Halloween is just around the corner, and with it comes the perfect excuse to don a costume and have a spooky time. And, if you're looking for a night of downright scares, Luna Park has got you sorted. Once again, Halloscream has taken over Luna Park with five nights of frightening scares — and it's definitely not for the faint of heart. This year's theme, Hell on the Harbour, has new and returning attractions to get your heart racing. Make your way through the four mazes — escape from Aussie bandits in Outlaw or look for a missing girl in the mirror-filled Séance maze — explore the horror-filled Mystery Manor, and keep an eye out for the devil and his demons performing a Satanic Possession Ritual. Facing fears is sure to build up an appetite, so pick up some Halloween-themed eats and drinks for a well-deserved break. While the haunting kicked off last weekend, there's still time to get to Luna Park from Thursday, October 31–Saturday, November 2. Tickets for Halloscream come with unlimited rides, so prepare your vocal chords for a cracking night.
Whenever projectors have whirred in 2023, it has sometimes been thanks to seasoned filmmakers at the top of their games. Whenever silver screens have come alive with new sound-and-vision delights, it's sometimes been due to new voices making glorious debuts, too. Both are hallmarks of an exceptional year at the movies, as the 15 best films of 2023 show — because when beloved greats are delivering the goods and the next generations are making instant masterpieces, the state of cinema as an artform is glowing. The one caveat to the above, and a reminder that's worth repeating each and every year: thanks to the hundreds of titles that make their way to picture palaces across each annual calendar, there's no such thing as a bad 12 months of films. Still, each year's crop is boasts its own wonders, surprises and thrills — and 2023 was no different. Not all movies can be stunners, of course, but this year brought electrifying takes on Frankenstein, plus both Martin Scorsese and Hayao Miyazaki's new masterpieces, swooning love stories, blasts into the past, haunting documentaries and pink-hued playtimes our way. They're all among our 15 best films of 2023 — and most unforgettable — complete with excellent company. POOR THINGS Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this adaptation of Alasdair Grey's award-winning 1992 novel by Australian screenwriter Tony McNamara (The Great). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover masturbation and sex, and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law). Read our full review. KILLERS OF THE FLOWER MOON Death comes to Killers of the Flower Moon quickly. Death comes to Killers of the Flower Moon often. While Martin Scorsese will later briefly fill the film's frames with a fiery orange vision — with what almost appears to be a lake of flames deep in oil country, as dotted with silhouettes of men — death blazes through his 26th feature from the moment that the picture starts rolling. Adapted from journalist David Grann's 2017 non-fiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, with the filmmaker himself and Dune's Eric Roth penning the screenplay, this is a masterpiece of a movie about a heartbreakingly horrible spate of deaths sparked by pure and unapologetic greed and persecution a century back. Scorsese's two favourite actors in Leonardo DiCaprio (Don't Look Up) and Robert De Niro (Amsterdam) are its stars, alongside hopefully his next go-to in Lily Gladstone (Reservation Dogs), but murder and genocide are as much at this bold and brilliant, epic yet intimate, ambitious and absorbing film's centre — all in a tale that's devastatingly true. As Mollie Kyle, a member of the Osage Nation in Grey Horse, Oklahoma, incomparable Certain Women standout Gladstone talks through some of the movie's homicides early. Before her character meets DiCaprio's World War I veteran Ernest Burkhart — nephew to De Niro's cattle rancher and self-proclaimed 'king of the Osage' William King Hale — she notes that several Indigenous Americans that have been killed, with Mollie mentioning a mere few to meet untimely ends. There's nothing easy about this list, nor is there meant to be. Some are found dead, others seen laid out for their eternal rest, and each one delivers a difficult image. But a gun fired at a young mother pushing a pram inspires a shock befitting a horror film. The genre fits here, in its way, as do many others as Killers of the Flower Moon follows Burkhart's arrival in town, his deeds under his uncle's guidance, his romance with Mollie and the tragedies that keep springing: American crime saga, aka the realm that Scorsese has virtually made his own, as well as romance, relationship drama, western, true crime and crime procedural. Read our full review, and our interview with Martin Scorsese. PAST LIVES Call it fate, call it destiny, call it deeply feeling like you were always meant to cross paths with someone: in Korean, that sensation is in-yeon. Partway through Past Lives, aspiring writer Nora (Greta Lee, Russian Doll) explains the concept to fellow scribe Arthur (John Magaro, Showing Up) like she knows it deep in her bones, because both she and the audience are well-aware that she does. That's what writer/director Celine Song's sublime feature debut is about from its first frames to its last. With Arthur, Nora jokes that in-yeon is something that Koreans talk about when they're trying to seduce someone. There's truth to her words, because she'll end up married to him. But with her childhood crush Hae Sung (Teo Yoo, Decision to Leave), who she last saw at the age of 12 because her family then moved from Seoul to Toronto, in-yeon explains everything. It sums up their firm connection as kids, the instant spark that ignites when they reunite in their 20s via emails and Skype calls, and the complicated emotions that swell when they're finally in the same place together again after decades — even with Arthur in the picture as well. Song also emigrated to Canada with her parents as a pre-teen, but achieves that always-sought-after feat: making a movie that feels so intimately specific to its characters, and yet resonates so heartily and universally. Each time that Nora and Hae Sung slide back into each other's lives, it feels like no time has passed, but that doesn't smooth their way forward. Crafted to resemble slipping into a memory, complete with lingering looks and a transportingly evocative score, this feature knows every emotion that arises when you need someone and vice versa, but life has other plans. It feels the weight of the roads not taken, even when you're happy with the route you're on. It's a film about details — spying them everywhere, in Nora and Hae Sung's lives and their faces, while recognising how the best people in anyone's orbits spot them as well. Lee, Yoo and Magaro are each magnetic and magnificent, as is everything about this sensitive, blisteringly honest and intimately complex masterpiece. And, in one specific shot, waiting for a car has never felt so loaded and conflicted. Read our full review, and our interview with Celine Song. AFTERSUN The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, Foe) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. Understanding why the adult Sophie is scouring VHS tapes and her mind's eye for far more than mere nostalgia involves doing what everyone on a resort getaway does: hanging out. Aftersun spends much of its time in the simple holiday moments, including by the pool, at dinner, singing karaoke, day tripping, and in Sophie and Calum's room — and lets these ordinary, everyday occurrences, and the details that flow from them, confess everything they can. Read our full review, and our interview with Charlotte Wells. OPPENHEIMER Cast Cillian Murphy and a filmmaker falls in love. Danny Boyle did with 28 Days Later and Sunshine, then Christopher Nolan followed with Batman Begins, The Dark Knight, The Dark Knight Rises, Inception and Dunkirk. There's an arresting, haunting, seeps-under-your-skin soulfulness about the Irish actor, never more so than when he was wandering solo through the empty zombie-ravaged streets in his big-screen big break, then hurtling towards the sun in an underrated sci-fi gem, both for Boyle, and now playing "the father of atomic bomb" in Nolan's epic biopic Oppenheimer. Flirting with the end of the world, or just one person's end, clearly suits Murphy. Here he is in a mind-blower as the destroyer of worlds — almost, perhaps actually — and so much of this can't-look-away three-hour stunner dwells in his expressive eyes. As J Robert Oppenheimer, those peepers see purpose and possibility. They spot quantum mechanics' promise, and the whole universe lurking within that branch of physics. They ultimately spy the consequences, too, of bringing the Manhattan Project successfully to fruition during World War II. Dr Strangelove's full title could never apply to Oppenheimer, nor to its eponymous figure; neither learn to stop worrying and love the bomb. The theoretical physicist responsible for the creation of nuclear weapons did enjoy building it in Nolan's account, Murphy's telltale eyes gleaming as Oppy watches research become reality — but then darkening as he gleans what that reality means. Directing, writing and adapting the 2005 biography American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer by Kai Bird and Martin J Sherwin, Nolan charts the before and after. He probes the fission and fusion of the situation in intercut parts, the first in colour, the second in black and white. In the former, all paths lead to the history-changing Trinity test on July 16, 1945 in the New Mexico desert. In the latter, a mushroom cloud balloons through Oppenheimer's life as he perceives what the gadget, as it's called in its development stages, has unleashed. Read our full review. EO David Attenborough's nature documentaries are acclaimed and beloved viewing, including when they're recreating dinosaurs. Family-friendly fare adores cute critters, especially if they're talking as in The Lion King and Paddington movies. The horror genre also loves pushing animals to the front, with The Birds and Jaws among its unsettling masterpieces. Earth's creatures great and small are all around us on-screen, and also off — but in EO, a donkey drama by Polish filmmaker Jerzy Skolimowski (11 Minutes), humanity barely cares. The people in this Oscar-nominated mule musing might watch movies about pets and beasts. They may have actively shared parts of their own lives existence the animal kingdom; some, albeit only a rare few, do attempt exactly that with this flick's grey-haired, white-spotted, wide-eyed namesake. But one of the tragedies at the heart of this adventure is also just a plain fact of life on this pale blue dot while homo sapiens reign supreme: that animals are everywhere all the time but hardly anyone notices. EO notices. Making his first film in seven years, and co-writing with his wife and producer Ewa Piaskowska (Essential Killing), Skolimowski demands that his audience pays attention. This is both an episodic slice-of-life portrait of EO the donkey's days and a glimpse of the world from his perspective — sometimes, the glowing and gorgeous cinematography by Michal Dymek (Wolf) takes in the Sardinian creature in all his braying, trotting, carrot-eating glory; sometimes, it takes on 'donkey vision', which is just as mesmerising to look at. Skolimowski gets inspiration from Robert Bresson's 1966 feature Au Hasard Balthazar, too, a movie that also follows the life of a hoofed, long-eared mammal. Like that French great, EO sees hardship much too often for its titular creature; however, even at its most heartbreaking, it also spies an innate, immutable circle of life. Read our full review. CLOSE When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. Then, when girls in Léo and Rémi's grade ask if the two are a couple, it shows the heartache and heartbreak of a boyhood bond dissolving. Read our full review. ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. Read our full review. THE BOY AND THE HERON For much of the six years that a new Hayao Miyazaki movie has been on the way, little was known except that the legendary Japanese animator was breaking his retirement after 2013's The Wind Rises. But there was a tentative title: How Do You Live?. While that isn't the name that the film's English-language release sports, both the moniker — which remains in Japan — and the nebulousness otherwise help sum up the gorgeous and staggering The Boy and the Heron. They also apply to the Studio Ghibli's co-founder's filmography overall. When a director and screenwriter escapes into imaginative realms as much as Miyazaki does, thrusting young characters still defining who they are away from everything they know into strange and surreal worlds, they ask how people exist, weather the chaos and trauma that's whisked their way, and bounce between whatever normality they're lucky to cling to and life's relentless uncertainties and heartbreaks. Miyazaki has long pondered how to navigate the fact that so little while we breathe proves a constant, and gets The Boy and the Heron spirited away by the same train of thought while climbing a tower of deeply resonant feelings. How Do You Live? is also a 1937 book by Genzaburo Yoshino, which Miyazaki was given by his mother as a child, and also earns a mention in his 12th feature. The Boy and the Heron isn't an adaptation; rather, it's a musing on that query that's the product of a great artist looking back at his life and achievements, plus his losses. The official blurb uses the term "semi-autobiographical fantasy", an elegant way to describe a movie that feels so authentic, and so tied to its creator, even though he can't have charted his current protagonist's exact path. Parts of the story are drawn from his youth, but it wouldn't likely surprise any Studio Ghibli fan if Miyazaki had magically had his Chihiro, Mei and Satsuki, or Howl moment, somehow living an adventure from Spirited Away, My Neighbour Totoro or Howl's Moving Castle. What definitely won't astonish anyone is that grappling with conjuring up these rich worlds and processing reality is far from simple, even for someone of Miyazaki's indisputable creative genius. Read our full review. SALTBURN Sharp, savage and skewering, plus twisted in narrative and the incisive use of genre tropes alike: as a filmmaker, Emerald Fennell certainly has a type. With the Oscar-winning Promising Young Woman and now Saltburn, the Barbie and The Crown actor-turned-writer/director takes aim, blazes away giddily and blasts apart everything that she can. When she made a blisteringly memorable feature debut behind the lens — giving audiences one of 2021's's best Down Under releases, in fact, and deservingly earning a place among the Academy Awards' rare female Best Director nominees in the process — she honed in on the absolute worst that a patriarchal society affords women. Now, after also pointing out the protection provided to the wealthy in that first effort as a helmer, Fennell has class warfare so firmly in her gaze that Saltburn is named after a sprawling English manor. With both flicks, the end result is daringly unforgettable. This pair of pictures would make a killer double, too, although they enjoy neighbouring estates rather than frolic across the same exact turf. On her leaps from one side of the camera to the other, Fennell also keeps filling her features with such spectacular casts that other filmmakers might hope to fall into her good graces to bask in their glow — a fate that sits at the heart of Saltburn, albeit beyond the movie world. Fresh from nabbing his own Oscar nomination for The Banshees of Inisherin, Barry Keoghan adds yet another beguiling and astonishing performance to a resume that's virtually collecting them (see also: The Killing of a Sacred Deer, Dunkirk, American Animals, The Green Knight and Calm with Horses), proving mesmerisingly slippery as scholarship student Oliver Quick. Usually standing in his sights, Euphoria's Jacob Elordi perfects the part of Felix Catton, aka that effortlessly charismatic friend that everyone wishes they could spend all of their time with. And as Felix's mother Elspeth, father Sir James and "poor dear" family pal Pamela, Rosamund Pike (The Wheel of Time), Richard E Grant (Persuasion) and Carey Mulligan (Fennell's Promising Young Woman star, also an Academy Award nominee for her work) couldn't give more delicious line readings or portraits of the insular but shambolic well-to-do. Read our full review. BARBIE No one plays with a Barbie too hard when the Mattel product is fresh out of the box. As that new doll smell lingers, and the toy's synthetic limbs gleam and locks glisten, so does a child's sense of wonder. The more that the world-famous mass-produced figurine is trotted through DreamHouses, slipped into convertibles and decked out in different outfits, though — then given non-standard makeovers — the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also a cleverly funny flick from its 2001: A Space Odyssey-riffing outset. The longer that it continues, however, the harder and wilder that Lady Bird and Little Women director Greta Gerwig goes, as does her Babylon and Amsterdam star lead-slash-producer Margot Robbie as Barbie. In Barbie's Barbie Land, life is utopian. Robbie's Stereotypical Barbie and her fellow dolls (including The Gray Man's Ryan Gosling as Stereotypical Ken) genuinely believe that their rosy beachside suburban excellence is infectious, too. And, they're certain that this female-championing realm — and the Barbies being female champions of all skills, talents and appearances — has changed the real world inhabited by humans. But there's a Weird Barbie living in a misshapen abode. While she isn't Barbie's villain, not for a second, her nonconformist look and attitude says everything about Barbie at its most delightful. Sporting cropped hair, a scribbled-on face and legs akimbo, she's brought to life by Saturday Night Live great Kate McKinnon having a blast, and explained as the outcome of a kid somewhere playing too eagerly. Meet Gerwig's spirit animal; when she lets Weird Barbie's vibe rain down like a shower of glitter, covering everything and everyone in sight both in Barbie Land and in reality, the always-intelligent, amusing and dazzling Barbie is at its brightest and most brilliant. Read our full review, and Greta Gerwig, Margot Robbie, Issa Rae and America Ferrara chatting about the film. SAINT OMER In 2016, a French documentarian with Senegalese heritage attended the trial of a Senegalese French PhD student who confessed to killing her 15-month-old daughter, who was fathered by a white partner, by leaving her on the beach to the mercy of the waves at Berck-sur-Mer. The filmmaker was fixated. She describes it as an "unspeakable obsession". She was haunted by questions about motherhood, too — her mum's and her own, given that she was a young mother herself as she sat in the courtroom. That story is the story of how Saint Omer came to be, and also almost exactly the tale that the piercing drama tells. In her first narrative film after docos We and La Permanence, writer/director Alice Diop focuses on a French author and literature professor with a Senegalese background who bears witness to a trial with the same details, also of a Senegalese French woman, for the same crime. Saint Omer's protagonist shares other traits with Diop as she observes, too, and watches and listens to research a book. A director riffing on their own experience isn't novel, but Saint Omer is strikingly intimate and authentic because it's the embodiment of empathy in an innately difficult situation. It shows what it means to feel for someone else, including someone who has admitted to a shocking crime, and has been made because Diop went through that far-from-straightforward process and was galvanised to keep grappling with it. What a deeply emotional movie this 2022 Venice International Film Festival Grand Jury Prize-winning feature is, understandably and unsurprisingly. What a heartbreaking and harrowing work it proves as well. Saint Omer is also an astoundingly multilayered excavation of being in a country but never being seen as truly part it, and what that does to someone's sense of self, all through Fabienne Kabou's complicated reality and Laurence Coly's (Guslagie Malanda, My Friend Victoria) fictionalised scenario. Read our full review. WOMEN TALKING Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and this year's Best Adapted Screenplay Oscar-winner is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Read our full review. ASTEROID CITY In 1954, one of Alfred Hitchcock's greatest thrillers peeked through a rear window. In Wes Anderson's highly stylised, symmetrical and colour-saturated vision of 1955 in Asteroid City, a romance springs almost solely through two fellow holes in the wall. Sitting behind one is actor Midge Campbell (Scarlett Johansson, Black Widow), who visibly recalls Marilyn Monroe. Peering through the opposing space is newly widowed war photographer Augie Steenbeck (Jason Schwartzman, Spider-Man: Across the Spider-Verse), who takes more than a few cues from James Dean. The time isn't just 1955 in the filmmaker's latest stellar masterpiece, but September that year, a month that would end with Dean's death in a car crash. Racing through the movie's eponymous setting — an 87-person slice of post-war midwest Americana with a landscape straight out of a western, the genre that was enjoying its golden age at the time — are cops and robbers speeding and careening in their vehicles. Meticulousness layered upon meticulousness has gleamed like the sun across Anderson's repertoire since 1996's Bottle Rocket launched the writer/director's distinctive aesthetic flair; "Anderson-esque" has long become a term. Helming his 11th feature with Asteroid City, he's as fastidious and methodical in his details upon details as ever — more so, given that each successive movie keeps feeling like Anderson at his most Anderson — but all of those 50s pop-culture shoutouts aren't merely film-loving, winking-and-nodding quirks. Within this picture's world, as based on a story conjured up with Roman Coppola (The French Dispatch), Asteroid City isn't actually a picture. "It is an imaginary drama created expressly for the purposes of this broadcast. The characters are fictional, the text hypothetical, the events an apocryphal fabrication," a Playhouse 90-style host (Bryan Cranston, Better Call Saul) informs. So, it's a fake play turned into a play for a TV presentation, behind-the-scenes glimpses and all. There Anderson is, being his usual ornate and intricate self, and finding multiple manners to explore art, authenticity, and the emotions found in and processed through works of creativity. Read our full review. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. Read our full review, and our interview with Ivan Sen and Simon Baker. Looking for more viewing highlights? We also rounded up another 15 exceptional flicks that hardly anyone saw in cinemas this year — plus the 15 best straight-to-streaming movies, 15 best new TV series of 2023, another 15 excellent new TV shows of 2023 that you might've missed and the 15 best returning shows as well. And, we've kept a running list of must-stream TV from across the year, complete with full reviews. Also, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.t you might've missed.
A 1930s-style brasserie with a 750-strong wine list. A moody underground restaurant specialising in one cut of steak. A dedicated hopper eatery from one of the city's best chefs. These are just three of the boundary-pushing restaurants that have opened their doors this year. Sydney's restaurant scene has had an impressively strong 2018. And the restaurants that have opened are as diverse in their cuisines as they are in their decors — French, Sri Lankan, Australian and Italian; pastel pinks, leather banquettes, edible candles and walls covered in grapes. At Concrete Playground we encourage exploration and showcase innovation in our city every day, so we thought it fitting to reward those most talented whippersnappers pushing Sydney to be a better, braver city. And so, these six new restaurants, opened in 2018, were nominated for Best New Restaurant in Concrete Playground's Best of 2018 Awards.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. CYRANO Love can spring quickly, igniting sparks instantly. Or, it can build gradually and gracefully, including over a lifetime. It can be swift and bold like a lightning strike, too, or it can linger, evolve and swell like a gentle breeze. In the sumptuous confines of Cyrano, all of the above happens. The latest adaptation of Edmond Rostand's 1897 play Cyrano de Bergerac, this time as a musical via playwright Erica Schmidt's own song-filled on-stage version, lends its attention to two men who've fallen for the plucky Roxanne (Haley Bennett, Hillbilly Elegy) in opposite ways. Charming soldier Christian de Neuvillette (Kelvin Harrison Jr, The Trial of the Chicago 7) gets the fast-and-infatuated experience, while the movie's namesake (Peter Dinklage, I Care a Lot), a poet also handy in battle, has ached for his childhood pal for as long as he can remember. Roxanne's two suitors make a chalk-and-cheese pair, with their contrasting approaches to matters of the heart — specifically, to winning her heart and helping ensure that she doesn't have to marry the rich and ruthless De Guiche (Ben Mendelsohn, The Outsider) to secure her future — driving much of Cyrano's drama. Also present and accounted for, as all takes on the tale have included (see also: 80s rom-com Roxanne with Steve Martin, the Gérard Depardieu-starring Cyrano de Bergerac, 90s rom-com The Truth About Cats & Dogs with Uma Thurman and Janeane Garofalo, plus recent Netflix teen flicks Sierra Burgess Is a Loser and The Half of It): insecurities about appearance, a way with words and a ghostwriting gambit. Short in stature given Dinklage's casting, Cyrano can't even dream that Roxanne could love him. But he wants her to be happy above all else and knows that she's smitten with Christian, so he secretly lends his romantic rival his letter-penning abilities to help woo her by lyrical prose. This Cyrano may have a different reason for not believing that Roxanne could reciprocate his feelings, even as she gets giddy over the correspondence he scripts for Christian — traditionally, a large nose gets in his way — but his slow-and-steady affection is especially apt in this particular film. The latest period piece from Joe Wright, it slips into the British director's resume alongside Pride & Prejudice, Atonement and Anna Karenina, and initially seems as standard a silver-screen staging of Cyrano as a musical as he could reliably muster. But all three of those aforementioned movies are stunning in their own ways, especially the gutsy Anna Karenina. Unsurprisingly, his newest feature is as well. Doing his best work since that Tolstoy adaptation, and clearly back in his comfort zone after Pan, Darkest Hour and The Woman in the Window, Wright lets Cyrano take its time to bloom and blossom. And, when it flowers partway through, it makes viewers realise that it's been a gorgeous gem of a film all along. Like on-screen love story, like surrounding flick, basically. That said, the routine air that initially seems to float through Cyrano's first act can't have been by design. Rather, the film winds up to its full heart-wrenching powers so patiently that it appears a tad too expected while its various pieces are being put into place — a fact hardly helped by how often this exact narrative or variations of it have made it to screens — until it's just simply and unshakeably wonderful. Wright doesn't change anything in his approach, helming a handsome, detail-laden, rhythmic piece of cinema from the outset, but the emotions that truly make the movie sing strengthen minute by minute. And yes, when it all clicks in just so, it's with its three main players literally crooning, conveying so much about their huge, swirling, all-encompassing feelings that normal dialogue couldn't have done justice to. Read our full review. HIVE 2021 swarmed with historic achievements for women in film, including Nomadland's Chloë Zhao becoming the first woman of colour and only second woman ever to win the Oscar for Best Director, that category's nomination of two female filmmakers for the first time in its then 93-year history and the Cannes Film Festival awarding the Palme d'Or to a woman — Titane's Julia Ducournau — for only the second time. But before all of that, Kosovo-born writer/director Blerta Basholli achieved something at the Sundance Film Festival that'd never been done either: winning the US fest's World Cinema Dramatic Competition Grand Jury Prize, Audience Award and Best Director gong for Hive. It was a well-deserved feat for a movie that'd stick in memory even without such an achievement, and it's easy to see why Sundance's jurors and viewers responded with such a show of support. A powerhouse of a true tale that's brought to the screen with a devastatingly potent lead performance, Hive is simply unshakeable. In Basholli's first feature, to peer at star Yllka Gashi (Kukumi) is to look deep into a battler's eyes. Hive directs its attention her way frequently. The also-Kosovan actor plays Fahrije Hoti, a woman who has never been allowed to stop fighting, although the men in her patriarchal village would prefer she'd keep quiet. They wish she'd just attend to her duties as a mother and do what's expected. They think she should be a silent, compliant wife, although there's a significant problem with that idea. With her husband missing for years due to the Kosovo War, she can't be a meekly obedient spouse even if that was in her nature — which it isn't — because the man she loves is gone, no sign of him either dead or alive has been recovered, and she's trapped in limbo as she waits, tries to keep caring for her family and endeavours to go on. Those dismissive, misogynistic attitudes flung at Fahrije by her community join the litany of roadblocks that she's forced to rally against with every word, thought and breath she has. In her husband's absence, her father-in-law Haxhi (Çun Lajçi, Zana) is eager to maintain the status quo, but Fahrije has been trying to make ends meet anyway, all in a town — and amidst a male-dominated culture — that couldn't be more unsympathetic to her plight. She isn't alone, however, with many of the locale's other women also widowed due to the conflict, and similarly expected to survive without upsetting traditional gender roles. So, with the beehives that she dutifully attends to unable to keep providing enough income to pay her bills, the enterprising Fahrije and her friend Nazmije (Kumrije Hoxha, The Marriage) decide to start a female-run co-operative to make and sell ajvar, a pepper relish. A picture of stinging resilience, unflappable fortitude and baked-in sorrow, Gashi is phenomenal as Fahrije. Not only does Hive keep gazing her way but, thanks to the raw compulsion of her performance, viewers eagerly do the same. The skill required to play stoic but also persistent, passionate and simmering with internalised pain can't be underestimated, and watching Gashi navigate that balance like it's the only thing she knows — because, for Fahrije after her husband's disappearance, it now is — is affecting on a gutwrenching level. Lived-in fury and resolve buzzes through every facet of her portrayal, all as the woman whose shoes she's walking in weathers derision, violence and attempted sexual assault for daring to dream of attempting to support herself. It comes as no surprise that various film festival prizes have been sent Gashi's way among Hive's collection of accolades, with ample merit. Read our full review. STUDIO 666 As the drummer for Nirvana and the frontman for Foo Fighters, Dave Grohl doesn't have many mixed bags on his resume. The music superstar has been in the spotlight for three-plus decades now, and boasts success after success to his name, complete with a list of awards and hits bound to make almost everyone else in the industry envious. But all their lives, Grohl and his fellow Foos must've dreamt of being horror movie stars — and the result, the pandemic-shot Studio 666, shouldn't entice any of them to quit their day jobs. A haunted-house horror-comedy, this rockstar lark is gonzo, gory and extremely goofy. It's a clear bit of fun for everyone involved, and it's made with overflowing love for the genre it slips into and parodies. But it's an indulgent and stretched exercise in famous folks following their whims at times like these, too. Achievement unlocked: there's Grohl's mixed bag. Studio 666's setup revolves around Grohl, drummer Taylor Hawkins, guitarists Chris Shiflett and Pat Smear, bassist Nate Mendel and keyboardist Rami Jaffee packing their bags for a live-in recording session at an Encino mansion. As the movie's 1993-set prologue shows, their temporary new home has a dark past, after the last group that inhabited the spot met bloody ends; however, ignorance is bliss for the Foo Fighters. Actually, an obligation to deliver their tenth album to their overbearing manager (Jeff Garlin, Curb Your Enthusiasm) inspires the move, as does the band's creative lull in conjuring up the record otherwise. Grohl instantly falls for the sound of the space as well, to an unhinged degree, and his bandmates begrudgingly agree to the month-long stay to make musical magic happen. Recording an album doesn't usually spark The Evil Dead-style murderous mayhem, cursed book and all, but that's Studio 666's gambit. Its Californian abode isn't just stalked by a grisly ghoul with a love of gut-rumbling tracks — it possesses Grohl with the need to craft a killer song, length be damned, and with satanic bloodlust, cannibal cravings and prima-donna rocker behaviour. Is he monstrous about doing whatever it takes to get the tune because he's bedevilled by the house's resident evil, he's on a power trip or both? That's one of the film's big gags, and also a hefty splatter of the kind of sense of humour it's working with. Winking, nudging, satirising, and sending up fame, egos and the all-devouring nature of entertainment stardom: they're all on the movie's menu, alongside as much gleefully cheap-looking viscera as any feature can manage to splash around. Amid the deaths by cymbal, barbecued faces and projectile-vomited guts — no, what's left of the Foos at the film's end won't be getting their bond back — there's zero doubt that Grohl and company are enjoying themselves. Actors, they aren't, but playfulness has always been part of Foo Fighters' mood. When the band began in 1994, initially as a one-man project by Grohl after Kurt Cobain's suicide the same year, it was instantly perkier and sillier than Nirvana. For the 'Big Me' music video from the group's self-titled first album, they shot an unforgettable Mentos ad parody in Sydney. With the 'Learn to Fly' clip in 1999, they satirised airline flicks — Airplane!, which was already a send-up, plus disaster fare Airport 1975 and Airport '77 — aided by Tenacious D's Jack Black and Kyle Gass. Getting so delightedly bloody might be new, but refusing to take themselves seriously definitely isn't. Read our full review. PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME Will they or won't they? Do they or don't they? Every time that romance and relationships are portrayed on-screen, at least one of these questions always echoes. In the entrancingly moody and astute Preparations to Be Together for an Unknown Period of Time, it's the latter. Whether Hungarian neurosurgeon Márta Vizy (Natasa Stork, Jupiter's Moon) and fellow doctor János (Viktor Bodó, Overnight) will end the film in each other's company still remains a pivotal part of the plot, but if there's ever been anything between them — or if it's all simply in Márta's head — is the far more pressing concern. She's a woman smitten, so much so that she's returned home from a prestigious job in the US just for him. But his behaviour could be called vague, rude or flat-out ghosting, if he even remembers that they've crossed paths before — and, if they ever actually have. Preparations to Be Together for an Unknown Period of Time first introduces Márta as she's unloading her János-sparked romantic woes upon her therapist. What could've been a standard rom-com or romantic drama setup soon twists into something far more alluring and intriguing, however. Indeed, as writer/director Lili Horvát (The Wednesday Child) ponders the role of memory in affairs of the heart, her film just keeps inspiring more trains of thought. How can we ever know how someone else really feels about us? How long will any romantic emotions last, and can they last? Is it ever truly possible to trust whoever our hearts fall or, or our hearts to begin with? And, can we genuinely believe those intense memories of love that implant themselves inside our brains, refuse to leave and inspire life-changing decisions — or is love too subjective, no matter how deep, real, shared and strong that it feels? These queries all spring from Márta's homecoming, after she meets János at a conference in New Jersey, then pledges to do so again a month later on a Budapest bridge. She shows, but he doesn't. Worse: when she tracks him down at his work afterwards, he says that he doesn't know her. While tinkering with memory is a familiar film and TV concept — see: everything from Memento and Eternal Sunshine of the Spotless Mind to Mulholland Drive and Severance — Preparations to Be Together for an Unknown Period of Time is interested in the emotional fallout from János' claims to have zero knowledge of Márta first and foremost. Confused, unsettled and still wholeheartedly infatuated, she just can't bring herself to return stateside, and also can't get János out of her mind in general. Scripted with empathy and precision by Horvát, and also shot and styled like a waking dream, Preparations to Be Together for an Unknown Period of Time isn't easily forgotten either, siding its viewers with Márta over János. This is a haunting and beautifully acted psychological drama that lays bare just how all-encompassing, obsessive, intoxicating and mind-melting love can feel, all as it plays with recollection and its ability to shape our perspectives. The tone is loaded but uncanny — sweet but uncertain, too — and Horvát has fun getting both emotional and cerebral while having her characters cut open brains. The latter happens literally and yes, there aren't many movies quite like this one. Cinema doesn't boast too many performances like the exceptional Stork's, either, which draws viewers into every feeling, question, and pang of both intense affection and shattering uncertainty that flows through Márta. Preparations to Be Together for an Unknown Period of Time screens in Melbourne from February 24, and opens in Sydney and Brisbane from March 17. FORTUNE FAVORS LADY NIKUKO Japanese animation has given cinema-goers a wealth of gifts, Studio Ghibli's enchanting on-screen magic across nearly four decades sitting atop the pile, and the heartwrenching Your Name and Weathering with You ranking high among them as well. But films that serve up gorgeous snapshots of coastal living and cuisine are finding their own anime niche, too, with Fortune Favors Lady Nikuko following Ride Your Wave — and proving as much of a delight. It isn't quite another romantic tale about matters of the heart, hope and H2O, as Josee, the Tiger and the Fish also was, but only because it focuses on an 11-year-old and her mother. The same swells of emotion still wash through, all in an eye-catchingly animated story set in a northern Japanese harbour town — complete with cooking up a storm, and making illustrated dishes spark hunger pangs. The film's title refers to the outgoing, happy-go-lucky, houseboat-dwelling Nikuko (voiced by Shinobu Ôtake, Shadowfall), who works as a bar waitress in the sleepy locale she now calls home, and is also never without a smile. But as Fortune Favors Lady Nikuko's introductory sequence explains — adopting a more stylised, less naturalistic type of imagery than the bulk of the movie in the process — her bad romantic luck, including the debts she's amassed from her past loves, has played a large part in her current fate. She still works hard six days a week, never complains, and is instantly recognisable around the village. The whip-smart, serious and introverted Kikuko (model and flutist Cocomi), Nikuko's daughter, doesn't share the same attitude, however, and wants nothing more than to blend in where her single mother stands out. Based on the 2011 novel of the same name by Kanako Nishi, Fortune Favors Lady Nikuko keeps its dramas grounded, as Kikuko navigates the usual struggles of school — being forced to pick which classmates to spend lunchtime with, for instance — and the standard preteen experience that is pushing away from your parents. Indeed, no one is spirited away, tasked with saving the world or left communing with water in a grief-stricken state here, but that doesn't make this slow-building film any less resonant. As well as being deeply instep with the woes of adolescence, and of the complexities of mother-daughter relationships, this affecting slice-of-life feature also laps up simply stepping into its characters' lives and their surroundings. Where watching Weathering with You felt like taking a walk through Tokyo, for example, viewing Fortune Favours Lady Nikuko whisks the audience away to its peaceful seaside setting. Filmmaker Ayumu Watanabe also directed 2019's Children of the Sea, another recent Japanese gem and fellow Studio 4°C release that proved sweet and smart, and similarly looked a treat — and he's as skilled at immersing viewers into heartfelt stories rendered through animation as his internationally better-known compatriots. There's also a sense of calm to his films that's both soothing and bewitching, as vibrant as they always look. In fact, the only misstep that Watanabe and screenwriter Satomi Ohshima (Our 30 Minute Sessions) make with Fortune Favours Lady Nikuko stems from the easy jokes made about the movie's namesake's size, which visibly contrasts with her reed-thin daughter but didn't need to also be the butt of several verbal gags. The tone is still loving, and one of the feature's big thematic threads does involve seeing past the obvious — especially given two people who are painted as such opposites sit at its centre — but it's still a rare grey cloud in an otherwise warm anime sky. 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 October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3, February 10 and February 17. You can also read our full reviews of a heap of recent movies, such as 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, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted and Quo Vadis, Aida?.
Take advantage of the Labour Day holiday and get out of town. Dance the night away and recover in style at Establishment Hotel, indulge in award-winning food at Lake House or sample the best wine the Margaret River has to offer at Empire Retreat and Spa. Whether you go bush at Arkaba Station, swim with the manta rays at Pinctada Cable Beach or pamper yourself at Lyall Hotel and Spa, it will be a weekend well spent. Establishment Hotel, Sydney The building that holds the decadent Establishment Hotel is an all-in-one affair, with a two-hatted restaurant, nightclub, speakeasy and exclusive cocktail bar at your fingertips. For the ultimate opulent experience, book the top-floor Loft Penthouse or huge two-level Duplex Penthouse. Either way, you’ll want a room on the higher levels; the all-inclusive set-up means noise from the revellers downstairs is unavoidable. Head to .est on level one for a fine dining experience like no other, and continue the party with drinks at Hemmesphere, the luxurious cocktail lounge on level four. When the music calls, venture downstairs to Establishment Main Bar to dance until the early hours. Step outside the door to be in the heart of the city — the Harbour Bridge and Opera House are literally a hop, skip and a jump away. Smith Extra: VIP access to Establishment’s lounge bar Hemmesphere, nightclub Ivy and Pool Club, and a bottle of sparkling wine. QT Port Douglas, Qld Soak up the spring sun at QT Port Douglas, the tropical getaway tucked away from the bustle of the main town. Lounge by the lagoon-shaped pool with a good book; the island deck will ensure you’re the centre of attention. Use the free guest bikes to explore the town or take the path down to Four Mile Beach for a leisurely ocean swim. Recover with a luxurious treatment at spaQ before spying on the shenanigans by the pool’s swim-up bar from the balcony of your One-Bedroom Pool View Villa. In winter and spring, QT also hosts Moonlight Cinema — enjoy a delicious snack while watching a classic or latest release on a state-of-the-art outdoor screen. Indulge with a meal at Bazaar, the resort’s main restaurant. The glass fridges hold fabulous produce that the chefs cook to order. Start with salad and seafood, before moving onto dishes from around the world (just make sure to leave room for dessert). Smith Extra: A bottle of bubbly plus late check-out (12 noon). Arkaba Station and Walk, Flinders Ranges Find your inner farmer at Arkaba Station and Walk, a 60,000-acre homestead and sheep station. Nature is king here; watch for kangaroos and emus or listen for the pink-hued galahs flocking the trees around the property. The exclusive homestead has five rooms, meaning you can bring friends along for an adventure. Each room brings a little of the outdoors inside, with cowhide rugs and wool-sack-wrapped bedside tables. Escape the spring heat with a dip in the outdoor pool, admiring the view of Arkaba Creek, hills and bush. The more adventurous can book a three-night guided walk, sleeping in comfy campsite swag beds for two nights before a night at the station. Eat food made over the fire, have an alfresco bush shower and fall asleep with a sheepskin hot-water bottle keeping you warm. Smith Extra: An assortment of Australian bush spices. Pinctada Cable Beach, Broome Perched between one of Australia’s most iconic beaches and the vast Kimberley, Pinctada Cable Beach delivers both beachside relaxation and rugged desert adventures. Rooms reference the town’s Asian heritage: the Honjin (meaning ‘most honoured guest’ in Japanese) Courtyard Suites share a serene courtyard and a plunge pool between four. Ocean adventurers can go swimming with manta rays on Cable Beach or take a camel ride along the white sand. Meanwhile, guests in search of rejuvenation can be pampered with an Aboriginal-influenced treatment at Pinctada Spa, which champions Li’Tya products and local plants and spices. Finish the day at Selene Brassiere, where the menu blends North African, Middle Eastern and Mediterranean flavours with a taste of the Kimberley. Pair your meal with an excellent selection of Australian wines. Smith Extra: A bottle of wine and canapes. Lake House, Daylesford The runner-up for Best Hotel Restaurant in the Smith Hotel Awards 2013, Lake House boasts an award-winning restaurant, rural lodge and a state-of-the-art spa just outside the rustic town of Daylesford. Indulge in a signature Salus Bliss treatment at the Salus Spa, or unwind in the hot mineral-water tubs looking over the lake. For a private experience, try the Spa Villa, which boasts a courtyard with a sunken hot tub and direct access to the lake. Sample the local produce at chef Alla Wolf-Tasker’s destination restaurant — almost everything on the menu is grown in the kitchen garden or in the region. Alla’s husband Allan is responsible for the paintings that adorn the interiors, adding a splash of exuberance to an otherwise tranquil space. Smith Extra: Elemis spa products presented in a satin travel pouch. Lyall Hotel and Spa, Melbourne For a stylish mini-break with designer shopping on your doorstep, look no further than Lyall Hotel and Spa. The spacious one-bedroom suites are a sleek affair, resembling deluxe city apartments. For extra room, try the Platinum Suite — it comes with a living room, ensuite bathroom, double spa bath and full kitchen. You’ll find the space filling up after an afternoon in the boutiques of South Yarra; the credit card — and your legs — will be given a proper workout. Comfort your weary pins with a signature treatment at the hotel’s destination day spa, a three-storey space perfumed with mandarin and ylang-ylang. Unwind in one of two steam rooms or just relax in the indoor-outdoor area. Wear your latest purchase to the sexy Lyall Champagne Bar, an intimate space with a soundtrack of easy listening tunes. Choose between an apple crumble martini and a selection of champagne by the glass. Smith Extra: A bottle of Chandon NV on arrival. Empire Retreat and Spa, Margaret River While the weekend away at the slick Empire Retreat and Spa, smack-bang in the centre of Margaret River wine country. Tour the onsite vineyard and sample the estate’s chardonnay and cabernet sauvignon, the region’s dominant varieties. Sip a glass in front of the open fireplace in a Luxury Villa or have a shower in your private courtyard. There’s no pool, but a secluded Jacuzzi should satisfy your watery whims. Achieve full relaxation with a treatment at Empire Spa — the three-hour Opulence session lives up to its name with an exfoliation, wrap, massage, bath and facial. There’s no restaurant, but the communal kitchen in the heart of the property is open to guests, meaning you can whip up a meal to match your wine. You can find excellent examples of the local offerings at Moss Wood, Cullen Wines and Leeuwin Estate. Smith Extra: A bottle of Empire Estate wine and a cheese plate. Saffire, Tas Just minutes from the azure water and white sand of Wineglass Bay, Saffire goes back to nature with a blend of stone and timber, beach views and locally sourced food and wine. For the ultimate in private comfort, book one of four Private Pavilions — they each have their own courtyard plunge pool, spacious living and bedroom areas, a front deck and a kitchen where a hotel chef can rustle something up for you. Room rates also include a treatment at Spa Saffire, so you’d be silly not to visit. The facials in the Jewel Collection are particularly special — all of the therapists have been trained by celebrity facialist Marionne De Candia. Other free activities include exploring the secret life of oysters at Freycinet Marine Farm, learning about the local produce with the hotel’s award-winning chef or quad biking around the wetlands. Smith Extra: A bottle of champagne. The Australasian Circa 1858, Fleurieu Peninsula With the facade of a heritage pub and graced with light, Asian-inspired interiors, The Australasian Circa 1858 offers the weariest of weekenders an intimate and stylish retreat from reality. The Parlour Room whispers extravagance with a huge tub in a step-up area of the bedroom, perfect for a spot of reading and relaxing. This adults-only sanctuary specialises in fine dining, with co-owner and head chef Juliet Mitchell preparing meals with an Asian theme. The restaurant is only open to guests (except Saturday night), but for extra privacy, dine in your room. The hotel is only open from Wednesday to Sunday each week, but its location makes it a perfect stopover before continuing onto Kangaroo Island — only a 45-minute ferry ride away. Smith Extra: A tasting selection of ales from the Steam Exchange Brewery at Goolwa Wharf Kingsford Homestead, Barossa Valley, SA Put your station-owner hat on at Kingsford Homestead, an historic estate with an impressive cellar in the Barossa Valley. The rooms are named after the former owners of the property — the Kerry Packer suite catches the afternoon sunshine and has a gorgeous claw-foot bath tub, and the Stephen King suite (named after the founder, not the famous author) is perfect for families as it connects to the John Angas Suite. There’s no pool, but the alfresco bush bath, located in a secluded corner of the grounds, is big enough for two. Follow up with an in-room massage or facial — but be sure to book in advance. Local produce dominates the menu here; chef Stuart Oldfield has developed strong relationships with local farmers. The menu changes by the season, but the wine will always be Barossa. Enjoy drinks and canapes on the veranda while watching the resident kangaroos have their dinner. Smith Extra: A picnic hamper. Browse other long weekend stays, or contact Smith’s expert Travel Team on 1300 896 627.
With stunning views out to Finger Wharf at Woolloomooloo, dining at China Doll is always special, no matter the occasion. Taking inspiration from a number of cuisines across Asia, the a la carte offerings include a range of dim sum options alongside mouth-watering mains such as wagyu beef shin Penang curry and Cone Bay barramundi with shiitake mushroom dashi. There are also several banquet choices, depending on whether you're dining as a couple or a larger group. The luxury option consists of 11 separate dishes, from king salmon sashimi with blackened chilli dressing and pork belly with chilli caramel to Alaskan king crab alongside black pepper, sesame and lime. Image: Destination DNSW
Every time Apple makes an announcement (or even announces an announcement), the techno-geeks, Apple-loyalists and the general media feed the Mac hype with speculative articles. Even things that are quite obviously fake leaks are written about because it drives more readers to blogs/sites. And almost every time Apple does make an announcement, we're left a tad underwhelmed - our lofty hopes left largely unrealised. When Philip Schiller, senior vice president of Apple's Worldwide Product Marketing opened the 4S keynote reveal with "don't be deceived because inside, it's all new", it was all over. The most anyone hopes for with iPhone upgrades lies is how it looks. Beyond the literal meaning of Schiller's summation, his statement covers what most people actually care about: having the newest looking iPhone. What makes me feel foolish about this latest reveal is that as dictated by previous iterations, the shape hardly changes at this point; a full update is always preceded by a minor one. And with such a lack of physical change, I'm giving upgrading my iPhone 3GS a second thought. But if any of the previous upgrades are anything to go by, people will still buy the newest iPhone and brave an uncomfortable night's sleep outside the Mac store to make sure they are up-to-date. Even those who point to a 3 percent drop in Apple's share price also point to Apple's consumer savvy, releasing a phone with internal changes before making enthusiasts wait with bated breath for the iPhone 5. So here's what's new on the inside: - a faster processor. The iPhone 4S will be installed with the A5 chip (the same used for the iPad 2). - voice activation software called Siri. This will allow users to make commands like "check voice messages" and even answer questions like "what's the weather like tomorrow?" - a longer battery life (8 hours) - an improved camera (8 megapixels and a video stabilisation tool) https://youtube.com/watch?v=dhdmZ7iNZYo
Enjoying a few beverages but avoiding a hangover is everyone's dream; however soon, it might be more than that. As far as booze alternatives go, a synthetic alcohol dubbed "alcosynth" (what else?) could just be the holy grail, offering drinkers the same happy, sociable sensations but without the morning-after consequences. It's little wonder that British professor and researcher David Nutt, who discovered the new substance, is testing two versions for widespread use. He's claiming that his hangover-free drink could replace normal alcohol by 2050, making seedy weekends a distant memory. Say goodbye to feeling like garbage after a big Friday night. Nutt and his team studied substances that have a similar effect on the brain, then designed their own non-toxic, highly secret formula that mimics the positive aspects of being drunk — aka that warm, chatty feeling everyone's seeking after a busy week. In doing so, they've avoided any impact upon parts of the brain that are negatively influenced by booze. It all sounds pretty great, though it does also seem a little too good to be true. Time will tell if hangovers really will go the way of landlines, flip phones and other long-gone remnants of the past, but until then we'll live in hope. Via Travel and Leisure.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BERGMAN ISLAND Each filmmaker sits in the shadows of all who came before them — and as cinema's history lengthens, so will those penumbras. With Bergman Island, French writer/director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and the creative wonders our minds conjure up. Her central duo, two filmmakers who share a daughter, literally tread where the great Ingmar Bergman did. Visiting Fårö, the island off Sweden's southeastern coast that he called home and made his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't dream of trying, as they're each searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. Bergman's Scenes From a Marriage has already been remade, albeit in a miniseries that arrived on the small screen a couple of months after Bergman Island premiered at the 2021 Cannes Film Festival — but across one half of Hansen-Løve's feature, that title would fit here as well. Her resume has long been filled with intimate looks at complicated relationships, including in 2009's Father of My Children and 2011's Goodbye First Love, with her movies both peering deeply and cutting deep as they unfurl the thorny intricacies of romance. Accordingly, when Chris and Tony find themselves sleeping in the bedroom where Bergman shot the original Scenes From a Marriage, it's a loaded and layered moment several times over. That said, the thing about willingly walking in someone else's footsteps is that you're not bound to taking the exact same path — as Bergman Island's characters learn, and as the filmmaker that's brought them to the screen clearly already knows. Turning in finessed and thoughtful performances, Krieps and Roth bring a lived-in dynamic to the film's first key couple, with the chaos that swirls from being in the same line of work but chasing disparate aims not just flowing but bubbling in their paired scenes. He's the kind of Bergman fan that's adamant about going on the Bergman safari, a real-life thing that all visitors can do, for instance, while she prefers being shown around informally by young film student Hampus (acting debutant Hampus Nordenson). But their Fårö escapades only fill half of Bergman Island, because the movie also brings Chris' budding script to life. She tells Tony the tale, seeking his assistance in working out an ending, but he's too immersed in Bergman worship to truly pay attention. The feature itself, Hansen-Løve and the audience all savour the details, though — eagerly so. There, in this film-within-a-film, 28-year-old director Amy (Mia Wasikowska, Blackbird) visits an island, too — "a place like this," Chris advises, and one that visibly resembles Fårö. She dances to ABBA to cement the Swedish ties, and also spends her time on the locale's shores wading through matters of art and the heart. The catalyst for the latter: her ex Joseph (Anders Danielsen Lie, The Worst Person in the World). They're both attending a wedding of mutual friends, and their lengthy, passionate and volatile history quickly pushes to the fore. While they've each moved on, they're also forever connected, especially when placed in such close quarters. Accordingly, that tumultuous relationship is as bedevilled by other creative endeavours, and also by the thrall of history, as Chris' quest to put pen to paper. And, via the movie-inside-a-movie concept, there's an evocative sense of mirroring that couldn't spring any firmer from Bergman himself. Read our full review. WASH MY SOUL IN THE RIVER'S FLOW A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. When is a concert film more than a concert film? When it's Wash My Soul in the River's Flow, clearly, which is named for one of Kura Tungar's tracks. Bateman could've just used her recordings of the legendary show, which won the 2005 Helpmann Award for Best Australian Contemporary Concert, and given everyone who wasn't there the chance to enjoy an historic event — and to bask in the now-late Hunter's on-stage glories more than a decade after her 2010 passing — but that was clearly just the starting point for her movie. With Roach as a producer, the documentary presents each of its songs as a combination of five key elements, all weaved together like the feather flower-dotted, brightly coloured headpiece that Hunter wears during the performance. With each tune, the film repeats the pattern but the emotion that comes with it inherently evolves, with the result akin to cycling through the earth's four seasons. First, a title appears on-screen, overlaid across breathtakingly beautiful images of the Murray and its surroundings, and instantly steeping every song in a spectacular place. From there, the Kura Tungar rendition of each tune segues into practice sessions with Grabowsky and the AAO of the same track, plus both text and on-the-couch chatter between Hunter and Roach that speaks to the context of, meaning behind and memories tied to each piece. Hunter's 'Daisy Chains, String Games and Knuckle Bones', which springs from her childhood, gets that treatment. Roach's unforgettable 'Took the Children Away' does, too. 'Down City Streets', as written by Hunter and recorded by Roach, also joins the lineup. The list goes on, and the power that each song possesses alone — which, given the talent and topics involved, is immense — only grows when packaged in such a layered manner. Read our full review. THE SOUVENIR: PART II In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. Read our full review. FACING MONSTERS "If you want the ultimate, you've got to be willing to pay the ultimate price." Uttered by Patrick Swayze in 90s surfing action flick Point Break, that statement isn't directly quoted in Facing Monsters. Still, when it comes to the underlying idea behind those words — that anything at its absolute pinnacle comes at a cost, especially seeking bliss hanging ten on giant swells — this new Australian documentary unquestionably rides the same wave. Directed by Bentley Dean, and marking his first movie in cinemas since 2015 Oscar-nominee Tanna, the film focuses on Kerby Brown, the Aussie slab surfer who is at his happiest atop the biggest breakers possible. He's turned hunting them into his life's mission — think Point Break's 50-year storm, also set in Australia, but every time that Kerby hops on a board — and Facing Monsters commits that pursuit to celluloid. Helming solo unlike on Tanna — which he co-directed with Martin Butler, as he did on prior documentaries Contact, First Footprints and A Sense of Self as well — Dean understands three key aspects to Kerby's story. The thrills, the spectacle and the calm: they're all accounted for here, including simply in the astonishing imagery that fills the film. There's no shortage of talk in Facing Monsters; Kerby himself, his brother and frequent partner-in-surf Cortney, his partner Nicole Jardine, and his parents Glenn and Nola all chat happily. But this movie makes much of its impact, and captures plenty that's pivotal, all via its visuals alone. Cinematographer Rick Rifici has long shot the sea as if it's an otherworldly space, including while working as a camera operator on Storm Surfers, as a water cinematographer on Breath, and as the underwater camera operator on Dirt Music, and he's as as crucial here as Kerby. The long, wide, lingering image that begins the film is one such unforgettable moment — essential and exceptional, too. Kerby floats in a sea of lush but rippling pink, face to the sky, his board strapped to his leg. It's a near-supernatural sight, and a transcendent one, but amid the unshakeably striking beauty of the shot, uncertainty also loiters. An unspoken query, too: is this a picture of bliss or bleakness? Next comes a quick cut, letting Kerby's bloody face and bandaged head fill the the screen instead, and making it instantly clear that his love of riding big waves has physical and severe consequences. The gorgeous visions return from there, and the intimacy as well — the latter largely flowing from talk from this point forward — but Facing Monsters' first frames truly do say it all. Indeed, it's noticeable that the remainder of the movie feels like it's paddling after this opening sensation and atmosphere. Facing Monsters is a documentary about chasing, of course — waves, obsessions, addictions, demons, solace and happiness alike. The dangerous nature of slab surfing plays out like a quest as much as an adventure, driving Kerby ever since he and Cortney got bored with the swells at Kalbarri in Western Australia, where they grew up, then starting seeking out bigger and bigger possibilities. That's there in the chatter as well as the imagery, in a film that aims to convey the what and why behind its subject's choices through immersion first and foremost. It's fitting, then, that watching Facing Monsters sometimes resembles riding high — when its visuals express everything they need to — and sometimes floats in shallower waters. Ensuring that audiences share the awe and wonder that Kerby experiences on his board is easy with Rifici's astounding help; diving deeper into exactly what else makes its point of focus tick, and has through swirls of drugs and booze, life-threatening incidents in the surf, and becoming a father, is a far more evasive task. BOOK OF LOVE In 2018's The Nightingale, Sam Claflin gave the performance of his career so far while playing thoroughly against type. As a British lieutenant in colonial-era Tasmania, he terrorised the film's female protagonist to a nerve-rattlingly distressing degree — and his work, just like the phenomenal feature he's in, isn't easy to watch. Book of Love, his latest movie, couldn't be more different; however, Claflin's portrayal could use even a sliver of the commitment he demonstrated four years back. The film around him could, too. Here, he plays a floundering novelist who doesn't want to do a very long list of things, so it makes sense that he takes to the part with a dissatisfied attitude that drips with not only unhappiness, but pouting petulance. He's meant to be one of this dire rom-com's romantic leads, however, and he constantly looks like he'd rather be doing anything else. Author of The Sensible Heart, Claflin's Henry Copper is instantly as dour as his book sounds. It too is a romance, but he's proud of its sexlessness — to the point of boasting about it to bored would-be readers who definitely don't make a purchase afterwards. He's also seen using his novel as a pick-up line early in the movie, and that goes just as badly. In fact, his whole career seems to be a shambles, and the prim-and-proper Brit can't understand why. But he's also surprised when he's told that his latest has become a bestseller in Mexico, and he's hardly thrilled about the whirlwind promotional tour his brassy agent (Lucy Punch, The Prince) swiftly books him on. Upon arrival, where his local translator Maria Rodríguez (My Heart Goes Boom!) doubles as his minder, he's visibly displeased about everything he's asked to do — more so when he discovers that she's taken the liberty to spice up his work. Of course, Maria's revisions — a wholesale rewrite that plunges The Sensible Heart into erotic page-turner territory — are the sole reason that Mexican women are lining up at Henry's events to throw themselves at him. And with both his British-based and Mexican agents adamant that his publicity tour must go on, he's forced to grin and bear that truth as they take a road trip across the country. Henry and Maria are a chalk-and-cheese pair in a host of other ways, naturally, but apparently sparks can't help igniting in this contrived scenario. It's telling that BuzzFeed Studios is behind the film, the site earns a mention in the movie and its plot feels like a gif-heavy listicle from the outset. Indeed, based on how slight and stereotypical every aspect of Book of Love proves, writer/director Analeine Cal y Mayor (La Voz de un Sueño) and co-writer David Quantick (Veep) don't appear to have spent much time fleshing anything out beyond that potential starting point. Tired, not wired: that's the end result, including Book of Love's place in the current literary-focused subgenre of romantic flicks that's also spawned the 50 Shades movies, the After films and fellow forgettable 2022 release The Hating Game. Claflin's patent disinterest is the least of the feature's troubles given that its storyline is nonsensical, there's no sign of chemistry between its leads, the dialogue couldn't be flatter and the travelogue setup has already been overdone. The charismatic Rodríguez certainly deserves better, even if no one else involved inspires the same description solely based on their efforts here. She's stuck playing a character that's been given as much depth and texture as a full stop — the archetype: feisty put-upon single mother with big dreams but crushing responsibilities — but she's also the only part of the movie that feels remotely real. OFF THE RAILS In need of a bland and derivative friends-on-holidays flick that's painted with the broadest of strokes? Keen to dive once more into the pool of movies about pals heading abroad to scatter ashes and simultaneously reflect upon their current lot in life? Fancy yet another supposedly feel-good film that endeavours to wring humour out of culture clashes between English-speaking protagonists and the places they visit? Yearning for more glimpses of thinly written women getting their grooves back and realising what's important on a wild Eurotrip? Call Off the Rails, not that anyone should. Coloured with every cliche that all of the above scenarios always throw up, and also covered from start to finish in schmaltz, it's a travel-themed slog that no one could want to remember. A grab bag of overdone tropes and treacly sentiment, it also doubles as an ode to the songs of Blondie, which fill its soundtrack — but even the vocal stylings of the great Debbie Harry can't breathe vibrancy into this trainwreck. Alongside its woeful been-there-done-that plot, its lack of personality, its yearning to be the next Mamma Mia! and all those Blondie tracks — the prominence of which makes zero sense given how briefly and haphazardly each song, hits and deeper cuts alike from a lengthy list, are deployed — Off the Rails does have another claim to fame to its name. The British film also marks the last on-screen appearance of Kelly Preston, who passed away in mid-2020; however, it isn't the swansong that any actor would want. Her involvement does give the movie's messages about making the most of one's time, embracing what you love and keeping in touch with the people who matter while you can a bittersweet tone, but not enough to wash away its mix of dullness and overdone mawkishness. Or, to invest depth into what's largely 94 minutes of middle-aged travellers arguing about anything and everything. Once close, Kate (Jenny Seagrove, Peripheral), Liz (Sally Phillips, Blinded by the Light) and Cassie (Preston, Gotti) now just call on big occasions — and even then, they're barely there for each other. But when fellow pal Anna dies, they reunite at her funeral, and are asked to carry out her final wish by her mother (Belfast's Judi Dench, in a thankless cameo). The task: catching a train across Europe, through Paris to Girona, Barcelona and Palma in Spain, to recreate a backpacking jaunt the four took decades earlier. Specifically, they're headed to La Seu, a cathedral with stained-glass windows that look particularly spectacular when the sun hits at the right time (the film calls it "god's disco ball"). Anna already bought their Interrail passes, and her 18-year-old daughter Maddie (Elizabeth Dormer-Phillips, Fortitude) decides she'll join the voyage, too. Amid the bickering, which fills most of debut feature director Jules Williamson's scenes and screenwriter Jordan Waller's dialogue, the usual antics all roll out. Old feuds are unearthed, transport often goes awry every which way it can and the main middle-aged trio cause middle-aged women problems (getting drunk, getting lost, causing a scene in a boutique, delivering a baby and the like). Menopause earns some discussion, romance also springs — which is where the always-welcome but underused Franco Nero, aka cinema's original Django, comes in — and life lessons are ultimately learned. If that sounds tediously stock-standard on paper, it certainly plays out that way in a sunnily shot but always plodding ostensible comedy. Few performances could improve this plight, and Off the Rails' happily one-note efforts can't either, especially when its most interesting character and corresponding portrayal — courtesy of Dormer-Phillips as Maddie — keeps being pushed aside. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman and Blind Ambition.
This Queen's Birthday Long Weekend, Sydneysiders are allowed to travel to regional NSW once again, but it doesn't mean everyone can — or wants to. If you're staying local, it's certainly no time to despair. With restrictions easing, the city's shops, cultural institutions and hiking trails are reopening, so there's plenty to explore. From starting your day with a flaky fresh-from-the-oven pastry to ending it watching a flick on the big screen at a drive-in cinema, our fair city has lots to offer. As some COVID-19 rules are still in place though, it's not 100 percent business as normal, with limited capacities and social distancing measures at most indoor and outdoor venues. So, we suggest you check the relevant websites before making plans. To find out exactly what you can and can't do under NSW's current restrictions, have a look over here. [caption id="attachment_652424" align="alignnone" width="1920"] Infinity Bakery Paddington by Kitti Gould[/caption] START YOUR DAY WITH A FLAKY FRESH-FROM-THE-OVEN PASTRY There's nothing quite like the smell of freshly baked bread and pastries to whip your appetite into a frenzy. And that first bite of fluffy doughnut or glazed danish, not too long out of the oven? That's one way to kick off your long weekend. You can do just that at long-standing Sydney favourite Infinity — led by brother and sister duo, William and Sophie Peterson — which has outposts in Manly, Paddington and Darlinghurst. Alongside its range of sourdough — white, wholemeal, spelt and rye — you can find expertly made pastries, including croissants, cinnamon scrolls and piping hot pies, plus cakes, muffins, sandwiches and a brownie that can't be beaten. If you want to keep the bakery crawl going, check out the some more of our favourite bakeries across the city. [caption id="attachment_770818" align="alignnone" width="2000"] 'And Now' at White Rabbit by Kimberley Low[/caption] EXPLORE THIS THREE-STOREY ASIAN ART EXHIBITION To celebrate its tenth anniversary last year, Chippendale's White Rabbit Gallery launched a huge two-part retrospective. The first half, dubbed Then, featured giant pink fibreglass undies, a porcine car with an 11-metre gold tongue and 30 life-sized naked figures. Now, the follow-up exhibition is taking place, fittingly called And Now. Showcasing 15 key works from the second part of White Rabbit's life, 2011–2019, the show takes over the three-storey gallery with videos, giant sculptures, paintings and performative pieces. A three-part video installation by Liu Chuang will see Stephen Spielberg, Zhou Dynasty bells and bitcoin come together (figuratively) to explore issues of displacement in Bitcoin Mining and Field Recordings of Ethnic Minorities, while Zhu Jinshi's The Ship of Times — made from 14,000 sheets of xuan paper, 1800 pieces of fine bamboo, and 2000 cotton threads — will symbolise spiritual transformation. You'll also find a tall pillar of red glass by ceramicist Liu Jianhua, a performative video piece by Patty Chang in which she washes a rotting whale carcass, and two works by provocative artist, and former Ai Wei Wei studio assistant, Zhao Zhao. Want to keep your art adventure going? Here are three other IRL art exhibitions happening around Sydney this month. MEANDER THROUGH SYDNEY'S CHINESE GARDEN OF FRIENDSHIP At the south end of Darling Harbour, you'll find a hidden oasis: the Chinese Garden of Friendship. While the silhouette of the city skyline shadows the garden, you'll be put at ease by the towering willow trees and soon forget your woes. The garden is peaceful and harmonious, making it the perfect place to stop and recharge your batteries or devour a good book. Take a deep breath and you'll feel instantly revived. If you're keen to stretch your legs and explore, the garden has waterfalls, sculptures, lakes and local wildlife, such as koi carp, water dragons and lots of pretty birds. While Lotus at The Gardens is currently closed, you'll find plenty of snacks nearby at Steam Mill Lane and Darling Square. The gardens are open every day from 10am–4pm daily and entry is $8. VISIT BABY BABOONS AND WOBBLY WOMBATS AT SYDNEY'S NEW ZOO Sydney's first new major zoo in 100 years — aptly called Sydney Zoo — is reopening its doors to the public on Saturday, June 6. Located in the city's west near the Great Western Highway, it's home to more than 100 animals, including, African painted dogs, hyenas, spider monkeys, tigers, zebras, 11 chimpanzees and 13 baboons (and three baby baboons), as well as Aussie wombats, echidnas, dingos, emus, koalas, Tasmanian devils and kangaroos. You can check out all these animals from pram and wheelchair-friendly raised boardwalks, too. It doesn't stop there either, with the zoo also home to the country's largest reptile and nocturnal house — with 60 different species, including the world's most venomous snakes, ghost bats and giant grasshoppers — and an aquarium with fish and penguins. Before you head in, you need to book a ticket, which you can do over at the website. [caption id="attachment_650370" align="alignnone" width="1920"] Barrenjoey Lighthouse Track by D Finnegan for NSW Parks[/caption] HEAD ON A STUNNING SEASIDE WALK (AND PRETEND YOU'RE ON HOLIDAYS) In the spirit of turning off and seeking out some wholesome nature, we tracked down some top-notch seaside walks to freshen up your routine. From the shores of the northern beaches to the bush tracks of the Royal National Park, recharge this weekend by embarking on one of Sydney's best coastal walks. One you'll really want to scope out this weekend is the Palm Beach to Barrenjoey Lighthouse walk. Perched at the top of Sydney's northern beaches, just 90 minutes from the CBD, Palm Beach is the ultimate spot for a staycation. It boasts the laidback vibes you'd expect from a tropical escape, minus the airfare. So, it's the ideal spot for an easy day trip from the big smoke. While you're there, head to the top of the peninsula for the Barrenjoey Lighthouse walk. This cruisey three-kilometre trail takes you through the bush to the lighthouse, with sweeping views of Palm Beach and beyond. Tip: take the short but steep Smugglers Track route for the best views (and photos). [caption id="attachment_771678" align="alignnone" width="1920"] Skyline Blacktown Drive-In[/caption] CATCH A FLICK AT SYDNEY'S ONLY PERMANENT DRIVE-IN CINEMA Most of Australia's cinema industry has earmarked July as its relaunch date, aiming to reopen in time for the planned release of Christopher Nolan's Tenet. But if you're a movie buff keen for some big-screen fun before that, Sydney's drive-in theatre is filling the gap — and, given that their whole concept involves folks watching flicks in cars, social distancing is already part of the experience. Blacktown's Skyline Drive-In is hosting screenings from Thursday–Sunday each week (plus a Monday night session on the Queen's Birthday public holiday), with four flicks playing each night. Films on the bill include The Invisible Man, IT: Chapter Two, Spies in Disguise, Joker, Grease and Knives Out, with horror-themed Friday nights and retro programming on Saturdays also on the agenda. Its diner is also back in business, serving burgers, hot chips, choc tops and other snacks. [caption id="attachment_757975" align="alignnone" width="1920"] Una Mas by Steven Woodburn[/caption] HIT UP A BAR, PUB OR RESTAURANT During lockdown, many of the city's hospitality venues had to close (or offer takeaway only), but now a whole swag of them are back and welcoming dine-in (and drink-in) customers once again. Whether you want to down a single pint at a pub or go for an eight-course dinner (with bottomless booze) at a restaurant, you can. If you want to hit up Mary's new rooftop burger bar in Chippendale or visit a new pop-up Israeli street food spot on the lower north shore, you can do that, too. Or, hit up any of the reopened bars and pubs, as well as restaurants and cafes of your choosing. Hot tip: with venues allowed a maximum of 50 customers (or one per four square metres) many require reservations, so check before heading in. Top image: Barrenjoey Lighthouse Track by D Finnegan for NSW Parks
Darlinghurst's much loved Lankan Filling Station is bringing one of Sri Lanka's famous national dishes to Sydney with its Crab Curry Sundays. The restaurant will serve up its special spicy crab curry brunch on the last Sunday of every month, and you should book into April immediately. Apart from all the crab, diners can expect upwards of ten accompaniments and side dishes. Think chilli devilled eggs, onion relish sambol puffs, asparagus rolls, organic heirloom tomato red rice, dhal and papadums — to name a few. You can check out the full sample menu here. All this will cost $60 per person, not including drinks. There are two sittings — at noon and 2.30pm — and the only way to reserve a table is by emailing this booking form to info@lfsfood.com.au. If you're happy to risk it, the restaurant also accepts some walk-ins on the day. If you miss out this month and simply cannot wait until the next round, the East Sydney restaurant also offers a Sri Lankan-style brunch menu every Saturday (12–4pm) and Sunday (10am–4pm) — expect mango and cardamom lassi, sambol-stuffed milk buns and spicy bacon roti sandwiches, among other dishes, on offer. Crab Curry Sundays sittings are at 12pm and 2.30pm. Image: Parker Blain.
The QVB's second-level restaurant Esquire is serving up more than food and wine at its Sydney Solstice event. In fact, it's dishing up an evening that's set to go beyond the veil. At the venue's Smoke & Mirrors Wine Dinner, you and your friends will be whisked away and wow-ed by mentalist Andy Nunn and magicians Vincent Kuo and Adam Axford. Prepare to have your mind read before diving into a four-course menu of twice-roasted duck, slow-braised wagyu and a bombe alaska, all paired with local wines. Then, you'll get a second dose of dessert in the form of gravity-defying tricks. Image: Damian Flanagan
Lorde is back. After five years away from music and touring, the New Zealand pop sensation has returned with the first taste of her next album and dates for a massive tour of Australia and New Zealand. The tour will run from Saturday, February 26 through until Saturday, March 19. Australians are scoring four dates across Brisbane, Sydney, Melbourne and Perth, while New Zealanders can choose from six shows. Accompanying the tour news is an announcement that Lorde's third studio album Solar Power will be unveiled to the world on Friday, August 20. The album comes five years after her critically acclaimed sophomore release Melodrama and is "a celebration of the natural world, an attempt at immortalising the deep, transcendent feelings I have when I'm outdoors," Lorde says. The Australian and New Zealand tour will begin at Christchurch's Electric Avenue on Saturday, February 26. From there the 'Royals' singer will make her way around New Zealand throughout late February and early March, and arrive in Australia on Thursday, March 10 for a show at the Brisbane Riverstage. Australia's east coast will be treated to two more shows at Melbourne's Sidney Myer Music Bowl and the ICC's Aware Super Theatre in Sydney before the tour wraps up at Perth's Belvoir Amphitheatre on Saturday, March 19. The last time either country was treated to Lorde's live show was her headline set at Splendour in the Grass 2018, a full circle moment for the singer as she returned to the stage of one of her first ever performances as a last-minute replacement for Frank Ocean back in 2013. A year prior, in 2017, Lorde also toured some of Australia's largest and most iconic outdoor venues including the Sydney Opera House Forecourt. Tickets to The Solar Power Tour are sure to be snatched up quickly and there are a few ways to get your hands on them if you're looking to belt out all the words to 'Ribs' or 'Green Light' early next year. Telstra customers will receive first dibs as part of a Telstra Plus pre-sale on Monday, June 28. If you sign up to be a Frontier Member you'll receive pre-sale access on Wednesday, June 30, before general public ticket sales begin on Monday, July 5 at noon. Head to the Frontier website for all the details. Lorde The Solar Power Tour Saturday, February 26 – Electric Avenue, Christchurch Saturday, February 27 – Neudorf Vineyards, Upper Moutere Tuesday, March 1 – Days Bay, Lower Hutt Wednesday, March 2 – Black Barn Vineyards, Havelock North Friday, March 4 – TSB Bowl of Brooklands, New Plymouth Saturday, March 5 – Outer Fields Western Springs, Auckland Thursday, March 10– Riverstage, Brisbane Saturday, March 12 – Sidney Myer Music Bowl, Melbourne Tuesday, March 15 – Aware Super Theatre, Sydney Saturday, March 19 – Belvoir Amphitheatre, Perth Lorde's The Solar Power Tour will take place between Saturday, February 26 and Saturday, March 19. Head to the Frontier website for all info on tickets. Top image: The Come Up Show
Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Lucas didn't come up with the story for Indiana Jones and the Dial of Destiny, though, in a first for the saga that he conjured up as a new version of 30s and 40s movie serials. Steven Spielberg (The Fabelmans) similarly steps away from directing, which is also uncharted Indy territory. But Logan and Ford v Ferrari filmmaker James Mangold knows the drill, as do his co-screenwriters Jez Butterworth and John-Henry Butterworth (both alumni of the helmer's latter title), plus David Koepp (Kimi). To be fair, everyone knows the drill: see above. It isn't hard, then, for Indiana Jones and the Dial of Destiny to surpass the woeful Indiana Jones and the Kingdom of the Crystal Skull, which it does. Still, it isn't easy for it avoid playing like a copy of Lucas and Spielberg at their much-earlier Indy best, something that it can't manage. Mangold and company's initial step is to start by pretending that they're making an Indy flick decades back with a younger Ford. Hollywood's digital de-aging technology gets its latest workout in Indiana Jones and the Dial of Destiny's opening sequence — and a more-than-passable one — where it's 1944 and Nazis lurk. World War II is waning. Hitler is in his bunker. His underlings are scrounging up all the antiquities they can. Enter Indy spying with his British friend Basil Shaw (Toby Jones, Tetris); physicist Jürgen Voller (Mads Mikkelsen, Fantastic Beasts: The Secrets of Dumbledore) being certain that he's found part of the Archimedes Dial, aka the Antikythera; and showdowns on a loot-filled train to get the titular object away from the Third Reich. From there, Indiana Jones and the Dial of Destiny's bulk takes place in 1969. The film reteams with Indy as a moon-landing party wakes up the about-to-retire professor from a whisky-ushered, underwear-clad slumber in his armchair — and he isn't happy. Ford in cranky and cantankerous mode, but with tenderness inside, remains a gem to watch. It worked in TV series Shrinking earlier in 2023 (one of his two recent TV roles, alongside Yellowstone prequel 1923), and it would've been the heftiest surprise that the Indy movies have delivered if it didn't also shine in his current big-screen franchise revival of late (after Blade Runner and Star Wars, obviously). Ford bickering gruffly is equally gleaming, which is where Waller-Bridge fits in as Helena Shaw, Basil's daughter and Indy's goddaughter, who wisecracks back, can hold her own in a fray and car, and says she wants help locating the entire Antikythera. If everyone could be taken at their word, this wouldn't be an Indy entry, just like if the MacGuffin was simple to source and protect, travelling by map didn't feature and, since Raiders of the Lost Ark, well-loved faces stopped resurfacing. Indiana Jones and the Dial of Destiny ticks all those boxes and always feels as if it's making a show of ticking them — regularly, gleefully, less gracefully and convincingly digging into the franchise's past Star Wars: Episode VII — The Force Awakens nod-and-reuse style. There's the old hat again, no matter what's atop Ford's head. Lacking Spielberg's knack for memorable action, many of the chases and puzzles have an urgent, immediate yet been-there-done-that air (and the setpieces keep coming, involving horse-and-motorcycle pursuits, subway tunnels, tuk tuks, underwater jaunts, eels, tombs and more). Mangold tries to patch over the boilerplate plot, but those efforts are as flimsy as anything that's ever threatened Indy's world-saving goals. Indiana Jones and the Dial of Destiny didn't need to stretch out this latest go-around to the series' longest running time yet — 154 minutes — but with Ford and Waller-Bridge at the movie's core, understanding that choice isn't difficult. Although they're better than the material again and again, as is Short Round replacement Teddy (Ethann Isidore, Mortel), it's entertaining to bask in the pair's back-and-forth as Indy and Helena zip through the franchise-standard challenges. There's the new whip, because Ford and Waller-Bridge are that crucial to giving Indiana Jones and the Dial of Destiny any spark and charge. While the five-film promise is now fulfilled and this has been dubbed the saga's star's last ride, a tighter and bolder follow-up with them at the centre wouldn't be unwelcome if there have to be more Indy movies, which money dictates there'll have to be. And if not, passing the satchel and leather jacket to Everything Everywhere All At Once Oscar-winner Ke Huy Quan, marking his return after making his acting debut in Indiana Jones and the Temple of Doom, would be one of the Indy franchise's most cracking moves.
Sashimi, wine and sake are the name of the game at Tanuki, the Bay Street restaurant from the Matteo team. Named after a mischievous figure in Japanese folklore (see: Studio Ghibli's Pom Poko), this spot offers a raw bar, internal courtyard, impressive sake collection and late-night lounge, all in one stunning space right next door to the Double Bay pizzeria. The venue is centred around a 30-year-old Japanese liquid amber tree with a surrounding dining bench. There are several zones to discover throughout the space, whether you're dropping in for a drink and a plate of seared salmon temarizushi or sticking around for a full feast. Leading the kitchen is Head Chef Ken Wee Lee, who brings experience from Sushi e, Zuma and Toko on a menu split into categories like sashimi, nigiri, tempura and robata. Menu highlights include Alaskan king crab cooked on the robata grill and served with truffle gratin, spatchcock presented with pickles and barley miso, and wagyu beef gyoza paired with a yuzu ponzu for dipping. There's also a pair of set menus, with the reasonably priced $80 selection rolling through edamame, kingfish sashimi, wagyu beef tartare, scallop and prawn toast, chicken karaage, the steak of the day and matcha tiramisu. An all-star cast leads the way behind the bar, with the cocktails, sake and wine lists curated by General Manager Joong Charpentier (ex-Sushi e, Hemmisphere), Bar Manager Sean Guardian (ex-Mr Wong) and Head Sommelier Ambroise Moriceau (ex-Bennelong, Armorica). Alongside the extensive sake and wine selections, you can opt for an inventive highball or peruse the signature cocktails like the 'Umeboshi' crafted with a collision of tequila, plum umeshu, strawberry and wasabi leaf, and togarashi. Tanuki is a jack-of-all-trades-style venue, offering a myriad of experiences, all set in a moody space designed by Matters + Made. Wander in from Bay Street, find your spot and decide what type of night you're in for.
Don't spend the entire MoVement Sydney festival making moves to everyone else's music — learn to create some sounds of your own. At this free, two-hour master class, presented by Work-Shop, DJ Samrai will show you how to scratch. The event is designed for total newbies, so don't worry if you feel like a total ignoramus. The only thing you need is your curiosity. DJ Samrai is one of Australia's most hard working DJs. He's a three-time nominee in the Australian Dance Music Awards' Best Turntablist category and holds loads of national titles. When he's not nabbing trophies, he holds down club residencies, plays festivals and tours with big names, such as The Black Eyed Peas, Ozomatli and Method Man. Image: Kai Oberhäuser.
The team behind Sydney institutions S*A*S*H, Slyfox Hotel and Stanley's Bar has taken over a storied Oxford Street space to open a new techno and dance music-focused nightclub. Carousel Bar and Ballroom is the latest project from the accomplished crew, slotting into the former home of Byblos and Miind Club with a cabaret- and 70s-inspired bar that boasts a primary goal of hosting heaving dance floors. On Tuesdays and Wednesdays, the Darlinghurst venue operates as a small bar, serving approachable cocktails and Estrella Damm on tap. Then, from Thursday, Carousel transforms into a nightclub for the weekend, playing home for the night to some of the country's and the world's best DJs. A state-of-the-art Funktion-One sound system has been installed, featuring 33 speakers placed all around the venue — including the bathroom — to deliver the night's soundtrack as selected by each evening's chosen tastemakers. The DJ decks have also been moved off the wall and further onto the dance floor, placing the DJs right among the patrons and creating a setup reminiscent of Boiler Room's in-the-round layout. Rounding out the whole operation is an impressive lighting system that includes lights imported all the way from Amsterdam that you won't find anywhere else in Australia. The decks have already hosted the UK club mainstays Voigtmann, Yune Pinku on her Listen Out Australian tour and local favourites like Melbourne's Sleep D. Among the upcoming gigs taking over the Oxford Street digs, you can catch Casey Spillman, Booka Shade and the Subsonic Music Festival launch party. The name Carousel is derived from the rotating stage that the team discovered during the site's renovations. The unconventional setup is believed to have hosted creatives around 60 years ago when the venue went by Carpiccio's. Find Carousel Bar and Ballroom at 163–169 Oxford Street, Darlinghurst, operating Tuesday–Sunday. To browse all of the upcoming events arriving at the new Sydney nightclub, head to the venue's website.
Every great movie and TV show about teenagers has three things in common. Firstly, they're all rich in relatable-yet-universal detail. Even if something clearly isn't based on reality, it's obvious that it has been made by someone who has invested their own high school experience into every second. Secondly, they each transport the audience back to their own time walking the corridors, wishing they didn't have so many textbooks to cart around and living life by the bell. And, last but not least, every one resonates not only with viewers who are still catching the school bus at present, but also with everyone who has been there, done that and kissed it all goodbye. Plenty of flicks and programs have fit the above description over the years, with high school-set fare comprising its own genre. If getting transported back to your adolescence is your idea of a great day or night on the couch, we've teamed up with streaming service Binge to pick five must-watch options that'll do just that — including via a 14-day free trial for new customers.
We've all been there. The flirting has been successful and you've locked in a first date (score!), but the excitement about your upcoming encounter is quickly dampened by the stress of deciding where to go. And as anyone who's ever been on a first date knows, picking the right spot for that initial rendezvous ain't easy. You want somewhere with good drinks and buzzy vibes but where the getting-to-know-you chats aren't going to be drowned out by the music. And that's just the beginning of the requirements. Long story short, there's a lot to consider and, while our fair city is filled with great bars and restaurants, they're not all created equal when it comes to being solid first date material. Because first dates are nail-biting enough without the added challenge of picking a good place, we've partnered with American Express to round up seven spots that are perfect for that initial encounter. These places are all casually trendy, not too loud but also not awkwardly quiet, and with stand-out drinks and food offerings to fuel the evening. Plus, they all accept Amex so you can stock up on some extra points. Browse the list, pick a place and spend the rest of that pre-date time choosing a killer outfit and brushing up on those scintillating conversation skills. Can't wait to start travelling the world again? American Express has the card for you. Sign up for the Qantas American Express Ultimate Card and you'll score 55,000 bonus Qantas Points, plus $450 of Qantas Travel Credit and two passes to the American Express Lounge every year. And you'll earn 1.25 Qantas Points for every dollar spent. T&Cs, minimum spend and eligibility criteria apply.
You'll find The Flightpath Theatre at the beloved Addison Road Community Centre in Marrickville underneath, yep, you guessed it, Sydney's flightpath. The theatre opened in 2019 and has staged countless independent theatre productions ever since. It's 2022 season has an impressive lineup of traditional texts and new writing programmed. You can catch classics like Shakespeare's Much Ado or see brand new musicals such as Lucy Matthews' Ugly Love. It's the ideal spot to catch emerging acts and rising stars in an intimate venue before they hit the big time, or to witness more experimental work that the larger theatre companies rarely include in their programming.
Surry Hills trattoria Mille Vini (which means a thousand wines in Italian) emerged from Sydney's lockdown with an updated menu and a knockout refurb that should put it back on your radar when Italian food and wine and a vibe is calling. The restaurant-bar has achieved borderline institution status as a stalwart of refined casual dining along Crown Street and, in its new iteration, will bring back the principles of Italian hospitality and food (genuine, simple and beautiful) with a noticeable facelift. The design overhaul has swapped out the rows of empty wine bottles that once lined the walls (presumably now recycled) for swanky boudoir-meets-Belle Epoque vibes where brass and draped velvet details live comfortably alongside the building's 1840s sandstone walls. But, to the food! With a refreshed menu, Mille Vini Head Chef, Francesco Di Gioia, (Fred's, Charlie Parker's) has maintained the venue's classic Italian roots, emphasising recipes from all Italian regions and the requisite servings of freshly handmade pastas, alongside signature dishes like poached octopus salad, battered zucchini flower, truffle pecorino with blossom honey and a selection of freshly made crostini stracciatella. The wine list is a generous selection of Italian wines and local producers, plus an adventurous offering on the cocktail list. And if you need help getting through the menu, on the mezzanine level, the private dining room can comfortably accommodate eight guests. All images: Kitti Gould
Playing corpses revived from the dead in upcoming big-screen release Dungeons & Dragons: Honour Among Thieves, Aunty Donna don't drink any morning brown. They will when they next hit the small screen, however, because their new ABC sitcom is all about the topic. Well, it's set in a cafe. Indeed, the show is called Aunty Donna's Coffee Cafe. And that eponymous brew-slinging spot? It's named — you guessed it — Morning Brown. Get yourself a cup of laughs when the series hits ABC this April, starting screening weekly on TV at 9pm on Wednesday, April 12, and dropping all of its episodes via ABC iView at the same time. The show was initially announced in 2022, and unveiled a first sneak peek at the end of last year. Now, there's an official trailer and that just-revealed release date. Consider Aunty Donna's Coffee Cafe prime viewing with Aunty Donna's $30 bottle of wine, after you're done reading the Always Room for Christmas Pud picture book, and if you've already watched Aunty Donna's Big Ol' House of Fun — aka one of 2020's best new shows — more times than you can count. It stars Mark Samual Bonanno, Broden Kelly and Zachary Ruane, of course, who fittingly return to the network nicknamed Aunty after Aunty Donna's Fresh Blood hit iView back in 2014. Aunty Donna's Coffee Cafe's premise: three best mates run a cafe in one of Melbourne's laneways. Their coffee-slinging establishment is trendy, but the stretch of pavement it's in on isn't. Also, they don't quite have the experience or skills to do the job, but that definitely isn't stopping them. As well as cups of morning brown — and hopefully the song about them getting a whirl — will the cafe be open on Christmas and serve up a little bit of pud, too? You'll have to watch to find out. But, there will be bad reviews to deal with, court dates, and evil spirits who have a fondness for Gardening Australia. Oh, and Aunty Donna's absurd sense of humour remaining firmly intact, naturally. "Hello it is us Aunty Donna, and not an evil robot that has taken Mark, Zach and Broden hostage. We are so excited for all the humans to see our new comedy program Aunty Donna's Coffee Cafe," said the comedy troupe. "We are especially thankful to the entities known as ABC and Screen Australia and Vic Screen, but mostly we are thankful to all the machines that work tirelessly for us with no thanks. We are fine and do not need help nor rescue." Aunty Donna's Coffee Cafe will also feature a heap of guest stars, including Miranda Tapsell (Christmas Ransom), Pia Miranda (Mustangs FC) and Richard Roxburgh (Elvis). You'll also spot everyone from Shaun Micallef and Tony Martin to Melanie Bracewell, Nazeem Hussain, Steven Oliver and Sam Pang. Check out the trailer for Aunty Donna's Coffee Cafe below: Aunty Donna's Coffee Cafe will start screening on the ABC at 9pm on Wednesday, April 12, with all episodes available to stream via ABC iView at the same time.
As Sydney's Little India, Harris Park in Parramatta is the city's go-to for truly authentic Indian fare. However, in recent years, the CBD's satellite suburbs have produced some of the most innovative Indian diners in town — the likes of Foreign Return and Don't Tell Aunty in Surry Hills, and the superb but sadly recently closed Raja in Potts Point. Among these pioneering contemporary curry houses is Madam Ji in Darlinghurst, which has taken over the storied spot on Burton Street once occupied by Pocket Bar — one of the original vanguard of small bars that flourished after NSW's licencing laws were amended in 2017. Offering a menu that mixes tried-and-true favourites alongside radical fusions, this colourful addition to Darlo's thriving dining scene is ready to welcome those in search of classics like butter chicken and biryani, as well as epicurean adventurers hungry for something surprising. Somewhat ironically, among those unexpected dishes are riffs on two of the most predictable starters you can find on countless menus across Sydney and beyond. Creamy burrata and its faithful sidekick, tomato, are enlivened by a fiery house-made tadka — a mix of fresh and dried chillies — while a ceviche of kingfish balances its citrus edge with the earthy spice of curry leaf oil. The restaurant's co-owners, who are also lifelong friends, were both born in India, but cut their teeth in the hospitality industry in top Sydney venues and hotels. While Executive Chef Rakshit Sondhi commands the kitchen, Maninder Singh, who studied at the prestigious Le Cordon Bleu Sydney before taking on senior roles with the Hilton group, looks after front-of-house operations. Adorning the walls of the dining room are portraits of Indian women wearing vibrant saris. Sondhi and Singh wanted their new venture to be "a celebration of empowerment and individuality, inspired by the resilience and freedom of women in Indian culture". Beyond these artworks, the restaurant's fitout — much like its menu — is a mix of traditional cues, such as dark-stained wood panelling and mosaic floors, and modern touches, most notably the bar's eye-popping pink neon sign. In addition to its evening dinner service, Madam Ji also offers a tasty addition to Sydney's increasingly diverse array of bottomless brunches. On Saturdays and Sundays from midday, guests can enjoy free-flowing house wines for $79 or bottomless cocktails for $99 per person for two hours. Soaking up those drinks is a multi-course feast with sides, including a starter of papadams served with signature dips and chutneys; the aforementioned tadka-spiked burrata; buttery, flakey parotta drizzled with chilli oil; and ribs of bhutta (a variant of white corn popular on the Indian subcontinent) served with sigdi chicken tikka. The main course stars Madam Ji's signature butter chicken with all the trimmings, including the all-important naan bread. Images: Katje Ford
Sydney, it's time to take your drinking to the next level. With a perimeter balcony overlooking spectacular beachside views, the rooftop addition to the Coogee Pavilion marks a new height in sophistication from the Merivale clan. No expense was spared in this elaborate reinvention of the former Beach Palace Hotel site. For the design concept, Justin Hemmes and his team drew inspiration from a fictional character they created, an eccentric botanist called 'Wylie' who entertained on his private rooftop conservatory. The story is brought to life with lush overflowing greenery, sketches of exotic birds and indoor greenhouse structures. A Mediterranean menu, designed by executive chef Jordan Toft, allows you to create a feast from the east with a selection of small plates designed for dipping, wrapping, tasting and sharing. The smoky and tender charred squid ($16.50) will have you shouting its praises from the rooftops. These small hoods have been marinated in an Aleppo pepper spice mix, grilled over charcoal and dressed in ink vinaigrette. Order a side of Lebanese bread ($3.50) so you don't waste the delicious lemony juices. The Adana shish kebab skewer ($18.50) is served as a bowl of spicy mince-meat slabs, topped with finely sliced onion, sumac and a chargrilled chilli. Add to the spectacle grilled haloumi wrapped in vine leaves ($12.50), crushed tomatoes with parsley ($10.50) and dry yoghurt in chilli oil ($9.50) and you're ready to roll your own creative kebabs. I suspect Wylie might have been an alcoholic, considering his greenhouse is equipped with four indoor and outdoor bars. There's an extensive list of local and imported beers, beach-inspired cocktails and fruit punch pitchers, while wine is available by the glass, bottle, carafe and on tap. Once you've conquered the bar queue, take your Pavilion Pina Colada ($18) out onto the sun-drenched deck, or you can hide under the shade sails if you prefer. I mean, who cares if everyone here has a better tan than you anyway. Life's a beach at the imaginative new Coogee Pavilion Rooftop, and with a vacant middle level, the sky's the limit for Merivale.
Zombies are invading this year's Japanese Film Festival. They're hitting Sydney courtesy of horror-comedy One Cut of the Dead, but this isn't your average undead flick. It might be about a film crew trying to make their own zombie movie, as routine as that sounds; however the gleefully low-budget effort offers up plenty of surprises. Come for the found footage-style, one-take opening and stay as it veers into unexpected territory — and for the opening night celebrations that the fest is serving up with it, too! That's just one of the movies on JFF's 2018 lineup, which also features two things that everyone loves: cats and ramen. The former comes in the form of The Travelling Cat Chronicles, about a cute feline hopping around the country. The latter is a part of foodie drama Ramen Shop, about a blogger sifting through his family's history, as well as absolute classic Tampopo, the iconic noodle western which has been given a 4K restoration. Other standouts hitting up Event Cinemas George Street include crime flicks The Blood of Wolves and My Friend 'A', as well as The Third Murder — aka the other movie from Shoplifters Palme d'Or-winning filmmaker Hirokazu Kore-eda this year. Bowie fans will also want to catch Sukita, about rock photographer Masayoshi Sukita, who was a favourite of the star musician. All up, Sydney's leg of the fest boasts 31 films, screening across Thursday, November 15 to Sunday, November 25. And, JFF also has a free classics program, which runs until Wednesday, October 31.
Following his Queer, Blak & Here Series and Blak Superheros where he created a team of First Nations superheroes, artist Dylan Mooney returns for Sydney WorldPride with his latest exhibition. For Still here and thriving, Mooney is unveiling a series of large-format portraits focusing on LGBTQIA+ identity and love which will be on display at the N.Smith Gallery in Paddington. This series explores Mooney's personal experience as a proud queer Indigenous man. Each portrait is intimate and inviting, showing the subjects in warm embraces and adorned in native Australian flora, pride flags and poignant words or phrases. Each painting also contains an intrinsic link to Yuwi Country (the Mackay region in Queensland), with the skin of the figures painted in ochre from the area. "I feel honoured to be given the platform to share my work with Sydney WorldPride," said Mooney. "My work focuses on authentic representations of the queer Indigenous community, representing connection to Country and our love for each other. It means a great deal that those often under-represented can stand proudly and defiantly sharing tender moments." View this post on Instagram A post shared by Sydney WorldPride 2023 (@sydneyworldpride) As part of a commission especially for WorldPride, Mooney's portraits will come to life on an even bigger scale, transforming Darlinghurst's Top of the Town building with one of the pieces from the exhibition. Top image: Dylan Mooney, Timeless Growth, 2023, digital illustration with Yuwi ochre and ink, 84.1 x 59.4 cm, edition of 10 + 2 AP, Courtesy of the artist and the N.Smith Gallery, Sydney
Two hefty names in 80s and 90s music. One massive visit to Australia and New Zealand. Pearl Jam have finally announced new Down Under gigs, as a leg on their Dark Matter tour to support their next album, and they'll have huge company thanks to Pixies. Eddie Vedder and Black Francis taking to the same stage? That'll make you feel alive and ask "where is my mind?". The Seattle-born Pearl Jam are the headliners, and about time; this is the band's first visit Australia and Aotearoa since 2014, on a tour that included the final-ever Big Day Out. They've been dropping clues for a while that they were heading this way again, complete with hints at Bondi Beach since the past weekend. Now, they've locked shows in Auckland, Melbourne, Sydney and on the Gold Coast. [caption id="attachment_940844" align="alignnone" width="1920"] Danny Cinch[/caption] Dark Matter, the band's 12th album, will release in April — which gives fans plenty of time to know it by heart before the group play Go Media, Heritage Bank, Marvel and Giants stadiums in November. The record's title track is a brand-new tune, just dropping on Tuesday, February 12. Live, that song and others from Dark Matter will feature on a setlist that's sure to span past hits 'Alive', 'Black', 'Jeremy', 'Better Man', 'Last Kiss' and 'Daughter' from previous albums such as the iconic Ten, Vs and Vitalogy from the early 90s, plus No Code, Yield and more since. [caption id="attachment_940849" align="alignnone" width="1920"] Wp72 via Wikimedia Commons[/caption] Pixies, who were last Down Under in 2022, are responsible for a helluva one-two punch with their first two albums: 1988's Surfer Rosa and 1989's Doolittle. The first gave the world the track that's been linked with Tyler Durden courtesy of David Fincher's Fight Club since 1999, aka 'Where Is My Mind?', as well as 'Gigantic' and 'Cactus'. The second is home to 'Here Comes Your Man', 'Monkey Gone to Heaven', 'Debaser' and 'Wave of Mutilation'. Foo Fighters, blink-182, Queens of the Stone Age, Tenacious D, now Pearl Jam and Pixies: it's been a great time of late for big rock tours in this neck of the woods. Pearl Jam Dark Matter World Tour 2024 with with Special Guests Pixies — Australia and New Zealand Dates Friday, November 8 – Go Media Stadium, Mt Smart, Auckland Wednesday, November 13 — Heritage Bank Stadium, Gold Coast Saturday, November 16 — Marvel Stadium, Melbourne Thursday, November 21 — Giants Stadium, Sydney Pearl Jam and Pixies are touring Australia and New Zealand in November 2024, with ticket registrations from Wednesday, February 14–Sunday, February 18 and ticket sales from Friday, February 23 — head to the Pearl Jam website for further details. Top image: Raph_PH via Flickr.
Revel, the crew behind such epicurean hits as Pinot Palooza, Game of Rhones and Mould, is back with another standout food and wine event, this time devoted to all things Greek. After a successful debut in Melbourne last year, Oinofilia: A Celebration of the Wines of Greece will come to Sydney for the first time. As with previous Revel events, wine lovers are in for a serious treat here. Greece takes the cake as Europe's oldest wine-producing region and Oinofilia is out to do it justice, showcasing 80 different wines from every corner of the country. Visitors will have the chance to sample unique varietals like Assyrtiko, Xinomavro, Moschofilero and Agiorgitiko, and chat to producers flown in especially for the event. Being a Greek celebration, no one's about to go hungry either — Sydney's culinary lineup will be announced in the coming weeks. According to Revel founder and director Dan Sims, it's the chance for locals to get acquainted with a Greek offering that's often underrated here in Australia. "Oinofilia, from the Greek oîn, is by definition a love of wine," he says. "We all love Greek food, culture, and those islands, now it's time to celebrate Greek wine."
It has been eight months since Petersham bid farewell to its iconic 1950s-style diner Daisy's Milkbar. And while they were always going to be big shoes to fill, the suburb might just have found a worthy successor in the Stanmore Road site's newest resident, The Sunday Baker. A cheery bakery cafe with a striking pink facade, this one's helmed by a mother-daughter-daughter trio and it's specialising in fun, feel-good food. Inside, you're greeted by an upbeat pastel colour palette, with an offering of brunches, lunches and signature sweet treats to match. Floral bouquets top the tables, while the words 'you bake me happy' adorn one wall. It's the suite of house-made baked goods that takes centre stage here, with creative options like golden Gaytime cupcakes and Iced VoVo-inspired mini cakes beckoning from the front cabinet. That said, you'll find plenty more tempting creations on the all-day cafe menu, from maple baked beans served with coconut yoghurt and savoury granola, to the 'Boujee B&E; roll featuring smoky tomato relish and Japanese mayo on a soft milk bun. There's also a raft of fun choices for pint-sized diners, and dishes aplenty for vegan and gluten-free guests. This newbie is throwing some serious support behind its inner west producer fam, too, showcasing locally-made wares right throughout the menu. Keep an eye out for brined delights from I Made A Pickle, artisan tea by T Totaler, relishes and jams courtesy of Dulwich Hill's Drunken Sailing Canning, and coffee from Newtown-born roasters Campos amongst them. Find The Sunday Baker at 340 Stanmore Road, Petersham. It's open Tuesday to Sunday, from 7am–4pm.
Sydney Good Food Month, the city's always jam-packed month filled with one-off and limited-time food and drink events, is returning for a special summer edition in January. Usually held in October, the annual culinary festival puts Sydney's world-class food scene front and centre, taking over restaurants around town, hosting food pop-ups and serving up dinners from some of the world's best chefs. While lockdowns prevented Sydney Good Food Month from running in its usual October slot in 2021, the festival will return for its 23rd year throughout January. Top of the bill for the 2022 edition includes a First Nations takeover of Rockpool Bar & Grill; a pastry-heavy vegan brunch at Alibi Bar & Kitchen; a pop-up from Brisbane chef Alanna Sapwell at Ezra; and a night of regional Italian cuisine at a'Mare from Guy Grossi, Alessandro Paconi (Ormeggio at The Spit), Giovanni Pilu (Pilu at Freshwater) and Jacqui Challinor (Nomad). Those looking for something less on the fine-dining side of things can head to Butter and Rising Sun Workshop's 'Ain't nuthin but a Chicken' party — or there's also An Evening in Morocco, which will see Nomad and Golden Age Cinema come together to present a feast of Moroccan dishes and a screening of Casablanca; and a falafel masterclass and Middle Eastern dinner at Above Par. [caption id="attachment_789145" align="alignnone" width="1920"] Nomad, Nikki To[/caption] Loyal fans of The Good Weekend Quiz can rejoice, as the live iteration of the weekend ritual is returning. The quiz will be hosted at Rockpool and will, of course, be food and drink-themed. Round up your smartest mates for this, folks. Across the month, close to 50 events, deals and classes will pop up across Sydney, and also in regional New South Wales. Outside of the capital, you'll find wine tastings, long lunches and farm-to-table feats. Head to Pipit on the north NSW coast for a duck salumi masterclass, too, or to Newcastle's Subo for a celebration of the area's local producers. The Night Noodle Markets, which generally run as part of Good Food Month, aren't returning during 2022's festival; however, they will be back as a standalone event sometime later in the year. Suddenly and unsurprisingly hungry? You can find the full 2022 program at the Good Food Month website. [caption id="attachment_689482" align="alignnone" width="1920"] Rockpool Bar & Grill in Sydney[/caption] Good Food Month will run from Saturday, January 1–Monday, January 31. Tickets are on sale from 9am on Tuesday, November 30.
Whether you're in full lockdown mode, are only leaving the house to buy groceries or still have to venture out regularly because you can't work from home, no one is moseying far in these COVID-19 times. Everyone wants to, though. That's just human nature. Even if you're a homebody whose idea of a perfect vacation is getting cosy on the couch with your partner and your streaming queue, we're betting you're currently craving something — anything — to look at beyond your own four walls. Being cooped up in the house and experiencing a hefty dose of wanderlust go hand-in-hand, unsurprisingly — and you can cope in two ways. If you're itching to travel the globe the second you're able to, you can spend all your new spare time planning the trips you'll take when you can finally leave isolation behind. Or, if you're happy to simply pretend that you're somewhere far, far away, you can enter the world of travel live streams. You've virtually toured museums, galleries and landmarks already. Now it's time to while away as many minutes, hours or days as you like staring at a live webcam feed that's capturing life in another country right at this moment. Maybe you want to see what's going on in some of the places you've already been to. Perhaps you're keen to view stunning sights that you've always wanted to visit. Either way, here are seven travel live streams that you can watch from your couch at this very instant. A hint: pop one on in the background while you're working from home, and your day will instantly seem brighter. Also, a word of warning: they're rather addictive. https://www.youtube.com/watch?v=CwriDd8STdI&feature=emb_logo THE NORTHERN LIGHTS, CHURCHILL, CANADA The northern lights, aka aurora borealis, are one of the world's great natural wonders — the type of phenomenon that you need to see with your own eyes to truly appreciate. Caused by solar winds, the lights beam an array of colours across the evening sky, emitting a show that luminous events like Vivid only wish they could emulate. And, for everyone who needs that kind of magic in their lives at the moment, they're being live-streamed via Explore.org's dedicated webcam. You'll obviously need to tune in at the right time; however the middle of the night in Churchill, Canada (where the camera is stationed) coincides with late afternoon Down Under. And, even when you can't glimpse the main attraction, you can still peer at a scenic sky above an expanse of snow, all on the other side of the world. https://www.youtube.com/watch?v=HpZAez2oYsA CANAL OF CANNAREGIO AND PONTE DELLE GUGLIE, VENICE, ITALY Perhaps it's the centuries-old architecture. Maybe it's the glistening water. Or, it could be the entire idea of a city built on a group of 118 small islands, all separated by canals and linked by bridges. Whichever one fits, Venice boasts a particular kind of magic — and, in good news, that remains the case if you're watching on via live stream. Peering at the Ponte delle Guglie over the Canal of Cannaregio, the webcam setup at Hotel Filù is one of the best. Also, while you're viewing, you'll be doing so from a camera inside a building that dates back to the 800s. Those interested in more of Venice's distinctive sights can choose from a range of other cams, too, including a rolling live feed that switches between various scenic vantages. SHIBUYA SCRAMBLE CROSSING, TOKYO, JAPAN It has been featured in everything from Lost in Translation to Fast and Furious: Tokyo Drift — and, during normal circumstances, it's one of the busiest places in one of the busiest cities in the world. That'd be Shibuya's famous scramble crossing, where hordes of people usually cross the intersection all day, everyday. Whether you've been to Tokyo plenty of times or you've always wanted to take a trip, this bustling site is on everyone's must-visit list. For now, though, you can simply watch. Shibuya Community News' web cam peers down at the four-way crossing non-stop, as the few folks who are still out and about in Tokyo go about their business. If you've ever walked across the road yourself, the sparse sight is quite surreal. If you haven't yet had the chance, get ready to start people-watching. https://www.youtube.com/watch?v=wnNrd-VjLsQ WAIMEA BAY, HAWAII, USA Who doesn't wish that, right about now, they were sunbathing on a beach with nothing but sunscreen, sand and the crash of the waves to worry about? We all know the feeling — and while Australia's beaches have been closing over the past few weeks, all in an effort to enforce the country's current social-distancing requirements, you can check out Hawaii's Waimea Bay instead. If you find looking at the surf and listening to the roar of the ocean soothing at the best of times, you'll undoubtedly feel the same in today's far-from-usual predicament. This is a live stream you'll want to turn the volume up for, too, so you can make the very most of every sound from the scenic O'ahu spot. THE EIFFEL TOWER, PARIS, FRANCE Live stream network Earthcam.com has access to cameras in a huge number of places; however there's nothing quite like staring at one of the world's most famous tourist attractions while you're sat on your couch. If you time your peek just right — aka, you have a look when it's evening in Paris but daytime Down Under — you'll see the Eiffel Tower lit up against the night sky, perhaps even with the moon in the background, too. And, if you'd like to see how the iconic structure looks at various times of the day and under different conditions, you can scroll through the site's extensive image gallery, checking out how the tower appeared over the past hours, days, weeks and months. YOSEMITE NATIONAL PARK, CALIFORNIA, USA There's no shortage of magnificent natural land formations to see in California's Yosemite National Park. While no one can lock their peepers on them in person at present, anyone eager to get a glimpse can still do so online. And, thanks to Yosemite Conservancy and the US National Park Service, there are multiple options — peering at multiple sights, too. If it's a live webcam feed you're after, then take a gander at Yosemite Falls, one of the world's tallest waterfalls. Watching water stream down from almost 740 metres up is quite the vision to behold. For those who'd rather peer at the Yosemite High Sierra, the Badger Ski Pass Area or Half Dome, or vicariously live out their Free Solo dreams at El Capitan, you can do so via static live images that refresh every 60 seconds. https://www.youtube.com/watch?v=4zUmDtZAd28&feature=emb_logo LOCH NESS, SCOTTISH HIGHLANDS, SCOTLAND You could spend your days in isolation learning a few new skills, catching up on a heap of movies, watching everything from theatre to opera, getting your sweat on and cooking up a storm. Or, you could keep your eyes peeled for a famous critter: the Loch Ness Monster. Thanks to the Nessie on the Net live stream, a webcam is trained at the body of water in the Scottish Highlands all day and night. If anyone is ever going to spot the creature — if it does even exist — now seems like the perfect time for it. You'll want to check out the stream when it's daytime in Scotland, otherwise you'll just see darkness. And, monster or no monster, the lake and the surrounding countryside still looks idyllic either way. Top image: Shibuya scramble crossing, Benh Lieu Song via Wikimedia Commons.
Sydney's not short on places serving up hot and melty cheese, but Surry Hills' Loluk Bistro is offering unlimited servings of the stuff. Yep, all-you-can-eat raclette — cheese dreams are made of this. The Bourke Street bistro — known for its southern French fare — is piling plates high with cheese once again every Tuesday and Wednesday. The cheese is poured on top of potatoes, salad, cornichons and a plate of charcuterie (braseola, coppa, saucisson, ham and prosciutto), which is all included in the $49 price. And you can keep ordering (endlessly) until you're full (extra charcuterie will set you back $8 a plate). Well, until the clock hits 10pm. But four hours should be more than enough time for you to get your cheese fix. And you know what else is included in the $49 price? Dessert. If you still have a sliver of space left, you can fill it with unlimited profiteroles. It's the ideal midweek winter dinner.
Which franchise adores sand, has hopped between the big and small screens across four decades, is equally famous for the movie that didn't end up getting made, and has a date with streaming queues via a new prequel series in November 2024 — in the same year that it last graced cinemas? That'd be Dune. 2024 is a double Dune year. First, Dune: Part Two brought the science-fiction franchise back to picture palaces with help from director Denis Villeneuve (Blade Runner 2049), plus stars Timothée Chalamet (Wonka) and Zendaya (Euphoria). Next, television's Dune: Prophecy will arrive before spring is out. A six-part prequel series from HBO, it's set 10,000 years before the birth of Paul Atreides — and, as both the first and second teaser trailers show, plus the just-dropped full trailer, this is a time when sacrifices must be made. Dune: Prophecy marks this book-to-screen universe's return to the small screen. Over the past 40 years, the saga started on the page by Frank Herbert has hit cinemas three times so far, including David Lynch's 1984 film and Villeneuve's 2021 standout Dune: Part One. In the 00s, it also spread sand across TV via two miniseries. Everything in pop culture has to span both movies and television at the same time these days, however, hence Dune: Prophecy — even though the tale of Paul, aka sci-fi's spiciest man, is set to continue in a third Dune film that doesn't yet have a release date. Come Monday, November 18, including via Binge in Australia, Dune: Prophecy will follow the sect that gives rise to the Bene Gesserit, the sisterhood that secretly sways the universe. In the debut sneak peek back in May, the narration explained how the faction formed, and was "assigned to the great houses to help them sift truth from lies" — but also noted that that power comes with a price. The second and third glimpses each double down on the costs and chaos, as well as the scheming and subterfuge. And yes, there's also sandworms. Across all three trailers, cue plenty of plotting, lurking in dramatically shadowy spaces, rituals, battles, confrontations and marriages. The focus falls on two Harkonnen sisters — part of the same family that includes Stellan Skarsgard's (Andor) Baron Harkonnen, Dave Bautista's (Guardians of the Galaxy Vol. 3) Rabban and Austin Butler's (The Bikeriders) Feyd-Rautha in the movies — who are attempting to sure up humanity's future. Dune: Prophecy is inspired by Brian Herbert and Kevin J Anderson's novel Sisterhood of Dune, and features Emily Watson (Small Things Like These), Olivia Williams (The Crown), Jodhi May (Renegade Nell), Mark Strong (Tár), Sarah-Sofie Boussnina (The Colony) and Jessica Barden (You & Me) among the cast. Down Under viewers will also spot a heap of Australian talent, such as Travis Fimmel (Boy Swallows Universe), Josh Heuston (Heartbreak High), Shalom Brune-Franklin (Baby Reindeer), Yerin Ha (Halo) and Brendan Cowell (The Castaways). Check out the full trailer for Dune: Prophecy below: Dune: Prophecy will stream from Monday, November 18, 2024, including via Binge in Australia. Read our reviews of Dune: Part One and Dune: Part Two, and our interview with cinematographer Greig Fraser.
Wondering which restaurants around the globe should tempt your tastebuds each year? There's an annual Top 100 list for that. Keen to sip drinks made by Australia's best bartenders, too? There's a countdown of those as well. Fancy tucking into a meal made by the only Aussie figure to nab a spot on the Top 100 Best Chefs list for 2022? Yes, you can also do that — and you'll be making a beeline to Josh Niland's various eateries. The Sydney seafood king has just scored some love at The Best Chef Awards 2022, becoming the only Australian to make this year's gongs. He placed in 78th spot, and also won another accolade: the Best Chef Innovation Award, for his nose-to-tail approach to the ocean's finest. [caption id="attachment_855330" align="alignnone" width="1920"] Josh Niland[/caption] Sydneysiders will be familiar with Niland thanks to Saint Peter since 2016 and Fish Butchery since 2018 — the latter now in both Paddington and Waterloo — as well as sustainable fish and chip shop Charcoal Fish in Rose Bay. As for everyone else, Niland has been winning fans and awards for a few years now, including via his applauded The Whole Fish Cookbook. It earned him the prestigious James Beard Book of the Year Award back in 2020 (becoming the first Australian to ever take out the prize, in fact). The reason that Niland keeps proving such a hit? His culinary philosophy, with an ethical and sustainable approach to seafood paramount to his cooking. The Whole Fish Cookbook's recipes include cod liver pate on toast, fish cassoulet, roast fish bone marrow, and the chef's 'perfect' version of fish and chips — and the tome also collected the Food Book Award at the 2019 André Simon Awards, and was named illustrated book of the year at the 2020 Australian Book Industry Awards. [caption id="attachment_866128" align="alignnone" width="1920"] Dave Pynt[/caption] While Niland is the only Aussie to receive recognition at The Best Chef Awards 2022, Dave Pynt, the Perth-born chef-owner of Burnt Ends in Singapore, made the long list of candidates that the Top 100 was chosen from — after placing 86th in 2021. Also, the UK's Clare Smyth took 35th spot in 2022 — fresh from opening Oncore 26 levels above Sydney Harbour, her first restaurant outside of the United Kingdom, in late 2021. [caption id="attachment_830929" align="alignnone" width="1920"] Clare Smyth[/caption] Unsurprisingly, the bulk of the male-dominated list for this year includes well-known global names such as Spain's Dabiz Muñoz in top spot, Denmark's René Redzepi in second place, Spain's Joan Roca in third, Italy's Massimo Bottura in fourth position and Spain's Andoni Luis Aduriz coming in at fifth. And if you're wondering what The Best Chef Awards are about, and how they came about, they were created in 2015 by Polish neuroscientist Joanna Slusarczyk and Italian gastronomist Cristian Gadau. The aim: to showcase the best of the world's gastronomic scene, including its experienced, passionate and determined talents. For the full The Best Chef Awards 2022 list, head to the awards' website. Josh Niland images: Rob Palmer.
Did you know there was a Quidditch league in NSW? No? It wasn't long ago that people around Sydney didn't know we had a Sydney Roller Derby League either. Sydney's is five years old, with interest no doubt egged on by the kinetic 2009 Ellen Page vehicle Whip It. And as part of its ongoing guide to teach you how to do things that you'd never realised you wanted to, the Oxford Street Design Store are inviting you to be seduced by the glory of hammering into people in motion with A Guide to...Roller Derby. Sydney league insiders the Fabulous Sebastian and Tomahawk Geronimo will ply you with information, history and some instruction before giving you a hands-on turn in what's likely the world's first attempt to cram a full-on Derby jam into the Design Store's narrow halls. Original image by Gamma Man.
In July 2018, The General Gordon Hotel, a mainstay watering hole in Sydney's inner west, was destroyed in a fire. The Sydenham pub was in the middle of renovations when the building caught ablaze resulting in extensive fire damage and the collapse of the roof. Three years on, the hotel has been rebuilt and reopened with a new look, a new roof and a new head chef. Following a multimillion-dollar renovation and under the new ownership of JDA Hotels, The General Gordon Hotel revealed its new look to the public on Friday, February 26. Running the venue is Sarah Lewis, industry veteran of 25 years and inner west local, while in the kitchen you'll find Kirsten Baker (Vic on the Park) leading the way as head chef. Having an experienced female duo at the venue's helm is fitting for the pub, which ran under the guidance of one of Sydney's first female licensees Bridget Smith in its early days. Baker has created a menu full of pub classics ready for an after-work or weekend meal. Classic pub mains, pizza, pasta and burgers make up the bulk of the menu, with vegan options including a chickpea and sweet potato burger. For those looking to elevate their pub feed to a full feast, the kitchen is fitted with a woodfire oven churning out roasted pumpkin, roasted half chickens and 12-hour beef short rib served with mushroom and shallot spaetzle and parmesan crumb. The layout of the newly renovated pub features a dog-friendly alfresco courtyard, bistro area, timber-laden sports bar and a bottle shop. Keeping to its namesake, the hotel also offers those looking for a spot to stay in the inner west, with eight hotel rooms starting at $160 a night. "We cannot wait to get that first schooner poured" JDA Hotels CEO John Feros said. "It's been a tough road for the pub. The devastation from the fire combined with the lengthy renovation has been a challenge for our team and the local community." Find The General Gordon Hotel at 20 Swain Street, Sydenham from 10am–3am Monday–Saturday and 10am–12am Sunday.
In great news for online streaming fans who feel as though their options are limited now that Netflix has cracked down on that whole VPN thing, there's now another streaming service to add to your rotating repertoire. After quietly and somewhat inexplicably making their Prime Video streaming service available to Aussie customers in mid-November, Amazon has gone and made it all official, with the online shopping behemoth last night launching their film and television streaming platform in 200 countries including Australia and New Zealand. So if you signed up for a Prime Video account last month, it now has the offical stamp of approval from Amazon — but don't expect the number of titles that you can watch to change dramatically just yet. Amazon's first round of titles represent their efforts to dip a toe in the waters of online streaming, but the company still has to navigate around existing local rights deals for some of their original content. Basically, if it's already available on another platform — such as the most recent seasons of Mozart in the Jungle and Transparent, which are linked to Stan in Australia and Lightbox in NZ — then you won't find it on Prime. What you will find is an introductory deal of USD$2.99 per month for the first sixth months, with the cost rising to USD$5.99 monthly after that. And yes, Amazon is keeping their prices in US currency. So, go forth and stream, film and television fiends, whether car-focused banter on the highly anticipated The Grand Tour, catching up with the first seasons of Amazon Original Series such as Red Oaks and The Man in the High Castle, or diving through a host of movies takes your fancy. Next year, additional efforts such as Woody Allen's Crisis in Six Scenes, David E. Kelley's Goliath featuring Billy Bob Thornton, and Sneaky Pete, which is produced by Bryan Cranston and stars Giovanni Ribisi, will join the global lineup. Amazon Prime Video also boasts offline downloads, which Netflix only recently introduced. Alas, as for how you can watch it, you'd best get used to viewing on it on a phone or tablet (sorry, anyone who likes watching television actually on their television). At the time of writing, the service is supported by Android and iOS phones and tablets, plus Amazon's own Fire Tablets, but only on LG and Samsung smart TVs. For more information about Amazon Prime Video, visit PrimeVideo.com.
Located within the Pacific Square Shopping Complex, Peters Meats has been serving the Maroubra community for over 30 years. This is the place to go to level-up your weekend barbecue game with some Rangers Valley black onyx striploin, a rack of Gooralie free-range pork ribs, eye fillets from the Manning Valley or some handmade brisket and chuck burger patties (which it also supplies to local restaurants). You'll also find six shelves stacked with plenty of sauces and seasonings for extra inspiration, be it slow cooker base sauces, spicy sriracha numbers, bone broth concentrates or herb-flecked salts.
At skate parks around the world — and on consoles in lounge rooms, too — many an hour has been spent kickflipping and ollieing because of Tony Hawk. He's the professional skateboarder who became a household name, and the man whose licensed video game series had everyone sliding and grinding just by furiously mashing buttons. And, come 2024, he's coming to Australia to chat about his career. The skater icon is taking part in a talkfest aptly called An Evening with Tony Hawk. If you've ever wondered how he landed his famous '900', becoming the first skateboarder to complete two-and-a-half mid-air revolutions — or if you just want to know why Tony Hawk's Pro Skater, its sequels and spinoffs are so damn addictive — head along to the Enmore Theatre in Sydney on Friday, January 19, or The Athenaeum in Melbourne on Monday, January 22 and The Triffid in Brisbane on Thursday, January 25 to find out. Hawk's Brissie trip comes with a caveat, however: his discussion has already sold out, but he's also going to turn the Fortitude Music Hall into an immersive Tony Hawk's Pro Skater experience for one day only on Saturday, January 27. [caption id="attachment_924147" align="alignnone" width="1920"] Joshua Cutillo[/caption] In the chats, as well as discussing life, turning skating into a job, career highlights, his pop culture prominence and more — and maybe even his on-screen appearances in everything from the first xXx movie to Sharknado 5: Global Swarming — Hawk will be joined by Birdman: Or the Unexpected Virtue of a Tony Hawk Pro Skater Cover Band. Setting the vibe through tunes from the games, their setlist includes Rage Against the Machine, Millencolin, Goldfinger and more. In Brisbane only, Hawk's THPS25 event will drop in to celebrate a quarter century of the games series, with Fortitude Music Hall turned into a replica of one of the levels from the game. Yes, Hawke will hop on a board on an 11-foot-plus vertical ramp that'll sit in the centre of the venue. Joining him from the Birdhouse skate crew, including Lizzie Armanto, Elliot Sloan Felipe Nunes and Reese Nelson. The THPS25 event will be split into two sessions, with the daytime slot an all-ages affair and the evening session only for over 18s. Birdman: Or the Unexpected Virtue of a Tony Hawk Pro Skater Cover Band will pick up their instruments at both, too, as joined by DZ Deathrays doing a DJ set at each. Yours Truly and Teenage Joans will also take to the stage during the day, and Bodyjar and Alex Lahey at night. If you're keen to play Tony Hawk's Pro Skater while you're there, that's understandable and will also be an option. Show off your moves on a five-metre video wall, plus console stations set up around the venue. [caption id="attachment_924146" align="alignnone" width="1920"] Vans[/caption] [caption id="attachment_576145" align="alignnone" width="1280"] Tony Hawk's Pro Skater[/caption] TONY HAWK AUSTRALIAN TOUR 2024: Friday, January 19 — An Evening with Tony Hawk, Enmore Theatre, Sydney Monday, January 22 — An Evening with Tony Hawk, The Athenaeum, Melbourne Thursday, January 25 — An Evening with Tony Hawk, The Triffid, Brisbane — SOLD OUT Saturday, January 27 — THPS25, Fortitude Music Hall, Brisbane Tony Hawk is touring Australia in 2024. Head to the tour website for further details and tickets for An Evening with Tony Hawk. For the THPS25, join the waitlist at the event website, with tickets presales from 9am AEST on Wednesday, November 1. Top image: Victor Solanoy via Flickr.
Despite the funny name (sounds like a Ben & Jerry's ice cream flavour to me) Groovin' the Moo is a diamond set in what could otherwise be quite a dry month for us Sydneysiders. After all, what ever happens in May? Summer is but a distant echo in our ears and there's not a single public holiday in sight. So here's your chance to slip into your festival frock and take the next exit out of town. Held just an hour away from Sydney in the cute-as-a-button town of Maitland, in the Hunter Valley, this one-day festival is part of a travelling carnivalé bringing music and gypsy cheer to six rural locations across the country. Those talented boys from New York, Vampire Weekend, have packed a whole suitcase of new ditties to play. Then there's our own Lisa Mitchell, Miami Horror, and Empire of the Sun, and Canada's Kid Koala and Tegan and Sara. It all seems oh-so-indie until you get to the last two headliners — Silverchair and Grinspoon. I guess they just wanted to secure ticket sales? I'm personally looking forward to what their website refers to as "the biggest dance tent since Sheik Yerbouti" and curing my hangover with fine wines and cheeses. Tickets go on sale February 16, and you can book accommodation via the Maitland Tourism website http://www.maitland.nsw.gov.au/Tourism. https://youtube.com/watch?v=1e0u11rgd9Q
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=8vdaJcoKk0s PROMISING YOUNG WOMAN Promising Young Woman would've made an excellent episode or season of Veronica Mars. That's meant as the highest compliment to both the bubblegum-hued take on the rape-revenge genre and the cult-status private detective series. Writer/director Emerald Fennell clearly isn't blind to the parallels between the two, even casting Veronica Mars stars Max Greenfield (New Girl) and Chris Lowell (GLOW) in her feature debut. Don't go thinking the Killing Eve season two showrunner and The Crown actor is simply following in other footsteps, though. At every moment, the brilliant and blistering Promising Young Woman vibrates with too much anger, energy and insight to merely be a copycat of something else. It's a film made with the savviest of choices, and provocative and downright fearless ones as well, in everything from its soundtrack to its weaponised pastel, peppy and popping Instagram-friendly imagery. You don't include Italian quartet Archimia's orchestral version of Britney Spears' 'Toxic', Paris Hilton's 'Stars Are Blind' and an abundance of vibrant surface sheen in a movie about a woman waging war on the culture of sexual assault without trying to make a statement — and Fennell succeeds again and again. She has also made the smart decision to cast Carey Mulligan, and to draw upon the acclaimed actor's near-peerless ability to express complex internalised turmoil. Mulligan's fierce lead performance scorches, sears and resounds with such burning truth, and so does the feature she's in as a result. When Mulligan's character, Cassie Thomas, is introduced, she's inebriated and alone at a nightclub, her clothing riding up as she slouches in her seat. Three men discuss women over beverages by the bar, and notice Cassie while talking, with one commenting, "they put themselves in danger, girls like that". No woman brings sexual assault upon themselves, with this whole intelligent and astute revenge-thriller rebuffing the bro-ish bar guy's early observation in every way possible, and meting out punishment to those who think similarly. As viewers see in the film's opening sequence, Cassie is offered help by one of the chatting guys, Jerry (The OC's Adam Brody), who is concerned she could be taken advantage of by men who aren't as nice as him — but then takes her home, makes sexual advances, and learns that the medical school dropout-turned-coffee shop employee he's trying to bed has a lesson for him. Colour-coded names and tallies scrawled in a notebook illustrate this isn't a first for Cassie. The script drip-feeds details about its protagonist's motivations for her ritualistic actions; however, the specifics aren't hard to guess. Cassie's central vigilante quest is forced to adapt after she hears news about someone from her past, and the movie takes her to bold places, boasting a relentlessness that mirrors the persistence of grief and pain after trauma. Promising Young Woman never lets its protagonist's rage subside, proving furious from start to finish — and sharing that feeling even in the film's most overt setups and obvious scenes (which are also some of its most entertaining) is a foregone conclusion. Read our full review. https://www.youtube.com/watch?v=V4gSLP9Smlg SUMMERLAND Opening in the mid-70s, Summerland begins with Alice Lamb (Penelope Wilton, Downton Abbey) tapping away at her typewriter and scaring away the children who come knocking at her door. Rewind to the 40s, and the younger Alice (Gemma Arterton, Their Finest) does much the same. She's been labelled a witch by the kids in her seaside village, and she's hardly happy when the pre-teen Frank (Lucas Bond, The Alienist: Angel of Darkness) arrives on her doorstep as part of a government program to evacuate the next generation from London. In fact, Alice demands that he be rehoused instead of interrupting her work; however, she's told that'll take a week. Moving to the big screen after stage success as a playwright and theatre director (and making short film Leading Lady Parts, also starring Arterton), debut feature filmmaker Jessica Swale penned the original script, so Summerland isn't based on an existing text or property — but everyone watching knows Alice and Frank have ample time to overcome their initial animosity, and that that's exactly what'll happen. Indeed, exploring an unexpected connection between a misanthrope and the young boy placed in her care, tackling multiple types of trauma, and espousing the enduring need for hope, this primarily World War II-set drama proves standard, straightforward and predictable in many ways. And yet, it also demonstrates that a feature can be neat, obvious, heartfelt and rivetingly acted all at once. When it spins a story about a woman given a new lease on life via an unanticipated bond that's thrust upon her, Summerland rarely flirts with surprise, let alone delivers many. Again and again, Swale's screenplay makes easily anticipated choices, and yet it also tells a resonant tale in the process. The film feels as if it has been built around Arterton, and it's definitely better for it. Thanks to her lived-in performance, Alice is able to navigate a formulaic emotional journey and still staunchly feel like her own person at the same time. Other than Arterton's memorable efforts, Summerland also benefits from two specific aspects: the backstory behind Alice's demeanour, and the way it unpacks her outsider status. Inescapably, the movie includes an almost-cringeworthy, far-too-convenient twist — but when it leaps back to the 20s, to Alice's immediate attraction to and subsequent time with Vera (Gugu Mbatha-Raw, Misbehaviour) during her university studies, it doesn't just add a love story to the narrative. In its flashbacks and the shadow they leave on Alice's WWII-era life, the film also invests depth and emotion that isn't as strong otherwise, unleashes unexpected elements that aren't evident elsewhere, and offers a quiet yet potent undercurrent of subversion as well. Read our full review. https://www.youtube.com/watch?v=WxGXbsiDhw0 SPREAD YOUR WINGS Whether they're about people helping other creatures find a way back home, spin stories about connections between different species that change everyone involved, or combine the two in one setup, films about humanity's bond with cute critters comprise a hefty genre. French family-friendly drama Spread Your Wings doesn't just belong in this category, but heartily embraces everything that audiences have come to expect from features that fit the above description — and it also shows how charming movies about humans and animals can be when done simply but well. Sharing a storyline similar to 1996 American film Fly Away Home, but actually based on the real-life exploits of meteorologist Christian Moullec, the latest effort from filmmaker Nicolas Vanier (Belle & Sebastian, School of Life) follows a scientist who is certain that he can save an endangered species of wild geese by teaching them a new migration route, even if his superiors scoff at his idea. With the flying waterfowl's usual path filled with hazards, such as airports, powerlines and light pollution, Christian (Jean-Paul Rouve, I Wish Someone Were Waiting for Me Somewhere) plots an alternate course, raises a new gaggle of goslings from birth, then plans to take to the skies in a homemade ultra-light aircraft to show them the way. Working with a screenplay written by Moullec and Matthieu Petit, then adapted by Vanier and Lilou Fogli (Blind Date), Spread Your Wings recognises the strength of its story. Crucially, while it tells Moullec's tale via fiction rather than as a documentary, it doesn't overcomplicate or overdramatise the narrative. Sent to stay with him for three weeks, Christian's teenage son Thomas (Louis Vazquez, In Her Hands) becomes as engaged in the project as his dad, even taking the lead when authorities in Norway try to scupper their flight — and while everything in the plot charts the expected course, including Thomas' involvement and the firm bond he forges not only with all the geese in his care, but with one white waterfowl from a different species, Spread Your Wings always feels as if it's telling a timeless story, rather than a cliched and well-worn one. The lively efforts of Rouve and a tender performance from Vazquez helps immensely, as does the scenic cinematography, which heads above the earth as much as it can. Vanier is obviously well aware that he's soaring into busy territory, and opts for a classic approach — which pleasingly works for viewers of all ages. https://www.youtube.com/watch?v=Q6iXpyVQf5Q&feature=youtu.be BUDDY GAMES When Adam Sandler factored into Oscar consideration for his phenomenal performance in Uncut Gems this time last year, he said that if he didn't receive a nomination from the Academy, he'd make a movie that was downright terrible on purpose. He doesn't star in Buddy Games, and this flat-out awful comedy actually premiered six months before Uncut Gems did (yes, even though it is just reaching Australian cinemas now); however, it's the kind of film one would imagine that Sandler was talking about. Directed, co-written by and starring Transformers: The Last Knight actor Josh Duhamel, this oppressively unfunny flick feels like the product of a bet to turn Jackass into fiction, to make it as awful and obnoxious as possible, and to give Duhamel both a cruisy filmmaking credit and the easiest on-screen role of his career. The premise: for years, a group of male friends have gathered together over a boozy summer weekend to compete in challenges, obstacle courses and games, with bragging rights the ultimate prize. Then one of their get-togethers goes wrong, the tournaments are shuttered and everyone loses touch. Jump to five years later, when ringleader Bobfather (played by Duhamel, of course) is convinced to restart the festivities by his struggling pal Shelly (Dan Bakkedahl, Space Force) — and, at the urging of the rest of the gang (Entourage's Kevin Dillon, Psych's James Roday Rodriguez, CHiPS' Dax Shepard and The Wrong Missy's Nick Swardson), to put up $150,000 for the winner. Duhamel and his fellow first-time feature screenwriters Bob Schwartz and Jude Weng must find testicle jokes and cocktails made with semen hilarious, because that's comedic level that Buddy Games operates on. Also covered: men strapping slabs of meat to their head, then trying not to get attacked by a wild reptile; and a chauvinist contest to see who can pick up a woman at a bar, dance with them and land a kiss, all after just taking laxatives and straining to avoid defecating. While meant to garner laughs, the film simply serves up sad middle-aged men trying to assert their masculinity and hold onto their youth in a puerile way — and says plenty about the folks who thought it was a movie worth making. Unsurprisingly given the alpha male traits aggressively on display, women barely feature, and are either stunning but still one of the guys when they do (with The Predator's Olivia Munn the only female cast member with any real screen-time) or painted as the object of no one's real affection. Homophobic references abound, too, and the fact that one of the group is secretly gay (his only character trait) is as cliched and flimsily thought-out as it sounds. Not even the cast appears particularly committed to their parts, other than Duhamel, obviously, and an over-acting Bakkedahl. Adam Sandler didn't end up getting an Oscar nomination for Uncut Gems — but whatever he thinks will be his absolute worst film is bound to be better better than Buddy Games. If you're wondering what else is currently screening in cinemas — or has been throughout the year — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26 and January 1. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman and The Dry.
Fancy a dip with a difference? Boutique hotel connoisseurs Mr & Mrs Smith have a bunch of seductive watery wonders. From awe-inspiring views and cater-to-every-whim butler service, these shimmering stretches will have you flapping your water wings in excitement (Speedos optional). Hotel Crillon le Brave, Provence Where: Rue Église, 84410, Crillon-le-Brave, Vaucluse, France What: Stone-built hilltop hideaway Perched high on a peachy-hued Provencal hilltop, Hotel Crillon le Brave is made up of seven houses clustered around a 16th-century church. After a quick bonjour to the hotel’s namesake — a mustachioed statue of the real Crillon le Brave — follow the discreet grey signs on pale stacked-stone exteriors to this hip hostellerie. A maze of footpaths leads down stone steps and over cobbled terraces to the separate maisons: charming sleeping quarters that look out over pale terracotta roof tiles, neatly coiffed vineyards and limestone-topped hills. The Cezanne-worthy panorama continues poolside; swimmers can catch glimpses between strokes as they work off a lion's share of croissants, pastries and crisp local rosé. Perivolas, Santorini Where: Oia Santorini, 847 02, Cyclades Islands, Greece What: Dream lava Plucked straight from the pages of a glossy spread, Perivolas is a supermodel in hotel form. Poised high on the hills of Santorini above the Aegean sea, this is the sort of hideaway that inspires spontaneous marriage proposals. A soundtrack of distant lapping waves fills whitewashed-walled rooms that peer out over the caldera (the proper name for the volcanic crater-cum-bay, if you please), while sunlounger-graced terraces provide the postcard-perfect spot to stare out into the brilliant blue. A resplendent infinity pool is the jewel atop Perivolas’ crown: seamlessly merging with the endless azure horizon and offering a spectacular setting to sup sundowners and watch the sun melt into the sea. Masseria Torre Maizza, Puglia Where : C.da Coccaro, 70015, Savelletri di Fasano Brindisi, Italy What: Spacious and gracious A 16th-century coastal estate set in olive groves with ocean views, Masseria Torre Maizza is sister to Masseria Torre Coccaro — good looks clearly run in the family. There’s no cause to fret about countryside isolation: days here are spent ambling between the spa, cookery school and golf course. Water babies should head straight for the outdoor pool, surrounded by vine-dressed columns, hammocks and more sunbeds than you can poke a crostino at. When a growling stomach interrupts, make for Ristorante delle Palme, where black-lacquered chairs and white-linen-topped tables spill onto the poolside terrace. Rayavadee, Krabi Where :214 Moo 2, Tambon Ao-Nang, Amphoe Maung, Thailand What: Sand-circle garden pavilions Flanked by dramatic limestone cliffs and glittering beaches, Rayavadee is accessible only by boat from Krabi. Picturesque pavilions are tucked between towering tropical palm trees; it's a look befitting a tribal jungle village with a penchant for Jacuzzis, spa treatments and homemade cookies. The sapphire-coloured waters of the sprawling lagoon-style infinity pool offer uninterrupted views of the Andaman Sea and respite for those weary from jungle treks. If you can be coaxed from your plumped sunbed, adventure-junkies can pursue rock-climbing, kayaking and scuba-diving; land-lubbers should seek out the spa for an hour (or more) of towel-cocooned pampering. Raas, Jodphur Where :Tunwar ji ka Jhalra, Makrana Mohalla, Gulab Sagar, Jodhpur, Rajasthan, India What: Achingly hip haveli Set in the shadow of the majestic Mehrangarh Fort, Raas is a modern-day Maharaja’s mansion. A cluster of four heritage rose-red sandstone buildings make up this refashioned family manor, decorated with sprawling terraced gardens, boutiques, spas and restaurants. Beyond the hotel walls, the city is a frenetic blend of colour and chaos. Inside, your only disruptions are birds trilling and water tinkling. An at-your-service butler-attended infinity pool brings a splash of Ibiza to the Indian desert; expect white-canopied sunloungers, chilled tunes and poolside yoga. Ace Hotel & Swim Club, Palm Springs Where :701 East Palm Canyon Drive, Palm Springs, California, United States What: Hipster’s canyon commune Seducing the young and young at heart, Ace Hotel & Swim Club marries sleek architecture and low-key luxury with a smattering of vintage design accents. Sun-seekers can brave the heat by renting a candy-coloured Vespa or booking a horseback riding lesson, leaving those attached to air-conditioned comfort to languidly laze in a hammock and work through the hotel bar’s cocktail menu. An eclectic soundtrack of indie rock, '70s and '80s hits, top-40 numbers and spinning DJs provide the poolside playlist. The King’s Highway restaurant (once a roadside Denny’s) dishes up classic American fare with splashes of the unexpected — try the harissa lamb and pan-seared tilapia. Eagles Nest, Bay of Islands Where: 60 Tapeka Road, Russell, New Zealand What: Modern, minimal, magical Prepare to be hypnotised at Eagles Nest, a hotel where pampering means private chefs, peaceful pools and a Porsche at your disposal. From its perch atop a private peninsula, this North Island retreat has sweeping views over the Bay of Islands and 75-acre grounds that are ripe for exploration. Villas are cool and contemporary, tucked away in the middle of lush native bush; all are self-contained with a gourmet kitchen and private deck. Each villa has its own heated infinity-edge lap pool (except the First Light, which has a Jacuzzi), fringed by sleek white day-beds and romantic lanterns for moodily lit evenings. Alila Villas Uluwatu, Bali Where: Jl. Belimbing Sari, Banjar Tambiyak, Desa Pecatu, Bali, Indonesia What: Minimalist eco-glam From the lobby at Alila Villas Uluwatu you’ll catch your first glimpse of the hotel’s 50m infinity pool and the Indian Ocean beyond, and we challenge any paddling professional not to be impressed. With each villa replete with its own pool and butler, it’s quite possible that you’ll be the only guests at the hotel’s main watering hole. With a cliff-edge perch and cantilevered cabana, a few languid strokes is enough to have you feeling like you’re floating above the world. When hands and feet become sufficiently wrinkled, retire to Spa Alila, a holistic heaven where local therapists use traditional Asian healing techniques and age-old beauty recipes. Shoreditch Rooms, London Where: 1 Ebor Street, Shoreditch, London, United Kingdom What: Cool crash-pad club Dust off your hipster specs and dig out your coolest ‘resting designer’ attire: it’s time to mention Shoreditch Rooms. An outpost of the media-savvy SoHo House members’ club, glamourpusses and hip creative types have long flocked to this converted warehouse to let off some steam. With breathtaking views across the city, the heated rooftop pool is where it’s at. The bar’s close by, as are gardens complete with open fires, double day-beds and a herb plot. Closer to earth, the ground-floor Cowshed spa has famous facials and massages tailored to your mood. Hotel Habita, Mexico City Where: 201 Avenida Presidente Masaryk, Colonia Polanco, Mexico City, Mexico What: Modern minimalist classic Bang in the middle of posh Polanco, Hotel Habita is a favourite with Mexico City’s fashion-forward and in-the-know elite. Follow in their well-heeled steps by ascending to the rooftop. A glistening pool is overlooked by the hotel’s mezzanine bar, flanked by curvy white loungers, dark wooden decking and complete with a wet bar. Upstairs, the full lounge boasts tables, chairs and a crackling fireplace for cosily cool evenings; films are projected on to the walls of nearby buildings on clear nights. If you prefer dinner a deux to designer-clad crowds, the lobby restaurant offers Mexican bistro cuisine and huge windows prime for people-watching. Feeling hot under the collar? Cool off by taking a dip at other Mr & Mrs Smith pool hotels or browse more hotel collections .
There's something so satisfying about pssssst sound made when cracking a tab on a canned beverage. That coupled with the fact canned drinks have in-built portion control, guaranteed freshness (with a delightful little spritz to them) and can be recycled, more winemakers, distillers and brewers are saying "yes, we can" to the can. Plus, they're perfect for a multitude of drinking scenarios — from a fruity pinot gris while sitting on your balcony at home watching the sunset to a super refreshing G&T at your mate's barbecue. So, we've scoured bottle shops and online retailers across the country for the best canned beverages in each category: boozy, caffeinated and alcohol-free. No glassware or garnishes needed — just crack open a can, throw on your best playlist and you've got yourself an instant party. WINE BLIND CORNER SOUTH WEST COOLER 2019 ($34 FOR A SIX-PACK) Straddling the line between wine and a cocktail, this newest creation comes from organic and biodynamic winemakers Blind Corner. The team's homage to the 80s is a wine spritzer (or cooler) made from their estate-grown shiraz grapes. A juicy, bright, red fruited nouveau-style wine, it's a must-have for any barbecue. Just add grilled meats (or grilled eggplant for the vegos). SITE WINE PINOT GRIS 2019 ($12) Site Wine's single-site Victorian pinot gris has been handpicked and naturally fermented to create a refreshing and vibrant wine with hints of tropical fruits. There's the unavoidable spritz — that you find in all canned wine — but it dissipates after a few sips. With 3.8 standard drinks per can, this little delightful little number is packed full of flavour, so drink slowly. INNOCENT BYSTANDER MOSCATO NV ($6) Many people's favourite "secret shame" drink from arguably Australia's best moscato producer, Innocent Bystander's moscato NV is now available in easy-to-slurp can form. Smells like fairy floss, rose petals and mandarin peel, and is filled with flavours of vibrant strawberry, red apples and a hint of jasmine flowers, with a well-integrated sweetness that jumps out of the can and into your mouth. In our opinion, it goes with any brunch scenario you want to throw at it — pavlovas; pancakes with lemon sugar; blue cheese, pear and candied walnut salads. COCKTAILS CURATIF TOMMY'S MARGARITA From the creative minds that brought you the negroni in a can (a collab with Four Pillars) and the espresso martini in a can (a collab with Archie Rose), Curatif's newest drink is a tommy's margarita made in collaboration with Tromba tequila. Curatif prides itself on making the world's best cocktails by sourcing only the finest ingredients from around the globe, and the tommy's is no different. It's made with Tromba's blanco tequila, fresh lime juice, agave syrup and salt. Simply pour over ice, and you've got instant summertime in a glass — all year round. At this stage, the Curatif Escape Series is only available at limited locations (Jackalope Hotel, Victoria; Pink Hotel, Coolangatta; Sails Motel, Brunswick Heads; and Pablo & Rustys, Sydney). However, the tommy's margarita (and a very delicious looking bloody mary in conjunction with Archie Rose) will be launched more widely come June 2020. MOUNTAIN GIN AND TONIC ($8.99) You can't throw a lime without hitting a new Australian gin distiller. However, not many have decided to pre-package the much-loved G&T in a can ready for your next barbecue. This is where the team at Mountain Gin (hailing from Victoria's Macedon Ranges) comes in with one of the most delicious and well-balanced canned G&Ts available. Each can includes 45 millilitres of its 100-percent batch-distilled gin, carefully blended with its recipe for low-sugar tonic, to bring forth the sharp citrus character of orange peel and lemon myrtle. The gin is inspired by locally foraged botanicals, and made using new growth pine needles and native pepperberry found throughout the area. The flavours in the gin are so crisp and clean — it's like taking a deep breath of fresh mountain air. LOVE CAN SPRITZ ($7.50) The complexity of a negroni meets the refreshing lightness if a spritz. Made with Mildura lemon juice, Poor Toms strawberry gin, Poor Toms Imbroglio orange amaro, the Sydney-distilled Love Can is also fairly low-calorie (if that's something you care about) at only 120 per can. If not, it's just another excuse to skip the gym and workout your drinking arm instead. The Love Cans — which also come in vodka yuzu and G&T varieties — are a collaboration between Marrickville's Poor Toms distillery and soda maker Strange Love. ALCOHOL-FREE SOBAH DAVIDSON PLUM GLUTEN-FREE ALE ($20 A FOUR-PACK) Indigenous Australian-owned Sobah is Australia's first non-alcoholic craft beer company. It's run by husband-wife team Clinton and Lozen Schultz, who are creating brews that are equal parts flavoursome and sustainably made. The duo's newest flavour is a light and aromatic gluten-free brew, that's sold out on the website, but our friends at Newtown bottle shop P&V currently have some on their shelves (plus the other styles in the Sobah range). It has an earthy aroma with musk and a touch of sweetness, the taste of davidson plum is tart ( similar to a cranberry) with some sourness and a slight bitterness. If you can't get your hands on this one, there are plenty of other flavours — including lemon aspen pilsner and pepperberry IPA — to try. FIRE TONIC SPARKLING SWITCHEL LEMON AND GINGER ($24 FOR A SIX-PACK) Based on an 18th-century rural American recipe, switchel is thought to be the 'original sports drink'. So, move over Gatorade — the ultimate hangover cure is here thanks to Victorian-based company Hilbilby. Bursting with good things, this can is refined sugar-free and only contains all-natural ingredients, such as apple cider vinegar, lemon juice, ginger, raw honey and pink mineral salt. With so many non-alcoholic drinks and sodas on the market filled with excess sugar, this is the perfect drink for those wanting something a little more savoury. COFFEE MINOR FIGURES NITRO COLD BREW ($24 FOR A MIXED SIX-PACK) Brewed with a focus on sustainability and no dairy or added sugar, Minor Figures is our latest coffee obsession. What makes its brews so special is the process of nitrogen-infused cold brewing, which assists in producing a silkier, frothier consistency and a softer, but more flavoursome brew that's guaranteed to shake out the brain fog in the morning and wake up the senses. The cold brew comes in three caffeinated flavours: black, oat milk latte and oat milk mocha.
First, St Jerome's Laneway Festival announced its 2024 dates and venues. Now, it's time for the news that every fest fan is always waiting for: the lineup. Fancy some grime? A Euphoria star? A mix of international must-sees and homegrown up-and-comers? A swag of folks making their first trips our way? Then consider yourself sorted — starting with headliners Stormzy, Steve Lacy, Dominic Fike and Raye. Stormzy tops the roster after he was meant to head Down Under in 2022, but pulled out of Spilt Milk and his Australian and Zealand tour. At the Aussie fest, he was replaced by Lacy, in fact, but now the UK sensation and the 'Bad Habit' talent will share the same Laneway bill. Fike heads from the screen to Brisbane, Sydney, Adelaide, Melbourne, Perth and Auckland's stages — and Raye comes our way with 'Escapism' still stuck in everyone's heads. From there, the lineup also spans AJ Tracey, d4vd, Dope Lemon, Unknown Mortal Orchestra and more. All of the above acts will play all cities, with some fellow talents only popping up in either Australia or Aotearoa. Stormzy and Fike are doing exclusive Laneway tours — so, of you want to see either (or both), you'll only catch them at the fest while they're in both countries. In Australia, Lacy is exclusive in Adelaide, Brisbane, Melbourne and Perth. There's a bit of stability to 2024's list of venues, after 2023 took Laneway to a heap of new spots. The festival started by Danny Rogers and Jerome Borazio in the mid-00s will kick off at Brisbane Showgrounds on Saturday, February 3, then head to Sydney Showground on Sunday, February 4 — so, exactly where it took place this year. [caption id="attachment_916473" align="alignnone" width="1920"] Callum Walker Hutchinson[/caption] Still in Australia, Laneway also has a Friday, February 9 date with Bonython Park in Adelaide on the agenda, then a Saturday, February 10 run at The Park, Flemington in Melbourne and a Sunday, February 11 wrap-up show in Wellington Square in Perth. Again, these are all the same locations that 2023's fests hit up. Over in New Zealand, the event will take over Western Springs in Auckland on Tuesday, February 6. That date means that it's moving to Waitangi Day. And 2024's venue comes after 2023's Auckland Laneway stop was cancelled due to the Auckland floods. [caption id="attachment_915848" align="alignnone" width="1920"] Daniel Boud[/caption] LANEWAY FESTIVAL 2024 LINEUP: Stormzy Steve Lacy Dominic Fike Raye AJ Tracey d4vd Dope Lemon Eyedress Faye Webster horsegiirL Nia Archives Paris Texas Skin On Skin Suki Waterhouse Unknown Mortal Orchestra Blondshell DOMi & JD BECK Hemlocke Springs Pretty Girl AUSTRALIA ONLY: Angie McMahon Confidence Man Teenage Dads JK-47 Miss Kaninna Vacations NEW ZEALAND ONLY: Atarangi Church Daily J Erny Belle Hanbee Molly Payton LANEWAY FESTIVAL 2024 DATES: Saturday, February 3 — Brisbane Showgrounds, Brisbane / Turrbal Targun Sunday, February 4 — Sydney Showground, Sydney / Burramattagal and Wangal Land Tuesday, February 6 — Western Springs, Auckland / Tāmaki Makaurau Friday, February 9 — Bonython Park, Adelaide / Kaurna Yerta Saturday, February 10 — The Park, Flemington, Melbourne / Wurundjeri Biik Sunday, February 11 — Wellington Square, Perth / Whadjuk Boodjar St Jerome's Laneway Festival will tour Australia and New Zealand in February 2024. Head to the festival's website for further details, and to register for ticket pre sales — which kick off at 11am local time on Tuesday, September 12. General sales start at 11am local time on Thursday, September 14. Top image: Bethany Vargas. Laneway imges: Daniel Boud / Maclay Heriot / Cedric Tang.
With lion dancing, modern Chinese cuisine and film screenings of Chinese classics, the Art Gallery of New South Wales is undoubtedly the best place to celebrate Chinese New Year outside of Chinatown. The vast majority of these events are free, with highlights including Chinese High Tea, fan dancing performances, tai chi workshops and a lecture from the Deputy Director of the Hubei Provincial Museum. Tours of auspicious symbols in Chinese art will also make more of the culture legible to newcomers. Two exhibitions are also timed for the occasion. In the Asian gallery, ritual art from ancient China (more specifically, the Chu kingdom during the Warring States period) will be on display. But the big draw card is undoubtably the terracotta warriors. Perhaps the most incredible archaeological find of the century, these iconic figures will be displayed alongside other recent finds which have rarely been seen outside China. This exhibition is the only part of the program you will need to pay for, but at a meagre $20 is certainly worth a look. Image: 'Group of soldiers', Araldo De Luca
Vertical gardening is one way to prevent the Blade Runner-ifying of our urban environments. But how about an invisible skyline, made up of anti-skyscrapers? South Korea is about to get a first taste of the concept, with construction set to start on 'Tower Infinity'. At 450 metres, it's definitely one of the ten tallest buildings in the world. What's attracting headlines, however, is the fact that you can't see it. (What?) By employing cameras, a special skin and optical technology, GDS Architects have designed the tower so that its pinnacle appears to vanish into the sky. Their concept won a 2008 international competition involving 146 entries from 46 nations, but they've only just been granted permission to begin construction. To be built in Seoul's Yongsan International Business District, near Incheon International Airport, Tower Infinity will, for the most part, fulfil recreational, rather than residential, purposes. There'll be eateries, a theatre, amusement park rides, observation decks (including one at 392 metres) and landscaped gardens. GDS Architects' principal, Charles Wee, argues that it's not merely an exercise in vanity. "Instead of symbolising prominence as another of the world's tallest and best towers, our solution aims to provide the world's first invisible tower, showcasing Korean technology while encouraging a more global narrative in the process," he said in World Architecture News. "We are elated that the many years of design, testing and coordination have led us to that all important step of beginning the building process. We look forward to providing Korea and the world with a completely new model for what it means to be an observation tower." [via Inhabitat]
For six weeks at the end of 2023, cinema will join sun, surf and sand as one of the best things to enjoy at Bondi Beach. From mid-November, Sunset Cinema is heading to the iconic Sydney spot, setting up shop at Bondi Pavilion. There'll be movies under the stars. There'll be bean bags to sit on. There'll be a bar serving boozy beverages, food trucks dishing up bites and popcorn — of course — as a snack option, too. Sunset Cinema is no stranger to Sydney. Over the summer of 2022–23, it screened flicks in St Ives and also North Sydney, with a season at the latter also on the itinerary again from January 2024. Getting its projectors whirring at Bondi Pavilion is a brand-new addition to its lineup, however, and an exciting one — with exactly what you'll be watching still to be announced. Film lovers will be heading to Dolphin Court for their al fresco flick fix from Thursday, November 16–Saturday, December 23, with Sunset Cinema screening from Monday–Saturday. If the lineup is anything like the openair cinema's past Sydney runs, attendees can expect recent box-office hits, new arrivals on the big screen, festive flicks leading into Christmas and retro favourites. On the bill last season: everything from Top Gun: Maverick, Black Panther: Wakanda Forever, Strange World, Don't Worry Darling, The Menu and Everything Everywhere All At Once to Elf, Love Actually, Home Alone and The Nightmare Before Christmas. "We are excited to bring our unique brand of entertainment to the Bondi community this summer," said Sunset Cinema's General Manager Brad Garth, announcing the Bondi Beach season. "The Sunset Cinema movie experience is all about delivering quality entertainment that everyone can enjoy. We can't wait to launch the perfect summer event at Australia's most iconic beach." Sunset Cinema will take its openair flicks to seven locations across Australia's east coast over the summer of 2023–24, including Wollongong, Canberra, Brisbane and Melbourne. At all stops around the country, BYO picnics are encouraged; however, the event is fully licensed, which means alcohol can only be purchased onsite. And if you don't pack enough snacks, that's where the hot food options, plus plenty of the requisite movie treats like chips, chocolates, lollies and popcorn, come in. Sunset Cinema will hit Dolphin Court, Bondi Pavilion, Queen Elizabeth Drive, Bondi Beach from Thursday, November 16–Saturday, December 23 — screening from Monday–Saturday. Head to the Sunset Cinema website for further details. Top image: Bondi Pavilion.
Reward yourself for getting through the week with a set of free doughnuts this Saturday. DoorDash is celebrating its second anniversary by giving away 26,000 free doughnuts, delivered to your door. The food delivery service has teamed up with Krispy Kreme to ensure you're giving into your sweet tooth this weekend. In order to claim your free doughnuts, you just need to spend $10 or more at Krispy Kreme through DoorDash and you'll be rewarded with four free doughy treats. Delivery on all orders has been cut to $2 on Saturday, meaning you can nab a pair of coffees and four doughnuts for $12 or eight doughnuts for around $16. Of course, you could also just throw caution to the wind and order yourself a whole heap of Krispy Kreme knowing you'll be treated to a few extra doughnuts in your delivery bag. The deal is available until all 26,000 doughnuts are sold out so make sure you jump on the DoorDash app early on Saturday and get your order in.
Usually when you visit Japan — something that's now back on the agenda thanks to the country's newly reopened borders — you can't also enjoy a meal from one of Copenhagen's most acclaimed restaurants. But for ten weeks between March and May 2023, you'll be able to soak in the sights of Kyoto and eat dishes from René Redzepi's Noma, all courtesy of the latter's latest residency. That timing also coincides with cherry blossom season, so add all those gorgeous pink flowers to your itinerary, too. Every now and then — more often prior to the pandemic, obviously — Redzepi's globally renowned, three-Michelin-starred, five-time World's Best list-topping eatery hops around the planet, temporarily setting up shop in another city. It's done just that in Japan before, just in Tokyo; in Sydney as well; and in Tulum, Mexico. Who doesn't want to head to Japan more than once, though? The Kyoto residency will take place at Ace Hotel Kyoto, another outpost of the hotel chain that just opened its first Australian venue in Sydney earlier in 2022. The dates to pop in your diary: Wednesday, March 15–Saturday, May 20, with services running four days a week for lunch and dinner, once per day, between Wednesday–Saturday. [caption id="attachment_874227" align="alignnone" width="1920"] Yoshihiro Makino[/caption] "I believe Kyoto to be the birthplace of the western tasting menu, and it remains one of the most important cities through which to understand the fine dining scene today. Much of my own journey and inspiration can be boiled down to a handful of important moments, and going to Japan and Kyoto for the first time is one of them. We have always wanted to return and explore this region as a team," said Redzepi, announcing the pop-up. "We have been working on this specific project for the past two years, and we have had a team on the ground since late spring, foraging and researching what will form the foundation of our Kyoto menu. Our main inspiration comes from the very heart of Kyoto, the kaiseki cuisine, while not at all being a Japanese restaurant. We come to be inspired, to learn, to absorb new creative processes and to hopefully bring back new perspectives and a clearer vision for how to be Noma," Redzepi continued. In Ace Hotel Kyoto's 64-seat restaurant, Redzepi and his team will serve up a menu that highlights produce from the Kyoto region — and spring produce specifically, given that'll be the season in Japan at the time — with ingredients sourced from local farmers, hunters, fishmongers and foragers. Diners will pay €475 / around AU$745, for the menu — and there's an accompanying beverage option, with a choice of boozy and non-alcoholic drinks, for €300 / AU$ 470 per person. Then, there's a ten-percent service charge as well, and all costs have to be paid when you book. Yes, this is a true treat yo'self kind of experience. Reservations for meals only open at 11pm AEDT on Monday, November 7, and expect them to book out quick — Noma's pop-ups always do. Ace Hotel Kyoto is also doing meal-and-stay packages, so you don't have to travel far once you're finished feasting. They also aren't cheap, starting at ¥120,000 JPY / €846 / AU$1321 for two nights for two people. That price also includes a deluxe king room, free daily breakfast, an early check-in and late check-out, and two reservations at Noma's Kyoto residency — but the costs of the Noma meals and beverages will be separate. Wondering what else to do in Japan? Check out this Concrete Playground Trips package, which'll take you on a cultural tour from Kyoto to Tokyo. Noma's Kyoto residency will run from Wednesday, March 15–Saturday, May 20, 2023, at Ace Hotel Kyoto, 245-2 Kurumayacho, Nakagyo Ward, Kyoto, 604-8185, Japan. For more information, and to sign up to book reservations with room packages when they become available, head to the Ace Hotel Kyoto's website. For restaurant reservations only — which will become available from 11pm AEDT on Monday, November 7 — head to the Noma website to sign up for the restaurant's newsletter. René Redzepi / Noma images: Amy Tang. 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.
