and in discoveries with fresh eyes for the post-apocalyptic generation. It values poignant exchanges and intimate connections, too. Although firmly made for the small screen, The Last of Us looks and feels cinematic from season one's first frames till its last, as Mazin's Chernobyl also did. Perhaps the second-worst thing that can be said about the series, and an observation that was always inevitable, is that it's plain to see how the story works on a console. That applies to surveying spaces, locating supplies, evading or dispensing with threats, seeking paths forward, navigating the mutated Cordyceps-contaminated creatures known as clickers, making new allies, and moving from place to place — aka completing various chapters. Thankfully, just like fleshing out The Last of Us' vision of tainted life, Mazin, Druckmann, and their fellow writers and directors make the gameplay mechanics feel organic as well, using their source material merely as a starting point. When the show sticks close to the exact reason that it even exists, it recreates the video game's specifics carefully, dutifully, but with watching rather than playing in mind. When it expands further, it turns something that's immediately compelling and engaging into something even more special. To go a level further, The Last of Us is spectacular — as a video game adaptation, instantly becoming the best yet, and in general. A key reason: its devotion to people and their relationships over the dangers that lurk everywhere and anywhere, not that it ever ignores the latter. In its take on life, death, and why living and breathing is worth treasuring, getting to know the determined, fiercely loyal Joel and the curious, outspoken Ellie is of the utmost importance. Understanding how they interact and react, what ties them together beyond their shared mission, and what they come to mean to each other, is what makes their troubles and struggles — and our watching — worthwhile. In varying degrees, the same applies to other pivotal characters, including Boston resistance leader Marlene (Merle Dandridge, The Flight Attendant), Kansas City rebel Kathleen (Melanie Lynskey, Yellowjackets), and brother duo Henry (Lamar Johnson, Your Honor) and Sam (debutant Keivonn Woodard). As fantastic, committed and absorbing as Pascal and Ramsey are, him stoic and protective, her soaking in everything she can experience, and both weighed down by the pain and sorrow that Joel and Ellie each carry with them with on every step, The Last of Us' best first-season episode mostly focuses elsewhere. Murray Bartlett (The White Lotus) plays Frank and Nick Offerman (The Resort) is Bill — one no longer defecating in suitcases in swanky surroundings, the other well-versed in all things survivalist after Parks and Recreation. Their involvement in this tale is as tender as the show gets, and as vital a reminder about what it is that everyone is fighting to live for. To be among the last of humanity should mean cherishing everything you can while you can, and with who you can, and this stellar game adaption wholeheartedly understands that. Check out the trailer for The Last of Us below: The Last of Us screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand, from Monday, January 16.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from October's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL CATHERINE CALLED BIRDY When you've catapulted to fame as a fierce child queen in the biggest fantasy TV series of the past two decades, and you're next about to play perhaps the best-known teenage girl from a video-game franchise across the same period — so, when you're in-between starring in Game of Thrones and the television adaptation of the The Last of Us, that is — how do you fill the time? You make a magnificent medieval comedy that's also a coming-of-age film, a frank but irreverent look at history's treatment of women, and the third feature directed by Lena Dunham. That's the path that Bella Ramsey has charted, and she's as much of a delight in the marvellous Catherine Called Birdy as she was in the role that made sure everyone with a screen to stare at knows who she is. The energy that made such an impact as GoT's Lyanna Mormont bursts through here, too, albeit in a cheekier, scampier, bawdier and more humorous mode. That's what this version of Karen Cushman's 1994 novel calls for, and gets — and the end result is an utter charmer. The eponymous Lady Catherine, who prefers to be called Birdy, is the 14-year-old daughter of Lord Rollo (Andrew Scott, The Pursuit of Love) and Lady Aislinn (Billie Piper, I Hate Suzie), and is accustomed to spending her days inciting mischief around their Lincolnshire manor — much to her nurse Morwenna's (Lesley Sharp, Fate: The Winx Saga) dismay. But the family is now broke thanks to Rollo's poor handling of their finances, and only marrying off the reluctant Birdy looms as a solution to their money troubles. It's the done thing in the 13th century, but Dunham directs this tale with a firmly 21st-century mindset and spirit as her titular character does whatever she can to avoid basically being sold off to whichever gentleman of means has the most lucrative offer. The movie's thoroughly modern vibe and outlook doesn't just come through in its narrative, themes and lively lead performance, or its witty narration and all-round attitude, but with smatterings of pop songs on the soundtrack — Piper's own 'Honey to the Bee' included. If Girls was set eight centuries back, was about a teen, and also featured Joe Alwyn (Conversations with Friends) as a favourite uncle, this'd be the dream end result. Catherine Called Birdy streams via Prime Video. GUILLERMO DEL TORO'S CABINET OF CURIOSITIES Whether he's dallying with vampires, haunted houses, creepy carnivals, eerie orphanages, rampaging kaiju or romantic amphibious creatures, Guillermo del Toro has thoroughly proven himself an avid collector. You don't amass a resume like his without actively endeavouring to curate an on-screen compendium — with his movies stuffed full of ideas, themes, motifs and images that just keep fascinating the acclaimed filmmaker. So far, the proof has beamed into theatres for cinema-goers to revel in; however, new TV horror anthology Guillermo del Toro's Cabinet of Curiosities is a natural addition to his filmography. Across eight chapters helmed by eight other directors — including The Babadook and The Nightingale's Jennifer Kent, Mandy's Panos Cosmatos, A Girl Walks Home Alone at Night and Mona Lisa and the Blood Moon's Ana Lily Amirpour, and Cube's Vincenzo Natali — del Toro keeps compiling, curating and and dissecting the unsettling, unnerving, mysterious and curious, whether Cabinet of Curiosities is getting grim and cautionary, stomach-churningly gory and grotesque, sporting soulful restraint, unleashing a stunning display of phantasmagoria or delighting in being off-kilter. Boasting a cast spanning everyone from Harry Potter's Rupert Grint and I'm Your Man's Dan Stevens to Mythic Quest and Moon Knight's F Murray Abraham and RoboCop's Peter Weller, there are no disappointing drawers in this Alfred Hitchcock Presents-meets-The Twilight Zone series; the tone varies, but del Toro and his colleagues are committed to contemplating what scares us and why. In Lot 36 by Guillermo Navarro, cinematographer on six of del Toro's features, that means a dark rumination on xenophobia — and while Amirpour's The Outside is noticeably lighter than its counterparts, squeezing out a satirical, The Stuff-esque, Christmas-set satire on consumerism, conformity and beauty, it too is sinister and disquieting. Other standouts include the show's two most grisly episodes: Natali's Graveyard Rats and David Prior's (The Empty Man) The Autopsy, both of which have descriptive titles. Or, there's Cosmatos's The Viewing, a wild, dazzling, synth-scored trip in the best possible way — and Kent's The Murmuring, reuniting her with The Babadook's Essie Davis for another stirring and striking haunted-house tale about grief and motherhood. Guillermo del Toro's Cabinet of Curiosities is available to stream via Netflix. Read our full review. THE FIRE WITHIN: A REQUIEM FOR KATIA AND MAURICE KRAFFT The twin film phenomenon strikes again — so if The Fire Within: A Requiem for Katia and Maurice Krafft gives you a hefty dose of déjà vu, there's a reason for that. You may indeed have seen a movie about the French volcanologists already this year, and with a similar title, all courtesy of big-screen release Fire of Love. If you did catch that also-stunning flick, then you've glimpsed plenty of the imagery showcased here as well. Keep it all coming, please. However many documentaries that however many filmmakers want to craft about the Kraffts, their lives, work and impact — and using their sublime footage from decades spent surveying lofty and dangerous peaks, too — audiences should lap each and every one up. Of course, this particular doco hails from the great Werner Herzog (Fireball: Visitors from Darker Worlds), who already showed Katia and Maurice ample love in 2016's Into the Inferno, so it was always going to be a must-see. Narrated with his distinctive tones and inimitable perspective on existence, The Fire Within: A Requiem for Katia and Maurice Krafft truly feels like the movie that the iconic German director (and one-time Parks and Recreation star) was born to create. Whether undulating hypnotically with red lava flows or inciting gut-wrenching terror with towering, billowing grey explosions projecting into the heavens, the imagery captured by Katia and Maurice is mesmerising, revealing and astonishing — no matter how many times you watch it. It's little wonder, then, that Herzog states from the outset that his aim with The Fire Within isn't to give the world another Krafft biography (because plenty of those already exist) but to do justice and pay tribute to their recorded materials. His voiceover still provides the necessary basic details for first-timers to the pair's story, however, including beginning with visuals from the 1991 Mount Unzen eruption in Japan that claimed their lives. But Herzog knows what anyone who's ever come across the Kraffts before knows, and everyone watching this movie quickly learns: that their otherworldly footage makes a helluva impact all by itself, including inspiring thoughts about nature, humanity, how humbled the latter is by the former, the earth's longevity, life's oh-so-brief run, passion and the importance of doing something you love. Herzog's own observations are a fantastic bonus, though. The Fire Within: A Requiem for Katia and Maurice Krafft streams via Docplay. THE MIDNIGHT CLUB New year, new spooky season, new Mike Flanagan series. Yes, that's as great a tradition as any. It hasn't quite happened every 12 months since 2018's The Haunting of Hill House — 2019 is the outlier — but 2020's The Haunting of Bly Manor, 2021's Midnight Mass and now 2022's The Midnight Club have kept the trend going, serving up a fresh dose of frights from the filmmaker also behind Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep. Co-created with Bly Manor alum Leah Fong, The Midnight Club offers a bit of a departure, however, this time going down the teen-centric route. Happily nodding to The Breakfast Club but shifting to a decade later and an evening hour, the series hails from the books by author Christopher Pike, and takes its name from a group of cancer patients getting treatment at a fancy hospice centre. After dark, they secretly meet to share spooky stories, and try to freak each other out. But there's another caveat attached to their tale-telling: whichever one of the terminally ill teens passes away first, they have to promise to try to contact the rest of the cohort from the other side to let them know what it's like. While The Midnight Club's moniker directs its focus away from its setting, another eerie abode is at the heart of the show — so, yes, it's classic Flanagan. Also thoroughly in the writer/director's wheelhouse: pairing chills, thrills, bumps and jumps with fleshed-out characters, and musing on the power of horror, the terrors of mortality and the inevitably of death in tandem. The cast should all use the series as a launchpad, too, especially Iman Benson (#BlackAF, Alexa & Katie) as Ilonka, the newest arrival at Brightcliffe Home. After being diagnosed with thyroid cancer just as she's preparing to go to college, the bright student finds the hospice online, researches its past and is determined to use it as a path to actually having a living future. If the narrative was that straightforward, there wouldn't be a series, though — and if you're hanging out for Flanagan's 2023 effort The Fall of the House of Usher, this'll fill the gap nicely. The Midnight Club streams via Netflix. WEREWOLF BY NIGHT Running for 53 minutes, Werewolf by Night is more a standalone Marvel Cinematic Universe special than a movie. It's the first release of its type for the sprawling comic book-to-screen behemoth, and it makes the case for more like it. In fact, if you've been feeling fatigued by average big-screen MCU releases lately, it also makes the case for more variety and experimentation in the Marvel blockbuster realm in general — because when the usual mould gets tinkered with in a significant way, and not just with a goofy vibe like Thor: Love and Thunder, something special like this can result. The mood is all horror, in a glorious throwback way, complete with gorgeous black-and-white cinematography. The focus: hunting for monsters, which does, yes, involve bringing together a crew of new characters with special traits. Thankfully, that concept never feels formulaic because of how much creepy fun that Werewolf by Night is having, and how much love it splashes towards classic creature features. That monochrome look, and the shadowy lighting that comes with it, clearly nods to the ace monster flicks of the 1930s and 1940s; composer-turned-director Michael Giacchino (who provided Thor: Love and Thunder's score, in fact), must be a fan, as we all should be. His filmmaking contribution to the MCU takes its name from comic-book character Werewolf by Night, which dates back to the 70s on the page — but if you don't know that story, let the same-titled flick surprise you. The plot begins with five experienced monster hunters being summoned to Bloodstone Manor following the death of Ulysses Bloodstone, and told to get a-hunting around the grounds to work out who'll be the new leader (and also gain control of a powerful gem called the Bloodstone). That includes Jack Russell (Gael Garcia Bernal, Station Eleven), plus Ulysses' estranged daughter Elsa (Laura Donnelly, The Nevers). Everything that happens from there — and before that — instantly makes for pulpy and entertaining viewing. Werewolf by Night streams via Disney+. HELLRAISER Horror remakes and sequels are a bit like Halloween itself: even if you're not a fan, they always keep coming. First, a key rule about giving beloved old flicks a do-over or a years-later followup: the originals always still exist, no matter how the new movies turn out. Now, a crucial point about Hellraiser circa 2022: it's never going to be the OG picture, but it's still visually impressive, eager to get gory in bold and inventive ways, well cast and also happy to muse thoughtfully on addiction. And yes, there's a note of warning included in that above assessment of a film that arrives 35 years after Clive Barker's first stab at the series, and following nine other sequels. Directed by The Night House helmer David Bruckner, the new Hellraiser is stylish with its violent, bloody imagery, but it also still loves ripping flesh apart — and serving up a grisly nightmare. For newcomers to the Hellraiser fold, beware of puzzles. The moving box here is oh-so-enticing — that's how it gets its victims — but it's also a portal to a hellish realm. That's where demonic, frightening-looking beings called Cenobites dwell, and they're eager to haunt and terrorise the living. (Yes, that includes the ghoulish Pinhead, whose aesthetic really is all there in the name.) Accordingly, this Hellraiser movie kicks off with millionaire Roland Voight (Goran Visnjic, The Boys) obsessed with the box, and his lawyer Menaker (Hiam Abbass, Ramy) luring in new people to get torn to pieces. Then, six years later, recovering drug addict Riley (Odessa A'zion, Good Girl Jane) and her boyfriend Trevor (Drew Starkey, The Terminal List) find the cube in their possession. When it claims the former's brother Matt (Brandon Flynn, Ratched), she's determined to work out what's going on — and, while never full of narrative surprises, the brutal imagery sears itself into viewers' memories. Hellraiser streams via Binge. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. Mass streams via Stan. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE WHITE LOTUS Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort once again examines sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few regardless of bank balance — and with writer/director/creator Mike White (Brad's Status) still overseeing proceedings, the several suitcase loads of smart, scathing, sunnily shot chaos that The White Lotus brings to screens this time around are well worth unpacking again. Here, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property and work through their jumbled existences. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Taormina outpost of the high-end resort chain, Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. She's barely surprised about much beforehand, either. That includes her dealings with the returning Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher), her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang); three generations of Di Grasso men, aka Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), Hollywood hotshot Dominic (Michael Imperioli, The Many Saints of Newark) and the Stanford-educated Albie (Adam DiMarco, The Order); and tech whiz Ethan (Will Sharpe, Defending the Guilty) and his wife Harper (Aubrey Plaza, Best Sellers), plus his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). The White Lotus streams via Binge. Read our full review of season two. THE PERIPHERAL For four seasons on Westworld so far, viewers have been asked to ponder humanity's potential future with robots and simulations. A key question driving the hit film-to-TV HBO series: how might the years to come unfurl if people use mechanics, artificial intelligence and elaborately fabricated worlds as playthings and playgrounds? In The Peripheral, a similar query arises, also musing and hypothesising on what lies ahead — and how flesh, machines, the real and the digital might coexist. The latest question, in another twisty series, as fronted by Chloë Grace Moretz (Mother/Android): what happens if robots and virtual reality become humanity's conduit through time? Bringing Westworld to the small screen and now executive producing The Peripheral, Jonathan Nolan and Lisa Joy clearly have a niche. Indeed, if you didn't know that the latter series comes from the same minds as the former — adapting a 2014 book of the same name by cyberpunk pioneer William Gibson, and with Scott B Smith (The Burnt Orange Heresy, A Simple Plan) as its showrunner — you'd easily guess while watching this new tech-, robot-, avatar- and dystopia-obsessed effort. When storytellers speculate on what the upcoming years might hold, they theorise about choices and ramifications. The Peripheral has many to ruminate upon. In the process, it also serves up two visions of the future for the price of one, both riffing on aspects of life circa 2022 that could easily evolve as predicted. When the series begins in 2032, 3D print shop worker Flynne Fisher (Moretz) simply decides to assist her military-veteran brother Burton (Jack Reynor, Midsommar) by slipping into his avatar to make cash in a VR game — which she's better at than him, but sexism in the industry still reigns supreme. Then, when he's tasked by a Colombian company with testing a new virtual-reality headset that looks lower-tech, doesn't come with a glasses-like screen but exceeds the competition in its realism, she does the honours again. Flynne hasn't just plugged into a better simulation, though. Via data transfer, her consciousness is time-travelling to the future — to 2099, and to London — and inhabiting the robot body that gives the series its title while on an industrial-espionage quest. The Peripheral streams via Prime Video. Read our full review. INTERVIEW WITH THE VAMPIRE When Louis de Pointe du Lac met Lestat de Lioncourt, his life forever changed. His death did, too. That's the story that Interview with the Vampire tells and, by committing it to the page in 1976, Anne Rice's existence was altered for eternity as well — although not quite in the same way, naturally. The author has been known for her Vampire Chronicles series ever since, and its debut entry was adapted into a Brad Pitt- and Tom Cruise-starring 1994 movie before getting a do-over now as a television series. Obviously, the late Rice doesn't share her characters' lust for blood, or their ability to thwart ageing and time. Still, her famed works keep enticing in both readers and viewers — and this latest novel-to-screen version is a gothic series worth sinking your teeth into, especially thanks to its willingness to take on race, to embrace queer themes, to get playful and humorous, and to splash a sweepingly rich iteration of its now well-known tale across streaming queues. If you've seen the film, you'll know Interview with the Vampire's basic gist, although there has been some tweaking. Nonetheless, Louis (Jacob Anderson, aka Game of Thrones' Grey Worm) and Lestat (Sam Reid, The Drover's Wife The Legend of Molly Johnson) meet in New Orleans, where they're both drawn to each other — and soon the former joins the latter in sleeping in coffins, avoiding daylight and (reluctantly) feeding on people. The series has the titular chatting happen in today's times, however, as a continuation of the movie's first conversation. Yes, this version of Daniel Molloy (Eric Bogosian, Succession) has been there and done this before. That didn't turn out so well for him, so he's reluctant about a repeat discussion, this time in Dubai. But Louis still has quite the story to unfurl, including covering been a Black man trying to make his way in the bayou at the turn of the 20th century, what it's meant to join the undead, his complicated relationship with Lestat, and the arrival of Claudia (Bailey Bass, Psycho Sweet 16) as part of their bloodthirsty family. Interview with the Vampire streams via AMC+. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Red Rocket streams via Binge and Prime Video. Read our full review. AMBULANCE Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's a Michael Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references his director's past movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that's as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Ambulance streams via Binge and Prime Video. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows over the same period and best 15 straight-to-streaming movies up until June.
Most filmmakers are considered prolific if they make a movie every two years. Since leaping onto the scene in 2005, Joe Swanberg has made 18. One of the leading figures of the mumblecore movement (an American indie film subgenre characterised by microscopic budgets and heavily improvised dialogue), Swanberg most recently earned plaudits for his charming romantic dramedy Drinking Buddies, starring Olivia Wilde and Anna Kendrick. We now know Drinking Buddies was scarcely in theatres before Swanberg began work on his next project, one that sees him re-team with Kendrick, along with New Zealand actress Melanie Lynskey and Girls creator Lena Dunham. Shot in Swanberg's cosy Chicago home, Happy Christmas chronicles the rocky yuletide holidays of new parents Jeff and Kelly (Swanberg and Lynskey) after Jeff's irresponsible sister Jenny (Kendrick) comes to stay. As with most of Swanberg's movies, the film had almost no scripted dialogue, and relied instead on the improvisational talents of the cast. We chat to Swanberg about the origins of the story, as well as his decidedly laidback approach to feature filmmaking. Is it true that the original script for Happy Christmas was only 15 pages long? Yeah that's right. It was in paragraph form, sort of a breakdown of what I thought would happen in each scene. What is it about that approach to storytelling that you like? Well there's a couple of things. I really love the fact that as a writer, I'm not putting dialogue into character's mouths, and that I'm having the actors own their characters and bring all these different viewpoints to them. I also like showing up to work each day not sure what's going to happen, and having those scenes be a true collaboration between myself and the actors and my cinematographer and my producers ... having ten smart people solving a problem rather than me sitting at a laptop trying to write a screenplay. So where do your films tend to start, if not a full script? Sometimes it's a theme that I'm interested in, and other times it's a character, but either way I tend to cast pretty early in the process. I want to know who I'm going to be working with, and then that collaboration with the actor is there at the beginning of the process, and I can work with them to flesh out that character. By the time we get there to shoot the movie, I have a pretty good sense of the arc of it, but it's really all the nuances and all the personality that we find on set. If you were ever to look at one of my outlines, it would read like the finished movie, but missing everything that makes the movie good (laughs). https://youtube.com/watch?v=A3OhjYvyC0c And in the case of Happy Christmas, what was your creative inspiration? It was two things, actually, both of them autobiographical. It was my younger brother coming to live with my wife and I soon after my son was born, and the experience of starting my own family and having a sibling in the house, which was wonderful and terrible, depending on the day. So I kind of took that feeling and tried to put it in there. And then there were conversations I was having with my wife about motherhood and about her kind of identity crisis she was having as an artist and an independent person, wrapping her head around the idea of being a stay-at-home mum. Just circumstantially we found ourselves in these very conservative, classic gender roles of the bread winner and the stay-at-home mum, which is not something that we really identified with. So it was a weird period of time for us. And I didn't feel like I had seen that in a movie before. So I took these two life events that in reality happened a year apart from each other, and then just crashed them together into a movie. One of the things I really appreciated about the film, and about a lot of your films, is the attention given to female characters. Is that something you're particularly conscious of? Yeah, it's important for me. Just as a person, I feel like I know what it's like to be a man, whereas I have no idea what it's like to be a woman, so it's subject matter that I'm just drawn to through my own curiosity. And also it's just so underrepresented in the movies. It's sadly pretty rare to have interesting, strong female characters. I've always wanted to make movies in territory that's underexplored, and where there's still room for discovering. So I feel like again and again I keep getting drawn back there because there's so much undiscovered country. And it's a chance to work with great actresses who don't get offered leading roles all that often. Given how much improvisation happens in the your films, how much footage do you usually end up with? There have been movies where I've ended up with mountains of footage, and others where we shot almost everything in the movie. It really depends. With Happy Christmas we shot on 16 millimetre [film], so I budgeted a 4:1 shooting ratio, and I think we stuck pretty close to that. Certain scenes we only shot once or twice, other scenes we shot ten times. It ended up being not that much footage. I think when you shoot film you have to be smart about preplanning in a different kind of way. When I shoot video I'm a little more apt to just shoot a lot on set. On my previous film Drinking Buddies, I probably shot about thirty hours of stuff, and with Happy Christmas I probably shot five or six. It really just depends. And why did you shoot on film? I went to film school and my whole education was on 16mm, so I was excited to try that again in a professional context. And also I'll admit I was a little bit worried that film was going to disappear and that I was never going to shoot a full feature on film. So there was a bit of fear and nostalgia going into that decision. But it felt right for the project, and I think I was just waiting for the kind of movie that felt like it wanted that texture and that kind of visual look, so it all lined up. The Christmas season, and the fact that it focused on a family; I think I wanted that warm, grainy, old home movie look that only film can provide. Are you often surprised by what your cast improvises on set? Definitely. It's one of the fun things about working this way. In almost every scene there's some moment that I feel like I never could have written. It's too human and too spontaneous to have been generated in the screenplay process. That's kind of what keeps me going every day. I show up to set each morning hoping that we get something like that and that I'm surprised by what happens. I want to make sure that the movies are flexible enough that if something really exciting happens that wasn't in the outline, there's room to incorporate that, and that the movie can follow what's actually happening, rather than following some predetermined game plan. And in the case of Happy Christmas, what's one example of that kind of moment, something that got you excited to be there? I had this idea that I wanted the women to write this 50 Shades of Grey-style erotic novel, and so those are scenes in the outline where I didn't write anything other than 'the three women sit in the office and write the book', because I really wanted Anna and Melanie and Lena to improvise that stuff. I wanted to be surprised by the story they came up with, and how crude they got with it. So that stuff was really fun; it was all just totally playing around and letting them run wild. I was also really proud of and excited by this central conversation in the middle of the movie where again the three women are sitting down in the basement drinking beers together and talking about motherhood and responsibility. That was a really important scene for me because thematically it's a big shift moment in terms of the story we're telling, and also it was a big impetus for wanting to make the movie in the first place. I think they did such a great job, and I think those three actresses are so smart, and such great writers. You hope it's going to go that well, but it still feels really good when you finish at the end of the day and you feel like you actually got the thing that you were hoping to get. Happy Christmas is available now on DVD and digital download.
By almost every conceivable metric, 2020 wasn't great. It was downright terrible, in fact. We know that you already know this, but let us share a sliver of good news: it was still a fantastic year for cinema. That's true even with picture palaces across Australia, New Zealand and the rest of the world closing for considerable periods. Indeed, when silver screens reopened again Down Under, and everyone was able to once again sit in darkened rooms and stare at celluloid dreams blown up big just as they're meant to be, we all remembered why the term 'movie magic' exists. And, in those theatres with their popcorn smells and booming sounds, we were able to see truly exceptional films. Every year delivers a treasure trove of movies — so much so that, here at Concrete Playground, we always put together multiple lists of film gems. As part of our end-of-year wrap-ups for 2020, we've already highlighted ten excellent movies that hit cinemas but sadly didn't set the box office alight, as well as 20 other standout titles from this year that really you owe it to yourself to have seen. From everything that flickered through a projector in general release in 2020, we're now down to the pointy end. Each year delivers awful, average and astonishing movies, and we've picked the cream of the crop when it comes to the latter. Some released pre-pandemic, in what seems like another life. Some are yet to hit cinemas, but will before the year is out. From movies that'll have you dancing in the aisles to unsettling head trips, these are the ten absolute best films of 2020 that made their way to the big screen. https://www.youtube.com/watch?v=DSFpK34lfv0&feature=youtu.be 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 the case in Nomadland, which will earn her another Oscar nomination and could even see her win a third shiny statuette just three years after she nabbed her last for Three Billboards Outside Ebbing, Missouri. 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 she spent her married life in turns into a ghost town when the local mine is shuttered due to the global financial crisis. 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's also Zhao's best work yet, and 2020's best film as well. Read our full review. https://www.youtube.com/watch?v=OsWV2qTX21k NEVER RARELY SOMETIMES ALWAYS When some movies mention their titles, they do so via a line of clunky dialogue that feels forced, overstressed and makes viewers want to cringe. Never Rarely Sometimes Always isn't one of those films. It does indeed task a character with uttering those exact words, but the scene in which they're voiced is the most devastating and heartbreaking movie scene of the year. Given the premise of writer/director Eliza Hittman's latest feature, that perhaps comes with the territory. It shouldn't, which is one of the points this layered film potently makes, but it does. Upon discovering that she's expecting — and being told by her local women's centre that she should go through with the pregnancy — 17-year-old Autumn (first-timer Sidney Flanigan) has no other choice but to take matters into her own hands. With her cousin Skylar (fellow feature debutant Talia Ryder), she hops on a bus from her Pennsylvania home town to New York to seek assistance from Planned Parenthood. Given that Skylar has stolen the funds for Autumn's abortion out of the cash register at work, and that they don't have enough to cover a place to stay, this isn't a straightforward quest. Hittman's naturalistic style, as previously seen in 2014's It Felt Like Love and 2017's Beach Rats, makes every second of Autumn's ordeal feel intimate, real and unshakeably affecting, as does Flanigan's internalised but still expressive performance as well. Read our full review. https://www.youtube.com/watch?v=97nnV0fNd30 AMERICAN UTOPIA On paper, American Utopia's concept doesn't just sound excellent — it sounds flat-out superb, stunning and spectacular. A new David Byrne concert film, capturing his acclaimed American Utopia Broadway production, as directed by Spike Lee? Sign the world up, and now. In the most welcome news of the year, the execution matches the idea in this instant masterpiece (and wonderful companion piece to 1984's Stop Making Sense). It'd be hard to go wrong with all of the above ingredients, but Lee's second film of 2020 (after Da 5 Bloods) makes viewers feel like they're in the room with Byrne and his band and dancers like all concert movies strive to but few achieve in such engaging a fashion. Every shot here is designed with this one aim in mind and it shows, because giving audiences the full American Utopia experience is something worth striving for. Byrne sings, working through both solo and Talking Heads hits. He waxes lyrical in his charming and accessible way, pondering the eponymous concept with an open and wise perspective. And he has staged, planned and choreographed the entire performance to a painstaking degree — from the inviting grey colour scheme and the open stage surrounded by glimmering chainmail curtains to the entire lack of cords and wires tethering himself and his colleagues down. Read our full review. https://www.youtube.com/watch?v=W-fxRXzfi0U KAJILLIONAIRE Awards bodies don't tend to recognise performances like Evan Rachel Wood's in Kajillionaire, but they should. It's a career-best effort from an actor with an array of terrific work to her name (most recently in Westworld), and it operates so firmly on the same wavelength as the film she's in that it's impossible to imagine how it would work without her. Kajillionaire is filmmaker Miranda July's latest movie, following Me and You and Everyone We Know and The Future, so it was always going to stand out. It was always going to need a knockout portrayal at its centre, too. Wood plays a 26-year-old con artist called Old Dolio Dyne, who has spent her whole life working schemes and scams with her parents Robert (Richard Jenkins, The Shape of Water) and Theresa (Debra Winger, The Lovers) — to the point that it's all that she knows, and it has made her the closed off yet still vulnerable person she is. But when her mother and father take lively optometrist's assistant Melanie (Gina Rodriguez, Annihilation) under their wing, Old Dolio is forced to reassess everything. That might sound standard, but July has never made a movie that's earned that term and she definitely doesn't start now. Kajillionaire is a heist-fuelled crime caper, and an eccentric and idiosyncratic one; however, it's also a rich and unique character study, an astute exploration of family and a love story — and Wood is essential at every turn. Read our full review. https://www.youtube.com/watch?v=kFqCTIdF7rs POSSESSOR The possibility that someone could hijack another person's brain, then use their body as a vessel to carry out corporate-sanctioned murder, is instantly distressing and disturbing. Whatever your mind has just conjured up reading that sentence, it has nothing on Brandon Cronenberg's vision of the same idea — as Possessor, his sophomore feature, illustrates in a brilliant and brutal fashion. As chilly and also as mesmerising as his first film, Antiviral, this horror-thriller spends its time Tasya Vos (Andrea Riseborough, The Grudge). It's her job to leap into other people's heads and carry out assassinations, and she's very good at it. When the movie opens, however, she experiences difficulties on a gig. Then she takes on another, infiltrating Colin's (Christopher Abbott, Vox Lux) brain, and struggles to maintain control over his personality and actions as she attempts to kill his fiancé (Tuppence Middleton, Mank) and her business mogul father (Sean Bean, Snowpiercer). Possessor's writer/director is the son of David Cronenberg, of Shivers, Scanners, Videodrome and The Fly fame, so exploring unnerving body horror has been implanted into his own head in a way, too. He certainly carries on the family name in a daring, determined and expectedly gruesome manner. Also striking and unforgettable here: the concepts that Possessor probes, including present analogues to Possessor's body-jumping technology. Read our full review. https://www.youtube.com/watch?v=PLNXHJB5Mto BABYTEETH Filmmaker Shannon Murphy made her feature debut with Babyteeth, but she shows no signs of merely cutting her chompers on this heartwrenching film. Based on the Rita Kalnejais-penned play of the same name and scripted for the screen by the writer as well, this Australian drama tackles a well-worn premise — that'd be: terminally ill teen falls in love as she endeavours to manage her grim health situation — with such shrewdness, vivacity and understanding that it puts almost every other movie about the same concept to shame. Milla (Eliza Scanlen, Little Women) is the cancer-afflicted high schooler in question. When she meets and clicks with 23-year-old small-time drug dealer Moses (Toby Wallace, Acute Misfortune), it takes her pill-popping mother Anna (Essie Davis, True History of the Kelly Gang) and psychiatrist father Henry (Ben Mendelsohn, The Outsider) time to adjust. Their struggles have nothing on Milla's own, though, because Babyteeth sees its protagonist as a person rather than an illness, and as someone with their own hopes, dreams, troubles and disappointments instead of the reason the folks around her have their lives disrupted. That's such an important move, but's just one of the many that the movie makes. Aided not only by superb (and AACTA Award-winning) performances all round, but also by arresting visuals and clever but realistic dialogue, Babyteeth proves both raw and dynamic from start to finish. Read our full review. https://www.youtube.com/watch?v=VFOrGkAvjAE SOUND OF METAL It's one thing to tell viewers that the character they're watching is losing their hearing. It's another entirely to ensure that they understand exactly how that feels. Sound of Metal adopts two methods to achieve the latter feat — one expected but still extraordinary, the other truly earning the usually overused term that is 'immersive'. Firstly, Riz Ahmed (Venom) gives his all to the role of heavy metal drummer and ex-heroin addict Ruben Stone. Realising that one of his senses isn't just fading but disappearing obviously upends every facet of Ruben's life, which Ahmed conveys in a powerfully physicalised performance (and his second portrayal of a musician coping with health struggles after this year's festival hit Mogul Mowgli, too). Just as crucial, however, is the soundscape created by debut feature director Darius Marder and his team. It mimics what Ruben can and can't hear with precision, and it couldn't be more effective at plunging the audience inside his head. Both choices — lead casting and the film's audio — invest weight and depth into a story that isn't lacking in either anyway. Putting his tour with his bandmate and girlfriend Lou (Olivia Cooke, Ready Player One) on hold, Ruben reluctantly moves to a rural community for addicts who are deaf to learn to live with his new situation, does whatever is necessary to rustle up the cash for a surgically inserted cochlear implant and faces more than few hard truths along the way. Read our full review. https://www.youtube.com/watch?v=7gOs6gKtrb4 THE LIGHTHOUSE It initially hit cinemas pre-pandemic, but The Lighthouse might just be the most relatable movie of 2020. There are no prizes for guessing where it is set, but The Witch filmmaker Robert Eggers has zero time for scenic seaside escapades, turning his attention to two men holed up in the coastal structure, unable to leave and going stir-crazy (to put it mildly) instead. Those lighthouse keepers are played by Willem Dafoe (At Eternity's Gate) and Robert Pattinson (Tenet), who both commit to the narrative with gusto. The former steps into the shoes of cantankerous sea dog Thomas Wake, while the latter endures quite the uncomfortable welcome as eager newcomer Ephraim Winslow — and, as anyone could predict given their talents and respective filmographies, they're gripping to watch. That sensation only increases when a storm sweeps in, with the fact that Winslow frequently fondles himself while holding a mermaid figurine marking just the beginning of The Lighthouse's claustrophobic chaos. Shooting in black and white, and boxing the film in via the 1.19:1 Movietone aspect ratio that's a throwback to a century ago, Eggers dives right into a vivid and entrancing nightmare that simultaneously unpacks masculinity, unfurls a manic head-trip and explores how people react when they're thrust together in a heightened scenario. Read our full review. https://www.youtube.com/watch?v=EU-Z90SEqGQ CORPUS CHRISTI An Oscar nominee this year — losing the Best International Feature Film category to Parasite — Corpus Christi examines faith with blistering and unflinching intensity. This quietly powerful Polish drama doesn't just contemplate what it means to believe, but how the supposedly pious actually enact their convictions (or don't, as the case often proves). Freshly released from reform school, Daniel (Bartosz Bielenia) is drawn to the seminary after connecting with the facility's head priest, Father Tomasz (Lukasz Simlat), during his sentence. Alas, his record instantly excludes him from following that calling, even though he's only 20 years old. Then, through a twist of fate that always feels organic, he's given the opportunity to act as the new spiritual advisor in a rural town after its residents mistake him for a man of the cloth. Given that this is an imposter tale, Corpus Christi proves inherently tense and bristling from the outset; however, just as much of that mood and tone stems from the way that Daniel's new community say one thing but act in a completely different manner involving a recent tragedy. Warsaw 44 and The Hater filmmaker Jan Komasa willingly steps into thorny territory as he tells the young man's tale (with top-notch help from Bielenia), and wonders why it's so easy for so many to cling to centuries-old concepts and stories, but so hard for most to put them in a modern, realistic and everyday context. Read our full review. https://www.youtube.com/watch?v=nzqevBnUUZU THE ASSISTANT Charting an ordinary day in the life of a junior staff member at a film production office, The Assistant is as unsettling as anything else that reached screens in 2020. Jane (Julia Garner, Ozark) has the titular position, working an entry-level job for a demanding head honcho who everyone in the office indulges — although viewers never get to meet him. She arrives at work before daylight, trudges through menial tasks and is treated poorly by her male colleagues. She's expect to anticipate everything that her boss could ever need or want, or face his wrath if she doesn't. And, as the day progresses, she realises just how toxic her workplace's culture is and how deep its inappropriate conduct burrows. Seeing how predatory the man she works for acts on a daily basis, and how his behaviour has a significant impact, she also learns how those who even try to speak out can still be powerless to effect change to stop it. If you've kept abreast of the #MeToo movement over the past few years, you'll know exactly what has inspired The Assistant, of course. However, Australian filmmaker Kitty Green wants her audience to experience this devastating scenario via Jane, rather than merely read about it. She doesn't just succeed; although she's working in fiction here, she directs a film as searing and perceptive as her last project, the excellent documentary Casting JonBenet.
Think Thornbury is a community-minded creative retail space and workshop in the heart of High Street that encourages guests to think, make and do. The retail space has an array of local goods and products that allow locals to support their community and its creatives. The store stocks plenty of quirky, cute and stylish goods for yourself or your loved ones, from homewares to stationery and cookbooks to accessories, mostly created by local artisans. The expansive space also doubles as a venue for art and craft events and workshops, supporting community creatives endeavours. Image: Kate Shanasy
In the space of a mere six months across the end of 2023 and beginning of 2024, Godzilla fans have enjoyed not one, not two, but three opportunities to see the now 70-year-old kaiju trample across the screen. Talk about a new empire. Not all of those projects are officially connected. Not all of them unleashed their giant creature upon cinemas. But just like standing at the foot of the lizard-like behemoth, there's been no avoiding the prehistoric reptile's footprint — in Japan's Godzilla Minus One, the film that finally won the Godzilla franchise an Oscar; in American streaming series Monarch: Legacy of Monsters, as led by Kurt and Wyatt Russell playing the same character; and now in Godzilla x Kong: The New Empire, the latest Monsterverse flick, which its TV predecessor also ties in with. Thinking about anything Godzilla-related seven decades into its life brings up a numbers game, then. The Gold Coast-shot Godzilla x Kong: The New Empire is the fifth Monsterverse movie and the seventh entry in the US-made saga that started with 2014's Godzilla. It's the 38th Godzilla film overall. Because King Kong is part of the equation, it's the 13th feature in that franchise, too. In other words, Godzilla x Kong: The New Empire is a flick with a massive history. Director Adam Wingard, who helmed 2021's Godzilla vs Kong first, knows the weight that such a hefty past brings to his second entry in all of the above sagas. That said, the filmmaker behind A Horrible Way to Die, You're Next and The Guest also knows the possibilities that can spring. One such opportunity: having its two titans join forces, rather than do battle. Godzilla vs Kong wasn't the debut picture to pit Japan's scaly icon and the world's most-famous towering simian against each other — that idea dates back to 1962's King Kong vs Godzilla — and Godzilla x Kong: The New Empire isn't the first feature to see how Godzilla can benefit from having friends to fight beside. But Wingard's sophomore Monsterverse film values its titular pairing, which arises to try to save the world from new threats. It also enjoys putting its characters in an action-adventure escapade in Hollow Earth, the titans' home world, as much as being a monster movie. And, it appreciates its human cast, such as the returning Rebecca Hall (Resurrection), Brian Tyree Henry (Atlanta) and Kaylee Hottle (Magnum PI), plus Wingard's The Guest lead Dan Stevens (Welcome to Chippendales) joining as a veterinarian equipped to do dentistry on Kong. Each of Godzilla x Kong: The New Empire's core quintet came to the movie via different paths, and with an array of backgrounds with the fictional creatures they're now linked with. "The origins of my memories of Godzilla and Kong go back as far as I can remember. I think the Godzilla films and the King Kong movies, specifically the original and the 76 one, they've always existed in my reality as far back as I can remember," Wingard tells Concrete Playground. "Specifically, I think that they were playing on daytime television all the time. That's how I would see movies in general, and that's how I got into them in the first place." In contrast, teenager Hottle, who plays Skull Island orphan Jia, is deaf, and made her acting debut in Godzilla vs Kong, notes that "I had heard of them, but that's about it." She continues: "I didn't know much more about either of them. And once I acted in the movie, I thought it was, of course, strange, but a great experience." [caption id="attachment_948230" align="alignnone" width="1920"] Eric Charbonneau/Getty Images for Warner Bros.[/caption] Hall's leap into the Monsterverse as "the Jane Goodall of Kong", aka Dr Ilene Andrews, slots in on her resume alongside the vastly dissimilar Vicky Cristina Barcelona, The Town, Christine and The Night House — and Tales From the Loop on the small screen — among other work, but also after featuring in Iron Man 3. Henry, who steps into the shoes of conspiracy theorist Bernie Hayes, boasts an Emmy nomination for Atlanta, an Oscar nomination for Causeway and a Tony nomination for Lobby Hero. His recent flicks include Bullet Train and Eternals. And Stevens has period drama Downton Abbey, playing the second half of Beauty and the Beast's title, superhero series Legion and giving German-language dramedy I'm Your Man its humanoid robot on his filmography. Ask them about their time with Godzilla and Kong, as we did, and Hall mentions always wanting to be in "big, iconic kind of movies", Henry says it's a "a place to have fun" and Stevens advises that having the part of Trapper written for him was "a huge honour". With Godzilla x Kong: The New Empire releasing in cinemas Down Under on Thursday, March 28, we also chatted with Wingard, Hottle, Hall, Henry and Stevens about the sense of responsibility behind any Godzilla or Kong entry, and the kind of preparation required for a Monsterverse team-up flick — plus ensuring that the movie was grounded in its human characters, subverting stereotypes, working together, the film's buddy scenario between its eponymous critters and more. On Swinging Into Godzilla and Kong's Huge On-Screen History Wingard is no stranger to entering well-traversed realms. Before hopping behind the camera with the Monsterverse, he directed 2016's Blair Witch, the third flick in the big-screen horror series that began with the low-budget sensation of 1999. Then, in 2017, he gave Japanese manga Death Note an American live-action adaptation. Still, there's no denying that making a Godzilla and Kong movie, and therefore working with characters that date back seven and nine decades, involves a feeling of duty. "It absolutely does," says the director. "And it's such an honour to be able to carry on their legacy, because they've been around since the beginning of special effects in cinema, to a certain degree. The original Kong was so groundbreaking in terms of its approach to stop-motion at the time." "So I don't take that lightly. And what's cool about Godzilla and Kong, those characters, is that there's been so many iterations over the years, and so many tonal takes and stylisations. Even Godzilla as a character, he's existed as a good guy, a bad guy, a metaphor, a character, all these kind of things and everything in-between, and sometimes multiple things at once. So there's a lot to take in, but there's still somehow so many new possibilities of how you can explore them," Wingard continues. "That's why it was so exciting for me to take on this film. Even though I've even made a Godzilla vs Kong movie myself, I still felt like there was still plenty of untapped potential and ways to utilise these characters to innovate the way movies are made. And to be able to lean into a film that has so many long sequences of nonverbal visual storytelling is something you really couldn't do in any other subgenre than this." On Becoming the Heart of a Coming-of-Age Story Within the Monsterverse In Godzilla vs Kong, Hottle's Jia was in as unique a situation as anyone can be in the Monsterverse: as the last surviving member of the Iwi, the tribe that resided on Skull Island, the adopted daughter of Dr Andrews had a bond with Kong like no one else. Godzilla x Kong: The New Empire continues that thread as Jia endeavours to fit in in her new life, and also when she's drawn into Hollow Earth to assist with the ultimate animal pal. "I think that her journey is very tough, but it's a great journey for her," Hottle reflects about Jia's coming-of-age narrative in the new movie. "She grows up, she's older, and she's figuring out how to belong somewhere that she wants to belong — and she's going to get there in the end of her journey." As for what she hopes comes next for Jia, "I think I can see her helping others," Hottle explains. Preparing for her role simply requires "trying to understand the storyline of who Jia is, and what she wants to be as well. So I try to think of that when I'm portraying her character," Hottle also notes. But it's equally crucial that the film is grounded in its humans, especially Jia. "If you watch the whole monster movie, of course that's what we want. But the additive of the human factor, making those connections, and Jia's experience in her journey, that adds more to the movie. It's a great connection to show in this kind of movie," Hottle advises. Ask Hottle what gets her excited about being part of the Monsterverse — and such a pivotal part, too — and she's clear: "my character just being portrayed in a movie — and figuring out who I get to act as, and what I get to act as, as well". On Challenging Damsel-in-Distress Stereotypes in Monster Movies — and Having Fun If you're wondering why Hall initially took on the role of Dr Andrews, "the first time, it was unlike anything I'd done. Also, Adam Wingard pitched it to me as 'the Jane Goodall of Kong', which I thought was such an interesting pitch," she shares. Henry jokes that "he pitched it to me that way too, to get me to come back here" — which is exactly the banter you'd expect about a movie that its three biggest on-screen names, Stevens among them, all describe as plenty of fun. "I wouldn't say that I wasn't a kid that dreamed of being in a Kong or Godzilla movie, but I was a kid that dreamed of being in movie movies — like real popcorn, like entertaining, like big, iconic kind of movies. And this is that opportunity," Hall furthers. "There is so much fun to be had in that." "I am a cinephile sort of snob in many ways, but my snobbery includes good popcorn movies. There are some good, good movies. A good movie is a good movie, is what I'm saying." "So it's everything to me. Plus, there's a history of women in Kong movies that puts them in the damsel-in-distress place, and they're very rarely in positions of authority or capability, or able to call the shots or have any autonomy on some level. And I think that that has been changing over the last few years in this iteration of the Monsterverse. And I think Andrews is a really big step in that direction. In this movie especially, she's really the boss, and that was fun." On Being Able to Further Flesh Out Characters the Second Time Around Henry doesn't just jest about why he joined the Monsterverse. He starts digging into how he prepared for playing Bernie by answering that "channeling my inner neuroses was really fun — to have an outlet to just let it all out, to be able to scream as often as possible, to cry. Oh, were you talking about this movie?". Bernie might be one of Godzilla x Kong: The New Empire's sources of comic relief, but he's still a character that's taken seriously, including by Henry. "I signed on to champion Bernie because I really love Bernie. I love everything about him. I love that he was looked at as a crackpot. I love that he has always been right about his theories. I also love that he found a team," he advises. "He was kind of out there on his own. No one really received him in any kind of way. And Rebecca's character, Dr Andrews, really coming to me and being like 'hey, you are valuable; hey, we actually could use you' was really exciting. And really getting a chance to go in and show all of who Bernie can be: that he had dreams of being a documentarian, that he had these wishes to see Hollow Earth. And then watching him immediately regret it the minute that he gets down there. To me it was like 'aaaah, I get this guy very much'." "So, he was a place to have fun. I got to wear leather. Like, that was truly all I really wanted. I was like 'can we put Bernie in leather?'. And Adam was willing to go along with my ride as well," Henry says. Pointing to Hall and Stevens, he also notes that "to be able to play with them" was among the appeal of returning to the character. "To be completely honest, to be able to play with them, to see that Bernie found a tribe and to find a family — it was a no-brainer to come back." On Leaping From Indie Thrillers to Monster Movies with the Same Director When Stevens starred in The Guest for Wingard in 2014, he'd already amassed a decade of on-screen credits. Downton Abbey had come calling by then as well. But the indie thriller was a breakout performance. At the time, reteaming with his director on a movie about Godzilla and Kong wasn't something he could've conceived would arrive ten years later, however. "I could definitely see Adam going on to direct big movies like this. He's steeped in fandom. He's a guy who worked in the video store throughout his adolescence and watched every single movie in that store. He just knows this world so well and is able to transmit that to fans, transmit that enthusiasm through the screen," Stevens says. "I never dreamed that I would be teaming up with him on this. I loved the job he did on the last movie with these two [Hall and Henry], and I just enjoyed that as a fan. So I was giddy when he asked me to join it, really." "And the fact that they wrote Trapper with me in mind was a huge honour — it made it very, very attractive. But also Trapper is a great character to join this world with. And it really embodies the spirit of fun, I think, that Adam brings to these kind of movies, and enables us to just go on a really wild ride with this one." On Letting Godzilla and King Kong Team Up, Rather Than Battle Each Other Hottle, Hall, Henry and Stevens' on-screen alter egos are Godzilla x Kong: The New Empire's human heroes. Their monster equivalents: both Godzilla and Kong. Neither were born into pop culture as villains. Watching them fight it out, including in Godzilla vs Kong, has always felt manufactured. Here, thankfully, they have other foes to deal with — primarily the Skar King, the orangutan-esque enemy that's been throwing his weight around Hollow Earth — in their roles of protectors of humanity and the natural world. Not just because he helmed Godzilla vs Kong, Wingard understands the appeal of having Godzilla and Kong face off. "I can remember as far back as being in maybe first or second grade and having arguments on the playground about who would win a fight, Godzilla or King Kong. That's just how iconic they are, that kids all know and love them," he notes. But with Godzilla x Kong: The New Empire, he also appreciates that getting Godzilla and King Kong teaming up is a dream scenario. "As a filmmaker, it's just the ultimate stomping ground of being able to play with toys on a creative level. And we're always finding new, interesting ways to explore their realities. These are 300-foot-tall characters, and so it's always fun to try to find things that you can juxtapose onto them that are relatable," he shares. "So, for instance, we have one scene in this film where Kong has some dental work done, and that was something that I was really pushing for right out the gate — because I've also had a lot of dental work done over the years, and had some pretty traumatic experiences. So in a way, I had to work in my own catharsis through Kong's experience of dental work in this movie. But that's just an example of how you're always trying to find relatable ways to re-experience the monsters." Godzilla x Kong: The New Empire opened in cinemas Down Under on Thursday, March 28, 2024. Read our review. Images: courtesy of Warner Bros. Pictures.
What do you get the Gelato Messina fan who has everything, including a freezer filled with ice cream, plus gelato-inspired candles, lip balm, lube and body wash, too? The perfect kicks to don while eating gelato, thinking about gelato, going out to get gelato and wishing they had more gelato, of course. While Messina already has its own clothing line, now the sweet-treat brand is launching its first-ever range of sneakers. And, like chain's wild and wonderful gelato flavours, these shoes are a limited-edition special. After fellow Sydney-born dessert chain Tokyo Lamington teamed up with the artists at Customs Den on its own footwear earlier in 2023, Messina has now gone and done the same. This time, pairs of Nike Dunk Highs have been given a handpainted makeover, which is never a small feat. With these gelato-hued shoes, each set took between eight and ten hours' work. Gelato is obviously a wide-ranging theme — as Messina fans know, the variety of flavours that the chain scoops up is limited only by its team's imaginations — so these sneakers hone in on one of its favourites. If you adore the brand's dulce de leche gelato, as everyone who tastes it does, then you'll spot why these new shoes feature caramel and cream tones. Yes, Messina's Argentinean caramelised milk, which it makes in-house, is the colour inspiration for these multi-tone kicks. Also featured on the shoes: Messina cartoons and the company's name, so everyone will know why you're sporting some truly rare footwear. Only 100 pairs are available, all numbered from one to 100, and they unsurprisingly don't come cheap. You'll pay $700 to show your love for Messina, gelato and dulce de leche on your feet — and every one will be made bespoke for each customer. Custom Den is taking pre-sale orders now until Wednesday, May 31, unless they sell out earlier. Once you've nabbed yourself a pair, you can expect them to be delivered within six-to-eight weeks. For more information about Gelato Messina's sneakers, or to buy a pair, hit up the brand's website.
Come on Barbie, let's go party. Let's go to the real world, too. In the second sneak peek at Greta Gerwig's Barbie, the eponymous doll (Margot Robbie, Babylon) and her also-plastic beau Ken (Ryan Gosling, The Gray Man) are living life in Barbie Land, which is meant to be perfect. If you like pink and pastel hues aplenty, which the film splashes through its frames heavily and happily, it'd clearly be a dream. But that supposed bliss brings an existential crisis for the movie's main figure, plus ample everyday angst for its central Ken. Marking Gerwig's third solo stint behind the camera after Lady Bird and Little Women, scripted by the actor-turned-director with fellow filmmaker Noah Baumbach — her helmer on Greenberg, Frances Ha, Mistress America and White Noise, and real-life partner — and boasting a cast that's a gleaming toy chest of talent, Barbie might be the most anticipated toy-to-film release ever. There's that pedigree, of course. There's also the picture's patently playful vibe, which first shone through in an initial teaser trailer that parodied the one and only 2001: A Space Odyssey, and beams just as brightly in its just-dropped next look. Here, there are Barbies everywhere, with Rae (Insecure) as president Barbie, Dua Lipa (making her movie debut) as a mermaid Barbie, Emma Mackey (Emily) as a Nobel Prize-winning physicist Barbie, Alexandra Schipp (tick, tick... BOOM!) as an author Barbie and Ana Cruz Kayne (Jerry and Marge Go Large) as a supreme court justice Barbie — and Nicola Coughlan (Bridgerton) as diplomat Barbie, Kate McKinnon (Saturday Night Live) as a Barbie who is always doing the splits, Hari Nef (Meet Cute) as doctor Barbie, Ritu Arya (The Umbrella Academy) as a Pulitzer-winning Barbie and Sharon Rooney (Jerk) as lawyer Barbie. There's also a whole heap of Kens, including Simu Liu (Shang-Chi and the Legend of the Ten Rings), Kingsley Ben-Adir (One Night in Miami), Ncuti Gatwa (the incoming Doctor Who) and Scott Evans (Grace and Frankie). And, Michael Cera (Arrested Development) plays Alan, Emerald Fennell (The Crown) plays Midge, Helen Mirren (Shazam! Fury of the Gods) is the narrator, America Ferrera (Superstore) and Ariana Greenblatt (65) are humans, Jamie Demetriou (Catherine Called Birdy) is a suit, Will Ferrell (Spirited) wears a suit as Mattel's CEO and Connor Swindells (also Sex Education) is an intern. Barbie brings all those characters to the screen across its dream house-filled Barbieland and its version of the real world, as its main doll seems to realise that life in plastic mightn't be so fantastic after all. The new trailer provides more of a storyline than the first did, while also teasing the film's sense of humour — largely around Gosling's Ken, whether he's insisting that him and Robbie's Barbie are boyfriend and girlfriend, fighting with Liu's Ken about "beaching" each other off or sneaking into the Barbie convertible with his rollerblades ("I literally go nowhere without them") when Barbie is driving off to reality. What happens from there, and whether this'll be the best figurine-to-film adaptation yet in a mixed field that also includes the Transformers series, Trolls, The Lego Movie and its sequel, Battleship and the GI Joe films, will all be pulled out of the toy box in cinemas on July 20 Down Under. And no, there's still no signs of Aqua's 'Barbie Girl' on the trailer's soundtrack; however, you'll likely get it stuck in your head anyway just thinking about this movie. Check out the latest trailer for Barbie below: Barbie releases in cinemas Down Under on July 20, 2023.
In the 90s classic that is Point Break, some Southern California surfers don't take too kindly to Johnny Utah (Keanu Reeves, Sonic the Hedgehog 3) hitting the waves on their turf. In 70s Australian masterpiece Wake in Fright, a new arrival in the outback — the fictional Bundanyabba, with the film shooting Broken Hill — isn't greeted warmly, either. Combine the two and The Surfer might be the end result, at least based on the Nicolas Cage-starring Aussie movie's just-released full trailer. If Cage said "I want my surfboard" to you, you'd take notice. But in The Surfer, that request doesn't go as planned for his character. Instead, a group of local surfers just laugh and tell him that it isn't his board — as audiences also caught a glimpse of back in 2024 when the Australian-made psychological thriller initially dropped its first clip. [caption id="attachment_931569" align="alignnone" width="1920"] Radek Ladczuk[/caption] It was before that, in 2023, that word arrived that the inimitable actor was hopping from playing himself in 2022's The Unbearable Weight of Massive Talent and then Dracula in 2023's Renfield to becoming an Australian surfer in a film called, fittingly, The Surfer. Then came first-look image of the actor from late in 2023, that aforementioned initial clip and a debut at Cannes 2024. Next stop: playing US cinemas from early May 2025. After that, Cage's Aussie stint will make its way to picture palaces in Australia from Thursday, May 15, 2025. Stan, which is behind the movie, will then stream it locally, naming it on the platform's 2025 slate and locking in a Sunday, June 15, 2025 small-screen release. [caption id="attachment_956101" align="alignnone" width="1920"] Radek Ladczuk[/caption] Slotting into Cage's resume alongside everything from crooning Elvis songs in David Lynch's Wild at Heart to having everyone see him when they slumber in Dream Scenario and getting murderous in Longlegs, The Surfer sees him star as an Australian expat returning home from America, then getting in a beach battle with that local gang of wave riders. The actor's titular character makes the trip Down Under after years in the US, only to get humiliated by other surfers in front of his teenage son. Cue a turf war, plus Cage's protagonist refusing to leave the beach. Cue the stakes escalating and the movie's namesake having his sanity tested, too. The film shot in Yallingup in Western Australia, just in the single location, with director Lorcan Finnegan (Vivarium) helming and working with a script by screenwriter Thomas Martin. Featuring alongside Cage: an Aussie cast that spans Julian McMahon (FBI: Most Wanted), Nicholas Cassim (The Messenger), Miranda Tapsell (The Artful Dodger), Alexander Bertrand (Australian Gangster), Justin Rosniak (Mr Inbetween), Rahel Romahn (Here Out West), Finn Little (Yellowstone) and Charlotte Maggi (Summer Love). Check out the trailer for The Surfer below: The Surfer releases in Australian cinemas on Thursday, May 15, 2025, then streams via Stan from Sunday, June 15, 2025. UPDATED: Friday, February 28, 2025.
It's time to get the word "Jellicle" stuck in your head again: to mark 40 years since it first hit the stage in Australia, Cats has locked in a new season Down Under. Back in July 1985, Aussie audiences initially experienced Andrew Lloyd Webber's acclaimed production, which turned a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. The place: Sydney, aka where Cats is heading again from June 2025. Four decades ago, the show pranced and prowled through Theatre Royal Sydney — and the new season will scamper across the boards there again, too. There's no word yet on whether the show's 2025 Australian run will make stops in any other cities, so if you're keen for some new Cats memories, booking a seat in the Harbour City is your only current way of guaranteeing them. "Cats is a legendary show that I've admired for over 40 years. A sparkling fusion of music, dance and verse, it was revolutionary when it first opened and enticed new audiences into the world of musical theatre," said producer John Frost for Crossroads Live about the new Aussie performances. "I can't wait to bring the original production of Cats back to Australia where it all began, at Theatre Royal Sydney, to celebrate its 40th anniversary in Australia." If you're new to Cats, it spends its time with the Jellicle cat tribe on the night of the Jellicle Ball. That's the evening each year when their leader Old Deuteronomy picks who'll be reborn into a new Jellicle life by making the Jellicle choice. And yes, "Jellicle" is uttered frequently. Of late, audiences might be more familiar with Cats as a movie. In 2019, the musical made the leap from stage to screen with a star-studded cast including Idris Elba (Hijack), Taylor Swift (Amsterdam), Judi Dench (Belfast), Ian McKellen, (The Critic) James Corden, (Mammals) Jennifer Hudson (Respect), Jason Derulo (Lethal Weapon), Ray Winstone (Damsel) and Rebel Wilson (The Almond and the Seahorse) playing singing, scurrying street mousers. If you ever wanted to see Swift pouring cat nip on a crowd of cats from a suspended gold moon, or were keen to soothe your disappointment over the fact that Elba hasn't yet been James Bond by spotting him with whiskers, fur and a tail, this was your chance. For its efforts, the Tom Hooper (The Danish Girl)-directed film picked up six Golden Raspberry Awards, including Worst Picture. But while the movie clearly didn't hit the mark, you can see why this feline-fancying musical has been such a huge theatre hit when it makes its Aussie stage comeback. View this post on Instagram A post shared by Cats Australia (@catsthemusicalau) Cats will play Theatre Royal Sydney, 108 King Street, Sydney, from June 2025. Head to the musical's website to further details and to sign up for the ticket waitlist. Images: Alessandro Pinna.
UPDATE, March 30, 2021: Raya and the Dragon is currently screening in Australian cinemas, and is also currently available to stream via Disney+ with Premier Access (so you'll pay $34.99 extra for it, on top of your usual subscription fee). It'll hit Disney+ without any extra fee on June 4. 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. 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. Directors Don Hall (Big Hero 6) and Carlos López Estrada (Blindspotting), co-directors Paul Briggs and John Ripa (both Disney art and animation department veterans), and screenwriters Qui Nguyen (Dispatches From Elsewhere) and Adele Lim (Crazy Rich Asians) mightn't have had much of a tale to tell if Raya and Namaari had gotten on without a hitch from the get-go. But the latter's early betrayal of the former, and her quest to steal the dragon gem, serves more than a key storytelling function. This is a movie about believing not just in yourself, but in others, and it doesn't shy away from the reality that trusting 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. Rolling around desert wastelands on her giant armadillo-meets-pill bug Tuk Tuk, Raya's mission involves collecting every part of the now-fractured gem — which has been scattered across Kumandra — as well as investigating a legend about Awkwafina's Sisu. It's rumoured that the aquamarine-coloured dragon still lives, and Raya is as intent on finding it as she is on piecing her homeland back together. Tracking down the perennially optimistic Sisu actually happens quickly (it's right there in the movie's buddy-comedy moniker, after all) and the film is all the better for it. So giddily buoyant that she's like a teenage girl, the friendly creature becomes the supportive, exuberant cheerleader encouraging Raya to be her better self and to see the best in others, and their match-up — and the meeting of stellar vocals behind them — works a treat. That said, there is an episodic feel to the pair's jumps from place to place, as they enlist the help of a baby pickpocket, plus orphaned ten-year-old and boat restaurant proprietor Boun (Izaac Wang, Good Boys) and lonely warrior Tong (Benedict Wong, The Personal History of David Copperfield). If you're cynical or even just practical, you can also see how all these characters and settings could give rise to their own toys, other merchandise and spinoffs, too. And yet, this is always a deeply moving feature, thanks to its commitment to recognising the risks as well as the rewards of placing your faith in others, its warmly beating heart, and the complexities of Raya and Namaari's relationship — which is never straightforward, and puts the one-note rivalries between young women so often seen in live-action high school-set movies to shame. A familiar Disney formula is at work underneath, and noticeably, but those easily spotted aspects provide Raya and the Last Dragon with its skeleton rather than driving every detail into well-worn territory. Also hitting the mark: the film's comic notes, especially through Awkwafina's voice performance; its balance of world-building fantasy and epic adventure, and of both hopeful and melancholy tones; and the way it equally plays like a fable and also feels ideally suited to the current moment. Tran, Chan and the rest of the movie's cast, including Sandra Oh (Killing Eve) as Namaari's mother, are just as wonderful, and the feature's finale leaves an imprint. Amid these fine-tuned elements and the always-breathtaking imagery also lingers another message, and one that's just as important as the flick's missive of unity. Clouds of familiarity linger over Raya and the Last Dragon, but they never hide the movie's many charms — because judging something based on its most obvious traits is ill-advised within this touching tale, and when it comes to the film as a whole as well. https://www.youtube.com/watch?v=0T4GIqEYyNk&feature=youtu.be Top image: © 2020 Disney. All Rights Reserved.
So, what did you get up to last night? Did you have a big one? Hey, no judgement. That's the fun of living in Melbourne — there's always something to do, and one wine can always turn into many, or quiet beers into a loud, lengthy evening. But then the not-fun bit arrives: the pounding hangover with the dry mouth and churning stomach. Thankfully, as well as an abundance of bars, Melbourne has an abundance of understanding cafes and restaurants to cure what ails you, even if what ails you is self-inflicted. What makes a good place to eat away your hangover? The food, obviously — and a good balance between grease and carb, savoury and sweet. You need food that will restore you but not put you into a food coma for the rest of the day. A hungover person has other requirements, such as a quiet atmosphere, friendly service and uncomplicated menus. And absolutely no children. Their joyful laughter and hopeful faces aren't what you need in a post-boozing state, and we wouldn't put you through that. With all of that in mind, we've teamed up with American Express to uncover the definitive list of Melbourne's best places to turn your hangover around — or at the very least, where you can tap your American Express® Card and go with the least amount of human contact as possible. Add these spots to your rotation, and you'll start to feel human again in no time. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
With the Australian Open main draw hitting the court this weekend, Cali-inspired rooftop restaurant and bar Beverly is embracing the excitement. Just a couple of kilometres from Melbourne Park, Racquet Club is the sky-high venue's answer to the Grand Slam's glitz and glamour. Running daily until Sunday, February 1, this experience celebrates one of Australia's premier sporting events with a curated selection of Don Julio cocktails. Plus, guests can expect some of Beverly's most coveted dishes alongside Perrier-Jouët Grand Brut Épernay poured by the glass. Soak up the ace views from the 24th-floor with a stellar cocktail in hand. Your choices include the Paraluman, featuring Don Julio Rosado and Chambord with blackberry, lime, saline, and agave, or the Campari-forward Siesta, with Don Julio Rosado, grapefruit, lime and sugarcane. As for the bites to eat, you're welcome to double up on the Paraluman, served with a wagyu slider topped with jalapeno jack cheese and dill pickles. Alternatively, pair the Siesta with a scallop tostada, finished with apple yuzu dressing and basil.
UPDATE, April 19, 20201 The Invisible Man is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play and YouTube Movies. In the latest version of The Invisible Man, Universal unwraps the bandages from one of its iconic horror figures in an astute, unnerving and thrillingly contemporary fashion. But it almost didn't happen, with the studio originally pursuing completely different plans. Let's all take a moment to thank the cinema gods that Tom Cruise's stint as The Mummy didn't work out. If his time dallying with Egyptian spirits had been a success, we'd now be watching Johnny Depp as The Invisible Man instead. That's what Universal's 'dark universe' — aka the studio's modern-day remakes of its old 1930s monster movies — had in store. Then the 2017 version of The Mummy proved a flop, forcing the company to change course. Suddenly, Depp's slated film disappeared into thin air just like the imperceptible man he was supposed to play. So too did an Angelina Jolie and Javier Bardem-starring take on The Bride of Frankenstein. And that left Universal with a gap — which Australian writer/director and Saw co-creator Leigh Whannell fills grippingly and convincingly with his top-notch update of cinema's most famous see-through character. In the Upgrade filmmaker's hands, The Invisible Man has been through some significant changes since HG Wells' 1897 novel and James Whale's 1933 first film adaptation. In fact, this movie doesn't really tell the eponymous figure's story, but that of the woman terrorised by the unseen guy. After years of suffering through an abusive relationship with hotshot optics pioneer Adrian Griffin (Oliver Jackson-Cohen), Cecilia Kass (Elisabeth Moss) works up the courage to leave him. Fleeing from his remote mansion in the middle of the night with the help of her sister (Harriet Dyer), she's petrified that he'll track her down and retaliate. But, as she hides out with a cop friend (Aldis Hodge) and his teenage daughter (Storm Reid), word arrives that Adrian has committed suicide — although when strange things start happening around Cecelia, she's convinced that he's still somehow messing with her. To not only make The Invisible Man today, but set it in today's world too, two areas needed to be addressed. The first is technology, recognising that turning a person invisible is far more plausible than it once was — and that being involved in someone's life without being physically present isn't just possible these days, but commonplace. The second is gender politics. Watching a man terrorise a woman sight unseen has very different connotations in the 21st century, as does the stalking and gaslighting that comes with it. Crucially, Whannell embraces the complexities of both areas in this thoroughly modern take on the tale, switching focus from villain to victim, and bolstering his narrative by pondering the underhanded capabilities of technology as well as the ongoing problem that is domestic violence. Accordingly, this slow-building version of The Invisible Man isn't an account of a scientist corrupted by his latest discovery, as seen in its predecessors. Rather, it's a portrait of a woman at the mercy of a man who'll do anything and use any means to get what he wants. The end result: psychological horror mixed with futuristic science-fiction and layered with a piercing societal statement, and it's as effective as it sounds. Of course, anyone who saw Upgrade will realise that this is the only interpretation of The Invisible Man that Whannell could've made. The Aussie filmmaker continues his fascination with body modification and tech-enabled surveillance, as well as his fondness for hyper-kinetic action, a pervasive mood of dread and tension, and a sparse, sleek look — plus his interrogation of the kind of society that, with not too many imaginative tweaks needed, we just might be headed for. Forgetting the terrible Insidious: Chapter 3, the only blip on his directorial resume to date, Whannell is swiftly establishing a reputation as a genre filmmaker with smarts, style and something to say — as well as the skill to combine all of the above into a thrilling, harrowing and engaging package. He also has canny casting instincts, with The Invisible Man as much Moss' movie as Whannell's. The Handmaid's Tale and Her Smell actor has had more than a little practice in this terrain of late — aka battling insidious enemies, navigating persecution, and devolving into distress, distrust and paranoia — and she draws upon that experience here. Indeed, watching someone face off against an unsighted foe can play as hokey or unintentionally comic, but not with Moss and her haunted yet determined stare taking centre stage. This definitely isn't the movie that Universal imagined when, high on dreams of building its own megastar-studded, monster-fuelled universe, the studio announced its now-defunct Depp-led project. That's something else to continue to thank the movie gods for — because no one needed Depp's usual daffy schtick wrapped in gauze, but cinema definitely does need Whannell's savvy, unsettling, spirited and refreshing The Invisible Man remake. Great horror movies have always reflected and responded to the times they're made in and, in the same vein as Jordan Peele's Get Out and Us, The Invisible Man helps lead the charge as the 21st century reaches its third decade. This is a socially conscious, savagely creepy, supremely clever reinterpretation of a classic scarefest that takes every part of that equation seriously. https://www.youtube.com/watch?v=KLAJyugYEiY
UPDATE, August 16, 2020: Cold War is available to stream via SBS On Demand, Google Play, YouTube and iTunes. "I knocked, I cried; she wouldn't open up," sing violin and bagpipe-playing musicians in Cold War's very first moments. What apt and evocative words they prove. Set in a decimated Europe as the Second World War gives way to the film's titular period, Pawel Pawlikowski's sweeping, melancholic romance is steeped in a place and a time where deeds, sobs and pleas for help go unnoticed. The writer-director's native Poland might sport a facade of recovery, and charge a folk ensemble with crooning appropriated music to set the requisite tone, but the nation remains an unforgiving master for those that walk its lands. When the movie spends much of its second half in the jazz-soaked bars of the Parisian music scene, it treads through just as complicated terrain. Meeting during an audition — she sings and confirms that she can dance; he decrees that she has "energy, spirit; she's original" — Cold War's star-crossed lovers navigate a rocky path that unfurls across the 50s and 60s. Music director Wiktor (Tomasz Kot) is soon desperate to leave the country, an action that's as simple as walking across the border while touring near East Berlin. As rumours about her background demonstrate, the youthful Zula (Joanna Kulig) is not one to comfortably submit to anyone or anything. Other than the strength of their feelings, nothing is easy about Zula and Wiktor's relationship. Nothing is easy, period. The movie jumps forward in fits and spurts, and yet three things stay constant: music that adds a haunting soundtrack to both hopeful and bleak days; unease that chips away at even the happiest of times; and Zula and Wiktor, who forever orbit around each other. Cold War may be a film where the yearnings of the many go unnoticed by the cruel, harsh world, but the same never applies to the deep-seeded bond between its protagonists. Wiktor notices every sentiment and sensation that courses through Zula's veins, and vice versa. Yet their love can't penetrate the fraught, uncaring environment they're living within. There's a resigned air to the movie, one mirrored by the changing tones and moods of the song that Zula's always singing. Pawlikowski may have based the picture's narrative on the most personal of stories — that of his parents, who share the characters' names and earn the film's dedication — but his gaze is clear. The winner of the Best Director award at this year's Cannes Film Festival is resolute in depicting the oppressive turbulence of the era, and in relaying the crushing vagaries of life in general. Making his first movie since the similarly exceptional Oscar-winner Ida, Pawlikowski retains his penchant for crisp, black-and-white visuals, all constrained within tight 4:3 frames. The boxed-in shape draws the eye just as Zula and Wiktor are repeatedly drawn together, and the smaller space makes every detail count. As sumptuously shot by cinematographer Łukasz Żal, the result is imagery so dense, luminous and intoxicating that it seems as if the filmmaker is painting every possible emotion across the screen. Visions of cavernous churches and busy clubs prove pregnant with feeling, and the expressions adorning Kulig and Kot's faces even more so. Where Cold War is at its aesthetic best, however, is when the camera floats and wanders and keeps pace with the picture's main players. A fluid late dance scene where Zula moves with abandon to 'Rock Around the Clock', the lens following along with her, is filmmaking at its most enthralling. It helps that Pawlikowski and his frames clearly adore Kulig and Kot. It helps, too, that the entrancing central pair don't so much invite but demand adoration. Whenever the camera shifts away from either, their absence is instantly felt, although this masterpiece never shifts away for very long. Zula and Wiktor's knocks and cries might largely remain silent, yelled with their eyes rather than their words, however Cold War's devastating lead performances convey the impact of every internalised ache and pain. Indeed, in a bittersweet finale that sears itself into memory like few celluloid moments ever manage, Kulig and Kot unburden a world of insights about simply trying to survive. And they do so while uttering the scantest — yet still most utterly perfect — of lines. https://www.youtube.com/watch?v=kSYHHLk12x8
If you're planning a winter escape to Victoria's High Country, make some time to stop in at Reed & Co Distillery in Bright: they're bringing back their epic Koji Bird pop-up restaurant. Koji Bird was originally created as a bit of a nod to the experience of the traditional Japanese Izakaya. It works for Reed & Co, since Izakaya loosely translates to "stay with alcohol". The first of these pop-ups took place in 2021, when the Reed guys were experimenting with Japanese Koji (a special fermentation culture). They combined it with wood-fired, charcoal chicken and thus, Koji Bird was born. Imagine something halfway between an Aussie chicken shop and an Izakaya bar: succulent chicken, koji-based spirits, hot sake flying off the bar, and plenty of fermented Japanese sauces like mirin, soy and miso. Bit of an unexpected flavour mix, but this thing sold out in 2021. It's as good excuse as any to pack your weekend bag and book a few nights in Bright. Reed & Co's Koji Bird series is running on select weekends in June, July and August. So plan ahead and book your table online, to avoid disappointment. Images: Supplied
The greatest trick that Late Night with the Devil pulls could be a trick on future viewers. In a decade or so, perhaps less, someone will likely come across the film on a streaming platform and think that the year that's listed next to its name is a typo. The illusion would be stronger if video stores still existed, where the Australian-made horror marvel that's had audiences talking since its 2023 SXSW premiere could sit on a shelf beaming its 70s-era look and artwork at perusers searching for their next watch. Everything about the movie, which is presented as a found-footage documentary showing a Halloween episode of a late-night talk show in full, wants everyone to make that misinterpretation. The year is 1977 in Cameron and Colin Cairnes' latest feature, which joins the writer-director siblings' resume after 100 Bloody Acres and Scare Campaign. The date is indeed October 31. The show: Night Owls with Jack Delroy, which has been slipping in the ratings. The week is Sweeps Week, the key ratings period in the US, in fact. Host Jack Delroy (David Dastmalchian, Dracula: Voyage of the Demeter) has been struggling himself, following the death of his wife (Georgina Haig, NCIS Sydney) 12 months prior. In his efforts to pick himself and his show back up, he commits to a special live spooky instalment featuring a skeptic (Ian Bliss, Safe Home), psychic (Fayssal Bazzi, Prosper), parapsychologist (Laura Gordon, Foe) and a girl (Ingrid Torelli, Force of Nature: The Dry 2) who is reportedly possessed — and being willing to do whatever it takes to succeed gets a demonic spin. The experience of watching Late Night with the Devil is like stepping into whichever type of time machine takes your fancy; the attention to period detail is that exact, as is the Cairnes' commitment to practical effects when things get eerie. The same can be said of Dastmalchian's stunning lead performance, playing a character styled after Australian TV's Don Lane alongside American television's Dick Cavett and Johnny Carson. When future viewers add Late Night with the Devil to their queue, the can't-look-away portrayal from the picture's star is bound to get them thinking that this truly is an unearthed treasure from the 20th century. Aptly, Dastmalchian is a big fan of horror TV hosts, even penning an article for Fangoria about them. So, take a childhood in the 80s spent watching late-night talk shows, a love of horror from that decade and the one prior, a keen awareness of the period's flicks about television such as Network and The King of Comedy, experience working in studios themselves, an exceptionally well-cast lead and a killer concept — plus that dedication to authenticity — and the next Aussie horror hit is the end result. "It's our twisted love letter to talk shows and the horror movies of that era," Colin tells Concrete Playground during a chat with both brothers. "I think it was really was a golden age for horror movies in the States, but also in Australia to some degree. We made some pretty cool stuff back then." A wild horror ride, a helluva character study, and an unpacking of the way that sensationalist media haunts and possesses as much as literal spirits, too, Late Night with the Devil is "pretty cool stuff" itself, deservedly earning a reputation far and wide. Iconic horror author Stephen King called it "absolutely brilliant" and said that he couldn't take his eyes off it". Mere days before we spoke with Colin and Cameron, they had run into one of their influences IRL, who also adored it. "Definitely all the great films by David Cronenberg and John Carpenter, the Wes Cravens," Colin cites as inspiration. "Joe Dante, who we were lucky enough to bump into two days ago in LA walking out of the screening of our film, which was really cool. Mind blown — it was just a wonderful chance encounter. And we've since exchanged emails. Yeah, he's a fan of the film. So that was really, really special to us. As kids growing up watching Gremlins or The Howling or Innerspace, all these great 80s horror hybrids, fun horrors that he made, it was just such an honour to bump into the man who had just seen our film, which was crazy." After it popped up on the festival circuit in 2023, viewers Down Under have been able to discover why Late Night with the Devil has been wowing King, Dante and more since it hit local cinemas on Thursday, April 11. We chatted with Colin and Cameron about their inspirations, specifically picking 1977 as the year to set the film in, the work that goes into making the movie look and feel so authentic, their take on Delroy and getting Dastmalchian to play him, and more. On Taking Inspiration From Watching Late-Night Talk Shows as Kids in the 80s in Australia Cameron: "I think TV was just a bit looser back then, and felt a little more dangerous. It was late night, and for a kid staying up late to watch those shows, it just felt a little taboo. So, what we love about that period in those shows — and we're talking not just our Australian icons, but the American ones as well — is just they all felt unscripted and dangerous, and like anything could happen or anything could go wrong at any minute. So that felt like fertile ground for us to to play in. And those experiences, they stuck with us. I think when you're young and you're watching stuff, you're very impressionable. So we're watching lots of horror movies on VHS, and we were watching lots of TV at home, lots of American stuff. It was all feeding into the script and to the story. We drew on those experiences quite a lot." On Setting the Film Not Just in the 70s, But Specifically in 1977 Cameron: "It really came down to our date, didn't it? Like 77, we wanted to set it on Halloween night, but it also needed to be Sweeps Week, if that means anything." Colin: "The ratings period." Cameron: "So in our research, we discovered that in 77 on Halloween week, it was actually Sweeps Week. So we tried to be as authentic as we could with every detail." Colin: "What's not to like about 77? We always knew it was somewhere in that range, but 77 felt like that was that was peak 70s, really." Cameron: "It was kind of the peak in-between time, too. The Exorcist, I think was released in 73, and then we were at the dawn of the Satanic panic. So I think, between 73–80, that period felt right. And also, we wanted to suggest that Night Owls, the show Jack Delroy hosts, had been on the air for a while and was struggling. So it just made sense that it maybe started around early 70s." Colin: "And going back to the movies, that's when that cycle of great films — I mean, there'd been Texas Chain Saw, probably that was 73, 74 maybe, that's when all those directors that we admire and are paying some homage to, I think, started to do their work. Halloween, I think was released 78, just a bit later. Network, I think, was released beginning of 77. So all that wonderful stuff was happening at that time, so that felt right — and yes, fortunately, Halloween fell on a Monday night at the beginning of Sweeps Week." On the Movie's Commitment to Period Detail and the Work That Went Into It Cameron: "Being as authentic as we could was just key to the whole movie. If no one's buying it, then they're checking out and it's not going to be worth your time. So we took all that stuff really, really seriously — just immersed ourselves in that world. I think having grown up a little bit in the period, and certainly through the 80s, we felt a little bit more connected to it, to that period." Colin: "We knew if something was a bit phony. I think a lot of the audience has been actually a younger crowd, but we are finding people in their early 20s talking to us after screenings, saying ' you know, I'm going bring my mum and dad to this. I reckon they'll really like it'. So people are sensing the authenticity of it, and like Cam's saying, I don't think the scares are going to work, the humour won't work — and, importantly, the drama isn't going to work — if it doesn't feel of a very specific time and place." Cameron: "Going into the production of it, it was just 'let's just commit to the idea that we're making this show in 1977'. So all the costumes, the lighting, the way we shot it, everything was pretty much of the period apart from the cameras we shot on — we obviously had to do some treatment on that in post. But we just tried to shoot it exactly like a late-70s Tonight Show. That meant three cameras were rolling the same at the same time, and the lighting looks a bit hot and harsh. But you just have to embrace all that stuff." On Drawing Upon Their Own Experiences Working in TV Studios Colin: "I directed, in a past life going back 20-plus, 25 years, I actually worked in television in Singapore. I got a job fresh out of uni directing sitcoms, English-language sitcoms, which were really big, huge successes in that part of the world. It was a lot of fun. That was a three-camera set up where we rehearsed through the week, and then we bring in an audience, so we would shoot it as if it were live. We would get a second go if something didn't work out, but we also didn't want to keep the audience there too late, because they'd stop laughing after the second or third take. And Cam's done some work in TV, too. So we had a sense of how adrenaline-fuelled that environment is, and how it's very stressful and has lots of anxiety, but it's also seat-of-your-pants stuff — it's exciting, it's fun. So we thought taking that as the foundation for an already very tense environment, and then bring in the supernatural element, we thought that that could go places. Ten years later, ten years of writing, we got there — so it helped a lot." On How the Film Evolved Over the Ten-Year Writing Period Cameron: "It went through lots of different iterations. In fact, I think the first draft it was centred around a seance. It was going to be a seance live on TV. But we kind of blew our wad early on that, because the seance was happening sort of at the 25-minute mark and we found we had nowhere to go after that. So it was constantly sort of rethinking the conceit and also finding the characters…" Colin: "That were going to warrant 90 minutes of your time." Cameron: "Exactly." Colin: "A character that could host legitimately host the talk show, but has his own baggage, his own issues. Plot's important, story is important, but for us, the characters are key. You want people walking away saying 'I hated that guy. I love that guy. I wanted to know more about that person'. And that's the stuff that really needs to succeed for any movie to work, regardless of genre." On What Inspired Jack Delroy — and the Cairnes' Take on Him Cameron: "Jack's a little bit desperate at this point in his career. He's been at it for a little while, but he's…" Colin: "Ruthlessly ambitious." Cameron: "But, his background is, he's this Midwesterner, worked in radio. He's kind of a sweet guy with good intentions." Colin: "He may have made one or two poor choices over the course of his career. A victim of some of those choices, I think. But he's a man who's experiencing some grief as well. I mean, his wife has passed away a year prior to the taping of this show. And, we explained early on — I don't think it's a spoiler to say that — his most-successful episode to date was the episode where his dying wife came on as his special guest. So there are some ethical concerns, I think, about his character. But the audience loves him. He's got his hardcore fans, and he's a showman through and through, who believes the show must go on. But that, of course, becomes harder and harder as some very strange events occur over the course of evening." Cameron: "When we first set out, we were referring a lot to Dick Cavett, Johnny Carson, I guess in our heads. He was almost an amalgam of those two. But then, we started drawing a lot on our own experiences, watching our homegrown talent. When I say homegrown…" Colin: "Bronx-born Australian Don Lane." Cameron: "Who people of a certain age will remember. We obviously grew up in the early 80s and watched a lot of Don Lane. Don and Bert, and Mike Walsh, and saw a little bit of Graham Kennedy as well. So they were definitely there in our heads as we are writing the character, but I think we were thinking more the urbane kind of American TV host." Colin: "We watched a lot of Dick Cavett. A lot of Dick Cavett. There's a bit of a blend." Cameron: "But when the American producers got on board and David got on board, we pointed them in the direction of Don Lane. We just thought as a curious thing they might be interested to see our own talent. And the producers, Steven Schneider [Insidious: The Red Door, Knock at the Cabin] in particular, and then David, our main actor, really took to Don. And he was like 'he's great'." Colin: "Yeah, 'what a character'. Because there's layers. He's not the slick showman that Carson is. Cavett's a bit more the slightly, there's a hint sarcasm, cynicism, but quite the intellectual — very happy to be talking to some novelist as he is to some pop singer. But Don was a bit less polished and a lot more, well, basically into the supernatural. He would have these lengthy specials where he'd have the Warrens [the inspiration for The Conjuring films] or whichever psychic happened to be visiting Australia. He would dedicate entire episodes, sometimes several episodes to these characters, which made him really different from the American version of that host." On Casting David Dastmalchian Colin: "We knew what a fan of the genre he was. He writes for Fangoria. His love of regional TV horror hosts." Cameron: "He writes comic books, he has written graphic novels" Colin: "He has Count Crowley. So we knew how embedded he was in the horror scene back in the States. And add to which he's just a really, really great character actor. And he has this look about him that also screams 70s, I think. So when we floated his name with all the producers, it was probably the first time everyone said yes at the same time. We were out to him a couple of weeks later through one of our American producers, the great Roy Lee [Don't Worry Darling, Barbarian], and weeks later we're talking to him and then a bit later he's signed on. We've got him. It just felt like was meant to be, and now you watch it and you cannot imagine anyone else being that character." Cameron: "It just wouldn't have worked if we'd had a big A-list star in there, you know, if Ryan Gosling — he's a great actor, but…" Colin: "You'd spend 90 minutes trying to look past the star. He's going to go on to bigger, possibly better — he's already working on a big show for Apple. Plus, the world is his oyster, and it has been for ages. We're just fortunate that we're a small part of his journey to international stardom." On Making the Connection Between the Film's Literal Possession and the Ravenous Urges that Sensationalist TV Sparks Colin: "Obviously, it was an important consideration in the scripting and the shooting, because we have the studio audience there and they're complicit in that. They're not — no one's leaving their seats. What would we do if we were there and shit started to go down like that? The logical thing would be to run to the door, but the fact is they know that the weirder and stranger and darker things get, the better the ratings are." Cameron: "I mean, we all love a bit of car crash TV, where we just can't turn away. And I think, yeah, definitely playing into that idea." Colin: "We're a little complicit, almost, and responsible to some degree for shows going where they go. And that hasn't changed — that was there before 77, and it's gotten even worse in many ways since. So if there's some little commentary or critique going — no, maybe not a critique — it definitely has fed into it. It was a serious consideration, because at what point would the audience just say 'this is stupid, I'm going home' or switch off? Or would the network just shut down the broadcast? So the fact that no one does had a lot to do with how we pace the thing, and how we reveal information, and where the scares come and all that sort of stuff. That's a more technical consideration, but it plays into what you're saying." Late Night with the Devil opened in cinemas Down Under on Thursday, April 11, 2024. Read our review.
There's never been a show on TV quite like Kevin Can F**k Himself — or on streaming, where the series is now available in Australia via Amazon Prime Video. But, there have sadly been far too many programs over the years that resemble one half of this clever and cutting dark comedy. Even if you aren't a fan of the fare this newcomer riffs on, you know the type. For too long, screens have been littered with sitcoms about families, and about specific kinds of couples and their kids. Accordingly, a different one probably springs to mind for each of us. You might've started thinking about Home Improvement, or Everybody Loves Raymond — or, thanks to Kevin Can F**k Himself's title, you could've just remembered all the shows starring Kevin James. Kevin Can F**k Himself's moniker does indeed conjure up the words many of us have thought to ourselves after stumbling across awful sitcoms led by James. Here, Kevin McRoberts (Eric Petersen, Sydney to the Max) is the obnoxious manchild of a husband, while Allison (Annie Murphy, Schitt's Creek) is his put-upon wife — and whenever they're together, generally at home, she's clearly in a sitcom. The lights glow brightly, her house resembles every other cosy abode in similar shows about comparable characters, and multiple cameras capture their lives. Also, canned laughter chuckles whenever something apparently amusing (but usually just cringeworthy) occurs. And, that source of terrible humour tends to be Kevin, who skates through his days with the arrogance and obliviousness of a white thirty-something man who has always been told he can do no wrong. Helping to reinforce that mindset, he always has his ever dimwitted best pal and neighbour Neil (Alex Bonifer, Superstore) by his side, gushing over his every move. Also frequently hovering around: Neil's one-of-the-guys sister Patty (Mary Hollis Inboden, The Righteous Gemstones) and Kevin's own ever-present dad (Brian Howe, Chicago Fire). We've all seen this setup before, and Kevin Can F**k Himself's creator Valerie Armstrong — who also worked on the excellent, underrated, cancelled-too-soon Lodge 49 — definitely knows it. She isn't trying to recreate these abysmal sitcoms for fun, though. Instead, she knows that Allison and the women who've been in her place are devastatingly miserable, and she's determined to give them their time in the spotlight and explore what happens when they're not supporting player to a man they don't even want to be with. That's where the twist comes in, and it's oh-so-savvily handled. (It's also laid bare in the show's first episode, because it's that important to the series' premise.) So, whenever Kevin Can F**k Himself's leading lady is blissfully free of her horrible hubby, her life becomes a premium cable drama. Murkier tones and a much more realistic vibe kick in, just one camera films her struggles, and no one is giggling. Also, Allison starts trying to do something about her soul-crushing marriage. The visual and tonal contrast between the show's two halves is big, stark and obvious. It hits you over the head. It's meant to. On paper, the creative decisions behind Kevin Can F**k Himself stem from a high-concept gimmick, and purposefully so — but the show's central idea is also exceptionally smart. This series needs to be as blatant as it is in contrasting Allison's time with Kevin with her experiences whenever he's not around. It needs to make flagrant moves to illustrate how the world still sees marriages like theirs as bright and inviting, even when Allison endures a grim struggle. Subtlety isn't usually the best way to make a statement, after all, and that applies when you're calling out how an entire genre of TV has long treated women; that its instantly recognisable toxic tropes have become not just accepted, but imitated; and that real-life relationships based on this dynamic aren't healthy or happy. These notions bubble away throughout Kevin Can F**k Himself, including when over-lit scenes of Allison putting up with Kevin segue into dark-hued shots as soon as she's out of his presence. Usually, the change kicks in because she's walked into the kitchen and left him on the couch with his pals, or she's gone to work while he gets up to standard sitcom-style hijinks; however, Allison is desperate to make a permanent change. The series follows not just her efforts to leave Kevin, but her quest to ensure that she'll be free of him forever. You could say that she breaks bad, but she's doing good — just for herself for once. Allison's path forward is messy, naturally, and only gets more chaotic the more she commits to achieving her Kevin-free new life. Her high-school crush Sam (Raymond Lee, Made for Love) moves back to town, too, while Patty becomes an unexpected ally. Soon, the two women have a police detective (Candice Coke, Indemnity) snooping around their lives as well. Everything Allison faces could've easily fuelled a drama that didn't include sitcom-savaging segments, but the show is all the better for embracing its gimmickry. It pulls back the curtain on the glossy way that its protagonist's existence is presented to the world, exposes the reality and finds ample ways to interrogate why this sitcom fantasy has proliferated for so long. Thanks to weighty key performances by Murphy and Inboden, it also dives deep into the internalised miseries that women who've been caught in the orbit of men like Kevin keep navigating — and, episode by episode, it grows and fleshes out the pair's complicated friendship as well, and unpacks the "cool girl" archetype Patty initially represents. In the process, amidst all of its layers and switches, Kevin Can F**k Himself quickly becomes one of the best new shows of 2021. Thankfully, it has already been renewed for a second season, too, so more of its incisive charms and astute social commentary — and Murphy and Inboden's stellar work — awaits. Check out the trailer for Kevin Can F**k Himself below: The first four episodes of Kevin Can F**k Himself's first season are available to stream via Amazon Prime Video, with new episodes dropping weekly. Images: Jojo Whilden/AMC.
UPDATE: May 24, 2020: Child's Play is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Black Mirror, meet 80s cinema's favourite flame-haired, knife-wielding plaything. That's Child's Play circa 2019 straight out of its gleaming box. Chucky has never gone away, with the last flick in the initial seven-film franchise hitting home entertainment just two years ago. An eight-part series called Chucky is headed to TV screens next year, too, from the original movie's Don Mancini. But updating the carnage-inflicting toy for today's incessantly-online, internet-of-things environment was always going to happen, jettisoning the notion of a doll possessed by a serial killer for something considerably more high-tech. It's a premise rich with possibilities — dissecting humanity's growing subservience to technology, our fear of artificial intelligence, the reality that all-powerful companies may not have customers' best interests at heart, and showing how increasingly aggressive times can create a dangerous and deadly loop of vicious behaviour. Sadly, although the new Child's Play doesn't shy away from its many timely ideas, it doesn't do anything more than push them through a horror assembly line. A standard slasher flick made from well-worn parts remains just that, even when it has been given a famous name, plenty of topical talking points and a slick visual makeover. In fact, the fact that this do-over tries so hard to pair its murderous robotic figurine with timely observations, while also happily sticking to a bland, broad, surprise-free playbook, is its most grating trait. Perhaps it's simply peddling another piece of social commentary: that movie studios, like toy corporations, can release whatever generic fare they like as long as they make it appear shiny enough, and consumers just have to stomach the resulting havoc and dreck. Whether you're buying the latest gadget or heading to the cinema, that's the cost of making a purchase today. Single mother Karen Barclay (Aubrey Plaza) doesn't actually hand over any hard-earned cash for a walking, talking Buddi doll (which speaks with the voice of Mark Hamill). Instead, the department store employee convinces her boss to let her take one of the returned, malfunctioning toys home as a gift for her hearing-impaired son Andy's (Gabriel Bateman) birthday. Almost a teenager, the boy is hardly overjoyed about his present. Still, he's lonely and in a new city, the computerised plaything clearly adores him like it is programmed to, and it also helps him befriend a couple of neighbourhood kids (Ty Consiglio and Beatrice Kitsos). That said, that something is astray is clear from the moment that Andy's plastic buddy decides its own name is Chucky. As the movie's opening scene shows, a disgruntled sweatshop worker has removed the figurine's appropriate language and anti-violence filters in an act of employee-level corporate vengeance. So while Chucky might seem like little more than an eccentric and clingy android BFF to Andy, the smart doll is willing to do whatever it takes to keep their friendship alive — including slaughter anyone who gets in the way. If first-time feature director Lars Klevberg and debut screenwriter Tyler Burton Smith are trying to pre-empt criticism by having their mechanical villain love something so much that it turns into a toxic fan, slaying everything in its path irrationally and indiscriminately, that's one of their big swings and misses. It's better reading into their other big theme, and one that Chucky demonstrates again and again in trying to resolve Andy's woes with a knife: being careful what you wish for. For material so rife with potential, Child's Play remains content to make the easiest and most apparent statements in routine and uninspired ways. It's also happy to follow cookie-cutter characters, throw in the expected deaths and just generally follow the operating manual. And while there's undeniable pleasure in hearing Parks and Recreation alumni Plaza say the name 'Andy' repeatedly, she headlines an entirely wasted cast. Playing a cop whose mother lives in the same building as Karen and Andy, Atlanta's Brian Tyree Henry falls into the same category. So do Hamill's creepy but never overly menacing vocals. When Chucky keeps killing over and over again with a single-minded focus, Child's Play begins to resemble another tech-heavy, needlessly rebooted, never-say-die franchise: the Terminator. It's not that these sagas don't know when to end; rather, they keep kicking on without justifying why. The same can be said for recent instalments in other long-running series, such as X-Men and Men in Black. But, simultaneously glossy and formulaic where its predecessors were gleefully makeshift and off-kilter, Child's Play couldn't try harder to stress that it's a new beginning. It is, and yet starting over again isn't always a good thing. Credit where credit is due, however. Who dies, and when, never comes as a shock, but this horror flick does value a great bit of gore. While the bloodshed takes time to splatter across the screen, when it comes, it's memorable. If only Klevberg and Smith had expended the same energy and inventiveness on the rest of the film as they do on Chucky's growing pile of bodies. Their one other playful attempt arrives via the movie's blackly comic tone, endeavouring to ape The Texas Chainsaw Massacre 2, and even using clips of the 80s slasher sequel to teach the picture's homicidal robot how to stab, slice and snatch people's faces off. If you're thinking the obvious, though, you're right — whether it's reimagining its source material, adhering to topical and filmmaking trends, or nodding to other genre fare, Child's Play follows poorly in everyone's footsteps. https://www.youtube.com/watch?v=PeHNLikDiVw
In this or any other galaxy, whether here, near or far, far away and a long time ago, Star Wars streaming shows can't all be Andor. In cinemas, the franchise's movies can't all be Rogue One: A Star Wars Story, either. So, in both formats, they aren't always the weightiest and most grounded instalments that the series has ever delivered, all while demonstrating about as much interest in nostalgia as Jar Jar Binks has in not being annoying. The latest TV effort in the George Lucas-started space-opera saga, Ahsoka doesn't want to follow exactly in the last new Star Wars small-screen entry's footsteps, however, even if it's another sidestep tale about battling evil that champions folks who are rarely thrust to the fore. Instead, it has intertwined aims: serving up a female-led chapter and drawing upon the franchise's animated realm. For many, Star Wars is 11 live-action movies, the bulk of which arrived in three trilogies that splashed around Roman numerals aplenty. For those with a Disney+ subscription, the pop-culture universe covers the streaming platform's live-action shows, too, with not just Andor but three seasons of The Mandalorian, 2021–22's The Book of Boba Fett and also 2022's Obi-Wan Kenobi connected to those flicks. Star Wars has always expanded further since its 70s beginnings, though, via TV specials and films, books (Star Wars: Episode IV — A New Hope's novelisation actually released before the feature) and animation. So, from the latter — and specifically from animated film Star Wars: The Clone Wars and the TV series it spawned, plus fellow animated shows Star Wars Rebels and Tales of the Jedi — springs Ahsoka and its eponymous ex-Jedi padawan Ahsoka Tano (Rosario Dawson, Clerks III) from Wednesday, August 23. Ahsoka appeared in The Mandalorian and The Book of Boba Fett as well, with the series that the character now anchors also spinning off from the former. The show's inter-franchise Star Wars links are strong, then, but it isn't just for fans who've watched every frame that the saga has ever sent hurtling across screens — thankfully so. Ahsoka creator Dave Filoni has given himself a tricky task, diving deeper beyond the obvious Star Wars fodder while still engaging more-casual franchise viewers. Nods and references abound for diehards, and to key figures and beloved creatures alike, yet so does a supremely well-cast spin on the space opera's well-loved formula. As Luke Skywalker (Mark Hamill, The Sandman) and Obi-Wan Kenobi (Alec Guinness in the original 1977–83 big-screen trilogy), Anakin Skywalker (Hayden Christensen, Obi-Wan) and Kenobi (Raymond & Ray's Ewan McGregor since the 1999–2005 prequel trilogy), the latter and Qui-Gon Jinn (Liam Neeson, Marlowe), and Rey (Daisy Ridley, Chaos Walking) and Leia Organa Solo (Carrie Fisher, Catastrophe) have all demonstrated — such pairings go on — Lucas and his successors in steering all things Star Wars love a master-and-apprentice story. Ahsoka provides two tied to the force, with its namesake once a pupil to Anakin before he went to the dark side, and also a mentor to her own student in rebellious, flame-haired Mandalorian Sabine Wren (Natasha Liu Bordizzo, Guns Akimbo). Thanks to the man who became Darth Vader, Ahsoka is wary about the Jedi order and unsurprisingly cautious in general. Via her prior time with Sabine, she knows the difficulties of being a guide to a headstrong protégée. While the show gives its central figure nefarious foes to battle, it also has her grappling with her past traumas, mistakes and regrets. She's guarded there, too; when rebel crew member and now-New Republic general Hera Syndulla (Mary Elizabeth Winstead, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) suggests that the way forward might involve enlisting Sabine's help, Ahsoka is reluctant. But only the youngest of the main trio can unlock a pivotal orb that holds a map that could lead to exiled Imperial officer Grand Admiral Thrawn (Lars Mikkelsen, The Kingdom) and Ahsoka's fellow one-time padawan Ezra Bridger (Eman Esfandi, The Inspection). With just the 2015–19 sequel trilogy and animated series Star Wars Resistance set after it, Ahsoka's plot hones in on fending off the fallen Empire's attempts to rebuild and strike back again. Hoping otherwise: Morgan Elsbeth (Diana Lee Inosanto, The Last Tour), who starts the program imprisoned but is swiftly freed thanks to former Jedi-turned mercenary Baylan Skoll (the late Ray Stevenson, RRR) and his own his trainee Shin Hati (Ivanna Sakhno, The Reunion). Bringing back Thrawn from banishment is their next step, putting them on a collision course with Ahsoka, Hera and Sabine — amid early Indiana Jones-style treasure hunting, vivid lightsaber duels, reminders of how insidiously that greed can lure people in, a stunning hoverbike race, a loth-cat's cuteness, a tad too much exposition and droid Huyang (Good Omens' David Tenant, lending his voice again as he did in The Clone Wars) hanging around, all in the first two episodes. If the storyline sounds all Star Wars 101, that's because it is, yet a change of perspective and a stacked cast ensure that Ahsoka never feels like it's lazily sticking to a template. Filoni, who also worked on both the film and TV versions of The Clone Wars, as well as Rebels, Resistance, The Mandalorian, The Book of Boba Fett, Tales of the Jedi and more, clearly knows the drill — and how to make this take on it stand out. It isn't just that this is the first series focused on a woman connected to the Jedi, and one of the few within its ranks. Ahsoka cares about the way that conflict has scarred and wearied its hero and her colleagues, and shaped them and stretched their bonds in the process. It could easily be called Ahsoka, Hera and Sabine, which would suit three of its core performances. Still, beneath the character's head tails, Dawson turns in a portrayal to build a show around — serene, wry, fierce, thoughtful, purposeful, formidable, haunted and determined — which Ahsoka wisely does. Perhaps a Sabine offshoot will join the Star Wars fold in the future, with Bordizzo that magnetic in her stubborn, impulsive and daring role. In one of his final performances given his passing in May, the reliably commanding Stevenson is similarly arresting — and Sakhno, too, even if largely through her presence, a killer glare, and pitch-perfect costuming and lighting that helps her instantly look the entrancing part. Ahsoka gets that last aspect right throughout and across the board, taking as many visual cues from Star Wars' animated forays as its live-action jaunts, yet always sporting its own glow. This isn't Andor, but after those franchise-best heights it's still a series that intrigues, engages and often soars. Check out the trailer for Ahsoka below: Ahsoka streams via Disney+ from Wednesday, August 23. Images: ©2023 Lucasfilm Ltd & TM. All Rights Reserved.
In the Yarra Valley? Looking for a homey place to sleep? Warburton Motel is for you, dear traveller. Penned as the spot for "the adventurers, the readers, the tree huggers, the romantics and the fireside talkers", it's set to offer something delightful for all. Affectionately referred to as The Warby, there's a room with mountain views and a suite with a spa, plus a fire pit perched above a valley for late-night chats and star gazing. These family-run digs have warm wooden accents welcoming you throughout, and the feel of being immersed in nature even when you're tucked up in bed (courtesy of the lush greenery out every window). The mini bar is stocked with beers from local microbreweries, and you're only a minute's drive from dining spots and provisions stores in the small town nearby. Don't miss out on adventuring and take advantage of the complimentary hybrid bike hire, or skip the bikes and head straight to local wineries only a short 20-minute drive from The Warburton Motel. Images: Warburton Motel Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
As we come into the cool winter months, it warms the heart to look forward to one of the flagship events on the Sydney calendar. Vivid Sydney will be back for its twelfth year from May 27 to June 18 — and the 2022 iteration promises to be bigger than ever. The range of attractions on offer are many and varied but, at its core, Vivid Sydney is a light festival that gives colour and glow to the night sky and every conceivable canvas the city can provide. From illuminating some of Sydney's most famous landmarks to immersive exhibitions that seek to alter your perception of reality, here are ten must-see light installations on this year's program. Prepare to be dazzled. [caption id="attachment_853123" align="alignnone" width="1920"] 'Sharing the Same Life Essence', Rhoda Roberts AO and Deon Hastie, Destination NSW[/caption] 'FIRST LIGHT' First Light, the piece which kicks off the 2022 program on Friday, May 27, promises to be a stunning beginning that celebrates our rich Indigenous and First Nations culture. Vivid Sydney takes place on Gadigal land and waters, and as an acknowledgement of this, the Harbour Bridge pylons will be lit up with Sharing the Same Life Essence (Wayne Quilliam), a projection celebrating the Traditional Owners. First Light will also feature a Welcome to Country, Smoking Ceremony and performance by NAISDA dancers, culminating in a powerful and poignant opening work. Find out more here. [caption id="attachment_853125" align="alignnone" width="1920"] Spinifex Group, Destination NSW[/caption] SYDNEY HARBOUR BRIDGE 90TH BIRTHDAY The iconic coathanger has already had its own birthday party this year but, as one of the key landmarks of Vivid Sydney, you just know there had to be something special happening to mark the Sydney Harbour Bridge entering its tenth decade. Suitably, there's a storytelling angle to this year's light extravaganza, with the Historical Archive and Digitisation Team at Transport for NSW looking back into its comprehensive photo archive to tell the tale of one of the world's most famous man-made structures through the people and places it connects. The light show will be brought to life on the bridge's giant pylons by animation experts Spinifex — and it's on repeat every night of the festival. [caption id="attachment_846473" align="alignnone" width="1920"] Mandylights, Our Connected City[/caption] 'OUR CONNECTED CITY' The bright lights of Sydney are impressive all year round, but it doesn't compare to the illumination of Vivid Sydney. This year, the creative festival will be taking advantage of that already expansive canvas with Our Connected City, an installation from the creative minds at Mandylights. Hundreds of colour-changing lights will pulse through The Rocks, Circular Quay and across the harbour, lighting the CBD in a ribbon of light that spreads from the Opera House all the way to the northern pylon of the Harbour Bridge. There will also be 150 searchlight beams shining into the night sky like a series of beacons connecting the clouds to the people and land below. To add to the effect, all of these lights will be perfectly synchronised — a representation of connection come to life before your eyes. [caption id="attachment_853126" align="alignnone" width="1920"] Glenn Turner, Oracle-Liquid, Destination NSW[/caption] 'SYDNEY INFINITY' There's no doubt that one of the biggest selling points of Sydney is the incredible harbour, so it's only fitting that it will be celebrated at Vivid Sydney 2022. Glenn Turner, of internationally renowned special-effects company Oracle-Liquid, is putting the waterway front and centre with Sydney Infinity, a site- and festival-specific installation billed as the largest liquid and light show ever seen in Australia. At Darling Harbour, water and light will combine in a spectacular, infinity-shaped floating installation consisting of compressed-air water cannons, robotic fountains and thousands of LEDs (plus, the dazzling display will be synced to a soundtrack from Peewee Ferris). The sheer scale will be something to behold — the cannons will blast water 80 metres into the air and the fountains will disperse nine tonnes of water in the air per second. It's thanks to this pumping power that the exhibition can be viewed from around the city, including Pyrmont Bridge, nearby high-rises, and the harbour's floating walkway. [caption id="attachment_854523" align="alignnone" width="1920"] Temple of Joy, Elliot Routledge, Destination NSW[/caption] VIVID HOUSE Taking over Darling Quarter, Vivid House is an immersive experience that combines light and sound to stimulate your senses over three distinct installations. In A Floating World (Stephen Ferris), musicians and visual artists combine to create a sonic painting that evokes imaginary landscapes. With Progressum (aFX Global), subtlety is key as flickers of light permeate the darkness and gradually build to become one with sound. Finally, Temple of Joy (Elliott Routledge) is a tribute to the halcyon days of Sydney's nightlife. Take in all three for the full, unforgettable Vivid House experience. [caption id="attachment_853127" align="alignnone" width="1920"] James Dive, Destination NSW[/caption] 'BUMP IN THE NIGHT' While Australia isn't quite as full of terrifying, life-threatening creatures as the rest of the world seems to think, you do tend to hear unidentifiable sounds of nature on a regular basis. Was that mad cackling a cockatoo, a kookaburra, or your neighbour watching Kath & Kim reruns again? Bump in the Night (by installation artist James Dive) is an interactive exhibition that looks like a genteel campsite (complete with muffled snores coming from inside the tents) but you get to play the strange creatures in the dark, with any noise you make potentially stirring the campers. This might be one of Vivid Sydney's strangest experiences but it's also one of the most fun. [caption id="attachment_853130" align="alignnone" width="1920"] Isabel Hudson and Trent Suidgeest, Destination NSW[/caption] 'A MIRRORED CITY' A Mirrored City creates a city within a city at The Goods Line. Conceptualised by artists Isabel Hudson and Trent Suidgeest, the installation brings shimmering surfaces to reflect the rich tapestry of Sydney life. As darkness falls, lights hidden within the surfaces create a larger Sydney, one that goes far beyond the confines of the station. From some of the city's most recognisable urban landscapes to stunning beachside vistas, A Mirrored City will take you on a tour of the city, telling stories about the people and places that make it what it is, all while you stay in one place. [caption id="attachment_853131" align="alignnone" width="1920"] Michaela Gleave, Destination NSW[/caption] 'ENDLESS LOVE' The concept here — from contemporary artist Michaela Gleave — is pretty simple, but sometimes the simplest ideas are the most powerful. The words 'endless love' will be displayed as part of a giant, lit-up arch at Circular Quay. Because who doesn't want endless love — and what could be bigger and better than an enduring promise of never-ending adoration? Endless Love is Vivid Sydney's gift to the city, and it's also a message from our city to the rest of the world. Every morning, the sun rises above Sydney to herald a new day and, throughout Vivid Sydney, this message will be shining too. Oh, and you'll look great standing beneath it on Instagram, which is also important. [caption id="attachment_853132" align="alignnone" width="1920"] Atelier Sisu, Destination NSW[/caption] 'EPHEMERAL OCEANIC' For this year's festival, Walsh Bay will be turned into a floating, bubble-laden playground courtesy of Atelier Sisu artists Zara Pasfield and Renzo B Larriviere. A floating boardwalk weaves between 150 giant orbs, lit from the inside and changing colour throughout the night, projecting ever-changing patterns onto the water below. Remember the pure glee you'd get from blowing bubbles as a child? This is the grown-up version of that, but it's also a reminder that you're never too old to have fun and lose yourself in life's simple pleasures. The inherent ephemerality of this piece is also encouragement for you to consider your environment and how easily things can change. [caption id="attachment_853134" align="alignnone" width="1920"] Sinclair Park, Destination NSW[/caption] 'FRANKLY, MY DEAR...' When Vivid Sydney rolls round, everything is a canvas — iconic buildings and structures offering more surfaces and interesting angles for light to hit. The UTS School of Business is known for the paper bag-like aesthetic given to it by seminal architect Frank Gehry. Sinclair Park, the light artist behind Frankly, My Dear, noted the building is "unique and playful... an irresistible canvas", and created a site-specific work that will allow viewers to see the structure from a whole new perspective. Using lights in changing hues in the building's windows, he accents the exposed brick and unusual shapes, turning one of Sydney's most distinctive buildings into one of its most undeniably beautiful. Vivid Sydney takes place at locations citywide from May 27–June 18. For the full program and to find out more, head to the website. Planned your visit already? Remember to get social and use the hashtag #vividsydney or tag Vivid Sydney in your shots. Top image: Yarrkalpa — Hunting Ground (2021), by the Martu Artists and Curiious with soundtrack by Electric Fields and Martu Artists (inspired by Yarrkalpa — Always Walking Country, 2014), Destination NSW
In good news for people who like raw dance clubs, a raw dance club is opening! Come August 12, Melbourne will have a new place to party with XE54 opening in an underground basement on City Road. The new venue (in Southbank, of all places) comes from some powerful collective hospo chops. Simon Digby, Tony Perna and Nick Vas of Roar Projects have drawn on the team behind Beyond the Valley to book some killer nights, including a flagship Saturday offering. Resident DJs will take the venue from week-to-week, but you can also expect a curated blend of electronic, house, techno, disco and an eclectic mix of international and local headliners. "We aim to create something that, regardless of the time of year or which specific week you attend, there will be a Saturday nightspot for electronic music lovers with the right attitude to come together and enjoy good music," says head booker and promoter Mike Christidis of Beyond the Valley. They've also called on the team International Worldwide to do the interior design. FYI, International Worldwide are the big wigs behind Holy Moly, Honkytonks (RIP) and The Bottom End. They've done it up right with raw graf murals in primary colours to delineate the warehouse-y space. Neon accents do the rest of the work to create the unpretentious atmosphere they're aiming for. XE54 will open at 334 City Road, Southbank on August 12. For more info, visit their Facebook page.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including 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, 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. DOG One of the many 80s comedies on Tom Hanks' resume, Turner & Hooch has already been remade in 2021 as a low-stakes streaming series with nothing worth wagging one's tail about to show for it. Still, it gains a big-screen spiritual successor in Dog, Channing Tatum's return to cinemas after a five-year absence (other than a brief cameo in Free Guy, plus voice-acting work in Smallfoot and The Lego Movie 2: The Second Part). Sub out a police investigator saddled with a canine witness for an Army Ranger transporting a dead colleague's ex-working dog; swap Hanks' uptight everyman for Tatum's usual goofy meathead persona, obviously; and shoehorn in a portrait of America today that aims to appeal to absolutely everyone. The result: a good boy of a movie that Tatum co-directs, isn't without its likeable and affecting moments, but is also a dog's breakfast tonally. Like pouring kibble into a bowl for a hungry pooch each morning, Dog is dutiful with the basics: a man, a mutt, an odd-couple arrangement between seeming opposites with more in common than the human among them first thinks, and an emotional journey. Comedic hijinks ensue along the way, naturally, although Turner & Hooch didn't involve anyone getting cock-blocked from having a threesome with two tantric sex gurus by its four-legged scamp. Given that Tatum's Jackson Briggs needs to take Belgian Malinois Lulu 1500 miles from Montana to Arizona by car — she won't fly — Dog is also a road-trip film, complete with episodic antics involving weed farmers and fancy hotels at its pitstops. That's all so standard that it may as well be cinema's best friend, but this flick also reckons with combat-induced post-traumatic stress disorder of both the human and animal kind, and ideas of masculinity and strength attached to military service. When Dog introduces Briggs, he's working in fast food by necessity — think Breaking Bad's fate for Saul Goodman, with Tatum even channelling the same stoic demeanour — as he waits to get redeployed. All he wants is to head back on active duty, but his higher-ups need convincing after the brain injury he received on his last tour. But his direct superior (Luke Forbes, SWAT) throws him a bone: if Briggs escorts Lulu to their former squad member's funeral, after he drove himself into a tree at 120 miles per hour, he'll sign off on his re-enlistment. Lulu has also been changed by her service, so much so that this'll be her last hurrah; afterwards, Briggs is to return her to the nearest base where she'll be euthanised. Given that Dog is exactly the movie it seems to be, its ending is never in doubt. Accordingly, fretting about Lulu is pointless. The journey is the story, of course, so Tatum and co-director/screenwriter Reid Carolin — also making his helming debut, and reteaming with the former after penning Magic Mike and Magic Mike XXL (and the upcoming Magic Mike's Last Dance) — endeavour to make the small moments matter. That's a line of thinking on par with Briggs' readjustment to civilian life, and similarly howling through his burgeoning bond with Lulu past simply playing chauffeur. Yes, Dog is that obvious. An emotional throughline doesn't need to be novel to strike a chord, though, and this film yaps the message loud and clear. That said, it also trades more in concepts than in fleshed-out characters, making an already-broad story even broader. Read our full review. ANONYMOUS CLUB With her song and record titles — her lyrics as well — Courtney Barnett has long found the words to express how many people feel. It's a knack, talent and gift, and it's helped her rocket to Australian fame and global success within a decade of releasing her debut EP in 2012. As thoughtful and captivating documentary Anonymous Club shows, it's also something she's frequently asked about in interviews. But expressing those lines and the emotions behind them with a guitar and microphone as weapons, plus a riotous melody as armour, is different to sharing them quietly one on one. Directed by her long-time collaborator Danny Cohen, who has helmed a number of her music videos, Anonymous Club begins with this reality. Barnett can pour her heart, soul and observations about life's chaos into the tunes that've made her a household name, achieving something that few others can; when she's on the spot, however, she's as uncertain and awkward as the rest of us. Barnett's way with words and wordplay in her work, and her lack thereof elsewhere, thrums through Anonymous Club like a catchy riff. The subject doesn't fade, burrowing into the film as an earworm of a song inside a listener's head does, and feature first-timer Cohen doesn't want it to. His movie was shot over three years, starting in 2018, which places it between Barnett's second studio album and her third — and knowing that makes the phrases from their titles, and from her debut record also, echo with resonance throughout the doco. Anonymous Club could've been called Sometimes I Sit and Think, and Sometimes I Just Sit, like its subject's first album in 2015. Tell Me How You Really Feel from 2018 would've worked as well. And, yes, Things Take Time, Take Time would've been apt, too, concluding a line of thinking that the film invites anyway — ultimately finding its moniker in a Barnett track from 2014, before all those releases. Across two tours spanning Europe, the US and Asia, plus stints in Melbourne, Anonymous Club watches Barnett sit and think, and sometimes just sit. It tasks the singer/songwriter with telling how she really feels, and shows her realising the truth that things take time. All of the above is captured on glorious 16-millimetre film and, even within a mere 83 minutes, the backstage documentary is overwhelming comprised of these ruminative, reflective moments — of snatches of Barnett's life caught as she hops between rooms that aren't her own, be it stages or green rooms or hotels or homes she's housesitting. Her thoughts and feelings come via brief chatter in front of the lens (or, more accurately, with the unseen Cohen behind it, shooting with a camera customised to record synchronised sound), and from overlaid snippets of the audio diary he asked her to keep. That's a job she tussles with — more words, more on-the-spot candour rather than deliberated-over lyrics, more struggles — but she still stuck at it for the project's duration. Frank, earnest and honest, so much of what's uttered is as revelatory as everything that Barnett has sung over the years. She confides in the fly-on-the-wall film via her Dictaphone recordings; as a result, a highly poised, posed, image-conscious portrait, this isn't. "I don't know what the fuck I'm talking about anymore. I just feel like I'm going around in circles and digging myself a deeper hole," she says at one point, and many other statements have the same tone. Jumping from America to Japan to Germany and elsewhere, life on the road gets to her. Back in Australia, life without a fixed space to call her own after spending so long touring has a similar impact. "My heart is empty, my head is empty, the page is empty," she offers, another telling statement. "It feels like I'm being part of this scripted performance of what we think we're supposed to see on stage, and it just feels really pointless," she also advises. Read our full review. PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME Will they or won't they? Do they or don't they? Every time that romance and relationships are portrayed on-screen, at least one of these questions always echoes. In the entrancingly moody and astute Preparations to Be Together for an Unknown Period of Time, it's the latter. Whether Hungarian neurosurgeon Márta Vizy (Natasa Stork, Jupiter's Moon) and fellow doctor János (Viktor Bodó, Overnight) will end the film in each other's company still remains a pivotal part of the plot, but if there's ever been anything between them — or if it's all simply in Márta's head — is the far more pressing concern. She's a woman smitten, so much so that she's returned home from a prestigious job in the US just for him. But his behaviour could be called vague, rude or flat-out ghosting, if he even remembers that they've crossed paths before — and, if they ever actually have. Preparations to Be Together for an Unknown Period of Time first introduces Márta as she's unloading her János-sparked romantic woes upon her therapist. What could've been a standard rom-com or romantic drama setup soon twists into something far more alluring and intriguing, however. Indeed, as writer/director Lili Horvát (The Wednesday Child) ponders the role of memory in affairs of the heart, her film just keeps inspiring more trains of thought. How can we ever know how someone else really feels about us? How long will any romantic emotions last, and can they last? Is it ever truly possible to trust whoever our hearts fall or, or our hearts to begin with? And, can we genuinely believe those intense memories of love that implant themselves inside our brains, refuse to leave and inspire life-changing decisions — or is love too subjective, no matter how deep, real, shared and strong that it feels? These queries all spring from Márta's homecoming, after she meets János at a conference in New Jersey, then pledges to do so again a month later on a Budapest bridge. She shows, but he doesn't. Worse: when she tracks him down at his work afterwards, he says that he doesn't know her. While tinkering with memory is a familiar film and TV concept — see: everything from Memento and Eternal Sunshine of the Spotless Mind to Mulholland Drive and Severance — Preparations to Be Together for an Unknown Period of Time is interested in the emotional fallout from János' claims to have zero knowledge of Márta first and foremost. Confused, unsettled and still wholeheartedly infatuated, she just can't bring herself to return stateside, and also can't get János out of her mind in general. Scripted with empathy and precision by Horvát, and also shot and styled like a waking dream, Preparations to Be Together for an Unknown Period of Time isn't easily forgotten either, siding its viewers with Márta over János. This is a haunting and beautifully acted psychological drama that lays bare just how all-encompassing, obsessive, intoxicating and mind-melting love can feel, all as it plays with recollection and its ability to shape our perspectives. The tone is loaded but uncanny — sweet but uncertain, too — and Horvát has fun getting both emotional and cerebral while having her characters cut open brains. The latter happens literally and yes, there aren't many movies quite like this one. Cinema doesn't boast too many performances like the exceptional Stork's, either, which draws viewers into every feeling, question, and pang of both intense affection and shattering uncertainty that flows through Márta. Preparations to Be Together for an Unknown Period of Time opened in Melbourne from February 24, and screens in Sydney and Brisbane from March 17. IT SNOWS IN BENIDORM Forty-four years have passed since Timothy Spall first graced the silver screen — and what a gift he's given both cinema and television since. He won Cannes Best Actor prize for Mr Turner, earned five BAFTA nominations in five years between 1997–2002, popped up in lively Aussie crime flick Gettin' Square, stole every scene he was in in The Party and recently proved formidable in Spencer. He has everything from multiple Harry Potter movies to playing Winston Churchill in The King's Speech on his resume, too, and also routinely improves whatever he's in with his presence alone. In fact, he does exactly that with It Snows in Benidorm, which'd be a mere wisp of a film otherwise. Following a just-made-redundant bank employee to Spain, this meandering drama frequently mistakes mood for depth — and while Spall can't polish away its struggles, he's always the key reason to keep watching. A fan of the weather and little else, Spall's Peter Riordan has given decades of his life to his employer, and is so settled into the routine he's fashioned around his job that it's as natural and automatic to him as breathing. Accordingly, when he's unceremoniously let go, he finds it difficult to adjust. He's told that being freed from the monotony of his work is a gift, allowing him to retire early — so in that spirit, he heads off to the Mediterranean coast's tourist mecca to spend time with the brother he otherwise rarely talks to. But upon his arrival, Peter finds his sibling conspicuously absent. He still stays in his high-rise apartment, but what was meant to be a family reunion-style holiday now becomes a detective quest. Helping him is Alex (Sarita Choudhury, And Just Like That...), who worked with Peter's shady club-owning brother, might know more than she's letting on about his whereabouts, and also welcomes her new pal's tender companionship the more that they spend time together. Spall has spent his entire career being described by one well-meaning term: character actor. Here, he's centre stage in a character study instead. He's marvellous in the role — more so in the film's early scenes, where conveying both weight, importance, security and dreariness of Peter's lonely niche relies heavily upon his measured performance, but also whenever sharing moments with the always-luminous Choudhury as the complicated Alex. That said, as written and directed by Spanish filmmaker Isabel Coixet (Elisa & Marcela), It Snows in Benidorm proves as thin as the chance of an avalanche in its sunny setting. The script is more interested in contrivance than letting its characters' thoughts and feelings stew naturally, and revels in a ruminative tone that's ponderous rather than revelatory. It's a holiday photo of a complicated getaway given two hours of focus, in other words, and it's as flimsy as waving around a strip of negatives. Coixet helms with emotion rather than story in mind, to the detriment of both. There's such a concerted effort to make audiences share Peter's listlessness at home and his awakening abroad that every second feels forced, and the narrative's leaps and languishing never seem authentic. Thanks to Spall, the end result fares better than Coixet's last English-language effort, 2017's abysmal The Bookshop — but the director's latest can't reach the heights of 2003's My Life Without Me and 2008's Elegy. It Snows in Benidorm's reliance upon comedy rarely hits its marks either, other than when dwelling in the British expat-filled hellscape that is Benidorm's nightlife scene. Indeed, its lasting imprint is a 'what if?', because Pedro Almodóvar and his brother Agustín Almodóvar sit among the movie's producers. Being left wondering what wonders might result if Spall and Choudhury teamed up for the Parallel Mothers auteur isn't a ringing endorsement of their current project, though. DEADLY CUTS The Full Monty wasn't the first to do it, and it definitely hasn't been the last. But for the quarter century since that crowd-pleasing comedy became an enormous worldwide hit, British movies about underdogs banding together to save their livelihoods and communities have no longer been scrappy battlers themselves. Irish film Deadly Cuts is the latest, joining an ever-growing pile that also includes everything from Calendar Girls to Swimming with Men — and first-time feature writer/director Rachel Carey knows the formula she's playing with. Each such picture needs to be set in a distinctive world, follow a close-knit group, see them face an apparently insurmountable task and serve up a big public spectacle that promises redemption, and every step in that recipe is covered here. But a movie can stick to a clear template and still boast enough spirit to make even the creakiest of plot inclusions feel likely and entertaining enough, and that's this low-budget affair from start to finish. It does raise a smile that AhhHair, the glamorous hairdressing contest that Deadly Cuts' main characters want to enter and win, is all about innovation in its chosen form. The movie itself would never emerge victorious at such a competition, but it's filled with broad, blackly comic fun along the way, even if it boasts about as much subtlety as a mohawk. The setting: Piglington, Dublin, an as-yet-ungentrified corner of the Irish capital, where the titular salon is a mainstay. The aim: saving the shop from being torn down and replaced with shiny new apartments. The wholly predictable complications: the determination of corrupt local politician Darryl Flynn (Aidan McArdle, The Fall) to forge ahead with the development, which'll boost his bank account; and the suburb-scaring thugs led by the overbearing Deano (Ian Lloyd Anderson, Herself), who throw their weight around at every chance they get. While lead stylist Stacey (Ericka Roe, another Herself alum) has her heart set on AhhHair glory — a dream that her colleagues Gemma (Lauren Larkin, Love/Hate) and Chantelle (Shauna Higgins, Dating Amber) share — their boss Michelle (Angeline Ball, perhaps best known for The Commitments three decades back) is much less enthused. In another of the script's obligatory choices, the latter has a far-from-joyous history with the event and its head judge D'Logan Doyle (Louis Lovett, Moone Boy), and remains reluctant even when basking in the contest's fame and acclaim might be the only thing that'll keep her salon and Piglington itself going. Of course, movies like Deadly Cuts always find ways to get their characters to the big dance, especially when the odds are overwhelmingly stacked against them. Once there, their mission doesn't get easier. "You've got about as much chance as a dark brunette going to a platinum blonde in one step without her hair falling out," one rival spits at them. There's pluck to Stacey and her hair-snipping crew as they sharpen up their scissors, unfurl their curlers and do everything they must to whip up show-stopping styles to dye/die for — and yes, Deadly Cuts does take its name seriously. As a result, there's the same verve to the movie itself, which dips itself not only in the usual underdog formula, but in twisted OTT crime comedy as well. Patchiness comes with the territory, including in quick-fire gags that don't always land and lines of dialogue that are blunter than rusty clippers, but Carey's film still strives forth with ambition and confidence. Buoyed by game performances, it's the movie equivalent of rocking a by-the-book do and an outrageous hue at once, even if it's far better when it's skewing darker. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3 and March 10. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow and The Souvenir: Part II.
If you're already making travel plans for next year, you might want to consider a destination close to home: New South Wales' Lord Howe Island. Located 600 kilometres off the state's northern coast, the UNESCO World Heritage-listed spot has just been named one of the best places to visit in 2020 by travel publication Lonely Planet. The only Australasian location to make the list, Lord Howe Island ranked fifth in Lonely Planet's rundown of top regions, which forms part of its Best in Travel 2020 guide. The publication heaped plenty of praise on the NSW spot, noting that the "visually stunning island makes an instant impact on the senses". It also called out Lord Howe's "soaring green mountains", "perfect lagoon", "perfect crescents of beach" and "splendid hiking trails" — as well as calling it "a shining example of sustainably managed tourism". If you haven't yet experienced Lord Howe's wonders for yourself, only 400 people are allowed to visit the island at a time — which is why its approach to tourism earned a specific mention. That means you won't have too much company when you're trekking up Mt Gower's 875-metre one-day climb, swimming among 60 species of coral and more than 500 species of fish, surfing at Blinky Beach, visiting the world's largest sea stack or sleeping in a rainforest. [caption id="attachment_747140" align="alignnone" width="1920"] Zach Sanders[/caption] On the top regions list, the Aussie spot was in great company. The Central Asia's Silk Road took first place, Le Marche in Italy nabbed second, Tohuku in Japan ranked third and Maine in the USA came in fourth. Further down the rankings, China's Guizhou Province took sixth spot, followed by Spain's Cádiz Province, Northeast Argentina, the Kvarner Gulf in Croatia and the Brazilian Amazon. Lonely Planet also compiles lists of top cities, countries and best-value places to visit; however, no Aussie or NZ spots ranked among the selections. Salzburg in Austria was named the best city, Bhutan topped the best countries and East Nusa Tenggara in Indonesia emerged victorious among the publication's best-value picks. You can check out Lonely Planet's full Best in Travel 2020 lists over here. Images: Zach Sanders.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including 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, 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. MOTHERING SUNDAY Is there anything more intimate than wandering around someone's home when they're not there, gently rifling through their things, and — literally or not, your choice — spending a few minutes standing in their shoes? Yes, but there's still an intoxicating sense of closeness that comes with the territory; moseying curiously in another's house without their company, after they've entrusted their most personal space to you alone, will understandably do that. In Mothering Sunday, Jane Fairchild (Odessa Young, The Staircase) finds herself in this very situation. She's naked, and as comfortable as she's ever been anywhere. After her lover Paul Sheringham (Josh O'Connor, Emma) leaves her in a state of postcoital bliss, she makes the most of his family's large abode in the English countryside, the paintings and books that fill its walls and shelves, and the pie and beer tempting her tastebuds in the kitchen. The result: some of this 1920s-set British drama's most evocative and remarkable moments. Jane is used to such lofty spaces, but rarely as a carefree resident. She's an aspiring writer, an orphan and the help; he's firmly from money. She works as a maid for the Sheringhams' neighbours, the also-wealthy Godfrey (Colin Firth, Operation Mincemeat) and Clarrie Niven (Olivia Colman, Heartstopper), and she's ventured next door while everyone except Paul is out. This rare day off is the occasion that gives the stately but still highly moving film its name as well — Mother's Day, but initially designed to honour mother churches, aka where one was baptised — and the well-to-do crowd are all lunching to celebrate Paul's impending nuptials to fiancée Emma Hobday (Emma D'Arcy, Misbehaviour). He made excuses to arrive late, though, in order to steal some time with Jane, as they've both been doing for years. Of course, he can't completely shirk his own party. Mothering Sunday does more than luxuriate in Jane's languid stroll around a sprawling manor, or the happiness that precedes it — much, much more — but these scenes stand out for a reason. They're a showcase for Australian actor Young, who has graduated from playing troubled daughters (see: 2015's The Daughter and the unrelated Looking for Grace) to searching young women cementing their place in the world (see also: 2020's Shirley). With her quietly potent and radiant help, they say oh-so-much about Jane that wouldn't have sported the same power if conveyed via dialogue. They're also exactly the kind of sequences that screenwriter Alice Birch (Lady Macbeth) knows well, although she isn't merely repeating herself. Helping pen the page-to-screen adaptations of Sally Rooney's Normal People and Conversations with Friends, she's inherently at home revealing everything she can about her characters just by observing what they do when no one's watching. The broader story in Mothering Sunday also springs from a book, this time from Graham Swift's 2016 novel, with French filmmaker Eva Husson (Girls of the Sun) making her English-language debut in the director's chair. Swift didn't choose an annual occasion at random, with the day cloaked in sadness in the Sheringham and Niven households — and across Britain — in the shadow of the First World War and all the young men lost to the conflict. Indeed, marking Paul's engagement is the best way to spend the date because his brothers, and the Nivens' boys too, will never have the same chance. The need to don a stiff upper lip, to keep calm and carry on, and to embody every other grin-and-bear-it cliche about English stoicism is deeply rooted in grief here, and more will come in this touching feature before the sunny March day that sits at its centre is over. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26. You can also read our full reviews of a heap of recent movies, such as The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze and Hatching.
When the end of the year hits, do you get 'Christmas is All Around', as sung by Bill Nighy, stuck in your head? Have you ever held up a piece of cardboard to tell the object of your affection that, to you, they're perfect? Does your idea of getting festive involve watching Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Alan Rickman, Emma Thompson, Keira Knightley, Rowan Atkinson and Martin Freeman, all in the same movie? If you answered yes to any of the above questions, then you clearly adore everyone's favourite Christmas-themed British rom-com, its high-profile cast and its seasonal humour. And, you've probably watched the beloved flick every December since it was first released in cinemas back in 2003. That's a perfectly acceptable routine, and one that's shared by many. But this year, you can do one better. A huge success during its past tours of the UK and Australia (to the surprise of absolutely no one), Love Actually in Concert is returning in 2022 to make this festive season extra merry. It's exactly what it sounds like: a screening of the film accompanied by a live orchestra performing the soundtrack as the movie plays. And, to the jolly delight of Aussies around the country, it's heading to Brisbane, Hobart, Wollongong, the Gold Coast, Adelaide, Sydney, Melbourne and Perth. Dates and times vary per city — and not all places have a venue locked in as yet — but obviously you'll be getting your Love Actually fix in the lead up to Christmas. Here, you'll revisit the Richard Curtis-written and -directed film that you already know and treasure, step through its interweaved Yuletide stories of romance, and hear a live orchestra play the movie's soundtrack. And, yes, Christmas (and love) will be all around you. Ticket on-sale dates vary per city, too, starting on Wednesday, September 28 in some places — but you can join the waitlist now no matter where you are. LOVE ACTUALLY IN CONCERT 2022 DATES: Saturday, December 10 — 4pm, Great Hall, Brisbane Convention and Exhibition Centre Saturday, December 10 — time and venue TBC, Hobart Wednesday, December 14 — 7.30pm, WIN Entertainment Centre, Wollongong Thursday, December 15 — 7.30pm, The Star Gold Coast Friday, December 16 — time and venue TBC, Adelaide Saturday, December 17 — 4pm, Darling Harbour Theatre, ICC Sydney Saturday, December 17 — 4pm, Plenary, Melbourne Convention and Exhibition Centre Saturday, December 17 — 4pm, Perth Convention and Entertainment Centre Love Actually in Concert will tour Australia this December — head to the event's website for further details, and to join the waitlist, with tickets in some cities going on sale on Wednesday, September 28.
Lasagne is a bit like lamingtons, even though the two delicious dishes taste and look absolutely nothing alike. Their one big commonality: if there's an inventive way to twist either in any way, whatever that new bite happens to be is definitely worth trying. Actually, the two foods share something else in common, because Australia's world-famous Lune Croissanterie has also given them both a whirl. It's served up lamington cruffins and lasagne pastries before, but they're both always welcome — and, to start winter 2023, the latter is back. Lasagne, but a pastry? Yes, that's now a real thing that exists — but only for this month, until Friday, June 30, at all Lune stores around the country. That spans Fitzroy, the CBD and Armadale in Melbourne, plus South Brisbane and Burnett Lane in Brisbane. From Armadale, South Brisbane and Burnett Lane only, you can also order its June specials online. So, what are these instantly tastebud-tempting lasagne pastries? Prepare to meet, devour and love the lasagne escargot. It's the second time that Lune has whipped up this particular Frankenstein's monster of a bakery creation — and, as it did in 2022, it's bound to set your stomach alive with deliciousness. Yes, it comes stuffed with bolognese and béchamel. There's also shredded mozzarella cheese, because of course there is. And, that pastry is then topped with parmesan before it goes in the oven. Also on the month-long specials menu: pumpkin pie cruffins. Using a recipe from Lune co-founder Kate Reid's cookbook Lune: Croissants All Day, All Night, this snack fills a cruffin with pumpkin pie custard and maple syrup, then tops it with cinnamon cream and cinnamon sugar. Clearly, there's winter comfort foods, and then there's Lune's winter comfort foods. Ginger molasses croissants and chocolate banana rum pains au chocolat should also get stomachs grumbling. The former stuffs a twice-baked croissant with ginger molasses frangipane, with ginger molasses cookie and cream cheese icing on top. The latter is also baked twice, and benefits from chocolate frangipane, banana jam and rum caramel inside, plus rum-spiked whipped cream and toasted cocoa nibs to cap it off. Still hungry? The pear and chocolate danish pairs chocolate custard and slices of poached pear, while the Coconut Kouign Amann takes its cues from Filipino treat pane de coco, baking in a brown sugar syrup until its caramelised, and being piped with coconut cream caramel. Lune's lasagne escargot are available from all stores — Fitzroy, the CBD and Armadale in Melbourne, and South Brisbane and Burnett Lane in Brisbane — until Friday, June 30. From Armadale, South Brisbane and Burnett Lane only, you can also order them online. Images: Peter Dillon.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are eight that you can watch right now at home. Furiosa: A Mad Max Saga To Valhalla, George Miller went: when Mad Max: Fury Road thundered across and shone upon the silver screen in 2015, and it did both, it gave cinema one of the greatest action movies ever made. It has taken nine years for the Australian filmmaker to back up one of the 21st century's masterpieces with another stunt-filled drive through his dystopian franchise — a realm that now dates back 45 years, with Mad Max first envisaging a hellscape Down Under in 1979 — and he's achieved the immensely enviable. Fury Road and Furiosa: A Mad Max Saga's white-hued, silver-lipped war boys pray to gain entry to a mythological dreamscape just once, but Miller keeps returning again and again (only 1985's Mad Max: Beyond Thunderdome, in a now five-film series that also includes 1981's Mad Max 2, is anything less than heavenly). "The question is: do you have what it takes to make it epic?" Miller has Chris Hemsworth (Thor: Love and Thunder) ask in Furiosa as biker-horde leader Dementus, he of the post-apocalyptic Thor-meets-Roman gladiator look and chariot-by-motorcycle mode of transport. Returning to all things Mad Max after an affecting detour to 2022's djinn fable Three Thousand Years of Longing, the writer/director might've been posing himself the same query — and he resoundingly answers in the affirmative. An origin story-spinning prequel has rarely felt as essential as this unearthing of its namesake's history, which Fury Road hinted at when it introduced Furiosa (then played by Charlize Theron, Fast X) and made her the movie's hero above and beyond Mad Max (Tom Hardy, Venom: Let There Be Carnage). Discovering the full Furiosa tale felt imperative then, too, and with good reason: Miller had already planned the figure's own film to flesh out her background before her celluloid debut, and that she existed well past her interactions with Max was always as apparent as the steely glare that said everything without words. Now with both Anya Taylor-Joy (The Super Mario Bros Movie) and Alyla Browne (The Lost Flowers of Alice Hart) playing the lead, Furiosa lives up to that promise. Furiosa: A Mad Max Saga streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Anya Taylor-Joy, Chris Hemsworth and George Miller. Monster When a movie repeats its events through fresh eyes, answers usually follow. But as Hirokazu Kore-eda opts for the Rashomon effect in Monster, using a technique that fellow great Japanese filmmaker Akira Kurosawa deployed with one of his famous features, the director that won the Palme d'Or for 2018's Shoplifters refuses to stop asking questions. In this picture, which picked up the Queer Palm at the 2023 Cannes Film Festival — and again sees Kore-eda collaborate with Kazuko Kurosawa (The Third Murder), daughter of Akira, as its costume designer — layers keep mounting. There's no shortage of cinema that stresses how there's never merely one set of peepers to peer through, but in this masterful and moving addition to that realm, from one of the best at conveying empathy that film as a medium benefits from today, each pass in search of the full story builds a case not just for filtering the world through more than what's easy and reactive, but through acceptance and understanding. Kore-eda knows this: that perspectives, just like perceptions, can be misleading, blinkered and blinded. So when rumour proclaims that a new teacher frequents hostess bars, when a boy has tales of being called names by the same educator, when said man points the finger at the kid as a bully to one of his classmates instead and when the two children at the centre of the situation are friends with a cherished bond, a clearcut view is in short supply. This is the first movie since 1995's Maborosi that the filmmaker has only helmed and not also written, but Yûji Sakamoto's (In Love and Deep Water) Cannes Best Screenplay-winning script is a classic entry on the director's resume. Monster is also Kore-eda's homecoming, after making his post-Shoplifters films until now elsewhere — 2019's The Truth in France, then 2022's Broker in South Korea — and it's a stellar return. Monster streams via YouTube Movies, iTunes and Prime Video. Read our full review. The Watchers A quarter of a century ago, M Night Shyamalan started coaching audiences to associate his surname with on-screen twists. Now that The Sixth Sense writer/director's daughter Ishana Night Shyamalan is following in his footsteps by making her first feature, decades of that viewer training across Unbreakable, Signs, The Visit, Split, Glass and more laps at The Watchers' feet. The question going in for those watching is obvious: will the second-generation filmmaker, who first worked as a second-unit director on her dad's Old and Knock at the Cabin — and also penned and helmed episodes of exceptionally eerie horror TV series Servant, on which her father was the showrunner — turn M Night's well-known and -established penchant for surprise reveals that completely recontextualise his narratives into a family trademark? Viewing a Shyamalan movie from The Sixth Sense onwards has always been an exercise in piecing together a puzzle, sleuthing along as clues are dropped about how the story might swiftly shift. It's no different with The Watchers, which Ishana adapts from AM Shine's novel and M Night produces. The younger filmmaking Shyamalan leans into the expectations that come with being her dad's offspring and picking up a camera, making a supernatural mystery-thriller horror flick and living with his brand of screen stories for her entire life. That said, while it's easy to initially think of The Village when The Watchers sets its narrative in isolated surroundings where the woods are filled with threats, and also of Knock at the Cabin given that its four main characters are basically holed up in one, Ishana demonstrates her own prowess with this Dakota Fanning (Ripley)-led flick, including by heartily embracing her source material's gothic air. The Watchers streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Ishana Night Shyamalan. The Beast Watching a film by French writer/director Bertrand Bonello can feel like having a spell cast upon you. In movies such as 2016's Nocturama and 2019's Zombi Child, that's how magnetic and entrancing his blend of ethereal mood and dreamy imagery has felt. So it is with The Beast, too, another hypnotic feature that bewitches and also probes, because none of these three Bonello flicks ask their viewers to merely submit. Rather, they enchant while raising questions about the state of the world, whether digging into consumerism and anarchy, hierarchies of race and class, or the role of humanity in an increasingly technology-mediated society. The latter is the domain of the filmmaker's loose adaptation of Henry James' 1903 novella The Beast in the Jungle — a take that, as its author didn't and couldn't, perceives how the clash of humanity's emotions and artificial intelligence's data-driven analysis is fated to favour the cold and the calculating. In 2044, the very fact that people are guided by their feelings has rendered them unsuitable for most jobs in The Beast's AI-dominated vision of the future. Played with the mastery of both deeply conveyed expression and telling stillness that's long characterised her performances, Dune: Part Two, Crimes of the Future and No Time to Die's Léa Seydoux is Gabrielle, who is among the throngs relegated to drone-like drudgery in this new world order. To shift her daily reality, where she reads the temperature of data cores, she only has one path forward: a cleansing of her DNA. It involves spending sessions immersed in a black goopy bath to confront her emotions and past, a procedure that she's told will rid her of her trauma and baggage. Crossing paths with Gabrielle at the treatment centre, Louis (1917 and True History of the Kelly Gang's George MacKay) has the same choice. The Beast streams via YouTube Movies and Prime Video. Read our full review. Housekeeping for Beginners Every film is a portrait of ups and downs, no matter the genre. Without change and complications, plus either a sprinkling or a shower of chaos, there's little in the way of story for a movie to tell. In just three features, each hitting cinemas Down Under in successive years since 2022, Macedonian Australian filmmaker Goran Stolevski has demonstrated how deeply he understands this fact — and also that life itself is, of course, the same rollercoaster ride. So, when Housekeeping for Beginners starts by jumping between a joyous sing-along and a grim doctor's visit, he lays that juxtaposition between existence's highs and the lows bare in his third picture's frames. He has form: You Won't Be Alone, his folkloric horror film set in 19th-century Macedonia, segued early from new life to a witch's fate-shaping demands; Of an Age, a queer love story that unfurls in Melbourne, kicked off by flitting between dancing and a desperate against-the-clock rush. In You Won't Be Alone, the shapeshifting Wolf-Eateress who chose an infant to be her protege was played by Anamaria Marinca, the Romanian actor who has proven an unforgettable screen presence ever since the one-two punch of 2004's TV two-parter Sex Traffic — which won her a Best Actress BAFTA — and 2007's Cannes Palme d'Or-winning film 4 Months, 3 Weeks and 2 Days. Stolevski reenlists her assistance for Housekeeping for Beginners, and also illustrates his awareness of another immutable fact: that the eyes of Anamaria Marinca relay tales all by themselves. Here, they're weary but sharp and determined. They're devoted yet fierce, too. They possess the unrelenting gaze of someone who won't stop fighting for those she loves no matter what it takes, and regardless of how she initially reacts, a path that her social-worker character Dita is no stranger to traversing. Housekeeping for Beginners streams via YouTube Movies and iTunes. Read our full review. Kingdom of the Planet of the Apes Move over New York — it's time for New South Wales to be overrun by a simian civilisation. Kingdom of the Planet of the Apes doesn't swap the Statue of Liberty for the Sydney Harbour Bridge. Rather, it was just made in Australia; this franchise is long past needing to anchor itself in a specific location, but America's west coast is the in-narrative setting. No it-was-earth-all-along twists are necessary, either, as France's famous gift to the US signalled back in 1968 when Pierre Boulle's novel La Planète des singes initially made it to the screen. More than half a century later — plus four sequels to the OG Planet of the Apes, both live-action and animated TV shows, Tim Burton's (Wednesday) remake and the reboot flicks that started with 2011's Rise of the Planet of the Apes — the saga's basics are widely known in pop culture. The titular planet is humanity's own. In this vision of the future, a different kind of primate runs the show. Since day one, every Planet of the Apes tale has been a mirror. Gazing into the science-fiction series means seeing the power structures and societal struggles of our reality staring back — discrimination, authoritarianism and even the impact of a world-ravaging virus should ring a bell— but with humans no longer atop the pecking order. These are allegorical stories and, at their best, thoughtful ones, probing the responsibilities of being the planet's dominant force and the ramifications of taking that mantle for granted. Not every instalment has handled the task as well as it should've, but those that do leave a paw print. Coming after not just Rise of the Planet of the Apes but also 2014's Dawn of the Planet of the Apes and 2017's War for the Planet of the Apes, Kingdom of the Planet of the Apes from The Maze Runner, The Maze Runner: The Scorch Trials and The Maze Runner: Death Cure director Wes Ball falls into that category. Kingdom of the Planet of the Apes streams via YouTube Movies, iTunes and Prime Video. Read our full review. La Chimera It's a film about searching for treasure, and it is indeed a treasure. La Chimera is also dreamy in its look and, while watching, makes its viewers feel as if they've been whisked into one. There's much that fantasies are made of in writer/director Alice Rohrwacher's fourth feature, which follows Corpo Celeste, The Wonders and Happy as Lazzaro — God's Own Country breakout and The Crown star Josh O'Connor leading the picture as a British archaeologist raiding tombs in 80s-era Italy chief among them. Thinking about Lara Croft, be it the game, or the Angelina Jolie (in 2001 and 2003 flicks)- or Alicia Vikander (2018's Tomb Raider)-led movies, is poking into the wrong patch of soil. Thinking instead about the way that life is built upon the dead again and again, and upon unearthed secrets as well, is part of what makes La Chimera gleam. Rohrwacher's latest, which also boasts her Happy as Lazzaro collaborator Carmela Covino as a collaborating writer — plus Marco Pettenello (Io vivo altrove!) — resembles an illusion not just because it's a rare mix of both magical-realist and neorealist in one, too (well, rare for most who aren't this director). In addition, this blend of romance and drama alongside tragedy and comedy sports its mirage-esque vibe thanks to being so welcomely easy to get lost in. As a snapshot of a tombaroli gang in Tuscany that pilfers from Etruscan crypts to try to get by, it's a feature to dig into. As an example of how poetic a film can be, it's one to soar with. The loose red thread that weaves throughout La Chimera's frames, intriguing folks within the movie, also embodies how viewers should react: we want to chase it and hold on forever, even as we know that, as the feature's 130 minutes tick by, the picture is destined to slip through our fingers. La Chimera streams via YouTube Movies, iTunes and Prime Video. Read our full review. IF Imaginary friends should be seen, but people trying to survive an alien invasion should not be heard. So goes John Krasinski's recent flicks as a filmmaker. While IF, The Office star's fifth feature behind the lens, has nothing to do with 2018 horror hit A Quiet Place or its 2020 sequel A Quiet Place Part II, the three movies share a focus on the senses and their importance in forming bonds. When Krasinski's two post-apocalyptic hits forced humanity into silence for survival, they contemplated what it meant to be perceived — or not — as a basic element of human connection amid the bumps, jumps and tale of a family attempting to endure. With IF, the writer/director also ponders existence and absence. It skews younger, though, and also more whimsical, for a family-friendly story about a girl assisting made-up mates that are yearning Toy Story-style to have flesh-and-blood pals again. The horror genre still lingers over IF, however. It doesn't haunt in tone, because this isn't 2024's fellow release Imaginary; rather, it's a sentimental fantasy-adventure film, enthusiastically so. But from the moment that the movie's narrative introduces its IFs, as the picture dubs imaginary friends, it's easy to spot Krasinski's inspiration. In New York staying with her grandmother Margaret (Fiona Shaw, True Detective: Night Country) while her dad (Krasinski, Jack Ryan) is having heart surgery, 12-year-old Bea (Cailey Fleming, The Walking Dead) starts seeing pretend creatures. Aided by Cal (Ryan Reynolds, Ghosted), who lives upstairs from Bea's nan, she then has a task: reuniting critters such as Blue (Steve Carell, Asteroid City), the purple-hued furry monster that, alongside Minnie Mouse-meets-butterfly Blossom (Phoebe Waller-Bridge, Indiana Jones and the Dial of Destiny), is one of the first IFs that she spots, with the now-adults that conjured them up as children. IF streams via YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May and June 2024 (and also January, February, March, April, May, June, July, August, September, October, November and December 2023, too). We keep a running list of must-stream TV from across 2024 as well, complete with full reviews. And, we've also rounded up 2024's 15 best films, 15 best new TV shows and 15 best returning TV shows from the first half of the year. Also, here's 2023's 15 best films, 15 best straight-to-streaming movies, 15 top flicks hardly anyone saw, 30 other films to catch up with, 15 best new TV series of 2023, another 15 excellent new TV shows that you might've missed and 15 best returning shows as well.
UPDATE: MARCH 24, 2020 — Melbourne's dedicated cookie shop is now delivering its chunky, gooey handmade doughy boys. Available within ten kilometres of the Windsor store, the delivery offering includes eight different flavours ($5–6 each): classic, triple choc, vegan, Nutella, churros, pistachio, peanut butter and raspberry. Orders are for a minimum of six and can be made by emailing deliverycookiebox@gmail.com. Got a cookie obsession that just won't quit? Prepare to unleash the monster on Windsor's new dessert destination, The Cookie Box, where chunky, gooey handmade cookies reign supreme. The family-run brand has already proved a hit in Perth, where it launched in 2017, and now Melbourne's scored a decadent outpost of its own. The Chapel Street store is dishing up nine permanent flavours from a classic peanut butter to Nutella and a fruit-laced raspberry number. You can also sink your teeth into the monthly-changing experimental creation. All of the treats are rolled by hand, rested for 48 hours and baked fresh daily, crafted only on top-quality ingredients including free-range eggs and smooth Belgian chocolate. A solo cookie will set you back as little as $5. Otherwise, get a little adventurous with one of the cookie bowls, teaming a classic cookie with topping combinations like black forest — ice cream and Italian amarena cherries — or banoffee: banana, ice cream and lashings of caramel sauce. The Cookie Box officially opens on Saturday, February 15, and it's celebrating by handing out a stack of freshly baked cookies — on the house. Be one of the first 250 punters through the doors at 10am on February 15 or 16 and you'll score yourself one of the shop's classic cookies for free.
Remember the animation devices of ancient times, such as the zoetrope, praxinoscope and phenakistoscope? No, of course you don't. Fortunately, we have artist and technician Richard Balzer, who has taken it upon himself to perform the necessary updates. For more than 30 years, he has been dipping into cabinets of curiosity and combing through flea markets in order to find detailed drawings, diagrams and photographs from the old world and breathe new life into them through the popular gif image. From an early fascination with the magic lantern, Balzer has accumulated a comprehensive collection of optic toys and illustrations. These forms of visual entertainment were originally developed as an attempt to better understand the functioning of the eye and the brain. Enthralled by the phenomenon of illusory movement, Balzer has spent the last five years curating a virtual museum, bringing the image-making magic of these devices to the web. Peruse the catalogue and uncover innumerable psychedelic head-spinners, from galloping devils to backflipping knights in armour to monstrous faces swallowing and re-swallowing each other. Balzer's aim is simply to share his passion with as wide an audience as possible, whilst preserving and digitising an art archive on the verge of being forgotten. Via psfk and Colossal.
Home to the famed Penola, Coonawarra and Robe wine regions — as well as an array of natural wonders — the Limestone Coast lies four hours' drive southeast of Adelaide. More than 40 cellar doors peddle some of Australia's best cabernet sauvignon, shiraz and merlot, while laidback eateries serve up fresh dishes, packed with local produce and fresh seafood, straight out of the Southern Ocean. Together with southaustralia.com, we've created this comprehensive guide to the coastal wine region — featuring plenty of drinking and feasting, alongside diving in impossibly clear waters, strolling around a dazzling blue lake and diving into a sinkhole. If you have the time, immerse yourself in the Clare Valley and the Fleurieu Peninsula, too. Or explore Adelaide — there are plenty of underground bars and fairy light-lit rooftops to uncover. [caption id="attachment_681383" align="alignnone" width="1920"] No.4[/caption] EAT Begin your adventures in Coonawarra, a pint-sized region known all over the world for its cracking cabernet sauvignon. At Drink Ottelia + Eat Fodder, you'll taste your way through several drops, while feasting on sourdough pizza and creative dishes, such as wood-roasted whole prawn with nasturtium leaf butter and salt and pepper squid with black pepper sauce and spring onion. Next up is Penola, a 1500-person town dotted with heritage-listed buildings, found 15 minutes' drive south. Among these dwellings, there's a white weatherboard church by the name of Pipers of Penola, where husband-and-wife duo Simon and Erika Bowen dish up decadent combinations. Start with duck liver pâté, grilled brioche, cornichons, mustard fruit and apple remoulade; end with Valrhona guanaja 70 percent dark chocolate terrine, spiced Jamaican rum genoise, dark chocolate glaze and orange sabayon. Match your picks with a few local drops along the way. [caption id="attachment_681429" align="alignnone" width="1920"] Mayura Station, Mike Annese[/caption] When you're ready for salty air and crashing surf, you'll find the coast 45 minutes' drive west. Your first stop should be the Irish green hills of Mayura Station, a Wagyu beef farm that has been raising cattle since the 1850s. In the Tasting Room, a true paddock-to-plate experience is on offer. While you sit at a sleek stainless bench, chef Mark Wright will slice premium cuts in front of your eyes, before preparing them in a variety of fashions – from paper-thin carpaccio to charcoal-grilled pieces to perfectly melty steak. The adventure comes accompanied by museum release Coonawarra wines, which you'd be hard pressed to find anywhere else. Stay coastal to visit Robe, a 1200-person town that lies an hour's drive north. In the 1850s, this was South Australia's second busiest port — a wander among the old buildings feels like a journey into seafaring history. For a light, breezy brunch, grab a table at No. 4, and feast on local rock lobster with scrambled eggs, pickled seaweed salad and house-made lavosh or some other locally inspired creation. [caption id="attachment_681000" align="alignnone" width="1920"] Cape Jaffa Wines, Adam Bruzzone[/caption] DRINK Don't leave Robe without swinging by Robe Town Brewery, home to the only woodfired brewing kettle in Australia. Its in-depth flights cover anything and everything from the Midnight Smooch, made with liquorice root, to The Magic Mulberry, infused with hand-picked wild mulberries. After that, it's a half-hour drive to remote Cape Jaffa Wines, to immerse yourself in vineyards, backdropped by the Great Australian Bight. Couple Anna and Derek Hooper moved here after falling in love with the area's wildness and deciding to dedicate themselves to making wines that reflect the elements. Their experiments have resulted in some unusual drops, such as the Samphire Skin Contact White, made using traditional Eastern European techniques, and the experimental Mesmer Eyes Red and White Blend. [caption id="attachment_681015" align="alignnone" width="1920"] Wynns, Mike Annese[/caption] Return inland to find out where Coonawarra and Penola get their mighty reputations. Wynns is a name you've no doubt seen on many a bottle shop shelf and, right here, you can see its home. Take this opportunity to sample the Single Vineyards and Icons ranges. Just a hop, skip and jump away is St Mary's, where every grape in every bottle comes from the winery's vineyard and every step in the winemaking process happens onsite. Leave yourself time to wander around the four acres of 70-year-old landscaped gardens, before moving on to Majella. For more wines deeply expressive of their terroir, head to Bellwether Wines, where the reserve series is up for tasting in an 1868 shearing shed. [caption id="attachment_681002" align="alignnone" width="1920"] Kilsby Sinkhole, Alex Wyschnja[/caption] DO One of the Limestone Coast's best-known spots is Blue Lake, Mount Gambier — around 50 minutes' drive south of Coonawarra. Occupying a massive crater formed by a volcanic eruption anywhere between 4300 and 28,000 years ago, the lake turns a magnificent cobalt blue every summer. The 3.7-kilometre walking trail lets you explore up-close. Before setting off, drop into Mount Gambier's Saturday morning Farmers' Market, to pick up supplies. [caption id="attachment_681009" align="alignnone" width="1920"] The Obelisk, Ben Goode[/caption] Another natural phenomenon nearby is the Kilsby Sinkhole. Divers have been travelling here from all over the planet since the 1950s to plunge into its crystal-clear waters, which you can experience on a tour with an approved operator. Then, if you happen to be travelling in May or June, wait until after dark to drive 16 kilometres northwest to Glencoe, to wander along Ghost Mushroom Lane, a walk dotted with mushrooms that glow in the dark. Note, these are not part of your foodie experience: the very chemical that gives them their luminescence can be poisonous. If you're looking for adventures around Robe, check out The Obelisk, Cape Dombey. Built in 1852, this landmark helped sailors to safety, firstly, by assisting with navigation and, secondly, by providing a place to store lifesaving gear. When a ship got into trouble, this gear would be shot out by rocket and grabbed by thankful travellers. [caption id="attachment_681014" align="alignnone" width="1920"] Bellwether Glamping by SATC[/caption] STAY To sleep surrounded by red gums and bird song within a Coonawarra winery, book a bell tent at Bellwether Glamping. The cellar door is just a stumble away and, during vintage, you can get involved in wine making. If glamping is too fancy-pants for you, you're welcome to bring your own tent. Another option for snoozing among the vines is The Menzies Retreat, a warm, cosy, timber-filled bed and breakfast at Yalumba's Coonawarra home. Alternatively, stay in town at A Coonawarra Experience. This two-bedroom cottage with queen-sized beds, heated floors and a Nespresso machine, is in Penola, so restaurants, cafes and bars are close by. To stay closer to the sea, reserve The Bush Inn, Robe, an 1852 inn that once welcomed sailors and merchants. Now, it offers ultra-comfy rooms to travellers of the food-and-wine tasting kind. Expect polished timber floors, exposed stonework, open fireplaces and baths – surrounded by bushland. There's room for up to nine guests across four bedrooms. Or, to sleep near Mount Gambier's wonders, check into The Barn, where the Premier King Suites are luxurious, open-plan numbers with Sealy Dynasty plush king beds, massive Caesar stone bathrooms and private patios. To discover more of Adelaide and South Australia, head to SATC. Top image: Cape Jaffa Wines, Adam Bruzzone
