It's times like these that you can add a big summer gig to your diary, with Foo Fighters announcing their next trip Down Under for a two-country, eight-city stadium tour. Kicking off in Perth in late November to see out spring, then doing the rest of the Australian rounds in December before hitting New Zealand in January, the Dave Grohl-fronted rockers will embark on their first headline tour of Australia and NZ since 2018. It's also their first visit Down Under since drummer Taylor Hawkins passed away in March 2022. Foo Fighters were last in Australia that same month and year, playing a huge Geelong show to help launch Victoria's post-COVID-19 lockdowns live music program. The band unsurprisingly took a break from touring after Hawkins' death, only returning to live gigs just last month. Alongside Perth, they'll play Adelaide, Melbourne, Sydney and Brisbane, as well as Auckland, Christchurch and Wellington in Aotearoa. [caption id="attachment_903618" align="alignnone" width="1920"] Jo via Wikimedia Commons[/caption] Picking up the sticks: ex-The Vandals, Devo, Guns N' Roses and A Perfect Circle drummer Josh Freese, taking on the likely-daunting task of being the touring drummer in a band led by Nirvana drummer Grohl. Freese's stint with the band was announced in May, ahead of their first tour dates. When they hit our shores, the new-look Foo Fighters will weave in tunes from their new record But Here We Are, which released on Friday, June 2. Of course, all the hits from across their career will get a whirl, with their current setlist including everything from 'This Is a Call', 'Big Me' and 'Monkey Wrench' through to 'Learn to Fly', 'The Pretender' and 'Best of You'. And, yes, 'Everlong', because it wouldn't be a Foo Fighters show without it. [caption id="attachment_903619" align="alignnone" width="1920"] Mr Rossi vi Wikimedia Commons[/caption] 'I'll Stick Around', which is also on the list, isn't just a song title from the group's first album. Given that their new tour comes 28 years after that debut release in 1995, it perfectly sums up Foo Fighters' longevity. Over the years, they've made it Down Under a heap of times, released 11 studio albums including the just-dropped But Here We Are, and made 2022 horror movie Studio 666. When they take to the stage again in Australia, they'll do so with Queensland punk act The Chats in support on a stack of dates, Manchester's Hot Milk also playing with them on the east coast, Teen Jesus and the Jean Teasers doing Melbourne and Body Type in Adelaide. In NZ, Dick Move are doing the honours, plus yet-to-be-announced special guests. FOO FIGHTERS AUSTRALIAN 2023 AND NEW ZEALAND 2024 TOUR DATES: Wednesday, November 29 — HBF Park, Perth, with The Chats and Teenage Jones Saturday, December 2 — Coopers Stadium, Adelaide, with The Chats and Body Type Monday, December 4 — AAMI Park, Melbourne, with Teen Jesus and the Jean Teasers and Hot Milk Saturday, December 9 — Accor Stadium, Sydney, with The Chats and Hot Milk Tuesday, December 12 — Suncorp Stadium, Brisbane, with The Chats and Hot Milk Saturday, January, 20 — GO Media Stadium Mt Smart, Auckland, with special guests and Dick Move Wednesday, January 24 — Orangetheory Stadium, Christchurch, with special guests and Dick Move Saturday, January 27 — Sky Stadium, Wellington, with special guests and Dick Move Foo Fighters are touring Australia in November and December 2023, and New Zealand in January 2024. Tickets go on sale on Thursday, June 15, with times varying per city — and an Amex pres-sale from Friday, June 9, then a Frontier pre-sale from Tuesday, June 13 from staggered times. Head to the tour website for further details. Top image: Scarlet Page.
Even in 2020, the most unpredictable of years, the end of November marks two things: the shift to warm summer weather and an influx of Black Friday and Cyber Monday sales. While we may not celebrate Thanksgiving here in Australia that doesn't mean we can't enjoy some outrageous deals in the lead-up to the holiday season. To help you sort through all the emails and Facebook ads you're being served up right now, we've collected a few of this year's biggest sales in one place for you — so you can pick up between 20 and 70 percent off a new gym outfit, mattress or reusable cup.
The Market Pavilion – a sprawling food and dining precinct – is set to satisfy epicureans with its landmark launch at Chadstone. Spanning over 26,500 square metres, more than 50 retailers have taken up residence, offering everything from fresh produce and gourmet ingredients to artisan creations. With investment in the new precinct reaching $485 million, expect a world-class experience. Bringing together a host of favourites from across Melbourne's food and lifestyle scene, it's the ideal spot to shop and dine on the finer things in life. Throughout the massive space, visitors will encounter renowned providores, specialty grocers, local culinary masters and premium restaurants. Meanwhile, home decor and lifestyle boutiques will add another sophisticated element beneath the shopping centre's iconic gridshell roof. Taking the experience up a notch, The Market Pavilion will also host a myriad of immersive food experiences. We're talking exclusive tastings, cooking masterclasses and pop-up collaborations with a who's who of groundbreaking chefs and producers. Says Chadstone centre manager, Daniel Boyle: "With the opening of The Market Pavilion, we are redefining the way Melburnians experience food. This precinct is a celebration of quality, craftsmanship, and the rich food culture that makes our city unique." As the new retailers get comfy in their surroundings, there's no shortage of big and respected names. For food-lovers, Brunetti Oro will serve up authentic Italian coffee and cuisine, as Mörk Chocolate presents a new concept store. Casa Nata bakes some of the best Portuguese tarts in town, while That's Amore covers all your artisanal cheese needs. Then, you've got top-notch sourdough at Little Sister, deli-style creations at Hanks Bagelry, plus loads more. The Market Pavilion's existing offshoot, Dining Laneway, has also received a makeover, with casual all-day dining from PappaRich and Thai Social to Yo-Chi. Living and entertaining is also a big focus, with The Market Pavilion offering a suite of much-loved retailers primed for giving your home and lifestyle a spruce up. Think Hommey's fully vegan bedding and floral arrangements shaped by Flowers Vasette operating alongside convenient superstores like House and Readings. A development of this scale also needs a few premium services that add a touch of innovation. Make the most of The Market Pavilion's Food Concierge, where shoppers can put their fresh produce in cold storage while they roam. You can also pre-book curbside pickup from an expanded nearby carpark. There's also a new AI-driven shopping recipe tool – just input your mood, dietary requirements and number of guests to receive a little culinary inspiration. The Market Pavilion is open Monday–Wednesday from 8.30am–5.30pm and Thursday–Sunday from 8.30am–6.30pm at 1341 Dandenong Road, Chadstone. Head to the website for more information.
There's so, so much more to the Snowy Mountains than skiing and snowboarding. When the ice and snow melt away, a whole wonderland of adventures emerges. If you're into the outdoors, get ready to walk and ride (by bike or horse) some of the most spectacular terrain in Australia. If you're a mad foodie, then gear up to taste a bunch of excellent cool climate wines, linger over schnapps made with local produce and sink into some fine French cooking while overlooking a shimmering lake. Meanwhile, for arty types, there are galleries galore. Here are five jam-packed itineraries that'll keep you busy in the Snowies for days — if not weeks — whatever your inclination. [caption id="attachment_659667" align="alignnone" width="1920"] Destination NSW.[/caption] FOR FOOD LOVERS The Snowies' pristine mountain streams and unspoilt farming land mean there's an abundance of fresh, local produce to sample — from wild-caught trout to freshly picked berries. For a hearty brekkie, grab a table at Central Road 2625 in Thredbo. If you're still in town by dinner time, there's irresistible Italian fare at Segreto within the Thredbo Alpine Hotel. Alternatively, make tracks east to Lake Crackenback Resort for local, seasonal dishes at Cuisine or a woodfired pizza at the laidback Alpine Larder. And a hop, skip and jump down the road is idyllic Crackenback Farm, where farmhouse-style dishes are served up on a sun-dappled terrace. Most conveniently, it's just around the corner from the Wildbrumby distillery, whose delicious European schnapps are made from local fruit. Another option is to head northwest from Thredbo to Tumbarumba, a cool climate wine region known for its stellar chardonnay and pinot noir. Among the outstanding cellar doors are Courabyra and Tuscany-inspired Tumbarumba Wine Escape. If you're after a coffee, head to Nest Cafe or for a meal, there's Elms Restaurant within the Tumbarumba Motel. [caption id="attachment_659672" align="alignnone" width="1920"] Snowy Mountains.[/caption] FOR ADVENTURE SEEKERS How long have you got? Even a total adrenaline junkie could spend months in the Snowies without running out of things to do. A hike is a good place to start, and the classic is the Main Range Walk, a 22-kilometre loop that swings by several glacial lakes before climbing to the summit of Mount Kosciuszko. Looking for a shorter stroll? There are loads of options, including Nichols Gorge in the northern section of Kosciuszko National Park. If mountain biking's your thing, you have hundreds of kilometres to conquer, covering all standards. Novices can get started on the easy Lake Jindabyne Foreshore Trail, then have a crack at the Thredbo Valley Trail, which offers a mix of beginner and more challenging sections. For experienced riders, the 50-kilometre Cascade to Pinch Trail is an extraordinary adventure, taking in stunning alpine terrain and epic panoramas. Then, of course, there's horse riding, for which the Snowies are legendary, thanks to The Man From Snowy River. Take a brief ride with Thredbo Valley Horse Riding or consider a multi-day escapade with Cochran Horse Treks, which involves staying at homesteads along the way. [caption id="attachment_659657" align="alignnone" width="1920"] Lake Crackenback Resort Sculpture Trail.[/caption] FOR ART AFICIONADOS From Banjo Paterson to Prue Acton, numerous writers, artists and musicians have sought refuge and inspiration in the Snowies' dramatic, unpredictable landscapes. Begin your explorations at Raglan Gallery and Cultural Centre in Cooma, set inside a 150-year-old former inn. Next, head to Jindabyne to visit Kunama Gallery, where there's a permanent exhibition of works by Alan Grovesnor, who spent decades painting nearby landscapes before passing away in 2012. Also in Jindabyne is the Snowy Region Visitor Centre; its tiny gallery hosts temporary shows by local artists. Should you happen to be passing through in early autumn, make your visit coincide with Lake Light Sculpture, an outdoor event that fills the shores of Lake Jindabyne with illuminated sculptures and the town with artists from far and wide. Visiting at another time? Despair not. Instead, make your way to Lake Crackenback Resort Sculpture Trail or to Wildbrumby distillery, where co-owner Brad Spalding displays his sustainability-themed works made of recycled materials. Then, continue north to Tumbarumba to check out Artists on Parade. [caption id="attachment_659668" align="alignnone" width="1920"] Paul Sinclair / Destination NSW.[/caption] FOR HISTORY BUFFS The Snowy Mountains are famous all over the world for being home to the Snowy Hydro Scheme. Built between 1949 and 1974, this engineering feat channelled the energy of the Snowy River and transformed it into hydroelectricity, which today provides 4500 gigawatt-hours per year to the ACT, NSW and Victoria. To find out all about it, drop into the Snowy Hydro Centre in Cooma. While you're at it, pop into the visitors' centre, grab a map and take the Lambie Town Walk, a five-kilometre stroll that passes through three heritage-listed areas. To stay in the 19th-century, visit the Early Settlers Hut built in the 1840s at Delegate and Burnima Homestead, a 32-room mansion in Bombala with a six-acre garden that dates back to 1896. Half-way up Mount Kosciuszko will transport you into the early 20th-century should you visit the Seaman's Hut, a shelter built in 1929 following the deaths of skiers W. Laurie Seaman and Evan Hayes. [caption id="attachment_659675" align="alignnone" width="1920"] Destination NSW.[/caption] FOR SIGHTSEERS If your trip to the Snowies is all about seeing classic sights at a leisurely pace, then make your first stop Yarrangobilly Caves, a series of limestone marvels in the northern part of Kosciuszko National Park. Here you'll also find a thermal pool, which is a warming 27 degrees celsius all year-round, and a relaxing river walk. Continuing south, stop by Lake Eucumbene, the biggest lake to have been created by the Snowy Hydro scheme, where you can try your hand at trout fishing, and Lake Jindabyne, which appeared in Australian films Somersault (2004) and Jindabyne (2006). Then, it's on to Thredbo where you can get instant mountain views without having to strain a muscle on the two-kilometre-long, 560-metre-high Kosciuszko Express Lift. While you're in town, take a stroll along pretty Thredbo River. Or, to get an even higher perspective on mighty Mount Kosciuszko, book a scenic flight with Heli Fun. Discover all that the Snowy Mountains has to offer outside of winter months, from picturesque hikes to culinary excursions and so much more.
Everyone has heard about — or tried to eat their way through — KitKat's famed range of weird and wonderful Japanese flavours. A cough drop version once existed, and it really wasn't great. The sake version, a perennial favourite, is absolutely delicious. But if you're vegan, none of these varieties will have tempted your tastebuds. KitKats in general won't have either, actually. Come July, that'll change for Aussies who follow a plant-based, dairy-free and cruelty free diet, and would also like to sink their teeth into a KitKat. The brand is launching KitKat V, a new vegan KitKat. It's made with a rice-based milk alternative, resulting in a smooth vegan milk chocolate — not dark chocolate — which is then layered over the usual crisp wafers. That means that from Monday, July 26, everyone can now have a break — and a KitKat — with KitKat V joining other plant-based alternatives among Nestle's products. So, if you'd like to crack open a few fingers while tucking into a glass of plant-based Milo, you'll be able to. The 41.5-gram bars will cost $2 and, if you're already keen, they can be pre-ordered from the KitKat Chocolatory website ahead of their supermarket debut at Woolworths Metro stores. When your next sugar craving hits, add them to your list alongside vegan Natural Confectionery Co fruit lollies, vegan choc tops, and vegan Magnums, Cornettos and Weis Bars. KitKat V will hit Woolworths Metro supermarkets on Monday, July 26 — or you can pre-order them now from the KitKat Chocolatory website.
Melburnians, if you like celebrating warm weather, adorable animation and mini golf all at once, the part-tee is just about to begin in Frankston. Everyone's favourite Pixar characters are popping up at a putt-putt course inspired by the Disney-owned studio's loveable films. Yes, Pixar Putt is returning, with the kidult-friendly course heading to Frankston Foreshore from Friday, December 16–Sunday, January 29. Designed to challenge both eight-year olds and adults, Pixar Putt features nine- and 18-hole courses that take you past childhood heroes like Buzz Lightyear, Sheriff Woody and Elastigirl. Flicks such as Monsters Inc, Onward, Finding Nemo, Up, A Bug's Life, Wall-E, Inside Out and Soul all get some putting love, too. Clearly, there's no need for a trip to Disneyland — and this year's course features new holes inspired by Pixar's recent Turning Red and Lightyear. So, if you don't think you'll beat your cousin at backyard cricket over the summer, challenge them to a match here. All you need is your hat and A-game (and no pressure if you remain defeated, there's always the nineteenth hole nearby). Pixar Putt is also open for after-dark sessions every Thursday–Saturday night — and they're only for adults. Operating from 7–10pm, the late-night putt-putt hours are perfect for those date nights when you want to do more than just have dinner and see a movie. Otherwise, head along from 10am–8pm Sunday–Wednesday, and be prepared to have littlies for company.
If you're partial to a big, cheesy serving of gnocchi, you'll by happy to know that Mamma's Boy Trattoria is dedicating all of July to serving bottomless bowls of the stuff. Matched with free-flowing cocktails, no less. The Brunswick restaurant is bringing back its endless gnocchi feasts across a series of two-hour Sunday sittings this month. Book in a table for 11.30am, 2pm, 5pm or 7.30pm each week, and you can tuck into unlimited helpings of the classic potato dumpling dish, plus bottomless drinks and garlic bread for a tidy $59. With the gnocchi lineup, all palates are covered. There is Mamma's rich slow-cooked lamb ragu, alongside a simple napoli number with fior di latte, and a truffle mushroom and spinach bowl. With 120 minutes up your sleeve, you should be able to sample them all, no problem. During that time, you'll also enjoy unlimited cocktails, including espresso martinis, mojitos and a variety of spritz. To get in on the bottomless gnocchi deal, you'll need to book online in advance. Everyone on your table will need to partake in the bottomless action, though we don't imagine it'll be too hard to rustle up a crew for unlimited pasta.
The service industry is something of a crucible for millions of Australians. Ask anyone, and they probably spent some time as a teenager or student working in retail or hospitality. It's mandatory for anyone looking to gain some valuable life lessons while they're learning basic employment skills and saving some cash. Love it or hate it, we've all got to do it at some point. Gruelling as it sometimes is, the service industry is of immense importance. Who else can make the world's coffees, package their orders, cook their dinners — and do it all while putting a smile on the faces of customers? The simple act of good service makes all the difference for any business; it's a key ingredient to building up a customer base and ensuring loyalty and word of mouth to keep that base growing. Maybe what the world needs is a shortlist — a pocket guide, if you will — to the secrets of good service. If you're an aspiring business owner or an existing member of the service industry, you could probably use some tips from the pros on what good service can and should look like. We made a few calls, and we've got your good service guide right here. RULE 1: DON'T OVERCOMPLICATE IT Service, like anything, is easy to overthink and overcomplicate. But at the end of the day, it's all about the basic fundamentals. In hospitality, you might overthink the prioritisation of good food vs good service, but Alex Brawn of Cremorne's Amatrice Rooftop Restaurant and Caffe Amatrice understands that one takes precedence. "The reality is that we need to be nailing both. But going out to a cafe or restaurant is about an 'experience', and we all like to leave feeling good — and that mostly comes down to good service. Looking after our guests, making them feel good, that's what hospitality is about." "It's a common gripe for people where they try a restaurant, and the food and ambience were amazing, but the service was terrible, and they declare "I will never go again". So it goes to show that it doesn't matter how good your food is, or how expensive or beautiful your fit-out is, if you have poor service then you [as a business] just won't be successful long term." RULE 2: DON'T SHY AWAY FROM BEING PERSONAL It's absolutely key to maintain an professional attitude in any line of work, but in the case of service and hospitality, making things personal can go a long way to keeping a customer happy. It's the little things like smiling, remembering a name, or if you're able, going the extra mile in your service. Brawn, who's also a part of the team at the Williamstown waterfront spot, Sebastian Beach Grill & Bar, puts it plainly: "We keep it simple, just focusing on friendly, genuine service that makes people happy. Remembering regulars' names and having a chat about how their day is going — just those little things that make our guests feel a little bit special." "Recently, a family dined at Sebastian to celebrate an 80th birthday. The host of the dinner was telling her family how she remembered being in San Sebastian many years ago and having a special cheesecake. Our team overhead this conversation and arranged for a Basque cheesecake with a candle…looking after our guests and making them feel good is the key to good hospitality." RULE 3: GOOD SERVICE IS A PARACHUTE IF PRODUCTS FAIL The fact of the matter is this: it's hard to crack an original idea these days. If you're planning to open a bar, restaurant or café, you need something memorable. Good food and drinks are newsworthy and get tongues wagging, but if people don't have a good time consuming those products, you're going to burn out before you know it. Slipstream Brewing Co. is one of Queensland's most awarded breweries, so it is safe to say that director Elisa Stanley-Hunt knows all about the balancing act of products and services. "Great service fosters a welcoming atmosphere, encourages repeat customers, and helps build a strong reputation — especially in the early days. Even if the food isn't perfect yet, exceptional service can turn a first-time visitor into a loyal customer. That said, quality food is a close second. Once service is dialled in, focusing on a menu that's consistent, delicious and suits your brand will solidify your success. Ideally, both should go hand in hand, but if you lead with service, your customers will be more forgiving as you refine your offerings." RULE 4: LEARN TO SPOT A TELL We've already established the importance of personal service, but the ability to listen for and spot little details in a customer's preferences, routines and interests can elevate just another meal into a truly memorable experience. You likely know how good it feels to have a regular barista remember your coffee order, for example. For Andrew Garling of Fortitude Valley's Mr Valentine, that attention to detail is paramount. "Good service at Mr Valentine is anticipating a customer's needs from the moment they walk in the door, nothing more, nothing less. When you spend long enough serving people, they give you small cues as to what they need. We try and take those cues and act on them before they ask. These can be as small as taking a to-go box to a table as they are finishing before they ask, making a coffee when you see a regular walking from afar…they're all very simple things that make our customers feel important, and they cost us nothing to provide...the transaction is the last thing we think about." RULE 5: SAVE TIME ON THE TECHNICALITIES What we've learned here is that good service, above all, comes down to authenticity and human interaction. A smile, listening for special occasions, paying attention to what makes your regulars tick. What you don't want to do is take away from precious staff-to-customer contact time by having to fiddle with terminals and tablets, so having a smooth system to take care of the nitty-gritty makes a world of difference; ask any business owner. That's especially true when products like Square make things as easy for the customer as for the operator. Alex Brawn experiences that often; "the simplicity of the Square POS and EFTPOS units means we spend less time looking at a screen and more time looking after our guests." Andrew Garling agrees: "[Square] allows us to do the things we talked about before and leave the transaction as the last thing to worry about…we can tailor the use of software and [the] hardware experience so the customer has the smoothest possible transaction." Find out how Square can kickstart your business at squareup.com.
Some real-life incidents just keep fascinating Hollywood, and the tale of Candy Montgomery is clearly one of them. Back in 1990, TV movie A Killing in a Small Town — directed by Stephen Gyllenhaal, dad to Ambulance's Jake and The Deuce's Maggie — stepped through her story. In 2022, Candy did the same with Jessica Biel playing the titular part. Now, Love & Death is set to do it all over again, this time having WandaVision's Elizabeth Olsen segue from playing a superhero gone dark to getting accused of being an axe murderer. Hailing from HBO — streaming via its online service HBO Max in the US, and on Binge in Australia and Neon in New Zealand — Love & Death turns the grisly details into everyone's likely next true-crime obsession, with the team behind Big Little Lies and The Undoing behind it. If you don't already know the story, it's best to discover all of the ins and outs while watching, but it all starts with two church-going couples in Texas. As the just-dropped full trailer for the seven-part show makes plain, Montgomery isn't thrilled with her suburban life, suggesting an extramarital dalliance. Soon, there's a body and plenty of suspicions going her way. How it all plays out is a matter of history, of course, and chronicled in the book Evidence of Love: A True Story of Passion and Death in the Suburbs. Love & Death takes inspiration from that text, plus a collection of articles from Texas Monthly, with viewers getting to see the show's take on the story from late April. Alongside Olsen, Love & Death stars Jesse Plemons (The Power of the Dog), Lily Rabe (Shrinking), Patrick Fugit (Babylon), Keir Gilchrist (Atypical), Elizabeth Marvel (The Dropout), Tom Pelphrey (She Said) and Krysten Ritter (Jessica Jones). TV veteran David E Kelley both writes and produces, adding another series to his hefty list after the aforementioned Big Little Lies and The Undoing — and Nine Perfect Strangers, Boston Legal, The Practice, Ally McBeal and more — while Lesli Linka Glatter (Homeland) directs the first four and the last episodes. Check out the trailer for Love & Death below: Love & Death will stream via Binge in Australia and Neon in New Zealand from Thursday, April 27. Images: HBO Max.
Celebrated chef Matt Moran is already one of the most significant players in the Australian hospitality scene, running accomplished Sydney restaurants like Aria, Chiswick, Barangaroo House, North Bondi Fish and the always-busy House Canteen at Opera Bar, as well as Brisbane's Riverbar & Kitchen. Now, Moran is spreading his footprint beyond Australia and partnering with Marriott International to take over the kitchen at two luxury resorts in Fiji. Fiji Marriott Resort Momi Bay and Sheraton Fiji Golf and Beach Resort will now both boast his signature farm-to-table ethos and hearty modern cooking from March until August this year. The Tatavu Grill & Bar at the newly-refurbished Sheraton resort offers guests a luxury barefoot dining experience and the kitchen crew cooking over a multi-level open vertical grill, while Fish Bar at Marriott's Momi Bay resort serves up panoramic ocean views alongside a menu that will pull from both land and sea, experimenting with local meat and seafood paired with flavoured Fijian salt. [caption id="attachment_889838" align="alignnone" width="1920"] Fish Bar[/caption] "Fiji offers an exciting canvas to create something truly special with the freshest line caught seafood and an abundance of fresh vegetables and lush tropical fruits," says Moran, who will also be hosting a pair of culinary events to celebrate the takeovers. On Tuesday, March 21, he'll be popping-up at Tatavu, before travelling to Fish Bar the night after. For both occasions, guests will enjoy a three-course dinner showcasing highlights from the new menus, hosted by the chef. [caption id="attachment_889840" align="alignnone" width="1920"] Sheraton Fiji Golf & Beach Resort[/caption] "I love teaching people about food and how pure, fresh ingredients, treated simply, are the basis for creating extraordinary dining experiences and I know that Marriott International Fiji aligns with this philosophy," Moran says. The takeover will run until Thursday, August 31 and is open to guests at both resorts. The one-off dinners hosted by Matt Moran are available to book for 399 Fijian dollars or around $260AUD. [caption id="attachment_889841" align="alignnone" width="1920"] Tatavu Grill & Bar[/caption] Matt Moran will take over the kitchens at Fiji Marriott Resort Momi Bay and Sheraton Fiji Golf and Beach Resort from Thursday, March 23 until Thursday, August 31. 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.
Motoi Yamamoto’s sculpture is bringing a new meaning to ‘living in the moment’. The supremely disciplined artist from Hiroshima creates installations out of grains of salt. Using intricate techniques that involve layering, shaking, sweeping and infinite amounts of patience, he has made a labyrinth, a set of steps, a ‘corridor to remembrance’ and a series of complex patterns that imitate biological systems. When the works have run their course, he sends them back to the sea. Yamamoto’s engagement with salt as a form started eighteen years ago, when he lost his sister to brain cancer. She was just 24, and struggling to cope with the loss, Yamamoto sought a way to recall his memories through his art. His very first piece was a bed comprised of bricks and the second, a three-dimensional representation of the human brain. In Japan, salt symbolises the processes of cleansing and mourning. Its use forms an important part of funeral rituals. Restaurateurs and small business owners often place salt at their doors, in the belief that it deters evil spirits and magnetises forces for good. “I can’t tell if my feelings of death have been changed by the passage of time or by the process of creating my work,” Yamamoto told the Daily Serving in June last year. “I don’t have any way to compare to the two alternatives because I’ve only experienced this through my work, not through a more conventional mourning process. I would like to think that it altered my thoughts on loss gradually, but I don’t know.” Yamamoto’s salt installations have been exhibited in galleries all over the world, from the Ierimonti Gallery in Milan to the Halsey Institute of Contemporary Art in Charleston, USA. Last month, they were on show at the Mint Museum in Charlotte.
Richmond stalwart the Prince Alfred is jazzing up your average bottomless brunch (literally). Each Saturday, it's serving up food and two hours of endless pours — with a side serving of swingin' live jazz. Available from noon till 2pm, the brunch series is offering much more than just free-flowing mimosas — think all-you-can-drink espresso martinis, house wines and beers, too. Food-wise, you can choose one item off the menu, which includes the likes of hotcakes with ricotta, blueberry compote and lemon butter; fried chicken burgers with coleslaw, bacon and chipotle mayo; and smashed avo with feta, charred broccolini and a poached egg. Plus, the smooth sounds of a jazz band will play as you feast and sip away. And, if you want to kick on afterwards, you can nab $15 espresso martinis and Aperol spritzes all afternoon. The brunch will cost you $59 all up. Bookings are essential and can be made here.
Glen Bagnara knows a thing or two about opening a treasured neighbourhood bar as one of the minds behind Hemingway's Wine Room and Prahran's Bar Bianco. For this next trick, he's transformed the basement beneath his daytime diner Clementine to create a moodier and altogether more playful bar: Castlerose. The new bar is giving luxury hidden underground European bar energy. After entering via a black spiral staircase found towards the edge of Clementine, you'll find a small dark room filled with a few intimate leather banquettes, timber tables and stools by the black marble-topped bar. Architect Co:Aika has also subtly added in design features from the early to mid-20th century, imparting an elegant old-world feel that's also reflected in the food and drink offerings. Fine champagne is served in vintage-style coupes. Classic European cocktails come in intricate stemware. An old-school cheese cart is wheeled around for anyone who wants to handpick wedges of local and imported cheeses that regularly change. But the most playful aspects of the dining experience are those with supper club touches. It's that themed and immersive kind of dining that always puts a smile on diners' dimly lit faces. At Castlerose, the confit duck comes wrapped up like a cigar, served in a wooden cigar box with an ashtray of olive dust. And the duck rillettes come in a sealed tin, ready to be peeled open and enjoyed with fig jam, cornichons and slices of toasted baguette. Head Chef David Yuan is making these fun dishes, but isn't depending too much on theatrics. Beneath it all, he's serving up classic European fare that leans more on the luxury end of the dining spectrum. Think: wagyu steaks, lobster rolls and top-quality charcuterie. With the introduction of Castlerose, Clementine regulars can keep things going beyond its daytime opening hours, sneaking downstairs for a little late-night luxury.
The zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (The Fall Guy), Ralph Fiennes (The Wonderful Story of Henry Sugar), Jack O'Connell (Back to Black) and Alfie Williams (His Dark Materials) are dealing with the aftermath of a society ravaged by a horrific infection for decades. Yes, the trailer for the aptly named 28 Years Later is here. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka 28 Days Later from filmmaker Danny Boyle (Yesterday), you'll be watching a new flick from Boyle in the same franchise in 2025. First confirmed at the beginning of 2024, the movie has dropped its first full sneak peek to help close out the year — complete with Teletubbies, towers of skulls and bones, a possibly familiar-looking zombie, and the grim reality after days became weeks and then years of coping with the new status quo. 28 Days Later has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Screenwriter Alex Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War and TV series Devs, wasn't involved with 28 Weeks Later, either. But they're both onboard for the third film in the series, which is the start of a new trilogy. The saga's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out a life on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through the first trailer, complete with stunning imagery — expect Boyle and Garland to dig into the terrors that linger when two of the island's residents venture over to the mainland. With 28 Days Later among the movies that helped bring Oppenheimer Oscar-winner Cillian Murphy to fame, the actor is an executive producer on 28 Years Later. That mightn't be all that's in store for him, though, if you pay close attention to the trailer. In the original film, he played Jim, a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. Marking Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume — and on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies. Set in the aftermath of the accidental release of a highly contagious virus, the film's images of a desolated London instantly became iconic, but this is a top-notch movie on every level. That includes its performances, with then-unknowns Murphy and Naomie Harris (the Bond franchise's current Moneypenny) finding the balance between demonstrating their characters' fierce survival instincts and their inherent vulnerability. If you wondering why 28 Months Later wasn't made, it was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the first trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
In Stay of the Week, we explore some of the world's best and most unique accommodations, giving you inspiration for your next trip. In this instalment, we take you to beautiful Bali for a special stay at Plataran Canggu Bali Resort and Spa. We love this place so much that we teamed up with the resort to offer an exclusive three-night travel deal — including meals, massages and exclusive access to the iconic Cafe del Mar below. WHAT'S SO SPECIAL? There is so much more to Bali than Bintang beers and boogie boards. In fact, despite a reputation among Aussies for its larger-than-life party scene, traditional Balinese culture embraces patience, peace and placidity. And Plataran Canggu Bali Resort & Spa one is of the best places to lose yourself to this experience ... without completely forgoing access to your favourite beach bars. Cocooned within lush rice fields and tropical green gardens, the tranquility of Plataran will transport you to a bygone Bali. Head back to a time when tourism on the island was practised through rich spa rituals, extraordinary cuisine and truly spiritual traditions. While this secret hideaway will make you feel removed from the chaos and crowds, swept away to the simplicity of village life, the magic of cool Canggu is right at your doorstep. THE ROOMS Designed in the form of a labyrinth (the legacy of the late renowned landscape architect, Made Wijaya), Plataran's landscaped gardens ensure that each of the property's private villas are protected from the outside world — the ultimate in serenity. Featuring traditional alang-alang grass-thatched roofs and antique carved doorways, villas are either one or two bedrooms, most accompanied by private pools, and all featuring modern comforts, luxurious bedding, natural stone bathtubs and private terraces with day beds. For a truly unforgettable stay, consider booking the Founder's Home. Personally designed by Platarn's founders, this options allows you the opportunity to sample the Founder's Menu and take part in the Founder's Activities, a series of experiences curated by the resort. FOOD AND DRINK With three on-site restaurants, you're sure to find a meal to tempt your tastebuds. If you're seeking rustic yet refined al fresco dishes, you'll find them in abundance at Plataran At Canggu. The resort's namesake restaurant is surrounded by lush forestry with seating under the sparkling lights of the evening stars. Or you can secure a table at Teras Canggu, which elevates Balinese street food into a world-class fine dining experience. Guests who book this deal can enjoy a complimentary dinner for two adults at either destination included in their package. Alternatively, settle in for a feast at Tiga Dari Snack Bar, with its flavour-packed fast food perfect for a catch-up with friends. If you're confident in your own culinary abilities (or want to improve them), consider enrolling in a Plataran Canguu cooking class. The experience kicks off with a chef-led excursion to the local markets to collect fresh products and ingredients and culminates in a private lesson in a traditional Balinese kitchen, complete with wood-fired oven. Designed to help you craft a shareable spread, the class offers insight into local cooking practices – with a delicious meal to show for it at the end. THE LOCAL AREA As social as Seminyak (minus the traffic jams) and almost as unadulterated as Ubud (minus the 60+ minute drive to get there), Canguu is primed for new and returning visitors to the Island of the Gods. And at Plataran Canggu Bali Resort and Spa, you have a brilliant base to enjoy the best of the area's offerings. Extend your stay in the zen zone with a sunset stroll along Echo Beach or an afternoon surfing the waves at Berawa. Otherwise, dedicate your day to brunch-stopping and bar-hopping at one of Canggu's many cool beach clubs. If the options feel overwhelming, let us choose for you. Guests who purchase the Concrete Playground Trips Plataran Canggu three-night travel deal receive access for two adults to one of the world's most iconic beach clubs — Cafe del Mar — including day bed and a bucket of beer, absolutely free. THE EXTRAS As well as the previously mentioned complimentary dinner and beach club access, guests who take advantage of this exclusive Concrete Playground Trips promotion can also enjoy a free, 60-minute Balinese massage for two adults at the resort's Padma Spa. With a Sanskrit name that translates to 'sacred lotus', this spa embodies the quintessential qualities of the iconic flower. It's certain to leave you feeling beautifully balanced in body and soul (and budget). Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
Miranda July is many things. She is a writer, filmmaker, actor, artist, app maker, and bona fide A-grade nutcase, and now a fashion designer. Teaming up with outlandish leather specialists Welcome Companions, this queen of quirk has created something pretty unique. 'The Miranda' is a specialty item that's been touted as a "millenial survival kit"; an all-purpose bag for the modern manic pixie dream girl. While it appears relatively normal from the exterior, this bag really comes alive on the inside. It boasts somewhat regular compartments for things like emergency cash, bobby pins and medication, but it also asks you to carry a USB drive of "ultra top secret projects", a tiny security blanket and a singular almond "in case of low blood sugar". In place of business cards, the owner of The Miranda carries around offbeat calling cards about theft and personal lubricant. Unsurprisingly, the inspiration for the bag came from July herself. After agreeing to collaborate on the project, July approached designer Laurel Conseulo Broughton with fistfuls of miscellaneous junk. "These are the things I always have with me," she said. The project grew quickly from there. Retailing for $1725, The Miranda is hardly something to be picked up on a whim. Half fashion and half wearable art, the bag is a bit of a collector's item; a definite budgetary stretch for July's usual rung of doe-eyed twentysomething admirers. Regardless, a girl can dream. This thing strikes the perfect balance between functional and neurotic. We can't help but want one. Via PSFK and New York Times.
Victorians have become accustomed to a specific pattern over the past few months. When Premier Daniel Andrews takes the podium at a press conference to announce the latest easing of restrictions, he often reveals just when he'll next be hopping behind the microphone to do it all over again. So, since Sunday, November 22, the state's residents have known that more information would be coming today, Sunday, December 6. On the agenda: a heap of new changes, with most coming into effect tonight at 11.59pm. As keeps proving the case at each stage, you'll be able to gather in more places with more people with fewer limits, including at home and in public gatherings with your friends and family outdoors; at cafes, bars and restaurants; and at entertainment venues. Last month, Premier Andrews revealed that Victorians would be able to host more people in their houses before Christmas, with the cap going up from 15 to 30 (and from any number of other households). That's a daily limit, so you can only have 30 people over across one whole day, even if they come at different times in different groups — but it'll now kick in a week earlier than initially planned, from 11.59pm on Sunday, December 6. It's important to note that your home also includes your front and back yards, though. Fancy heading outdoors with your nearest and dearest elsewhere, beyond your own patch of land? In good news, public outdoor gatherings will increase to 100. So your next trip to the beach or the park with your mates can now feature quite the crowd. Also, travel-wise, you'll be able to head out of town in line with the private at-home gathering cap (so in groups of 30 people from any number of other households). https://twitter.com/DanielAndrewsMP/status/1335375495131660289 In the hospitality sector, all venues are moving to a density quota only, rather than a strict numbers limit. One person will be allowed for every two square metres of space both indoors and outdoors, including at food courts. For smaller venues, they can welcome in up to 25 people before the density quotient applies. The above is only permitted to come into effect in tandem with electronic record-keeping for contact-tracing purposes, though — so if there's no QR codes to track who is in a venue, the one-person-per-four-square-metres rule applies. Oh, and standing service is now allowed. Places with a dance floor will also have a stricter limit applied to said space for making shapes. One person will be allowed to show off their fancy footwork per four square metres of dance floor, up to a maximum of 50 people. Yes, that includes nightclubs — which'll be permitted to serve drinks to standing patrons. Both indoors and outdoors, seated entertainment venues (such as cinemas and theatres) will be able to up their capacity to 75 percent, maxing out at 1000 people at a density of one person per two square metres. Again, that's contingent on venues using QR codes. So, again, if they don't, the one-person-per-four-square-metres rule kicks in. Indoor non-seated entertainment venues, like galleries, can move to 50-percent capacity, up to 1000 people, at a density of one person per two square metres — and again, that's only with QR codes. Outdoors, it's just the one-person-per-two-square-metres rule that has to be abided by, with no patron limit. Gyms and fitness studios will increase to a maximum of 50 people per class, with one person per four square metres. Indoor pools can have one person per four square metres, while outdoor pools can host one person per two square metres. And religious gatherings, weddings and funerals will be able to have one person per two square metres with no caps — unless they're in a private residence, where the 30-person limit kicks in. Regarding masks, the rules are changing there as well. You'll need to keep wearing them only in certain situations, such as large and busy indoor indoor shops, and on public transport. You will always need to carry one with you, though. Work-wise, offices in the private sector can increase the number of employees working onsite to 50 percent of workers from January 11, and to 75 percent from February 8. The public sector will move to 25 percent of workers in the office from January 11 and to 50 percent from February 8. Running through all of the above, Premier Andrews noted that Victoria is now at a phase the government is calling a "COVID-safe summer", and that it'll "be in place until at least the end of January, giving Victorians a bit more certainty about what the next couple of months will look like". As always, the usual rules regarding hygiene, social distancing and getting tested if you display any possible COVID-19 symptoms all still apply as restrictions keep easing. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website — and for further details about Victoria's steps for reopening, head to the roadmap itself. Top image: Kate Shanasy.
If you're a fan of Pedro Pascal (Gladiator II), 2025 is a busy year. The Last of Us is back for its long-awaited second season. Thanks to Materialists, he's in a rom-com from Past Lives' Celine Song. With Eddington, he's battling Joaquin Phoenix for Beau Is Afraid director Ari Aster. Then there's Pascal's leap into the Marvel Cinematic Universe in The Fantastic Four: First Steps. The latter film arrives Down Under on Thursday, July 24, 2025, and sees the MCU finally get fantastic as it speeds towards notching up two decades of superhero movies and TV shows. As both the initial teaser trailer and just-dropped full sneak peek show, First Steps explores Mister Fantastic, The Invisible Woman, The Thing and The Human Torch's beginnings in the 1960s — family dinners, big life changes, the worries that come with that, facing stresses together and world-threatening foes all included. Slipping into Reed Richards, Sue Storm, Ben Grimm and Johnny Storm's shoes in First Steps: Pascal as stretchy group leader Richards; Vanessa Kirby (Napoleon), who is bending light as one of the Storm siblings; Joseph Quinn (Gladiator II) proving fiery as the other; and Ebon Moss-Bachrach (The Bear), who is no one's cousin here, instead getting huge, rocky and super strong. Directed by WandaVision, Monarch: Legacy of Monsters and Succession's Matt Shakman, The Fantastic Four: First Steps pits Pascal, Kirby, Quinn and Moss-Bachrach against Ralph Ineson (Nosferatu) as space god Galactus and Julia Garner (Wolf Man) as the Silver Surfer — both of which pop up in the latest trailer. Also co-starring in the film: Paul Walter Hauser (Cobra Kai), John Malkovich (Ripley), Natasha Lyonne (Fantasmas) and Sarah Niles (Fallen). Pascal, Kirby, Quinn and Moss-Bachrach's characters aren't new to cinemas. Before there was a MCU, there were Fantastic Four movies. The first two to earn a big-screen release arrived in 2005 and 2007, with the latter hitting the year before Iron Man kicked off the Marvel Cinematic Universe. As Deadpool and Wolverine did 2024's Deadpool and Wolverine, the Stan Lee- and Jack Kirby-created superhero quartet now join the list of characters who are being brought into the MCU fold, as has been on the cards ever since Disney bought 20th Century Fox. Pascal and company are taking over from two batches of past film takes on the superhero team. In the 2005 and 2007 flicks, Ioan Gruffudd (Bad Boys: Ride or Die), Jessica Alba (Trigger Warning), a pre-Captain America Chris Evans (Red One) and Michael Chiklis (Accused) starred. Then, in 2015, Chronicle filmmaker Josh Trank gave the group a spin — still outside of the MCU — with Miles Teller (Top Gun: Maverick), Kate Mara (Friendship), a pre-Black Panther Michael B Jordan (Sinners) and Jamie Bell (All of Us Strangers). Check out the full trailer for The Fantastic Four: First Steps below: The Fantastic Four: First Steps releases in cinemas Down Under on Thursday, July 24, 2025. Images: courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and 2025 MARVEL.
Everything in its right place: when Thom Yorke takes to the stage Down Under in spring 2024 for his debut solo tour, performing songs from across his four-decade career, that's how Radiohead fans will feel. The English musician has announced a six-date trip to Australia and New Zealand, on his first jaunt this way since the band that he's synonymous with last made a visit in 2012. Yorke has four Aussie and Aotearoa cities on his agenda in October and November, and he's going big at each of them (no surprises there). The Everything tour will kick off at Wolfbrook Arena in Christchurch, then hop to Spark Arena in Auckland. When he makes the leap to Australia, Yorke will play two evenings each at the Sidney Myer Music Bowl in Melbourne and the Sydney Opera House Forecourt in Sydney. [caption id="attachment_959883" align="alignnone" width="1920"] Michael Avedon[/caption] Yorke aficionados elsewhere across Australia and NZ, this does indeed mean that the tour is leaving you high and dry for local shows — so we foresee a trip in your future. The singer whose voice echoed through Radiohead's 'Creep', 'The Bends', 'Just', 'Karma Police', 'Paranoid Android' and more will be busting out select tunes from the band's catalogue. He also has three studio albums as a solo artist, so expect tracks from them to also get a whirl. And, his film score and soundtrack work — see: Suspiria, Motherless Brooklyn, Peaky Blinders and Confidenza — will also pop up. [caption id="attachment_959885" align="alignnone" width="1920"] Raph_PH via Wikimedia Commons[/caption] Before the Everything tour, Yorke has been hitting the stage with The Smile, which also features fellow Radiohead alum Jonny Greenwood plus Sons of Kermit's Tom Skinner. The Smile's second album Wall of Eyes dropped in April 2024. Of the Sydney Opera House shows, the venue's Head of Contemporary Music Ben Marshall said this "this is historic. I'm ecstatic to announce the long-awaited Opera House debut of one of the greatest musicians of our time". "A multi-award-winning artist, Thom Yorke rose to cultural and critical acclaim throughout the 90s with his boundary-pushing reimagination of contemporary rock, and has soared through recent years with a plethora of wildly innovative solo and collaborative creative projects. Yorke will bring his hauntingly existential lyrics, inimitable falsetto and rapturous arrangements to the Forecourt for two nights only," Marshall continued. [caption id="attachment_959886" align="alignnone" width="1920"] Glenn8881 via Wikimedia Commons[/caption] Thom Yorke: Everything Australian and New Zealand Tour Dates 2024: Wednesday, October 23 — Wolfbrook Arena, Christchurch Friday, October 25 — Spark Arena, Auckland Tuesday, October 29–Wednesday, October 30 — Sidney Myer Music Bowl, Melbourne Friday, November 1–Saturday, November 2 — Sydney Opera House Forecourt, Sydney [caption id="attachment_959887" align="alignnone" width="1920"] Popcornfud via Wikimedia Commons[/caption] Thom Yorke is touring Australia and New Zealand in October and November 2024, with Australian tickets on sale from 10am AEST on Wednesday, June 5 and New Zealand tickets on sale from 11am NZST on Monday, June 10. Head to the tour website for more details. Top image:Raph_PH via Flickr.
When it comes to fashion, staying ahead of the pack can be a mighty tough feat. But if you’re keen to kick monochromic minimalism to the curb, while giving a little back to your global community, we’ve found just the bold West African label to help you do it. YEVU, which means 'foreigner' in the local Ewe language, is a socially responsible clothing line bringing the wild traditional wax prints of Ghana to Aussie shores. Linking local African tailors with style-conscious global customers, founder Anna Robertson is creating serious change for Ghanaian seamstresses living on the poverty line. After launching their sell-out debut range in October 2013, YEVU returns this month with a fresh selection of awesome new threads (we actually can't get enough of these prints). From late November, Sydney and Melbourne will both house YEVU’s latest pop-up stores. Stocked with everything from daring jumpsuits to bold bomber jackets for both ladies and gents, these vibrant designs won’t go unnoticed in your wardrobe. Give back, shop ethically and nab a new look with some of the sweetest prints you’ll see all season. Head along to the launch of YEVU's pop up locations in Sydney (636 Crown Street, Surry Hills) on November 26th and Melbourne (27-29 Johnston Street, Collingwood) on December 3th from 6 to 9pm. YEVU POP-UP OPENING HOURS Sydney — November 27 to January 24 (10am to 7pm daily) Melbourne — December 4 to January 31(10am to 7pm Daily) Both stores closed Christmas Day, Boxing Day and New Years Day. Images: YEVU.
They played the first game of their 2023 Women's World Cup campaign in Sydney. They took on Denmark there in the round of 16, then England in the semi-final loss. The next reason that the Matildas will hit the Harbour City: a match against China PR on the way to the 2024 Paris Olympics, and also for goalkeeper Mackenzie Arnold and coach Tony Gustavsson to take to the Vivid stage. The duo are on the already-packed Vivid Sydney 2024 lineup for a Vivid Ideas session at Sydney Town Hall on Monday, June 10. At Champions of Change: Mackenzie Arnold and Tony Gustavsson, the pair will have plenty to talk about — all things Matildas, of course, including the team's achievements over the past year, the challenges along the way, the squad's impact, the pressures and the coach-athlete dynamic. What has the last 12 months been like for the Matildas? How does it feel to represent your company on the global stage? What do the Matildas' successes — and the love showered their way — mean for women's sport? They'll all get a mention, too. Arnold and Gustavsson's addition to the Vivid lineup comes after Amy Poehler recently also joined the bill, to discuss her career and the upcoming Pixar sequel Inside Out 2.
The City of Stars is heading to the Big Apple, and from the screen to the stage as well. In news that's been easy to predict since Damien Chazelle's Oscar-winning Los Angeles-set musical La La Land first hit cinemas back in 2016 — news that's been rumoured back since then, in fact — the Ryan Gosling- and Emma Stone-starring film is officially being turned into a theatre production, with a Broadway premiere slated. Swooned over Gosling's crooning in the movie? Took a fancy to Stone's fine footsteps? Felt like La La Land's bittersweet Hollywood antics were shining just for you? You haven't been alone. The flick won over audiences, critics and awards bodies alike, including taking home seven Golden Globes and six Academy Awards, beaming bright in the cinema world. The stage show's powers-that-be will be hoping for the same response to the version with live tunes and routines, obviously. The story will remain the same, following an aspiring actor and an up-and-coming jazz musician as they chase their dreams in Tinseltown. The cast likely won't, although if the La La Land stage musical can get Gosling and Stone to reprise their parts, that'd help sell tickets even faster. As announced by Lionsgate, Tony- and Emmy-winning producer Marc Platt — who is also a producer on Chazelle's recent film Babylon — will oversee the stage version of La La Land. Tony-winning helmer Bartlett Sher (South Pacific) will direct, and the book is set to be penned by Pulitzer Prize-winning playwright Ayad Akhtar (Disgraced) and Barrymore Award-winner Matthew Decker. And yes, this production will feature music by Justin Hurwitz, plus lyrics by Benj Pasek and Justin Paul — all of whom won Oscars for the movie. No premiere date has been revealed as yet, but expect a jazzy time when La La Land does start treading the boards. Fingers crossed that the show heads elsewhere, including Down Under, after its Broadway debut. Of course, this isn't the first time that the film has inspired a live performance, thanks to a concert version that's been doing the rounds. La La Land joins considerable company in sashaying from cinemas to the stage — a list that only keeps growing. Think: Amélie, Moulin Rouge!, The Bodyguard, Matilda, Singin' in the Rain, Heathers, Carrie, Muriel's Wedding, Strictly Ballroom and Starstruck, to name a mere few movies that've followed up their big-screen stints by enlisting a new cast to sing and dance live in theatres. Check out the trailer for the film version below: The stage version of La La Land doesn't yet have a premiere date — we'll update you when more details are announced.
From haphazard Polaroids to meticulous glamour shots, photography has always been about people. And, long before Humans of New York or The Sartorialist, there was one American artist who got straight to the heart of the matter. Delving into street photography, high fashion, and striking artistic projects including an iconic survey of America's West, Richard Avedon was a master of the form for over six decades. In this collection of works presented with the help of The Richard Avedon Foundation in New York and The National Portrait Gallery in Canberra, we see the artist at his most iconic and influential. Composed of 80 monochrome photographs shot between 1949 and 2002, People includes portraits of celebrities including glamour icons such as Marilyn Monroe and Audrey Hepburn, counterculture legends like Bob Dylan and Truman Capote and many more. With his ties to the fashion world and his frank, simplistic style, Avedon was basically a much, much classier, 20th century Terry Richardson. Head over to the Ian Potter Museum of Art to catch a glimpse at how things used to be.
Over the past few years, Gelatissimo has whipped up a number of creative flavours, including frosé sorbet, gelato for dogs, and ginger beer, Weet-Bix, fairy bread, hot cross bun, cinnamon scroll, chocolate fudge and bubble tea gelato. Earlier this year, it made its own spin on Caramilk gelato, too. For its latest offering, the Australian dessert chain is still turning something that everyone loves into gelato. This time, though, it's taking inspiration from a drink. Can't choose between sipping a cold brew coffee made with oat milk or licking your way through a few scoops of ice cream? Gelatissimo has the solution. That very combination is on the menu from Tuesday, June 1, adding a new vegan special to its range — but only for a limited time. Exactly how long it'll be hanging around hasn't been revealed, so getting in quickly in recommended. Whether you opt for a cone or a cup, you'll be tucking into gelato made with oat milk that's specifically designed to go with coffee. And as for the caffeinated part of the flavour, that comes about via a concentrate made by steeping coffee beans in water for around 24 hours. You can get the cold brew with oat milk flavour in stores Australia-wide, including within your five-kilometre radius if you're in Melbourne. Or, Gelatissimo also delivers take-home packs via services such as Uber Eats, Deliveroo and Doordash. Gelatissimo's cold brew with oat milk gelato is available from all stores nationwide from Tuesday, June 1.
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 13 that you can watch right now at home. Civil War Civil War is not a relaxing film, either for its characters or viewers, but writer/director Alex Garland (Men) does give Kirsten Dunst (The Power of the Dog) a moment to lie down among the flowers. She isn't alone among this stunning movie's stars on her stomach on a property filled with Christmas decorations en route from New York to Washington DC. Also, with shots being fired back and forth, no one is in de-stressing mode. For viewers of Dunst's collaborations with Sofia Coppola, however — a filmmaker that her Civil War co-star Cailee Spaeny just played Priscilla Presley for in Priscilla — the sight of her face beside grass and blooms was always going to recall The Virgin Suicides. Twenty-five years have now passed since that feature, which Garland nods to as a handy piece of intertextual shorthand. As the camera's focus shifts between nature and people, there's not even a tiny instant of bliss among this sorrow, nor will there ever be, as there was the last time that Dunst was framed in a comparable fashion. Instead, Civil War tasks its lead with stepping into the shoes of a seasoned war photographer in the middle of the violent US schism that gives the movie its name (and, with January 6, 2021 so fresh in everyone's memories, into events that could very well be happening in a version of right now). The US President (Nick Offerman, Origin) is into his third term after refusing to leave office, and the fallout is both polarising and immense. Think: bombed cities, suicide attackers, death squads, torture, lynchings, ambushes, snipers, shuttering the FBI, California and Texas inexplicably forming an alliance to fight back, Florida making its own faction, journalists killed on sight, refugee camps, deserted highways, checkpoints, resistance fighters, mass graves and, amid the rampant anarchy, existence as America currently knows it clearly obliterated. (Asking "what kind of American are you?" barely seems a stretch, though.) The front line is in Charlottesville, but Dunst's Lee Smith is destined for the White House with Reuters reporter Joel (Wagner Moura, Mr & Mrs Smith), where they're hoping to evade the lethal anti-media sentiment to secure an interview with the leader who has torn the country apart. Civil War streams via YouTube Movies, iTunes and Prime Video. Read our full review. Monkey Man Dev Patel means business in Monkey Man, both on- and off-screen. Starring in the ferocious vengeance-dripping action-thriller, he plays Kid, a man on a mission to punish the powers that be in Yatana (a fictional Indian city inspired by Mumbai) for their injustices, and specifically for the death of his mother Neela (Adithi Kalkunte, who Patel worked with on Hotel Mumbai) when he was a boy. As the film's director, producer and co-writer, he isn't holding back either, especially in adding something to his resume that no other project has offered in his almost two decades as an actor since Skins marked his on-camera debut. Dev Patel: action star has an excellent ring to it. So does Dev Patel: action filmmaker. Both labels don't merely sound great with Monkey Man; this is a frenetic and thrilling flick, and also a layered one that marries its expertly choreographed carnage with a statement. In the post-John Wick action-movie realm, it might seem as if every actor is doing features about formidable lone forces taking on their enemies. Patel initially began working on Monkey Man over ten years ago, which is when Keanu Reeves (The Matrix Resurrections) first went avenging, but his film still acknowledges what its viewers will almost-inevitably ponder by giving John Wick a shoutout. Thinking about the Charlize Theron (Fast X)-led Atomic Blonde and Bob Odenkirk (The Bear)-starring Nobody is understandable while watching, too — but it's The Raid and Oldboy, plus the decades of Asian action onslaughts and revenge-filled Korean efforts around them, that should stick firmest in everyone's mind. All directors are product of their influences; however, Patel achieves the rare feat of openly adoring his inspirations while filtering them through his exact vision to fashion a picture that's always 100-percent his own (and 100-percent excellent). Monkey Man streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Dev Patel. Love Lies Bleeding In Love Lies Bleeding, a craggy ravine just outside a dusty New Mexico town beckons, ready to swallow sordid secrets in the dark of the desert's starry night. Tumbling into it, a car explodes in flames partway through the movie, exactly as the person pushing it in wants it to. There's the experience of watching Rose Glass' sophomore film emblazoned across the feature's very frames. After the expertly unsettling Saint Maud, the British writer/director returns with a second psychological horror, this time starring Kristen Stewart in the latest of her exceptionally chosen post-Twilight roles (see: Crimes of the Future, Spencer, Happiest Season, Lizzie, Personal Shopper, Certain Women and Clouds of Sils Maria). An 80s-set queer and sensual tale of love, lust, blood and violence, Love Lies Bleeding is as inkily alluring as the gorge that's pivotal to its plot, and as fiery as the inferno that swells from the canyon's depths. This neon-lit, synth-scored neo-noir thriller scorches, too — and burns so brightly that there's no escaping its glow. When the words "you have to see it to believe it" also grace Love Lies Bleeding — diving into gyms and in the bodybuilding world, it's no stranger to motivational statements such as "no pain no gain", "destiny is a decision" and "the body achieves what the mind believes" — they help sum up this wild cinematic ride as well. Glass co-scripts here with Weronika Tofilska (they each previously penned and helmed segments of 2015's A Moment in Horror), but her features feel like the result of specific, singular and searing visions that aren't afraid to swerve and veer boldly and committedly to weave their stories and leave an imprint. Accordingly, Love Lies Bleeding is indeed a romance, a crime flick and a revenge quest. It's about lovers on the run (Ant-Man and the Wasp: Quantumania's Katy O'Brian pairs with Stewart) and intergenerational griminess. It rages against the machine. It's erotic, a road trip and unashamedly pulpy. It also takes the concept of strong female leads to a place that nothing else has, and you do need to witness it to fathom it. Love Lies Bleeding streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Rose Glass. Late Night with the Devil If David Dastmalchian ever tires of acting, which will hopefully never happen, he'd make an entrancing late-night television host. He even has the audition tape for it: Late Night with the Devil. Of course, the star who earned his first movie credit on The Dark Knight, and has stood out in Blade Runner 2049, The Suicide Squad, Dune and the third season of Twin Peaks — plus Boston Strangler, The Boogeyman, Oppenheimer and Dracula: Voyage of the Demeter all in 2023 alone, alongside Ant-Man and the Wasp: Quantumania — might be hoping for a less eerie and unsettling gig IRL. Dastmalchian is a fan of horror anchors, writing an article for Fangoria about them. Here, putting in a helluva can't-look-away performance, he plays one. That said, the namesake of Night Owls with Jack Delroy isn't meant to fit the mould so unnervingly, nor is the series that he's on. Delroy is a Johnny Carson rival — and, because Australian filmmakers Cameron and Colin Cairnes (100 Bloody Acres, Scare Campaign) write and direct Late Night with the Devil, he's also a Don Lane-type talent — who isn't afraid of embracing the supernatural on his live talk show. On Halloween in 1977, airing his usual special episode for the occasion, he decides to attempt to arrest the flagging ratings of what was once a smash by booking four attention-grabbing guests. What occurs when Delroy, who is grieving the loss of his actor wife Madeleine Piper (Georgina Haig, NCIS Sydney) a year earlier, shares the stage with not only a famous skeptic and a psychic, but also with a parapsychologist and a girl who is reportedly possessed? That might sound like the setup for a joke, but it's this new Aussie horror gem's captivating premise. Late Night with the Devil streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Colin and Cameron Cairnes. Godzilla x Kong: The New Empire Godzilla is finally an Oscar-winner. It's about time. But the septuagenarian reptile didn't score Hollywood's top trophy for curling up in the Colosseum for a snooze, rocking electric-pink spikes, thundering into Hollow Earth — the world literally within our world where titans spring from — and teaming up with King Kong to take on a rival giant ape that rides an ice-breathing kaiju and uses a skeletal spine as a rope. Japan's exceptional Godzilla Minus One, which took home 2024's Academy Award for Best Visual Effects, wasn't that kind of monster movie. Godzilla x Kong: The New Empire, which hails from the American-made Monsterverse, definitely is. Arriving shortly after one of its titular figures received such a coveted filmmaking accolade (and also after the US franchise's ace streaming series Monarch: Legacy of Monsters), this sequel to 2021's Godzilla vs Kong is patently from the goofily entertaining rather than deeply meaningful brand of Godzilla flicks. Yes, there's room for both. It might seem a hard job to follow up one of the best-ever takes on the nuclear-powered creature with an action-adventure-fantasy monster mash that also features a Hawaiian shirt-wearing veterinarian (Dan Stevens, Welcome to Chippendale) dropping in via helicopter to do dental work on King Kong, the return of the Monsterverse's resident conspiracy-theorist podcaster (Brian Tyree Henry, Atlanta), a complicated mother-daughter dynamic (via Rebecca Hall, Resurrection, and Kaylee Hottle, Magnum PI) and a mini Kong called Suko — plus, in its very first minutes, several other animals being ripped apart by Godzilla and Kong. When he took on the gig of helming pictures in this franchise, however, You're Next, The Guest, Blair Witch and Death Note filmmaker Adam Wingard chose fun chaos. His two entries so far aren't dreaming of competing for thoughtfulness with the movies coming out of the country that created Godzilla. Rather, they're made with affection for that entire legacy, and also Kong's, which dates back even further to 1933. Getting audiences relishing the spectacle of this saga is the clear aim, then — and Wingard's attempts put exactly that in their sights above all else. Godzilla x Kong: The New Empire streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Rebecca Hall, Dan Stevens, Brian Tyree Henry, Kaylee Hottle and Adam Wingard. Abigail Abigail, aka the tween vampire ballerina film that unveiled that premise in its trailer, is still an entertaining time irrespective of your starting knowledge, thankfully. Matt Bettinelli-Olpin and Tyler Gillett's fifth full-length directorial effort — and their first after bringing back Ghostface in 2022's Scream and 2023's Scream VI — begins as a blend of a heist affair, horror mansion movie and whodunnit. It kicks off with a kidnapping skilfully pulled off by a motley crew (is there any other type?), then with holing up in the mastermind's sprawling and eerie safe house with their 12-year-old captive, then with fingers being pointed and their charge toying with them. Bettinelli-Olpin and Gillett are slick with their opening, from breaking into a well-secured estate to avoiding surveillance cameras while speeding through the streets afterwards. They're playful, too, when corralling everyone in their next location — a setup that they've turned into an ace horror watch before in 2019's Ready or Not — and letting suspicions run wild. The six abductors here, as given nicknames Reservoir Dogs-style but with a Rat Pack spin, and told not to divulge their true identities or histories to each other: Joey (Melissa Barrera, Carmen), a recovering addict with medical skills; Frank (Dan Stevens, Godzilla x Kong: The New Empire), who has a background in law enforcement; Rickles (William Catlett, Constellation), an ex-marine; Sammy (Kathryn Newton, Ant-Man and the Wasp: Quantumania), the resident hacker; Peter (Kevin Durand, Pantheon), the dim-witted muscle; and Dean (Angus Cloud, Euphoria), the stoner wheelman. The middleman for their employer: the no-nonsense Lambert (Giancarlo Esposito, The Gentlemen). And the girl: Abigail (Alisha Weir, Wicked Little Letters), of course, who is the daughter of someone obscenely rich and powerful. She's just finished dance rehearsals, is still in her tutu, and proves the picture of scared and unsettled when she's snatched from her bedroom, drugged and blindfolded — until she isn't. Abigail streams via YouTube Movies, iTunes and Prime Video. Read our full review. Wicked Little Letters Whether it's via a post or tweet or message, in a comment or status update, thanks to a Notes app screenshot or in an email, mean words aren't hard to share two decades into the 21st century. Click a few buttons, slide your finger across a touchscreen, then vitriol can be directed virtually instantaneously worldwide. Countless people — too many, all sticklers for unpleasantness — do just that. Such behaviour has almost become a reflex. A century ago, however, spewing nastiness by text required far more effort. Someone had to put ink to paper, commit their hatred to physical form in their own handwriting, tuck it into an envelope, pay for postage, then await the mail service to deliver their malice. Wicked Little Letters isn't an ode to that dedication, but there's no avoiding that sending offensive missives in its 1920s setting was a concerted, determined act — and also that no one could claim just seconds later that they were hacked. Times change, and technology with it, but people don't: that's another way of looking at this British dramedy, which is indeed based on a true tale. Director Thea Sharrock (The One and Only Ivan) and screenwriter Jonny Sweet (Gap Year) know that there's a quaintness about the chapter of history that they're bringing to the screen, but not to the attitudes behind the incident. In Sussex by the sea on the English Channel, spiteful dispatches scandalised a town, with the situation dubbed "the Littlehampton libels". In Wicked Little Letters' account, Edith (Olivia Colman, Wonka) keeps receiving notes that overuse vulgar terms, and the God-fearing spinster, who lives with her strict father (Timothy Spall, The Heist Before Christmas) and dutiful mother (Gemma Jones, Emily), is certain that she knows the source. Living next door, Rose Gooding (Jessie Buckley, Fingernails) is an Irish single mother to Nancy (Alisha Weir, Roald Dahl's Matilda the Musical), has Bill (Malachi Kirby, My Name Is Leon) as her live-in boyfriend, and is fond of a drink at the pub and of sharing her opinion. The two neighbours are as chalk and cheese as women of the time could get, but were once friendly. When Edith blames Rose, the latter's pleas that she's innocent — and that she'd just tell the former her grievances to her face, not send them anonymously — fall on deaf ears among most of the resident police. Wicked Little Letters streams via YouTube Movies. Read our full review. Humanist Vampire Seeking Consenting Suicidal Person What if a vampire didn't want to feed on humans? When it happens in Interview with the Vampire, rats are the solution. In Humanist Vampire Seeking Consenting Suicidal Person, Sasha (Sara Montpetit, White Dog) gets her sustenance from pouches of blood instead, but her family — father (Steve Laplante, The Nature of Love), mother (Sophie Cadieux, Chouchou), aunt (Marie Brassard, Viking) and cousin Denise (Noémie O'Farrell, District 31') — are increasingly concerned once more than half a century passes and she keeps avoiding biting necks. Sasha still looks like a goth teenager, yet she's 68, so her relatives believe that it's well past time for her to embrace an inescapable aspect of being a bloodsucker. What if she didn't have to, though? The potential solution in the delightful first feature by director Ariane Louis-Seize, who co-writes with Christine Doyon (Germain s'éteint), is right there in this 2023 Venice International Film Festival award-winner's title. With What We Do in the Shadows, both on the big and small screens, the idea that vamps are just like the living when it comes to sharing houses has gushed with laughs. Swap out flatmates for adolescence — including pesky parents trying to cramp a teen's style — and that's Louis-Seize's approach in this French-language Canadian effort. As much as Humanist Vampire Seeking Consenting Suicidal Person brings fellow undead fare to mind, however, and more beyond, the Québécois picture is an entrancing slurp of vampire and other genres on its own merits. There's an Only Lovers Left Alive-style yearning and A Girl Walks Home Alone at Night-esque elegance to the film. Beetlejuice and The Hunger bubble up, too, as do Under the Skin, Ginger Snaps and The Craft as well. But comparable to how drinking from someone doesn't transform you into them — at least according to a century-plus of bloodsucking tales on the page, in cinemas and on TV — nodding at influences doesn't turn this coming-of-age horror-comedy into its predecessors. Humanist Vampire Seeking Consenting Suicidal Person streams via iTunes. Read our full review. You'll Never Find Me When The Rocky Horror Picture Show starts with just-engaged couple Brad Majors and Janet Weiss knocking on a stranger's door on a dark and rainy night, with the pair hoping to find both shelter from the elements and assistance, no one could predict what awaits inside. There isn't much that connects the stage-to-screen cult musical-comedy hit from nearly 50 years back with expertly tense and atmospheric Australian horror film You'll Never Find Me, but that basic setup gets a spin — and a wild ride is again the end result. Also, if you're the type to take life tips from pop culture, a familiar piece of advice proves true once more. Even the most casual of filmgoers know that little that's good ever comes from an unexpected thump on someone's house, regardless of whether you're doing the banging or hearing it from the other side. Knock at the Cabin, Knock Knock, The Strangers: they all back this idea up, too, and the list goes on. In You'll Never Find Me — which Indianna Bell and Josiah Allen write, direct and produce as their first feature — the weather is indeed violently stormy and the evening is inescapably black when a young woman (Jordan Cowan, Krystal Klairvoyant) taps on the caravan that Patrick (Brendan Rock, The Stranger) calls home. They're both tentative, anxious and unsettled. She asks for help, he obliges, but suspicion lingers in the air as heavily as the sound of thunder and the wail of wind. The thick blanket of distrust doesn't fray as they talk, either, with the new arrival — named only The Visitor in the feature's credits — claiming that she fell asleep on the beach, hence her presence on her host's doorstep at 2am. But Patrick keeps finding holes in her story. She's also doubtful about his claims that he doesn't have a phone that she could use, public facilities are too far away for her to get to without him driving her to it and they'll need to wait until the rain subsides to depart. You'll Never Find Me streams via YouTube Movies, iTunes and Prime Video. Ghostbusters: Frozen Empire There's nothing strange in Ghostbusters: Frozen Empire, even with the spirits of sewer dragons, Slimer and pre-Sumerian demons all lurking about. There's nothing unusual about the movie's neighbourhood, either, with the supernatural comedy franchise revisiting New York after Ghostbusters: Afterlife's detour to Oklahoma. No surprises are found among the characters, mixing OG faces from 1984's Ghostbusters and its 1989 sequel Ghostbusters II with cast members from the saga's last flick (and still sadly pretending that 2016's excellent female-led Ghostbusters didn't happen). But something unexpected does occur in this fifth film to ask "who ya gonna call?", this time directed by Gil Kenan (A Boy Called Christmas) with Jason Reitman (The Front Runner), Afterlife's helmer and the son of the first two films' Ivan Reitman (Draft Day), scripting: its love of nostalgia is as strong as in Afterlife; however, Frozen Empire is welcomely absent its immediate predecessor's needy force. That said, simply being better than Afterlife is a low hurdle to clear. It's also what Frozen Empire achieves and little more. Kenan ain't afraid of a by-the-numbers script that stitches together references to the franchise's past and as many characters as can be jam-packed in. Frozen Empire begins with Callie (Carrie Coon, The Gilded Age), her teen kids Trevor (Finn Wolfhard, Stranger Things) and Phoebe (McKenna Grace, Crater), and their former science teacher Gary (Paul Rudd, Only Murders in the Building) all in Ecto-1, in hot pursuit of an otherworldly wraith in Manhattan — and the fact that Callie parents, Gary yearns to be seen as a parent and Trevor reminds everyone that he's 18 now sets the scene for their parts moving forward. So does Phoebe taking charge, but Kenan and Reitman only make half an effort to push her to the fore. When Phoebe links up with Dan Aykroyd's (Zombie Town) Ray Stantz, who now runs a store that buys possessed possessions, the Ghostbusters saga gets its best path forward so far with this cast. And yet, possibly scared of the ridiculous backlash to Kate McKinnon (Barbie), Kristen Wiig (Palm Royale), Melissa McCarthy (The Little Mermaid) and Leslie Jones (Our Flag Means Death) in jumpsuits almost a decade back, Frozen Empire largely pads itself out with filler to stop Phoebe always being the main point of focus. Ghostbusters: Frozen Empire streams via YouTube Movies, iTunes and Prime Video. Read our full review. The Great Escaper Two British acting icons enjoy their last on-screen hurrah in The Great Escaper, which is reason enough to see the based-on-a-true-story drama about a World War II veteran making a run for it. At the age of 90, Michael Caine announced that playing 89-year-old Bernard Jordan would be his last role in a film career that dates back to 1950. Glenda Jackson only returned to acting in 2015, after decades in politics since the 90s, then passed away after lending her talents to Bernard's wife Irene. The film they're in doesn't always match their efforts, with William Ivory's (Isolation Stories) script happy to hit the obvious notes, and forcefully — and director Oliver Parker just as content to do the same, as he also was on Johnny English Reborn, Dad's Army and Swimming with Men. Still, as it tells a spirited tale, it unsurprisingly does so with far more weight beyond its formula — as real as its events are — with Caine (Best Sellers) and Jackson (Mothering Sunday) in the lead parts. Normally when a movie links to the Second World War and involves fleeing, it's a period-set flick, but not this one. Jordan's stint of absconding came in June 2014, when he took his leave from his East Sussex nursing home without informing anyone to travel to Normandy for the 70th-anniversary D-Day commemorations. That makes The Great Escaper a breaking-out adventure of a unique kind — and Caine and Jackson, the latter as the spouse following her absent husband's antics from afar, are an excellent pair who bring gravitas to their roles whether they're sharing the frame or their characters are in different countries. The flashbacks to their younger years (featuring The Lord of the Rings: The Rings of Power's Will Fletcher and Bad Education's Laura Marcus) are less compelling. There's also little in the way of subtlety to the film's old-fashioned telling. But this story also proves affecting in pondering how war heroes are celebrated, then forgotten as they age, and also the human toll of every conflict long after it has been waged. The Great Escaper streams via YouTube Movies, iTunes and Prime Video. Baghead Sit in a chair. Embrace the otherworldly. Whether you're ready for it or not — physically and emotionally alike — bear witness to the dead being summoned. Speak to those who are no longer in the land of the living. Perhaps, while you're chatting, get caught in a dialogue with something nefarious as well. Talk to Me used this setup to audience-wowing and award-winning effect. Now comes Baghead, which stems from a short film that pre-dates 2023's big Australian-made horror hit, and was shot before Michael and Danny Philippou's A24-distributed flick played cinemas, but still brings it to mind instantly. Audiences can be haunted by what they've seen before, especially in a busy, ever-growing genre where almost everything is haunted anyway and few pictures feel genuinely new. Here, as first-time feature filmmaker Alberto Corredor adapts his own applauded short (which has nothing to do with the mumblecore effort starring Greta Gerwig before she was directing Lady Bird, Little Women and Barbie), there's no shaking how Talk to Me gnaws at Baghead. The director and screenwriters Christina Pamies (another debutant) and Bryce McGuire (Night Swim) make grief their theme, and with commitment; the pain of loss colours the movie as much as its shadowy imagery. But, despite boasting two dedicated performances, Corredor's Baghead is routine again and again. At The Queen's Head in Berlin, Owen Lark (Peter Mullan, The Lord of the Rings: The Rings of Power) oversees a ramshackle four-centuries-old pub where customers aren't there for the drinks. The basement is the big drawcard for those in the know, with the being that resides in it, in a hole in a brick wall, luring punters in the door. Everyone who arrives with cash and a plea for help is in mourning. When Neil (Jeremy Irvine, Benediction) makes an entrance, he knows exactly what he wants. Baghead begins not with Owen letting his latest patron meet the entity that shares the movie's title, though, but with him endeavouring to vanquish it. If he was successful, there'd be no film from there. Because he isn't, his estranged daughter Iris (Freya Allan, Kingdom of the Planet of the Apes) is summoned to the German city by a solicitor (Ned Dennehy, The Peripheral), becoming the watering hole's next owner. Baghead streams via YouTube Movies. Read our full review, and our interview with Freya Allan. Kung Fu Panda 4 What happens when you've scored your dream job, especially when getting everything that you've ever wanted has meant navigating a lengthy and challenging quest — and when you've always been an underdog (well, an underpanda to be precise)? So asks Kung Fu Panda 4, posing that question to Po (Jack Black, The Super Mario Bros Movie), the black-and-white mammal whose journey to becoming a martial-arts master has sat at the heart of this franchise since 2008. Po loves being the Dragon Warrior, even when 2011's Kung Fu Panda 2 and 2016's Kung Fu Panda 3 have thrown ups and downs his way. In the movie series' fourth big-screen entry, however, Shifu (Dustin Hoffman, Sam & Kate) advises that it's time to start thinking about his successor in the post, as Po should be moving up the ranks to take on the job of the Valley of Peace's Spiritual Leader. One big problem: the panda isn't thrilled. Another: he doesn't love any of the candidates. There's also The Chameleon (Viola Davis, The Hunger Games: The Ballad of Songbirds & Snakes), a sorceress, to deal with — potentially with the help of thieving fox Zhen (Awkwafina, IF). Black's voice has always done plenty of heavy lifting in the Kung Fu Panda flicks, alongside the general concept — a panda as a kung fu whiz — and the slapstick silliness that comes to the screen with it. None of that changes in Kung Fu Panda 4, and no one involved appears to want it to. Also still a constant: the reliance upon well-known names lending their vocals to the movie's menagerie (Argylle's Bryan Cranston, Gremlins: Secrets of the Mogwai's James Hong, John Wick: Chapter 4's Ian McShane and Dumb Money's Seth Rogen have been here before; Everything Everywhere All At Once Oscar-winner Ke Huy Quan and Unfrosted's Ronny Chieng are among the newcomers). The visuals remain vivid, but the story is in a rush to ping pong to the next sight gag or excuse to get the film's cast bantering. As directed Mike Mitchell (The Lego Movie 2: The Second Part) and Stephanie Stine (She-Ra and the Princesses of Power), the film bounces, leaps, kicks and rolls along merrily enough, though — just — for younger audiences. Kung Fu Panda 4 streams via YouTube Movies, iTunes and Prime Video. 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 and April 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 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.
In response to Melbourne's growing northern suburbs COVID-19 cluster, the entire state of Victoria will enter a seven-day lockdown from 11.59pm tonight, Thursday, May 27 until the same time on Thursday, June 3. That means that stage four restrictions will be back in effect, and you'll only be able to leave your house for five reasons — the now-familiar four reasons, and to get vaccinated against COVID-19. Also returning: wearing compulsory face masks whenever you do leave home. Announcing the change today, Thursday, May 27, Acting Victorian Premier James Merlino said that "as we've seen here, and across Australia, this kind of short, sharp action is effective in stopping this thing in its tracks." None of the reinstated rules are new to Melburnians, of course — but it's hoped that bringing them back for the next seven days will help stop the spread of cases linked to the current cluster. Mask-wise, you'll need to break out your fitted face coverings and wear them. Some mask requirements do currently exist — including wearing them in public indoor spaces, which has been back in effect since Tuesday, May 25 — but the requirements are now being beefed up even further. Once midnight hits tonight, the only place where you won't need to pop a mask on is inside your own home. That said, you'll only be able to leave your house for essential work, shopping for things you need, exercise for two hours within five kilometres of your residence, care and caregiving, and to get vaccinated — however, in each and every one of those situations, you'll have to mask up. You'll need to wear face masks both indoors and outside, too, unless you have an exemption. With the present cases linked to both Melbourne and regional Victoria, the mask rules — and the circuit-breaker lockdown— apply statewide for the seven-day period. The Acting Premier will obviously provide further details about what happens next before 11.59pm on Thursday, June 3. If you're now wondering where to grab a fitted mask, we've put together a rundown of local companies making and selling them. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website.
If you've ever worn a little black dress, then you owe Gabrielle 'Coco' Chanel a big thank you. Depending on your choice of suit, bag and perfume, you might owe her some gratitude there as well. The French designer's influence upon 20th-century fashion extends far and wide — and, even though she passed away in 1971, her imprint can be felt in the 21st century as well. So, when the NGV International sends some love her way at its next blockbuster exhibition, it'll have plenty to cover. Displaying at the St Kilda Road gallery from Sunday, December 5, 2021–Monday, April 25, 2022, Gabrielle Chanel. Fashion Manifesto will arrive fresh from its current stint at Paris' Palais Galliera. Its stop in Melbourne is its first international jaunt, in fact. On show will be pieces from the French venue, as well as from the Patrimoine de Chanel, the fashion house's heritage department. More than 100 garments will grace the NGV's walls and halls, with the exhibition charting her career. You'll also be able to see what Chanel achieved with perfume, jewellery and accessory design, too. Some pieces will date back more than a century, given that the fashion icon opened her first boutique in Deauville in 1912, before making the leap to her own Parisian couture house in 1918. Expect to check out everything from black threads — obviously — to lace gowns, wool jersey and tailored tweed suits, and an array of beaded garments. As you peer at Chanel's designs, you'll see how womenswear developed, and both how and why she's left a mark that still lingers today. [caption id="attachment_819495" align="aligncenter" width="1920"] Gabrielle Chanel (designer). Dress, spring–summer 1925, silk guipure lace, silk organza flower. Patrimoine de Chanel, Paris. Photo © Julien T. Hamon.[/caption] The NGV is also adding its own Chanel pieces to the exhibition, such as a white lace Evening dress that dates back to 1933, and a shirred red silk velvet and marabou-lined evening cape from around 1924–26. They'll form part of a showcase that's split into themed sections, with different parts devoted to her early work, the way her design language evolved in the 1920s and 1930s, the iconic scent that is Chanel No 5, and how the brand's pieces have favoured a look best described as "austere luxury". Also getting their own themed strands: suits, accessories and jewellery. To launch Gabrielle Chanel. Fashion Manifesto, which will be ticketed — and will be the first-ever exhibition in Australia that'll solely focus on Chanel's contributions to fashion and culture — the NGV is bringing back its black-tie NGV Gala, which'll take place on Saturday, December 4. [caption id="attachment_819496" align="aligncenter" width="1920"] Gabrielle Chanel, c. 1930s, photograph by André Kertész. Médiathèque de l'architecture et du patrimoine. Photo © Ministère de la Culture–Médiathèque del'architecture et du patrimoine, Dist. RMN-Grand Palais /André Kertész. Courtesy of the National Gallery of Victoria.[/caption] Announcing the exhibition, NGV Director Tony Ellwood AM said that "there is no bigger name in 20th-century fashion design than Gabrielle Chanel. Her originality, timelessness and elegance forged a radically modern vision of fashion and a singular style. Gabrielle Chanel. Fashion Manifesto will be expansive, visually sumptuous and will reveal the achievements and enduring legacy of the extraordinary French fashion designer." If you decide to wear a little black dress while you're checking out all things Chanel this summer, you'll likely have plenty of company. Gabrielle Chanel. Fashion Manifesto will display at the NGV International, 180 St Kilda Road, Melbourne from Sunday, December 5, 2021–Monday, April 25, 2022. For more information, or to buy tickets, head to the gallery's website. Top image: Anne Sainte-Marie in a Chanel suit, photograph by Henry Clarke, published in Vogue US, 1955, retouched by ARCP. ParisMusées. © Henry Clarke, ParisMusées /PalaisGalliera/ADAGP. Copyright Agency, 2021.
Across 2024 and 2025, the TV-watching groove in your couch is only going to get deeper, especially if there's no sweeter streaming sound to your ears than the static of the HBO logo. The American cable network has just dropped a glimpse at a heap of shows that are on the way over the next two years, including brand-new titles, spinoffs from existing hits and returning favourites. There's only one trailer for the whole package, but a heap of must-sees are featured. The sneak peek has arrived to promote HBO's own streaming service, which is now just called Max and isn't available in Australia or New Zealand as yet. Viewers Down Under can expect to catch the bulk of series teased on Binge, Foxtel and Neon — and it's a hefty list. A first trailer for season two of House of the Dragon, has already been released ahead of its winter 2024 premiere, but the Game of Thrones spinoff unsurprisingly gets some attention in HBO's new clip. Yes, there be fire-breathing flying animals, plus long blonde locks. Also popping up is The Penguin, which ties in with 2022's big-screen release The Batman, with Colin Farrell (The Banshees of Inisherin) reprising the show's titular role. Spanning eight episodes and designed to extend the Dark Knight's big-screen crime saga too, it too will drop next year. Earlier in 2023, HBO revealed that it is also making an IT prequel series that's currently called Welcome to Derry, as set in Stephen King's go-to Maine town and stepping through the locale's scares before the terror that viewers have already seen. The end result won't arrive until 2025 and may have a new moniker by then, but the network's trailer includes the first footage of the show — red balloon and all, obviously. Similarly on their way: 2024 returns for True Detective, Curb Your Enthusiasm, Tokyo Vice, The Sex Lives of College Girls, Hacks, Industry, My Brilliant Friend, Somebody Somewhere and The Jinx. Plus there's new unscripted comedy Jerrod Carmichael: Reality Show; the Robert Downey Jr (Oppenheimer)-led, Vietnam War-set spy thriller and farce The Sympathizer; Kate Winslet (Avatar: The Way of Water) in The Regime, which takes place within a European palace; and The Franchise, the latest series from Veep and The Thick of It's Armando Iannucci. Can't wait for more The Last of Us, The White Lotus, Euphoria and And Just Like That...? You will actually have to, sorry. Even though they each get some love in the new HBO trailer, none will make a comeback until 2025 — mark your calendar now. Watch HBO's 2024–25 roundup trailer below: The above HBO shows don't have exact release dates yet — we'll update you when further details are announced. Top image: Macall Polay/Max.
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 through to old and recent favourites, here are our picks for your streaming queue from February's haul. Brand New Stuff You Can Watch From Start to Finish Now Mr & Mrs Smith 2005 movie Mr & Mrs Smith isn't the first time that title adorned a spy caper about a literally killer couple. That honour goes not to the Brad Pitt (Babylon)- and Angelina Jolie (Eternals)-starring, Brangelina-sparking film, but to a 90s TV series. No one remembers 1996's Mr & Mrs Smith, where Scott Bakula (who was not long off Quantum Leap at the time) and Maria Bello (Beef) took on the eponymous parts. It didn't last, with just nine episodes airing and a further four made but left unseen. But its existence gives 2024's Mr & Mrs Smith a full-circle vibe, with Donald Glover (Atlanta) and Maya Erskine's (PEN15) now both adopting the monikers and ushering the premise back to episodic storytelling. Bakula and Bello's Mr & Mrs Smith didn't inspire Pitt and Jolie's; however, the latter did give rise to Glover and Erskine's — and any history isn't mere trivia. Instead, it speaks to a concept that's so appealing that it keeps being reused, whether coincidentally or knowingly, and to an idea that's now being given its full Mr & Mrs Smith due, in line with True Lies and The Americans: that relationships are mysteries, missions and investigations. The backstory behind Glover and Erskine bringing glorious chemistry to John and Jane Smith doesn't stop there, because Mr & Mrs Smith circa 2024 has been in the works for three years. When announced in February 2021, it was with Atlanta-meets-Fleabag hopes, with Glover co-starring and co-creating with Phoebe Waller-Bridge (Indiana Jones and the Dial of Destiny). Then creative differences with Glover saw Waller-Bridge — who also co-wrote the No Time to Die screenplay and created Killing Eve — leave the project within six months. While it's impossible to know how that iteration of Mr & Mrs Smith would've turned out, whether with more overt comedy, talkier or boasting a darker tone, Glover's interpretation with fellow Atlanta alum Francesca Sloane lives up to the promise of two creatives from one of the 21st century's best dramedies turning their attention to espionage and romance. There's an intimacy, a lived-in feel and hangout charm to this Mr & Mrs Smith, even as it swaps Brangelina's already-wed pair discovering that they're assassin rivals for a duo only tying the knot for the gig. Mr and Mrs Smith streams via Prime Video. Read our full review. Shōgun Casting Hiroyuki Sanada (John Wick: Chapter 4), Cosmo Jarvis (Persuasion) and Anna Sawai (Monarch: Legacy of Monsters) as its three leads is one of Shōgun's masterstrokes. The new ten-part adaptation of James Clavell's 1975 novel — following a first version in 1980 that featured Japanese icon and frequent Akira Kurosawa collaborator Toshiro Mifune — makes plenty of other excellent moves, but this is still pivotal. Disney+'s richly detailed samurai series knows how to thrust its viewers into a deeply textured world from the outset, making having three complex performances at its centre an essential anchoring tactic. Sanada plays Lord Yoshii Toranaga, who is among the political candidates vying to take control of the country. Jarvis is John Blackthorne, a British sailor on a Dutch ship that has run aground in a place that its crew isn't sure is real until they get there. And Sawai is Toda Mariko, a Japanese noblewoman who is also tasked with translating. Each character's tale encompasses much more than those descriptions, of course, and the portrayals that bring them to the screen make that plain from the moment they're each first seen. As Game of Thrones and Succession both were, famously so, Shōgun is another drama that's all about fighting for supremacy. Like just the former, too, it's another sweeping epic series as well. Although it's impossible not to see those links, knowing that both battling over who'll seize power and stepping into sprawling worlds are among pop culture's favourite things right now (and for some time) doesn't make Shōgun any less impressive. The scale is grand, and yet it doesn't skimp on intimacy, either. The minutiae is meticulous, demanding that attention is paid to everything at all times. Gore is no stranger from the get-go. Opening in the 17th century, the series finds Japan in crisis mode, Toranaga facing enemies and Blackthorne among the first Englishmen that've made it to the nation — much to the alarm of Japan's sole European inhabitants from Portugal. Getting drawn in, including by the performances, is instantaneous. Shōgun proves powerful and engrossing immediately, and lavish and precisely made as well, with creators Justin Marks (Top Gun: Maverick) and Rachel Kondo (on her first TV credit) doing a spectacular job of bringing it to streaming queues. Shōgun streams via Disney+. Read our full review. American Fiction Here's Thelonious 'Monk' Ellison's (Jeffrey Wright, Rustin) predicament when American Fiction begins: on the page, his talents aren't selling books. Praise comes the Los Angeles-based professor's way for his novels, but not sales, nor attendees when he's part of writers' festival panels. And even then, publishers aren't fond of his latest manuscript. Sick of hearing that his work isn't "Black enough", and also incensed over the attention that fellow scribe Sintara Golden (Issa Rae, Barbie) is receiving for her book We's Lives in Da Ghetto, he gets a-typing, pumping out the kind of text that he vehemently hates — but 100-percent fits the stereotype of what the world keeps telling him that Black literature should be. It attracts interest, even more so when Monk takes his agent Arthur's (John Ortiz, Better Things) advice and adopts a new persona to go with it. Soon fugitive convict Stagg R Leigh and his book Fuck are a huge hit that no one can get enough of. Because of the story spun around who wrote the bestseller, too, the FBI even wants to know the author's whereabouts. Deservedly nominated for five 2024 Oscars — including for Best Picture, Best Actor for Wright and Best Supporting Actor for Sterling K Brown (Biosphere) as Monk's brother Clifford — American Fiction itself hails from the page, with filmmaker Cord Jefferson adapting Percival Everett's 2001 novel Erasure. Wright is indeed exceptional in this savvy satire of authenticity, US race relations and class chasms, and earns his awards contention for his reactions alone. Seeing how Monk adjusts himself to a world that keeps proving anything but his dream is an utter acting masterclass, in big and small moments alike. As the film dives into the character's personal chaos, that's where Brown's also-fantastic, often-tender performance comes in, plus Leslie Uggams (Extrapolations) as Monk's mother and Tracee Ellis Ross (Candy Cane Lane) as his sister, and also Erika Alexander (Run the World) as a neighbour who is a fan of his — not just Stagg R Leigh's — work. Don't discount how excellent American Fiction is beyond its literary hoax setup, in fact; as a character study, it's equally astute. American Fiction streams via Prime Video. The Vince Staples Show It was true when Seinfeld made a series about a real-life standup comedian playing a fictionalised version of himself one of the world's biggest sitcoms in the 90s. It remained accurate when Larry David started riffing on his own existence in Curb Your Enthusiasm — and also when Pete Davidson leapt from making his life movie fodder in The King of Staten Island to turning it into TV in Bupkis. Donald Glover wasn't directly referencing his own career in Atlanta, and neither The Other Two nor Girls5eva bring exact replicas of real-life figures to the screen, but the same idea pumps through them as well: fame or proximity to it doesn't stop anyone from grappling with life's frustrating minutiae. Add The Vince Staples Show to the list, with the five-part series featuring its namesake as a take on himself. Whether or not you know who he is is part of the show's joke. On- and off- screen, he's a rapper and actor. Staples' very real single 'Norf Norf' gets quoted to him in the TV comedy. The fact that he's been in Abbott Elementary is referenced in the debut episode. But just attempting to have an ordinary day doing everyday things in an average way — driving home, heading to the bank, attending a family reunion, visiting an amusement park and returning to his old school — is as impossible for him as it is for us all. Sometimes, Staples' celebrity complicates matters in The Vince Staples Show. It also never helps. Usually, he's stuck navigating Murphy's law, so asking for a loan ends up with him caught up in a robbery, while endeavouring to source something decent to eat at a theme park takes him on an absurdist odyssey that winks at David Lynch and the Coen brothers. Having an entertainment career doesn't stop him from being confused for someone else by the police (Killing It's Scott MacArthur, You People's Bryan Greenberg and The Menu's Arturo Castro) — the same cops who ask for free tickets to his shows while they're locking him up — or ensure that cashiers treat him politely. If it assists with anything, it's with giving Staples a deadpan acceptance that anything and everything might come his way. Twice asked if something interesting happened during his day by his girlfriend Deja (Andrea Ellsworth, Truth Be Told), his reply is "not really", even though viewers have just witnessed the exact opposite in both instances. The Vince Staples Show streams via Netflix. Read our full review. Orion and the Dark Learning to face life's chaos, or even just recognising that life is chaos, has a particular term when Charlie Kaufman is making movies and audiences do the confronting. Describing something as Kaufmanesque sprang from the screenwriter and filmmaker's stunning run at the end of the 90s and beginning of the 00s — the Spike Jonze (Her)-helmed Being John Malkovich and Adaptation, plus the Michel Gondry (Microbe & Gasoline)-directed Human Nature and Eternal Sunshine of the Spotless Mind — and it's stuck ever since. Joining the trio of Synecdoche, New York, Anomalisa and I'm Thinking of Ending Things as well, all three of which he penned plus helmed, is new family-friendly animation Orion and the Dark. A Kaufmanesque kid-appropriate flick? It exists, and it's wonderful. Feature first-timer Sean Charmatz (TV movie Trolls Holiday in Harmony) directs, and Emma Yarlett's 2014 children's book provides the source material; however, this account of a boy afraid of the dark who then meets the literal Dark (voiced by The Afterparty's Paul Walter Hauser) is a Kaufman affair through and through. Also, iconic German filmmaker — and one-time Parks and Recreation star — Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) pops up. Loaned the vocal tones of Jacob Tremblay (The Little Mermaid) as a child and Colin Hanks (The Offer) as an adult, Orion is petrified of sleeping without the lights on. And, just like the kids in Monsters, Inc that are scared of creatures in their cupboards, Orion and the Dark's protagonist is frightened of something real. Dark exists and, alongside Orion's parents (The Fall of the House of Usher's Carla Gugino and Bull's Matt Dellapina), is exasperated by the boy's response to nighttime. He can't help taking it personally, in fact, then offers to assist. For one 24-hour period, as darkness falls around the world, he gets Orion to accompany him on his travels with friends Sleep (Natasia Demetriou, What We Do in the Shadows), Insomnia (Nat Faxon, Our Flag Means Death), Quiet (Aparna Nancherla, The Great North), Unexplained Noises (Golda Rosheuvel, Bridgerton) and Sweet Dreams (Angela Bassett, Black Panther: Wakanda Forever) to demonstrate that being distressed is unfounded. It isn't just Herzog's involvement and a joke about David Foster Wallace's Infinite Jest that prove that this is a movie as much for adults as kids; amid its gorgeous animation, its understanding of existential dread is also that astute. Orion and the Dark streams via Netflix. Dario Argento: Panico Filmmakers love filmmakers, so much so that new documentaries about directors arrive all the time. Paying tribute to the creative forces behind everyone's big-screen obsessions: what's not to love? With Dario Argento: Panico, there's plenty to adore, including the considerable participation of the Italian master of giallo himself. A film about the man behind Suspiria, Inferno and Tenebrae was always going to be a portrait of his influence upon his chosen genre. Accordingly, who better to take viewers through it? He begins the doco unhappy about the location of the latest hotel that he's decamping to to write, as has been his custom for decades, but he's a fascinating interviewee, especially when he's reflecting upon his work and his processes in his own words. For company, he's joined among Dario Argento: Panico's talking heads by his sister Floriana, daughters Fiore and Asia, ex-wife Marisa Casale, and collaborators such as Franco Ferrini (who co-penned screenplays such for Phenomena, Trauma, Dark Glasses and more) and Claudio Simonetti (the composer, also of the band Goblin, who has been so instrumental) in giving the filmmaker's movies their sound. And to unpack his impact both in general and on their work, Guillermo del Toro (Guillermo del Toro's Pinocchio), Nicolas Winding Refn (Copenhagen Cowboy) and Gaspar Noé (Climax) all feature as well. Noteworthy quotes and links abound from the documentary's chats beyond its titular figure, such as when del Toro notes that "everything in Argento's movies is trying to kill you", Refn admits that Tenebrae's synth-heavy score is responsible for the tunes in his own features and the fact that Noé had Argento star in his drama Vortex. Simonetti's reflections on Goblin's role in helping Argento's work have such resonance, and the ripples that his film's scores have enjoyed across the industry since, are also riveting — and accurate. And for an understanding of who Argento is personally, Asia (who has acted in her father's flicks since making her debut at ten) is particularly enlightening. Simone Scafidi also deftly weaves in clips from Argento's movies, plus behind-the-scenes footage and archival materials, to ensure that audiences have a burning yearning stirring while watching: the need to see everything featured, whether for the first time or again. He knows how to make this kind of movie, after all, given that he did the same with 2019's Fulci for Fake, about fellow giallo talent Lucio Fulci. Dario Argento: Panico streams via Shudder. The Greatest Night in Pop One of the biggest songs of the 1980s was largely recorded in one night. 'We Are the World' wasn't just huge on the charts, either. When it came to people buying the single, it was massive — it's still the ninth biggest-selling physical single ever — but the list of talent making it happen was just as hefty. Lionel Richie, Stevie Wonder, Paul Simon, Kenny Rogers, Tina Turner, Billy Joel, Michael Jackson, Diana Ross, Dionne Warwick, Willie Nelson, Bruce Springsteen, Daryl Hall and John Oates, Huey Lewis, Cyndi Lauper, Bob Dylan, Ray Charles, Dan Aykroyd, Harry Belafonte, Bob Geldof, Waylon Jennings, Bette Midler, Smokey Robinson, The Pointer Sisters: they're just some of the names involved. Even Kenny Loggins, fresh from 'Footloose' being a hit, joined in. This roster of names and more teamed up in 1985 as supergroup USA for Africa, taking cues from Band Aid and 'Do They Know It's Christmas?', to raise funds for African famine relief. Belafonte had the idea. Richie and Jackson wrote the tune. The whole thing came together on the night of that year's American Music Awards, with everyone going from the ceremony to the studio. The Greatest Night in Pop tells this tale, and adds another entertaining music documentary that's also a blast from the past to Netflix's catalogue (WHAM! in 2023 similarly fit the bill). Regardless of whether the song itself suits your taste in music, or whether it's before your time and so you haven't heard of it, this behind-the-scenes look at its creation is illuminating — especially if you're interested in the recording process, how it works when there's so many figures involved and simply what it was like to have all those people in the one room. Accordingly, The Greatest Night in Pop is the kind of documentary that thrives thanks to its archival material. Putting audiences in the space with all those famous faces as they navigate who sings what when, and how, and also their various personalities, is can't-look-away viewing. A number of the talents involved also reflect upon the experience now, and the notion that some didn't want it to end at the time echoes through in both recent and decades-ago glimpses. Watching along, it's easy to understand why. The Greatest Night in Pop streams via Netflix. New and Returning Shows to Check Out Week by Week Constellation If a great getaway to a beach, island or faraway city can be life-changing, what does a journey to space do? So ponders Constellation, among other questions. Inquiries are sparked instantly, from the moment that a mother in a cabin in northern Sweden, where there's snow as far as the eye can see but a frost infecting more than just the temperature, leaves her pre-teen daughter to follow a voice. The screams that she seeks out are yelling "mama!" — and what they mean, and why she's abandoning one girl to find another, is just one of the matters that Constellation interrogates. The woman is Jo Ericsson, as played by Noomi Rapace with the maternal devotion that also marked her turn in Lamb, plus the protective instincts that were key in Prometheus and Alien: Covenant as well — and the fierceness that helped bring her to fame as Lisbeth Salander in the original Swedish The Girl with the Dragon Tattoo films. Jo, an astronaut, is Europe's representative on the International Space Station when Constellation jumps backwards from its opening icy horror to a different kind of terror. Not long out from returning back to earth, she FaceTimes with her nine-year-old daughter Alice (Rosie and Davina Coleman, The Larkins) and husband Magnus (James D'Arcy, Oppenheimer). Then, something goes bump in the sky. Trauma leaves people changed, too; what if this incident, during which setting foot on our pale blue dot again is anything but assured, isn't the only distressing facet of travelling to the heavens? On the at-risk ISS, on a spacewalk to locate the source of the collision, Jo finds the mummified body of what looks like a 60s-era Russian cosmonaut. There'll soon be another astronaut dead inside the station, destroyed infrastructure, the first escape pod shuttling her three remaining colleagues back to terra firma and Jo left alone trying to repair the second so that she herself can alight home. Where both Gravity and Moon spring to mind in Constellation's initial space-set scenes, plus Proxima in the show's focus on mother-daughter connections (Interstellar, Ad Astra and First Man have dads covered), it's the earthbound Dark that feels like a touchstone once Jo is back among her loved ones. There's a similar moodiness to this series, which also features Nobel Prize-winning former Apollo astronaut Henry Caldera (Jonathan Banks, Better Call Saul), who has had his own incidents in space — and there's a feeling that characters can't always trust what they think is plainly apparent to the show, too, plus a certainty that nothing is simply linear about what's occurring. Constellation streams via Apple TV+. Read our full review, and our interview with Jonathan Banks. Curb Your Enthusiasm A quarter of a century is a long time to spend with Larry David, even with gaps along the way. Friends and acquaintances of the fictionalised version seen in Curb Your Enthusiasm might have some not-so-positive things to say about investing that chunk with TV's great curmudgeons. If you're a fan of the satirical series that's been airing since 2000, however, 12 seasons isn't enough. But David has called time on his second small-screen smash. CYE won't beat Seinfeld's episode count, but it has been on-screen on and off for far longer than the famous show about nothing. And with its ending in sight, of course the inimitable force behind both starts Curb Your Enthusiasm's final season with the series' version of Larry going where Seinfeld's characters closed out their story: jail. He's there not due criminal indifference, though, but rather thanks to the opposite. In Atlanta to attend a rich fan's (Sharlto Copley, Beast) birthday party, on a paid gig courtesy of the success of Young Larry — CYE's in-show show about David's childhood — he gives a bottle of water to Leon's (JB Smoove, Office Race) Auntie Rae (Ellia English, Blood Pageant) while she's in line to vote. That's illegal, the cops pounce immediately and one of the season's key threads is born. Larry being Larry, of course he wasn't really trying to make a stand against ridiculous voter-suppression laws. Larry still being Larry, he's also content to capitalise upon being seen as a hero, complete with droves of media attention. And, Larry never able to be someone other than Larry, he's still his petty normal self regardless of how much praise flows from Bruce Springsteen. Before Beef was winning Golden Globes, Emmys and other awards for trivial squabbles, David got there first — and before The Rehearsal and The Curse's Nathan Fielder was inspiring cringing so vigorous that you can feel it in your stomach, David was as well. The show's swansong season so far is vintage Curb Your Enthusiasm, including when a lawyer who looks like one of David's many enemies, overhearing golfing lessons, throwing things at CODA Oscar-winner Troy Kotsur, getting disgruntled over breakfast menus cutting off at 11am and bickering with the late, great Richard Lewis (Sandy Wexler) are involved. As always, it continues to be fascinated with whether someone as set in his ways as David, who was the inspiration for George Constanza, can and will ever change. He won't, and watching why that's the case will only stop being comedy gold yet when the ten-episode 12th season says farewell. Curb Your Enthusiasm streams via Binge. The New Look The New Look, Apple TV+'s ten-part series about Christian Dior and Coco Chanel, hasn't chosen its points of focus because they were frequently in each other's company; as depicted here, at least, they weren't. Instead, it's a portrait of rivals, but it isn't that concerned with why the two Parisians might be adversaries beyond their shared field. That said, they're tied by more than both being French fashion figures who were working at the same time, made pioneering haute couture choices and started labels that retain household recognition today. And, when the show opens in 1954, it does so with Chanel (Juliette Binoche, The Staircase) offering harsh words about Dior (Ben Mendelsohn, Secret Invasion) to the press as she's about to unveil her first post-war collection. Her chatter is crosscut with his at the Sorbonne, where he's being honoured — and asked by students why he kept working during the Second World War while Chanel closed her atelier. Dior's answer: that such a description of the two designers' actions during WWII is the truth, but that there's also more truth behind it. Unpicking the reality — and stitching together Dior and Chanel's plights at the same time — is the series' mission. The garments that its two couturiers make might be pristine in their stylishness, but neither's history can earn the same term. Creator Todd A Kessler (Damages, Bloodline) makes a drama about choices, then. Again, it isn't fuelled by the pair being in close physical proximity, which only happens twice in the show — or even acrimony between them — but by comparing and contrasting the moves that Dior and Chanel each made during Nazi-occupied Paris and immediately afterwards. The New Look also takes its overarching perspective from the notion that haute couture's impact in assisting to revive French culture following the war was revolutionary and "helped humanity find beauty and the desire to live again". That said, with Dior and Chanel's prowess treated as a given, the bulk of its frames, handsomely shot as they are, hone in on the personal. The New Look streams via Apple TV+. Read our full review. Recent and Classic Movies to Finally Watch — or Revisit The FP, The FP 2: Beats of Rage, FP3: Escape From BAKO and FP4: EVZ Part-dance movie, part-dystopian comedy, The FP is a rare beast of a movie. It's an instant classic that feels both alluring familiar and completely its own creation, and that immediately sears every frame into your brain. Given the premise, none of the above should come as a surprise. This low-budget 2011 flick is set in a time when gangs fight over control of their home turf, aka Frazier Park, by dance-fighting it out while playing a Dance Dance Revolution-style game called Beat-Beat Revelation. Basically, if Footloose was set in a post-apocalyptic future, it would look something like this. As, yes, it would look rather amazing. Indeed, that's The FP from start to finish. That isn't where it ends, however. After becoming a true cult-favourite, it has spawned three sequels over the years since: 2018's The FP 2: Beats of Rage, 2021's FP3: Escape From BAKO and 2023's FP4: EVZ. This isn't the kind of saga that's blown up and sold out, either — every single entry feels like you can see the filmmaker's fingerprints on every frame. That writer and director is Jason Trost, who also stars as well. Beyond The FP movies, he was last seen in Foo Fighters-driven horror effort Studio 666, with his mere presence there showing the huge gap between the kind of midnight movie that flick wanted to be and the real thing. Trost plays JTRO, who starts The FP franchise training to defeat a rival — but that's only the beginning of a storyline across four films that needs to be experienced by going in as fresh as possible. In a different world, the OG movie and its sequels would get The Room treatment, returning to cinemas regularly. In Australia, big-screen sessions have been rare. That makes being able to settle in and watch all four at once via Brollie quite the treat, and a unique way to spend some couch time. Wanting to play Dance Dance Revolution also comes with the territory. The FP films stream via Brollie. Yuni Again and again in Yuni, a heartbreaking clash echoes. Its sounds stem from schoolyard gossip, superstitious tut-tutting, ultra-conservative demands and reminders that its titular character shouldn't steal anything purple that she sees. In the third feature from Indonesian filmmaker Kamila Andini (The Seen and Unseen), Yuni (Arawinda Kirana, Angkringan) is a 16-year-old in a Muslim society where agreeing to an arranged marriage is the only thing truly expected of her. When the movie begins, a proposal from construction worker Iman (Muhammad Khan, Memories of My Body) already lingers. After she declines, her classmates chatter. Then another offer comes from the much-older Mang Dodi (first-timer Toto ST Radik), who is looking for a second wife. Yuni knows the accepted myth that any woman who refuses more than two proposals will never wed, but she's also keen to make her own choices. She has a crush on teacher Mr Damar (Dimas Aditya, Satan's Slaves), and spends time with the younger and infatuated Yoga (Kevin Ardilova, Vengeance Is Mine, All Others Pay Cash). She's also the smartest student at her school, with dreams of attending university. Andini's film is full of specifics, diving into the minutiae of Yuni's life — surveying Indonesian society and its customs, the roles thrust upon women from their teenage years, and enormous gap between the path that she's supposed to follow and the yearnings of her heart. This is a movie where scenes of its protagonist hanging out with her friends, whether kicking back on the grass talking about boys or dressing up with her beautician pal Suci (Asmara Abigail, Satan's Slaves 2: Communion), could be scenes from almost any teenage girl's life. Of course, then the reality sinks in, be it in discussions about husbands, babies and virginity tests, or in the teary worries about horrific power imbalances. The ability of poetry to capture everything that can't be easily uttered otherwise also floats through Andini's deeply moving picture, so it should come as no surprise that Yuni is both naturalistic and lyrical. It's precise and universal, follows an easily foreseeable path and yet proves full of surprises, and is astutely directed as well — and Kirana is a star. Yuni streams via SBS On Demand. Need a few more streaming recommendations? Check out our picks from January this year, and also from January, February, March, April, May, June, July, August, September, October, November and December 2023. You can also check out our running list of standout must-stream shows from last year as well — and our best 15 new shows of 2023, 15 newcomers you might've missed, top 15 returning shows of the year, 15 best films, 15 top movies you likely didn't see, 15 best straight-to-streaming flicks and 30 movies worth catching up on over the summer.
Every year, once gifts have been given, turkey and prawns devoured, drinks sipped and backyard games of cricket played, the festive season delivers another treat. Whatever you spend your Christmas Day doing, Boxing Day is just as exciting if you're a movie buff — or even simply eager to escape the weather, and your house, to relax in air-conditioning and watch the latest big-screen releases. Just like in 2020, 2021 has seen many cinemas Down Under spend months empty, with projectors silent, theatres bare and the smell of popcorn fading; however, the country's picture palaces are well and truly back in business. And, they're screening a wide array of Boxing Day fare as always — so at least one thing about this chaotic year is proceeding as normal. If you're wondering not only what's showing, but what's worth your time, we've watched and reviewed the day's slate of new titles. It includes a trip back into an adored sci-fi franchise, getting swept up in a musical romance, catching a scorching new Shakespeare adaptation and taking in a glorious 70s-set coming-of-age slice of life. Even when you're done unwrapping your presents, these silver-screen gifts await. THE MATRIX RESURRECTIONS Hordes of imitators have spilled ones and zeros claiming otherwise, but the greatest move The Matrix franchise ever made wasn't actually bullet time. Even 22 years after Lana and Lilly Wachowski brought the saga's instant-classic first film to cinemas, its slow-motion action still wows, and yet they made another choice that's vastly more powerful. It wasn't the great pill divide — blue versus red, as dubiously co-opted by right-wing conspiracies since — or the other binaries at its core (good versus evil, freedom versus enslavement, analogue versus digital, humanity versus machines). It wasn't end-of-the-millennia philosophising about living lives online, the green-tinged cyberpunk aesthetic, or one of the era's best soundtracks, either. They're all glorious, as is knowing kung fu and exclaiming "whoa!", but The Matrix's unwavering belief in Keanu Reeves and Carrie-Anne Moss is far more spectacular. It was a bold decision those two-and-a-bit decades ago, with Reeves a few years past sublime early-90s action hits Point Break and Speed, and Moss then known for TV bit parts (including, in a coincidence that feels like the product of computer simulation, a 1993 series called Matrix). But, as well as giving cinema their much-emulated gunfire-avoidance technique and all those other aforementioned highlights, the Wachowskis bet big on viewers caring about their central pair — and hooking into their chemistry — as leather-clad heroes saving humanity. Amid the life-is-a-lie horrors, the subjugation of flesh to mechanical overlords and the battle for autonomy, the first three Matrix films always weaved Neo and Trinity's love story through their sci-fi action. Indeed, the duo's connection remained the saga's beating heart. Like any robust computer program executed over and over, The Matrix Resurrections repeats the feat — with plenty of love for what's come before, but even more for its enduring love story. Lana goes solo on The Matrix Resurrections — helming her first-ever project without her sister in their entire career — but she still goes all in on Reeves and Moss. The fourth live-action film in the saga, and fifth overall counting The Animatrix, this new instalment doesn't initially give its key figures their familiar character names, however. Rather, it casts them as famous video game designer Thomas Anderson and motorcycle-loving mother-of-two Tiffany. One of those monikers is familiar, thanks to a surname drawled by Agent Smith back in 1999, and again in 2003 sequels The Matrix Reloaded and The Matrix Revolutions. But this version of Thomas Anderson only knows the agent from his own hit gaming trilogy (called The Matrix, naturally). And he doesn't really know Tiffany at all, instead admiring her from afar at Simulatte, their local coffee shop. Before Reeves and Moss share a frame, and before Anderson and Tiffany's awkward meet-cute, The Matrix Resurrections begins with blue-haired hacker Bugs (Jessica Henwick, On the Rocks). She sports a white rabbit tattoo, observes a scene straight out of the first flick and helps set the movie's self-referential tone. As a result, The Matrix Resurrections starts with winking, nodding and déjà vu — and, yes, with a glitch, with Lana and co-screenwriters David Mitchell (author of Cloud Atlas) and Aleksandar Hemon (Sense8) penning a playful script that adores the established Matrix lore, enjoys toying with it and openly unpacks everything that's sprung up around it. Long exposition dumps, some of the feature's worst habits, explain the details, but waking up Anderson from his machine-induced dream — again — is Bugs' number-one aim. Read our full review. WEST SIDE STORY Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain (anyone who isn't white especially). Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — even with the threat of gentrification looming large in every torn-down building, signs for shiny new amenities such as Lincoln Centre popping up around the place and, when either local cops Officer Krupke (Brian d'Arcy James, Hawkeye) or Lieutenant Schrank (Corey Stoll, The Many Saints of Newark) interrupt their feuding, after they're overtly warned as well. But it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. This rumble will decide westside supremacy once and for all, the two sides agree. The OG West Side Story was many things: gifted with a glorious cast, including Rita Moreno in her Academy Award-winning role as Bernardo's girlfriend Anita, plus future Twin Peaks co-stars Russ Tamblyn and Richard Beymer as Riff and Tony; unashamedly showy, like it had just snapped its fingers and flung itself off the stage; and punchy with its editing, embracing the move from the boards to the frame. It still often resembled a filmed musical rather than a film more than it should've, however. Spielberg's reimagining, which boasts a script by his Munich and Lincoln scribe Tony Kushner, tweaks plenty while also always remaining West Side Story — and, via his regular cinematographer Janusz Kaminski (The Post) and a whirl of leaping and plunging camerawork, it looks as exuberant as the vibrant choreography that the New York City Ballet's Justin Peck splashes across the screen, nodding to Jerome Robbins' work for the original movie lovingly but never slavishly. Read our full review. LICORICE PIZZA A Star Is Born has already graced the titles of four different films, and Licorice Pizza isn't one of them. Paul Thomas Anderson's ninth feature, and his loosest since Boogie Nights — his lightest since ever, too — does boast a memorable Bradley Cooper performance, though. That said, this 70s- and San Fernando Valley-set delight isn't quite about seeking fame, then navigating its joys and pitfalls, although child actors and Hollywood's ebbs and flows all figure into the narrative. Licorice Pizza definitely births two new on-screen talents, however, both putting in two of 2021's best performances and two of the finest-ever movie debuts. That's evident from the film's very first sublimely grainy 35-millimetre-shot moments, as Alana Haim of Haim (who PTA has directed several music videos for) and Cooper Hoffman (son of the late, great Philip Seymour Hoffman, a PTA regular) do little more than chat, stroll and charm. The radiant Haim plays Alana Kane, a Valley dweller of 25 or 28 (her story changes) working as a photographer's assistant, which brings her to a Tarzana high school on yearbook picture day. Enter the smoothly assured Hoffman as 15-year-old Gary Valentine, who is instantly smitten and tries to wrangle a date. Alana is dismissive with a spikiness that speaks volumes about how she handles herself (a later scene, where she yells "fuck off, teenagers!" to kids in her way, is similarly revealing). But Gary keeps persisting, inviting her to the real-life Tail o' the Cock, a fine diner he claims to visit regularly. In a gliding ride of a walk-and-talk sequence that's shot like a dream, Alana says no, yet she's also still intrigued. As a smile at the end of their first encounter betrays, Alana was always going to show up, even against her better judgement (and even as she firmly establishes that they aren't a couple). Her demeanour doesn't soften as Gary interrogates her like he's a dad greeting a daughter's beau — a gag Anderson mirrors later when Alana takes another ex-child actor, Lance (Skyler Gisondo, Santa Clarita Diet), home to meet her mother, father and two sisters (all played by the rest of the Haims, parents included) and he's questioned in the same manner. That family dinner arises after Gary enlists the new object of his affection to chaperone him on a trip to New York, where he's featuring with Lance in a live reunion for one of their flicks. Upon returning to Los Angeles, Gary is heartbroken to see Alana with Lance, but all roads keep leading her back to him anyway. Charting Alana and Gary's friendship as it circles and swirls, and they often sprint towards each other — and chronicling everything else going on in the San Fernando Valley, where PTA himself grew up — Licorice Pizza is a shaggy slice-of-life film in multiple ways. Spinning a narrative that Anderson penned partly based on stories shared by Gary Goetzman, an ex-child talent turned frequent producer of Tom Hanks movies, it saunters along leisurely like it's just stepped out of the 70s itself, and also sports that anything-can-happen vibe that comes with youth. It's a portrait of a time, before mobile phones and the internet, when you had to either talk on a landline or meet up in person to make plans, and when just following where the day took you was the status quo. It captures a canny mix of adolescence and arrested development, too; teen exuberance springs from the always-hustling Gary, while treading water is both an apt description of Alana's connection with her would-be paramour and a state she's acutely aware of. Read our full review. THE WORST PERSON IN THE WORLD When Frances Ha splashed a gorgeous portrait of quarter-life malaise across the screen nearly a decade back — proving neither the first nor last film to do so, of course — its titular New Yorker was frequently running. As played by Greta Gerwig, she sprinted and stumbled to David Bowie's intoxicating 'Modern Love' and just in general, while navigating the constantly-in-motion reality of being in her 20s. It takes place in a different city, another country and on the other side of the globe, but The Worst Person in the World's eponymous figure (Renate Reinsve, Phoenix) is often racing, too. (Sometimes, in the movie's most stylised touch, she's even flitting around while the whole world stops around her.) Norwegian writer/director Joachim Trier (Thelma) firmly understands the easy shorthand of watching someone rush — around Oslo here, but also through life overall — especially while they're grappling with a blatant case arrested development. Capturing the relentlessly on-the-go sensation that comes with adulthood, as well as the inertia of feeling like you're never quite getting anywhere that you're meant to be, these running scenes paint a wonderfully evocative and relatable image. Those are apt terms for The Worst Person in the World overall, actually, which meets Julie as she's pinballing through the shambles of her millennial life. She doesn't ever truly earn the film's title, or come close, but she still coins the description and spits it her own way — making the type of self-deprecating, comically self-aware comment we all do when we're trying to own our own chaos because anything else would be a lie. The Worst Person in the World's moniker feels so telling because it's uttered by Julie herself, conveying how we're all our own harshest critics. In her existence, even within the mere four years that the film focuses on, mess is a constant. Indeed, across the movie's 12 chapters, plus its prologue and epilogue, almost everything about Julie's life changes and evolves. That includes not just dreams, goals, fields of study and careers, but also loved ones, boyfriends, apartments, friends and ideas of what the future should look like — and, crucially, also Julie's perception of herself. As the ever-observant Trier and his regular co-screenwriter Eskil Vogt track their protagonist through these ups and downs, using whatever means they can to put his audience in her mindset — freezing time around her among them — The Worst Person in the World also proves a raw ode to self-acceptance, and to forgiving yourself for not having it all together. They're the broad strokes of this wonderfully perceptive film; the specifics are just as insightful and recognisable. Julie jumps from medicine to psychology to photography, and between relationships — with 44-year-old comic book artist Aksel (Anders Danielsen Lie, Bergman Island), who's soon thinking about all the serious things in life; and then with the far more carefree Eivind (Herbert Nordrum, ZombieLars), who she meets after crashing a wedding. Expressing not only how Julie changes with each shift in focus, job and partner, but how she copes with that change within herself, is another of The Worst Person in the World's sharp touches. At one point, on a getaway with friends more than a decade older than her, Julie is laden with broad and trite generalisations about being her age — which Trier humorously and knowingly counters frame by frame with lived-in minutiae. Read our full review. THE TRAGEDY OF MACBETH Bringing Shakespeare to the big screen is no longer just about doing the material justice, or even about letting a new batch of the medium's standout talents bring their best to the Bard's immortal words. For anyone and everyone attempting the feat (a list that just keeps growing), it's also about gifting the playwright's material with the finest touches that cinema allows. It's never enough to simply film Macbeth like a theatre production, for instance, even if all that dialogue first penned four centuries ago still ripples with power — while riffing about power — without any extra adornments. No Shakespeare adaptation really needs to explain or legitimise its existence more than any other feature, but the great ones bubble not only with toil and trouble, but with all the reasons why this tale needed to be captured on camera and projected large anew. Joel Coen knows all of the above. Indeed, his take on the Scottish play — which he's called The Tragedy of Macbeth, taking Shakespeare's full original title — justifies its existence as a movie in every single frame. His is a film of exacting intimacy, with every shot peering far closer at its main figures than anyone could ever see on a stage, and conveying more insight into their emotions, machinations and motivations in the process. The Bard might've posited that all the world's a stage in As You Like It, but The Tragedy of Macbeth's lone Coen brother doesn't quite agree. Men and women are still merely players in this revived quest for supremacy through bloodshed, but their entrances, exits and many parts would mean nothing if we couldn't see as far into their hearts and minds as cinema — and as cinematographer Bruno Delbonnel's (The Woman in the Window) stripped-down, black-and-white, square-framed imagery — can possibly allow. In a year for filmmakers going it alone beyond the creative sibling relationships that've defined their careers — see also: The Matrix Resurrections — Joel Coen makes a phenomenal solo debut with this up-close approach. His choice of cast, with Denzel Washington (The Little Things) as powerful as he's ever been on-screen and Frances McDormand (The French Dispatch) showing why she has three Best Actress Oscars, also helps considerably. The former plays Macbeth, the latter Lady Macbeth, and both find new reserves and depths in the pair's fateful lust for glory. That's another key element to any new silver-screen iteration of Shakespeare's most famous works: making its characters feel anew. Washington and McDormand — and Coen as well — all tread in the footsteps of of Michael Fassbender, Marion Cotillard and Australian filmmaker Justin Kurzel (Nitram) thanks to 2015's exquisite Macbeth, but they stand in absolutely no one's shadows. The narrative details remain the same, obviously, from the witches prophesying that Macbeth will soon be king to his murderous actions at Lady Macbeth's urging to make that prediction become a reality. All that scheming has consequences, both before and after Duncan (Brendan Gleeson, Mr Mercedes) is stripped of his throne — and one of the smartest parts of the movie's central casting is the change it brings to the Macbeths' seething desperation. Due to Washington and McDormand's ages, their versions of the characters are grasping onto what might be their last chance, rather than being ruthless with far more youthful abandon. That's the intensely meticulous level that Coen operates on in The Tragedy of Macbeth. His visual use of light and darkness is just as sharp, too; here, stepping back into the acclaimed play is a lean, ravishing, eerie and potent experience again and again. Read our full review. SWAN SONG Sit down on your couch to watch Swan Song, and a Mahershala Ali (Green Book)-starring sci-fi drama about mortality, farewells and leaving a mark on the world beckons. Head to the cinema instead, and you'll see the great German actor Udo Kier grappling with the same concepts — in a movie that shares the same name, too, and is also anchored by a weighty central performance. They're vastly different features in almost every other way, however, and only one boasts the inimitable Kier. His seven-decade resume spans everything from the original Suspiria and Ace Ventura: Pet Detective to a wealth of Lars von Trier movies, but he turns in career-best work in this SXSW-premiering film-festival favourite about a small-town hairdressing superstar enjoying one last hurrah by styling a former favourite client who has just passed away. Kier plays Pat Pitsenbarger — and, when the movie begins in an Ohio nursing home, he looks as washed-out as a months-old dye job. With a stare that stings like bleach, he fills his days refolding napkins in an extremely precise way and spending his Social Security benefits on cigarettes he's not supposed to smoke. After his lawyer arrives with the $25,000 funeral gig offer, Pat isn't initially willing to shatter his dull routine, but getting a rare taste of a life less institutionalised is too alluring to pass up. His initial reaction — "bury her with bad hair!" — isn't so quickly cast aside, though. From his acerbic attitude to the rings he packs onto every finger, Pat has spent his life fighting to do things his own way, and he isn't about to change that for anyone. The care that Kier puts into Pat can't be underestimated. His is an attention-grabbing performance, but also always a deeply nuanced one, all while playing a character that's gleefully outrageous and always has been, and is also unshakeably tinged with melancholy. Every second that Kier is on-screen is a marvel, because every second conveys new character details or plunges further into the many complexities of a man who proudly strides down his own path. Writer/director Todd Stephens (Another Gay Movie) has clearly conceived Pat with just as much thought and precision, and extended the same meticulousness to the town around him. Swan Song could've played like a one-note gag — a flamboyant senior citizen making a splash in a conservative midwestern spot — but interrogating what it means to be an openly gay man in such surroundings, both in the past and now, sits firmly at the core of this poignant drama. Like its lead, Swan Song is both eclectic and electric, especially in balancing different tones in every way it can muster. The narrative is episodic and encounter-driven, but each chapter heaves with slice-of-life glimpses that contrast who Pat once was with the situation that he's in now. Stephens' film can look both candidly naturalistic and glitteringly dreamy — and, in the same vein, Kier stands out in his nursing home garb and rocking a women's safari suit alike. Swan Song also smartly acknowledges the struggles that today's queer elders have navigated and survived, embodied here by enduring grief over past losses and the impending closure of Pat's old favourite gay nightclub, as well as the world they find themselves in now. Brief appearances by Jennifer Coolidge (The White Lotus) as Pat's former assistant and Michael Urie (Younger) as someone touched by his trailblazing add the same layers, in a film that couldn't be more delicately styled if it was sculpted one snip at a time with hairdressing scissors. DELICIOUS No one eats the rich in Delicious, but French nobility is still savaged in this gently pointed gastronomical comedy. The year is 1789, the revolution hasn't yet broken out, and the chasm between the wealthy and everyone else is so glaring that it even extends to cuisine — with eating well solely reserved for the kinds of aristocrats who smugly think that no one else could appreciate a fine meal. At one such dinner in the Duke of Chamfort's (Benjamin Lavernhe, The French Dispatch) household, his personal chef Pierre Manceron (Grégory Gadebois, Night Shift) earns the table's ire by daring to cook a new dish featuring potatoes and truffles, which he dubs 'the delicious'. The humble tuber is considered beneath the Duke's dining companions, but Manceron refuses to apologise for his new creation, choosing to leave his prestigious post and man his own roadside inn instead. Delicious is framed around the restaurant trade and its beginnings; it isn't just superheroes that earn origin stories these days, it seems. With his son Benjamin (Lorenzo Lefèbvre, Sibyl) following him home, Manceron busies himself cooking for travellers — but he's both fiercely proud of his past work and visibly bitter about how the whole situation has turned out. He's so aggrieved with his current lot in life that when a woman, Louise (Isabelle Carré, De Gaulle), arrives at his door asking to become his apprentice, he's sharply and rudely dismissive. He questions her story, and perpetuates the stereotype that women can't be great chefs, too. But she's a key ingredient in his quest towards a different future, which first involves trying to re-win the Duke's favour, and then boils up a bowl of revenge. Everything from Parasite to The White Lotus have set their sights on class disparities with far more brutality, but Delicious adds an affable course to this ongoing pop-culture reckoning. It's the dessert of the genre, even as its frames are filled with sumptuous close-ups of savoury dishes in various stages of creation — pastry kneaded, potatoes and truffles placed exactingly, and egg wash glistening to begin with. (Yes, if you haven't eaten before watching, it'll make your stomach rumble.) An opening title card sets the scene, advising that dining away from home, and for pleasure in general if you weren't rich, was utterly unheard of at the time. Writer/director Éric Besnard (L'esprit de famille) then spends nearly two hours slowly smashing that status quo, albeit by firmly sticking to the obvious. Recipes are a culinary staple for a reason, though; amass the right parts in the right way and magic frequently happens. Delicious isn't the filmic equivalent, but it's charming nonetheless — as engaging as sitting down to a well-cooked meal where you know what everything will taste like in advance, but you're happy to get swept up in the flavour. It mightn't have proven so appetising without Gadebois, Carré and Lefèbvre, however, even if their parts are clearly thinner in Besnard and Nicolas Boukhrief's (The Confession) script than they play on-screen. The handsome period staging also assists immensely, including all those shots of tastebud-tempting cuisine. Eating is as much about the setting and the company as the food, of course, a concept Delicious bakes into its frames. SING 2 Star voices, a jukebox worth of songs, anthropomorphic animated critters, cheesy sentiments: that's the formula fuelling far too many all-ages-friendly films of late. Back in 2016, Sing used it to box office-smashing success by doing little more than spinning a colourful version of American Idol but with zoo animals doing the singing. It wasn't the worst example of this kind of flick, but perhaps the most interesting thing about it was the skew of its soundtrack, which favoured songs that the adults in its audience would like more than the pint-sized viewers entranced by its bright hues, talking lions and koalas, and frenetic pacing. It should come as no surprise, then, that Sing 2 doubles down on that idea by not only mining the discography of U2, but by also casting Bono as a reclusive ex-rockstar. For the Irish frontman, the double payday must've been nice. For everyone watching Sing 2, what follows is the latest example of a style of filmmaking that resembles turning on Nickelodeon or your other kid-centric TV network of choice, cueing up a Spotify playlist full of past hits and letting the two run at the same time. Returning writer/director Garth Jennings explored how young minds process, respond to, and both internalise and externalise pop culture in the delightful 2007 comedy Son of Rambo, but his Sing franchise only wishes it could echo to such depths. The fact that its characters are merely belting out souped-up karaoke is telling, because giving familiar 'believe in yourself' and 'trust your pals' rhetoric some new packaging is the gambit here. Yes, the animated creatures are cute, plenty of the songs are classics, and it's clearly meant to be disposable fun, but it's all so dispiritingly lazy and generic. It might begin with a saccharine rendition of Prince's 'Let's Go Crazy', but that song choice isn't instructional or descriptive; nothing here departs from the expected. This time around, after already gathering a gang of music-loving animals via a singing contest in the first flick, koala Buster Moon (Matthew McConaughey, The Gentlemen) has a hit show filling his theatre — but he still wants to make it big in the bigger smoke. Alas, Suki (Chelsea Peretti, Brooklyn Nine-Nine), a dog and a talent scout, advises that Buster's ragtag crew don't have what it takes. He's determined to prove otherwise, taking pigs Rosita (Reese Witherspoon, The Morning Show) and Gunter (Nick Kroll, Big Mouth), gorilla Johnny (Taron Egerton, Rocketman), porcupine Ash (Scarlett Johansson, Black Widow), and elephant Meena (singer Tori Kelly) to Redshore City to pitch directly to wolf and media mogul Jimmy Crystal (Bobby Canavale, Nine Perfect Strangers). If Sing was an animal karaoke caper that turned reality television into a star-studded cartoon while trying to evoke warm and fuzzy sentiments — and it was — then Sing 2 proves a case of just flogging the same exact thing. The narrative has changed slightly and been overstuffed, but that's all just new words set to the same beat. While a few parts of the initial flick gleamed beyond the template, mainly because it still remained just fun enough, it's all about as fresh as a U2 greatest hits CD here. Children will still be distracted, but family-friendly entertainment should always strive for more. Dropping two already over-used Billie Eilish tracks within five minutes to sprinkle in some more recent cuts says plenty about Jennings' second-time approach, as does the heavier reliance upon songs in general to convey all the movie's emotions and fill almost all of its minutes, too. 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 August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; and December 2, December 9 and December 16. You can also read our full reviews of a heap of recent movies, such as The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, 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 and The Scary of Sixty-First.
You'll find Tivoli Road Bakery tucked just off Toorak Road, where it's been slinging freshly baked goods for over eight years. Having launched under Frank Camorra as MoVida Bakery back in 2012, these days, it's run by the Little Cupcakes crew — and it's become a bit of a go-to lunch spot. The bakery is whipping up a range of natural breads and stone-ground sourdough, all starring certified organic ingredients, plus flaky sausage rolls and other savoury snacks. Coffee is by North Melbourne's Small Batch and the rotation of crafty sandwiches will have you coming back. There's also a lineup of pastries that's mighty hard to resist — think sugar-dusted apple and rhubarb tart, oozy jam doughnuts and macadamia and wattleseed praline. Deciding what to get at Tivoli Road Bakery, one of the best bakeries in Melbourne, is a might hard choice — just order a bunch of goodies and deal with the consequences later. Appears in: The Best Bakeries in Melbourne for 2023
Not that you need one, but you've now got a fresh excuse to bring your pup along on that next holiday or staycation. Already pet-friendly hotel group Ovolo is upping the ante this September, with a slew of extra goodies in store for its four-legged guests. In honour of International Dog Day (August 26), Ovolo is beefing up its usual V.I.Pooch packages for stays between Thursday, September 1–Friday, September 30, at all of its Aussie hotels. It's teamed up with pet treat subscription service Waggly Club to offer furry travellers additional goody packs, filled with edible treats and toys to really get that tail wagging. Waggly's signature boxes are usually packed with a range of all-natural, Australian-made dog snacks, plus a chew treat, and a new toy or two for the collection. The popular V.I.Pooch package already includes a comfy dog bed for premium holiday snoozing, a special food and drink mat to help keep in-room mess to a minimum, and access to Ovolo's expert team of doggy support staff. The offer has been a hit since the hotel group introduced it back in 2020, helping to kick off a new wave of dog-friendly luxury hotel experiences here in Australia. The elevated V.I.Pooch package is available this September at Ovolo hotels nationwide — you'll find them in Melbourne (Laneways and Ovolo South Yarra), Sydney (The Woolstore 1888 and Woolloomooloo), Brisbane (The Valley and The Inchcolm) and Canberra (Nishi). [caption id="attachment_867004" align="alignnone" width="1920"] Ovolo South Yarra[/caption] The V.I.Pooch x Waggly Club package is available at all Aussie Ovolo hotels throughout September, clocking in at $80 per pet. Has your pooch got the travel bug? Check out these other great dog-friendly stays.
South Korean cinema has been thrust into the global spotlight in a big way over the past year, all thanks to the enormous success of Bong Joon-ho's Cannes Film Festival Palme d'Or-winning, Sydney Film Festival prize-winning and four-time Oscar-winning film Parasite. Of course, the country has been serving up stellar cinema for decades, which is great news for movie buffs — who can either revisit excellent flicks such as the 1960 standout The Housemaid, the Park Chan-wook-directed likes of Oldboy, Thirst and The Handmaiden, and even Bong's own hefty back catalogue; or watch all of the above and more for the first time. Add Yeon Sang-ho's instant classic Train to Busan to the list, too. First hitting screens back in 2016, the frenetic zombie-filled thrill ride became an instant classic, following a father (Gong Yoo) and daughter (Kim Su-an) forced to fend off the shuffling hordes while in mid-transit. Not only did the movie flesh out its protagonists more than most undead flicks manage, but it also painted a probing picture of modern-day South Korean society. And, it's part of a franchise, with fellow 2016 release Seoul Station exploring another aspect of the outbreak in an animated prequel. Now, as promised for years, a sequel to Train to Busan is coming to screens — set four years after the first film. While just when it'll hit theatres hasn't been announced (which is completely understandable given that cinemas around the world are currently shuttered), the action-packed first teaser trailer for Train to Busan presents: Peninsula has just dropped for cinephiles looking for more pandemic-based viewing options. This time around, former soldier Jung-seok (Gang Dong-won) is in the spotlight. With the Korean peninsula devastated by the outbreak, he has escaped overseas — but is given a secret mission to return to retrieve an object. Because that's the way these kinds of tales go, his trip back home throws up plenty of expected zombies, unexpected survivors and grim fights for survival in an abandoned, post-apocalyptic world. That said, with Yeon returning as the film's writer and director, it's unlikely that Peninsula is going to follow an easy formula. Check out the trailer below — and if you need to catch up with Train to Busan, it's available to stream on Netflix. https://www.youtube.com/watch?v=yVucSRLLeIM&feature=emb_logo Train to Busan presents: Peninsula doesn't yet have a release date — we'll update you when one is announced. Images: Well Go USA Entertainment
In Netflix's ongoing quest to keep our eyeballs glued to the small screen, the platform pumps out new original shows with frequency. There are now so many to choose from, you could easily watch nothing else. But, still, there are some that stand out from the crowd. Combine filmmaker David Fincher (Seven, Gone Girl), true-crime book Mindhunter: Inside the FBI's Elite Serial Crime Unit and a whole heap of real-life serial killer cases, and you get the best show the streamer has ever made. For two seasons between 2017–2019, Mindhunter has drawn on its factual source material to dramatise the origins and operations of the FBI's Behavioural Science Unit — aka the folks who interview mass murderers to understand how they think, then use the learnings to help stop other killings. The show's main characters are fictional, such as agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) and psychologist Wendy Carr (Anna Torv), but the details they're delving into aren't. Also real: notorious figures such as Ed Kemper (played by Cameron Britton), David Berkowitz (Oliver Cooper) and Charles Manson (Damon Herriman), to name a few. It's the kind of concept that easily could span on forever — with plenty of killers and cases to cover — and still prove fascinating and gripping in this meticulously made show. Sadly, hopes for a third season now look as paltry as Holden Ford's social etiquette, with Netflix releasing the cast from its contracts, Deadline reports. The fact that Mindhunter wasn't swiftly renewed after its second season dropped last August has always been a worrying sign, which is compounded by the current news. The series hasn't been cancelled. Still, its cast is free to move onto other projects — so if Mindhunter does come back somewhere down the line, its stars mightn't be available to return because they're now working on something else. The show does boast a premise that could lend itself to an anthology format, though, so returning with a new bunch of characters taking on new cases wouldn't be the end of the world. Netflix let the cast's options expire due to Fincher's current workload, because he's quite busy making other things for them at present. As well as producing a second season of Love, Death and Robots, he's directing a Netflix film called Mank. Due to hit the platform sometime later this year, the biopic will focus on the feud between screenwriter Herman J Mankiewicz and innovative director Orson Welles over screenplay credit for a little movie called Citizen Kane, with Gary Oldman and The Souvenir's Tom Burke playing the two men. Already missing Mindhunter? Check out the trailer for its excellent second season below: https://www.youtube.com/watch?v=PHlJQCyqiaI Via Deadline.
Be nice to each other. It's a simple, sensible message that we're all guilty of forgetting sometimes, but every now and then a film pops up to remind us. Wonder is the latest, based on the book of the same name. The movie spends its running time with 10-year-old Auggie (Jacob Tremblay), his family and his friends. Born with a facial deformity and still sporting considerable scars after corrective surgery, the home-schooled Star Wars and Minecraft fan just wants to be an average boy. Understandably, he isn't too keen on finally attending classes with other kids — and facing their stares, questions and inevitable teasing. As The Elephant Man and Mask did before it, Wonder steps through the encounters that follow as Auggie interacts with the world. From bullying to peer pressure to hearing his only friend talk about him behind his back, it's the usual list of struggles. Auggie's mother Isabel (Julia Roberts) and father Nate (Owen Wilson) worry but offer encouragement, while his teenage sister Via (Izabela Vidovic) tries to lend a helping hand. Among Auggie's classmates, some taunt, such as popular kid Julian (Bryce Gheisar). Others are cautiously friendly, like scholarship student Jack (Noah Jupe). It's Wonder's willingness to look beyond Auggie that endeavours to set it apart — and helps it avoid becoming a run-of-the-mill disease-focused weepie (though that fate never feels particularly far away). In chapters narrated by other characters, we learn that everyone has insecurities, fears and woes, as the film drives home the idea that we all deserve love and affection. Wading through troubles at home, navigating first relationships, being forced to give up on your dreams, and coping with death are just some of the situations covered. As such, faulting the movie's intentions is impossible. As it tells Auggie's tale and others, the film shines a spotlight on society's troubling willingness to judge rather than help — a topic particularly relevant in today's political climate. A word of warning, however: if you're not too fond of having your emotions plucked like a harp, then you might say this family-friendly effort has too much obvious sentiment. The movie's thesis of kindness over cruelty is not only thoughtful and important, but as warm as its imagery. Still, at times it can feel as though the script is working through a checklist of every sappy cliche imaginable. In the film that results, there's rarely a moment that doesn't tell viewers how to feel. That's hardly surprising given that director Stephen Chbosky previously helmed The Perks of Being a Wallflower — a movie that telegraphed its emotional intent in much the same way as Wonder, albeit with teenage outcasts instead of a lonely boy. Here, with Room's Tremblay doing such an impressive job of balancing Auggie's bravery and vulnerability, the overt button-pushing is even more unnecessary. Wonder might tell its audience to trust, care and be kind to each other, but it'd help if it trusted them to embrace it's own core messages without quite so much poking and prodding. https://www.youtube.com/watch?v=8GHGHhucqJQ
Hidden in a narrow, cobblestoned lane, Chez Dré's exterior is a little slice of Europe. A simple, unassuming sign marks this renowned patisserie and boulangerie, located just around the corner from the heart of South Melbourne Market. A wealth of sweet and savoury options, pastries and all-day brunch meals lie beyond this humble exterior. Since opening in 2011 it has been keeping the ravenous hordes in check with classic eggs on toast, a noteworthy avocado toast, and the much-loved and often order blueberry and ricotta hotcake. However, when it comes to satisfying pastry fiends and lovers of baked goods, Chez Dre is the perfect spot to quell your sweet tooth. The chocolate croissants are our pick if you want to keep things classic. Encased by a delightfully airy pastry and oozing with chocolate filling, it's a craft the team has perfected — and we get to relish in the spoils.
Have you ever noticed the effervescent trail of light that follows your mobile phone screen when you move it in a dark room? Or how you can create shapes by whirling a glow stick around at night? Both are rudimentary examples of a recent trend: light painting. Light painting essentially consists of capturing light moving by using high exposure photography; the result is an image of the moving lights' path through the air. According to geek.com, the trend began "with a group of artists that wanted to map urban WiFi signals. This project created a visual landscape of technology we couldn’t see before, giving perspective on something we use everyday." Since then, artists and technology nerds alike have been creating floating works of light. In order to 'paint' properly, the painter must have an understanding of both the creative and scientific elements involved. The photography must be spot-on, and the hardware and software well-managed. Introducing the LightScythe: one of the first light-painting devices designed specifically with artistic endeavors in mind. The hardware is simply a long staff covered in LED lights, controlled by arduino boards and software the Mechatronics Guy designed. Watching the process, it may seem as though someone is just walking slowly with a large stick in hand, but the photographs reveal much more. The Mechatronics Guy uses the LightScythe to create floating images and text, and he wants you to, too. Check out the directions online and get to painting for yourself.
Cult favourite Gelato Messina just opened its fifth digs in Melbourne, this time taking over a shopfront on Malvern's Glenferrie Road. It's serving up all the favourites, plus a regular lineup of seasonal scoops within the new store — decked out with marble-like finishes and floor-to-ceiling wood panelling. Like all its other spots, 40 flavours are available throughout the year, each made in-house using milk sourced from its very own dairy farm in Victoria. But the team has taken it one step further with this Melbourne launch. To celebrate the occasion, Messina has teamed up with the famed Tarts Anon to create a new flavour of gelato that's only available in the Malvern store. For this one, Tarts Anon has supplied a heap of its coconut pandan tarts that the Gelato Messina team chops up and chucks into its own coconut and pandan gelato. It's a crunchy and creamy swirl of pandan and coconut goodness. Specialty cakes, bottles of Jersey milk, cookbooks and a whole host of merch are also displayed up the front, beneath a screen showing the team creating some of the best gelato in Melbourne. This new opening is perfectly timed as we slide into summer. Find Gelato Messina Malvern at 225 Glenferrie Road, Melbourne, open 12pm–late daily. Head to the venue's website for more details.
As the colder weather approaches, the idea of a steaming hot bowl of udon noodles starts to sound like a pretty good one. Now open on Bourke Street, Yamamoto Udon is serving up heartwarming creations that deliver a taste of Japan. Merging time-tested traditions with modern sophistication, these tempting dishes not only taste incredible, but come without a high price tag. Yamamoto Udon is the latest venture by Melbourne-based hospitality group Wagyu Ya, whose stable also includes Yakikami and Wagyu Ya Teppanyaki. Just like these other venues, Yamamoto Udon specialises in a particular type of cuisine or dining style — in this case, handcrafted udon. The restaurant serves both thick, bouncy sanuki udon and ribbon-like himokawa udon, with the latter limited to just 70 servings per day. Both varieties are aged for two days, and are made with natural ingredients and free of any additives. "Crafting udon is a tradition that takes skill and patience," says head chef Ryosuke Yasumatau. "Our team at Yamamoto brings years of experience in hand-making udon, staying true to the techniques that have been passed down through generations while sharing them with Melbourne." The menu features 18 udon variations to explore, with prices starting from $18 per bowl. You'll be able to choose between soup udon, dipping udon and curry udon, with flavours primed for almost every palate — highlights include the M9+ tomato braised wagyu udon, pork belly cold udon and curry prawn bisque red udon. While udon is undoubtedly the main event, Yamamoto Udon also offers plenty of sides and extras to expand your feast. Expect the likes of crispy tempura, juicy chicken karaage, agedashi tofu, onsen egg and more. There's also a selection of rice-based don, with prices starting at $16. Reflecting the minimalist warmth of other like-minded Japanese eateries, Yamamoto Udon's interior showcases a similar simplicity. Rich timber accents and a relaxed, welcoming atmosphere make it equally accessible for a low-key dinner with friends or a solo outing. There's even a clever sense of Japanese dining convenience, with iPad ordering and a 10-minute serve time making it perfect for a quick but nourishing feed when stepping out in the CBD. Yamamoto Udon is open Monday–Sunday from 11.30am–9.15pm at Shop 12/108 Bourke Street, Melbourne. Head to the venue's website for more information.
Enter one of Yayoi Kusama's infinity rooms, including the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light at the National Gallery of Victoria, and it appears as if the artist's work goes on forever. A great exhibition dedicated to Kusama evokes the same sensation. Accordingly, when you're not staring at a seemingly endless celestial universe while enjoying a world-premiere piece from the talent that's been unveiled for the first time ever in Melbourne, you'll still feel as if Kusama's touches are everywhere around you. Simply titled Yayoi Kusama, NGV International's big summer 2024–25 showcase features 200 works, so there really is enough Kusama art to envelop attendees in dots, mirrors, balls, tentacles, pumpkins, flowers, rainbow hues and her other beloved flourishes. With ten immersive installations, the exhibition breaks the world record for the number of such pieces by the artist assembled in one spot. The showcase is also the largest-ever Kusama retrospective that Australia has ever seen. Open since Sunday, December 15, 2024 and running until Monday, April 21, 2025, Yayoi Kusama has taken over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. With the artist reaching 95 years of age in March 2024, there's eight decades of art on display. Some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. In advance of the exhibition's launch, Melbourne welcomed Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court. Outside the gallery, Kusama's Ascension of Polka Dots on the Trees wrapped the trunks of more than 60 trees in pink-and-white polka-dotted material before Yayoi Kusama opened its doors, too. Now comes the chance to explore the complete showcase, which is also one of the most-comprehensive retrospectives devoted to the artist to be staged globally. Forget booking in a trip to Kusama's Tokyo museum for the next few months, then — all that Melburnians need to do is stay local, and Australians elsewhere just need to head to the Victorian capital. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and features 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Flower Obsession is another participatory piece, returning from the 2017 NGV Triennial. Again, you're asked to add to the work. Here, red flowers are applied to a domestic space — and again, obliterating it is the mission. If you adore the artist's way with mirrors, you'll want to see 2016's Chandelier of Grief, which features baroque-style chandelier spinning within a hexagon of mirrors; 2013's Love Is Calling, where tentacles in different colours spring from both the floor and the ceiling; and 2017's The Spirits of the Pumpkins Descended into the Heavens, which gets viewers peering at glowing pumpkins as far as the eye can see through a small peephole. In Invisible Life, convex mirrors line a twisting and multi-hued corridor. With its six-metre-tall tendrils — which are covered in polka dots, naturally — the yellow-and-black The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe from 2019 is striking without using a looking glass (or several), and makes its Australian premiere. Prefer flowers instead? Set within a dotted space, All My Love for the Tulips, I Pray Forever from 2013 sees a trio of giant tulips loom over audiences. Overall, Yayoi Kusama steps through the artist's 80-plus years of making art via a thematic chronology. While a number of pieces hail from her childhood, others are far more recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Any chance to see Yayoi Kusama's work in Australia is huge news, and reason to make a date — including travel plans, if needed. Here's another drawcard: the NGV has also added Friday-night parties to the mix, kicking off on Friday, December 20, 2024 for some pre-Christmas fun, then running for 18 weeks until Friday, April 18, 2025. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy. Updated: December 16, 2024.
The heritage shops of Camberwell and its surrounding areas might make it seem like you're stepping into the past, but hidden among the businesses that have stood the test of time are a selection of shops that showcase the emerging modern side of things. While there are still plenty of places to pick up some venerable antiques, nowadays you'll also come across a wealth of small businesses that offer the latest in fashion, cycling goods and homewares that'll add some modern flair to your home. With a wonderful array of independent stores making up the hotspots of Maling and Burke roads, we've come together with American Express to bring you a selection of local traders that makes it abundantly clear why you should always strive to shop small. These 10 businesses — which will all accept your American Express Card — demonstrate exactly why Camberwell remains such an alluring part of town.
The Witcher wasn't Freya Allan's first acting role. But within a mere two years of her debut on-screen credit, she was in a streaming smash. The Netflix series arrived just as Game of Thrones ended, falling into the big wave of fantasy efforts endeavouring to capitalise upon the genre's Westeros-fuelled renewed TV popularity. It did just that, sparking two more seasons that've already aired, a fourth in the works — to be co-led by Liam Hemsworth (Land of Bad), who takes over from Henry Cavill (Argylle) — and both animated and live-action spinoffs. The Witcher also thrust Allan, the show's Crown Princess Cirilla of Cintra and one of its three central characters, to fame in a huge way. The English actor isn't done with her time as Ciri yet, but she's now added a new first to her resume: her first lead film part. In fact, Baghead is only her second movie stint, after co-starring in 2021's Gunpowder Milkshake. One thing remains familiar, as it did when she appeared in miniseries The Third Day as well: Allan and the supernatural keep being linked. While that connection isn't purposeful on her part, the two-time Saturn Award-nominee — the accolades handed out by the Academy of Science Fiction, Fantasy and Horror Films, with Allan twice in contention for Best Performance by a Younger Actor in a Television Series — can see why it keeps happening. "I think once you show a certain thing, people go 'oh, she's the girl that can do that'. And it's harder to break out of a certain box," Allan tells Concrete Playground. "But it's always a work in progress." [caption id="attachment_944097" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] Baghead tasks her with getting otherworldly by talking to the dead in an eerie pub. Iris Lark, Allan's character, inherits the Berlin watering hole when her estranged father Owen (Peter Mullan, The Lord of the Rings: The Rings of Power) passes away. She didn't know about the bar's existence otherwise but, as encouraged by a disquieting solicitor (Ned Dennehy, The Peripheral), she's soon signing up to take it over. Inside, the run-down inn offers more than anyone could ever bargain for. In its basement exists an entity that can give patrons quite the deal: for two minutes, it will gift whoever sits in a chair opposite it the chance to spend time with a loved one that they've lost. It boasts Talk to Me vibes, but the premise initially fuelled Alberto Corredor's 2017 short that's also called Baghead. The full-length version is the director's feature debut. At the movie's centre sits two key elements: the "what would you do?" question, as part of its grappling with grief; plus Allan as the twentysomething woman tussling with that very query — which Iris only learns about after the mourning Neil (Jeremy Irvine, Benediction) arrives with cash for his own date with the pub's other inhabitant — and then experiencing the consequences. Taking the horror heroine route to the silver screen is a tried-and-tested path. After Baghead, however, Allan will next hit picture palaces in 2024 in Kingdom of the Planet of the Apes, the fourth film in the latest Planet of the Apes franchise. "Apes for me is my proudest project I've done so far. I just think that everyone involved is just superb at what they do. All the actors, I watched most of the film the other day, and they just killed it. So I feel very proud of it and I'm just excited for people to see it, and I hope that they can appreciate everyone's hard work," Allan advises. We also chatted with Allan about her response to Baghead's setup, what she'd do in the same situation, how she chooses projects, her relationship with horror and taking on her first lead part — and The Witcher, of course. On How Allan Would React If She Was Given the Chance to Talk to the Dead for Two Minutes "I would. Well, I wouldn't in this film, because there's a lot of risk factors involved. But in general, if I could talk to my grandparents, I definitely would. It was two years ago we shot it, but I'm sure we must have had a conversation about it at some point while shooting. I feel like it's the inevitable question." On Allan's Initial Response to Baghead's Premise — and How She Prepared for the Part "My first response as Freya, I was drawn to that element. I think grief is such a topic that everyone can really associate to and has experienced. And so I think that's immediately something that's very easy to connect to, and is such a prevalent part of life. You can't really escape it. So I think that's profound. I just came up with a backstory and made sure I had all the details I needed, and all the questions answered that I needed. And in regards to when she lost her parents, and understanding a bit more about peoples' experience in the foster-care system where she's come from. And having just lots of conversations with people and their experiences around grief as well, even talking to my mum about it, and Alberto and the other cast as well — just having those constant conversations." On the Challenge of Taking on Her First Leading Film Role "It doesn't necessarily feel totally different to The Witcher in terms of the pressure. I think I have the same pressure on every job I do. It never really goes, whether you have a smaller part or a larger part. And also, it very much felt like I was a part of a team with Ruby [Barker, from Bridgerton] and Jeremy, who played Katie [Iris' best friend] and Neil. So, it felt like we were there to support each other." On What Appeals to Allan About New Projects — Including Baghead "It depends. I think I definitely was at a place of still wanting to learn. I mean, I want to learn on every job I do, obviously — it's just a natural part of leaving a job, you always feel like you've learned even more for the next job. I saw this as a great opportunity for that. It was my first lead in a feature and it was a great ground to learn in order to go into other projects with more experience. And I would say from here, I love to do some stuff which is completely stripped back and has no supernatural at all." On Starring in a Horror Movie But Not Being an Obsessive Horror Fan "I feel like it's an inevitability for every actor. You can't really be an actor and not have done a horror film — and actually it's, like I say, a great ground for learning a lot of things, because a lot of it actually does really revolve around physicality and building a heart rate. And you begin to realise how much physicality plays into being an actor. That really helped me for for other things. But no, I'm not immediately a horror fan — I don't know everything about horror films, but I definitely have had great experiences of watching certain horror movies. I really do think that they can be the perfect film for cinema, to go and have a have a real experience with your friends, and be scared and have a snack." [caption id="attachment_944098" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] On Allan's Journey with The Witcher So Far "When I got that role, that was huge for me and it was so exciting. That character is always going to be hold a very dear place in my heart, and I feel very lucky to have specifically played her. I think she really gets to have such an arc throughout the whole show by the end. But obviously, you do begin to want to do new things as well. So I think when it comes to an end, it will be a bittersweet thing of saying goodbye to a character that I'm hugely grateful for, but also being excited to do new things." Baghead opened in cinemas Down Under on Thursday, February 22. Read our review.
Brightening up winter has always been Vivid Sydney's mission. Turning as much of the city as possible into a glowing sight has also been the festival's remit since its beginnings. Announcing its return for 2024, Dark Spectrum isn't the only example of how those aims come to fruition, but it's still a dazzling case in point. The luminous event heads into the Harbour City's depths, unleashes lasers and lights, adds electronic dance music as a soundtrack and gets attendees exploring a lit-up subterranean labyrinth. Dark Spectrum debuted in 2023, as a world-premiere installation in Wynyard's unused railway tunnels, which was the first time ever that the spot had been opened to the public. The light show beneath the streets has now joined the 2024 program, again in the same location, but this time as Dark Spectrum: A New Journey. Just like last year, we hope that you like lasers, secret passageways and bright colours, which will all be on offer from Friday, May 24–Saturday, June 15. As the name makes plain, this is an all-new version of Dark Spectrum, but the basic setup, of course, remains the same. A collaboration between Vivid Sydney, Sony Music, Mandylights and Culture Creative, this underground spectacle will again feature eight rooms, all heroing a different hue, with the entire concept initially inspired by raves and their dance floors. Across a one-kilometre trail — up from 2023's 900 metres — 300 lasers and strobe lights, 500 lanterns, 250 search lights and 700 illuminated arrows will make a shining impression. Wondering which tunes accompany this maze-like experience, which tasks everyone that enters with wandering through its expanse from start to finish as lights flash and flicker, and smoke and haze effects add to the mood? Dark Spectrum: A New Journey will draw upon club-favourite tracks from the past 30 years. And yes, if you want to dance your way through the chambers and tunnels, that's allowed (and understandable). "Vivid Sydney 2024 is exploring what makes us uniquely human, with a diverse program designed to foster connections, spark imagination and showcase the multitude of ways creativity enriches our lives. We are so excited to welcome back Dark Spectrum: A New Journey to Vivid Sydney 2024 to bring the festival theme to life with a brand-new wholly immersive experience," said Vivid Sydney Festival Director Gill Minervini. Also adding gleaming sights to the fest's lineup: the return of Lightscape, again at the Royal Botanic Garden Sydney; 40-kilometre-long laser beams shooting out of Sydney Tower; artwork by Archibald Prize winner Julia Gutman on the Sydney Opera House's sails; projected pieces on a range of buildings in the CBD; 4000 solar-powered LED candles glowing amid the sandstone blocks at Barangaroo Reserve; and Barangaroo's Stargazer Lawn welcoming a circular projection of the brolga's mating dance. Dark Spectrum: A New Journey will run from Friday, May 24–Saturday, June 15, 2024, during Vivid Sydney 2024. For further information and tickets, head to the event's website. Top image: Dark Spectrum 2023, Destination NSW.
Do you like Italian food? Then let us introduce you to the happiest place on earth. Your stomach has probably been craving pasta, pizza and gelato since news of Eataly World first started circulating — and those rumbles are only going to get louder now that the world's first Italian food theme park has announced its opening date. Due to open in Bologna, Italy on November 15, and calling itself an agro-food park, the site will take patrons on a trip from the field to the fork. That'll involve with six interactive experiences, more than 40 places to eat, over 100 stalls and shops, and a dedicated parmesan cheese bar. In fact, over nearly 20 acres, Eataly World will feature restaurants, kitchens, grocery stores, classrooms, farms, laboratories and more, showcasing everything from livestock, dairy products and the cereals that become pasta, to preserves, Italian desserts and the best in both boozy and non-alcoholic beverages. As well as boasting free entry — aka making a good thing even better — Eataly World will make daily classes part of its schedule, ensuring visitors don't just wander through this Italian food-focused realm, but can pick up a few new skills as well. To get around the massive area, bikes will also be available. Eating, drinking and cycling in Italy: it sounds like a culinary holiday dream. The park is the latest venture from Oscar Farinetti, the founder of Italian food and grocery chain Eataly, which has locations in New York, Boston and Dubai. And while it has taken some time to come to fruition — it was first announced a few years back, and then set for a 2015 opening that didn't happen — it looks like it has been worth the wait. Speaking to Eater last year, Eataly vice-president and Eataly World CEO Tiziana Primori said the park would mix entertainment with education. "We call it from the farm to the fork because you can see all the steps of the chain, from the animals to the raw materials and workshops and restaurants." The hope is that the park will attract as many as 10 million visitors each year, providing a boost to Bologna tourism in the process. The city already boasts a number of gastronomic attractions, including a medieval marketplace and the world's only gelato university. https://www.youtube.com/watch?v=ou5uPuVBub4 Via Eater. Header image via Dollar Photo Club By Tom Clift and Sarah Ward.
It has been almost two weeks since Melbourne entered its current lockdown, and those stay-at-home conditions have already been extended once so far. Sadly, the city's sixth lockdown won't be ending this week either, with Victorian Premier Daniel Andrews announcing today, Monday, August 16, that Melbourne's stay-at-home restrictions will remain in place until at least 11.59pm on Thursday, September 2. The new fortnight-long extension will see the Victorian capital stay in this lockdown for four weeks minimum, all in response to the city's latest COVID-19 outbreak. As Melburnians are well aware, this stint of stay-at-home rules started just nine days after the last lockdown ended, with the city also asked to remain at home in February and May this year before that. "We see too many cases. We see too many mystery cases. We now have 12 or 13 different chains of transmission. The origins of some are unknown to us," said the Premier in Victoria's daily COVID-19 press conference today. "That means that this is spreading in an undetected way across the community. We are at a tipping point. There is simply no option today but to further strengthen this lockdown and to, on the advice of the Chief Health Officer, extend it for a further two weeks." On the advice of the Chief Health Officer, we will introduce additional measures to stop the spread of coronavirus in Victoria. pic.twitter.com/iCo6gzKFEs — Dan Andrews (@DanielAndrewsMP) August 16, 2021 As well as continuing lockdown until the beginning of September, new rules will apply from 11.59pm tonight, Monday, August 16. Melbourne's curfew will return, and will apply from 9pm–5am. Just like last year's lengthy lockdown, you won't be permitted to leave your house after curfew except in very limited circumstances — which'll include authorised work. Speaking of authorised work, from 11.59pm on Tuesday, August 17, permits will come back into effect. If you need to leave your home at all and at any hour for authorised work, you will have to get a permit to do so — again, just like in 2020. Also changing: the closure of playgrounds, basketball hoops, skate parks and outdoor exercise equipment. So, if they've been a part of your out-of-the-house workout routine, they won't be anymore. And, you can now only exercise with one other person, plus any dependents you both have, even if you live in a larger household. The two-hour exercise time limit remains the same, though. Mask rules are tightening, too, so you can't take off your mask to drink alcohol outdoors. This change — and many of the others — came in response to reports over the weekend of flouting lockdown restrictions with venue crawls and big outdoor gatherings. The rest of the stay-at-home rules currently in place will remain in effect for the extended lockdown. So, the city's residents are still only permitted to leave home for five reasons: shopping for what you need, when you need it; caregiving and compassionate reasons; essential work or permitted eduction that can't be done from home; exercise; and getting vaccinated against COVID-19. Victorians must also stay within five kilometres of their homes, unless you're leaving for permitted work or shopping for essentials if there are no shops in your radius. Masks are mandatory everywhere outside of your home — and private gatherings are banned, as are public gatherings. While you can't have any visitors enter your home in general, there are single bubbles, and intimate partner visits are allowed. So, if you live alone, you can form a bubble with another person or see your other half. Weddings are not permitted, unless on compassionate grounds, while funerals are limited to ten. Hairdressing and beauty services, indoor physical recreation and sport venues, swimming pools, community facilities including libraries, entertainment venues and non-essential retail venues remain closed — and hospitality venues have reverted back to takeaway-only. Supermarkets, bottle shops and pharmacies are still open, however. Reported yesterday: 22 new local cases and 0 new cases acquired overseas. - 19,880 vaccine doses were administered - 29,986 test results were received More later: https://t.co/lIUrl1hf3W#COVID19Vic #COVID19VicData [1/2] pic.twitter.com/q70bSom9HK — VicGovDH (@VicGovDH) August 15, 2021 Victoria currently has 205 active COVID-19 cases, including 22 new locally acquired cases identified in the 24 hours to midnight last night. As always, Melburnians can keep an eye on the local list of exposure sites at the Department of Health website — it will keep being updated if and when more sites are identified. For those looking to get tested, you can find a list of testing sites including regularly updated waiting times also on the Department of Health website. And, has remained the case throughout the pandemic, Melburnians should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste, symptoms-wise. Melbourne will remain in lockdown until at least 11.59pm on Thursday, September 2. A nighttime curfew will apply from 9pm–5am. For more information about the rules in place at the moment, head to the Victorian Department of Health website.
When someone spots a giant spider, they take notice, even when it's simply a tall metal piece of art. Seeing one of Louise Bourgeois' towering arachnids is indeed a stunning experience; however, so is watching people clock her lofty works. Her Maman sculptures demand attention. They're the type of public art that audiences just want to sit around, soak in and commune with. They're photo favourites, too, of course — and one has just arrived in Australia. This is the first time that Maman has displayed Down Under, with the world-famous piece arriving in Sydney as part of Sydney International Art Series. Bourgeois is one of three hero talents scoring a blockbuster exhibition during event, alongside Wassily Kandinsky and Tacita Dean. The nine-metre-high, ten-metre-wide sculpture that Bourgeois is best known for is currently on display on the forecourt of the Art Gallery of NSW, towering over the historic South Building. The sculpture hails back to 1999, and boasts its name because it's a tribute to Bourgeois' mother. The artist described her mum as "deliberate, clever, patient, soothing... and [as] useful as a spider". [caption id="attachment_927831" align="alignnone" width="1920"] Installation view of the Louise Bourgeois 'Has the Day Invaded the Night or Has the Night Invaded the Day?' exhibition at the Art Gallery of New South Wales, Felicity Jenkins[/caption] If you're keen to see Maman on home soil, Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? is running at the gallery from Saturday, November 25, 2023–Sunday, April 28, 2024, boasting 120 different works — the most comprehensive exhibition of Bourgeois's work ever to grace a gallery in the Asia Pacific. The Bourgeois exhibition is on display 13 years after the Paris-born artist passed away in New York in 2010, and after she stamped her imprint upon the art of the 20th century. Visitors will see her Arch of Hysteria work down in the gallery's underground Tank, textile works of the 1990s and 2000s, and plenty in-between. Other highlights include The Destruction of the Father, which is among the pieces that've never been displayed in Australia before; Clouds and Caverns, which is rarely seen in general; and the mirrored piece Has the Day Invaded the Night, or Has the Night Invaded the Day?, which shares the exhibition's moniker. Alongside the display of art, there will be a free film series curated by the AGNSW's Ruby Arrowsmith-Todd. A heap of Louise Bourgeois' favourite flicks will be screened at the gallery's cinema, including 1958's Cat on a Hot Tin Roof, 1971's Harold and Maude, David Lynch's Eraserhead, John Waters' Pink Flamingos and The Wizard of Oz. [caption id="attachment_927828" align="alignnone" width="1920"] Installation view of the Louise Bourgeois 'Has the Day Invaded the Night or Has the Night Invaded the Day?' exhibition at the Art Gallery of New South Wales, Felicity Jenkins[/caption] Top image: installation of Louise Bourgeois 'Maman' at the Art Gallery of New South Wales, Felicity Jenkins.
“You are now about to witness the strength of street knowledge”. So begins both the film and the song ‘Straight Outta Compton’, and it’s equal parts preview and warning. The ‘street knowledge’ of NWA’s leading trio — Dr Dre (played by Corey Hawkins), Ice Cube (O’Shea Jackson Jr, playing his real-life father) and Eazy-E (Jason Mitchell) — was an affront to the establishment, a threat, even, but also helped facilitate the group's rapid rise from neighbourhood group to musical ascendancy. Acquired over two decades of daily exposure to gang violence, racial vilification and police persecution, it instilled in them a bravado, passion and unyielding determination that permitted neither retreat nor weakness. It also came at a price, however, because not all streets are the same, and when Crenshaw Boulevard became Rodeo Drive, the blinders and shortcomings of that knowledge became all too apparent. Straight Outta Compton, then, is not just an NWA biopic but a cautionary tale about loyalty, friendship and the corrosive effects of celebrity. Directed by F. Gary Gray (The Italian Job), this is a slick, provocative and timely film that absolutely warrants your viewing. Straight Outta Compton (© 2015 Universal Studios) is in cinemas nationally from September 3, and thanks to Universal Pictures Australia, we have 10 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Read our full Straight Outta Compton review here. Follow the movie via its website or Facebook page. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Seduced and Abandoned opens with a quote by the late great Orson Welles: "I look back on my life and it’s 95 percent running around trying to raise money to make movies and 5 percent actually making them. It's no way to live." It doesn't matter if you're a Hollywood heartthrob or have an Oscar on the mantlepiece. When it comes to movie business, everybody answers to the accountants. Enter Alec Baldwin and writer-director James Toback (Bugsy). Both veterans of the Hollywood meatgrinder, the pair decide to join forces in order to expose what makes the industry tick. Their plan: fly to the glamorous Cannes Film Festival and pitch a screenplay to cinema's elite. The result of their collaboration is an amusing and, at times, genuinely revealing doco — albeit one with distinctively niche appeal, and cloaked in an air of unmistakable self-satisfaction. Baldwin leverages his celebrity status into some seriously impressive interviews, from A-list actors like Jessica Chastain and Ryan Gosling, to celebrated directors including Martin Scorsese, Roman Polanski and Francis Ford Coppola. The latter group proves especially interesting — or at least will to the movies buffs at whom the film is squarely aimed. To think that no one wanted to fund Apocalypse Now despite Coppala having just completed the Godfather movies' is nothing short of staggering. The conversations with filmmakers are actually a lot more satisfying than Baldwin and Toback's phoney business meetings. The 'film' they're pitching is a reimagining of Bernado Bertolluci's sexually explicit drama Last Tango in Paris, summarised by Baldwin thusly: "a government operative and a lefty journalist meet in Iraq during the war… It’s like, 'the world is ending, let’s fuck'. We'll call the movie Last Tango in Tikrit." Of course, there is no movie. The pitch is designed to fail, thus proving Baldwin and Toback's conceit that it's virtually impossible to get a 'worthy' film project off the ground. While the deception is intended as tongue-in-check, the delivery still comes across as disingenuous — and more than a little on the smug side. The same descriptors could be applied to Baldwin himself, whose charm slips into pomposity on more than one occasion. Not to mention that, at the end of the day, being unable to raise $25 million to roll around in the nude with a beautiful actress kind of seems like a first-world problem. Then again, that's the shallow world in which the film takes place. Sure, we probably didn't need Toback and Baldwin to tell us the biz is a fickle mistress. But the way they relay the message is certainly entertaining.
It's a great time to be a movie buff in Melbourne — and it's going to get even better in the next few years. While the city's weather might be famously unpredictable, new cinema announcements have been proving the opposite. Every few months, another one pops up. This time, Brunswick is in the hot seat thanks to the forthcoming Sparkly Bear Cinemas. Slated to set up shop on Weston Street near the suburb's Barkly Square shopping centre by 2020 — and set to give Melburnians a great example of spoonerisms at play — it'll boast a ten-screen set-up thanks to the folks behind the Classic Cinemas in Elsternwick, Lido Cinemas in Hawthorn and Cameo Cinemas in Belgrave. As well as the usual movie screenings, the site will include a rooftop cinema for sultry summer viewings, as well as a live performance space that'll host gigs, comedy and other performances. A new dining precinct is also part of the complex, which is currently subject to town planning approval, with the foodie part of the project shining a spotlight on local makers. For those counting at home (while waiting for more out-of-home film viewing options), that makes 51 new cinema screens over five sites that'll join Melbourne's cinema landscape in the next three years. Palace is opening a 15-screen site at Coburg's former Pentridge Prison, plus 12 screens at Moonee Ponds. The team behind Yarraville's Sun Theatre are working on a second eight-screen location in Footscray, while Village is building a six-screen cinema in Clayton near Monash University.
