Another day, another international ride-share company prepares to hit the streets of Australia. This time, it's an Indian-born platform called Ola, which we're told operates in over 110 cities, hosting a whopping one billion annual rides worldwide. That's over two million trips each day, and growing fast. Less than a week after rival Taxify launched in Melbourne (with half-price rides, no less), Ola today announced plans to roll out across Melbourne, Sydney and Perth, and has already put the call out for potential local drivers to register. The company counts its driver-partner focused approach as its main point of difference, hoping to tempt Australian drivers with incentives and upskilling opportunities. As Ola co-founder and CEO Bhavish Aggarwal explains, that should result in a more competitive industry all round. "With a strong focus on driver-partners and the community at large, we aim to create a high-quality and affordable travel experience for citizens and look forward to contributing to a healthy mobility ecosystem in Australia," he said. Expect to see Ola cars cruising around town and competing with Uber within a matter of months.
Streaming platforms, superheroes and Star Wars have become modern life's new certainties, with instances of each continuing to pop up all over the place. When Disney launches its own next big venture, they'll all combine, unsurprisingly — and with the company's own streaming service set to arrive in 2019, the mouse house has begun revealing the details. The platform will be known as Disney+, and will be home to not one but two small-screen Star Wars series, as well as at least one Marvel series as well. Given that Disney owns both Lucasfilm and Marvel Entertainment, it's highly likely that the service will boast an entire galaxy of shows related to each huge franchise. In fact, you could probably walk into a cantina somewhere and make a safe bet on it. There have been 10 Star Wars films and 20 Marvel movies in cinemas already, after all. Fans of the George Lucas-created space opera can not only look forward to the previously announced $100 million Star Wars series The Mandalorian from The Jungle Book, Iron Man and Iron Man 2 director Jon Favreau (and with Thor: Ragnarok director Taika Waititi helming an episode), but also a new spin-off from Rogue One. The latter will be set before the events of the film and will focus on Rebel spy Cassian Andor, with Diego Luna reprising his role from the movie. In the Marvel sphere, while a number of shows have been rumoured for months, Disney have announced that Tom Hiddleston's trickster Loki will definitely be getting his own series. Just what storyline it'll follow, or when it'll be set, is yet to be revealed. That said, it's safe to assume that it might be a prequel series as well. Release dates for both series haven't been unveiled either — and nor has any word on the other Marvel show that has long been rumoured, about Elizabeth Olsen's Scarlet Witch. Disney+ is definitely going big when it comes to bringing the company's well-known properties to the new streaming platform, with a High School Musical TV series, another show based on Monsters, Inc. and a live-action Lady and the Tramp movie also on its lineup. Via The Walt Disney Company. Image: Marvel Studios' Avengers: Infinity War. Loki (Tom Hiddleston). Photo: Chuck Zlotnick. ©Marvel Studios 2018.
Another week, another chance to fill it with as much fun as possible. Thankfully, Sydney is a place that knows how to deliver. Art shows on a Monday, live music on a Thursday, festivals on a weekend — that's just life in this busy city of ours. No day is ever the same, and no span of seven days either. Of course, we wouldn't have it any other way. Too much to do, too little time? If that's how you're feeling, don't worry, we've got you covered. To help you get the most out of every moment across this particular week, we've teamed up with Australian Red Cross and Uber to cast our eyes over the best events happening around town from Monday to Sunday. The result is a jam-packed agenda that not only takes care of your free time but makes sure you're having a mighty fine time while you're at it, too. If you need a ride to or from your destination, Uber can obviously assist — but the ride-sharing service and Australian Red Cross also have your Sunday sorted. That's when they're holding their annual Uber x Red Cross clothing drive, and will even send a driver to your house to pick up your unwanted threads. As well as helping clear out your wardrobe and helping those in need, it's the perfect way to cap off your busy week. Spend Monday to Saturday at markets, bars and galleries, then chill at home, donate to a good cause without leaving the house, and make a date with your couch.
When each year comes to an end, celebrating ace movies and TV shows from the past 12 months has become a tradition, especially if you worship screens big and small. Another ritual: looking forward to a new calendar filled with standout things to watch. Based on Disney+'s just dropped trailer for the year ahead, for example, Mouse House fans have plenty to get excited about. Chief among them is the second season of Loki, following on from its first back in 2021.When that initial run of episodes came to an end, the credits for its final instalment included a stamp that said "Loki will return in season two" — and that follow-up will hit sometime in 2023. The God of Mischief — well, Tom Hiddleston (The Essex Serpent) — narrates the brief Disney+ 2023 trailer, which includes multiple glimpses at his Marvel Cinematic Universe alter-ego. Viewers not only looking forward to Loki's return, but also eager to see Owen Wilson (Marry Me) back as Mobius M Mobius, can catch a look at both. Banter results, naturally, and clone trickery. Loki's second season will hit in another busy year for the MCU, which is also set to include the Nick Fury-focused Secret Invasion; Hawkeye spinoff Echo; Ironheart, which Black Panther: Wakanda Forever helped set up; and maybe even WandaVision spinoff Agatha: Coven of Chaos — all on streaming. In cinemas, the sprawling comic book-inspired realm will also welcome Ant-Man and the Wasp: Quantumania, Guardians of the Galaxy Vol. 3 and The Marvels. Exactly what Loki's season two plot will follow is yet to be revealed, just like when it'll arrive; however, it isn't the only Disney+ series highlighted in the 2023 glimpse. Also included: that aforementioned Secret Invasion, the third season of The Mandalorian, fellow Star Wars series Ahsoka, Pixar's Win or Lose and Up-related Dug Days: Carl's Date, and the live-action Peter Pan & Wendy. If you're a fan of all, some or any of the Mouse House's big brands, prepare to spend plenty of time on your couch in 2023. Check out Disney+'s 2023 trailer below: The first season of Loki is available to stream via Disney+ now. Exactly when in 2023 the second season will arrive is yet to be announced — we'll update you with more details when they come to hand. To keep an eye on Disney+ catalogue, head to the streaming service's website. Top image: ©Marvel Studios 2021. All Rights Reserved.
In Stay of the Week, we explore some of the world's best and most unique accommodations, giving you inspiration for your next trip. In this instalment, we take you to sunny Queensland for a special stay at Mirage Whitsundays, Airlie Beach. We love this place so much that we teamed up with the resort to offer an exclusive four-night travel deal — including a sunset sailing cruise and one-hour scenic flight with spectacular views of the outer Great Barrier Reef below. WHAT'S SO SPECIAL? Queensland: Beautiful one day. Perfect the next. Which all means that while summer is an obvious time to head to the Sunshine State, we reckon a winter escape is just as good. The temps are still warm-ish, the crowds are less-ish and the general consensus is that it's a great time to visit. (Full stop. No ish). So, if you're on the hunt for a mid-year exodus, but your budget and annual leave allowance limit it to the non-European-variety, our recommendation is to book a stay at the Mirage Whitsundays. Nestled in Airlie Beach, the gateway to the Great Barrier Reef, the Mirage is the place to base yourself if you're all about spectacular sunrises, salty sea breezes and super easy access to the 74 tropical islands that make up Australia's most famous archipelago. THE ROOMS If you're not a fan of starting your day with breathtaking, turquoise-tinted, island-dotted views, then the Mirage Whitsundays may not be the best choice for you, and we suggest you search for an alternative. However, travellers who don't mind a hotel with a little water frontage will be pleased to hear that every single room at the Mirage promises exactly that. Whether you choose a self-contained apartment, villa or penthouse, opt for an elevated panorama or a ground-level vista, your European-style kitchen, spacious terrace and modern bathroom will always come with a side of sea breeze. We hope you can find a way to make it work. FOOD AND DRINK G&T lovers rejoice. Airlie's only gin bar, Whisper Restaurant And Gin Bar, is located smack bang in the middle of the Mirage. If you're after an excellent range of gins (more than 90) or creative cocktails that heavily feature them, or you prefer a fine wine or cold beer, then you've come to the right place. Not a drinker? Fret not. The restaurant is also home to daily breakfasts (the chia puddings come highly recommended), an Indonesian buffet feast on Friday nights, and bottomless brunches every Saturday and Sunday from 11am-1pm. There's even a free courtesy bus to get you there and back, so you don't waste precious feasting time. THE LOCAL AREA Not to point out the obvious, but if you've booked a stay at the Mirage, easy access to the beaches of the Whitsundays and maybe a day or two to check out the Great Barrier Reef probably had something to do with it. If you only had time to do one thing, we recommend you visit Whitehaven Beach, which was named the Best Beach in the World a couple of years ago. Assuming you do the smart thing though, and book our four-night travel deal, you'll have a little more time to explore more. Just for starters: take a stroll through the Whitsunday Great Walk (Conway Circuit); drive to nearby Hideaway and Horseshoe bays; visit the beautiful Cedar Creek Falls; island-hop by cruise, sail or jet ski; or snorkel among the largest coral reef system on Earth. For those who really just can't get their head around rocking a bikini or boardies between June and August, please read on for a way around this dilemma. THE EXTRAS Those who can't be convinced to embrace their inner Ariel and go 'Under the Sea' can still experience all that the reef has to offer through an above-the-ocean sunset cruise or an above-the-clouds scenic flight. Or both. Included in day four of this package, the former gives you the chance to settle in for a two-hour boat ride with complimentary welcome drink and yummy snacks, just in time to watch the sun dip below the horizon. Meanwhile the latter is an incredible, once-in-a-lifetime opportunity to enjoy a private flight over amazing blue waters, white sand beaches and even a naturally heart-shaped reef. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
Movie lovers of Australia, rejoice: New York-born arthouse cinema chain Angelika Film Centre is making the leap Down Under. A film-showing favourite in the US since 1989, starting in Soho and expanding to nine American locations since, the brand is launching its first-ever Aussie location on Thursday, August 24. In fact, when it opens its doors in Brisbane, it'll mark the chain's first picture palace outside of the USA. First announced earlier in 2023, and now set to welcome in filmgoers to its Woolloongabba site, Angelika Film Centre's Australian debut will land in Woolloongabba, in the inner-city suburb's South/City/SQ precinct. On offer: an eight-screen, 400-seat cinema complex that spans 2500 square metres. Three of those screens are SoHo Lounge cinemas, which means full-recliner seating, table service, and access to the SoHo Lounge Bar for wine, spirits and signature cocktails. When it starts ushering in patrons, Angelika Film Centre will screen a heap of current hits, with Asteroid City, BlackBerry and Gran Turismo: Based on a True Story all on its launch slate. Yes, so is Barbenheimer, aka Barbie and Oppenheimer. Plus, viewers can check out advance screenings of Past Lives before it officially releases the following Thursday. And, in excellent news for your wallet, the cinema is doing $10 tickets for all sessions — including SoHo Lounge — across its opening week. The above lineup will be joined by the likes of Theatre Camp, Biosphere, My Big Fat Greek Wedding 3, Ego: The Michael Gudinski Story, A Haunting in Venice and Scrapper in coming weeks, following the style of programming that's served the chain well in the US. In New York, Angelika Film Centre's clout in the independent, foreign and specialty film space has seen it help make titles like Lady Bird, Moonlight, I, Tonya, Pain & Glory and Free Solo box-office hits. Woolloongabba's outpost also has retrospective flicks such as Searching for Sugar Man, Roman Holiday, Fight Club, Fargo and The Third Man on its slate. And, it'll do gin-inspired sessions, with Casablanca, The Great Gatsby and Casino Royale all locked in. "We look forward to joining the Angelika family, and being part of the exceptional reputation that comes with the Angelika name. More so we are incredibly pleased that we get to open our doors in such an impressive and elegant complex as South/City/SQ. We are really looking forward to being part of the community" said Mark Douglas, Reading International's Australia and New Zealand Managing Director, with Angelika Film Centre hitting Australia via Reading Cinemas Group. The venue has been in the works since 2017, and also boasts a lolly station among its snack selection. And yes, it's a case of another week, another Australian-premiere movie experience landing in southeast Queensland, after Event Cinemas launched its 270-degree ScreenX setup on the Robina in mid-August. In Brisbane specifically, new cinemas have been popping up with frequency over the past decade, including New Farm Cinemas, The Elizabeth Picture Theatre, Red Hill Cinemas, Dendy Coorparoo, Reading Newmarket and Reading Jindalee. There's no word yet as to whether Angelika Film Centre has more Aussie sites in its future. Film lovers in other cities, cross your popcorn-grabbing fingers. [caption id="attachment_893537" align="alignnone" width="1920"] Markus Ravik[/caption] Angelika Film Centre will open at level one, 160 Logan Road, Woolloongabba, on Thursday, August 24 — head to the cinema's website for tickets and further details.
Open on Fridays, Saturdays and Sundays only, this Italian trattoria in Ettalong is where you'll want to sink into a cosy seat with an espresso martini and a grazing platter of European cured meats and cheeses. Create your own grazing board from the bar's antipasti selection from $14–32, from the 24-month aged prosciutto di parma to the soft, three-months aged gorgonzola from Lombardy. Or load up on side dishes like burrata and truffle oil, Ortiz anchovies, or sea urchin roe, all served with the famed sourdough from Osteria Il Coccia (around the corner). As it's local to Osteria Il Coccia, it's an excellent place to pop into on your way to or from dinner, but if you'd rather keep things casual there's nonna's famous meatballs with fior di latte and a range of mini cocktails to keep you busy. [caption id="attachment_776806" align="alignnone" width="1920"] Kitti Gould[/caption] Classic cocktails and house favourites linger around the $17–18 range, plus there's a daily happy hour from 4.30–5.30pm with minis priced at $5.50 a pop. Those fond of a caffeine kick should look to the coffee cocktail menu; you can choose from five flavours — caramel, coconut, hazelnut, fernet or classic — for a drink made with onyx cold brew coffee from the Hunter Valley and either tequila, vodka or rum. Not drinking? There's a substantial range of no- or low-alcohol cocktails and sodas here, too.
One of the world's best chefs has teamed up with the legends at OzHarvest to convert a 100-year-old Surry Hills home into Refettorio OzHarvest Sydney, an eatery with the goal of feeding those in need. Massimo Bottura is the culinary powerhouse behind three Michelin-starred restaurant Osteria Francescana, which has previously claimed the top spot on the prestigious World's 50 Best Restaurants list. Bottura has set up Refettorios in cities across Europe, North America and South America in collaboration with his not-for-profit organisation Food for Soul. Refettorio OzHarvest Sydney is his first venture in Australia and is set to open on Crown Street from Thursday, February 24, providing free-of-charge lunches to Sydneysiders in need of food assistance Tuesday to Friday. The restaurant was initially teased in 2019, but was delayed due to COVID-19 according to OzHarvest Founder and CEO Ronni Kahn AO. "It has always been my dream to open a venue where vulnerable people can enjoy good food in exquisite surroundings and be treated with dignity and respect," Kahn said. "When I first met Massimo, it was like two meteors colliding and the result has helped this dream come true!" Bottura mirrored this sentiment, "When I met Ronni, I knew OzHarvest was the perfect partner for the first Refettorio in Australia — we have the same passion, determination and goodwill which you need to get a project like this off the ground!" The Surry Hills eatery will apply OzHarvest's zero-waste policy to its lunches, rescuing ingredients that may have gone to waste and using them to create gourmet meals. The venue can seat up to 50 diners and will offer up a continually changing menu based on the produce available that week. "It's a warm hug we give our guests," Bottura says. "When people ask what a Refettorio is, I describe it as a cultural project that shares beauty and hospitality in a different way, where we treat our guests like we do at our restaurants." When the restaurant is not being used to serve patrons, the space will be used to run education programs through OzHarvest and will be offered to local charities. The wider Sydney community will also have the chance to experience the restaurant later in the year through a series of events and neighbourhood dinners. If you'd like to lend a helping hand to Refettorio OzHarvest Sydney you can apply to volunteer or donate to OzHarvest via the organisation's website. Refettorio OzHarvest Sydney will open at 481 Crown Street, Surry Hills on Thursday, February 24. It will be open to anyone facing food insecurity midday–2.30pm Tuesday–Friday. Images: Nikki To
We all know the fun things that can happen when a nostalgic childhood treat is reimagined for a grown-up audience. And the latest collaboration from gelato masters Messina and Sydney distillery Archie Rose is certainly one of the goodies. The pair has gone and reworked the classic neapolitan ice cream combo into a limited-edition trio of spirits, heavy on the retro-tastic dessert vibes and ready for your spring cocktail sessions. Available from Monday, September 7, the Neapolitan Set features three 200-millilitre spirit varieties crafted on produce from Messina's own Aussie farms, paying homage to the familiar pink, white and brown scoops that have long graced dinner tables across Australia. There's a strawberry and pink peppercorn gin, a vanilla and pandan vodka, and a chocolate-inspired cacao husk and hazelnut whisky. Archie Rose individually distilled a swag of top-quality ingredients to create each sip and has even come up with some suggested cocktails to put them to good use. For example, the gin teams locally foraged pink peppercorn and native river mint with juicy strawberries from Messina's farm in Dural, NSW. They say this one works particularly well matched with some of Messina's strawberry sorbet in a blushing riff on the miami vice cocktail. Meanwhile, the collaboration vodka uses fragrant pandan and sustainably sourced Tongan vanilla beans to create a spirit that's the perfect addition to a grasshopper. And the whisky stars roasted hazelnuts from both Italy and the Messina farm in Seymour, Victoria, along with macerated husks from rare cacao beans. Best try that one blended with a scoop of Messina's hazelnut gelato in a creamy toblerone concoction. While the spirit set will be available to buy online and from select bottle shops, Messina will also be dishing up a supporting act with a limited-edition decorated neapolitan gelato tub up for grabs from September 7. Plus, stay tuned for a virtual neapolitan cocktail masterclass, presented by Messina and Archie Rose on September 25. Find the Archie Rose x Messina Neapolitan Set ($109) at select bottle shops, the Archie Rose bar and on the Archie Rose website, from September 7.
Can't trip all the way out to Katoomba's Mountain Culture brewpub? Well, the brewery's Emu Plains location is here to save your beer-focused explorations. The Factory, as it's called, is open to the public on Fridays, Saturdays and Sundays from lunch till dinner — with takeaway or dine-in options, so you're really covered on all bases. From the outside, it looks like any other industrial building. It's inside where the magic happens. See where the Mountain Culture crew brew the lush IPAs, crisp pales, wild ales and pillowy oat creams that they're famous for. Then, settle in for a fresh pour of the core range, seasonal specials, weekly new releases and whatever other experiments are on the go. Plus, they've got wines, cider and craft non-alc options. There's always a food truck on site, slinging everything from barbecued meats to woodfired pizza and even Polish fare — all bona fide fantastic pairings for your frothy. Appears in: The Best Sydney Brewery Bars for 2023
Maybe you've gone in for pizza and had a surprisingly great cocktail. Or maybe you've done it the other way around. Either way, one thing is for sure: Maybe Frank does great pizza and cocktails. And now, the team behind the Surry Hills' restaurant is expanding its offering with Maybe Sammy, set to open in The Rocks later this year. Owners Stefano Catino and Vince Lombardo have already begun work on their new Harrington Street digs, which sits just opposite Neil Perry's Rosetta. The venue is fittingly named after another jazz era icon, Sammy Davis Jr. — if you hadn't guessed, Maybe Frank is named after Sinatra. But this new venture is all about the cocktails — something that Maybe Frank has gained quite a following for. The restaurant's leading barman Andrea Gualdi most recently won the 2017 World Class Bartender of the Year at the Diageo World Class Australia Competition. He'll be a co-owner along with Catino and Lombardo, and will lead the bar team at the new venue. While the cocktail list will be entirely new and hasn't yet been finalised, you can expect the creative cocktail creations that Maybe Frank is known for. To give you an idea of what to expect, the current menu features the Hugs and Roses (vodka, citrus, turmeric, rose petals and honey), Flat Spritz (white wine, peach, Aperol and pop rocks) and Capitano (Encanto Pisco, mezcal, pecan-infused vermouth, bitters and charred wood). What won't carry over to the new menu is the pizza. Replacing the Italian menu will be one inspired by 1950s Hollywood glamour, complete with a fit-out that emulates a high-end hotel bar. Everything's still very much in development, so, at this stage, Maybe Sammy looks like it will be a few months away yet. But we'll update you with more info on this soon. Maybe Sammy will open later this year at 111 Harrington Street, The Rocks. Keep an eye on this space for updates.
With La Nina working her unholy magic, you may need to take shelter in your nearest cinema on more than a few summer eves. See how many of the fine flicks on Concrete Playground's Summer 2011/12 hit-list you tick off your list. Best use of twee Restless (now showing) Can a misfit with a Kamikaze pilot ghost friend find love with Mia Wasikowska? Gus Van Sant says yes. Best action flick Mission Impossible: Ghost Protocol (in cinemas December 15) With Pixar's Brad Bird (The Incredibles, Ratatouille) in the director's chair, the fourth instalment of the Tom Cruise spy franchise may get a whole lot cooler. Best movie to enjoy with your mum Iron Lady (in cinemas December 26) Meryl Streep is Margaret Thatcher. This can't go wrong. Best revival The Adventures of Tintin: The Secret of the Unicorn (in cinemas December 26) Some purists will disagree, and motion-capture animation is nobody's favourite, but Steven Spielberg and the UK's hippest moviemaking talent have done well bringing the intrepid boy adventurer/journalist/detective back into our lives. Best mind-fuck The Skin I Live In (in cinemas December 26) Pedro Almodovar's sensational new film is not a Boxing Day flick to which to take the whole family. Best crowd-pleaser Sherlock Holmes: A Game of Shadows (in cinemas January 5) He's now a wit, a cad and a brawny crime-fighter. Few can resist. Most unabashed nostalgia The Muppets (in cinemas January 12) We've been following the parody trailers for months, so there's no question we'll pack the theatres for the full-length journey. Best animation Arrietty (in cinemas January 12) Studio Ghibli continues to restore the magic, whimsy and watercolour-rich palette to a form that can get distracted by technology. Best nail-biter The Girl with the Dragon Tattoo (in cinemas January 12) Sure, a perfectly competent Swedish adaptation already exists, but this intense, David Fincher-directed take on the Stieg Larsson novel is something else. Most intimidating cast list Tinker Tailor Soldier Spy (in cinemas January 19) Gary Oldman, Colin Firth, Tom Hardy. Eep. Best use of 3D The Darkest Hour (in cinemas January 19) Invisible aliens invade Moscow. It might turn out half-baked, but both the locations and effects are stunning. Best date movie Young Adult (in cinemas January 19) Because saccharine romance makes most people vomit into their mouths a little, this gem from the Juno team is a safer bet to keep you both giggling while it hits home life's little lessons. Best love story Weekend (in cinemas January 26) A hook-up at a house party becomes something deeper. Oh, and this couple's gay. A good omen for 2012? Best indie Martha Marcy May Marlene (in cinemas February 2) If you were fleeing an abusive cult in the Catskills, you might be paranoid, too. Most justifiably bleak Shame (in cinemas February 9) Carey Mulligan breaks out of her nice-girl box by starring in this powerful story of sex addiction with Michael Fassbender. Most unlikely blockbuster Coriolanus (in cinemas February 23) Ralph Fiennes and Gerard Butler recover the rarely heard-of Shakespeare tragedy. But in modern, war-scarred Europe. Epic. Most dreaded by bibliophiles Extremely Loud and Incredibly Close (in cinemas February 23) Jonathan Safran Foer's great American po-mo novel comes to the screen, with Tom Hanks, Sandra Bullock and a swag of sentimentality. Most street cred The Rum Diary (in cinemas March 13, but previewing at St George Open Air Cinema) Johnny Depp retrieved this himself from the depths of Hunter S. Thompson's drawers. Enough said.
Autumn's here, which means less time at the beach and more time doing indoorsy things like art and theatre and music. Luckily, a stack of bands and singer-songwriters are gearing up to tour the east coast during the next few months, helping to ease your transition into cooler weather. Narrowing them down into a top five has been no mean feat, but, in partnership with JBL Link Speakers, we've come up with these recommendations to kickstart your gigging adventures. And while you're waiting for the gigs to roll around, we curated a handy Spotify list to get you pumped. Listen to it on some JBL Link 10s — anywhere you like because these babies are portable and last you five hours — and you'll feel as if you're almost (we said almost) at the gig already. Here they are, the five gigs to add to your calendar this autumn. All shows are likely to sell out quickly, so don't dilly-dally: get your mitts on tix as soon as your wallet will allow. CAMP COPE This year, Camp Cope's second album, How to Socialise and Make Friends, nabbed a coveted 7.8 review on Pitchfork. A follow-up to their 2016 self-titled debut, the sophomore continues to address misogyny, sexual assault and sexism in the music industry via songwriter Georgia Maq's clever blending of the personal and the political. Lead single 'The Opener', with its quotable lines like "Yeah, just get a female opener, that'll fill the quota", came in at number 58 on the 2017 triple j Hottest 100. On the back of this commercial and critical success, the outspoken Melbourne-based folk-punk-rock trio is gearing up to take its fierce live act across Australia. WHERE AND WHEN — Thursday, March 15 and Friday, March 16: Thornbury Theatre, Melbourne — Saturday, March 17: The Tivoli, Brisbane — Friday, March 23: Metro Theatre, Sydney — SOLD OUT ALEX THE ASTRONAUT AND STELLA DONNELLY Two young Aussie songwriters who aren't afraid of tackling the big issues are teaming up for a joint tour this April. One is Sydney-born, Alex The Astronaut, whose single 'Not Worth Hiding', about openly owning your sexuality, became a bit of an anthem for the 'yes' campaign in the lead-up to the same-sex marriage postal survey. The other is Perth's Stella Donnelly, whose 'Boys Will Be Boys' deals with victim blaming following sexual assault and rape. WHERE AND WHEN — Saturday, April 14: Festival 2018 in South Bank, Brisbane (free) — Wednesday, April 18: Oxford Art Factory, Sydney — Wednesday, April 25: The Corner Hotel, Melbourne THE SMITH STREET BAND It's been almost a year since Melbourne's The Smith Street Band treated us to a national headline tour. But that's not to say they've been resting on their laurels. In 2017, the boys rocked out at several major festivals, including Groovin' the Moo and Splendour in the Grass, supported Midnight Oil and gigged all over the US and Europe. Plus, their new album More Scared of You Than You Are of Me entered the ARIA Charts at number three. Over the next few months, they'll be appearing pretty much everywhere in Australia with support from Bec Sandridge, who toured the UK and Europe last year on the back of new single 'I'll Never Want A BF', and Press Club, who've been basking in big love following the release of their debut single 'Headwreck'. WHERE AND WHEN — Saturday, March 24: Enmore Theatre, Sydney — Monday, April 16: The Tivoli, Brisbane — Saturday, May 12: Hawthorn Arts Centre, Melbourne — SOLD OUT ALEX LAHEY Alex Lahey's catchy melodies and honest lyrics have been scoring airplay ever since she released 'You Don't Think You Like People Like Me' in 2016. Last year, she followed up with debut album I Love You Like a Brother — which made the 2017 Triple J Listeners' Album of the Year list — before touring the UK and the US (including an appearance on Late Night with Seth Myers) and returning home to scoop up the Levi's Music Prize. She's spending March gigging around the UK and Europe, before kicking off the Huge and True tour here in Australia. WHERE AND WHEN — Friday, April 6: Factory Theatre, Sydney — Saturday, April 7: The Triffid, Brisbane — Wednesday, April 17: 170 Russell, Melbourne DZ DEATHRAYS If you're keen to thrash your way through autumn, then get along to one of DZ Deathrays' shows. The Queensland-based duo, who cut their teeth at house parties around Brisbane, are heading out on the road to launch their newest album Bloody Lovely, which is all about solid, old-fashioned party rock songs. Providing support will be up and coming bands Clowns, These New South Whales and Boat Show. Several gigs have already sold out, but new dates have been added, so you've still got a chance if you get onboard and grab a ticket ASAP. WHERE AND WHEN — Wednesday, May 9: Metro Theatre, Sydney — Wednesday, May 23: 170 Russell, Melbourne — Thursday, May 24: The Triffid, Brisbane Get your tix and amp yourself up for the gig with our Spotify playlist — played on some swish JBL Link speakers, of course. And if you don't have wifi and Bluetooth-enabled, voice-activated, durable, long-lasting and, most importantly, high-quality speakers in your possession, we've got some to give away here. https://open.spotify.com/user/concreteplayground/playlist/2k4LuQ65AP4xn0ekGTH1qM
UPDATE, May 20, 2022: Candyman is available to stream via Prime Video, Google Play, YouTube Movies and iTunes. Who can take tomorrow and dip it in a dream? 'The Candy Man' can, or so the suitably sugary earworm of a song has crooned since 1971. What scratches at the past, carves open its nightmares and sends them slicing into the present? That'd be the latest Candyman film, a powerful work of clear passion and palpable anger that's crafted with tense, needling thrills and exquisite vision. Echoing Sammy Davis Jr's version of the tune that virtually shares its name across its opening frames, this new dalliance with the titular hook-handed villain both revives the slasher franchise that gave 90s and 00s teen sleepovers an extra tremor — if you didn't stare into the mirror and utter the movie's moniker five times, were you really at a slumber party? — and wrestles vehemently and determinedly with the historic horrors that've long befallen Black Americans. It'll come as zero surprise that Jordan Peele produces and co-penned the screenplay with writer/director Nia DaCosta (Little Woods) and writer/producer Win Rosenfeld (The Twilight Zone). Candyman slides so silkily into Peele's thematic oeuvre alongside Get Out and Us, plus Peele-produced TV series Hunters and Lovecraft Country, that his fingerprints are inescapable. But it's rising star DaCosta who delivers a strikingly alluring, piercingly savage and instantly memorable picture. Alongside bloody altercations and lashings of body horror, razor blade-spiked candy makes multiple appearances, and her film is equally as sharp and enticing. In a preface that expands the Candyman mythology — and savvily shows how the movie has everyday realities firmly on its mind — that contaminated confectionery is thrust to the fore. In 1977, in the Cabrini-Green housing estate where the series has always loitered, Sherman Fields (Michael Hargrove, Chicago PD) is suspected of handing out the laced lollies to neighbourhood kids. Sent to do laundry in the basement, pre-teen Billy (Rodney L Jones III, Fargo) soon comes face-to-face with the man everyone fears; however, after the boy screams and the police arrive, he witnesses something even more frightening. Jumping to the present (albeit absent any signs of the pandemic given Candyman was initially slated to release in mid-2020), Cabrini-Green is now Chicago's current poster child for gentrification. It's where artist Anthony McCoy (Yahya Abdul-Mateen II, Watchmen) and curator Brianna Cartwright (Teyonah Parris, WandaVision) have just bought an expansive apartment, in fact. They're unaware of the area's background, until Brianna's brother Troy (Nathan Stewart-Jarrett, Generation) and his partner Grady (Kyle Kaminsky, DriverX) start filling them in on the legend that's long been whispered across the local streets — and, struggling to come up with ideas for a new show, Anthony quickly clasps onto all things Candyman for his next big project. The feeling that springs when you discover that something isn't what it seems, and that its murkiness run so deep that it's devastatingly inescapable? That's the sensation that Anthony experiences as he plunges down the rabbit hole of learning everything he can about Candyman. Laundromat owner William Burke (Colman Domingo, Ma Rainey's Black Bottom) helps fill some gaps, and the events of the original 1992 film also guide the artist's research — with all that backstory conveyed via seductively gothic shadow puppetry — but fans with strong memories of the initial movie will already understand why Anthony is so thoroughly consumed. DaCosta also builds towards his jittery and obsessed mental state stylistically from the get-go. Urgency seethes through the feature's fidgety, nervy score, with composer Robert Aiki Aubrey Lowe (aka Lichens, a musician with credits on It Comes at Night and Mother!) turning restlessness and anxiousness into jostling notes. In Candyman's stunningly vivid imagery, as lensed by Happiest Season and An American Pickle cinematographer John Guleserian, every visual choice further solidifies the feverishly unsettling mood. Shots involving mirrors stand out, aptly, but bold framing decisions, careening camerawork through hallways, and clever use of placement, angles, and zooming in and out all prove expertly calibrated. Again and again, DaCosta gives cinematic flesh to Anthony's emotional and mental states. She apes his inner turmoil in her external flourishes; so much of Candyman is about reflections, given that's where its eponymous boogeyman arises, after all. That notion also shimmers across the film's heftier layers and heaving social critique, as it muses on the cycle of violence against people of colour that keeps being mirrored in generation after generation — upping the ante from the flick that started it all. Back then, the franchise's fearsome force was 19th-century artist Daniel Robitaille (Tony Todd, The Flash), who was brutally attacked and murdered for loving a white woman. His hand was severed, and he was smeared with honey that attracted bees to dispense fatal stings. Now, he's not the only ghostly victim of such ghastly racial injustice. This fourth instalment in the saga, following terrible initial sequels in 1995 and 1995, isn't subtle about the picture it's painting; however, it is intense, ardent and shrewd at almost every moment. And, while it sometimes tasks characters with too overtly making blatant statements (a critic's dismissiveness of Anthony's latest creations is just too neatly scripted, for instance), Candyman usually finds the right balance, stressing but rarely overcooking its message. That its central figure's new artwork is called Say My Name provides one such example; it's obvious, in both its links to uttering Candyman's moniker and to the #SayHerName movement that raises awareness for black women subjected to violence, but it's also wounding. From Abdul-Mateen II leading the show, to stellar supporting work by Parris, Domingo and Todd, casting is another of DaCosta's painstakingly perfect touches. In The Get Down, Aquaman and The Trial of the Chicago 7 — and, of course, in Watchmen — Abdul-Mateen II has already shown that he knows how to make his presence felt, and Candyman wouldn't burn as searingly or buzz as stingingly without his performance. He's front and centre in a movie that excavates, contemplates and ravages the past, rather than tries to simply construct something new from its ashes. Helping the film cut its own path while remaining fully aware that it'll always swarm into its cult-favourite predecessor's hive, he never merely plays the always-sympathetic and dutifully heroic protagonist, either. Nor is Anthony just an emblem of reckoning with prejudice and fighting back, even in a feature that adores its symbolism. Indeed, his name is worth saying multiple times, as is DaCosta's — en route to her next gig directing Marvel Cinematic Universe project The Marvels — and this haunting and entrancing movie's moniker as well.
It's the country responsible for everything from A Trip to the Moon and The 400 Blows to Amelie and Portrait of a Lady on Fire — and, each year, Australia celebrates accordingly. The largest of the nation's annual cultural cinema showcases, the Alliance Francaise French Film Festival has been highlighting the latest and greatest in French flicks for 31 years now. And, after initially kicking off in March, then shutting down due to the COVID-19 pandemic, it's returning in July — to charge forth in 2020 as it always has. For movie buffs around the country, that means a heap of new French flicks, all as part of the fest's revived season from Tuesday, July 14. Start with opening night's suitably movie-obsessed La Belle Epoque, then dive into Oscar-nominated dramas, the latest work from top directors and a stellar exploration of heading into space. If you're feeling a little spoiled for choice, that's where we come in. Grab a glass of wine and a cheese platter, then nab a ticket to one of our top ten picks of the fest — and say 'oui' to a very French night at the movies. https://www.youtube.com/watch?v=HDaZdj66Nls ZOMBI CHILD After making one of the best films of the past few years — 2016's mesmerising and provocative Nocturama — writer/director Bertrand Bonello is back with another instant standout. Don't be fooled by Zombi Child's name — this isn't your usual undead thriller. Instead, the film weaves together two tales. Firstly, in the 60s, Haitian man Clairvius Narcisse (Mackenson Bijou) is turned into a zombie through a vodou ritual. That part of Zombi Child is actually based on real-life details. Later, in the present day, Parisian boarding school student Fanny (Louise Labèque) befriends Haitian student Mélissa (Wislanda Louimat), with the latter's cultural background proving of particular interest. Bonello's ability to challenge, confront complex themes and topics, and create an atmospheric, ambiguous piece of art remains in this folklore-infused colonial critique, as does his winning ways with moody imagery, an ethereal vibe and pitch-perfect soundtrack choices. https://www.youtube.com/watch?v=OHMH-vrtnTM PROXIMA Even astronauts have to deal with work-life balance. Indeed, that seemingly elusive concept comes into sharp focus in Proxima; however Sarah's (Eva Green) situation is a little different to most folks'. A single mother to Stella (Zélie Boulant-Lemesle), she's in training for year-long space mission 'Proxima' — an already complicated task that's made all the more so by her guilt over what it means for her daughter. A space-related saga with a firmly female mindset, this is the latest film by Mustang co-writer Alice Winocour, who filmed the feature on location inside the European Space Agency. Co-starring Matt Dillon, Toni Erdmann's Sandra Hüller and real-life French astronaut Thomas Pesquet, Proxima benefits from its formidable leading lady, too. From Casino Royale to Penny Dreadful, Green makes an impact on-screen like few other actors. https://www.youtube.com/watch?v=zqs6KHAIfFw LES MISERABLES Ladj Ly's Oscar-nominated crime-thriller takes its name from a very obvious source, and its Montfermeil setting and exploration of class clashes as well. In the process, it openly invites comparisons to Victor Hugo's famous, much-adapted work, all while twisting its various components into its own compelling and confronting piece of cinema. Taking to the banlieues of Paris, Les Misérables spends its time flitting between cops, kids and gangs, as tensions between all three reach boiling point — over the usual prejudices, long-held beefs, stolen lions, a wrongful shooting and some highly sought-after drone footage. Unrelentingly terse, deftly choreographed and unafraid to filter real-world unrest through every frame, it's not always subtle; however, given the complicated terrain that it traverses, Ly's film needn't be. What it occasionally lacks in nuance, it feverishly makes up for both emotional and visceral power. https://www.youtube.com/watch?v=R1EtAq-34lA THE TRANSLATORS One book. Nine international language experts. A leak, a ransom and one big mystery. That's the nuts and bolts of The Translators, which twists the world's current crime fiction obsession in a clever direction. Assembled to work on the final novel in a best-selling French trilogy that's been compared to The Girl with the Dragon Tattoo — adapting it into English, Danish, Chinese, Spanish, Russian, Italian, Greek, Portuguese and German — a team of translators is placed on lockdown. Alas, that doesn't stop the manuscript's first ten pages from somehow getting out. Whodunnits have been increasingly in big-screen popularity of late (see: Murder on the Orient Express and Knives Out, both of which proved such huge box office hits that they're getting sequels), with this film starring Olga Kurylenko (The Man Who Killed Don Quixote), Alex Lawther (The End of the F***ing World), Riccardo Scamarcio (John Wick: Chapter 2) and Sidse Babett Knudsen (Westworld) adding another to the fold thanks to Populaire writer/director Régis Roinsard. https://www.youtube.com/watch?v=QUlYAWVsgB4 OH MERCY! Towards the end of this year, when No Time to Die finally releases after its coronavirus-inspired delay, French actor Léa Seydoux will return to the Bond franchise. She's also part of another highly anticipated new 2020 movie, aka Wes Anderson's The French Dispatch — but first, she's dabbling with a murder-mystery in Oh Mercy! In fact, her character Claude is one of the main suspects after an elderly woman is killed. It's a brutal case in the northern French city of Roubaix, and police station captain Yakoub Daoud (this year's Cesar Award-winner Roschdy Zem) is determined to get to the bottom of it. Inspired by a 2008 television documentary, this true-crime drama boasts a stellar cast, and also marks the latest feature by Jimmy P, My Golden Days and Ismael's Ghosts filmmaker Arnaud Desplechin. https://www.youtube.com/watch?v=5DZF8OyN_7A THE EXTRAORDINARY Inspired by not only a real-life figure, but also the reality for many autistic youth and their families in France, it's easy to see why The Intouchables' Olivier Nakache and Éric Toledano were moved to make The Extraordinary. Drawn from the story of Stéphane Benhamou — who is renamed Bruno here, and played by the great Vincent Cassel — it explores his efforts to run an unofficial Parisian shelter to care for kids that the state-run system won't take. In a sensitive and heartfelt drama that weaves between two specific cases, also charts the government's investigation into Bruno's informal facility and makes plain the general struggle to stay running, the passion that the directors have for this tale always shines through. Indeed, there's no missing the point that the film makes about the need for better treatment for those in need. That said, this situation earns its sometimes heavy-handed on-screen treatment, and both Cassel and his co-star Reda Kateb (as a colleague who runs a similar space) put in nuanced and affecting performances. https://www.youtube.com/watch?v=JCKX-2QY2kM ROOM 212 It not only stars Chiara Mastroianni, daughter of The Truth and Farewell to the Night's Catherine Deneuve, but it earned her the Un Certain Regard Prize for Best Actress at last year's Cannes Film Festival. Like many a French comedy, it ponders infidelity and a midlife crisis. And, in news of particular interest to fans of 2018's sublimely melancholy Sorry Angel, it's the latest film by writer/director Christophe Honoré. Yes, all of the above apply to Room 212, and even one would make this movie worth watching. Story-wise, it follows the middle-aged Maria (Mastroianni) as she's forced to reassess her marriage, sift through her feelings about love and confront her many affairs — including via A Christmas Carol-style ghostly exchanges with all the men that have been in her life — while staying in the hotel suite that gives the feature its title. https://www.youtube.com/watch?v=pACv7L-d3Is ONLY THE ANIMALS Stepping into the thriller realm, Only the Animals draws upon a familiar setup: a mysterious murder. But, even with its also well-worn small-town setting — an isolated, mountainous locale in the thick of winter, in fact — the latest film by veteran director Dominik Moll has more than a few compelling tricks up its sleeves. Disappearing during a snowstorm, the unhappy Évelyne Ducat (Valeria Bruni Tedeschi) is the unfortunate victim. Also connected to her demise are Alice (Laure Calamy) and her husband Michel (Custody's Denis Ménochet), who run a farm near where she lives; fellow farmer Joseph (Damien Bonnard); and Évelyne's lover Marion (Nadia Tereszkiewicz). Cycling between their perspectives, and serving up suitably complex performances in the process, Only the Animals teases out its thorny, puzzle-like narrative with precision. https://www.youtube.com/watch?v=3vinYBdOoK8 EDMOND Even if you don't think you know anything about Cyrano de Bergerac, you probably do. Penned back in 1897, the French play fictionalises the broad story of the eponymous real-life figure — and it has been brought to the screen many times in various shapes and guises, including as the 80s Steve Martin-starring comedy Roxanne, 90s rom-com The Truth About Cats and Dogs, and, in the past few years, Netflix flicks Sierra Burgess Is a Loser and The Half of It. Now, Edmond explores the tale behind the famous and immensely popular drama, focusing on playwright Edmond Rostand (Thomas Solivérès). It's a movie about a writer struggling to jot down words, desperate for a career-changing hit and finding inspiration a lot closer to home than he expected — that is, a film with a very familiar premise — but the end product proves imaginative and entertaining. https://www.youtube.com/watch?v=2TiEqmHZ2UM FAREWELL TO THE NIGHT In Hirokazu Kore-eda's The Truth, Catherine Deneuve reminded audiences just why she's been such a star — and a titan of French filmmaking — for decades, not that anyone should need the nudge. She's similarly superb in Farewell to the Night, her latest collaboration with director André Téchiné, although she's in distinctively different thematic and narrative territory. Playing a grandmother who runs a cherry farm and horse-riding school, she's forced to reckon with an unexpected revelation. When Muriel's (Deneuve) beloved grandson Alex (Kacey Mottet Klein) comes to stay, it's his last stop before following his girlfriend Lila (Oulaya Amamra) to Syria, where the newly radicalised teen intends to join ISIS. Understandably, a weighty, intimate drama about personal ties and political turmoil results. The Alliance Française French Film Festival tours Australia from Tuesday, July 14–Tuesday, August 4, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace; Brisbane's Palace Barracks and Palace James Street; and Perth's Palace Raine Square, Luna on SX and Windsor Cinema. For more information and to buy tickets, visit the AFFFF website.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=7Ekw85OqJck THE WITCHES What's the one thing that every movie remake has in common? No matter how it turns out, the original film still exists. So, if the latest version doesn't cast a spell, you can return to the old one — revisiting it, appreciating it anew and steeping yourself in nostalgia in the process. That's worth remembering regarding the latest screen adaptation of Roald Dahl's The Witches, even with writer/director Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit, The Polar Express) and co-writers Kenya Barris (Black-ish, Girls Trip) and Guillermo del Toro (Pan's Labyrinth and The Shape of Water's) involved. Its main achievement: reminding everyone just how great the previous screen adaptation of Roald Dahl's book from back in 1990 still is. It might be unfair to think that some remakes only eventuate because a studio executive thought it was time to wring some more cash out of a beloved story, but that's how this movie feels. It's simultaneously broader and tamer — including Anne Hathaway's (Dark Waters) over-the-top performance as the Grand High Witch, although she does appear to be enjoying herself immensely — and it radiates big pantomime energy. Indeed, there's a lack of overall magic in The Witches, either of the twisted or charming type (unless sending viewers clamouring to find wherever the original is currently streaming counts). A few things have changed in this fresh iteration. It's 1968, and the the film's unnamed young protagonist (Jahzir Bruno, The Christmas Chronicles 2) moves to Alabama to live with his grandmother (Octavia Spencer, Onward) after his parents are killed in a car accident. He's grief-stricken, but they bond over her shocking revelation: that witches exist, they're everywhere, they despise children and she has experience with them. Also, once a witch sets their sights on a kid, it never lets up. That's why, after one crosses the boy's path, grandma whisks him off to "the swankiest resort in Alabama", where she's certain they'll be safe among rich white folks. Of course, she couldn't have predicted that the group of women that have taken over the Grand Orleans Imperial Island Hotel's ballroom — the Society for the Prevention of Cruelty to Children, apparently — are all witches. Or, that the Grand High Witch is in attendance, unveiling a plan to turn every kid in the world into a rodent via a potion called 'Formula 86 Delayed Action Mouse-Maker'. Much that has endeared The Witches to readers and viewers over the years remains in the latest film, but tinkering with the details and tone makes an unfortunate impact. Brimming as it is with bright colours and overdone CGI, the new version of The Witches favours gloss and shine over chills and potential nightmares. Everything here is overt to an in-your-face extreme, and also far less intricate and much more bland. Read our full review. https://www.youtube.com/watch?v=N8DT_zVzxhk THE FURNACE At this point in Australia's cinema history, audiences can be forgiven for wondering if homegrown movies have unearthed and told every tale there is to be found among the vast outback. The answer: an overwhelming no, especially when Aussie filmmakers traverse the country's sunburnt and sprawling expanse to explore stories steeped in our problematic past. The Furnace is one such movie that proves the point. The first feature from writer/director Roderick MacKay, the gold rush-era western serves up a powerful interrogation of Australia as a multicultural nation — harking back to 1897, to Western Australia, and to a time when transporting freight around the country relied upon a network of cameleers trekking across the desert. The men covering great distances to move goods from one place to another hailed from India, Afghanistan and Persia, were largely of Muslim and Sikh faith, and were badged together under the label 'Ghan' by white Aussies. They were treated poorly, except by Indigenous Australians. And, they're a real but oft-forgotten part of the nation's story, so much so that The Furnace will introduce their existence to many viewers for the first time. That's just one of this vividly shot, exceptionally acted film's achievements, though. Another: posing the kinds of questions about our national identity that we should always be asking. Afghan cameleer Hanif (Ahmed Malek, Clash) didn't choose to come to Australia, or to take up this line of work. So, when he witnesses the death of his mentor at the hands of a white man, he's eager to find a way to get the cash he needs to return home. The Indigenous Yamatji Badimia people he often spends time with on his travels, including leader Coobering (Trevor Jamieson, Storm Boy) and Hanif's friend Woorak (Baykali Ganambarr, The Nightingale), suggest that he stays and joins them instead. But, after stumbling across injured thief Mal (David Wenham, Dirt Music), he's determined to use half of his new acquaintance's stolen Crown-marked gold bars to finance his escape and leave the life he hates behind. Troopers led by the fervent Sergeant Shaw (Jay Ryan, IT: Chapter Two) are swiftly on the unlikely pair's trail; however, Hanif and Mal keep traipsing towards the eponymous smelter, where Mal promises they'll be able to melt down the precious metal and remove any trace of the government's ownership. Following Hanif's journey — physically, and emotionally and spiritually as well — The Furnace is a patient film. It's a meat pie western through and through, applying the western genre's trademarks to an Australian context, and it joins The Proposition, Sweet Country and the aforementioned The Nightingale as one of the best 21st-century examples. MacKay spies the beauty and the imperfections in Australia's arid, dusty landscape, as many filmmakers have before, but he also never lets the flaws in our national character that are made plain by this chapter of history ever fall out of view. Read our full review. https://www.youtube.com/watch?v=Gb8ZbP6qAzE&feature=youtu.be THE MIDNIGHT SKY The Midnight Sky is George Clooney's first film role in four years (since 2016's Hail, Caesar! and Money Monster), so it's fitting that he's at his most bearded and reclusive within its frames. This sci-fi drama also joins the small but significant list of features that combine the star and space, following Solaris and Gravity — and there's something particularly alluring and absorbing about seeing Clooney get existential, as all movies that reach beyond earth's surface tend to. He clearly agrees, because he not only leads The Midnight Sky but also directs it as well. This is a big-thinking and big-feeling film, with its characters grappling with life, love and loss. It boasts aptly pensive and probing cinematography, too; however, both on-and off-screen, Clooney is the key. When the movie spends time with astronauts onboard the spaceship Aether, including the pregnant Sully (Felicity Jones, On the Basis of Sex), ship commander Adewole (David Oyelowo, Gringo), veteran pilot Mitchell (Kyle Chandler, Godzilla: King of the Monsters), and other crew members Sanchez (Demián Bichir, The Grudge) and Maya (Tiffany Boone, Hunters), it's at its most generic. Indeed, when it ventures to space, The Midnight Sky almost screams for either Clooney to head there as well, or for the feature to plummet back down to earth to join him once more. The actor/filmmaker plays workaholic research scientist Dr Augustine Lofthouse and, although The Midnight Sky rockets beyond the earth, it doesn't send its protagonist there. Instead, in 2049, after an environmental disaster has made the planet uninhabitable, he chooses to remain in the Arctic as his colleagues evacuate. He's dying anyway, and frequently hooks himself up to machines for treatment — in between downing whiskey, watching old movies, eating cereal and talking to himself. Then, interrupting his lonely decline, two things change his status quo. Firstly, a young girl (debutant Caoilinn Springall) mysteriously pops up out of nowhere, refusing to speak but obviously needing an adult's care. Secondly, Augustine realises that he'll have to trek across the oppressively icy terrain outside to connect via radio to Aether's crew, who've been on a two-year mission to ascertain whether newly discovered Jupiter moon K-23 can support life, and are now making their return unaware of what's been happening at home. The space movie genre is as busy as the sky above is vast, and The Midnight Sky proves familiar as a result, delivering plenty of elements that viewers have seen before — but this isn't merely an exercise in flinging together derivative parts. While this isn't Clooney's greatest achievement as a director in general or as an actor in a space flick, it's still an involving, engaging and poignant addition to his resume on both counts. Read our full review. https://www.youtube.com/watch?v=Ij8m_XQ_J2E WORDS ON BATHROOM WALLS When it comes to portraying illness of either the physical or mental kind, Hollywood doesn't have the greatest track record. Case in point: this year's awful All My Life, a cancer-fuelled weepie that decided it'd rather focus on the girlfriend of its sickness-stricken character — who is based on a real-life person — than on the man fighting to survive. Accordingly, by actually directing its attention towards Adam (Charlie Plummer, Lean on Pete), a high schooler who is diagnosed with schizophrenia in his senior year, Words on Bathroom Walls immediately demonstrates a willingness to actually engage with its protagonist's predicament. The film is based on a YA novel by Julia Walton, rather than on reality, but it sees Adam as a person rather than a reason that someone else's existence increases in drama. That's a pivotal move by filmmaker Thor Freudenthal (Percy Jackson: Sea of Monsters) and first-time screenwriter Nick Naveda, and one that improves their movie immensely. But Words on Bathroom Walls doesn't completely avoid cliches and tropes. Instead, it saves them for the usual teenage experiences, serving up everything from bullying classmates to first kisses, prom night antics and graduation chaos as Adam doesn't just try to cope with his condition, but with testing every treatment option there is, and also navigating the disappointments and the side effects. Adam's struggles begin in science class, where he has traumatic hallucinations, injures a friend and gets expelled. Seeing people who aren't there isn't new to him but, with the incident badged a psychotic break, his mother Beth (Molly Parker, Deadwood) devotes every waking hour to finding him the best care — when she isn't spending time with the new boyfriend, Paul (Walton Goggins, Fatman), that Adam doesn't like. For the teen himself, he's most concerned about chasing his dreams. He wants to be a chef, but he needs to get his diploma to get into his chosen culinary course. The local private school agrees to let him attend, as long as he undertakes a specific treatment plan and doesn't trouble his peers with his illness. Consequently, when he meets the studious and resourceful Maya (Taylor Russell, Waves), he keeps his condition to himself, even as a friendship and something more springs. At its core, Words on Bathroom Walls endeavours to address and break down the stigma that surrounds schizophrenia and mental illness, a feat that it perkily but thoughtfully achieves. Still, there's no missing the fact that it squeezes its empathetic intentions — and its narrative in general, and Adam's plight within it — into a well-worn teen formula. While Words on Bathroom Walls still succeeds where many other movies about health struggles fail, thanks in no small part to excellent performances all-round from Plummer, Russell, Parker and Goggins, its need to fit a template threatens to undercut its sensitive approach to its subject. https://www.youtube.com/watch?v=5uIUUKZsEUY&feature=emb_logo ARCHENEMY Looking for a world where superheroes don't exist? Archenemy travels between two dimensions, or so the often whiskey-swilling Max Fist (Joe Manganiello, Rampage) claims, and finds the super-strong figure in both of them. That said, Fist could be a fallen fighter from another realm who is trying to stop his nemesis Cleo (Amy Seimetz, The Secrets We Keep). Or, he could be a homeless person with problem — or someone about to start waging a crusade for the forces of good after teaming up with siblings Hamster (Skylan Brooks, Empire) and Indigo (Zolee Griggs, Bit). Fist joins forces with the latter duo after Hamster starts pestering him to tell his story. The teen, who has the word 'fiction' tattooed across his face, is trying to land a photojournalism job at a clickbait-chasing website called Trendible (and to go viral doing so), and thinks that Fist could be his ticket. Their new camaraderie is reluctant on elder man's part, but he's willing to talk about his alternate-universe home world of Chromium to anyone will listen. However, complications arrive via Indigo, who works as a drug dealer for a seedy figure known only as The Manager (Glenn Howerton, It's Always Sunny in Philadelphia). Although she's trying to earn enough money to send Hamster back to school, she's soon immersed deep in murky gangster business. One of the small joys of this low-key caped crusader affair is that writer/director Adam Egypt Mortimer (Daniel Isn't Real) and his co-screenwriter Luke Passmore (Slaughterhouse Rulez) aren't trying to tell the usual story, or to make it fit the usual boxes — as the fact that Fist's tale could go one of several ways illustrates. Also impressive, as well as visually striking: the hot pink and black animation that literally illustrates Fist's narrative back on Chromium, and nods to the page origins of the superhero genre at the same time. Still, Archenemy is a mixed bag of a movie. It's trying to serve up a thematic and narrative mixed bag on purpose, but that quest spills over to unintended areas. The film strives to add something different to an overpopulated field, for example, but swiftly brings the likes of Hancock and Super to mind. It attempts to subvert a plethora of recognisable tropes, but also leans on a swathe of them itself. It features a moody performance by Manganiello that screams for more screen time (and, yes, more movies), but tasks Howerton and Seimetz with being cartoonish in a one-note manner. As its actors demonstrate, Archenemy often seems as if it's hedging its bets, trying to offer something more grounded than the usual superhero blockbuster but also more outlandish at the same time — and, while often messily entertaining and definitely benefiting from an attention-grabbing score, it doesn't ever find the ideal balance. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom and Sound of Metal. Images: The Midnight Sky, Philippe Antonello/Netflix.
The Efendy group transformed the former Tombik digs into Baharat — a triple-threat venue that is either cocktail bar, casual eatery and spice shop or all three. Taking its name from the Turkish word for 'spice', Baharat is headed up by renowned chef Somer Sivrioğlu, bar manager Emre Bilgin (ex-Geyik), and assistant bar manager Berk Abdullahoglu (ex-Kaia). The venue's layout, decor, music and rustic interior (refreshed by Jordan Design Studio), all pull inspiration directly from the spice shops and street bars in Taksim square. Upon entry, you'll spot jars of spices adorning the wall behind the bar, alongside bottles of house-made alcoholic liqueurs and syrups, and strings of deep red chillis. Paired with the psychedelic Turkish music from the 70s, the tone for your night is set, transplanting you to the bustling streets of Istanbul. When you visit, you'll want to try a little of everything, so start off with the snacks section of the menu. You can try the stone baked bread, which pairs well with the hummus, babaganoush, or the pastirma and condiments. Or opt for the ox tongue with kokorec spices and flatbread, or the Muvjer — the Turkish equivalent of a zucchini fritter — combined with feta, haloumi and dill. For mains, cast your eyes over the pide selection. Pick from crowd favourites like the lahamacun — flatbread topped with minced meat or vegetables, the zaatar, walnut and muhammara flatbread, the three Anatolian cheese pide or the pastirma and kashar cheese pide. Then there's the restaurant's signature dish: the lamb tandir is slowly roasted in a stone oven, and served with flatbread and pickles. When it comes to the drinks, pick from Baharat's specialty cocktails which put a Turkish spin on the classics with inspiration from the restaurant's own Spice Bazaar. Look out for the pickled shalgam Bloody Mary, the sumac and black salt margaritas and the barrel-spiced negroni. The house cocktails also include a range of spice-infused cocktails including the Belly Dancer — featuring mezcal, grapefruit, allspice dram and raki — and the Fisco Misco — featuring Pisco and maraschino with cumin, coriander and sumac. There are also Turkish beers and wines, plus non-alcoholic drinks on offer, including Efes' fruity non-alcoholic malts. Those who are curious, or who simply enjoy watching their food being made, can peer through the window into the kitchen and enjoy the view. And if you can't dine in, all menu items are available for takeaway.
UPDATE, March 4, 2021: God's Own Country is available to stream via Netflix, Google Play, YouTube Movies and iTunes. When God's Own Country begins, it's with a quiet Yorkshire farmhouse swiftly disturbed by the sound of retching. Johnny Saxby (Josh O'Connor) has had yet another boozy night out, and he's suffering the consequences. Unfortunately for him, the land and the livestock won't wait for his hangover. It's an appropriate opening to a film that looks like a gritty, austere, social realist drama, but contains much that cannot be constrained. The after-effects of drinking have nothing on lusty, bubbling emotions. The first feature film from writer-director Francis Lee, God's Own Country pairs its struggling farm setting with surging desire, and asks its characters to weather hardships with both. Shot in the part of England the filmmaker grew up in, on a property much like his own father's, the movie follows Johnny's reaction when handsome Romanian Gheorghe (Alec Secareanu) arrives to assist during lambing season. Initially, Johnny's reluctant and even rude, though he can't help being impressed by the newcomer's skills with the job at hand. But cold nights spent in the countryside eventually warm up more than his appreciation for hard work. As something physical blossoms into even more, Gheorghe proves a positive influence on Johnny's self-destructive tendencies. If that description reminds you of another movie, you're certainly not alone. The phrase "British Brokeback Mountain" has been used to describe Lee's film since it premiered at Sundance in January. More than just a convenient way to describe a rural queer romance, it's a comparison that's well and truly earned. Men working the land and making a connection; concerns about the response of Johnny's unwell father (Ian Hart) and stoic grandmother (Gemma Jones); scenic sights and swelling feelings: the commonalities are all there, although God's Own Country ultimately follows its own path. More importantly, both films present a raw and affecting love story teeming with honesty and emotion. One thing's for certain: this isn't a restrained affair. Instead, it wears its heart proudly on Johnny and Gheorghe's muck-covered sleeves. It's a film that's unafraid to depict the harsh realities of farm life, or delve into the frustrations and troubles that come with it. Nor does it shy away from the heated passion of its erotic scenes. Blood, spit, mud, rough tumbles and tender moments all wash across the screen, drawing viewers into a realistic, resonant account of the two men's growing intimacy. In the process, God's Own Country does what every romance endeavours, but can't always manage: it ensures that every stolen glance, hard-earned smile, quiet gesture and clenched hand is felt by more than just the people on the screen. Pitch-perfect performances by O'Connor and Secareanu help, of course, with the actors giving their characters both texture and sincerity. So too does the fond but still clear-eyed way that cinematographer Joshua James Richards lenses everything from the sparse, sprawling hills to Gheorghe and Johnny's breathless encounters. https://www.youtube.com/watch?v=C-N_tdBhCjI
So if you're lonely, Franz Ferdinand will be here waiting for you in Sydney before 2025 is out. Fresh from releasing their sixth album in January, the Scottish band are touring Down Under to help cap off the year, including on Wednesday, December 3 at On the Steps at the Sydney Opera House Forecourt. It's been more than two decades since the Alex Kapranos-led group made a helluva splash with the catchy second single from their self-titled debuted album. Even just reading the name 'Take Me Out' is enough to get the number-one tune in Triple J's 2004 Hottest 100 stuck in your head. The song was also nominated for two Grammys, while the record that it springs from won the Mercury Prize. Since the huge success of 'Take Me Out' and their 2004 Franz Ferdinand album, the band have dropped records in 2005 (You Could Have It So Much Better), 2009 (Tonight: Franz Ferdinand), 2013 (Right Thoughts, Right Words, Right Action), 2018 (Always Ascending) and this year (The Human Fear). Touring-wise, their past Aussie trips have included sets at Big Day Out, Splendour in the Grass and Falls Festival. Franz Ferdinand's 2025 Aussie visit comes just a few months after Bloc Party, who benefited from Kapranos' approval when they were starting out, do the same in August. Select images: Raph PH via Flickr.
With a Game of Thrones prequel series on its way, and a new Lord of the Rings TV show as well, 2022 is shaping up to be a huge year for fantasy. From August onwards, you can expect your streaming queues to be full of the genre, in fact. Getting in before those two other certain hits: Netflix's The Sandman, which brings Neil Gaiman's graphic novels to the screen. The streaming service has just announced that The Sandman will drop on Friday, August 5 — and it has released a new teaser trailer, too, to get viewers excited. If this is your first interaction with Gaiman's's tale and the Dream King at its centre, prepare for a suitably dark and brooding blend of myth and fantasy. So, another characteristic entry in the genre. As first played out in comic books between 1989–1996, The Sandman combines contemporary fiction, historical drama and legend to tell the tale of the Dream King, who is also known as both Dream and Morpheus, and has power over all dreams and stories. Sweetbitter, Mary Shelley and Song to Song's Tom Sturridge takes on the key role, as the show dives into his character's efforts to mend his mistakes — both cosmic and human — after being held prisoner for a century. To do so, he must visit the people, places and timelines he's affected. In print, The Sandman hails from DC Comics — and, yes, beings with superpowers are at its core. Dream is part of the Endless, alongside Destiny, Death, Desire, Despair, Delirium and Destruction, because everything these days (and in the 90s, too) needs a squad of folks with otherworldly abilities. Also set to feature, cast-wise, are Game of Thrones stars Gwendoline Christie and Charles Dance — the former as Lucifer, ruler of hell — plus Vivienne Acheampong (The Witches), Boyd Holbrook (The Predator), Jenna Coleman (The Serpent), David Thewlis (Landscapers), Stephen Fry (The Dropout), Kirby Howell-Baptiste (The Good Place) and Joely Richardson (Color Out of Space). And, both Patton Oswalt (Gaslit) and Mark Hamill (Star Wars: Episode IX – The Rise of Skywalker) are involved as well, doing voice work. When The Sandman finally drops into your Netflix queue, it'll arrive after years of trying — both on the big and the small screens. Joseph Gordon-Levitt was once attached; however, that version didn't come to fruition. And the character of Lucifer has already scored its own series, but played by Tom Ellis (Isn't It Romantic). Check out the trailer for The Sandman below: The Sandman will start streaming via Netflix on Friday, August 5. Images: courtesy of Netflix.
To help Sydneysiders keep cool this summer, the team at Gin Lane has blended boozy, grown-up flavours with a tidy hit of nostalgia for its new line of cocktail-inspired 'soft serves'. Teaming up with Australia's own soft serve and gelato expert David Lopresti of Aussie frozen treats specialist Florentia, Gin Lane founder and bartender Grant Collins has created four new retro-style treats guaranteed to get a serious workout during the warmer months. Four of these frozen newcomers will be on rotation at the Chippendale gin bar over summer, all crafted on cold-pressed juices with fun garnishes and hefty infusions of alcohol. You'll find a riff on the classic Southside, blending gin with cold-pressed lime, and fresh and candied mint, as well as a cool, creamy revamp of the Singapore Sling — here garnished with honeycomb and chocolate candied orange. A soft serve negroni features the usual trinity of gin, vermouth and Campari along with cold-pressed lime, candied orange and a chocolate flake, while the reimagined Aperol spritz combines Aperol and prosecco with candied orange and popping candy. Gin Lane's Soft Serve Bar is located at 16 Kensington Street, Chippendale and will open throughout summer from 4–5pm from Monday to Wednesday and 2–4pm from Thursday to Sunday. The soft serves are available in cups ($8) or in classic waffle cones ($10).
Well, Monopoly just took its reputation as the game that will destroy your family to the next level. HBO is teaming up with Hasbro for the version we've all been waiting for: Game of Thrones Monopoly. According to Mashable, the game has locked in a 2015 release — we're hoping most likely to coincide with the Season Five premiere in April. Instead of the usual boardwalks of Rich Uncle Pennybags, the board will take bloody, bloody real estate to the key spots of Westeros. Ditching the dog and thimble, GoT Monopoly will let you play as a direwolf, three-eyed raven, White Walker, dragon egg, crown, and of course, and Iron Throne. And you'll be building villages and keeps instead of houses and hotels. “The Iron Bank is the Iron Bank.” Coming in 2015, Monopoly #GameOfThrones edition: http://t.co/UBuXb0iqcc @usaopoly pic.twitter.com/fubi9rdgKz— Game Of Thrones (@GameOfThrones) February 13, 2015 Hasbro haven't revealed the individual board spaces for the GoT edition. We're thinking King's Landing has a good chance of Mayfair, and we'd probably drop Craster's Keep on Old Kent Road. You'll likely be nabbing your Gold Dragons from the Iron Bank, and keeping everything crossed for a Get Out of The Wall Free Card. Game of Thrones Monopoly is set for release in 2015. Via Mashable.
To the casual observer, the rise in plant-based eating has seemingly come about overnight. Brands like Beyond Meat, Impossible Foods and V2Food have signalled a major shift in the way we think about meat, while thought-provoking documentaries like Food, Inc., The Game Changers and Cowspiracy: The Sustainability Secret have sparked conversations around our relationship with food and behaviours of consumption. Elsewhere, online resources like Vegkit — a new initiative by Animals Australia — offer a world of resources that have made it more accessible than ever before to embrace the many ways to eat plant-based. From a culinary choice you used to associate with your kooky aunt to now seeing legitimate alternatives lining supermarket shelves — could it be that plant-based eating has suddenly become cool? It's more than just marketing spin. Factors such as increased awareness of the environmental impact of agriculture, rising meat prices and the health benefits linked to a reduced meat intake have seen Australia's meat consumption hit a 25-year low, according to research released earlier this year. While plant-based diets and meat-centric ones might have once been seen as a one-or-the-other thing, the increased visibility of meat-free options is helping many shift to full- and part-time veganism. Sure, the merits of lab-made meat alternatives are certainly open for debate. But that's kind of missing the point: these products have become a successful gateway to reducing meat intake for the otherwise disinclined. PLANT-BASED EQUALS CREATIVITY Many venues around Australia are embracing the creativity offered by cooking without meat. Karl Cooney of Sydney restaurant Yulli's and brewery Yulli's Brews has been vegetarian for nearly 25 years and vegan for the past seven. He considered his decision to switch to plant-based cooking as both a blessing and a curse. "Being from a very food-oriented background, I wanted to eat good shit, so it forced me to learn ways of seeking out and creating well-rounded dishes that didn't seem lacking for not having meat," Cooney tells us. Co-owner of plant-based Brisbane diner Fitz + Potts, Cassie Potts (pictured above), had a similar experience: "When a meal doesn't revolve around one central, dominating ingredient, [which] is often the case when you cook with meat, you can explore how a range of ingredients and flavours can work in balance and harmony." For celebrated American chef Matthew Kenney (pictured above), plant-based eating and cooking represents a new frontier. "This is the most exciting food sector and the future of how we cook, eat and live," says Kenney, who recently opened Alibi, an entirely plant-based restaurant and bar inside Ovolo Woolloomooloo and his first Australian venue. "Cooking and eating plant-based connects us with seasonality and local ingredients," he continues. "It is also incredibly motivating to work with a cuisine that is not fully developed, allowing us an opportunity to craft a path toward the future." Potts agrees that when it comes to exploring food options that go beyond animal ingredients, we're only just getting started: "I feel like a bit of an alchemist in the kitchen, because plant-based cooking is still such a new concept. When I first became a vegan, there weren't all the [current] meat- and dairy-alternative options, so I learnt to cook creatively," she says. "Coming up with new versions of meat-based recipes or experimenting with fresh new combinations of vegetables, grains and plant-based proteins is hugely exciting stuff for me." This creativity benefits diners, too — walk into any of these chefs' restaurants and you'll be treated to a cracker of a meal. [caption id="attachment_798372" align="alignnone" width="1920"] Yulli's Surry Hills (supplied)[/caption] PEOPLE THRIVE ON A PLANT-BASED DIET The idea of plant-based cooking being 'new' might seem a little strange — after all, humans have been cooking plants for more than 10,000 years. What has changed, though, are perceptions around a plant-based meal as 'missing' something. "Ironically most people probably think a vegan lifestyle is all about denying yourself of things, but I've always been obsessed with food, and enjoy it in excess," says Potts. Cooney has also found himself responding to many doubters over his years of plant-based eating and cooking. "The biggest misconception [around cooking plant-based] is that you can't create flavour," says Cooney. "The obvious response is well, you're doing it wrong." "[Another] misconception is that you get tired on a vegan diet," Cooney adds. "I don't think I've ever eaten meat in the couple of decades I've worked [in] hospitality — and we all know what a brutal industry it is — and the one thing I never lack is energy. Sometimes I lack patience but that's another story." Kenny adds to this: "The reality is that we always had to overcome perceptions of plant-based not being fulfilling or not having enough protein. However, with elite athletes, many of the world's highest-performing CEOs and the general public thriving on plant-based diets, those misconceptions are thankfully put to rest." [caption id="attachment_663302" align="alignnone" width="1920"] Alibi (supplied)[/caption] Perhaps, though, it's a cultural thing? "Many cultures don't think anything of eating a purely plant-based meal," says Potts. "I think it would benefit people's health, the planet and of course animals, if western society didn't think it was so unusual to appreciate a tasty meal without getting hung up on the fact there isn't a lump of flesh central on the plate. Plant-based eating is honestly no different to eating any other meal. Good food is good food." Looking for more plant-based meal inspo? Check out Vegkit — it's loaded with hundreds of plant-based meals you can enjoy any time of day.
Brunswick Aces is a new Melbourne-distilled gin with a notable difference: it's 100 percent free from alcohol. Forget tonic water-tasting hangovers, this take on gin is an alternative to sore heads and dehydration that still tastes like a summer garden party. It might be just what you need if you're doing Dry July this year. The gin is made in Brunswick, distilled like alcoholic gin is and made from local ingredients. Alcoholic gins require a careful blending of botanical ingredients, and Brunswick Aces is no different. The company releases small batches of two "gins" — the Spades Blend, which contains lime, pink grapefruit, cardamom, parsley and lemon myrtle, and the Hearts Blend, which is a mix juniper, wattleseed, clove, star anise and ginger. Brunswick Aces' launch follows that of Seedlip, the world's first alcohol-free distilled spirit, which first hit shelves in London in 2015. With its own two variations – Garden and Spice – Seedlip began to bridge the gap between "carefully distilled spirits made with natural ingredients" and "not having a headache on a Sunday for once". Brunswick Aces followed suit, but with local, native Australian ingredients. It can be sipped straight, mixed with tonic, or used as the base for a host of "gin cocktails". Make sure you stock up on limes and cucumbers before Dry July kicks off next week. Brunswick Aces can be purchased through its online store.
All fascinating true-crime tales double as mysteries, exploring murky cases, following thorny leads, and asking questions that don't have easy or obvious answers. With ten-episode Australian podcast Blood Territory, listeners are in for all of the above, with the new Audible release not only delving into the death of 24-year-old Northern Territory man Jimmy O'Connell, but also chronicling his parents' fight to prove his convicted killer's innocence. Back in 2006, it was a murder that sparked many a headline, as you'd expect when a body is found mummified, mutilated and missing clothes in a dry creek bed in the Northern Territory — all, apparently, because of a fight over an esky. After O'Connell's best friend and fishing companion, 33-year-old Philip Mather, was tried and convicted for his death, the case sparked even more attention. Mather insists that his confession was coerced, and that he only plead guilty to avoid spending his whole life in jail. Astonishingly, O'Connell's mother and father believe him. An examination of a grisly murder that also ponders potential police corruption, as well as possible judicial prejudice against the NT's Indigenous peoples (Mather is himself an Indigenous Australian), Blood Territory isn't short on twists — or material for journalist Mark Whittaker to draw upon. Following the O'Connells' desperate quest for the truth, his podcast chats with family members, witnesses and professionals involved in the original case, sifts through new evidence, and dives deep into the legal complications surrounding Mather's conviction. It also proposes its own theory about Jimmy's death. "The Top End of Australia is notorious for hiding people, and secrets that don't want to be found — it's the perfect backdrop for such a cryptic story," explains Whittaker. "As the sequences of events and unusual characters are revealed, it becomes clear this is one of the strangest Aussie mysteries I've ever encountered." Blood Territory marks Audible's second Aussie true-crime podcast, after exploring the tale of a ghost-hunting Sydney security guard in Ghosthunter. Blood Territory is available now on Audible — for free until November 20 with an Audible account.
Festival season is well and truly upon us, with the Woodford Folk Festival the latest event to announce its program. If you fancy seeing out 2018 and welcoming in 2019 while catching a heap of bands, wandering between arts performances and getting a little muddy across a grassy patch of southeast Queensland, the fest has you covered for its whopping 33rd year. Taking place at Woodfordia about 90 minutes north of Brisbane, this year's fest will be held for six days between December 27, 2018 and January 1, 2019 — with Electric Fields, Kimbra, Alex the Astronaut, The Cat Empire, Screamfeeder, Remi and Jen Cloher among its high-profile talent. In total, more than 200 acts will grace a lineup that features everything from music, art, circus and cabaret to yoga, dance and comedy, all in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots. Other highlights include spoken word, comedy and performances by everyone from Dr Karl to Vernon Ah Kee to Tripod's Steven Gates with Paul McDermott; arts, dance and meditation workshops; and a heap of circus and cabaret shows — plus, if you're bringing littlies, the event's Children's Festival within the broader fest is also returning. Or, you can enjoy a three-course bush food feast, catch The Spirit of Churaki about the Aboriginal man heralded as the Gold Coast's first surf lifesaver and see podcast Grownups Read Things They Wrote as Kids live. While the annual Queensland festival has weathered an uncertain future in recent years, it remains a staple of the state's end-of-year calendar — and visit will also boast 195 stalls around the grounds, turning the site into a mini-village for its duration. That includes everything from bars, cafes and restaurants, to an on-site doctor's surgery and two general stores. As always, camping is available at one of the fest's nine campgrounds, or you can nab a ticket just for the day. Either way, expect to have company, as around 130,000 people attend each year. The 2018–19 Woodford Folk Festival runs from December 27, 2018 and January 1, 2019 at Woodfordia on the Sunshine Coast. To view the program and buy tickets, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
A jaunt around Victorian-era Europe, a destination wedding in Sydney or hopping between Greek islands? Animated ducks or a kingdom based around wishes? An affecting true tale of heroism or superhero fare? Cinemagoers of Australia, they're among your choices on the annual movie calendar's release day to end all release days. That'd be Boxing Day, which always packs picture palaces with new flicks, plus eager audiences keen to see them. Indeed, along with hitting the sales, enjoying the beach and recovering from your Christmas food coma, seeing a movie on December 26 is a yearly tradition. Feel like you're spoiled for choice? Not sure which film should tempt you out of the summer sun and into an air-conditioned darkened room? Keen to see a few movies, but don't know where to start? Thanks to Boxing Day's hefty array of newcomers, plus Wonka still a fresh arrival on big screen, there's plenty of picks. We've watched them all — and here's our rundown. POOR THINGS Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this suitably wondrous adaptation of Alasdair Grey's award-winning 1992 novel, as penned by Australian screenwriter Tony McNamara (The Great, and another Academy Award-nominee for The Favourite). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover "working on myself to get happiness" and "furious jumping" — masturbation and sex — and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law) instead. Read our full review. ANYONE BUT YOU Greenlighting Anyone But You with Sydney Sweeney and Glen Powell as its leads must've been among Hollywood's easiest decisions. One of the rom-com's stars has been everywhere from Euphoria and The White Lotus to Reality of late, while the other is fresh off feeling the need for speed in Top Gun: Maverick. They both drip charisma. If this was the 80s, 90s or 00s, they each would have an entire segment of their filmographies dedicated to breezy romantic comedies like this Sydney-shot film, and probably more than a few together. Indeed, regardless of his gleaming casting, Anyone But You director and co-writer Will Gluck makes his first adult-oriented flick in 12 years — since Friends with Benefits, with Annie and the two Peter Rabbit movies since — as if it's still two, three or four decades back. The gimmick-fuelled plot, the scenic setting, swinging between stock-standard and OTT supporting characters: even amid overt riffs on Shakespeare's Much Ado About Nothing, they're all formulaically present and accounted for. So is the fact that Anyone But You's story always comes second to Sweeney and Powell's smouldering chemistry, and that most of its obvious jokes that only land because the pair sell them, as well as the whole movie. Bea (Sweeney) and Ben (Powell) meet-cute over a bathroom key in a busy cafe. That first dreamy day ends badly the next morning, however, with more pain in store when Bea's sister Halle (Hadley Robinson, Winning Time: The Rise of the Lakers Dynasty) gets engaged to Ben's best friend Pete's (GaTa, Dave) sister Claudia (Alexandra Shipp, Barbie). Cue their feud going international at the destination wedding in Australia, then getting a twist when Bea and Ben pretend that they're together. They're trying stop their fighting ruining the nuptials, get her parents to back off from pushing for a reunion with her ex (Darren Barnet, Gran Turismo: Based on a True Story) and make his own past love (model-turned-acting debutant Charlee Fraser) jealous. Every expected narrative beat is struck, then, while nodding to other rom-com wedding flicks — My Best Friend's Wedding co-stars Dermot Mulroney and Rachel Griffiths play Bea's mum and dad, with the latter also a Muriel's Wedding alum — and getting cheesily Aussie via koalas, endless shots of the Sydney Harbour Bridge and the Sydney Opera House, and Bryan Brown (Faraway Downs) and Joe Davidson (Neighbours) playing the stereotypical parts. And yet, Sweeney and Powell ace their performances and rapport, and also couldn't be more watchable. Read our full review. ONE LIFE Nicholas Winton's "British Schindler" label wasn't invented for One Life, the rousing biopic that tells his story; however, it's a handy two-word description that couldn't better fit both him and the film. In the late 1930s, when the then-Czechoslovakia's Sudetenland was occupied by Nazi Germany, the London-born banker spearheaded a rescue mission to get children — mostly Jewish — out of the country. After being encouraged to visit Prague in 1938 by friends assisting refugees, he was so moved to stop as many kids as possible from falling victim to the Holocaust that he and a group of fellow humanitarians arranged trains to take them to England. The immense effort was dubbed kindertransport, with Winton assisting in saving 669 children. Then, in the decades that followed, his heroic feat was almost lost to history. In fact, it only returned to public knowledge in 1988 when his wife Grete Gjelstrup encouraged him to show his scrapbook from the time to Holocaust researcher Elizabeth Maxwell, who was married to media mogul Robert Maxwell. Smartly, One Life captures both remarkable aspects to Winton's story, flitting between them as it tells its powerful and stirring true tale. The film's jumps backwards and forward also allow room for two excellent performances, enlisting Anthony Hopkins as the older Winton and Johnny Flynn (Operation Mincemeat) to do the honours in his younger years. With The Two Popes, his Oscar win for The Father, Armageddon Time and now this, Hopkins has been enjoying a stellar run in his 80s. If matching one of Hopkins' great portrayals in a period filled with them — a career, too, of course — was daunting for Flynn, he doesn't show it. As with Kurt and Wyatt Russell on the small screen's Monarch: Legacy of Monsters, they're playing the same man but also someone who changes, as everyone does, through his experiences. Accordingly, a lively Flynn captures Winton's zeal and determination, while a patient Hopkins wears the haunted disappointment of someone who has spent half of their life thinking that he hasn't done enough. When he finally realises the full impact of his efforts, it's a devastatingly touching moment in a potent feature that looks the standard sombre part, but also knows that flashiness isn't what leaves an imprint in a story as important as this. AQUAMAN AND THE LOST KINGDOM 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 old 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), 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. Rather, they made a giddily irreverent underwater space opera — and, while it ebbed and flowed between colouring by numbers and getting entertainingly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. As with Ant-Man and the Wasp: Quantumania, there's such a large debt owed to Star Wars that elements seem to be lifted wholesale; just try not to laugh at Jabba the Hutt as a sea creature. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. 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), but there's little but being dragged out with the prevailing tide, tonal chaos and a CGI mess on show. Now king of Atlantis and a father, Arthur Curry has another tussle with Black Manta (Yahya Abdul-Mateen II, Ambulance) to face, with his enemy aided by dark magic and exacerbating climate change. Only Aquaman teaming up with his imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) will give the world a chance to survive. Even with an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark, a shipwreck results. Read our full review. MIGRATION It mightn't seem like Migration and Chicken Run: Dawn of the Nugget should be twin films. The first is Illumination's latest non-Minions effort. The second is the long-awaited sequel to 2000 claymation favourite Chicken Run. But this pair of animated movies is definitely the newest example of the long-running cinematic déjà vu trend. Past birds of a feather have included Antz and A Bug's Life, Deep Impact and Armageddon, Churchill and Darkest Hour, and Ben Is Back and Beautiful Boy — and oh-so-many more — aka pictures with similar plots releasing at around the same time. The current additions to the list both arrive in December 2023, focus on anthropomorphised poultry, and initially find their clucking and quacking critters happy in their own safe, insular idylls, only to be forced out into the scary wider world largely due to their kids. Chaos with humans in the food industry ensues, including a life-or-death quest to avoid being eaten, plus lessons about being willing to break out of your comfort zone/nest/pond. Famous voices help bring the avian protagonists to the screen, too — Elizabeth Banks (The Beanie Bubble) and Kumail Nanjiani (Welcome to Chippendales) are the parents in Migration, for instance, and Thandiwe Newton (Westworld) and Zachary Levi (Shazam! Fury of the Gods) in Dawn of the Nugget — although that's long been the industry standard in animation in general. If you've seen Chicken Run's return, then, Migration will instantly feel familiar. This is an instance of two studios hatching near-identical films that both have their own charms, however. With Migration, a voice cast that also spans Awkwafina (Quiz Lady), Keegan-Michael Key (Wonka), Danny DeVito (It's Always Sunny in Philadelphia) and Carol Kane (Hunters) brings plenty of energy. As the key behind-the-camera talents, director Benjamin Renner (Ernest & Celestine) and screenwriter Mike White (yes, The White Lotus' Mike White) know how to enliven the narrative. That tale tells of mallards Mack (Nanjiani) and Pam (Banks), one nervous and the other adventurous, who follow another family from New England to Jamaica via New York City with their eager ducklings Dax (Caspar Jennings, Operation Mincemeat) and Gwen (first-timer Tresi Gazal), and cantankerous uncle (DeVito). But the Big Apple brings a run-in which a chef, after initially falling afoul of a flock of pigeons, befriending their leader (Awkwafina) and endeavouring to rescue the homesick parrot (Key) who knows the way to their sunny winter getaway. WISH Arriving in the year that Walt Disney Animation Studios celebrates its 100th birthday shouldn't mean that Wish needs to live up to a century's worth of beloved classics. And it wouldn't for viewers, even with the Mouse House's anniversary celebrations everywhere, if the company's latest film didn't bluntly draw attention to Disney hits gone by. Parts are cobbled together from Cinderella, Snow White And The Seven Dwarfs and Pinocchio. Not just fellow animated efforts get referenced; alongside shoutouts to Bambi and Peter Pan, Mary Poppins earns the nod well. Overtly elbowing rather than winking, directors Chris Buck (Frozen and Frozen II) and Fawn Veerasunthorn (head of story on Raya and the Last Dragon) plus screenwriters Jennifer Lee (another Frozen alum) and Allison Moore (Beacon 23) ensure that their audience has the mega media corporation's other fare in their heads. It's a dangerous strategy, calling out other movies if the feature doing the calling out is by-the-numbers at best, and it does Wish no favours. No one might've been actively thinking "I wish I was watching a different Disney movie instead" if they weren't pushed in that direction by the flick itself, but once that idea sweeps in it never floats away. While the importance and power of dreams is Wish's main theme, the film forgot to have many itself. If it hoped to be a generic inspiration-touting fairy-tale musical, however, that fantasy was granted. Ariana DeBose (West Side Story) and Chris Pine (Dungeons & Dragons: Honour Among Thieves) star as teenager Asha and all-powerful sorcerer Magnifico, respectively. The latter created the kingdom of Rosas as a sanctuary to protect people's wishes, which hover in his castle — but he's stingy with granting them. When Asha discovers that the land's sovereign isn't as benevolent as he seems, then wishes on a star that becomes her beaming friend (and makes her goat Valentino talk, sporting the voice of Peter Pan & Wendy's Alan Tudyk), she decides to topple his rule and free the deepest desires of her fellow townsfolk. Oscar-winner DeBose brings her best to the movie's songs, which would've fallen flat and proven forgettable in anyone else's hands, but they're the most vivid part of a film that starts with the storybook cliche, leans too heavily on chattering critters and can't match its classic look with an instant-classic picture. TWO TICKETS TO GREECE Laure Calamy is heading away again. In Full Time, France's current go-to actor could only dream of a getaway. Around that career-best performance, however, she's trekked with a donkey in Antoinette in the Cévennes, enjoyed family reunions on Côte d'Azur island Porquerolles in The Origin of Evil and now holidays on the Balkan Peninsula in the likeable-enough Two Tickets to Greece. Her latest packs more than a few other familiar elements into its suitcase: chalk-and-cheese protagonists, midlife crises, confronting the past, seizing the future, reviving old friendships, making new pals and finding oneself. Writer/director Marc Fitoussi, who reteams with Calamy after Call My Agent!, knows that every trip swims or sinks based on the company, though. He explores that very idea in his narrative, and has the film live it via Calamy as the chaotic Magalie, Olivia Côte (The Rose Maker, and also in Antoinette in the Cévennes) as her strait-laced childhood bestie Blandine — who she hasn't seen for decades after a teenage falling out — and an against-type-and-loving-it Kristin Scott Thomas (Slow Horses) as the go-with-the-flow Bijou. Scott Thomas puts in such an earthy-yet-layered performance as Magalie's friend, who lives the island life in Mykonos with artist Dimitris (Panos Koronis, The Lost Daughter), that Two Tickets to Greece is a better movie once she's on-screen. It's a more-rounded film, relying less on an odd-couple dynamic — even though both Calamy and Côte perfect their parts. Fitoussi first introduces his main duo as high-schoolers (Les invisibles' Marie Mallia and Vise le coeur's Leelou Laridan) who obsessively adore 1988 diving drama The Big Blue. They only meet again as adults after Blandine's son Benjamin (Alexandre Desrousseaux, Standing Up) pushes them back into each other's lives out of worry for his divorced-and-unhappy-about-it mum. He's meant to be going to Greece with his mother, in fact, but soon the erratic and impulsive Magalie has his ticket. Their destination is Armogos, The Big Blue's setting, although every detour that can redirect the pair's sun-dappled path away from a stock-standard luxe hotel stay — ferry mishaps, cute surfers, dancing on restaurant tables, island-hopping, big fights, hard truths, health scares and the like — does. COUP DE CHANCE A stroke of luck starts Coup de Chance, befitting the name of this French-language romantic thriller-slash-farce from Woody Allen. On the streets of Paris, gallerist Fanny (Lou de Laâge, The Mad Women's Ball) is recognised by writer Alain (Niels Schneider, Spirit of Ecstasy), with the pair classmates during their school days abroad in New York. He had a hefty crush all those years back, he reminds her. Even in their first reacquainted encounter, it's plain to see that he still does now. Reminiscing leads to future plans to catch up, then to leisurely walks and sandwich-fuelled picnics in parks on her lunch breaks. And, with Fanny clearly unhappily married to flashy, self-made millionaire wealth manager Jean (Melvil Poupaud, One Fine Morning), who possessively and controllingly considers her a trophy more than a person, an affair springs, too. Cue the suspicions of Jean, complete with a private detective doing his snooping and a raging case of entitlement seeping from his pores. Cue Fanny's mother Camille (Valérie Lemercier, Aline) figuring out the situation, and getting involved as well. Also, cue Allen in familiar territory from 2005's Match Point, which was set in London rather than Paris. Only a non-French filmmaker would have his Parisian characters order foie gras and frogs' legs in a restaurant. Working in Europe almost by necessity, and a writer/director whose output will always lurk under a cloud, only Allen would make the movie's yearning romantic alternative a bookish sort called Alain that's his latest on-screen surrogate. But those cliches and box-ticking elements don't stop Coup de Chance from being his best film in some time — since 2013's Blue Jasmine, which won Cate Blanchett an Oscar — with considerable help from his cast. The helmer's 50th movie sports warm autumnal hues via cinematographer Vittorio Storaro (who also shot Cafe Society, Wonder Wheel and A Rainy Day in New York), a jazzy soundtrack, plus actors who can effortlessly ride the plot's conveniences, twists and constant musings on fate alike. That said, almost any filmmaker could point their lens de Laâge, Schneider, Poupaud and Lemercier's way with engaging results; however, Allen's first film in a language other than English is repeatedly buoyed by their presence.
UPDATE, March 13, 2023: Navalny is available to stream via Docplay, YouTube Movies, iTunes and Prime Video. Man on Wire did it with The Walk, The Times of Harvey Milk sparked Milk and Dogtown and Z-Boys brought about Lords of Dogtown. Werner Herzog went from Little Dieter Needs to Fly to Rescue Dawn, too, and the Paradise Lost films were followed by Devil's Knot. One day, Navalny will join this growing list. Documentaries inspiring dramas isn't new, and Alexei Navalny's life story would scream for a biopic even if director Daniel Roher (Once Were Brothers) hadn't gotten there first — and so compellingly, or in such an acclaimed way, winning the 2022 Sundance Film Festival's Audience Award for its US doco competition in the process. When you're a Russian opposition leader crusading against corruption and Vladimir Putin, there's going to be a tale to tell. Usually only Hollywood screenwriters can conjure up a narrative like the one that Navalny has been living, though, typically in a Bourne-style spy thriller. Actually, John le Carré, Ian Fleming or Tom Clancy might've come up with something similar; still, even the former, the author responsible for such espionage efforts such as Tinker Tailor Soldier Spy and The Night Manager, could've struggled to imagine details this staggering. Creating a fictional character as complicated, captivating and candid as Navalny's namesake would've also been a stretch. Indeed, there are two key aspects to this engrossing doco: everything that it explores about its subject's life, especially in recent years, which is a dream for a documentary filmmaker; and the engaging pro-democracy advocate himself. Often Navalny chats to camera about his experiences, demanding and earning the viewer's attention. In a movie that doesn't overlook his flaws, either, he's equally riveting when he's searching for a crucial truth. Another stark fact haunts Navalny from the outset: it was never guaranteed that he'd be alive to see the film come to fruition, let alone reach an audience. The outspoken Putin critic, lawyer and dissident confronts that grim reality early on, giving Roher the holy grail of soundbites. "Let's make a thriller out of this movie,' he says. "And if I'm killed, let's make a boring movie about memory," he continues. In August 2020, Navalny nearly didn't make it, after all. In an incident that understandably attracted international headlines and just as expectedly sits at the core of this documentary, he was poisoned while flying from Tomsk in Siberia to Moscow. The toxin: a Novichok nerve agent. The instantly suspected culprits: the Kremlin, as part of an assassination plot that he survived. No matter whether you're aware of the minutiae from press coverage when it happened — or of his treatment by Russia prior or since, in a country that hasn't taken kindly to his campaign against its president — or you're stepping through his tale for the first time while watching, Navalny couldn't be more gripping as it gets sleuthing as well. Among other things, it's an attempted-murder mystery. That fateful flight was diverted to Omsk because Navalny was so violently and deathly ill due to the Soviet-era toxin. His stint in hospital was tense, and evacuating him to safety in Berlin was never guaranteed. Although the poisoning is just one aspect of his story, and of this astonishing and anger-inciting film, identifying the people responsible is firmly one of Navalny's quests and Navalny's focuses. With extraordinarily intimate access, befitting his central figure's frankness and determination, Roher shot the aftermath of the incident as it unfolded; one moment in particular must be seen to be believed. Navalny takes up help from Christo Grozev, an investigative journalist from Netherlands-based group Bellingcat (or "a nice Bulgarian nerd with a laptop" as he's called here). As the evidence mounts, they start contacting the men they've worked out were involved. Most calls end promptly. Then, when Navalny impersonates a Kremlin higher-up, phoning to get answers as to why the plot went wrong, answers spill (answers that involve Navalny's underwear, in fact). With apologies to the most skilled screenwriters and authors that've plied their trade in spy narratives, this is an exchange so wild that it can only be true, as Navalny's audience witnesses while perched on the edge of their seats. This is a compulsive, revelatory, fast-paced movie, as directed with agility by Roher. There's as much of a pulse to its early summary of Navalny's career, including what led him to become such a target, as there is to his to-camera discussions and the unravelling of the Novichok ordeal. News footage and imagery shot on mobile phones help fill in the gaps with the latter, but the as-it-happens calls — and the digging before it — are so suspenseful and so deftly shot by cinematographer Niki Waltl (In the Bunker) and spliced by editors Maya Hawke (Janis: Little Girl Blue) and Langdon Page (Mapplethorpe: Look at the Pictures) that it's hard to see how any dramatisation could top it. Composers Marius de Vries (CODA) and Matt Robertson (a music programmer on Cats) add a nerve-shredding score, too, as part of the doco's polish. Navalny doesn't need it, as seeing its subject's flight back to Russia in January 2021 after recuperating to Germany — a flight back to charges and imprisonment — also makes plain, but the whole package is expertly assembled. There's still more in the absorbing documentary's sights, such as Navalny's relationships with his ever-supportive wife Yulia and children Dasha and Zakhar; his social-media following and the well-oiled flair for getting his message out there, including via TikTok; the charisma that's helped him strike such a wide-ranging chord; and his fondness of playing Call of Duty. Navalny is a frightening portrait of Russia, an account of battling its oppressive status quo and a layered character study alike — and, smartly and astutely, that means looking at the man in its moniker's past approach to consolidating opposition to Putin as well. Navalny has previously thrown in with far-right groups to amass a cohort against the Russia leader, a move that warrants and gets a thorough line of questioning, resulting in frustration on his part. As it lays bare what it involves to confront authoritarian power, demand freedom and fight against the state while putting your life on the line — be it in inspiring or dubious-at-best ways — this film has to be unflinching: it couldn't be as complex as it is otherwise.
Fresh naan bread, beef vindaloo and daal on a cold night is one way to beat the winter blues. Renowned for its wide variety of dishes and flavours, Shaahi Tandoori has a massive selection of hot biryani rice, curries, bread and entrees to keep the fire in your belly going. For a Pakistani favourite, there's the slow-cooked goat korma with bones, while Indian specialities include chicken tikka masala and lamb rogan josh. Do you dare dive into its spiciest dish? It's the vindaloo, packed with traditional spices and your choice of lamb, beef or chicken. Just add a side of jeera rice to mellow out the heat and have a mango lassi on standby if things start to get a bit too much. The best part? You can order from DoorDash right up to 11.15pm, so your late-night chilli cravings are sorted. Image: Cassandra Hannagan
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BLACK PANTHER: WAKANDA FOREVER Black Panther: Wakanda Forever isn't the movie it was initially going to be, the sequel to 2018's electrifying and dynamic Black Panther that anyone behind it originally wanted it to be, or the chapter in the sprawling Marvel Cinematic Universe that it first aimed to be — this, the world already knows. The reason why is equally familiar, after Chadwick Boseman died from colon cancer in 2020 aged 43. At its best, this direct followup to the MCU's debut trip to its powerful African nation doesn't just know this, too, but scorches that awareness deep into its frames. King T'Challa's death starts the feature, a loss that filmmaking trickery doesn't reverse, no matter how meaningless mortality frequently proves when on-screen resurrections are usually a matter of mere plot twists. Wakanda Forever begins with heartbreak and pain, in fact, and with facing the hard truth that life ends and, in ways both big and small, that nothing is ever the same. Your typical franchise entry about quick-quipping costumed crusaders courageously protecting the planet, this clearly isn't. Directed and co-written by Ryan Coogler (Creed) like its predecessor — co-scripting again with Joe Robert Cole (All Day and a Night) — Wakanda Forever is about grief, expected futures that can no longer be and having to move forward anyway. That applies in front of and behind the lens; as ruminating so heavily on loss underscores, the movie has a built-in justification for not matching the initial flick. The Boseman-sized hole at Wakanda Forever's centre is gaping, unsurprisingly, even in a feature that's a loving homage to him, and his charm and gravitas-filled take on the titular character. Also, that vast void isn't one this film can fill. Amid overtly reckoning with absence, Coogler still has a top-notch cast — returnees Letitia Wright, Angela Bassett, Danai Gurira, Lupita Nyong'o and Winston Duke, plus new addition Tenoch Huerta, most notably — drawing eyeballs towards his vibrant imagery, but his picture is also burdened with MCU bloat and mechanics, and infuriating bet-hedging. The emotional tributes to T'Challa and Boseman hit swiftly, after the former's tech-wiz sister Shuri (Wright, Death on the Nile) agonises over not being able to save him. In a swirl of song, dance, colour, movement, rhythm and feeling on par with the first instalment, but also solemn, Wakanda erupts in mourning, and the film makes plain that the Black Panther audiences knew is gone forever. A year later, sorrow lingers, but global courtesy wanes — now that the world knows about the previously secret country and its metal vibranium, everyone wants a piece. Such searching incites a new threat to the planet, courtesy of Mesoamerican underwater kingdom Talokan and its leader-slash-deity Namor (Huerta, Narcos: Mexico). The Atlantis-esque ocean realm has vibranium as well, and it's not keen on anywhere else but Wakanda doing the same. If Queen Ramonda (Bassett, Gunpowder Milkshake), Shuri and their compatriots don't join Namor to fight back, Namor will wage war against them instead. Given Coogler and Cole's basic premise, bringing back Okoye (Gurira, The Walking Dead), head of the Wakanda's formidable Dora Milaje warriors, is obviously easy. The same applies to fellow soldier Ayo (Florence Kasumba, Tatort), and to introducing Aneka (Michaela Coel, I May Destroy You). Straight-talking tribal leader M'Baku (Duke, Nine Days) makes a seamless comeback and, although she's working in a school in Haiti, former spy Nakia (Nyong'o, The 355) does the same. Even excusing seeing CIA operative Everett Ross (Martin Freeman, Breeders) again is straightforward enough, but keeping overarching Marvel saga cogs turning means a pointless reappearance for another character familiar from the broader series but new to Black Panther movies. And, it results in the clunkiest of kickoffs for "young, gifted and Black" college student Riri Williams (Dominique Thorne, Judas and the Black Messiah), the star of upcoming MCU Disney+ TV show Ironheart, who is needlessly shoehorned in on the big-screen. Read our full review. THE VELVET QUEEN "If nothing came, we just hadn't looked properly." Partway through The Velvet Queen, writer Sylvain Tesson utters these lyrical words about a specific and patient quest; however, they echo far further than the task at hand. This absorbing documentary tracks his efforts with wildlife photographer Vincent Munier to see a snow leopard — one of the most rare and elusive big cats there is — but much in the entrancing film relates to life in general. Indeed, while the animals that roam the Tibetan plateau earns this flick's focus, as does the sweeping landscape itself, Munier and his fellow co-director and feature first-timer Marie Amiguet have made a movie about existence first and foremost. When you peer at nature, you should see the world, as well as humanity's place in it. You should feel the planet's history, and the impact that's being made on its future, too. Sensing exactly that with this engrossing picture comes easily — and so does playing a ravishing big-screen game of Where's Wally?. No one wears red-and-white striped jumpers within The Velvet Queen's frames, of course. The Consolations of the Forest author Tesson and world-renowned shutterbug Munier dress to blend in, trying to camouflage into their sometimes-dusty, sometimes-snowy, always-rocky surroundings, but they aren't the ones that the film endeavours to spy. The creatures that inhabit Tibet's craggy peaks have evolved to blend in, so attempting to see many of them is an act of persistence and deep observation — and locking eyes on the snow leopard takes that experience to another level. Sometimes, pure movement gives away a critter's presence. On one occasion, looking back through images of a perched falcon offers unexpected rewards. As lensed by Amiguet (La vallée des loups), Munier and assistant director Léo-Pol Jacquot, The Velvet Queen draws upon hidden cameras, too, but so much of Tesson and Munier's mission is about sitting, watching and accepting that everything happens in its own time. Letting what comes come — and acknowledging that some things simply won't ever occur at all — isn't an easy truth to grapple with. Nonetheless, it's also one of this contemplative feature's achievements, even though it's a type of detective story through and through. Tesson and Munier follow clues to search for the snow leopard, moving positions and setting up blinds wherever they think will score them their sought-after footage. In the process, they learn a lesson as all sleuths do. As they face the possibility that they might not be successful, which Tesson's perceptively navel-gazing narration explains, The Velvet Queen becomes a mindfulness course in filmic form. It has something astonishing that all the Calm, Headspace and similar apps in the world don't, though: the film's on-the-ground recordings (well, 5000-metres-up recordings), which show why finding peace with life's ebbs and flows is all that we can really hope for. Accompanied by a stirring score from Australian icons and lifelong bandmates Warren Ellis and Nick Cave — their latest contribution to cinema on a resume that includes The Proposition, The Road, Hell or High Water and Wind River before it — it's no wonder that The Velvet Queen's philosophising voiceover also notes that "waiting was a prayer". It's similarly unsurprising that Tesson penned a book, The Art of Patience: Seeking the Snow Leopard in Tibet, based on the trip captured in the documentary. In fact, if you're the kind of person who keeps their peepers peeled for feline life in any new neighbourhood you visit, or even if you're just strolling around your own, this feature firmly understands. More than that, it one-ups you, while also connecting with the act of scouring and seeking as much as the potential joys of getting what you wish for. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; October 6, October 13, October 20 and October 27; and November 3. You can also read our full reviews of a heap of recent movies, such as Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam, The Stranger, Halloween Ends, The Night of the 12th, Muru, Mona Lisa and the Blood Moon, Black Adam, Barbarian, Decision to Leave, The Good Nurse, Bros, The Woman King, Sissy, Armageddon Time and The Wonder.
UPDATE, April 1, 2021: The Wild Goose Lake is available to stream via Binge, Amazon Prime Video, Stan, Foxtel Now, Google Play and YouTube Movies. If you only watch one sultry, sprawling, neon-lit Chinese film noir this year — one where umbrellas are deployed as lethal weapons, zoo animals bear witness to a shootout and strangers dance in the street in glowing sneakers to Boney M's 'Rasputin' — make it The Wild Goose Lake. To be fair, no other feature will match that exact description anytime soon. No other movie will make a routine police search of a half-demolished building look like a real-world diorama, either, or watch as a character turns the tricky art of self-bandaging into an acrobatic performance. From its yellow-tinted opening frames, where two strangers meet outside a train station in drizzling rain, Diao Yinan's first film since 2014's acclaimed Black Coal, Thin Ice firmly carves its own visual niche. That's one of the evocatively shot gangster flick's charms. Spread across speedy motorcycle chases and frenetic underground brawls, too, these eye-catching images all tell the story of mob heavy Zhou Zenong (Hu Ge) and 'bathing beauty' Liu Aiai (Gwei Lun-mei). Following a mass underworld meetup to discuss stealing techniques, an impromptu contest dubbed "the Olympic Games of thievery" and the accidental shooting of a cop, he's on the run in the titular area. Both the law and fellow criminals are on his trail, and a ¥300,000 bounty is on his head. She's been dispatched as Zhou's escort by her gang-affiliated boss Huahua (Qi Dao) — and although she's just supposed to deliver messages and take the fleeing gangster where he needs to go, Liu is also a sex worker who plies her trade by the water. In flashbacks, the movie fleshes out their intertwined tales, including why Liu is the one meeting Zhou instead of his estranged wife Yang Shujun (Wan Qian). Visually, The Wild Goose Lake leaves a continued imprint; however there's a boilerplate flavour to Diao's script. After Black Coal, Thin Ice — another stylish, crime-filled neo-noir brimming with complex motives and ample duplicity — it almost seems like the filmmaker is painting by numbers in a narrative sense. He's certainly playing in a well-populated field, with no shortage of high-profile Chinese releases delving into the country's seedy underbelly of late (as seen in Jia Zhangke's Ash is Purest White and Bi Gan's Long Day's Journey Into Night). And yet, as recognisable as much of The Wild Goose Lake's story appears, it never feels like it's sending viewers on either a routine journey or a wild goose chase. Rather, that air of familiarity ripples with purpose and meaning. Indeed, the fact that these kinds of Chinese tales keep popping up and using the nation's unseemly side as a way of tackling societal uncertainty, restlessness and change makes a clear statement. Diao isn't yelling his views at anyone, though, or even conveying as strong a message about the state of his country as he did with his last film. Largely, he uses his narrative as the connective tissue that holds his stunning visuals together. If the writer/director and his returning cinematographer Dong Jinsong had planned out each strikingly shot and choreographed set-piece, then built a story around them, it wouldn't come as a surprise. The Wild Goose Lake is far more textured than a movie made in such a way ever could be, but its imagery is still the undoubted star of the show. If Nicolas Winding Refn was to splash his usual creative trademarks across a China-set gangster flick as a companion piece to the Los Angeles-based Drive and the Bangkok-set Only God Forgives, the end result wouldn't look as inky yet inescapably luminous as Diao's darkly gorgeous piece of cinema. With such alluring pictures flickering across the screen — including so many vivid amber and pink lights casting shadows across murky alleyways and rooms that the overall look should get repetitive, but doesn't — it's no wonder that Diao paces the film patiently. He gives audiences plenty of chances to soak in The Wild Goose Lake's sights, naturally. In taking his time to unfurl the feature's tale, he also conveys an apt sense of inertia as Zhou runs, Liu follows, both the cops and other crims try to track their every move, but no one ever really goes anywhere. And, in the process, he fittingly tasks his cast with giving quiet yet still expressive performances. This is the type of movie where, when dialogue is uttered, it usually says less far less than a look, a gesture or an actor's posture. Viewers don't get to know the film's characters as deeply as we could've, but it's still a very canny approach — with a feature this arresting, the audience is luxuriating in every inch of every frame from start to finish. https://www.youtube.com/watch?v=OpmpD3-CBqg
Winter and comfort foods always go hand in hand, but fans of doughnuts should find the start of the frosty season particularly delicious. Each year, to kick off June, National Doughnut Day arrives. And, when the date hits, free round orbs are often on the menu. In 2023, on Friday, June 2, Donut King will be handing out freebies — and keeping Australians happy with their eponymous blend of sweets and carbs. The chain is known for its hot cinnamon doughnuts, and that's exactly what it'll be giving away at every store Australia-wide. Donut King hasn't advised exactly how many doughnuts are up for grabs, and it is a while-stocks-last affair. That said, the brand is intending to serve up a whole heap of its number-one treat to customers in exchange for zero cash, beginning at 1am AEST — if that's when your local store opens — and running through until 11.59pm AEST. The big caveat, other than the first-in-best-dressed rule: there's a limit of one free hot cinnamon doughnut per person. Also, you do have to hit up a Donut King shop in-person, with the giveaway not available for deliveries. View this post on Instagram A post shared by Donut King (@donutking_au) To snag yourself a freebie, folks in Sydney can make a date everywhere from Chatswood and Top Ryde to Leichhardt and Hurstville, while Melburnians can add Northcote, Sunshine, The Pines and Southland Westfield to their must-visit lists. Brisbane's choices include Indooroopilly, Carindale, Chermside and Mt Gravatt; Perth's venues cover the likes of Ocean Keys and Midland Gate; and Adelaide boasts stores in Glenelg, Tea Tree Plaza and more. View this post on Instagram A post shared by Donut King (@donutking_au) Donut King's free National Doughnut Day giveaway is happening in the chain's stores around the country on Friday, June 2. To find your closest shop and check its opening hours, head to the Donut King website.
UPDATE: June 5, 2020: Judy & Punch is available to stream via Stan, Google Play, YouTube and iTunes. Sometimes, a film lives and thrives thanks to its casting, benefiting from stellar actors who melt into their roles. That's the case with Judy & Punch, with Mia Wasikowska and Damon Herriman breathing life, depth and a roguish attitude into characters best known as wood, string and fabric. As the title makes plain, they're playing Punch and Judy, the puppet-show figures that date back more than three centuries. Still, while writer/director Mirrah Foulkes tasks her stars with fleshing out the marionettes' wholly fictional origin story, she doesn't rely on the duo to do all of the movie's heavy lifting. Her interpretation of the tale — the bold, subversive directions she takes it in, and the feisty, cheeky vibe the film adopts in the process — makes as much of an impact. Jumping behind the camera after acting in Animal Kingdom, Top of the Lake, The Crown and Harrow, Foulkes ensures that her filmmaking debut isn't the kind of feature that lights up screens often. The movie starts with two versions of Punch and his other half: one cavorting on stage, the other pulling the strings behind the curtain. The crowd roars as the perpetually drunken Punch (Herriman) and the long-suffering Judy (Wasikowska) manoeuvre and manipulate their inanimate counterparts, with the pair packing in shows in Judy's insular (and curiously inland) hometown of Seaside. Judy is actually the more dexterous and talented of the two, but Punch gets all the fame and acclaim — partly, reflecting his brutish personality, by making their puppet show literally "punchier". He makes their daily life punchier as well, and thinks nothing of treating Judy and their infant daughter with contempt, whether he's seeing another woman, complaining whenever Judy says a word or showing that he's the world's worst father. With the real-life Punch and Judy famously based on the former's slapstick violence towards the latter, you can be forgiven for feeling cautious about how a live-action version will play out. It sounds strange and inappropriate, but Foulkes is keenly aware of the material she's working with. In her hands, Judy & Punch takes puppet-show savagery and lets it loose in live-action, then rightfully questions why it's considered entertainment. And to really hammer home her point, she needs to unleash a flurry of physical and metaphorical blows. The filmmaker isn't subtle, but neither is a guy bashing his wife and child, which has happened in P&J since the 1600s. So, when Judy is the only person in the town to speak out against the communal stoning of women deemed witches — and, later, when a tragic turn of fate sees her seek solace among the local female outcasts, then plot her revenge — it's thoroughly designed to make a statement. Kudos to Foulkes for not only reclaiming P&J's problematic narrative for Judy, calling out Punch's boorishness and asking why women have so often been treated so poorly — by their partners, by complicit communities and by mobbish societies as a whole — but for clearly having fun while she's doing so. Where this year's thematically comparable and similarly excellent fellow Australian film, The Nightingale, leaned into bleakness and pain, Judy & Punch veers the other way. The movie is styled like a gothic fairytale, with its crumbling castle, sprawling woods and Elizabethan-era costuming, and it takes that look and feel to heart. Dark, fanciful, perceptive, often comic — this mix of elements mightn't sound like a natural fit on paper, but it works. Judy & Punch's tone definitely wavers, although that's on purpose too. And when François Tétaz's percussion-heavy score keeps echoing, it constantly reminds viewers of the thuds, shoves and worse that have long been baked into Judy and Punch's abusive romance, while also proving audibly playful. Given all of the above, you can excuse Judy & Punch for including a big speech at its climax; again, Foulkes isn't doing anything by halves. Nor is her cast, including the likes of Benedict Hardie (Upgrade), Tom Budge (Bloom) and Gillian Jones (Mad Max: Fury Road), who all help populate Seaside's chaotic masses. Wasikowska and Herriman are dream leads, though. She draws upon an ever-growing resume filled with fascinating and formidable women (Jane Eyre, Stoker, Tracks, Madame Bovary, Piercing… the list goes on), while he's having quite the malevolence-dripping year after stepping into Charles Manson's shoes in both Mindhunter and Once Upon a Time in Hollywood. Judy & Punch firmly tells Judy's story, so this is Wasikowska's film, but it highlights both of its main characters for a good reason. This thoroughly feminist hero doesn't just give a historic narrative a much-needed update and champion a timely cause — with their dynamic back-and-forth, she endeavours to cut Herriman's misogynistic weasel down to size, too. https://www.youtube.com/watch?v=63NAagrKOcc
A 1930s-style brasserie with a 750-strong wine list. A moody underground restaurant specialising in one cut of steak. A dedicated hopper eatery from one of the city's best chefs. These are just three of the boundary-pushing restaurants that have opened their doors this year. Sydney's restaurant scene has had an impressively strong 2018. And the restaurants that have opened are as diverse in their cuisines as they are in their decors — French, Sri Lankan, Australian and Italian; pastel pinks, leather banquettes, edible candles and walls covered in grapes. At Concrete Playground we encourage exploration and showcase innovation in our city every day, so we thought it fitting to reward those most talented whippersnappers pushing Sydney to be a better, braver city. And so, these six new restaurants, opened in 2018, were nominated for Best New Restaurant in Concrete Playground's Best of 2018 Awards.
If you've seen the Disney Pixar film Up, chances are this picture is causing you a bit of déjà vu. As part of a new National Geographic television series, How Hard Can It Be, a team of scientists, engineers and balloon pilots recreated the scene from the hit flick in which 78 year-old Carl Frederickson escapes the ennui of his retirement home by tying balloons to his house and flying far away. Ben Howie, executive producer of the show, said the team "found it is actually close to impossible to fly a real house". After two weeks of intense planning, the team was successful in using an enormous cluster of helium balloons to lift a small, lightweight dwelling with several people inside. Each balloon required an entire tank of helium for inflation, and the house rose to a height of 3,500 metres, remaining airborne for around one hour. https://youtube.com/watch?v=C71rb-4_bOk [Via NOTCOT]
Some days you wake up, go for a quick run, make yourself a cheeky bowl of Cornflakes. Others, you rise knowing today's the day, the glorious moment when you can shape squid ink-coloured cuttlefish into a ball, painstakingly sculpt it to look like a penguin and viciously mount it on a kebab stick for the masses to enjoy. This is that day for Hong Kong gamechangers The Drunken Pot, who have created one heck of an adorable offering for the Hong Kong Wine and Dine Festival, now running on HK's Central Harbourfront until October 30. Dubbed the 'Happy Penguin Cuttlefish Ball', this little Instagrammable delight is one of the festival's so-called 'Adorable Eats', which is legitimately a series of highly cute dishes on offer at the event. While jumping a flight across to Honkers to inhale these staked Pengus isn't on the cards for everyone, sitting back and marvelling at them from your chair and knowing you won't have to eat cuttlefish should suffice. Hong Kong Wine and Dine Festival runs until October 30.
It's back. A CBD institution known for facilitating many a late night has reopened following a multimillion-dollar transformation. Jacksons on George's ambitious rebuild and redevelopment was first announced back in 2018, with the Circular Quay space being completely reinvented over the last five years — re-emerging under the guidance of Maurice Terzini (Icebergs, Re-) and his DTL Entertainment Group partner Michael Broome. "I tip [the rooftop bar] as being a place to be this summer," says Terzini. "Great food and drinks intersect with contemporary art and music across all three levels to create a vibrant, contemporary venue." There are indeed three distinct areas in the new Jacksons on George: a ground-floor public bar, a flash new French bistro and the sleek cocktail-fuelled rooftop bar. Leading the charge across all three levels is Head Chef Steven Sinclair, who arrives at the venue with a wealth of experience in world-renowned kitchens. Alongside time spent overlooking Bondi Beach at Icebergs, he's also cut his teeth at two of Ireland's top restaurants, The Old Schoolhouse Inn and The Potted Hen. Wander in from George Street and you'll find a classic pub sporting a fresh fitout from Sydney-based studio Richards Stanisich. Both here and up on the rooftop, you can expect the tried-and-true combination of pub feeds done well, house twists on classic cocktails and perfectly poured local beers. Some of the unexpected turns you'll discover on the pub menu include slow-cooked duck sausage rolls, Moreton Bay bug buns and roast chook cooked over charcoal. Plus, there's a signature dessert on offer: the Jacksons banoffee sundae. Changing things up above the public bar is the 120-seat Bistro George, a European-inspired diner that champions local produce. Clams casino, beef tartare, salt-crusted wagyu ribeye and gin rigatoni all grace the menu at the date night-ready first-floor restaurant. "The ethos at Bistro George is all about recognisable bistro classics, elegantly executed with quality ingredients," says Sinclair. "Meanwhile, everything on the public bar and rooftop menu is designed to be accessible and familiar. Think: pub and bistro classics, elevated with the best produce and on-point service, regardless of what dish you order and where you dine." From Friday, September 22, Bistro George will transform into a cocktail bar later into the night, with a reduced supper menu and live music led by house jazz trio The Jacksons All Stars. This is the kind of place that you can slip into for an after-dinner drink or a late-night snack. Throughout the venue, you'll also find an impressive art collection including a series of works from Archibald and Sulman Prize finalist and Yankunytjatjara artist Kaylene Whiskey, who injects her award-winning blend of traditional Anangu art and pop culture into the space. And, if you're on the hunt for an intimate spot to host your work Christmas party or a milestone birthday, Bistro George also boasts a 30-guest private dining room, translating the luxury of the restaurant into a secluded corner of the venue. Find Jacksons on George at 176 George Street, Sydney from Monday, September 11 — operating 10am–late Monday–Sunday. Photography: Tom Ferguson and Toby Peet.
Whenever I jump on a bus, I stroll down to the back seat, pull out my old lenseless sunnies, and become privy to a moving stage of 43 licensed-to-sit actors (doesn't everybody?). Where else can you follow the story of Odysseus the drunk, on his way back home, admire the two seat-crossed lovers and feel secure knowing the bus will never go above 50km/h? Well, Stories from the 428 have gone one better. Over the past month, the show's writers have been gathering stories of their own, riding the 428 from Circular Quay to Canterbury, peering over your shoulder, reading your texts and listening in on your conversations, looking for the extraordinary in our ordinary rides. As a result, for two weeks over 50 actors will enact micro-dramas, monologues and even play the odd mp3 with humourous yet often sad effect from the lives that daily pass us by. So head down to Marrickville's Sidetrack Theatre for a comfortable and motion sickness–free ride on public transport's noble steed. Better yet, the bus stops right outside the theatre door, and with a new program for each week of the run, there's no reason not to pick up a travel ten and climb aboard. At $25, you almost certainly won't have to give up your seat to a stinking hobo. Image by Leah McGirr.
Come July, one of the most peaceful patches of Adelaide will become the most fiery. Don't worry, it's only temporary. Already a hit everywhere from Stonehenge to the Pont du Gard, and also in Melbourne, French art collective Compagnie Carabosse is bringing its acclaimed Fire Gardens back to Australia — specifically to the South Australian capital for 2024's Illuminate Adelaide. While the festival's full program won't be unveiled until Wednesday, May 1 — so, for interstate residents, what else will tempt you to SA hasn't been revealed as yet — this sprawling and suitably glowing installation is worth getting hot and bothered about already (in a good way, of course). For 12 nights, running Thursday–Sunday for three weeks between Thursday, July 4–Sunday, July 21, Fire Gardens will take over the Adelaide Botanic Garden. The North Terrace spot will be filled with thousands of fire pots, sculptures and terracotta urns — more than 7000, in fact. Pathways will be illuminated, archways will be lit by candles and huge spheres will roar and crackle. The installation will also feature luminous kinetic sculptures, and pair its sights with live music. Given that the group has been starting fires professionally for more than two decades, Compagnie Carabosse knows what it's doing — not only when it comes to safely cloaking a huge expanse of grass, plants and trees in flames, but in tapping into humanity's innate fondness for and primal attraction to fire. This isn't just about watching things burn, obviously, but about art. The soundtrack will also boost the mood and allure. Although Fire Gardens has popped up around the world, this iteration will be crafted specifically for Adelaide Botanic Garden. That means that you really won't see anything like it anywhere else. And, of course, you haven't seen the gardens set on fire before anyway. "The Illuminate Adelaide Fire Gardens experience is being designed specifically for our Botanic Garden, with Compagnie Carabosse already plotting and mapping out its largest-ever installation designed exclusively for Adelaide and the first time ever during an Australian winter," said Illuminate Adelaide co-founders and Creative Directors Lee Cumberlidge and Rachael Azzopardi. "Fire Gardens is the perfect way to experience Adelaide in July, and we know audiences will be blown away by this spectacle of leaping flames, fiery urns and smouldering archways." Fire Gardens will be part of Illuminate Adelaide 2024, running from Thursday, July 4–Sunday, July 21 at Adelaide Botanic Garden, North Terrace, Adelaide. For more information and tickets, head to the festival's website. Images: Sylvie Monier, Jess Wyld, Regina Marcenkiene and Vincent Muteau.
This summer, Melbourne's National Gallery of Victoria has brought together works from two of New York City's legendary 80s art figures. The world-first Crossing Lines exhibition showcases the art of Keith Haring alongside that of his good friend and creative rival Jean-Michel Basquiat. Emerging during the early 1980s, both artists found their start on the street before becoming hot properties in galleries around the world. Regarded as two of the most influential artists of the late 20th century, Crossing Lines draws parallels between the pair's differing and distinctive visual language of lines, signs and symbols. Both Haring and Basquiat commented heavily on society and politics in their practice; Haring was a champion of gay rights and sexual expression and, as an African-American artist, Basquiat explored race prominently in his work. Running until April 13, 2020, across painting, sculpture, objects and photographs, the NGV presents 200 artworks amassed from prominent galleries and private collections. Throughout the exhibition, visitors will be taken on a deep dive into each artist's personality and struggles, experiencing how they navigated their way from being relatively obscure street artists to global icons within only a short few years. As you make your way through Crossing Lines, you'll see some of the work Haring and Basquait created on New York City's streets and subway stations, as well creations from their early shows that propelled their careers onwards. Near the end of the exhibition, there's an array of important works created in the lead up to their deaths, which were both tragically premature. With so much to unpack, we've picked out six of the most impressive works you can find at Keith Haring | Jean-Michel Basquiat: Crossing Lines. KEITH HARING: UNTITLED (1983) Featuring many of Haring's trademark characters, this untitled work explores one of Haring's most discussed topics: technology and mass media. From the rise of personal computers to video games and cable television, the 1980s was an era of technological innovation. While many hailed these developments, Haring often expressed his concerns about how computers would influence society and especially its relationship with art. In 1983, Haring wrote: "The human imagination cannot be programmed by a computer. Our imagination is our greatest hope for survival." KEITH HARING: PROPHETS OF RAGE (1988) Whether it was the AIDS epidemic, the anti-apartheid movement or children's health, Haring was renowned for using his art to bring attention to many of society's most important issues. Painted in 1988, Prophets of Rage is Haring's take on race relations in the United States during such a turbulent era. Diverging from Haring's more lighthearted creations, this work demonstrates how he used his art vocabulary to tackle major topics like injustice. KEITH HARING: A PILE OF CROWNS, FOR JEAN-MICHEL BASQUIAT (1988) Found towards the end of the exhibition, one of the key pieces presented at Crossing Lines is titled A Pile of Crowns, for Jean-Michel Basquiat. Following the death of Basquiat on August 12, 1988, Haring produced this touching tribute to his friend, combining Basquiat's iconic crown motif with his own distinct use of line and symbolism. Haring was deeply heartbroken by the death of his friend, journaling extensively about his life. Alongside this work, you can find a handwritten draft by Haring for Basquiat's obituary. JEAN-MICHEL BASQUIAT: UNTITLED (1982) While Haring was known to carefully plan out his murals, Basquiat found it almost impossible to stop adding to his. Layered with endless references and metaphors, throughout his work you'll notice his iconic crowns, skulls and copyright symbols. This work from 1982 sees Basquiat at his best, producing a vivid yet chaotic artwork that can be examined through multiple lenses. With the lines, colour and layers coming together with great effect, this work alludes to the concept of American identity. JEAN-MICHEL BASQUIAT: ISHTAR (1983) Basquiat was known to have a deep interest in ancient mythology. This massive triptych painting — named after the Egyptian goddess of war and fertility — is again layered like almost all of Basquiat's work, with the background created using photocopied drawings, which was a common practice in his work. Drawing from a host of influences and cultural materials, Basquiat would often recreate text from books he was reading. In the top left corner, you can make out a list from Harold Bayley's 1912 book The Lost Language of Symbolism. JEAN-MICHEL BASQUIAT: CANTASSO (1982) As one of Basquiat's landmark paintings, Cantasso marks an important moment in his career where he went from a modest graffiti and street artist to an internationally celebrated star. Featuring bold lines and colours emblematic of Basquiat's work, Cantasso is an attention-grabbing piece that displays his admiration for artists ranging from Pablo Picasso to the frenetic work of Cy Twombly and Jean Dubuffet. Cantasso is also recognised as the first in a series of Basquiat's work that included exposed stretcher-bars, where he would fashion ad-hoc canvasses out of just about any material available to him. Keith Haring | Jean-Michel Basquiat: Crossing Lines is on display at the National Gallery of Victoria, Melbourne until April 13, 2020. It's a ticketed exhibition — you can buy them in advance on the NGV website. All images: Installation view of Keith Haring | Jean-Michel Basquiat: Crossing Lines for NGV International. © Estate of Jean-Michel Basquiat and Keith Haring Foundation. Shot by Tom Ross.
Already one of the most scenic areas in Australia, the Whitsundays are about to give visitors something else to look at — an installation of underwater and inter-tidal art. As part of the Whitsundays Reef Recovery and Public Art Project, six artists will create six artworks that'll sit beneath the sea, with tourists and locals able to snorkel and dive around them from the end of 2019. Selected from 73 expressions of interest, Brian Robinson, Adriaan Vanderlugt and Col Henry will create their pieces individually, while Caitlin Reilly, Jessa Lloyd and Kate Ford, from the Arts Based Collective, will work together. And although everyone will have to wait a year to enjoy the underwater creations at Langford Reef, some of the artworks will be designed with a dual purpose. As Lloyd explains, Arts Based Collective's contribution — called Anthozoa — "not only performs aesthetically in its sculptural form, but importantly doubles as a site for reef restoration. As the underwater form matures, visitors snorkelling and diving the site will see a sculpture festooned with a myriad of coral species, tentacles encrusted with soft and hard corals, marine animals sheltering in and peeking from small holes." Other pieces include a turtle, manta rays, Maori wrasse, coral polyp and an indigenous sculpture, 'Bwya', that contains 12 local species of fish and sharks. Made out of concrete, stainless steel and aluminium, they'll be placed in spots accessible to snorkelers and scuba divers. Although they'll vary in size, the largest sculpture will span six metres in length. The announcement follows a trial that began at the beginning of August, marking the first sculptures to ever be placed in the Great Barrier Reef Marine Park. Local artist Vanderlugt earned those honours, with four of his sculptures placed near Langford Reef — including a fish, a nudibranch (aka a type of mollusc) and a crab that ranged up to 1.8 metres long, and weighed around 300 kilograms. Other than celebrating creativity, the Whitsundays Reef Recovery and Public Art Project aims give the region a new attraction, unsurprisingly. "This artwork will provide a new experience for people travelling to the Whitsundays and will help the marine tourism industry recover after Cyclone Debbie," said Queensland Tourism Industry Development Minister Kate Jones in a statement earlier this year. "Around the world — from the Caribbean, to the Maldives, Spain, Bali and Australia's west coast — underwater art has been used to lure visitors." Images: Tourism Whitsundays / Lauren Vadnjal.
Nineteeen-year-old genius Boyan Slat has proposed building an Ocean Cleanup Array, a device that could remove 7,250,000 tons of plastic waste from the world's oceans. While in school, Slat analysed the size and number of all the plastic particles in the ocean. Slat continued to develop this project and went on to start the Ocean Cleanup Foundation, a non-profit responsible for the development of his projects. The Ocean Cleanup Array would be placed in gyres, which are five areas in the world's oceans that have accumulated the most amount of plastic and garbage. Its anchored network of 'floating booms and processing platforms' would span the whole radius of the gyre, acting as funnels that are slightly tilted, creating a force towards the platforms. The debris enters the platforms and is stored in containers within the device until being collected for sales and recycling. If you weren't already impressed with the feat of removing over 7 million tons of plastic waste from the oceans, then listen to this: According to Inhabitat, the Ocean Cleanup Array could save hundreds to thousands to millions of aquatic animals every year. It would also reduce the number of pollutants that are building up in the food chain, including PCB and DDT. And it could eventually save millions of dollars every year in ocean clean-up costs, lost tourism to designated areas and damage to marine ships. According to Slat's website, it would take approximately five years to clean up the world's oceans. Even though the device would clean billions of kilograms of plastic, the solution isn't perfect. It has drawn concern from some critics who worry about negative effects to marine life and it still requires more research. The ocean won't ever be 100 percent clean of plastic and debris, but this is a start. Via Inhabitat.
This article is sponsored by our partners, Toshiba. There’s no doubting the quaint charm of the ubiquitous sushi train. But there’s also no reason why Japanese food innovation should stop at the nearest station. Consequently, Toshiba is about to take the humble sushi roll to a whole new adventure. For three nights, they’ll be bringing the world’s first ever sushi roller-coaster to Sydney and feeding you Zushi-made delights in the process — all for free (free!). From Friday, October 30, to Sunday, November 1, the mad culinary fairground attraction will pop up at District 01, an arts space in Randle Street, just a few minutes’ walk from Central Station. Between 6pm and 9pm, you’ll be able to pop in, put in your order and watch it zip, dip and dive its way to your table. This is what happens when uber-advanced tech combines with cutting-edge cooking. THE ROLLER-COASTER First up, the event will operate on a first-come, first-served basis. Bookings aren’t possible. So, whoever’s waiting at the head of the queue when the doors open at 6pm will be eating first. There’s seating for about 18 people at any one time. To gain admission, you’ll need evidence that you’ve ‘liked’ Toshiba’s Facebook page, so don’t forget your mobile device. Once seated, you’ll make your order via one of Toshiba’s very latest tablets powered by Intel inside and then wait for the roller-coaster to do its thing. The epic steel contraption starts life at ceiling height in the kitchen, wraps its way around the room and descends to the dining table. Your sushi travels along it at break-neck speed, taking an array of ups and downs on the way to its destination. THE FOOD The roller-coaster won’t be the only new invention of the night. Surry Hills-based sushi gurus Zushi are putting together four very special, custom-made creations. We can’t tell you exactly what they are (no spoilers!), but we can reveal that they’re inspired by Zushi favourites. We can also assure you that they’ll be constructed extra carefully and packed tightly into cute, hardy little carts to ensure that they survive their ride without suffering any damage. Zushi chef Lee has been in the business for 27 years and is big on sourcing local ingredients. He’s known for creative takes on both sushi and izakaya-inspired dishes, and Zushi is definitely among the more fun and inviting of Surry Hills’ many eateries. It’ll be exciting to find out what Lee comes up with for this new dining experience. SERIOUSLY JAPANESE The pop-up, which is another chapter in Toshiba’s Seriously Japanese campaign, will take on a distinctively Japanese theme. Walking in, you’ll find yourself face-to-face with a show chef, who’ll be chopping up a sushi storm, while the roller-coaster rattles overhead and a big screen displays Japan-inspired graphics. You’ll then be greeted by geisha-costumed waitresses and waited on by suited 'salary men'. To keep you entertained throughout your seating (as if the roller-coaster isn't enough), there’ll be music, lights and visuals. Areas in the room will be decorated according to various Japanese themes, with props and toys. Think everything from paper lanterns to fortune cats (referred to as ‘maneki neko’ in Japanese) to Godzilla. The aim is slick-technology-and-ingenuity-meets-quirky-cute-funny. Keep up to date with developments at Toshiba’s Australia and New Zealand Facebook page.
When Disney isn't keeping huge pop-culture franchises on our screens or ensuring that everyone's childhood favourites never fade into memory — and sometimes doing both at the same time — it happens to be mighty fond of scandals and true crime. Well, to be precise, the Mouse House-owned US streaming platform Hulu is, and its shows keep making their way Down Under via Disney+. The latest even promises a massive stripping-empire saga, sordid deeds driven by money and murder because of the dance floor. After exploring the story behind Pamela Anderson and Tommy Lee's sex tape in the 90s-set Pam & Tommy to start 2022, Disney+ plans to end it with a jump into back to the 70s and 80s — aided by a whole heap of disrobing male dancers — courtesy of Welcome to Chippendales. And if watching the just-dropped first teaser trailer for the latter gets you thinking about the former, there's another reason for that: writer/executive producer/creator Robert Siegel is behind both. The focus here: Somen 'Steve' Banerjee, who was born in India, moved to the US, bought a Los Angeles nightclub and founded the striptease troupe turned worldwide hit that shares Welcome to Chippendales' name. Banerjee's tale involves outrageous success, but also turns into sinister territory. That's put it mildly; however, if you don't already know the details, you'll want to discover the rest while watching. Fresh from a superhero stint in Eternals, Kumail Nanjiani plays Banerjee — and the rest of the star-studded cast includes newly minted The White Lotus Emmy-winner Murray Bartlett, Yellowjackets' Juliette Lewis and American Crime Story's Annaleigh Ashford, as well as Dan Stevens (I'm Your Man), Andrew Rannells (Girls5eva), Nicola Peltz Beckham (Holidate), Quentin Plair (The Good Lord Bird) and Robin de Jesús (Tick, Tick... Boom!). WandaVision's Matt Shakman is in the director's chair and, if you're fond of the era, expect the appropriate soundtrack (and vibe) when the show starts streaming from Tuesday, November 22. It'll drop two episodes first up, then new instalments weekly afterwards across the eight-episode limited series' run. Move over Magic Mike: Welcome to Chippendales looks set to be everyone's next stripper-fuelled obsession, and new true-crime addiction as well. Check out the trailer below: Welcome to Chippendales will be available to stream via Disney+ from November 22.
No one in Australia expects to feel cold in January. Summer is in full swing, after all. It's prime beach and pool season, obviously — and, even though the festive period is over and everyone is settling back into the year after the holidays, thoughts of lazing around by or splashing around in a body of water aren't ever too far from anyone's minds. Whether you're fond of cooling down with a refreshing dip, or you prefer to escape to the vicinity of the nearest fan or air-conditioner, you might want to put those plans into action across the rest of this week. From today, Thursday, January 21, temperatures are expected to be mighty hot all around the nation, according to the Bureau of Meteorology's latest major cities forecast. As per BOM's city-specific forecasts, some of those temps are due to stick around a bit longer than that, too. After an expected top of 27 degrees on Thursday, Sydneysiders can expect a few sweaty days, with temps staying at 30 or above from Friday until mid-next week. Still in NSW, Newcastle will hit 34 on Sunday, while Wollongong will get to 31. That isn't as warm as Canberra in the ACT, though — with the Australian capital forecast to hit 38 on Sunday and 39 on Monday. Sunday and Monday will be warm in Melbourne, too, with tops of 35 and 37 forecast. They'll come after a 31-degree Thursday, then expected maximums of 26 and 27 on Friday and Saturday. Thankfully, a drop to 22 is forecast for Tuesday. https://twitter.com/BOM_Vic/status/1351781371715477504 Brisbane will get to 27 on Thursday, 29 on Friday, and 30 from Saturday–Monday, and 33 on Tuesday and Wednesday — so it'll be warm, but also usual summer weather. In Adelaide, the mercury will rise to 35 on Thursday, dip down to 32 on Friday, then soar to 39 on Saturday and a whopping 41 on Sunday. Also in the centre of the country, Alice Springs can expect its maximum temperature to stay between 35–39 degrees for four days from Thursday, while Darwin's will sit at 32-33 across the same period. In Perth, it'll actually get a tad cooler over the weekend — starting with a 34-degree maximum on Thursday, then going up to 36 degrees on Friday, before dropping to 26 on Saturday and Sunday. And down in Hobart, a top temperature of 27 is forecast for Sunday, with 30 expected on Monday — following other maximums of 22, 23 and 25 in the days prior. Of course, while these are BOM's forecasts as issued at 6.05am on Thursday, January 21, conditions may change — so keep an eye on the Bureau's website for the most up-to-date information. For latest weather forecasts, head to the Bureau of Meteorology website.
From Four Pillars to Archie Rose and Poor Toms, Australia is home to some of the world's best gin. Now, a new player is about to emerge, with a new distillery set to open in the shadow of the Sydney Harbour Bridge later this year. Hickson House Distilling Co is the new distillery opening in The Rocks this June. The distillery is the new venture from Mikey Enright and Julian Train (The Barber Shop, The Duke of Clarence), as well as former Manly Spirits distiller Tim Stones. The distillery's first products will be a range of gins made using all locally sourced ingredients, including native botanicals from The Loch farm in Berrima. As well as creating gins, and eventually whiskies, aperitifs and specialist spirits, Hickson House will also be open to the public for a range of tours, tastings and dining experiences. [caption id="attachment_798830" align="alignnone" width="1920"] A render of Hickson House[/caption] You'll be able to purchase bottles of the house-made spirits from an on-site store or visit a cocktail bar, which will sit above the distillery floor, serving tasty creations that champion the Hickson House spirits alongside a complementary menu of botanical-inspired food. While the menu for the bar and dining experience is yet to be revealed, we've been told it'll feature Enright and Train's take on modern Australian cuisine. The 450-square-metre warehouse is the former parking garage of the advertising agency Saatchi & Saatchi. The garage is currently being transformed into the bar and distillery with the garage roller doors proposed as the planned entrance. Designed by Sydney agency Steel + Stitch and UK designer Sara Mathers, the bar will feature twin chandeliers and will retain much of the aesthetic nature of the original warehouse. Hickson House Distilling Co is slated to open on Hickson Road, The Rocks in June 2021. Top image: Mikey Enright, Julian Train and Tim Stones
Forget microwave dinners. Come the not too distant future, you could be cooking your food in the washing machine. A university student in Tel Aviv has recently devised a new type of instant meal that cooks sous-vide style in the laundry along with your dirty socks. How very appetising. Created by Iftach Gazit of the Bezalel Academy of Arts and Design, the Sous La Vie bags are made from waterproof Tyvek paper, and contain a sealed inner plastic bag — ensuring you don't end up with mixed veggies in your undies, or soap in your salmon teriyaki. "In sous-vide, the food is cooked in a bath-like device at temperatures usually around 50 to 70 degrees Celsius," explains Gazit in a blog post. "The same conditions can be found in a washing machine." "Instead of following a sous-vide recipe and cooking a piece of meat at 58 degrees Celsius for two and a half hours, just set your washing machine to 'synthetics' for a long duration program," he suggests. "Cooking vegetables? Set your machine to 'cotton' for a short duration program." In addition to being a convenient — if rather disconcerting — option for those of us who don't have a lot of time to prepare food, Gazit also believes that his invention could help those who are sleeping rough, pointing out that all night laundromats often double as impromptu accommodation for the homeless. "They offer a hassle-free shelter," he explains. "So why shouldn't you be able to cook some food while there?" It's not clear if and when Gazit's product will ever hit the market, or whether it would ever really be embraced by consumers. Still… surely you'd be curious to try it at least once. Via Dezeen.
It's no surprise Redfern has become one of Sydney's most desirable places to reside. Of course, the charming neighbourhood has long had a diversity of cultures, plus accessibility to both the inner city and inner west suburbs in its favour. Combine these with the many bars, restaurants and eclectic shops that have made their home here over the past few years and The 'Fern has become quite the illustrious postcode. With all this at your fingertips, we've teamed up with American Express to put together a handy guide to the small businesses in the area to seek out — whether you're on the hunt for a cosy date night spot or a place to flex your DIY skills.
If you're looking to do something a little different on your next trip to the Blue Mountains, book an adventure with Blue Mountains Glow Worm Tours. You'll be heading out at nightfall to see glow worms, without having to put up with noisy crowds. Your tour guide will meet you at a private property, then lead you along a rustic track, across footbridges and over boulders, before descending into a cool, mossy canyon. As soon as you catch your breath, you'll see that you're absolutely surrounded by glow worms. Along the way, learn all about how the little critters work — including why you shouldn't shine a torch in their faces — and, if you're lucky, see one up close. Each tour lasts an hour and costs $65 per person.
There's something special about hitting up the best Sydney brewery bars where you can sip on beers right next to the very tanks they were made in. You feel a part of the process, even if you're just sitting there with a bunch of mates, watching on as the master brewers do all the hard work. And we Sydneysiders are blessed to have so many to choose from. While many of them lay in the Inner West, Sydney has brewery bars everywhere. You won't have to travel far to find long lists of creative craft beers (that you can also buy to take home) served alongside gastropub eats. But these spots tend to be hidden behind roller shutters in industrial areas. So, read on to discover where the best Sydney brewery bars can be found — and what beers you'll likely be sampling. Recommended reads: The Best Pubs in Sydney The Best Wine Bars in Sydney The Best Bottle Shops in Sydney The Best Bars in Sydney
