If you're looking for a new swimming adventure by don't feel like searching for far-flung swimming holes, swing by the Ian Thorpe Aquatic Centre on Saturday, February 2. For one fun and floaty day, you'll be able to try every pool and a bunch of fitness classes without paying a cent. The 50-metre lap pool is not the only pool here — there's also a spa, a smaller leisure pool and another one for water-based fitness sessions and therapies. There's also a sauna and steam room, as well as a gym included in the $40 million centre's facilities. Plus, exercise classes — from aqua aerobics, yoga and pilates to boxing and cycling — take place daily. During open day, expect DJs, roaming musicians, giant inflatables, snacks and other shenanigans. If you're unfamiliar with the centre, take a tour. Maybe you'll want to make it your local place for laps.
For the entire glorious, autumnal month of April, the inner west's ravenous hordes will be just a hop, skip and a jump away from Josh Arthurs' extraordinary burgers. Yep, Burgers by Josh is taking over the kitchen at the Annandale Hotel for a whole four weeks. The event is a logical follow-up to the pub's two February Bush Burger pop-ups, which both sold out. Needless to say, the menu will be loaded with Josh's well-known creations, from the Fat Tony — a wagyu patty piled with provolone cheese, pickled Spanish onion and rocket — to the Infamous Primo, a wagyu pattie with American cheddar, house-made pickles, Thousand Island dressing, iceberg lettuce, beer battered onion rings and crispy American bacon, topped with a jalapeño popper. And, because it's a takeover, there'll be some extra additions in the form of weekend brunches. Expect breakfast burgers, peanut butter jelly toasties and more. Meanwhile, the hotel is developing a drinks menu designed to complement Josh's offerings. So gear up for all the big, fizzy, American flavours, from boozed milkshakes to spiked spiders. But if you're looking for some fruit at a burger pop-up at a pub, rest assured there'll be freshly squeezed juices too.
The Crown fans, it's time to say goodbye to the 20th century. You'll also be farewelling the show's leaps back several decades, too. When season six of Netflix's royal drama arrives later in 2023, the hit series will embrace the 21st century, including the early days of Prince William and Kate Middleton's relationship. Netflix has confirmed that The Crown will return this year for another dose of regal intrigue, although no exact release date has been announced. Based on past patterns, it's safe to expect it to arrive in November. For now, the streaming service has unveiled its first sneak peek at the next batch of episodes, however — images, not a trailer — which does indeed focus on the man currently second in line to the throne after Queen Elizabeth II's passing in 2022. Screen debutant Ed McVey takes on the role of Prince William, while newcomer Meg Bellamy will slip into Middleton's shoes. The Crown's sixth season will follow the IRL pair's first meeting at university in St Andrew's, starting the story that's played out in plenty of headlines and a ridiculous amount of worldwide media coverage since 2001. While everything that's popped up in the show draws its details from history — dramatised history, of course, but still history — this next instalment is bound to feel even more familiar. Getting closer to our current time will do that. When the series began, it kicked off with Queen Elizabeth II's life from her marriage to Prince Philip back in 1947. The first season made its way to the mid-50s, the second season leapt into the 60s, and season three spanned all the way up to the late 70s. In season four, the royal family hit the 80s, while season five covered the 90s. Just like in season five, Downton Abbey, Maleficent and Paddington star Imelda Staunton dons the titular headwear, while Game of Thrones and Tales from the Loop's Jonathan Pryce wears Prince Philip's shoes — and Princess Margaret is played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki returns as Princess Diana, with The Wire and The Pursuit of Love's Dominic West as Prince Charles. News around the show's fifth and sixth seasons has changed a few times over the past few years. At the beginning of 2020, Netflix announced that it would end the royal drama after its fifth season. Then, the streaming platform had a change of heart, revealing it would continue the series for a sixth season after all. There's no trailer yet for The Crown season six, but you can revisit season five's trailer below: The Crown's sixth season will hit Netflix sometime before 2023 is out — we'll update you with an exact release date when one is announced. Images: Keith Bernstein / Netflix
Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and one of 2023's gleaming streaming aces already. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her instantly recognisable (albeit sun-bleached here) locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives — not that she couldn't, or wouldn't nail it hands down. Streaming on Stan in Australia and TVNZ On Demand in New Zealand, Poker Face casts her as Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, four episodes of which arrive on Friday, January 27 with new chapters dropping weekly afterwards, Charlie is a human lie detector. She can instantly tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face's 1970s-inspired debut episode sets up three whys: why its charmingly wry and affably no-nonsense protagonist knows when anyone around her is fibbing, why the series itself follows her road-tripping across America in a rundown Plymouth Barracuda, and why an episodic array of murders in different places is in her future. Courtesy of her gift, she's soon fleeing casino boss Sterling Frost Sr (Ron Perlman, Guillermo del Toro's Pinocchio) and his enforcer Cliff Legrand (Benjamin Bratt, DMZ), then taking whichever odd jobs she can find from town to town. The show's second instalment sees her car break down, requiring a mechanic to patch it up — while its third takes her to a famed brisket barbecue business, and its fourth involves a hit 90s metal band attempting to reclaim past glories on tour. In Poker Face's fifth episode, an aged-care home is the scene of a crime. And in its sixth, two former TV co-stars bicker their way through a play until someone becomes a victim. "Why?" isn't just a question that Johnson — as Poker Face's creator, the writer and director of its first instalment, a helmer twice more, plus a scribe once again as well — has to establish, and fast. As Charlie notes about her preternatural ability, "the real trick of it is figuring out why: why somebody is lying". People spout fabrications and deceptions all day every single day, as she can't avoid everywhere she goes. Mostly, they're minor and have little impact on anyone else, Charlie advises. But it's the reasoning behind the bigger falsehoods that she's interested in. So, the show moves her from place to place, has her hear a lie just as a body shows up, then saddles her with puzzling out what's going on — and, yes, why. Poker Face doesn't hide its own formula, laying it bare from the outset. In its opening episode and all that follow, the focus initially sits with someone who isn't long for this world, their killer and the surrounding players. Viewers watch what happens to that chapter's fated person, scope out all the connected parties, then team up with Charlie — learning where she fits in and witnessing her getting to the bottom of the latest death. Poker Face's audience has the advantage of already seeing what occurred, of course. But, as it does for Charlie, the why still requires unravelling. Often she's putting together what viewers know, but adding further details or context, or seeing the various pieces from different angles. She's also openly calling bullshit frequently, with Lyonne uttering it as often and distinctively as she does "cockroaches" in Russian Doll. In the era of peak TV — peak streaming also — as populated by hook-heavy series demanding non-stop binges, Poker Face does something old-fashioned: it revels in its standalone chapters. Wanting to watch one after another after another is still the end result, but soaking in each mystery rather than constantly setting up the next twist is the show's main aim. Some elements bleed from one instalment to the next, as Charlie keeps trying to evade her pursuers. But for between 45–60 minutes per episode, there's a whodunnit to solve, a contained cast of players, and plenty of Lyonne being a sharp, droll and astute delight. Sometimes she's tasting pieces of wood, too, or calling a dog a fascist. In fact, in the same very episode that contains the timber chewing and canine altercations, she also introduces someone to Bong Joon-ho's Okja — because Poker Face's small joys are many. As comes with the case-of-the-week territory — see also: one of the all-timers in this genre, Law & Order — this series' sweet sleuthing baby is joined by a masterful cast of familiar guest stars. When Lyonne isn't squaring off against Adrien Brody (See How They Run), she's hanging out with The Menu's Hong Chau and Judith Light, or with Lil Rel Howery (Deep Water) and Danielle MacDonald (The Tourist). Her Russian Doll mother Chloë Sevigny (Bones and All) leads those aforementioned metal rockers, while Joseph Gordon-Levitt (Pinocchio), Ellen Barkin (Animal Kingdom), Nick Nolte (The Mandalorian), Cherry Jones (Succession), Jameela Jamil (She-Hulk: Attorney at Law) and newly minted Oscar-nominee Stephanie Hsu (Everything Everywhere All At Once) also feature. Throw in Johnson's own history with mysteries, hailing back to his stellar 2005 movie debut Brick and also including Looper, and Poker Face couldn't boast a better winning hand. Going all in for the series and its big bag of fun is the natural response. Check out the full trailer for Poker Face below: Poker Face streams from Friday, January 27 via Stan in Australia and TVNZ On Demand in New Zealand. Images: Peacock.
If you've been in the DIY-doldrums since Work-Shop disappeared from their Broadway premises, we’ve some excellent news for you. They’re back. And they haven’t merely moved. They’ve expanded their crafty crusade across two brand-new premises – The Makery, at 106 Oxford Street, Darlinghurst, and the official Work-Shop HQ, at 80 George Street, Redfern. The first is the creative’s ultimate shopfront. Every single item has been crafted by a local artist. Hand-poured soy candles with names like ‘black bamboo + lily’ and ‘black raspberry’ line the shelves. Dioramas in vintage tins hold impossibly tiny scenes of striped lighthouses and motorcyclists and families. Reflection-based photographic portraits of surfers shimmer on the wall. There are hand-blended teas, detailed jewellery, painted skateboards and individually designed garments. Here’s how it works. Independent artists, designers and artisans 'rent' one of the shop's display environments — be it a wall or corner or shelf — for a minimal weekly fee. That's where the vendor's costs end. The Work-Shop Makery facilitates sales, devoid of commission or mark-ups. It’s a chance for creative types to display their wares, without the expense of through-the-roof rent, the scariness of approaching galleries and/or the hassle of risking inclement weather at markets. Not only do they get their very own space, they can also take advantage of Work-Shop’s increasing popularity, marked social media presence and the sheer volume of foot traffic on Oxford Street. "We work with City of Sydney a fair bit and they approached us with the space," Work-Shop co-founder Matt Branagan explains. "We wanted to create a space where we could give young makers and designers and artists a proper shopfront. It’s also a grassroots place, where people can meet and connect.” At least once a week, The Makery hosts ‘Meet the Maker’ sessions. The ‘makers’ head into the shop and spend some time painting, sculpting, stitching or doing whatever it is that they do. Anyone can drop in for a chat. “We often go into a shop and buy things,” Matt says. “But we don’t know much about the process of how or why it was made.” Workshops are also planned, with 3D crochet happening on Saturday, February 8, and Knitting 101 for February 15. There’ll also be various parties, events and launches. Pozible is scheduled to pop-up for a week in March, and a bunch of Etsy vendors are planning on organising regular meet-ups. “We want to create a community of people, just sharing and bouncing off each other, meeting other people who inspire them to take their path in a different direction or help their business,” Matt explains. Meanwhile, the spacious 80 George Street site has been turned into the Work-Shop HQ. Forty-five people turned up on February 1 for the first Work-Shop — typography with Gemma O'Brien. All kinds of new classes are on the menu — hula hooping, African drumming, robotics, foraging and swing dancing — and, in about a month's time, a cafe will be in operation, serving caffeine hits from 6am. You can even get in on the action semi-permanently by renting your own deskspace. The Makery The Makery The Makery The Makery The Makery Work-Shop HQ Work-Shop HQ Work-Shop HQ Images by Lindsay Smith.
A major hotel rebrand and redesign has completed its first stage, as Courtyard by Marriott Sydney-North Ryde officially relaunches as Crowne Plaza Sydney Macquarie Park. Featuring a new guest experience, expect a host of modern updates – with more planned for the near future. More of a refresh than a revolution, this initial phase has seen rooms, various public spaces and the culinary offering given a thoughtful uplift. From the restaurant and bar to conference and event spaces, a light restoration has given these amenities a little more polish than before. Whether you're staying for work or leisure, a more refined experience awaits. The rooms have also received early enhancements like 55-inch Smart TVs, while organic and vegan skincare by Antipodes will soon be added to guest bathrooms. What comes next is more significant, with a second phase seeing guest rooms and public spaces transformed to reflect Crowne Plaza's upscale reputation. In the works is a complete makeover of the lobby and welcome area, with design changes bringing chic furnishings and a contemporary ambience. All 196 rooms will also undergo an update to create more comfortable and flexible accommodations, with both corporate types and holidaymakers in mind. Bistro, the on-site restaurant, hasn't been overlooked either. In the coming months, executive chef Sahil Sabhlok will unveil a gourmet dining experience, building upon the venue's modern-Australian cuisine. As a sneak peek, one dish on the menu is Sabhlok's signature slow-cooked beef short ribs with celeriac, pickled white onions and mustard. Now with sleeker decor and an al fresco dining area, Bistro will make for a refined feast. "This is an exciting time for the Crowne Plaza Sydney Macquarie Park as we start to welcome our first guests. Our vision for the hotel is to create a place that appeals not just to hotel guests, but also to the local community and business hubs in Sydney," says Crowne Plaza Sydney Macquarie Park hotel manager, Toby Paul. Making this aspiration a reality is undoubtedly possible considering the hotel's central location. Offering easy access to Sydney CBD, Sydney Olympic Park and Lane Cove National Park, the property is also easily within reach of several key business hubs, shopping destinations and outdoor attractions. In fact, Crowne Plaza Sydney Macquarie Park is just around the corner from the new Metro line, making a trip to the city a breeze. Crowne Plaza Sydney Macquarie Park is located at 7/11 Talavera Rd, North Ryde. Head to the website to find out more.
Darling Quarter is pulling out all the stops during this year's Vivid Sydney. As always, the creative festival has an unmissable program of cultural events — with free live music in Tumbalong Park and pop-up cabaret bars joining all the showstopping light installations it's known for. Taking it one step further is Sip & Savour on the Green, which brings alfresco market-style eats to the recently redeveloped Darling Quarter. Until Saturday, June 18, ambient strings of fairy lights, rows of hammocks and live entertainment join a lineup of some of Sydney's best street-food vendors. Just moments away from the CBD, Tumbalong Park and Darling Harbour, Darling Quarter is the ideal spot to meet and eat before you begin your Vivid Sydney explorations. Feel like dim sum? Head to Delight Asian Cuisine for its selection of small bites. There are shish kebabs and toasties from Pocket Rocketz and nachos for everyone — the carnivores, vegos, vegans and gluten-averse alike — from Agape Organic Food Truck. If you're in need of a sweet treat, nab yourself a hammock and delight in a Nutella crepe from French Kiss Creperie, or try a scoop of Bubble O'Vivid, the limited-edition strawberry bubblegum ice cream from Gelatissimo that's sure to deliver a scoop of nostalgia too. Plus, joining the lights, music and street eats is the House of Bombay Bar, a pop-up watering hole slinging gin-laced cocktails courtesy of Bombay Sapphire, Vivid Sydney and Darling Quarter. If you grab a seat inside the bar, you can enjoy a six-course street-food degustation for $60 too. This stellar event is just the beginning for the precinct, so keep your eyes peeled — there's a bevy of restaurants and bars set to open over the year ahead. Heading to Vivid Sydney? Make a beeline for Darling Quarter and dine under the stars at Sip & Savour on the Green.
Every tattoo tells a story, whether it's the sole piece of ink adorning a person's skin or one of many on someone whose body is a walking art gallery. That tale can span many things, including the design's meaning and significance, and also everything around making and creating it. Get a tatt while standing 268 metres above Sydney, however, and you'll have one helluva anecdote to tell. For one morning only, Sydney Tower Eye's SKYWALK is offering something more than stunning views high above the Harbour City: tattoos. Teaming up with reality TV favourites Bondi Ink, it's hosting the world's highest tattoo studio over a quarter of a kilometre above the ground, at a pop-up announced to mark World Tattoo Day. That occasion — because there's one for everything — falls on Tuesday, March 21 in 2023. But the sky-high inking will occur from 9–10.30am on Wednesday, April 5. And, to truly commemorate a pop-up tattoo parlour setting up shop at such lofty heights, the folks getting everlasting mementos will actually receive Sydney skyline-inspired tattoos. Given that Bondi Ink is only whipping out its machines for 90 minutes, only two people will be inked — and if you're keen, you'll need to hope that you're one of the lucky winners. To enter, hit up the Sydney Tower Eye website before 11.59pm AEDT on Monday, March 27, and explain both which part of your body you'd like your new tatt to decorate and why you're so eager. [caption id="attachment_782364" align="alignnone" width="1920"] Sander Dalhuisen[/caption] "I've tattooed for some interesting events in my time but being invited to create a design for 'The World's Highest Tattoo Studio' on the Sydney Tower Eye is pretty unique; I'm looking forward to it," said Chris Molt, a Bondi Ink artist known for his airbrush, fine line and script skills. "We're already spoilt with our view at Bondi Ink, but the crew loved seeing the whole city from up high on the SKYWALK. No better view to feed into our Sydney skyline tattoo-designing," shared his colleague and visual artist Cristina Martinez, who has a penchant for fine line, traditional and colour tatts. Whoever Chris and Cristina end up inking, they'll get a semi-realistic design representing the Sydney vista, and then take a victory stride on the SKYWALK afterwards. Sydney locals, this might be the ultimate way to show your love for your home town. Interstate visitors, this is quite the souvenir. And new ink with a view — and of a view — isn't in your future, you can nab a ticket to head up to the Sydney Tower Eye Observation Deck on the day from 9am to watch. Bondi Ink's 'World's Highest Tattoo Studio' will pop up on Sydney Tower Eye's SKYWALK from 9–10.30am on Wednesday, April 5. To enter the competition to get inked, hit up the Sydney Tower Eye website before 11.59pm AEDT on Monday, March 27. For tickets to watch, head to the same place.
When the cinema powers-that-be finally decided to turn long-running and immensely popular stage musical Cats into a movie, they probably felt like the cat who got the cream. But once the film actually came into existence — once its first trailer hit, really — they likely felt more like they'd made a huge mess in the litter box. Thanks to awful CGI, terrible performances and a completely silly concept that was never going to work going to work on the big screen, Cats doesn't equate to movie magic. It certainly doesn't ascend to cinema's Heaviside Layer, either. And now the Tom Hooper-directed flick has the industry's least-wanted gong to show for it, plus a few extra not-so-shiny trophies. From its nine nominations at this year's Golden Raspberry Awards — the event's 40th ceremony — the musical picked up six prizes, including Worst Picture of the past 12 months. The Razzies also coughed awards Cats' way for Rebel Wilson for Worst Supporting Actress, James Corden for Worst Supporting Actor, Tom Hooper for Worst Director, and both Hooper his co-writer Lee Hall for Worst Screenplay. As for the singing moggy-focused movie's sixth gong, it was given for Worst Screen Combo for "any two half-feline/half-human hairballs/cats". Also recognised were John Travolta for Worst Actor for both Trading Paint and the Fred Durst (yes, that one)-directed The Fanatic; plus Hilary Duff for Worst Actress for The Haunting of Sharon Tate — none of which hit cinemas Down Under. Rambo: Last Blood picked up the award for Worst Remake, Rip-Off or Sequel, as well as another in the new category for 2019: Worst Regard Disregard for Human Life and Public Property. https://www.youtube.com/watch?v=Ws1YIKsuTjQ The Razzies doesn't just point out everything terrible in cinema from the past year — it also gives a Redeemer Award, too. Someone who once won a Golden Raspberry gets a prize for turning things around, and this year that that someone is Eddie Murphy. He's a Razzie favourite, winning Worst Screenplay in 1990 for Harlem Nights; Worst Actor, Worst Supporting Actress and Worst Supporting Actor for Norbit; and Worst Actor of the Decade in 2010 for The Adventures of Pluto Nash, I Spy, Imagine That, Meet Dave, Norbit and Showtime. Now, he has the Redeemer Award for his excellent performance in Dolemite Is My Name as well. Check out the full list of nominees and winners below: GOLDEN RASPBERRY NOMINEES AND WINNERS 2019: WORST PICTURE Cats The Fanatic The Haunting of Sharon Tate A Madea Family Funeral Rambo: Last Blood WORST ACTOR James Franco, Zeroville David Harbour, Hellboy (2019) Matthew McConaughey, Serenity Sylvester Stallone, Rambo: Last Blood John Travolta, The Fanatic and Trading Paint WORST ACTRESS Hilary Duff, The Haunting of Sharon Tate Anne Hathaway, The Hustle and Serenity Francesca Hayward, Cats Tyler Perry (as Medea), A Madea Family Funeral Rebel Wilson, The Hustle WORST SUPPORTING ACTOR James Corden, Cats Tyler Perry (as Joe), A Madea Family Funeral Tyler Perry (as Uncle Heathrow), A Madea Family Funeral Seth Rogan, Zeroville Bruce Willis, Glass WORST SUPPORTING ACTRESS Jessica Chastain, X-Men: Dark Phoenix Cassi Davis, A Madea Family Funeral Judi Dench, Cats Fenessa Pineda, Rambo: First Blood Rebel Wilson, Cats WORST SCREEN COMBO Any two half-feline/half-human hairballs in Cats Jason Derulo and his CGI-neutered "bulge" in Cats Tyler Perry and Tyler Perry (or Tyler Perry) in A Madea Family Funeral Sylvester Stallone and his impotent rage in Rambo: First Blood John Travolta and any screenplay he accepts WORST DIRECTOR Fred Durst, The Fanatic James Franco, Zeroville Adrian Grunberg, Rambo: First Blood Tom Hooper, Cats Neil Marshall, Hellboy (2019) WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL X-Men: Dark Phoenix Godzilla: King of the Monsters Hellboy (2019) A Madea Family Funeral Rambo: First Blood WORST SCREENPLAY Cats, screenplay by Lee Hall and Tom Hooper The Haunting of Sharon Tate, written by Daniel Farrands Hellboy (2019), screenplay by Andrew Cosby A Madea Family Funeral, written by Tyler Perry Rambo: First Blood, screenplay by Matthew Cirulnick and Sylvester Stallone WORST RECKLESS DISREGARD FOR HUMAN LIFE AND PUBLIC PROPERTY Dragged Across Concrete The Haunting of Sharon Tate Hellboy (2019) Joker Rambo: First Blood RAZZIE REDEEMER AWARD Eddie Murphy, Dolemite Is My Name Keanu Reeves, John Wick: Chapter 3 — Parabellum and Toy Story 4 Adam Sandler, Uncut Gems Jennifer Lopez, Hustlers Will Smith, Aladdin
There are markets, and then there are markets. And The Market Tales, a brand new two-day event at Precinct 75 in St Peters, is taking the word market to a whole new galaxy of potential. Hitting the precinct — which houses various food outlets, design showrooms and even its own micro-brewery — on Saturday, May 20 and Sunday, May 21, the new market is set to bring you a cornucopia of deliciousness and design for your mouth, eyes and ears. The food offering is particularly impressive. Taking care of the food will be some of the inner west's finest eateries: Continental Deli, Cornersmith, Black Star Pastry, and Cairo Takeaway. Meanwhile, in an alleyway dedicated to alcohol, you'll find new Darlinghurst bar Johnny Fishbone, Young Henry's, Archie Rose and Precinct 75's own Urban Winery. In between sipping and sampling, check out an array of creations from over 60 makers and merchants, including Atolyia, the Design Twins and Society Inc. Expect homewares, furniture, fashion, jewellery, art and more. All these pleasures will be soundtracked with live music, provided by acoustic acts. And, if you want to get in on the action, you can take part in a workshop or two, from candle making to bread baking. The market will run from 10.30am till 4.30pm each day, it's cash-only and entry is $2.
Need some respite from the CBD hustle and bustle? Spend some time exploring the historic terrace-lined streets of Glebe. This endearing 'burb perched on the glistening harbour foreshore presents a tight-knit community charm you might not expect from such an inner city neighbourhood. You'll likely be met by shopkeepers who have been serving the village for decades, so have your best banter ready to rumble and learn about the colourful human histories of the area with each encounter. In partnership with American Express, we've found a joint that'll sort you out whatever occasion brings you to Glebe — from a gift-hunting expedition to a night out with old friends.
Nearly two decades have passed since a pair of Melbourne talents made a low-budget horror flick that became a franchise-starting smash, sparking their Hollywood careers. Thanks to Saw, James Wan and Leigh Whannell experienced every aspiring filmmaker's absolute fantasy — a dream they're still living now, albeit increasingly on separate paths. Wan's latest, Malignant, is firmly grounded in those horror roots, however. Most of the Insidious and The Conjuring director's resume has been, aside from recent action-blockbuster detours to Fast and Furious 7, Aquaman and the latter's upcoming sequel. With Malignant, though, he shows how strongly he remains on the same page as his former collaborator. Anyone who's seen Whannell's excellent Upgrade and The Invisible Man will spot the parallels, in fact, even if Malignant is the far schlockier of the three. Malignant is also an exercise in patience, because plenty about its first half takes its time — and, when that's the case, the audience feels every drawn-out second. But after Wan shifts from slow setup mode to embracing quite the outrageous and entertainingly handled twist, his film swiftly becomes a devilish delight. Heavily indebted to the 70s-era works of giallo master Dario Argento, David Cronenberg's body-horror greats and 80s scary movies in general, Malignant uses its influences as fuel for big-swinging, batshit-level outlandishness. Most flicks can't segue from a slog to a B-movie gem. Most films can't be saved by going so berserk, either. Wan's tenth stint behind the lens can and does, and leaves a limb-thrashing, blood-splattering, gleefully chaotic imprint. Perhaps it's a case of like name, like approach; tumours can grow gradually, then make their havoc felt. Regardless, it doesn't take long within Malignant for Dr Florence Weaver (Jacqueline McKenzie, Miss Fisher and the Crypt of Tears) to proclaim that "it's time to cut out the cancer" while treating a locked-up patient in the film's 1992-set prologue. This is a horror movie, so that whole event doesn't turn out well, naturally. Jump forward a few decades, and the feature's focus is now Seattle resident Madison Mitchell (Annabelle Wallis, Boss Level), who is hoping to carry her latest pregnancy with her abusive husband to term. But then his violent temper erupts again, she receives a head injury, and childhood memories start mixing with visions of gruesome killings linked to Dr Weaver's eerie hospital — visions that Madison sees as the murders occur. Bearing telepathic witness to horrific deaths is an intriguing concept, although hardly a new one — and, that aforementioned first scene aside, it's also the most interesting part of Malignant's opening half. Wan and screenwriter Akela Cooper (Grimm, The 100) play it all straight and obvious, including when the cops (Containment's George Young and Songbird's Michole Briana White) are skeptical about Madison's claims. That leaves only her younger sister Sydney (Maddie Hasson, Mr Mercedes) believing what's going on, and leaves the movie a plodding psychological-meets-supernatural thriller predicated upon routinely predictable but improbable character decisions. It makes the second half feel positively electrifying in contrast, when the big shift in tone comes, but also makes viewers wonder what might've been if that lurid look and kinetic feel had been present the whole way through. When the change arrives — with exactly why and how clearly one of those horror-movie details best discovered by watching — Malignant proves deliriously riveting. It sports a creepy yet slinky vibe, as well as a surging and hypnotic sense of physicality, all attuned to an inventive revelation that's all its own. The script's huge surprise isn't actually hard to pick, but Wan's execution is masterful and mesmerising. Here, the film becomes gloriously slick and pulpy, instead of relying upon the usual gradual zoom-in shots or sticking with an almost-house style (cinematographer Michael Burgess also lensed the Wan-produced Annabelle Comes Home, The Curse of the Weeping Woman and The Conjuring: The Devil Made Me Do It). It also evolves from a formulaically jangling score and soundscape to one with nervy purpose, embraces the kind of ridiculousness that'd be downright silly if it wasn't so well done, and adds a fresh sense of spirit to the possession-fuelled side of the genre. Wan has rarely made dull movies, after all, which is another reason that Malignant's long-gestating first section feels like a drag. Indeed, when the sagas his movies have sparked have been at their most generic, he hasn't been at the helm. That said, the fact that Malignant truly needs to grow on its audience, that it's firmly a picture of two halves, and that it starts with the unrestrained, lets it fall away, then sneaks up on the unsuspecting — that really couldn't be more apt once the film spills its narrative secrets. While Malignant isn't a character study by any means, Wallis breathes as much depth as she can into Madison in the movie's flatter half — and, in her third appearance in a Wan-related flick after The Conjuring spinoffs Annabelle and Annabelle: Creation, commits to the lunacy when it hits. Her co-stars have a much more standard time, including acclaimed stuntperson and Quentin Tarantino regular Zoe Bell (Once Upon a Time in Hollywood) in a brief appearance, but this isn't a performance-driven film, either. It also isn't all that scary. Although Malignant can be sublimely off-kilter, that isn't the same eliciting genuine bumps and jumps. Still, when a horror flick shocks, delights and takes viewers on the type of wild and audacious ride that Malignant eventually serves up, it stands out. And yes, like much of Wan's work, it'll undoubtedly spawn a franchise.
On a hot summer's day, a sweet frozen treat will always hit the spot. A new brand has just launched in Australia that's providing a dairy-free solution to your sweet summer cravings. Originating in Thailand, Buono has created 100 percent plant-based frozen desserts that are vegan, gluten-free and contain no artificial colours or flavours. Buono has two types of frozen treats available in Australia currently. The first, Buono Boru Boru, is a tub of bubble tea-inspired ice cream. It's vegan, of course, made using coconut milk and containing flavour-filled balls reminiscent of the those you get in bubble tea. The Buono Boru Boru comes in two different flavours: classic Thai tea and genmaicha, which combines the flavours of green tea and roasted rice. The second range of dessert goodness Buono has created are called Mochi Ice. Made with coconut milk, these ice cream-filled mochi balls are a great bite-sized snack, but, be warned, you might find yourself returning to your freezer multiple times a day to grab one. They come in a range of flavours including strawberry, black sesame, vanilla, mango, coconut, chocolate and Japanese green tea. If you find yourself craving a cold creamy treat this summer, the Buono range is available at Coles and Woolworths stores nationally — and can be delivered to your door via Coles Online. Buono's range of plant-based desserts are available to order online or at select Coles, Woolworths and specialty stores nationwide. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
UPDATE SEPTEMBER 21, 2018: It has been announced that Gould's Book Arcade is not gone for good — it will be reopening at a new location at 536 King Street. So, while its whole book collection is not up for grabs, it will be seriously downsizing. After more than 50 years — and almost 30 years on King Street — Gould's Book Arcade closed its doors in August. While we're mourning the loss of the literary institution, where many a Sydney Uni student spent many a night immersed in a maze of ancient titles, it's not all doom and gloom. Firstly, Commune — an organisation dedicated to the provision of low-cost spaces for creatives and communities — is taking over, so the building won't be turned in to a towering apartment block. Secondly, before setting up, Commune is hosting Booktown — an epic sale of books, records and comics. Yep, what remains of Gould's legendary collection is up for grabs, with single books starting at $1 and boxes from $10. You can also snag records for $5 a pop. Having kicked off on Monday, September 17, the event will continue until Sunday, September 30. And all proceeds will go towards restoring the building. Books, Records and Comics Sale will be open from 11am–7pm daily.
Whims can get a wee bit specific. Want a big street art show? Free? On an Island? Done. Big, free and on Cockatoo Island, the five week Outpost festival offers a changing roster of street art, artists and entertainment to keep you ferrying out for a fresh look. Though some arms of government use graffiti sites to arm their arrest warrants, this one using its internet savy to fill the island with a flow of interstate and overseas talent. The lineup would be dominated by Aussie luminaries like Meggs, May's Lane and Reka, if it wasn't already overshadowed by work from international stencil superstar Banksy. The Banksy stuff is mainly from a private collection, but the equally big Belgian muralist Roa will show up in person (Qantas shenanigans allowing) to paint a gargantuan animal over an island wall the weekend of November 4-5. Will Coles' work will be on show, his concrete graffiti a staple of Newtown streets, as well as fellow Newtown star Mox, the Kirbyesque Zap and Melbournian maestras Vextra and Deb. Saturdays during the festival, Secret Wars will host art battles, while Shadow Wars hosts a one off battle of dance and Skateboard Australia presents a grand final. You can also check out Brazilian import Ethos blowing up his sketches up from the tiny to the huge, after Buff Diss taking his turn to spend a week to do interesting things with masking tape. Image of Roa's Rodent by visualpun.ch
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from September's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL HEARTBREAK HIGH Teen-focused dramas always reflect the generation they're made for, and returning Australian favourite Heartbreak High is no different. Today's high school-set shows often come with more than a few nods backwards as well, though. Just like Beverly Hills, 90210, Saved by the Bell and Gossip Girl before it — like Degrassi's multiple go-arounds across more than four decades now, including a new take that's set to land in 2023 — Heartbreak High 2.0 knows it has a history and doesn't dream of pretending otherwise. 90s worship is in fashion anyway, so all those Doc Martens, nose rings, baggy jeans, slip dresses and oversized band t-shirts not only could've adorned the initial show's cast. As this revival returns to what worked so well the first time around, takes a few cues from Euphoria, Sex Education and Never Have I Ever as well, and finds its own intensity, that blast-from-the-past aesthetic proves a natural fit. Sporting such decade-crossing attire is a fresh-faced — and fresh-to-the-franchise — cohort of Hartley High students. The years and teens have changed, but the location, like plenty of the outfits, remains the same. When the eight-episode new season begins, Amerie (Ayesha Madon, The Moth Effect) and Harper (Asher Yasbincek, How to Please a Woman) are life-long best friends, but their sudden rift after a drunken night at a music festival changes everything. Amerie doesn't know why Harper has suddenly shaved her head, let alone cut all ties with her. She's just as shocked when the mural they've graffitied in an unused school stairwell, chronicling who's dated, had a crush on and slept with who among the year 11s, is scandalously outed. And their classmates, including the non-binary Darren (screen first-timer James Majoos), their bestie Quinni (Chloe Hayden, Jeremy the Dud), heartthrob Dusty (Josh Heuston, Thor: Love and Thunder), his smug pal Spider (Bryn Chapman Parish, Mr Inbetween), mullet-wearing food delivery driver Ca$h (Will McDonald, Home and Away), and Bundjalung basketballer Malakai (Thomas, Troppo), all get drawn into the resulting (and immediately easy-to-binge) chaos. Heartbreak High streams via Netflix. Read our full review. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder. RAMY In the dramedy that bears his name, Ramy Youssef (Don't Worry, He Won't Get Far on Foot) is a quintuple threat. He created Ramy, plays Ramy, executive produces, and also frequently writes and directs — and, in a show about a Queens-born first-generation American Muslim raised in New Jersey to Egyptian parents, as Youssef himself is, there's no doubting that the stories he's telling are personal. There's a difference between bringing your own exact existence to the screen and conveying the truth behind your experiences, however, with Ramy falling into the second category as it charts its eponymous figure's struggles as his faith conflicts with his lifestyle. Since its first season in 2019, the series has always been so deeply steeped in the lived reality of feeling torn between two cultures, and so specific in its details, too. And yet, it's also so universal and relatable in its emotions and insights. None of the above changes in season three, welcomely so, in what's one of Ramy's finest moments yet. In this ten-episode third run, the lives of Ramy and his loved ones are rarely blessed with fine moments — and Ramy Hassan, Youssef's on-screen alter-ego, keeps threatening his own heart, mind and soul with his choices. Season two ended with a short-lived marriage and the fallout still lingers, but Ramy has thrown himself into making his Uncle Naseem's (Laith Nakli, Ms Marvel) diamond business a success as a distraction. He has money, his own place and, soon, his own jewellery outfit, although that doesn't herald happiness. For his sister Dena (May Calamawy, Moon Knight), nor has striving hard to take the bar exam, especially when her parents Maysa (Hiam Abbass, Succession) and Farouk (Amr Waked, Wonder Woman 1984) are open about how differently they see her and her future to Ramy. As the elder Hassans also grapple with Farouk being out of work, plus decades of feeling like they're treading water, Ramy remains a stunningly perceptive and engaging exploration of the battle to remain true to oneself — and one's hopes, dreams and religion — while also proving a rich, poignant and devastatingly well-acted comedy. May more come. Ramy streams via Stan from Friday, September 30. DO REVENGE Sequels aren't the only way to get nostalgic, or to thrust a beloved old-school film — or several — into the now. A high school-set comedy about exactly what it's moniker describes, Do Revenge joins Heathers, The Craft, Jawbreaker and Jennifer's Body in charting teens chasing vengeance. Mean girls abound, too, and when 'Kids in America' starts playing, it's a Betty of a Clueless nod (and just one of many, including pastel uniforms that could've been pulled out of Cher Horowitz's computerised wardrobe). Casting Sarah Michelle Gellar as the principal and dropping 'Praise You'? The Cruel Intentions winks keep thrilling like a young Ryan Phillippe. The list goes on, to the never-grow-up delight of, well, everyone — because writer/director Jennifer Kaytin Robinson (Someone Great) and co-scribe Celeste Ballard (Space Jam: A New Legacy) clearly know and love the type of movie they're making as much as the rest of us. Unleashing more references than a school library doesn't always play well — in the latest Scream movie, it gets repetitive and fast; in whodunnit parody-slash-homage See How They Run, it's a touch too clever-clever — but Do Revenge radiates pure fun and affection. At its centre: queen bee Drea (Camila Mendes, Riverdale), who climbed her exclusive private school's social ladder, hid her modest background and dated the dream boy Max (Austin Abrams, Euphoria) until a sex scandal tarnishes her reputation. With newcomer Eleanor (Maya Hawke, Stranger Things), who also has her own grudge against one of their classmates, she hatches a Stranger on a Train-esque plan: they'll avenge each other's wrongs and bring down their respective tormentors. Robinson and Ballard have a ball getting savage yet sweet, as does a cast that also includes Game of Thrones' Sophie Turner, 13 Reasons Why's Alisha Boe and Ms Marvel's Rish Shah — and devilish twists come with the self-aware fandom. Do Revenge streams via Netflix. HOCUS POCUS 2 Twist the bones and bend the back, Hocus Pocus has returned for another horror-comedy attack — and there's no doubting that this 29-years-later sequel adores its predecessor. Disney loves reviving and extending its popular past hits, whether as new remakes, followups or ever-sprawling franchises. In the majority of cases, it's committed to sticking to the same already-winning formula, too. So, pushing the cackling Sanderson sisters to the fore again, Hocus Pocus 2 unsurprisingly doesn't overly mess with the tried-and-tested template. Once again starring Bette Midler (The Addams Family 2), Sarah Jessica Parker (And Just Like That...) and Kathy Najimy (Music), it's another family-friendly tale of Salem witches trying to eat children to remain alive and youthful forever. And, it doubles down on everything that the Mouse House thinks made the OG flick such a beloved 90s favourite to begin with — more songs, more OTT siblings, more teens trying to foil their plans to run amok, amok, amok and more Massachusetts-set mayhem, namely That means that Hocus Pocus 2 plays like a greatest-hits do-over as much as a second effort. New movie, same setup, a few fresh faces and an obvious yearning to keep the saga's black flame candle burning: that's director Anne Fletcher (Hot Pursuit) and screenwriter Jen D'Angelo's (Young Rock) film. After adding an origin story for Winnie (Midler), Mary (Najimy) and Sarah (Parker), as well as Billy Butcherson (Doug Jones, What We Do in the Shadows), they're all unleashed upon modern-day Salem by 16-year-old Becca (Whitney Peak, Gossip Girl), her best friend Izzy (Belissa Escobedo, Sex Appeal) and magic shop owner Gilbert (Sam Richardson, The Afterparty) — and nostalgically entertaining hijinks ensue. Hocus Pocus 2 isn't subtle or restrained, or keen to do much more than worship its predecessor, but spells do work more than once. Hocus Pocus 2 streams via Disney+ from Friday, September 30. BLONDE Usually when a film leaves you wondering how it might've turned out in other hands, that isn't a great sign — but Blonde, the years-in-the-making adaptation of Joyce Carol Oates' fictionalised Marilyn Monroe biography of the same name, demands a watch. It's a fascinating movie, including for what works astoundingly well and what definitely doesn't. In the first category: Ana de Armas (The Gray Man) as Norma Jeane Mortenson, the woman who'd become not just a star and a sensation during her life, but an icon across the six decades since. Also exceptional: the almost-uncanny recreations of oh-so-many images that captured Mortensen/Monroe, including a plethora that are iconic themselves. In the second camp, however, falls Blonde's decision to filter its central figure's story through her death, as though that was the most important thing about her — and that it was inevitable. No one ever wants to be defined by one thing. Monroe certainly didn't, as Blonde itself depicts. She fiercely yearned to be known as more than a sex symbol who drew crowds to cinemas and attracted intense media interest — but being objectified was a part of her Hollywood experience, including here from the moment that a first studio meeting ends horrifically. As written and directed by Australian filmmaker Andrew Dominik, in his latest feature to unpack larger-than-life true tales after Chopper and The Assassination of Jesse James by the Coward Robert Ford, Blonde reductively sees that awful treatment, her childhood struggles, her tumultuous marriages and romances, her miscarried or aborted pregnancies, and her late-career on-set antics as all leading to the conclusion that's long been a matter of history. Far more engrossing is the movie's efforts to unpack the truth and pain behind all of Monroe's career-defining images, and to plunge the audience into a fraught headspace with her — and that soulful and phenomenal lead performance. Blonde streams via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK LOS ESPOOKYS In the US, it was one of the best new shows of 2019. In Australia, thanks to a hefty delay in bringing it to our screens, it earned that distinction in 2021. The one silver lining for the latter? The gap between Los Espookys' first season and its second has proven much shorter Down Under — but more of this Spanish-language HBO comedy was always going to be worth the wait. The premise is a gem; the cast is a delight; the cavalcade of horror references is so savvily worked in that it almost puts every other winking, nodding, nudging show or movie to shame; and there remains nothing else on television or streaming like it. Sharp, witty, absurd, affectionate, insightful, charming, oh-so-distinctive, perhaps the best unofficial (and unrelated) successor to The Mighty Boosh yet: that's Los Espookys again and again, even more so in season two, although it's also a must-see that's best experienced rather than described. The same rings true for the Los Espookys gang and their business: horror IRL. It genuinely is a business for genre devotee Renaldo (Bernardo Velasco, Museo) and his pals Andrés (Julio Torres, Shrill), Úrsula (Cassandra Ciangherotti, This Is Not a Comedy) and Tati (Ana Fabrega, Father of the Bride), turning a passion into a line of work with a steady-enough list of customers. In an always-unpredictable affair co-created by Torres, Fabrega and Our Flag Means Death's Fred Armisen, the group stages spooky setups for folks willing to pay — gloriously outlandish and OTT scenarios, always with a tactile and DIY feel, resulting in both impressive and hilarious outcomes. Those installations keep coming, and so does both personal and interpersonal chaos for the crew (plus Renaldo's parking valet uncle Tico, as played by Armisen), particularly after Tati can't quite adjust to marriage, Andrés navigates life beyond the luxury he grew up in, Renaldo keeps being haunted and Úrsula tries to fend off persistent TV offers. Los Espookys streams via Binge. THE LORD OF THE RINGS: THE RINGS OF POWER Like knowing that House of the Dragon was coming, and winter as well, it's been impossible to avoid news about The Lord of the Rings: The Rings of Power. The stunning-looking series has been in the works for five years, and is already locked in for five seasons, all jumping back to Middle-earth's Second Age. That's a period of elves, men, dwarves and harfoots — precursors to hobbits — and of the lurking evil of Sauron, plus orcs, trolls and more. It's also when the titular jewellery is forged. On the page, it's largely been covered in an appendix to Tolkien's Lord of the Rings books, taking this new series into previously unseen on-screen territory. And, as The Rings of Power focuses on, it's where Galadriel and Elrond's tales truly kicked in, with Morfydd Clark (Saint Maud) taking over from Cate Blanchett and Robert Aramayo (The King's Man) doing the same for Hugo Weaving, with their characters thousands of years younger. The young Galadriel narrates The Rings of Power's explanatory introduction, setting the scene for the show's fight against Sauron — and slowly putting the pieces in place for the compilation of a fellowship to do so. She tells of the dark lord Morgoth and his defeat in wide-ranging wars. She notes that the elf Finrod (Will Fletcher, The Road Dance) was convinced that Sauron, Morgoth's apprentice, still lingered afterwards. And she advises that such a belief and the search to prove it right cost Finrod, her brother, his life. Alas, during relative peace, as Middle-earth has been under since Morgoth was vanquished, isn't a prime time to take up that fight. But she's still scouring far and wide for Sauron, even if High King Gil-galad of the Elves (Benjamin Walker, The Ice Road) wants to bathe her in glory for past victories instead. If that's the path she took, there wouldn't be much of a series — and that's just the start of a thrilling show that also spends time with the dwarves of Khazad-dum, fellow elf Arondir (Ismael Cruz Córdova, The Undoing) among the humans, and harfoot Nori Brandyfoot (Markella Kavanagh, True History of the Kelly Gang) and her fellow diminutive creatures. The Lord of the Rings: The Rings of Power streams via Prime Video. Read our full review. ANDOR When it arrived in 2016 between Star Wars: Episode VII — The Force Awakens and Star Wars: Episode VIII — The Last Jedi, Rogue One: A Star Wars sent a message in its own spy-slash-heist flick way: it wouldn't be slavishly beholden to the Star Wars franchise's established and beloved universe. It felt earthier and murkier, more urgent and complicated, and far more steeped in everyday reality — within its science-fiction confines, of course — and more concerned with the here and now of its specific narrative than the bigger saga picture. It was certainly and unshakeably bleaker, and felt like a departure from the usual template, as well as a welcome risk. The same proves true of impressive streaming prequel Andor, which slips into its namesake's routine five years prior. The Galactic Empire reigns supreme, the Rebel Alliance is still forming and, when the series opens, Cassian (the returning Diego Luna, If Beale Street Could Talk) is a wily thief living on the junkyard planet of Ferrix. A Blade Runner-esque sheen hovers over a different place, however: the industrial-heavy, corporate-controlled Morlana One, which couldn't be further under the boot of the Empire if it tried. As Monos-style flashbacks to Cassian's childhood aid in fleshing out, he's searching for his sister, but his latest investigatory trip results in a confrontation and the Preox-Morlana Authority on his trail. Back on Ferrix, he endeavours to hide with the help of his friend/presumed ex/mechanic/black-market dealer Bix Caleen (Adria Arjona, Morbius) and droid B2EMO (Dave Chapman, Star Wars: Episode IX — The Rise of Skywalker), while keeping his latest antics a secret from his adoptive mother Maarva (Fiona Shaw, Killing Eve). But, even after being told to drop the case, persistent Imperial Deputy Inspector Syril Karn (Kyle Soller, Poldark) and higher-ranking officer Dedra Meero (Denise Gough, Under the Banner of Heaven) aren't willing to give up. Andor streams via Disney+. Read our full review. ATLANTA You can't escape yourself. As Atlanta sent Earnest 'Earn' Marks (Donald Glover, Guava Island), his cousin and rapper Alfred 'Paper Boi' Miles (Brian Tyree Henry, Bullet Train), their Nigerian American pal Darius (Lakeith Stanfield, Judas and the Black Messiah) and Earn's ex Vanessa (Zazie Beetz, also Bullet Train) around Europe in the show's third season earlier in 2022, that truth became inescapable, too. Hopping everywhere from Amsterdam to Paris and London, the group saw the daily reality of being Black Americans linger with them at every destination — and their personal ups and downs as well — no matter how wild, weird, bleak or hopeful the circumstances they were in. Arriving mere months later, season four kicks off by also exploring that point, including in a debut episode that sees Atlanta, the city, haunt the show's main players. They're back home and there's no way they couldn't know it, whether they're on scavenger hunts, stuck in carparks or being chased. Just a handful of episodes in, Atlanta's fourth season also examines another truth that's always sat at the core of the show: that for better and for worse, there's no place like home. That applies to the physical location, but also to the homes we make with other people — family, friends and everything in-between. Earn and Van gravitate closer together, but their relationship has always ebbed and flowed. Al keeps pondering what success really means, too. In the process, Glover's superbly smart, blistering and often-surreal unpacking of race relations lays bare the nation it usually calls home, as it did so incisively in its first two seasons, while never failing to challenge, surprise and swing big. That the show's final season also clearly muses on legacies obviously couldn't be more fitting; however it ends, no doubt in a thoroughly unpredictable and yet also ridiculously apt way, it'll always be a great on Glover, Henry, Stanfield and Beetz's resumes. Atlanta streams via SBS On Demand. THE PATIENT In one of 2022's new streaming standouts, Bad Sisters, Brian Gleeson tries to get to the bottom of a suspicious death. In another, The Patient, Domhnall Gleeson plays a serial killer. The two shows have more differences than commonalities, but it's clearly a great time for the Frank of Ireland-co-starring Gleeson brothers and twisty tales about crime. For Run's Domhnall, he co-leads a show about a murderer who enlists a therapist to try to stop his homicidal urges. Sam Fortner does indeed sit in Alan Strauss' (Steve Carell, Minions: The Rise of Gru) office and seek his help, but as well as hiding his eyes and face behind sunglasses, he keeps his real name, the bulk of his personal details and bloody pastime to himself. It's only after Strauss wakes up chained in Fortner's house that the latter feels comfortable enough to come clean and truly ask for assistance, albeit under terrifying circumstances for his captive. Domhnall Gleeson's on-screen resume isn't short on highlights, including Ex Machina and Brooklyn. Carell's has blatantly boasted many, spanning both comedies (Anchorman: The Legend of Ron Burgundy and The Office, obviously) and dramas (including his Oscar-nominated work in Foxcatcher). Accordingly, it should astonish no one that they're both instantly gripping in The Patient, as their characters bounce off of each other in inherently grim circumstances; however, they're each also in career-best form. The psychological-thriller series works as two commanding, textured and high-stakes character studies as Fortner demands Strauss' professional best, and ensures he isn't capable of refusing — and works through their respective baggage cat-and-mouse-style from there. In fact, it hits its marks so well that the show's concise format (each episode clocks in at between 20–25 minutes) keeps viewers wanting more. The Patient streams via Disney+. RICK AND MORTY The longer that Rick and Morty continues, the more it galaxy- and time-hopping mayhem it slings at the screen, aka whatever out-there sci-fi situations that creators Justin Roiland (Solar Opposites) and Dan Harmon (Community) can conjure up. But the more that this Back to the Future-inspired animated hit continues, too, the more that it proves a tragedy about choices made and not — and how even having all the science-fiction gadgetry in this and every other world and dimension can't make everything perfect always, because that's just not human (or alien, animal or Birdperson) nature. Season six of the series was always going to get contemplative given how the past season ended, of course, and because that's been baked into the show since day one. Still, the oft-quoted "wubba lubba dub dub" feels particularly weighty this time around, considering what it really means: "I am in great pain, please help me". Rick Sanchez (voiced by Roiland) has been saved, but that initially tears the Smith family apart — by now, they know (and we know) that Rick and his daughter Beth (Sarah Chalke, Firefly Lane), son-in-law Jerry (Chris Parnell, Archer), grandson Morty (also Roiland) and granddaughter Summer (Spencer Grammer, Tell Me a Story) aren't quite the versions of themselves they once were. Also part of the season's first few episodes: Beth getting close to Space Beth, also with consequences throughout her household; exploring what it means to offload parts of your life you're not happy with; and a good ol'-fashioned "yippee ki-yay!"-shouting Die Hard parody. In other words, it's all quintessential Rick and Morty, just getting deeper with each new run of episodes. Naturally, when Peter Dinklage (Cyrano) voices an alien equivalent of Hans Gruber, it's gold, and yet another classic Rick and Morty moment. Rick and Morty streams via Netflix. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July and August this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows and best 15 straight-to-streaming movies.
Another Paul Schrader film, another lonely man thrust under a magnifying glass as he wrestles with the world, his place in it and his sense of morality. The acclaimed filmmaker has filled the screen with such characters and stories for more than half a century — intense tales of men who would not take it anymore — as evidenced in his screenplays for Martin Scorsese's brilliant Taxi Driver and Bringing Out the Dead, and also in his own directorial efforts such as Light Sleeper and First Reformed. You can't accuse Schrader of always making the same movie, however, as much as his work repeatedly bets on the same ideas. Instead, his films feel like cards from the same deck. Each time he deals one out, it becomes part of its own hand, as gambling drama The Card Counter demonstrates with potency, smarts and a gripping search for salvation. The film's title refers to William 'Tell' Tillich (Oscar Isaac, Dune), who didn't ever plan to spend his days in casinos and his nights in motels. But during an eight-year stint in military prison, he taught himself a new skill that he's been capitalising upon after his release. His gambit: winning modest scores from small-scale casinos. If he doesn't take the house, the house won't discipline his card-counting prowess. The money keeps him moving, but each gambling den could be the same for all that Tell cares. His motel-room routine, which involves removing all artwork from the walls, making the bed with his own linen, and covering every other surface and item with carefully tied cloth — making each space as identical as it can be, and resemble incarceration — lingers between fierce self-discipline and a stifled cry for help. Assistance arrives in two forms, not that Tell is looking or particularly receptive to having other people in his life. The regimented status quo he's carved out so meticulously is first punctured by fellow gambler-turned-agent La Linda (Tiffany Haddish, Like a Boss), who backs other punters and believes they should team up to profit big on the poker circuit. That'd bring Tell more visibility than he'd like, but it'd also increase his pay days, which would come in handy for his second new acquaintance. In Atlantic City, he meets the college-aged Cirk (Tye Sheridan, Voyagers), who has proposes a quest for revenge. Tell shares a grim past with Cirk's dad, and the twentysomething wants to punish the retired major-turned-security expert (William Dafoe, The Lighthouse) that he holds responsible — which Tell is eager to discourage. Isaac doesn't ask his reflection if it's looking in his direction. And, given that The Card Counter joins a filmography overflowing with exceptional performances — including Scenes From a Marriage already this year — it won't define his career as Taxi Driver did for a young Robert De Niro. Still, it's the highest compliment to mention the two in the same breath. At every moment, this blistering film is anchored by Isaac's phenomenal portrayal, which is quiet, slippery and weighty all at once. As conveyed with a calculating glare that's as slick as his brushed-back hair, here is a man who dons a calm facade to mask the storm brewing inside, revels in routine to avoid facing change, and anaesthetises his pain and past deeds with the repetition he's made his daily existence. Here is a man desperate to paper over his inner rot with time spent amid meaningless gloss, preferring to feel empty than to feel anything else, until he has an innocent to try to save and a clear-cut way to rally against the soulless world. In Isaac's case, here is a man surrounded by other impressive actors, too. Haddish is in career-best form, regardless of her comedy successes, and cleverly builds that confident, sharp-talking experience into La Linda's persuasive attitude. Sheridan is tasked with the most blatantly written character of the film's core trio, although that doesn't make Cirk any less riveting or pivotal. Across six decades now, Schrader has probed how America holds up, or doesn't, by using his protagonists as one-man case studies; however, due to Sheridan's single-minded, gun-ho and determined part, The Card Counter sports two examples of how the nation's decay is currently manifesting and spreading — and across two generations as well. Perhaps its plainest to see Schrader's commitment to the same themes — masculinity that's expected to brood stoically, a society that values ease over substance, a world with an ends-justify-the-means mentality, and the trauma, guilt and pursuit of redemption that all three inspire — as a filmmaker taking snapshots of the passing years. The notions he's so profoundly fascinated with are timeless, sadly, so each of his features steeps them within the US as it then exists. In The Card Counter, that also involves scrutinising American military might, the country's self-proclaimed status as the globe's leader and the horrific atrocities undertaken in its name. Indeed, the movie's most potent sequences take Tell back to his time as a guard in the Abu Ghraib prison complex following the 2003 invasion of Iraq. History has established why that's such a haunting choice, and why so much torment lingers deep in Isaac's eyes. When Schrader's now three-time cinematographer Alexander Dynan (Dog Eat Dog, First Reformed) isn't shooting those flashbacks like several layers of feverish nightmares — captured with an ultra-wide lens, warped like a carnival mirror and staged like a relentless onslaught, they're a masterclass in hellishness — The Card Counter takes ample time to peer patiently and intently. It surveys its leading man, eating up his hypnotic fastidiousness. It stalks through the faux casino glitz and lets it tarnish its own veneer, as one of the best gambling films ever made, 1974's California Split, also did. It sees not just lonely men, but sparse spaces, hollow dreams and vacuous ideals. In one short slip into a softer mode, it lets Isaac and Haddish's chemistry — and the sensuous joy of vibrant colours and lights — pose an alternative, too. Going all in on the power and passion of Schrader's lifelong cinematic obsessions and convictions, The Card Counter is another of the writer/director's aces — hands down.
We've said it before and we'll say it again: Nicolas Cage cures all woes. Whether you're having an average 2022 so far, or you're sad that the long weekend is over — or you're in parts of the country that don't get a long weekend mid-June and you're sad about that — watching one of the greatest actors alive make on-screen magic as only he can is always a thrill. Yes, that's true whether he's in an excellent or awful movie, too. Your latest excuse to see Nicolas Cage do his thing comes courtesy of The Unbearable Weight of Massive Talent, aka a movie that's gotten a fair amount of attention for one huge reason: it stars Cage as Cage. It was first announced back in 2021, then hit Australian cinemas back in April. Now, as a mid-winter gift — and because fast-tracking flicks from cinemas to digital has become the pandemic-era status quo — the film has made the very quick leap to video on demand. That means that you can now spend your next at-home movie night watching Nicolas Cage play Nicolas Cage — and playing a whole lot of different styles of Cage, too. There's serious Cage, comedic Cage, out-there Cage, OTT Cage, short-haired Cage, floppy-haired Cage, slick Cage, gun-toting Cage and every-facial-expression-imaginable Cage. Whichever kind of Cage you can think of, it's accounted for. All your favourite Cage titles also get a nod or mention in The Unbearable Weight of Massive Talent, which sure does love absolutely everything about its leading man. There is a story behind the film's Cage-obsessed premise, of course. The fictionalised Cage is in a career lull, and is thinking about giving up acting, when he accepts an offer to attend a super fan-slash-billionaire's birthday. Getting paid $1 million is just too much to pass up, and he needs the money. But when it turns out that he might now be working for and palling around with one of the most ruthless men on the planet (played by Pedro Pascal, Wonder Woman 1984) — as a couple of intelligence agents (The Afterparty co-stars Tiffany Haddish and Ike Barinholtz) eventually tell him — things get mighty hectic. Also joining Cage playing Cage — not to be confused with his work in Adaptation, where he played two characters — are Sharon Horgan (This Way Up) as his fictional wife and Neil Patrick Harris (The Matrix Resurrections) as his manager. And, Are We Officially Dating? filmmaker Tom Gormican sits in the director's chair, because if there's anything else that this movie also needs, it's the director of a Zac Efron and Michael B Jordan-starring rom-com pivoting to total Cage worship. Yes, we've seen Cage break out of Alcatraz, sing Elvis songs, run around the streets convinced that he's a vampire, let his long hair flap in the wind and swap faces. He's voiced a version of Spider-Man, driven fast cars, fought space ninjas, hunted for his kidnapped truffle pig and stolen babies as well. Staying in his own shoes definitely stands out, though — as Cage himself always does. Check out the trailer for The Unbearable Weight of Massive Talent below: The Unbearable Weight of Massive Talent is available to stream via Google Play, iTunes and Prime Video. Read our full review.
This article is sponsored by our partners, Wotif.com. Writer Benjamin Law recently performed a glorious piece of erotic fan fiction about his two culinary idols, Stephanie Alexander and Maggie Beer. We'll spare you the gory details, but the story involves a fair bit of verjuice and self-saucing pudding. The two food goddesses both call South Australia home, because, basically, that's where the good food and wine is. Restaurateurs in Adelaide respect the exceptional produce and wine at their doorstep. Here are ten who are doing it very nicely indeed. BISTRO DOM South African born chef Duncan Welgemoed brings the best of his training under Gordon Ramsay and Heston Blumenthal to Bistro Dom on Waymouth Street in the CBD, where he’s serving up French-inspired cuisine such as steak tartare ($19.90) and duck with boudin noir, apple and cinnamon ($39.90). While Welgemoed has a keen interest in the science of cooking, you’ll see no clouds or foams here; his focus is on showing off the produce, unadorned and simple. Bistro Dom boasts a truly varied wine list of French, German and boutique local wines. Make sure you have a crack at the Alpha Box and Dice ‘Tarot’ from McLaren Vale — an elegant blend of Grenache, Shiraz and Tempranillo. 24 Waymouth Street, Adelaide Street ADL and Orana A two-part venture from chef Jock Zonfrillo, together Street ADL and Orana span two levels, offering two unique dining experiences within the one venue. Downstairs is Street ADL; it's informal, casual and accessible, offering up ‘Australian street food’ such as pulled kangaroo sangas, cheeseburgers, Goolwa pipis and lamingtons. Venture upstairs, however, and it's a whole different story. Orana is delicate, intimate (it only seats 25 guests) and very much a fine dining experience. The food continues to tread the line of Australiana, with Zonfrillo paying homage to rich flavours of the land. 285 Rundle Street, Adelaide RUBY RED FLAMINGO Ruby Red Flamingo has an ever changing menu of Italian share plates and a blackboard wine list with Italian wines including Nero D’Avola. Snuggle down in front of their open fireplace with a comforting favourite like macaroni with eggplant and smoked mozzarella or osso bucco risotto. 142 Tynte Street, North Adelaide Peel Street Tucked away on Peel Street (go figure) this restaurant may not look like it's got a lot going on, but once you step in, see the food slapped on the concrete bench, let the smell of freshly baked goods hit your nostrils and take a seat, there'll be no desire to ever leave. Open from 7.30am on weekdays and serving up dinner on Thursday, Friday and Saturday nights, Peel Street has quickly become a favourite amongst city dwellers — particularly those who frequent the small bar scene in the adjoining streets. If you like what you see on the counter, order 'from the concrete', or otherwise order something bigger 'from the blackboard'. Whatever you go for, you won't be disappointed. And you will be taking a muffin, pie or cupcake on your way out. 9 Peel Street, Adelaide Gin Long Canteen Gin Long has been open for little over six months, but already it's a favourite. You might be hard off getting a seat on a Friday or Saturday night; don't let that deter you because this is possibly the closest Adelaide comes to modern Asian. As well as rice paper rolls and betel leaf cigars, expect to chow down on gin long wings, nom nom barramundi, spicy caramel chicken and sticky braised pork belly. The cocktail list makes it extra fun, and the whole space is spot on — worth the wait, if you ask us. 42 O'Connell Street, North Adelaide MAGILL ESTATE RESTAURANT Magill Estate is the showcase restaurant for Penfolds wines just out of the city in the Adelaide foothills. Head chefs Scott Huggins and Emma McCaskill deliver an ever changing degustation menu designed to show off the Penfolds range (and not just the '51 Grange) starting off with calamari, chlorophyll and preserved lemon and finishing with South Australian Mayura wagyu with radishes and mustard. 78 Penfolds Road, Magill PRESS FOOD AND WINE Press Food and Wine is a new addition to the Adelaide dining scene, and a very welcome one. The two-level restaurant on Waymouth Street is at once homely and elegant. Head chef Andrew Davies prides himself on in-house pickling and curing and their custom-made chargrill. A la carte and degustation menus are on offer, with sophisticated starters such as king fish and pickled radish ($21) and heartier mains such as house-made pappardelle with blue swimmer crab ($29). 40 Waymouth Street, Adelaide EROS OUZERI Eros Ouzeri is a bit of an Adelaide institution. The grand daddy of Rundle Street, its cafe is home to the best damn kataiffi in town and the restaurant proper will sort you out with classic Greek mezze fare such as grilled haloumi, octopus and gyros as well as heartier mains such as lamb shoulder ($29.90) or a charred Angus fillet with mustard skordalia ($35). All this deliciousness is accompanied, of course, by a robust, SA-faithful wine list. Head in for a lunch banquet ($45) and let the famously hospitable Eros staff welcome you to the fold. 277 Rundle Street, Adelaide The Grace Establishment Located on The Parade — which is generally busy with shoppers and alfresco diners, but don't let that put you off — The Grace Establishment is a nice option for a sit-down lunch without breaking the bank. Relatively new and still very shiny, it's part bar, restaurant and beer garden, meaning you can sit indoors or out for a charcuterie board, plate of Kinkawoona mussels or a hearty SA sirloin. 127 The Parade, Norwood GOLDEN BOY RESTAURANT Golden Boy Restaurant popped up last year to feed the hungry punters at the Botanic Bar at the East End of the city and it has quickly become a destination in its own right, serving honest, home-style Thai food in a relaxed setting. Open till midnight, Golden Boy offers the perfect late-night fix of spicy chicken wings and pork belly — you can lick your fingers in style. 309 North Terrace, Adelaide Words by Lauren Vadnjal and Jessica Keath. Peel Street image courtesy of Kristina Dryža via Facebook.
Given the effort they put into creating, curating, collating and copying their wares, it seems kind of weird that the makers of zines would be the kind to abbreviate words. Like, "Okay, guys, we've edited and self-published a niche interest periodical, sure, but we don't have time to pronounce the syllables 'mag' and 'a'. That's where we draw the line!" ? But then again, eccentricity and arbitrary decision-making are part of the beauty of zine culture, wherein anyone with access to words and/or images and a means of putting them together can be a publisher. There are political zines and poetry zines and zines about spoons and zines about people spooning. Often stumbled across in cute indie stores and venues or tracked down online, zines also enjoy a good gathering and the MCA and the Sydney Writers' Festival are, as has become their annual tradition, throwing them a party with this Fair. Head along and do some collecting — you can buy or barter — or just have a look at what people are into and up to.
Tucked amongst Glebe's lush residential precinct, Glebe Point Diner has cemented itself as a neighbourhood favourite. The crowd is a mix on a Saturday night with couples, families and large groups generating a gentle hum of chatter throughout the restaurant. Think dim lighting, an open plan and atmosphere aplenty and you've got the picture. In summer, diners are sure to fight over the tables outside, complete with comfy cushions, but you can't go wrong with a seat at the bar where you can watch the chefs in action. Food wise, Glebe Point Diner focuses on quality not quantity. The menu is small, with only a handful of entrees, mains and desserts, but this helps you narrow down the choices. The fare offered is shaped around seasonal produce. To start, the Thirlmere duck liver pate with pear preserve and toast ($18) is a triumph. For something lighter, the cured petuna ocean trout with frisee ($18) is delicious. Also, try the lamb ribs with coriander, chilli and lime juice ($6) if it's on the specials board that day. For the mains, it's hard to go past the Barossa Valley Berkshire pork shoulder, slow roasted for 12 hours with apple slaw and crackling ($32). The pork falls apart when you prise it gently with your fork and it's damn succulent. Combined with the fresh apple slaw and crunch of the crackling, it's an impressive offering. For poultry enthusiasts, there's the roasted chicken with rosemary butter, sugarsnap peas and corn ($32). What really made the night was the doughnut with salted dulce de leche ice cream and chocolate fudge sauce for dessert ($15). And the good news is that it's big enough to share. The serving size of the dishes reflects the neighbourhood diner theme. It's a place to go to have a homemade meal, drizzled with fine dining but without all the pretension. Glebe Point Diner is perfect for a casual graze, an intimate first date or a well-overdue catch up with mates. The place might be a little wallet-heavy, but hey we reckon it's worth it.
When Baz Luhrmann makes a new film, the world takes notice — including the Australian Academy of Cinema and Television Arts and its annual awards. No stranger to heaping the filmmaker's movies with accolades, with every single one of his past flicks from Strictly Ballroom through to The Great Gatsby scoring nominations (and those two specific titles winning Best Film), AACTA has continued the trend by showering the director's latest in 2022 nods. Topping the just-announced nominations for this year's AACTA Awards — which were previously called the AFI Awards, before changing their name — Elvis picked up a whopping 15 nods, the most of any film. The accolades recognise the best and brightest in Australian cinema and television each year, with Mystery Road: Origin also scoring the same amount of noms in the TV categories. In their respective formats, Elvis and Mystery Road: Origin have plenty of company. The former is competing against Here Out West, Sissy, The Drover's Wife The Legend of Molly Johnson, The Stranger and Three Thousand Years of Longing for 2022's Best Film, for instance — and the latter is up against Bump, Heartbreak High, Love Me, The Tourist and Wolf Like Me for the year's best television drama. The winners of those categories, and AACTA's full list of fields, will be announced in early December on two dates: Monday, December 5 and Wednesday, December 7. Also highlights among the film nominees: 13 nominations apiece for The Drover's Wife The Legend of Molly Johnson and Three Thousand Years of Longing, Austin Butler getting an unsurprising Best Actor nomination for playing the King of Rock 'n' Roll, Nude Tuesday scoring a heap of love, acting nods for the powerful Blaze and a whole heap of recognition for The Stranger, including for writer/director Thomas M Wright. And, among the TV cohort, Mystery Road: Origin also picked up five noms in the four acting fields for TV dramas, spanning Mark Coles Smith, Tuuli Narkle, Daniel Henshall, Steve Bisley and Hayley McElhinney; Love Me and The Twelve nabbed ten nominations each across all categories; and Heartbreak High's James Majoos received the show's sole acting nod. Across both film and TV, a heap of international names graced the acting nominations, too, a common AACTAs trend. On 2022's list: Idris Elba and Tilda Swinton for Three Thousand Years of Longing, both the aforementioned Butler and Tom Hanks for Elvis, Sean Harris for The Stranger, Jackie van Beek and Jemaine Clement for Nude Tuesday, Joanna Lumley for Falling for Figaro and Jamie Dornan for The Tourist. Here's a selection of this year's major AACTA nominations, ahead of the awards' ceremonies on Monday, December 5 and Wednesday, December 7 — and you can check out the full list on AACTA's website: AACTA NOMINEES 2022: FILM AWARDS: BEST FILM Elvis Here Out West Sissy The Drover's Wife The Legend of Molly Johnson The Stranger Three Thousand Years of Longing BEST INDIE FILM A Stitch In Time Akoni Darklands Lonesome Pieces Smoke Between Trees BEST DIRECTION Baz Luhrmann, Elvis Hannah Barlow and Kane Senes, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller, Three Thousand Years of Longing BEST LEAD ACTOR Austin Butler, Elvis Rob Collins, The Drover's Wife The Legend of Molly Johnson Joel Edgerton, The Stranger Idris Elba, Three Thousand Years of Longing Damon Herriman, Nude Tuesday BEST LEAD ACTRESS Aisha Dee, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Julia Savage, Blaze Tilda Swinton, Three Thousand Years of Longing Jackie van Beek, Nude Tuesday BEST SUPPORTING ACTOR Simon Baker, Blaze Jemaine Clement, Nude Tuesday Malachi Dower-Roberts, The Drover's Wife The Legend of Molly Johnson Tom Hanks, Elvis Sean Harris, The Stranger BEST SUPPORTING ACTRESS Jada Alberts, The Stranger Jessica De Gouw, The Drover's Wife The Legend of Molly Johnson Olivia DeJonge, Elvis Joanna Lumley, Falling For Figaro Yael Stone, Blaze BEST SCREENPLAY Baz Luhrmann, Sam Bromell, Craig Pearce and Jeremy Doner, Elvis Jackie van Beek, Nude Tuesday Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller and Augusta Gore, Three Thousand Years of Longing BEST DOCUMENTARY Ablaze Clean Everybody's Oma Franklin Ithaka River TELEVISION AWARDS: BEST DRAMA SERIES Bump Heartbreak High Love Me Mystery Road: Origin The Tourist Wolf Like Me BEST TELEFEATURE OR MINISERIES Barons Savage River The Twelve True Colours Underbelly: Vanishing Act BEST COMEDY PROGRAM Aftertaste Five Bedrooms Hard Quiz Shaun Micallef's Mad as Hell Spicks and Specks Summer Love BEST LEAD ACTOR IN A TELEVISION DRAMA Mark Coles Smith, Mystery Road: Origin Jamie Dornan, The Tourist James Majoos, Heartbreak High Sam Neill, The Twelve Hugo Weaving, Love Me BEST LEAD ACTRESS IN A TELEVISION DRAMA Isla Fisher, Wolf Like Me Claudia Karvan, Bump Kate Mulvany, The Twelve Tuuli Narkle, Mystery Road: Origin Bojana Novakovic, Love Me BEST COMEDY PERFORMER Wayne Blair, Aftertaste Patrick Brammall, Summer Love Harriet Dyer, Summer Love Tom Gleeson, Hard Quiz Charlie Pickering, The Weekly with Charlie Pickering Doris Younane, Five Bedrooms BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Hayley McElhinney, Mystery Road: Origin Jacqueline McKenzie, Savage River Heather Mitchell, Love Me Brooke Satchwell, The Twelve Magda Szubanski, After the Verdict BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Steve Bisley, Mystery Road: Origin Brendan Cowell, The Twelve Daniel Henshall, Mystery Road: Origin Damon Herriman, The Tourist Thomas Weatherall, Heartbreak High
Craft brew lovers in Sydney's southwest rejoice. The Ambarvale Hotel is bringing a whole heap of exciting beers to your neck of the woods for a one-day craft beer festival coined the South West Beer West. Running from midday on Saturday, February 26, the festival will boast samples from 13 different local breweries for you to try. You're certain to find your new favourite brew with beers on offer courtesy of Capital Brewing Co, White Bay Brewing, Akasha Brewing Co, Holgate Brewery, Willie the Boatman and locals Ambarvale Brewing Company among the 13 different beer-makers on show. The Ambarvale Hotel has recently undergone a bit of an upgrade, with the pub's new outdoor In The Gardens oasis set to play home to the beer festival. Entry is free and $35 token booklets will be available to purchase on the day granting you access to a heap of beer samples. If you're the type to be on the lookout for a good deal, you can nab your token booklet online before the event and save $5.
The days are shorter, the cold winds stronger and we can be sure of one thing: winter is here. While in Australia that may not have the dramatic effect it does in Game of Thrones, we can be sure that a plethora of dark and delicious beers are coming into their own now that the colder months are upon us. Here follows, in no particular order, a guide to the top ten brews to help you through the wintry season. MODUS OPERANDI BREWING, FORMER TENANT RED IPA Mona Vale's finest, Modus Operandi Brewing, is known for its big, bold, hop-driven beers and this glorious red IPA is no exception. Expect big fruity notes of passionfruit and mango, owing to the liberal dry hopping with Galaxy and Mosaic hop varieties, giving way to a burst of bittersweet red grapefruit flavour. Underpinning this maelstrom of hops is an incredibly well-balanced malt base with notes of earthy caramel and biscuit. The finish is piney and botanical, giving just a hint of the beer's namesake — the 'former tenant' of the brewery's site was a marijuana grower — which makes this beer a complex and rewarding brew from the first to last sip. $14.50 for a 500ml can or $48.99 for a four-pack at Beer Cartel. PHILTER, CARIBBEAN STOUT Philter has something of a knack for busting out surprisingly different beers with each new release. Having already nailed an XPA, a session red ale and a lager, it's no surprise that its latest offering is something to get excited about. Though the name might indicate some sort of coconut-infused-rum-barrel-aged craft beer experiment, the flavour is far more approachable, drawing inspiration from the tradition of fruitier stouts common in the Caribbean and surrounding areas. Weighing in at an impressive 7% ABV this beer pours midnight black with rich notes of cocoa, dried fruits and a hint of nuttiness. $10 for a 375ml can or $33.99 for a four-pack at Beer Cartel. BATCH BREWING CO, ELSIE THE MILK STOUT Milk stouts continue to grow in popularity among Australian beer drinkers, and once you've had a glass of Elsie, it's not hard to see why. Combining a complex malt bill, flaked barley, rolled oats and lactose, this beer offers a balance of sweet and roasty notes such as chocolate and coffee with a beautiful creaminess. Coming in at an approachable 4.3% ABV this is a great beer for those looking to cross over to the dark side this winter. $12.50 for a 640ml bottle at Beer Cartel. YOUNG HENRYS, MOTORCYCLE OIL HOPPY PORTER Brewing powerhouse Young Henrys continues to impress with the latest addition to its taps and tinnies. In keeping with the tattooed-up, beard sporting-style it's known for, the charmingly titled Motorcycle Oil is at once in your face, yet reserved, well balanced and approachable. The initial flavour is roasty with delicate hints of chocolate, coffee and a touch of caramel, giving way to a big hop character featuring citrus and medium pine notes. Sitting at 5.8% ABV it offers big flavours but in a balanced and welcoming beer — sure to please lovers of hops and malt alike. $8.99 for a 500ml can or $29.99 for a four-pack at Dan Murphy's. FRENCHIES, ASTROLABE RED BIÈRE DE GARDE Based on a style that originated in Northern France, bière de gardes are bound by a common malt-accented flavour, but, beyond that, each brew offers a wealth of idiosyncrasies. Frenchies Astrolabe pours a beautiful ruby colour with plenty of caramel malt up front followed by notes of cherry and berries with hint of pear. Finishing with a moderate bitterness, this beer is dangerously sessionable, masking its 7.4% ABV with ease and charm. $12 for a 440ml can or $40.99 for a four-pack at Beer Cartel. WAYWARD BREWING CO, FURIOUS GNOME ESB The name alone should be enough to win people over. But coupled with Wayward's reputation as one of Sydney's finest breweries, it's a must-try this season. Furious Gnome pays homage to classic British ESBs like Fuller's and Old Speckled Hen through its caramel and toffee dominated palate, with a biscuity dryness and rounded out by an earthy and ever so lightly spicy hop bitterness at the end. A great malt-accented interpretation of the style — sure to please thirsty expats and newcomers to the style alike. $11.50 for a 640ml bottle at Bucket Boys. MORNINGTON PENINSULA BREWERY, MORNINGTON BROWN ALE A classic English-style brown ale, this moreish brew from Mornington Peninsula Brewery offers an enticing aroma of toffee and dried fruits (think sultanas, raisins and dates) owing to the imported English malts that make up its base. On the palate, expect toffee and chocolate notes with a balanced sweetness and a slightly nutty finish. At 5% ABV, it's perhaps a little stronger than the beers which inspired it, yet is still supremely sessionable and well matched with nutty cheeses like gouda, as well as roasted meats. $3.99 for a 330ml bottle, $23.94 for a six-pack at Dan Murphy's. BRIDGE ROAD BREWERS, CELTIC RED IRISH RED ALE A longtime staple from the old hands at Bridge Road Brewers down in Beechworth, the Celtic red ale is a wonderfully delicate balance of caramel malts with a light roastiness and a dryer finish that you'd expect for the style. Pouring a deep amber, this beer is initially sweet with toffee and burnt sugar notes, followed by a subtle kick of noble hops to bring you back for another sip. At 5.3% ABV, it's a wonderful Aussie interpretation of a true Irish-style red, malty and sweet but wonderfully well balanced. $4.19 for a 330ml bottle or $15.49 for a four-pack at Dan Murphy's. STAVES BREWERY, ARDENNES TABLE BEER BELGIAN PALE ALE Named after a yeast strain sourced from the Ardennes region of Belgium, this delicate and well-balanced beer from the Glebe's charming Staves Brewery is not to be missed. Opening with lightly sour fruity notes, coupled with a gentle spiciness from the yeast, this Belgian-style beer is the perfect brew for when the sun is out, but the wind has an edge to it. The Glebe brewpub also features live music and comedy, whilst owner Steve Drissell is often found manning the taps, ready to share a laugh and his impressive beer knowledge with the punters. Ardennes Table Beer can be purchased in store at Staves Brewery, 4-8 Grose Street, Glebe. BADLANDS BREWERY, DRAUGHTY KILT SCOTCH ALE Scotch ale is a style not often replicated on Aussie shores, yet a handful of flattering imitators of the malt-driven Scottish style exist. And Orange's Badlands Brewery has long been at the forefront. Copper red in colour with toffee and caramel notes and a hint of vanilla giving way to a light burst of candied orange and date, this beer features a restrained bitterness that really allows its rich malty flavours to shine. At 5% ABV it's relatively light for a Scotch ale, but that just means you can enjoy more of it. $11 for a 500ml bottle at Beer Cartel. For alternative stockists in your city, check the breweries' websites. Top image: Frenchies
Next time a Sydney staycation or holiday is on the cards, you can forget all about the pesky task of finding a decent pet-sitter. Instead, that fur-kid of yours is allowed along for the ride — if you opt for a stay in one of The Old Clare Hotel's newly pet-friendly suites. Having scored a complete revamp back in 2015, the heritage-listed Chippendale lodgings has now broadened its clientele to include those of the four-legged variety. As of Monday, January 13, two of the hotel's suites — the Kent and Abercrombie — are completely pet-friendly. On request, they come decked out with extras like handmade pet bowls crafted by Motion Ceramics, Fuzz-Yard plush toys and a miniature retro-style lounge for your pet's sleeping and relaxing. For guests on the go, there's a pet directory listing animal-friendly bars and eateries, and handy dog-walking and dog-sitting services available through the hotel. And your furry mate can even get in on the all-important room service action, with a complimentary menu of in-room pet dining options. They'll find treats like Yummi roo bites for cats and Savourlife beef-flavoured dog biscuits, and dry and wet food, all available 24/7. Up to two pets are allowed per room and while the the offering is aimed primarily at dogs and cats, the Old Clare is also open to other critters — get in touch to see if your pet gecko, guinea pig or bunny is welcome along. Having your four-legged friend along on your getaway does come at a bit of a price, with the extra room charge clocking in at $100 per pet. That's on top of your suite's best available rate, so if you've got your doggo in tow, expect to pay starting from around $300 per night total for a stay in the Kent room and around $370 for the Abercrombie. Find The Old Clare Hotel at 1 Kensington Street, Chippendale. To book your pet-friendly stay, contact the reservations team on reservations@theoldclarehotel.com.au or call (02) 8277 8277.
With over 8 million people living in its five boroughs, New York is one of the most populous metropolitan areas in the world. So, some of the city's wealthier residents have come up with an inventive way to squeeze into The Big Apple: by building buildings on top of other buildings. Think dens perched on top of apartment blocks, pods stored next to air-conditioning vents and rooftop 'cubes' overlooking the Hudson. These creative structures are not only fantastic to marvel at with their contrasting designs and modern styles, but are also a great solution to housing shortages in large cities. Here are ten of the most creative examples in NYC. Rooftop A-Frame Rooftop House and Terrace Three Story Rooftop House Icosa Village Pod in Williamsburg Loftcube by Werner Aisslinger Midtown Rooftop Garden House on Top of an Apartment Central Park West Rooftop Garden Rooftop House and Garden East Village Cape Cod House Soho House Rooftop
Melbourne four-piece The Harpoons have just released their debut album Falling For You, which features singles such as the utterly gorgeous 'Unforgettable' and slightly more chilled gem 'Can We Work This Out'. To celebrate this long-awaited LP, they’ll be playing shows in Melbourne, Brisbane and Sydney. The Harpoons consist of brothers Jack and Henry Madin, stunning vocals from Bec Rigby and man about town Martin King (you might remember him from the likes of Oscar and Martin) Sweet one moment, breathtakingly soulful the next, get ready to go through a kaleidoscope of emotions and feel all the feels. The Harpoons pair flawless vocals with hypnotic beats and Aunty aptly described them as the R'n'B of both today and yesteryear. Their album launch at Good God will include other favourites like That Feel and Yon Yonson.
Oh springtime, we missed you. Chase away those winter blues and bring back the sunshine. With sunshine comes warm air and warm smiles, festivities and just a great vibe blooming like a bright flower across the city. The springtime is chockablock for Brisbane, especially if you're in town for some of September's several music festivals, aka the Brisbane Music Trail. This eclectic offering combines the strengths of BIGSOUND, Brisbane Festival, Sweet Relief! and Future Art. Quite the offering, no? It's set to be a hectic few weeks for festivalgoers, and you'll need to take breaks. When it comes to accommodation, you can nab a sweet deal of general entry to Sweet Relief! plus a luxury stay for two at Crystalbrook Vincent. Otherwise, we've done the legwork to pick apart the River City for the finest bars and restaurants to rest your feet and ears in between gigs this September.
This Bondi Road boutique is part shop and part workshop, with a fully functioning bespoke leather studio inside. Creating custom leather accessories from scratch, including backpacks, totes, coin purses, cross-body bags, satchels, totes and clutches, Charlie Middleton uses soft cowhide from Japan across most of its range. Many of the bags are customisable, so you can pick the colour of the main part (ranging from ballet pink to a soft cedar brown), the hardware (gold, silver or rose gold) and the handles (choose from six different colours). Each bag is then made to order, so you have your very own unique keepsake.
Have you ever wondered if there was a way to salvage the flavour of burnt rice, how to test if an egg is still fresh, how to prevent cheese from going off, or bread from going stale? Unorthodox but incredibly helpful kitchen and cooking tips are a great way to make the cooking experience much quicker and easier, and can be employed in your everyday cooking routine. Here are ten of the most helpful cooking tips that you may not know, but should. 1. Make Garlic Easier to Peel How? By microwaving it for 20 seconds. Zapping garlic in the microwave for a short amount of time is believed to heat the water in the garlic and cause the cells to rupture thus breaking the bond between skin and flesh and causing the skin to slip straight off. It is thought to make the garlic slightly less pungent but apparently doesn't alter it's flavour or texture. 2. Keep Delicate Dishes Warm How? By placing the saucepan on top of a fry pan. Whilst placing a saucepan over a stove on low may suffice for some dishes, delicate sauces or mashed potatoes can easily be burnt and ruin a perfectly good meal. A great trick is to put a cast-iron skillet over a low flame and then place the saucepan on top of this to ensure the heat is evenly spread throughout the meal. 3. Absorb Excess Fat from Soup How? By placing a lettuce leaf on top of it. Placing a lettuce leaf on the surface of a soup is an organic and effective way to defat the liquid, and it is a much easier and cheaper alternative than using gravy separators. The leaf can then easily be thrown away it has absorbed the unwanted fat. 4. Test the Freshness of an Egg How? By placing it in cold water. You can determine the age of an egg (while still encased in it's shell) through the amount of air in it's air pocket simply by placing it inside glass or bowl of cold water and seeing if it floats. If the egg sinks it is fresh, if it tilts slightly up or moves to a semi-horizontal position it is about a week old, but if it moves to a vertical position or floats to the surface of the water it is stale. It's that easy! 5. Avoid Curdled Cream How? By adding baking soda. Have you ever wondered how the age old quandary of cream curdling when you place it over fruit can be avoided? Well wonder no longer, because the solution is as easy as adding a pinch of baking soda to the cream before serving. 6. Keep Cheese Longer How? By wrapping it in a paper towel that's been moistened with vinegar. To avoid losing your cheese to mould, all you have to do is place a paper towel that's been soaked in white wine vinegar at the bottom of an air-tight container and put the cheese on top then keep the container in the fridge. 7. Eradicate Bacon Curling How? By soaking it in cold water before frying. In order to avoid the dreaded bacon curling that occurs when frying it, soak it in cold water for two minutes before frying it and dry well with paper towel. If that doesn't work simply sprinkle some flour over it, and if you still have no luck then try poking some holes in it. 8. Remove the Bitter Taste of Burnt Rice How? By placing a piece of white bread over it. Burnt your rice? Never fear, because all you need to do is place a slice of white bread on top of the rice, close the lid and let it sit for 15 minutes, then vualah, take the bread out and enjoy your non-bitter tasting rice. The bread will apparently absorb the bitter flavour of the rice you burned and restored it's taste back to normal. 9. Tenderize Meat and Speed up Defrosting How? By pouring vinegar over frozen meat. If defrosting meat has always been one of those processes that has baffled you, make life easier for yourself just by adding some vinegar. Pouring a cup of vinegar over the frozen meat lowers it's freezing temperature, making it thaw more quickly, and the acid in the vinegar breaks down connective tissue to increase it's tenderness. 10. Prevent Bread from Going Stale How? By adding a celery stick to the bread bag. By simply adding a piece of celery to a sealed bread bag overnight, you can refresh your bread and make it taste as good as when you first bought it. The bread is supposed to absorb the humidity of the celery, but it's flavour shouldn't change due to the bland taste of the celery.
If one of your new year's resolutions is to kick your disposable cup habit (to say nothing of your caffeine addiction), then Westfield Sydney would like to help. For five mornings from Monday, January 15, the CBD shopping centre is giving away 800 free reusable cups made by Melbourne-based design company Frank Green, as well as free coffee from Fratelli Fresh and Guylianto go inside them. The bonanza will last all week and, to take advantage of it, all you have to do is pledge, via a social media post, to stick with your permanent vessel and give up buying disposables. Due to the regular cups' waterproof plastic film, they can't be recycled in the standard recycling system and, at the moment, Australians toss out around one billion of them a year. Earlier this month, the UK's caffeine habit hit international headlines when a bunch of Liberal Democrat MPs called for a 25p levy on all one-use cups, with a goal to eradicate them by 2023. Local initiatives, like this cafe's choice to ban them and this trial to recycle them in a purpose-built plant, are working towards a similar goal. The Frank Green 'SmartCup' is an Aussie-designed and Aussie-made creation. If you haven't used one before, they're spill-proof, workable with just one hand and made of BPA-free non-toxic materials and comes in a range of colour combos. Plus, it's fitted with some whizzbang tech, which lets you pay for your coffee, find your favourite cafe and pre-order. They usually RRP at around $30–35. The giveaway will take place each morning between 7.30–10.30am on Monday, January 15 till Friday, January 19 inside Westfield Sydney, corner Pitt and Market streets, Sydney. For more info, visit the Westfield website.
The DC Extended Universe is dead. With Aquaman and the Lost Kingdom, the comic book-to-screen franchise hardly swims out with a memorable farewell, hasn't washed up on a high and shouldn't have many tearful over its demise. More movies based on the company's superheroes are still on the way. They'll be badged the DC Universe instead, and start largely afresh; 2025's Superman: Legacy will be the first, with Pearl's David Corenswet as the eponymous figure, as directed by new DC Studios co-chairman and co-CEO James Gunn (The Suicide Squad). Aquaman and the Lost Kingdom ends up the 15-feature decade-long current regime about as expected, however: soggily, unable to make the most of its star, and stuck treading water between what it really wants to be and box-ticking saga formula. Led by Jason Momoa (Fast X) — not Adrian Grenier (Clickbait), as Entourage once put out into the world — the first Aquaman knew that it was goofy, playful fun. Its main man, plus filmmaker James Wan (Malignant), didn't splash around self-importance or sink into seriousness in giving DC Comics' aquatic hero his debut self-titled paddle across the silver screen (after Momoa played the same part in Batman v Superman: Dawn of Justice and Justice League). Rather, they made an underwater space opera that was as giddily irreverent as that sounded — and, while it ebbed and flowed between colouring by numbers and getting winningly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. In a film that sets sail upon a plodding plot and garish CGI, and can't make an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark entertaining, any sense of spirit is jettisoned overboard. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. It isn't subtle about it; see: calling Aquaman's imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) Loki and ripping off one of the most-famous throwaway MCU moments there is. As with 2023's fellow Ant-Man and the Wasp: Quantumania, there's also such a large debt owed to Star Wars that elements seem to be lifted wholesale from a galaxy far, far away (and from a competing company, although it was still terrible when Disney was plagiarising itself). Just try not to laugh at Jabba the Hutt as a sea creature, as voiced by Martin Short (Only Murders in the Building), introduced reclining in a familiar pose and, of course, surrounded by a school of amphibious ladies. Not intentionally by any means, it's Aquaman and the Lost Kingdom funniest moment. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, including Jupiter Ascending, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. While he's co-credited on the story with returning screenwriter David Leslie Johnson-McGoldrick (Orphan: First Kill), Momoa and Thomas Pa'a Sibbett (The Last Manhunt), there's little but being dragged out with the prevailing tide and tonal chaos on show. Worse: ideas from abandoned spinoff The Trench, which was first floated as a horror effort about a villainous Atlantean kingdom but later revealed to be a secret Black Manta (Yahya Abdul-Mateen II, Ambulance) movie, get clunkily flushed in. While this should be Saw, Insidious and The Conjuring alum Wan's wheelhouse, Aquaman and the Lost Kingdom feels like the narrative equivalent of pouring the dregs of whatever's in Arthur Curry's liquor cabinet into one tankard. Now king of Atlantis as well as a father to Arthur Jr — the water-controlling Mera has become his wife, too, but that doesn't mean that Amber Heard (The Stand) says more than 50 words — the half-human, half-Atlantean best-known as Aquaman has another tussle with pirate David Kane to face. Bumped up to chief baddie, Black Manta is aided by dark magic manifested in the black trident, as found by a marine biologist (Randall Park, Totally Killer) who's endeavouring to prove that Atlantis exists. Aquaman and the Lost Kingdom's evil threat is also climate change, as exacerbated by its nefarious enemy on his vengeance mission after the events of the first movie. With the human and undersea realms alike beginning to boil, only Aquaman teaming up with Orm will give the planet a chance to survive. Pairing Momoa and Wilson odd-couple comedy-style like they're Hobbs and Shaw would've been one of Aquaman and the Lost Kingdom's best moves if the material was up to it. Their escapade amid the foliage on a volcanic South Pacific island — where the film wants to be a tropical creature feature, and also a Journey to the Centre of the Earth- and Jumanji-esque jaunt — is certainly the most promising visually. But here as across the entire flick, relying upon Momoa's charm to do the heavy lifting appears to be the number-one approach. In some pictures with some stars, that can work. Rom-com Anyone But You manages it thanks to Sydney Sweeney (Reality) and Glen Powell (Top Gun: Maverick), for instance. In Aquaman, Momoa had a mischievous ball and was a delight to watch. What everyone involved in Aquaman and the Lost Kingdom hasn't factored in is that this version of Arthur has swapped underdog roguishness for the overblown kind. Momoa remains visibly enthusiastic as the wettest of the DCEU's world-saving cohort, but Aquaman's cockiness is laid on as thickly as a kelp forest. Although there's no doubting that the movie's star can handle the part, it's a less-engaging, more one-note turn than his last jump into this ocean, and sells him short. Momoa commits, though, with the kind of gusto that Aquaman and the Lost Kingdom lacks virtually everywhere else. What happens when a film that clearly wants to be as ridiculous as it can be, or as dark, clashes with staying within the genre's routine lane? This shipwreck, which ends the franchise it's in and the saga's busiest year — after Shazam! Fury of the Gods, The Flash and Blue Beetle — with one of its worst entries. At least it didn't have to worry about setting up sequels or connecting to other DCEU fare, aka a welcome lifeboat.
Whether you're a stirrer or a shaker — or a sipper or a slurper — World Class Cocktail Festival is dedicated to you. For ten glorious days between Friday, September 9–Saturday, September 18, cocktail events will be taking place throughout Sydney's inner city, with dozens of different drinks on the menu. If you're a whisky fan, you can head to Quay for a series of cocktails presented by London's Lyaness with award-winning bartender Ryan Chetiyawardana (aka Mr Lyan) playing host and Peter Gilmore providing the snacks. More of a margarita fan? Hickson Road Reserve will be hosting the Don Julio Food Truck Fiesta, with cocktails from Cantina OK! and food trucks from Ricos Tacos, Beatbox Kitchen and Taco Truck Dos. And, from The Connaught in London, aka the world's best bar for 2021, martini maestro Ago Perrone is hitting up Bennelong for one night, too. Also on the lineup: Norwegian bartender Monica Berg of Tayer + Elementary flexing her stuff at Shell House; Re's sustainability champion Matt Whiley doing a tour of the city, creating cocktails at hotspots like PS40 and Old Mate's Place using food and bar waste from other CBD venues; and all sorts of events popping up at local favourites like Earl's Juke Joint, Frankie's Pizza, Maybe Sammy, Hickson House and Dean & Nancy on 22. You can browse everything that's been announced so far at the festival's website, with even more events set to slide into the schedule closer to the date — and also pop-up unannounced during the festival. [caption id="attachment_814399" align="alignnone" width="1920"] Dean and Nancy on 22, Steven Woodburn[/caption] Top image: Maybe Sammy, DS Oficina.
It seems unlikely that David O. Selznick, the legendary Jewish filmmaker who produced Gone With The Wind, and Nazi Germany’s propaganda minister, Joseph Goebbels, would agree on much. That both were avid fans of Sergei Eisenstein’s Battleship Potemkin is a testament to the film’s raw emotional power. A pure slice of pre-Stalinist Soviet propaganda, this silent film pioneered new editing techniques in order to elicit maximum sympathy from audiences, and is universally acclaimed as a cinematic masterpiece. Considering the recent Russian revival, few films could be a more appropriate next step in the Sydney Symphony’s Movies Over Music series.The posthumous soundtrack is supplied by Shostakovich: another brilliant Russian who was fascinated by the film. While this doesn’t strictly sit with Eisenstein’s rules – that the soundtrack should be rewritten every 20 years in order to stay relevant and hip – it will be, perhaps, more appropriate to the current cultural climate than the version composed by the Pet Shop Boys. In honour of, if not quite according to, Eisenstein’s wishes, conductor Frank Strobel presents a newly arranged score for the occasion.
Turning 30 is a big occasion — for people, and for entertainment groups. And while reaching 31 doesn't normally get as much love, celebrations or parties, Ministry of Sound has never been one for sticking to expectations. Behold, its huge 31st birthday party, aka the return of Ministry of Sound: Testament — A Warehouse Experience at this year's Vivid. If cutting loose in a warehouse in The Rocks for three nights sounds is your ideal way to mark absolutely anything, this returning event is just the solution. As it did in 2021, Ministry of Sound has also found just the right way to celebrate the June long weekend, thanks to this huge multi-room event that'll have you making shapes to 90s, 00s and recent bangers. More than 70 DJs will be hitting the decks between Friday, June 10–Sunday, June 12 — and enticing you to hit the Campbell's Stores dance floor, obviously. It's a choose-your-own-adventure type of party, so fans of old-school tunes can dance to 90s house, rave, trance and garage tracks on Friday, and lovers of 00s electro and breaks can head along on Saturday. Finishing things up on the Sunday night: all the recent techno and house songs — and EDM anthems — that've been getting a spin lately. As a result, each evening will see different DJs working their magic, with big names on the bill across the entire lineup. Nik Fish vs Jumping Jack, Sugar Ray, Jade, Ming D, Abel, Lorna are among the 90s highlights, while Plump DJs, Krafty Kuts, Kid Kenobi, Bang Gang Deejays, Hoops, Midnight Juggernauts, Riot in Belgium, Kate Monroe are on the decks on Saturday night — before Anna Lunoe, Northeast Party House, Oliver Huntemann and Hydraulix head things up on Sunday. Each evening runs from 7pm–2am — and, ticket-wise, you'll need to book per night. MINISTRY OF SOUND: TESTAMENT — A WAREHOUSE EXPERIENCE 2022 LINEUP: Friday, June 10: The 90s RAVE Jade Lorna Clarkson Ming D vs Abel Nik Fish vs Jumping Jack Phil Smart Sugar Ray HOUSE Annabel Gaspar Antonio Zabarelli Declan Lee Kate Monroe Nick Law Simon Caldwell Tim McGee BACK TO MINE BizE Gemma Johnny Seymour Sveta ANTHEMS Alan Thomson Cadell Chip John Ferris Johnny Gleeson Sally Sound Trent Rackus Saturday, June 11: The 00s ELECTRO Bang Gang Deejays Hoops Jace Disgrace Midnight Juggernauts (DJ set) Riot in Belgium Starfuckers PROG Anthony Pappa Kasey Taylor Michelle Owen Robbie Lowe Sean Quinn Trent Anthony ANTHEMS Goodwill Kate Monroe Kyro Mark Dynamix Minx Sam La More Seamus BREAKS A-Tonez Kid Kenobi Krafty Kuts Phil Smart Plump DJs Ritual Sunday, June 12: The Now HOUSE Anna Lunoe Dave Winnel Little Fritter LO'99 Mell Hall Northeast Party House (DJ set) Stacie Fields LATIFA TEE PRES Baschoe Cabu Honey Point Isa Latifa Tee Sollyy Willo TECHNO Hoten Jebbi Manu Neves Oliver Huntemann Oliver Schories EIGHTY-SIX Eighty-Sixers b2b Artinium Heimanu Hydraulix Interupt Mincy SOL WA-FU Ministry of Sound: Testament — A Warehouse Experience will take over the Campbell's Stores warehouse in The Rocks from Friday, June 10–Sunday, June 12. For further details, and to buy tickets, head to the event website.
Not once, not twice, but nine times now across 46 years, cinema audiences have stepped into the world of xenomorphs, facehuggers and chestbursters — and of cats onboard spaceships, androids resembling humans and screams not heard in the universe's vast expanse. When Ridley Scott (Gladiator II) directed the initial Alien film, he helped start a sci-fi phenomenon. 2025's Alien: Earth is a first, however, given that it's the franchise's debut TV series. One of the show's twists is right there in its title, with the pale blue dot that humanity calls home giving Alien: Earth its setting. As the just-dropped full trailer for the series advises, there's another fresh element to its setup: "five different life forms from the darkest corners of the universe". In the works for a few years now, executive produced by Scott and due to debut via Disney+ on Wednesday, August 13, 2025 Down Under, this is Noah Hawley's addition to the saga — and another of his projects, after Fargo, where he's expanding upon the realm of a beloved film on the small screen. Set in 2120, his Alien entry follows the fallout of deep-space research vessel USCSS Maginot crashing onto earth, then the discoveries made as a result by a crew of soldiers that includes human-robot hybrid Wendy (Sydney Chandler, Sugar). As it peers just under a century into the future, Alien: Earth sees its namesake planet under the control of five companies: Weyland-Yutani, of course, because this is the Alien franchise, plus Prodigy, Lynch, Dynamic and Threshold. It also witnesses a society where hybrids like Wendy — the first of her kind, with human consciousness inside a robot body — live side by side with humans, cyborgs and AI-driven synthetics. Hawley's cast not only includes Chandler, but also Fargo alums Timothy Olyphant (Havoc) and David Rysdahl (The Luckiest Man in America), plus Alex Lawther (Andor), Essie Davis (The Narrow Road to the Deep North), Adrian Edmondson (Kidnapped), Samuel Blenkin (Mickey 17), Babou Ceesay (Killer Heat), Lily Newmark (A Gentleman in Moscow) and more. Alien: Earth expands a saga that began with one of the best sci-fi/horror movies ever back in 1979, and has since spanned 1986's Aliens, 1992's Alien 3, 1997's Alien Resurrection, 2012's Prometheus, 2017's Alien: Covenant and 2024's Alien: Romulus — as well as the 2004 Alien vs Predator and 2007 Aliens vs Predator: Requiem crossover flicks with the Predator franchise. The Predator world is also expanding in 2025 courtesy of the animated Predator: Killer of Killers and live-action Predator: Badlands, both directed by Dan Trachtenberg, who helmed 2022's excellent Prey. Check out the full trailer for Alien: Earth below: Alien: Earth starts streaming Down Under via Disney+ from Wednesday, August 13, 2025.
Australians haven't had many chances to attend a music festival or escape the mainland in the last twelve months. Festivals around the country have been few and far between, with even approved large-scale events being called off last-minute. And, as for travel, a lot of the nation's usual island getaways have been off limits due to domestic border closures. But, if you've been longing to sing along to your favourite tunes while surrounded by your friends and to take a trip to a secluded beachside resort, a newly announced festival has you covered. Dream Machine, the new venture from the team behind Wine Machine and Snow Machine, will see music lovers travel to The Whitsundays this October for a stacked lineup of local electronic talent. Heading up the party-forward lineup is the fan-favourite combo of Flight Facilities and Hayden James — and they'll be joined by the likes of former Triple J House Party presenter KLP, Touch Sensitive, CC:Disco!, Set Mo and Yolanda Be Cool. The Jungle Giants, Confidence Man and Cosmo's Midnight are also onboard, hitting the decks for DJ sets. If the simple activity of grooving to tunes on a tropical island isn't enough motivation for you, festival-goers will also be treated to an island-hopping adventure between Daydream Island, Paradise Cove and a surprise location. Your itinerary can also include kayaking, paddle boarding, jet skiing and waterside cocktails, and, if you stay at Daydream Island Resort, you'll have four restaurants, three bars, a pool and a spa to enjoy as well. Dream Machine will run from Wednesday, October 6–Sunday, October 10, with festival events running for three days within that five-day, four-night period. Unsurprisingly, it isn't cheap, with packages starting from $1899 per person for a yacht stay and $2099 for a stay in the resort. The extravagant price tag will get you accommodation, breakfast each morning, ferry transport to and from the airport, and tickets to the festival (of course). DREAM MACHINE 2021 LINEUP: Flight Facilities (DJ set) Hayden James CC:Disco! Cosmo's Midnight (DJ set) Confidence Man (DJ set) Dena Amy Fleetmac Wood Generik Happiness is Wealth Jimi the Kween KLP Kristina Jaman Made in Paris Mira Mira Owl Eyes (DJ set) Poof Doof DJs Set Mo Squeef The Jungle Giants (DJ set) Touch Sensitive Wax'o Paradiso Yolanda Be Cool Dream Machine takes place from Wednesday, October 6–Sunday, October 10 in The Whitsundays. Tickets go on sale on Wednesday, April 7 — visit the festival's website to sign up for pre-sale access.
If someone had told me years ago that the Old Clare Hotel would become the most sophisticated venue in Sydney, I would have laughed in their face. Today, however, I'm just hoping they let me inside. The first restaurant to open in the Old Clare complex is Automata, which marks the debut solo opening for ex-Momofuku Seiobo sous chef Clayton Wells. We're given a dining room that looks like a luxury spaceship, filled with sleek polished metals and machinery-styled fittings. I can't wait to see where this meal takes me. The decision-making process is fairly straightforward: there's one option, a five-course, frequently changing degustation ($88), which is pretty reasonably priced as far as degos go. If you can afford to, splash out and get the matching drinks ($55), which will have you sipping umami-based sakes and spirits alongside thoughtfully chosen boutique wines. The meal kicks off with a starter of storm clams swimming in a fishy seawater made from rosemary dashi and ground nori; it's a much more delicious mouthful than you'll find at the beach. It's followed with a clean and cleansing serve of blanched asparagus rolled in sesame leaf and topped with umeboshi plum stock, poured at the table. Dish number two takes a bolder step forward. A meltingly tender hapuka fish is served with creamy roe emulsion and little pops of sea succulents, draped in a melty sheet of dashi-dipped seaweed. The dish combines silky textures with umami punch to create an absolute knockout of a dish. It's about this time that the bread and butter arrive. I wouldn't bother mentioning it except it's pretty much the best butter in the entire world. This ambrosia of the gods is made by whipping butter with chicken jus (chicken jus), anchovies and sunflower seeds until it's as light and fluffy as Chantilly cream with just a hint of nutty crunch. Well done, Wells. Mid-way through the meal, they bring out a big steamed cabbage leaf. Thanks for that. Wait, there's more underneath! Phew. Talk about an Instagrammer's worst nightmare. Concealed beneath a head of braised purple witlof is a slow-roasted quail and creamy smear of burnt eggplant puree. The final savoury dish is a slab of Rangers Valley skirt steak served with morel, shiitake and wood ear mushrooms in a brown butter and tamari sauce. Skirt is the unlikely hero of the day; it's expertly flamed to create a rich, winey caramelisation on the crust while staying moist, pink and tender within. The meal concludes with a scoop of not-so-sweet pumpkin seed sorbet, served alongside freeze-dried mandarins and meringue with a hint of Angostura bitters. The flavours are quite savoury, but it makes perfect sense within the context of the meal. As we leave, we're given two green chartreuse petit fours. I warn you now: consume at your own risk. Chewing on one unleashed a burst of freshness not akin to chugging a bottle of Listerine; it completely wiped my body clean like a herbal nuclear explosion. With no trace of the meal left at all, I started to question whether the dinner even took place. The Old Clare Hotel, the most stylish restaurant in town? Couldn't be.
At the end of a long, arduous day, is there any meal more satisfying than a big hunk of steak, charred on the outside, rosy in the middle, swimming in a pool of its own delicious juices? For those nights when you can't be bothered shopping, cooking, cleaning or fiddling around with a meat thermometer, it's good to know that somewhere in Sydney a steak night is happening. Whether it's Monday, Tuesday, Friday or Sunday, someone, somewhere, is tucking into a rump, downing a craft ale and getting change from a twenty. If this sounds like where you'd like to be in life, we've teamed up with the folks from American Express to round up seven top steak nights happening in the city. What's more, you can even tap your American Express® Card to cover the bill so you can up that point balance while you slowly descend into a beef coma. So, tuck in your napkin and sharpen the serrated knives, here's where to find A-grade steaks every day of the week. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
For most of the year, European cinema doesn't get much representation in Australia. That is, until Europa! Europa rolls around. Returning for its fifth edition, the festival draws on the rich cinematic talent of continental Europe to create a lineup of 43 of the latest and greatest pictures from 22 countries. Importing them to screens across Australia and New Zealand, you're invited to watch from Thursday, February 19—Thursday, March 19. Leading this year's program is the opening night ANZ premiere of Norwegian director Mona Fastvold's The Testament of Ann Lee, starring Amanda Seyfried in a Golden Globe-nominated performance as the founder of the devotional Christian sect known as the Shakers in the mid-18th century. Other highlights include Willem Dafoe starring in Miguel Angel Jiménez's The Birthday Party, and the Australian premiere of Wunderschöner, the sequel to the 2022 German box-office hit Wunderschön. https://www.youtube.com/watch?v=ZT25stsAtqg "I am excited for audiences to encounter the full breadth of this year's program," Europa! Europa Artistic Director Spiro Economopoulos told Concrete Playground. "Beyond The Testament of Ann Lee, there are bold debut features and new work from established directors, films shaped by moral tension and political pressure without easy answers. That conversation sits at the heart of Europa." Beyond the headline-grabbing films, there are literary adaptations, stories about European musicians, European-made animated films, LGBTQIA+ films, historical stories, documentaries, and a pair of striking retrospectives delving into the work of directors Michelangelo Antonioni and Éric Rohmer. Marking the festival's first Australia- and New Zealand-wide program, film-lovers can catch Europa's incredible flicks at cinemas in Sydney, Melbourne, Brisbane and Hobart, plus Auckland if you live across the ditch. Europa! Europa is happening at Melbourne's Classic Cinemas and Lido Cinemas until Thursday, March 19, and Cameo Cinemas until Monday, March 2; Ritz Cinemas in Sydney until Thursday, March 19, Brisbane's Angelika Cinemas and Hobart's State Cinema until Sunday, March 1, and Bridgeway Cinema in Auckland until Wednesday, March 4. Head to the website for more information.
Florentijn Hofman has transformed France's Loire River into a giant bathtub with his enormous rubber duck sculpture. The duck floats from city to city, nodding its cute yellow head at passersby. Before beginning its trek down the Loire, the duck has brought nostalgic smiles to the faces of witnesses worldwide; it may just be impossible not to smile at this strikingly out-of-place, yet adorable creation. Dutch artist Hofman is renowned for his tongue-in-cheek pieces, including a memorable party-hat-sporting frog perched on the Hyogo Prefectural Museum of Art in Kobe, Japan in 2011. The duck sculpture, constructed of rubber-coated PVC atop a pontoon with a generator, measures at 25 metres high, and 25 metres across. Here's to hoping on of our favourite childhood bath time companions will make a splash in Australasia soon.
While Messina's main jam is crafting supremely scoffable varieties of gelato, the brand's love of food extends far beyond the freezer, as proven through a series of pop-ups it's dubbed Messina Eats. Every couple of months, the cult gelateria teams up with a savoury-focused culinary hero and throws a big ol' food party in the carpark at its Rosebery headquarters. On January 31 and February 1, it's teaming up with Melbourne's Wonderbao to create a special Chinese New Year menu as dreamy as the soft, doughy pillows themselves. . Along with traditional pork buns, the team will also be steaming its cult gua bao stuffed with pork belly, fried chicken and silken tofu. And it's bringing a brand new product to the party, too: a lobster bao-guette. As you can guess, it's a cross between a bao and a lobster roll, and it looks damn tasty. There'll also be sides — including spicy fries — and a lychee soda and dulce de leche and early grey milk tea to drink. And for dessert? Messina's famous mango pancakes, stuffed with mango sorbet and whipped cream. The whole thing will go down over Friday and Saturday in the carpark at Messina's Rosebery HQ. They'll be open from noon for lunch and dinner until sold out.
Once you see the wallpaper in Decision to Leave, it's impossible to forget it. That patterned surface, nodding to both the mountains and the sea, isn't why Park Chan-wook's film is the best of 2022 — except that it is in a way. The level of detail shown, how perfectly it encapsulates and expresses almost everything about the immaculate and evocative thriller, the stunning shots that rove over it: this is masterful, powerful, sensual and sensational cinema. This is filmmaking at its greatest, too. As every year does — sans worldwide shutdowns and lockdowns, of course — 2022 saw hundreds of movies make their way to cinemas Down Under. Some were downright terrible. Oh-so-many were average. But more than a few were truly exceptional, like Decision to Leave. This year's cream of the cinematic crop spanned everything from spectacular music documentaries through to multiverse madness, and included volcano love stories and a cannibalistic Timothée Chalamet as well. Formidable talents doing what they do best, beloved veterans getting astonishing showcase roles, the best action-musical of this and many other years, not one but two ace Colin Farrell flicks: they're all included as well. Here's our overview of the year's silver-screen wonders — aka 2022's 15 best movies. DECISION TO LEAVE When it's claimed that Decision to Leave's Detective Hae-joon (Park Hae-il, Heaven: To the Land of Happiness) needs "murder and violence in order to be happy", it's easy to wonder if that statement similarly applies to Park Chan-wook, this stunning South Korean thriller's filmmaker. The director of Oldboy, Thirst, Stoker and The Handmaiden doesn't, surely. Still, his exceptional body of on-screen work glows when either fills its frames — which, in a career that also spans Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and English-language TV miniseries The Little Drummer Girl, among other titles, is often. To be more accurate, perhaps Park needs to survey the grey areas that loiter around death and brutality, and surround love, lust, loss, and all matters of the brain, body and heart that bind humans together, to find cinematic fulfilment. Certainly, audiences should be glad if/that he does. In Decision to Leave, exploring such obsessions, and the entire notions of longing and obsession, brings a staggering, sinuously layered and seductively gorgeous movie to fruition — a film to obsess over if ever there was one. In this year's deserved Cannes Film Festival Best Director-winner, reserved insomniac Hae-joon is fixated from the outset, too: with his police job in Busan, where he works Monday–Friday before returning to Ipo on weekends to his wife (Lee Jung-hyun, Peninsula). That all-consuming focus sees his weekday walls plastered with grim photos from cases, and haunts the time he's meant to be spending — and having sex — with said spouse. Nonetheless, the latest dead body thrust his way isn't supposed to amplify his obsession. A businessman and experienced climber is found at the base of a mountain, and to most other cops the answer would be simple. It is to his offsider Soo-wan (Go Kyung-Pyo, Private Lives), but Hae-joon's interest is piqued when the deceased's enigmatic Chinese widow, the cool, calm but also bruised and scratched Seo-rae (Tang Wei, The Whistleblower), is brought in for questioning amid apologising for her imperfect Korean-language skills. Read our full review. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who would've been 75 when this doco hit screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Read our full review. THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend that it's mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his other efforts Happy Hour, Asako I & II and Wheel of Fortune and Fantasy. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Read our full review. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, but it's mandatory if you've ever seen a film by Céline Sciamma. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director, with her talent for truly seeing into hearts and minds shining again in Petite Maman. In Sciamma's latest delicate and exquisite masterpiece after Tomboy, Girlhood and Portrait of a Lady on Fire, she follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. Nelly's grandmother (Margot Abascal, The Sower) has just died, and the house needs packing up. While her parents work, the curious child roves around the surrounding woods — and discovers Marion (fellow newcomer Gabrielle Sanz), who could be her twin. Sciamma is exceptionally talented at many things, creating richly detailed and intimately textured cinematic worlds high among them. She doesn't build franchises or big fantasy realms, but surveys faces, spaces, thoughts and feelings — exploring them like the entire universes they are. That approach pulsates through every frame of Petite Maman like a heartbeat. The film itself resembles a gentle but soul-replenishing breeze in its rustic look and serene pacing, but it thrums with emotion and insight at every moment. It's a modern-day fairy tale, too, complete with a glorious twist, with this radiant, moving, smart and perceptive movie musing deeply on mothers, daughters and the ties that bind. Read our full review. EVERYTHING EVERYWHERE ALL AT ONCE Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. Their film starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Ends) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. Read our full review. NOPE Kudos to Jordan Peele for giving his third feature as a writer/director a haters-gonna-hate-hate-hate name: for anyone unimpressed with Nope, the response is right there. Kudos, too, to the Get Out and Us filmmaker for making his third bold, intelligent and supremely entertaining horror movie in a row — a reach-for-the-skies masterpiece that's ambitious and eerie, imaginative and expertly crafted, as savvy about cinema as it is about spectacle, and inspires the exact opposite term to its moniker. Reteaming with Peele after nabbing an Oscar nomination for Get Out, Daniel Kaluuya utters the titular word more than once in Nope. Exclaiming "yep" in your head each time he does is an instant reaction. Everything about the film evokes that same thrilled endorsement, but it comes particularly easily whenever Kaluuya's character surveys the wild and weird events around him. We say yay to his nays because we know we'd respond the same way if confronted by even half the chaos that Peele whooshes through the movie. As played with near-silent weariness by the always-excellent Judas and the Black Messiah Oscar-winner, Haywood's Hollywood Horses trainer OJ doesn't just dismiss the strange thing in the heavens, though. He can't, even if he doesn't realise the full extent of what's happening when his father (Keith David, Love Life) suddenly slumps on his steed on an otherwise ordinary day. Six months later, OJ and his sister Emerald (Keke Palmer, Lightyear) are trying to keep the family business, which dates back to the 1800s, running. The presence lurking above the Haywoods' Agua Dulce property soon requires just as much attention, though. Just as Get Out saw Peele reinterrogate the possession movie and Us did the same with doppelgängers, Nope goes all in on flying saucers. So, Emerald wants the kind of proof that only video footage can offer. She wants her "Oprah shot", as well as a hefty payday. Soon, the brother-sister duo are buying new surveillance equipment — which piques the interest of UFO-obsessed electronics salesman Angel Torres (Brandon Perea, The OA) — and also enlisting renowned cinematographer Antlers Holst (Michael Wincott, Veni Vidi Vici) to capture the lucrative image. Read our full review. BONES AND ALL To be a character in a Luca Guadagnino film is to be ravenous. The Italian director does have a self-described Desire trilogy — I Am Love, A Bigger Splash and Call Me By Your Name — on his resume, after all. In those movies and more, he spins sensual stories about hungry hearts, minds and eyes, all while feeding his audience's very same body parts. He tells tales of protagonists bubbling with lust and yearning, craving love and acceptance, and trying to devour this fleeting thing called life while they're living it. Guadagnino hones in on the willingness to surrender to that rumbling and pining, whether pursuing a swooning, sweeping, summery romance in the first feature that put Timothée Chalamet in front of his camera, or losing oneself to twitchy, witchy dance in his Suspiria remake. Never before has he taken having an insatiable appetite to its most literal and unnerving extreme, however, but aching cannibal love story Bones and All is pure Guadagnino. Peaches filled with longing's sticky remnants are so 2017 for Guadagnino, and for now-Little Women, Don't Look Up and Dune star Chalamet. Biting into voracious romances will never get old, though. Five years after Call Me By Your Name earned them both Oscar nominations — the filmmaker for Best Picture, his lead for Best Actor — they reteam for a movie that traverses the American midwest rather than northern Italy, swaps erotic fruit for human flesh and comes loaded with an eerie undercurrent, but also dwells in similar territory. It's still the 80s, and both hope and melancholy still drift in the air. The phenomenal Taylor Russell (Lost in Space) drives the feature as Maren, an 18-year-old with an urge to snack on people that makes her an unpopular slumber-party guest. When she meets Chalamet's Lee, a fellow 'eater', Bones and All becomes another sublime exploration of love's all-consuming feelings — and every bit as exquisite as Guadagnino and Chalamet's last stunning collaboration. Read our full review. RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Read our full review. AFTER YANG What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049. In writer/director/editor Kogonada's (TV series Pachinko) After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake are merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. When a feature so easily recalls other films and television shows, and so emphatically — Ex Machina and Black Mirror also come to mind here — it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The White Lotus), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. Read our full review. HAPPENING It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. Read our full review. CRIMES OF THE FUTURE It takes a brave filmmaker to see cancer and climate change, and think of art, evolution and eroticism in a possible future. It takes a bold director to have a character proclaim that "surgery is the new sex", too. David Cronenberg has always been that kind of visionary, even before doing all of the above in his sublime latest release — and having the Scanners, Videodrome and The Fly helmer back on his body-horror bent for the first time in more than two decades is exactly the wild and weird dream that cinephiles want it to be. The Canadian auteur makes his first movie at all since 2014's Maps to the Stars, in fact, and this tale of pleasure and pain is as Cronenbergian as anything can be. He borrows Crimes of the Future's title from his second-ever feature dating back 50-plus years, brings all of his corporeal fascinations to the fore, and moulds a viscerally and cerebrally mesmerising film that it feels like he's always been working towards. Long live the new flesh, again. Long live the old Cronenberg as well. In this portrait of a potential time to come, the human body has undergone two significant changes. Three, perhaps, as glimpsed in a disquieting opening where an eight-year-old called Brecken (debutant Sotiris Siozos) snacks on a plastic bin, and is then murdered by his mother Djuna (Lihi Kornowski, Ballistic). That incident isn't unimportant, but Crimes of the Future has other departures from today's status quo to carve into — and they're equally absorbing. Physical agony has disappeared, creating a trade in "desktop surgery" as performance art. Also, a condition dubbed Accelerated Evolution Syndrome causes some folks, such as artist Saul Tenser (Viggo Mortensen, Thirteen Lives), to grow abnormal organs. These tumours are removed and tattooed in avant-garde shows by his doctor/lover Caprice (Léa Seydoux, No Time to Die), then catalogued by the National Organ Register's Wippit (Don McKellar, reteaming with Cronenberg after eXistenZ) and Timlin (Kristen Stewart, Spencer). Read our full review. FIRE OF LOVE What a delight it would be to trawl through Katia and Maurice Krafft's archives, sift through every video that features the French volcanologists and their work, and witness them doing their highly risky jobs against spectacular surroundings. That's the task that filmmaker Sara Dosa (The Seer and the Unseen) took up to make this superb documentary about the couple's lives — although, as magnificent as this incredibly thoughtful, informative and moving film is, it makes you wonder what a sci-fi flick made from the same footage would look like. There's a particular sequence that cements that idea, set to the also-otherworldly sounds of Air, and featuring the Kraffts walking around against red lava in their futuristic-looking protective silver suits. The entire enchanting score springs from Air's Nicolas Godin, and it couldn't better set the mood; that said, these visuals and this story would prove entrancing if nary a sound was heard, let alone a note or a word. For newcomers to the Kraffts, their lives make quite the tale — one of two volcano-obsessed souls who instantly felt like they were destined to meet, then dedicated their days afterwards to understanding the natural geological formations. More than that, they were passionate about analysing what they dubbed 'grey volcanos', which produce masses of ash when they erupt, and often a body count. Attempting to educate towns and cities in the vicinity of volcanoes, so that they could react appropriately and in a timely way to avoid casualties, became a key part of their mission. This isn't the only doco about them — in fact, German director Werner Herzog has made his own, called The Fire Within: A Requiem for Katia and Maurice Krafft — but Fire of Love is a gorgeous, sensitive, fascinating and affecting ode to two remarkable people, their love, their passion and their impact. It also benefits from pitch-perfect narration, too, courtesy of actor and Kajillionaire filmmaker Miranda July. Read our full review. RRR The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. Read our full review. Looking for more 2022 highlights? We've picked plenty. Check out our thoughts about 15 exceptional films that hardly anyone saw in cinemas in 2022, add 30 other 2022 big-screen highlights to your catch-up list and see which 15 straight-to-streaming movies were this year's best. From 2022's TV offerings, we've also thrown some love towards the 15 best returning TV series of the year, 2022's 15 best new shows and 15 other excellent TV newcomers from the past 12 months that you might've missed.
2020 will forever be known as the year everyone wore an extra groove into their couch. And because the past 12 months have just been so chaotic, you probably haven't managed to do everything you wanted to — even working through your streaming queue. You've been distracted by quite the hectic circumstances, so that's perfectly natural. Now that life slowly seems to be returning to normal — and now that holidays are upon us, too — you're probably wondering which series you should catch up on. 2020 delivered a heap of stellar new shows, however, so that isn't a straightforward question. Thankfully, in collaboration with streaming service Binge, we're here to help. Here are five of the year's absolute must-sees, all of which you can binge in full now — including via a 14-day free trial for new customers.
Becoming something of a tradition around this time of year, Sydney Restaurant Group is kicking off its winter campaign by offering up to 50 percent off set menus at eight of its most popular restaurants. Slashing prices from Sunday, June 1–Sunday, August 31, now is the perfect time to get the crew together for a long overdue catch-up that leaves considerably more in your wallet. Up first, Postino Osterio's standout sharing menu is available for lunch and dinner on Monday–Friday for $59 per person. Think thinly sliced Blackmore wagyu tonnato, kingfish crudo, homemade egg linguini with charcoal-grilled Morton Bay bug, and beef cheek with bone marrow and pepper puree. Next, luxe waterside spot Ormeggio at The Spit is taking 50 percent off its Tribute to Australian Produce Menu, featuring a five-course feast and snacks. It's available every lunch and dinner until Monday, July 14, with reduced slots beyond this date. Over at Ripples Chowder Bay, its modern Australian cuisine will taste even more special after ordering a three-course set menu plus sides for $59 per person. Plus, it gets bonus points for a priceless harbourside view. Available for dinner Wednesday–Sunday and lunch Monday–Friday, you're welcome to BYO for $16 per bottle. For extra savings, sister venue Ripples Little Manly has three courses and sides for $49, served for lunch from Friday–Sunday and dinner from Thursday–Saturday. In Balmain, The Fenwick's historic stone building and old-world wood beams will house a three-course set menu plus sides for $59 per person. Get down for lunch on Monday–Friday or make a dinner reservation on Sunday–Friday. Then, from its perch above Elouera Beach, Summer Salt's three-course feed offers a rotating lineup of tantalising options, like wild mushroom ragu, crispy pork belly and handmade burrata. With BYO available for $16 per bottle, book for lunch or dinner on Tuesday–Sunday. When cosy Italian cuisine is the vibe, Noi has got you covered in Petersham. They're also serving a three-course set menu, including a side with your main, for $59 per person. Available across all services, BYO is $15 per bottle. Lastly, Chiosco by Ormeggio is making winter that much better with a premium four-course sharing menu plus bread for $59. This offering is available on weekdays for lunch and dinner, but just note that the venue is closed for renos from Monday, June 30–Thursday, July 17. Sydney Restaurant Group's winter discounts run from Sunday, June 1–Sunday, August 31 at various venues across Sydney. Terms and conditions apply — head to the website for more information.
If you're Melbourne's NGV International and you've spent the summer filling your walls and halls with fashion by Coco Chanel, how do you follow up come winter? By dedicating your next blockbuster exhibition to Pablo Picasso and the artists, poets and intellectuals he crossed paths with. The iconic Spanish painter, sculptor and printmaker's pieces will sit alongside works by everyone from Salvador Dalí and Henri Matisse to Marie Laurencin and Gertrude Stein at The Picasso Century, which'll take over the St Kilda Road gallery from Friday, June 10. A world-premiere showcase developed exclusively for the NGV by the Centre Pompidou and the Musée national Picasso-Paris, and displaying until Sunday, October 9, The Picasso Century won't skimp on its namesake. From Picasso alone, more than 70 works will be on display. But it'll also surround his pieces with over 100 others from more than 50 of his contemporaries, with the latter sourced from French national collections and the NGV Collection. That means that art lovers will be able to gaze at 170-plus works of art, and chart Picasso's career via his paintings, sculptures, drawings and ceramics in the process — and also see how it developed through his engagement with his peers. And, when it comes to other talents showcased, the hefty list also covers Guillaume Apollinaire, Georges Braque, Alberto Giacometti, Françoise Gilot, Valentine Hugo, Dora Maar, André Masson and Dorothea Tanning. By placing the artist's pieces in context with the works of others around him, The Picasso Century examines the connections that helped make him who he was, and explores how his creations rippled throughout the world. Accordingly, art by Natalia Goncharova, Julio González, Wifredo Lam, Suzanne Valadon and Maria Helena Vieira da Silva will also feature, all talents who've rarely been exhibited in Australia. And, other artists included span André Breton, Georges Bataille, Aimé Césaire and Alberto Giacometti, as well as Kay Sage, Max Ernst and Giorgio de Chirico — plus Francis Bacon and Willem de Kooning as well. Didier Ottinger, a scholar of 20th century painting and Deputy Director of the Musée national d'art moderne, Centre Pompidou, Paris, has curated the exhibition, which obviously steps through Picasso's distinct artistic periods: his blue period, cubism and surrealism, for instance. In total, The Picasso Century will explore 15 thematic sections that chart the course of Picasso's seven-decade-plus career. If you're fond of his surrealist period, however, it'll be particularly packed with works from then. [caption id="attachment_857196" align="alignnone" width="1920"] Installation view of 'The Picasso Century', on display 10 June 10–October 9, 2022 at NGV International, Melbourne. Photo: Jeremy Kees.[/caption] Top Images: Installation view of 'The Picasso Century', on display 10 June 10–October 9, 2022 at NGV International, Melbourne. Image 1, photo: Peter Bennetts. Image 2-4, photo: Sean Fennessy.
Kūrumac, the Japanese translation of Kirribilli sister cafe Cool Mac, has arrived in Marrickville serving up Japanese comfort food for breakfast and lunch. Business partners Eugene Leung and Dika Prianata have decorated their new inner west cafe with a colourful mural from local artist collective Ar-chive, which celebrates both old and new Japan by combining a traditional food stall with a vending machine selling gyoza, bonsai and sneakers. This melding of old and new is a carried throughout the rest of Kūrumac, too. "It's a modern space, but the food is home-cooking," explains Leung. Cooking the food is Cool Mac Chef Junichi Okamatsu, who's serving up twists on some of his favourite childhood dishes, such as the udon bowl, which was inspired by a dish from his home in Yatsushiro. The noodles sit in a hot tasty broth topped with wagyu beef and sesame, and are served with a side of crispy fried shrimp. It's not what you'd normally find on an inner west cafe's breakfast menu, but that's exactly what Kūrumac is all about. As Leung says, the team wants to make food that Japanese locals "would get served for breakfast by their parents". The spicy cod roe piped onto classic thick-cut Japanese white bread, topped with cheese and grilled, is another winner from the menu. For lunch, from 11am, you can grab something a little greener, such as the seared salmon, avocado and yuzu kosho — a spicy and citrusy condiment — salad. During Sydney's long hot days, the cafe has you sorted with loads of cooling Japanese drinks, including iced mugicha (a barley tea); green tea or hojicha (a roasted Japanese tea) milkshakes made with gelato from Newtown's MaPo; and Ume Burger's house-made sodas. Images: Kimberley Low
At the foot of architect Harry Seidler's striking heptagonal skyscraper in the heart of the CBD, this most recent incarnation of the former MLC centre has aimed high with its collection of venues. At its heart are four popular restaurants — Aalia, an outstanding Middle Eastern fine diner from the Nour team; Kazan, a modern Japanese fusion eatery; Cabana Bar, where resort vibes and Central Sydney's largest outdoor terrace have made it a favourite with the after-work set; and L'uva Pasta and Wine Bar, a boutique Italian restaurant with an all-Australian wine list. Add to this its extensive subterranean food court, The Theatre Royal, and the CBD outpost of Gelato Messina, and it's easy to see why 25 Martin Place has quickly become a trusted hotspot both during the working day and after dark. Cementing that reputation, Point Group (who also operate Shell House) have plans to transform the former digs of Botswana Butchery into a hospitality hub within a hospitality hub. Called The International, it will showcase a range of world cuisines via a wine bar, restaurant and rooftop bar, with November as the loosely slated opening date.
When Sydney's first Harry Potter-themed boozy brunches were announced early last year, the city couldn't say 'accio butterbeer' fast enough, with the two sessions booking out quickly. So the return of the Wizard's Brunch is sure to be enthusiastically received — especially as it's set to be held on the spookiest of days: October 31. This Halloween feast is set to recreate the Great Hall with floating pumpkins, fortune tellers and and fire performers. Fingers crossed for butterbeer, pumpkin pasties, cauldron cakes and maybe even a treacle tart. And hopefully no trolls in the dungeon. There will be two sessions: a family-friendly brunch and an adults-only dinner. But aside from the time and date, details are scarce. The particulars such as the venue and how many galleons you'll have to spend haven't been revealed as yet, though keen muggles can sign up to The Wizard's Brunch email list for more information. To give you an idea, though, last year's events were held at MacLaurin Hall at Sydney Uni and tickets cost around $200 for food and booze.
