When millennials reach their twilight years, Zac Efron might be singing his way through Retirement Home Musical, Blue Ivy Carter could win an Oscar for cinema's latest big hit musical biopic — about her mother, naturally — and the Stranger Things kids may've become the go-to grizzled crackpots in every sci-fi film and TV show around. No offence meant to any of them, but that's what popular culture does. Nostalgia never dies, so the entertainment industry keeps recycling the same things for the same audience, just in an era-appropriate fashion. And it'll keep doing so, long past the point when Fast & Furious 89: Now We're Fast, Furious and Fragile zooms into theatres. For a current example — a predecessor to an elderly Vin Diesel and The Rock still doing what they do, perhaps — look no further than the old geezer heist genre. In recent years, it keeps serving up veteran actors reliving their heydays with varying degrees of success. When it's done in a smart, soulful and insightful manner,the Robert Redford-starring The Old Man and the Gun is the end result. When ease, laziness and cashing in are the aim of the game instead, you get Michael Caine's two latest jaunts across Australia's big screens: 2017's Going In Style and now King of Thieves. In the former film, Caine played a desperate Brooklyn resident who robs a bank with his usually law-abiding pals (Morgan Freeman and Alan Arkin). In the latter, he's a seasoned cockney crim doing what all seasoned crims do eventually, or so the movies tell us. Reuniting with his fellow retired crook friends (Tom Courtenay, Jim Broadbent, Ray Winstone and Paul Whitehouse) after the death of his wife, Caine's Brian Reader plans one last London job over the Easter long weekend. Their target is a Hatton Garden safe deposit facility filled with cash, gold and jewels to the tune of £14 million, and they've got help from the much younger 'best alarm specialist in London', aka Basil (Charlie Cox). There's a moment early in King of Thieves that epitomises the film's bland, routine approach. The movie's five main elderly Englishmen stand around in a workshop, plotting their high-stakes scheme and rallying against today's high-tech ways — the internet is overrated, most of them decide. Then Basil walks in. The mood instantly turns frosty, complete with shots of horrified faces from Winstone's hard man, Broadbent's wildcard, Courtenay's doddering gent and Whitehouse's outsider. Caine abstains, but only because it's his character that's brought the newcomer in on the plan. In mere seconds, director James Marsh summarises the entire picture: old dogs, an aversion to new tricks and a story that keeps emphasising both. There's a few narrative twists, a dose of duplicity and treachery, and plenty of greed complicating matters, however there's never any doubt about where the whole thing is going. You'd never guess that Marsh has a duo of excellent documentaries to his name in Man on Wire and Project Nim, before he started turning true tales into standard dramas with The Theory of Everything, The Mercy and now King of Thieves. Similarly, that screenwriter Joe Penhall created stellar serial killer series Mindhunter will thoroughly escape your attention based on the dull material at hand. And King of Thieves is so broad and formulaic that you simply won't realise or care that it's based on reality, with the actual robbery carried out by geriatric criminals in 2015, and marking the largest theft in British history. The fact that the film flits awkwardly and unconvincingly between comedy and thriller doesn't help, and nor does its visually drab images, or some of the least exciting robbery scenes ever committed to celluloid. Caine and his cronies, whose numbers also includes a dishevelled Michael Gambon looking far removed from his Dumbledore days, aren't blowing the bloody doors off anything either. How can they be when they're tasked with groan-inducing one-liners like "I don't care about prison life; it's the afterlife that worries me"? Indeed, when King of Thieves resorts to inserting brief clips of the silver-haired main crew in their younger, sprightlier years — taken from older, much better works on the actors' respective resumes — the result is as creaky as the cast's joints. They deserve better, as do the viewers. https://www.youtube.com/watch?v=eeQAY_9vG8M
It was announced this week that the City of Sydney would be continuing their efforts to grow Sydney's nighttime economy. The council said they would be committing funds and support to the State Government, local businesses, artists and performers in order to facilitate more live music and performance in town. The argument could be made, however, that it's not red tape and lack of funds that's the major contributor to the slow decline of live music after dark, and the culprit is really the state government's lockout laws that have forced many major music venues to shut down. It would appear that the City of Sydney is aware of this, as their Live Music and Performance February 2017 status report would illuminate. The report covers all the initiatives in the City's June 2014 Live Music and Performance Action Plan — which identified that live music, unsurprisingly, brings significant cashflow to the local economy (we're talking $353 million in 2016 alone) — and details on their progress. February marked the halfway point of the plan, and the report states that 82 percent of projects are either already underway or completed. One of the more interesting aspects of the report is its repeated emphasis on "working collaboratively with the NSW Government". While this is to be expected, the report also makes reference to the recent extension of trading hours for venues, saying "this measure, while an incremental and symbolic move in the right direction, is not at all sufficient and we will continue to advocate for more to be done". The report also makes mention of the impact the laws have had on "city reputation and audience motivation", and how these impacts have "required more focus on this work [than] originally anticipated". Research conducted by the City shows that they valued the contribution made to Sydney's economy by live music at $353 million in 2016 alone, and the February Status Report would, we think, show that the lockout laws are stopping that figure from being substantially higher. One of the 29 actions that have already been implemented, and is mentioned in the status report, is a "pilot research study into alcohol consumption in live music venues", which is currently being finalised — results of this study are sure to have an impact on the State Government's stance on the lockout laws, as this study by Dr Anne Fox, published in 2015. It shows that live music in venues tends to lower alcohol-related incidents (although, it must be noted that the research was initiated by Lion, which owns alcohol brands like Hahn and Little Creatures). Or, as Kerri Glasscock, festival director and CEO of Sydney Fringe, told The Sydney Morning Herald in February last year, "people come in and have a drink, then bar sales drop while the band is performing". Glasscock also said in this week's announcement that venues around Sydney would be "feeling the pressure ease" with the City of Sydney's Action Plan. The real strain of state legislation might not be lifted overnight, but the next action item in the February status report is to deliver regulatory reform around devlopment and noise that will "help improve trading conditions for venues", which is another step in a positive direction. You can read the full action plan here and the status update here.
It's safe to say that as we enter the final month of summer, it's still boiling out there and we could all use a little something to help us through the hot summer days. So why not cool things down (like, -196°C down) with the help of Suntory -196? And if anyone knows how to keep it cool, it's Suntory -196, thanks to their patented Freeze Crush Infuse Technology. This involves flash-freezing whole fruit at -196 degrees Celsius before crushing and infusing it with shochu and vodka, enhancing the flavour profile and providing an extra burst of fruity intensity. See out summer with Suntory and be in the running to win one of 80 Suntory -196 prize packs. While temperatures are still scorching, cool down with -196's refreshing, fruit-flavoured drinks and exclusive, never-seen-before merch created in partnership with Japanese artist Kentaro Yoshida. Lucky winners will score a Suntory -196 Double Lemon four-pack, plus a limited-edition Kentaro Yoshida x Minus -196 A2 screenprint and embroidered cap. The brand new merch designs a one-time-only run of Yoshida's ongoing partnership with Suntory -196 and can't be purchased anywhere else. Thirsty? Enter your details below to go in the running. [competition]988725[/competition] If you can't wait that long for a refreshing tipple, you can head to your nearest store to get your hands on a limited-edition Variety Pack featuring all the classic Suntory -196 flavours — Double Lemon, Double Grape and Double Peach — in a handy 10-pack. The perfect shareable option for you and your mates this summer. Check out Kenny Yoshida's work for an idea of the aesthetics in store, and what you've got to look for next time you're in the bottle shop. Enter now to beat the heat with Suntory -196 or head in store to pick up a Variety Pack now. The competition is for Australian residents aged 18 years and over; T&Cs apply. Images: Supplied.
Sydney hospitality mainstay Swillhouse has just announced its latest venture: taking over 101 George Street's Phillip's Foote and transforming it into a sleek wine bar inspired by bars in Europe. But, there is a catch — the grand opening of the newly dubbed venue, Le Foote, is still a while off. "We've got a bit of work in front of us, council submissions and heritage approvals, then a few months of building before the place is ready to open. We think that this whole process will take a little over six months to complete," Swillhouse Owner and CEO Anton Forte said in a media release. While the collective has big plans for the historic building, in the meantime, Phillip's Foote will be treated to a proper send-off with a temporary pop-up bar set to celebrate the historic pub this summer. The summer bar will serve cured meats, hand selected cheeses, pickles jarred in house and olives alongside an exciting drinks list. The collective responsible for beloved Sydney venues including Restaurant Hubert, Shady Pines, Frankie's and Alberto's Lounge promise a short but eclectic mix of popular and more obscure wines sourced from Europe and Australia. Swillhouse also has an affinity for beer, collaborating with breweries in the past to create their own unique brews, that will also be on show. Creative Director Jordan McDonald says the beers on offer at the temporary reinvention of Phillip's Foote will be "a selection of specialty summer beers" with Swillhouse's Stone Brewing collaboration "pulling into port from San Diego just in time for opening". If you keep your eyes on Swillhouse's social media, you might also be able to catch some spontaneous live entertainment at Phillip's Foote, with Creative Director Jordan McDonald promising "special appearances and last-minute announcements". The Phillip's Foote site is one of the oldest commercial buildings in Australia, housing historic commercial residents including a sailor's bar and a custom's agent. Phillip's Foote has occupied the space since the 1970s when the Dredge family took over. Swillhouse will open its pop-up bar at the site from Monday, November 1, before closing the venue down after summer for renovations. Phillip's Foote is located at 101 George Street, Sydney. The venue will reopen from Monday, November 1 and run until Swillhouse close it for renovations after summer.
Sydneysiders will soon have another option for getting around the eastern suburbs, with an on-demand bus service set to launch on Monday, August 20. After launching in Sydney's west in June, Bridj will launch a small trial fleet of buses to initially service Rose Bay, Dover Heights, North Bondi and Bondi Beach, between 6am–9am and 3pm-9pm, Monday to Friday, and 8am–8.30pm on Saturday and Sunday. The areas and routes included are designed to cover gaps between existing transport hubs in the eastern suburbs, predominately functioning to transport passengers to and from the Rose Bay ferry during peak hours. This is the second round of good news eastern suburb commuters have received this week, with Transport for NSW also announcing plans to run buses every three-minutes during peak hour, from North Bondi to the CBD, from September 23. Bridj works a little bit like Uber, combining both fixed route and on-demand transit. To book a trip, jump on the smartphone app — which you can download for free for IOS and android — input your destination and when you want to go, and a booking confirmation will be sent through with a nearby pick-up spot and estimated drop-off time. The Bridj micro-buses travel different routes depending on where passengers are headed, and like an Uber, can be tracked in real-time via the app. The technology even looks at things like congestion to work out the shortest possible routes and best pick-up spots. From August 20 through August 31 the service will be free, after that adult fares will cost $3.10 with concession card holders paying $1.50. You can pay either via credit card through the app, with cash on board or with your Opal card. And don't forget to thank the bus driver. There are plans to incorporate another 27 of the buses across Sydney in the coming years, as Bridj continues to analyse customer needs and evolve its offering to suit. There's no word yet on how long the trial will run for, but we'll update as soon as we have more info. The Bridj service will launch in Sydney's eastern suburbs this Monday, August 20. To learn more about it, head to the Bridj or Transport NSW websites.
Art/Work is a new Concrete Playground series where we take some time to chat with our local creatives in an attempt to unravel the daily grind behind being an artist. This week we speak with Kate Mitchell, a Sydney-based endurance artist represented by Chalk Horse. She is also one half of the paper cut crazy duo, Greedy Hen. Beware, jealousy pangs coming up, no more day job for this lovely lady! Most days you'll find me having some good times working at the Greedy Hen studio in Surry Hills. Greedy Hen is essentially a multi-disciplinary studio functioning partly as an art collective and partly as a design studio, housing the collaborative works of Katherine Brickman and myself. We make artwork, mostly collage/illustration heavy and it ends up in a whole variety of industries. We share our studio with some top notch people like Elke Kramer, Mikie Inglis and Benja Harney. It's non stop action in there! When I am not there I am having good times working/making from my studio at home. Otherwise I'm at the beach or on a bike. For the most part I spend my week bouncing ideas around with Katherine Brickman in Greedy Hen HQ, nutting out plans of attack and then getting them done the best way we can. We never know what will be in our inbox each morning, but usually there is some job waiting patiently for us! From time to time I work from my studio at home, it's quite a good balance. At the moment I am working on a solo Greedy Hen show which opens on May 5th at Lamington Drive in Melbourne. And currently I have some video works in a splendid group show called Social Sculpture on at Anna Schwartz Gallery at Carriage Works. It's on until May 14th. If money wasn't an issue I'd sail around the world, live on an island, climb some mountains, raft some rapids, make travel documentaries, meet some serious locals, learn to tie knots properly, never live through another winter and just wholesomely get out there and get involved. And realise all art dreams! Being an artist in Sydney is delightful and relentless in equal measure. My neighbourhood is Bronte. There's the beach and the RSL, what could possibly go wrong? I'm quite a fan of sneaking in a good body surf at Bronte beach in the mornings, and then I can't resist a dance off at Good God Small Club. It never fails to deliver.
We have waited two whole years to see Mitch Cairns' third solo show, Bass Principles with his representative gallery, BREENSPACE. Having first joined the stable in 2008 - as a wee child of 24 - Cairns has repeatedly proven that he is no flash in the pan. And Bass Principles is no different. Cairns presents a mature and decidedly restrained outpouring consisting of a collection of paintings supplemented by six small cartoons. Bass Principles is somewhat of an unpacking show, a going back to the start. During the time that Cairns was thinking about his upcoming show he carried out two technical courses. The first, a short course at the Tom Bass Sculpture Studio School. The second, the Alan Moir Advanced Cartoon Class. Both are instrumental in attempting to understand the work of Cairns in his bid to deconstruct the way in which artists create work. The framed cartoons in the show are obvious references to his extra-curricular study although the lines of the cartoon are also found in his paintings. In Smokey Sad Square (2012) Cairns has deconstructed the face – eyes float across a dark abyss like some early analogue Italian animation. It is absurd, but highly constructed at the same time. I have been looking at Cairns’ paintings for five years or so now. They are often riddles to unravel. A couple of things to remember when trying to step into the world of Cairns is that he consistently investigates a small number of themes. Firstly, we are always looking at the artist looking at himself, in his studio, his cellar door of Cartoon VIII (2011). Secondly, there is always some discussion of class as in the constant references to smoking and/or drinking - the burning pub of Cartoon XIV (2011) or the collector with his pieces in Collector with ‘Bass Principles’ (2011). Thirdly, in order to come along for the ride, one must have a sense of humour – Cairns teases us with low-grade Benny Hill-esque gags in Cartoon VI (2011) or Man Impersonating a Hat Stand (2011). Most importantly of all, we must view Cairns through the prism of an artist trying to figure art out. He deconstructs painting, essentially the frame, and asks how is that we construct? What do we leave in and, ultimately, what are we leaving out?
Sweltering through increasingly toasty temperatures, the Earth keeps breaking and matching records — ones the planet doesn't want to continue. After notching up its hottest year in recorded history back in 2016, this spinning rock we call home equalled it in 2020. The past six years are now the hottest six on record, too, while the past decade is also the warmest ever recorded. The news comes via the Copernicus Climate Change Service (C3S), which tracks data about the climate now and the past to contemplate the future — not just for Europe, but also for the rest of the world. Compared to the period between 1981–2010, which is commonly used as a reference, 2020 was warmer by 0.6 degrees Celsius. In comparison to pre-industrial times, from 1850–1900 specifically, it was hotter by 1.25 degrees Celsius as well. That mightn't sound like a huge amount, but it made a big difference in some parts of the globe. Europe experienced its hottest year ever recorded, even beating 2016 by 0.4 degrees Celsius. And in the Arctic and Siberia, temps reached more than six degrees higher than average. That meant that Arctic sea ice was significantly lower than average in the second half of the year — the lowest sea ice extent on record in July and October, in fact. Announcing the data for the past year, C3S Director Carlo Buontempo said that "2020 stands out for its exceptional warmth in the Arctic and a record number of tropical storms in the north Atlantic. It is no surprise that the last decade was the warmest on record, and is yet another reminder of the urgency of ambitious emissions reductions to prevent adverse climate impacts in the future." https://twitter.com/CopernicusECMWF/status/1347438880551800832 The unwanted milestone also came about as the northern hemisphere mostly experienced higher than average temperatures for the year, while parts of the southern hemisphere had below average temperatures due to cooler La Niña conditions. C3S also advised that 2020 matches the 2016 record despite the cooling effect of La Niña, while 2016 started with a warming El Niño event. With climate change continuing to show its effects, the news shouldn't come as a surprise. It's still a stark reminder of the current state of the planet, however. Locally, the Bureau of Meteorology has already advised that Australia sweltered through its fourth warmest year on record in 2020, and ended its hottest decade ever as well. For more information about the 2020 data from the Copernicus Climate Change Service (C3S), head to the C3S website.
Calendars out, Marvel fans: if you've been looking forward to adding more superheroes to your small-screen viewing in 2023, Disney+ has just the solution. First, Secret Invasion is on its way this winter, focusing on Samuel L Jackson's Nick Fury. Then, come spring, both the second season of Loki and the debut of newcomer Echo will follow. 2023 marks two years since the Marvel Cinematic Universe's God of Mischief first hit streaming queues, doing so with a final promise: "Loki will return in season two". When it premiered, it was just the third MCU series to hit Disney+ after WandaVision and The Falcon and the Winter Soldier, and it's been followed by Hawkeye, Moon Knight, Ms Marvel and She-Hulk: Attorney at Law. But a couple of years has felt like a hefty wait for more of Tom Hiddleston (The Essex Serpent) getting his superpowered trickster on. The date to lock into your diary now: Friday, October 6, with the new batch of episodes set to pick up where season one left off. So, expect more chaos from the MCU favourite, more of Owen Wilson (Marry Me) as Mobius M Mobius, more banter (naturally) and more clone trickery. "Loki is back at the TVA, he's had a very difficult confrontation with Sylvie, and Mobius and Hunter B-15 don't know who he is," Hiddleston advised back in 2022, before season two also scored a brief sneak peek as part of Disney+'s streaming highlights trailer for 2023. [caption id="attachment_862338" align="alignnone" width="1920"] Photo by Chuck Zlotnick. ©Marvel Studios 2022. All Rights Reserved.[/caption] As for Hawkeye spinoff Echo, it's locked in for Wednesday, November 29 — and it'll enjoy a first for the MCU on streaming. Disney+ usually drops a few episodes at once for each show, then unfurls the rest weekly afterwards. But this one will arrive all at once on the same day. Maya Lopez (Alaqua Cox) is the Echo's focus — and, as first seen in Hawkeye, she's the gang leader who is deaf that had Clint Barton in her sights for a stint of revenge. In a series also starring Chaske Spencer (The English), Tantoo Cardinal (Three Pines), Devery Jacobs (Reservation Dogs), Cody Lightning (Run Woman Run), Graham Greene (The Last of Us) and Zahn McClarnon (Dark Winds), the character now gets an origin story. There's no trailer yet for either Loki season two or Echo, but you can check out Disney+'s 2023 trailer below: Loki season two will premiere on Disney+ on Friday, October 6, while Echo will arrive on Wednesday, November 29. Top image: ©Marvel Studios 2021. All Rights Reserved.
How many ways can Melbourne go dotty for Yayoi Kusama? Everyone is about to find out. The National Gallery of Victoria's big summer 2024–25 exhibition is dedicated to the Japanese artist, complete with a five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, plus a world record-breaking number of infinity rooms and other immersive installations, many featuring spots. There'll be polka dots inside and out around the venue, including on the plane trees on St Kilda Road. On Wednesday, November 27, 2024 — in the lead up to the exhibition's run from Sunday, December 15, 2024–Monday, April 21, 2025 — the NGV has unveiled the beginnings of Kusama's latest artwork. A version of Ascension of Polka Dots on the Trees is being staged in Melbourne, with more than 60 trees outside the gallery having their trunks covered in pink-and-white polka-dotted material. The first row has been completed, which anyone in the vicinity can now check out — and by early in the week commencing Monday, December 2, 2024, all four lanes of St Kilda Road in front of the NGV will be brightly wrapped. With over 180 works set to feature, in what'll be the largest Kusama retrospective that Australia has ever seen — as well as one of the most-comprehensive retrospectives devoted to the artist to be staged globally, not to mention the closest that you'll get to experiencing her Tokyo museum without leaving the country — stepping foot inside the NGV will still be mandatory for art lovers. But Kusama is also livening up the road for everyone to enjoy all day and all night long. In the past, including when Ascension of Polka Dots on the Trees debuted at the Kirishima Open Air Museum in Japan in 2002, a red-and-white colour scheme has been used; however, Melbourne has scored its own bold-pink iteration. Ascension of Polka Dots on the Trees is obviously free to view, joining several other artworks that won't cost anyone a cent to see during the exhibition. The aforementioned Dancing Pumpkin is already on display. NGV International's glass waterwall is also going pink, but with black rather than white dots. Kusama's new version of Narcissus Garden, which dates back to 1966 and will feature 1400 30-centimetre-diameter silver balls this time around, is set sit in front of the waterwall and in parts of Federation Court. Plus, the yellow-and-black spheres of Dots Obsession will hang over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Overall, Yayoi Kusama will step through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they'll all appear. [caption id="attachment_950480" align="alignnone" width="1920"] Yayoi Kusama, 2022 © YAYOI KUSAMA[/caption] Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne from Sunday, December 15, 2024–Monday, April 21, 2025. Head to the NGV website for more details and tickets. Images: Yayoi Kusama's Ascension of Polka Dots on the Trees, 2002/2024, on display along St Kilda Road, Melbourne for the National Gallery of Victoria's Yayoi Kusama exhibition until 21 April 2025. © YAYOI KUSAMA. Photo: Tobias Titz.
Chasing Smoke is, like all circus shows, built around the spectacle. Presented by Casus Circus, this show pushes the form to incorporate narratives exploring what Aboriginality means to each of the group's performers. This exploration soon explodes beyond the realm of the personal and delves powerfully into tens of thousands of years of culture and identity. Since its beginnings in 2011, Casus has built a reputation for political and emotionally charged circuses. With its debut show Knee Deep, the ensemble explored the notion of human limits, before turning its attention to issues of gender and power in Driftwood. In Chasing Smoke, the personal and political dart between physical feats that are weighty with metaphor. Chasing Smoke demands that the art of circus be no less malleable or agile than its performers. By presenting six unique portraits of contemporary Indigenous experience, Casus encourages us to rethink not only our concept of Aboriginality but also our expectations of what takes place under the big top. Chasing Smoke will run from Tuesday, July 9 to Saturday, July 13 as part of Bondi Feast 2019. For more information and to purchase tickets, head this way. Image: Rob Blackburn.
If it wasn't for the hordes of people crowding into this unassuming place, Coffee Alchemy would certainly go unnoticed along Marrickville's industrial concrete stretch. We all know looks can be deceiving so what this place lacks in aesthetic appeal it makes up for with killer produce – coffee. Coffee Alchemy is serious doing things right. Yes, we're talking about their beans. Good beans. For these guys, "coffee is the elixir of life." They are meticulous about freshness, preparation and having the most superior coffee. In short, your coffee will no doubt come with a shot of devotion and taste pretty darn fine. Owner Hazel de los Reyes was recently awarded NSW Barista Champion for 2012, but this is only an addition to the list of other accolades both she and the cafe have received, including SMH "Best Coffee" for 2011 and 2012. Evidently, Hazel is mad about coffee and not half bad at making liquid gold out of it. The house blend, Goodness Galileo, is the standard bearer for cappuccinos and lattes ($3.50 or $12.50 for 250g bag). With rich notes of chocolate and nuts, it leaves a satisfying taste on the palette long after the last sip. Coffee Alchemy's Sibila's Brew — fruity with a bit of spice and clean finish — is another popular coffee and best prepared in plungers, espresso machines or sophisticated equipment such as a vacuum brewer ($12.50 for 250g bag). For those coffee nerds who are bearers of such sophisticated equipment, the usual suspects such as filter, pour over and syphon are available. A Bolivian mamani mamani is the pour over special of the week ($5) and has a lively orange acidity to it, with hints of toffee and caramel even coming through. If you're in the mood for something experimental, the sparkler ($6) is the way to go. Served in a tall beer glass, at first glance it might look like you're getting a dark lager instead of a caffeine fix. However, the chilled coffee is an appropriate refreshment for those balmy days. And on Saturdays, Coffee Alchemy extends the fort with a takeaway counter in the garage next door. There's something truly remarkable about Coffee Alchemy and you'd be a fool to miss out if you're a fan of the bean
Whether you're suffering from full-blown insomnia or just have trouble winding down after a big day, everyone knows the feeling of lying in bed, praying for sleep but failing to drop off. If counting sheep isn't working — or any number of other snooze-inducing tips, because there are plenty — then perhaps you need to listen to a list of Swedish furniture names. While a hefty walk around any IKEA store usually helps make anyone sleepy (and the crowds, decisions and meatballs too), the huge retailer thinks that the sounds of its product titles will really do the trick. Enter the IKEA Sleep Podcast. It simply features two company employees rattling off words such as sommaraster (a quilt cover), leirvik (a bed frame) and hidrasund (a spring mattress), plus everything else in the Australian catalogue's current bedroom and storage range. Two versions are available, so you can choose between hearing Sara Eriksson utter product monikers — and their English descriptions — or opt for her husband Kent Eriksson. Each under 30-minute podcast also offers a brief introductory explanation about the philosophy behind IKEA's furniture names, should you be wondering why a fyresdal (day bed) or pax (wardrobe) have the titles they have. The podcast's release is timed to coincide with the end of daylight savings in many Australian states, as well as across New Zealand — aka a time when our usual rest patterns are disrupted. Whether you'll dream about letting loose in an IKEA store, walking around a huge warehouse or kitting out your bedroom with new sheets and curtains — and whether you'll wake up with a burning desire to buy new furniture — well, that's something you'll only discover by listening. To listen to the IKEA Sleep Podcast, visit the IKEA website.
When Roxane Gay released Opinions: A Decade of Arguments, Criticism, and Minding Other People's Business in 2023, the American author and academic gave readers a tome that stepped through ten years of her non-fiction efforts. With that milestone in mind, it feels apt that Gay's 2024 trip to Australia will also mark a decade since 2014's Bad Feminist first had everyone reading the commentator's books. Expect both texts to earn more than a small mention in Sydney and Melbourne come August. Gay will make just two stops Down Under this winter, both at festivals: at Sydney's Festival of Dangerous Ideas and Melbourne's Now or Never. The Harbour City will welcome Gay first — she's the first speaker announced for FODI 2024, in fact, ahead of the event's full program being released on Tuesday, June 25 — before the Victorian capital beckons. "Roxane Gay is one of the world's most-brilliant social commentators. Ten years on since her book Bad Feminist caught the world's attention, she is still unafraid to call out privilege, hypocrisy, and entrenched social injustice. But today, speaking up can come at a huge cost. I can't think of anyone else more credentialed than Roxane to talk to FODI audiences about the importance of rocking the boat and facing criticism head on," said FODI Director Danielle Harvey, announcing the news. Gay will appear as a keynote speaker, discussing the topic of being a dissenter in the age of tribal warfare, at the 12th Festival of Dangerous Ideas. The event was established in 2009 to discuss difficult issues, push boundaries and inspire debate, putting both its initial guest and her topic right in its usual remit. 2024's FODI runs from Saturday, August 24–Sunday, August 25 at Carriageworks, focusing on the theme 'sanctuary'. As well as getting Gay chatting about her work live and in person, the fest will enlist the New York Times-bestselling author on panels, too. In Melbourne, the writer that's also behind Hunger: A Memoir of (My) Body and Not That Bad: Dispatches from Rape Culture — and also Ayiti, An Untamed State, Difficult Women and The Banks in fiction — will get talking about having complicated views in complicated times with Jan Fran at Melbourne Town Hall on Tuesday, August 27, in a session also presented by The Wheeler Centre. "The Wheeler Centre is thrilled to present Roxane Gay in Melbourne and celebrate this incredible compilation of her work. Roxane communicates complex ideas with honesty and power, and this is a rare opportunity to hear her in conversation," said The Wheeler Centre CEO Erin Vincent. Roxane Gay will appear at Carriageworks in Sydney as part of the Festival of Dangerous Ideas from Saturday, August 24–Sunday, August 25 — and at Melbourne Town Hall on Tuesday, August 27 presented by The Wheeler Centre and Now or Never. Presale tickets for the Festival of Dangerous Ideas go on sale on Tuesday, June 25, with general sales from Wednesday, June 26. Tickets for The Wheeler Centre are on sale now. Top image: Reginald Cunningham.
UPDATE, April 9, 2021: The Gentlemen is available to stream via Amazon Prime Video, Google Play and YouTube Movies. When in doubt, they say to go back to your roots. Given that Guy Ritchie's last two films were Aladdin and King Arthur: Legend of the Sword, it's fair to assume that doubt had squarely reared its head. As a director whose name alone evokes the sound of cockney rhyming slang and the image of grimy London back alleys, dancing bedazzled elephants were about as off-brand as it gets. So he goes back to his roots with The Gentlemen — and it's a warm and welcome return. Boasting an enviable cast, The Gentlemen is a Lock, Stock and Two Smoking Barrels and Snatch-style crime caper centred upon Mickey Pearson — a marijuana kingpin looking to exit the UK's drug trade at the height of his career. Played by Matthew McConaughey, Mickey is a charming but ruthless American expat whose fondness for the London lifestyle sees him decked out in tweed, cavorting with the aristocracy and taking tea whenever the opportunity calls for it. When word of his impending retirement begins to spread, however, its sets off a series of secret alliances and double-crosses that puts the entire deal at risk, as well as a number of lives. There's a lot to like about The Gentlemen, but the highlight is surely its unofficial narrator, Fletcher (a delightful turn by Hugh Grant). Fletcher is a seedy private detective who digs up dirt for the tabloids. Rather than dish said dirt on Mickey, he decides it would be more profitable to offer to lose it in exchange for a healthy payout. The film structures its story around Fletcher as he makes his case to Mickey's bodyguard and consigliere, Raymond (Charlie Hunnam) — which he does by laying out the details as if he's writing a screenplay. The meta nature of it all could've been right on the nose, but Ritchie pulls it off thanks in no small way to Grant's giddying and likeable performance. Where Ritchie rediscovers his mojo by returning to his roots, Grant does so by ditching, the foppish hair and awkward humility, and replacing it with homoerotic innuendo and sleazy hubris. He goes completely against form — it's a joy to behold. So too is Michelle Dockery as Mickey' wife, Rosalind. Every shred of her time on Downton Abbey is abandoned as she struts and swears her way through The Gentlemen like an Essex-based Lady Macbeth. By contrast, Colin Farrell plays one of the most understated characters of his career, but the result is just as compelling. Known simply as Coach, he trains local youths in boxing to help rehabilitate them from a life of crime. Sporting his real-life Irish accent and a selection of remarkable tracksuits, Farrell lights up his scenes with equal parts controlled menace and lyrical wordplay. Against such terrific supporting roles (Succession's Jeremy Strong also deserves mention for his amusing, albeit also cartoonish turn), the film's two leading men are far less memorable. That's not to say they don't deliver the goods — it's just that their goods are less sparkly. Hunnam doesn't quite nail the reserved tough guy routine, although he does land the film's best line. As for McConaughey, he forever feels like the odd man out, with his southern drawl at odds with the abundant cockney. Overall, The Gentlemen is fun, to put it in the simplest of terms. It's certainly not without its faults — the patchwork of styles, from action film to hip hop music video and everything in between is constantly jarring — but the general experience is an agreeable one. Like the scotch enthusiastically consumed by Fletcher throughout, The Gentlemen is a little rough at first, but smoother with every sip until you're silly drunk and smiling like a fool. https://www.youtube.com/watch?v=Je22_P3Qm7U
Most of Australia might've spent the bulk of 2020 at home, but that doesn't mean that we didn't notice the temperature. And if you were feeling rather toasty across the 12 months, there's a reason for that — with the Bureau of Meteorology revealing in its just-released Annual Climate Statement 2020 that we just lived through one of country's warmest years since records started being kept. Only three years on record were hotter than 2020, with the past 12 months ranking fourth. Australia's warmest year on record came the year prior, in 2019, while 2013 ranks second. If you're wondering what that means for temperatures in 2020, the overall averaged mean temperature for the entire country across the year sat 1.15 degree above average. In all states in 2020, as well as the Northern Territory, both the mean maximum and minimum temperatures were also higher than average. BOM reports that days were especially warm in Sydney, Hobart and Darwin, and nights were toasty in the same three cities, plus Canberra and Brisbane. Yes, we know that Australia is a sunny place, and has sweltering summers. But that warmth was also spread across the year, with January, February, April, June, August, September and November sitting in the ten warmest on record when it comes to a variety of markers — such as the mean, maximum and minimum temperatures for those months. November 2020 was also the warmest November on record, before summer even hit, while the entirety of spring earned that status as well. If you noticed that the three of the top four warmest years listed above all fell in the last decade, there's a reason for that as well. "The mean temperature for the ten years from 2011 to 2020 was the highest on record, at 0.94 degrees above average and 0.33 degrees warmer than the previous ten years," said Senior Climatologist Dr Lynette Bettio. Dr Bettio also notes that increasing temperatures is a worldwide trend. "Globally, every year from 2013 onwards has been among the ten warmest on record, with 2016 and 2019 being the hottest," she says. "2020 was among the top three" on a global scale, she advises, which happened "despite the onset of La Niña, which has a suppressing effect on global temperatures". In Australia, La Niña usually means more rainfall, cooler daytime temperatures south of the tropics and warmer overnight temperatures in the north. In terms of rain, 2020 was actually close to average, BOM says; however, the western parts of Western Australia, southeastern Queensland and western Tasmania all received below average rainfall. For more information about the Bureau of Meteorology's Annual Climate Statement 2020, head to BOM's website.
It's safe to say that nobody is playing the long game like Marvel Studios. When they put together individual films for Iron Man, the Incredible Hulk, Captain America and Thor, the endgame they had in mind was The Avengers, in which all the heroes teamed up to take on one gigantic threat. Guardians of the Galaxy is something different: taking place almost exclusively in outer space, it eschews the interconnected universe — save for a small hints for fans with long memories — in favour of a decidedly stand-alone adventure. And what an adventure it is. Kidnapped from Earth as a child, Peter Quill (Chris Pratt) — preferred nom de plume 'Starlord' — is a roguish figure in the vein of Han Solo or Mal Reynolds, who recovers exotic treasures to sell to seedy figures. But his latest acquisition brought him some unwanted attention: he is hunted by green-skinned assassin Gamora (Zoe Saldana), foul-mouthed raccoon Rocket (Bradley Cooper), and sentient tree Groot (Vin Diesel). When all four are thrown into a hellish prison alongside vengeance-minded muscle-creature Drax (Dave Bautista), this group of misfits realise they're the only ones who can stop a powerful madman from destroying the galaxy. Sound pretty uninspiring? Don't be fooled. The film is full of inventive, fun ideas: writer/director James Gunn has crafted a rich and engaging universe that feels infinitely more expansive and detailed than your run-of-the-mill sci-fi film. And that's not even its biggest selling point. Guardians of the Galaxy is funny. Like, laugh-out-loud funny, and for its entire running time. While far too many Hollywood comedies can barely raise more than one or two laughs per hour, Guardians of the Galaxy puts them to shame with an extraordinarily high number of quips and gags that always feel completely natural to the story and characters. What really sells it is the casting. Pratt (Parks and Recreation's Andy Dwyer) is a natural leading man, embracing the goofy in a way that far too many stoic action stars are afraid to. Saldana (Avatar) again proves she's unparalleled at grounding blockbusters even when playing an improbably hued alien warrior. Wrestling star Bautista reveals a substantial gift for comic timing, and it's no backhanded compliment to say that Diesel and Cooper have never been better. A wealth of supporting turns come from Glenn Close, John C Reilly, Peter Serafinowicz, Lee Pace, Djimon Hounsou, Michael Rooker, Karen Gillan and a couple of cameos we shan't spoil. Guardians of the Galaxy is a weird, risky prospect for a studio that's all about relatable humans in recognisable settings. Maybe that's why it works: faced with a tougher sell, they've gone the extra mile to make something special. And boy does it work. https://youtube.com/watch?v=3CqymRQ1uUU
Melbourne's restaurant scene is vast and varied. But what do the Meatball and Wine Bar, Circa The Prince, Little Hunter, The Estelle, Izakaya Den and Jacques Reymond have in common? Their plates, that's what. Behind this homewares evolution is Glenn Tebble Homewares, from Unique Pottery, who create tableware and tailor-made designs for restaurants and chefs. Made from stoneware, each piece is designed and created right here in Melbourne and embraces the unique, ever-changing nature of the food scene. Through his time working with chefs and restaurateurs, Glenn Tebble, the man behind Glenn Tebble Homewares, came to find that people were looking for items that just didn't exist yet. And so, their bespoke range was born. Together with chefs, Glenn designs and creates products on a need-by-need basis. Collaborating with some of Melbourne's best restaurants, Glenn tells us how some of these ideas came to fruition. Scott Picket and Ryan Flaherty – The Estelle "Long-time customers and all-round good blokes from The Estelle Scott Pickett and Ryan Flaherty have always been a good source of inspiration. With their history in Michelin star restaurants overseas, the boys were often coming to us with ideas, and not just from the design side of things. The boys suggested what we now call the splatter range. "We developed a new colour option by using two kinds of glazes, whether it was a two toned colour or an abstract kind of finish. It opened a gateway for a whole new line of products — some of the glazes also present a textured look and feel." Meatball and Wine Bar "The team at Meatball And Wine Bar were on the hunt for a specific bowl for their balls. As I had worked with their management team previously, they approached me. We designed what is currently our most popular bowl. It was made it to the specifications, and managed to streamline it with our existing larger bowl, creating a new range. As you can see, the gents at Meatballs are very happy with the result." Simon Denton – Izakaya Den "Some time back now, I approached Simon Denton, from Izakaya Den. Simon loved our range and went on to purchase a large quantity for his underground gem. Simon also liked our large sushi plate, but he also wanted one a little smaller. Again, I got the design team onto it and it was in his restaurant within six weeks. We must have made an impression, as when Denton launched his revamp of the old Verge site, now Numa Numa, he came to us for his bespoke noodle bowls." Paul Wilson – Melbourne Pub Group "Paul Wilson came to me with a plastic shaped taco holder that they had been using — just as the taco scene went crazy in Melbourne. He wanted something similar but a lot sexier! We made two versions, one that could hold two tacos and another that could hold four. The end result surpassed his expectations. We have since seen more chefs use their creative flair — with Guy Grossi using it as a panini holder and, thinking outside the square, other ideas have been for mini hotdogs, souvlakis and as a vessel for a cheese display." Tony Twitchett – Taxi Dining Room "Tony Twitchett from Taxi Dining Room in Melbourne loved our range, but at the time we had nothing that suited his needs. He required a large rippled square platter for his signature duck dish and their amazing sashimi. So, we put a conservative spin on his idea and we came up with one of the very few square plates that we have in our range.”
If you're a fan of Australian music festivals, a feeling of déjà vu might be sinking in right now. In 2024, both Groovin the Moo and Splendour in the Grass announced dates and big lineups, then scrapped their festivals mere weeks afterwards. In 2025, one week after another, both fests have now cancelled their 2025 plans as well. After Splendour confirmed that it wouldn't be back this year, Groovin the Moo has done the same. The latter hasn't advised that it will definitely will return in 2026, either — but the team behind it are asking for lineup suggestions for future fests. View this post on Instagram A post shared by Groovin the Moo (@groovinthemoo) "Groovin the Moo won't be happening in 2025, while we work on finding the most-sustainable model for Australia's most-loved regional touring festival," the event's organisers said via social media. "We will really miss seeing the smiling faces of all our beloved Moo crew — and that means you! In the meantime, which artist would you most like to see on a GTM lineup?" In 2024, the long-running regional music event was due to play six stops: Adelaide, Canberra, Bendigo, the Sunshine Coast, Bunbury and Newcastle, with the latter marking its debut in the New South Wales city. Wu-Tang Clan's GZA, Spice Girl Melanie C doing a DJ set, The Kooks, The Beaches and Alison Wonderland were among the talents on the bill, alongside Stephen Sanchez, Armani White, Kenya Grace, King Stingray, DMA's, Jet, The Jungle Giants, Mallrat and San Cisco, plus Hot Dub Time Machine, Mura Masa, Claire Rosinkranz, Jessie Reyez, Meduza and The Rions — and others. When Groovin the Moo pulled the plug last year, it named poor ticket sales as the reason. "We are extremely disappointed to announce that the Groovin the Moo 2024 tour has been forced to cancel," advised the statement at the time. "Ticket sales have not been sufficient to deliver a regional festival of this kind." "We hope to be able to bring Groovin the Moo back to regional communities in the future." Groovin the Moo won't be taking place in 2025. For more information, head to the festival's Instagram. Images: Jordan Munns.
Last summer might only just be behind us, but it's never too early to start making plans for the next one — and for the festival fun that comes with it. Indeed, when the toasty weather returns at the end of 2022, it'll also herald another comeback, with music, art and food festival Spilt Milk locking in three events for this year. Originally only held in Canberra, then expanding to Ballarat, and now heading to Queensland as well — to the Gold Coast to be specific — the beloved event will return in November and December. First stop: its ACT home, of course, on Saturday, November 26 at Exhibition Park. It'll hit up regional Victoria next, on Saturday, December 3 at Victoria Park, before wrapping things up on Sunday, December 4 at Doug Jennings Park in the Sunshine State. The multi-city one-dayer has cemented its spot as a must-attend event for a heap of reasons — and tickets have sold out in under 30 minutes every year, including in a record nine minutes one year, to prove it. So, expect this to be one of the most anticipated returns of 2022, whoever is on the lineup. That bill won't be announced until Thursday, April 28; however, in the past, Spilt Milk has played host to Khalid, CHVRCHES, Juice Wrld, Channel Tres, BENEE, Lorde, Gang of Youth, Dom Dolla, Tones & I and more. This year, it's promising "a mega line-up with some of the most in-demand names on the scene". Start your guesses now, folks. Whoever tops the lineup — and whoever else helps fill the fest's stages — that musical roster will have impressive company, because the rest of the program always spans visual art, tasty eats and pop-up bars. Again, the details haven't yet been revealed, but it's worth blocking out your calendar now. SPILT MILK 2022 DATES: Saturday, November 26 — Exhibition Park, Canberra Saturday, December 3 — Victoria Park, Ballarat Sunday, December 4 — Doug Jennings Park, Gold Coast Spilt Milk will hit Canberra, Ballarat and the Gold Coast in November and December 2022. The full lineup will be announced on Thursday, April 28 — head back here then for further details — with pre-sale tickets go on sale from Tuesday, May 3 and general sales from Thursday, May 5. Head to the festival website for more info and to register for pre-sales. Images: Jordan Munns and Billy Zammit.
It's been 17 years since Hae Min Lee was tragically killed. And 16 since Adnan Syed went to jail for her murder. But now, almost two decades later, a Baltimore judge has granted Syed a re-trial. His lawyer, Justin Brown, tweeted the news earlier this morning, which was around 4.30pm on Thursday, June 30, Baltimore time. WE WON A NEW TRIAL FOR ADNAN SYED!!! #FreeAdnan — Justin Brown (@CJBrownLaw) June 30, 2016 Syed was, of course, the subject of Sarah Koenig's true crime podcast Serial, which had every man and his dog weighing in on complex legal evidence when it aired back in late 2014. Since the podcast's circulation, Syed — who has always maintained his innocence — has been able to push his case for post-conviction relief. In February he was granted a post-conviction hearing, in which it was argued that his original defence lawyer, Cristina Gutierrez, was negligent in the way she conducted the case. And on Thursday, Judge Martin Welch granted Syed a new trial on his defence counsel's failure to cross-examine a cell tower expert about the reliability of the data that placed him near the burial site. Anyone who's listened to the podcast knows that the cell tower data was one of the most complicated (and bloody confusing) pieces of evidence in the trial. This is Judge Welch's order, as posted by Serial about an hour ago: So what does this mean? Well, it means Syed's defence counsel have a lot of evidence to gather before an undoubtedly lengthy trial, which hasn't been given a date yet. And, surely, it means another season of Serial? Via The New York Times.
The Daughter might be the latest local film to reach cinema screens, but it's no typical Aussie movie. Writer/director Simon Stone and the bulk of the film's cast — including Geoffrey Rush, Ewen Leslie, Anna Torv, Miranda Otto and Odessa Young — ensure that the feature's Aussie credentials remain intact, as does its New South Wales shoot. However the drama of family secrets and lies actually finds its basis in Henrik Ibsen's The Wild Duck. Accordingly, Stone transports a 19th century Norwegian classic to modern Australia, and not for the first time. As theatre fans will no doubt know, the stage wunderkind turned filmmaker earned rave reviews for his stripped-back take on the tale, which played in Sydney, Oslo, Vienna and London. Now, he endeavours to do so again with his film version. In fact, it seems like his involvement in The Daughter was meant to be, though the same could be said for rising talent Young as well. In the titular role of Hedvig, the Looking for Grace star plays her second complex, compelling teen character in as many movies, and holds her own against an accomplished cast. So what drew Stone and Young to the story, how did they approach its characters, and how did Stone craft more than just the usual Aussie movie? With The Daughter now screening in Australian cinemas, we spoke to the duo about the film. ON THE APPEAL OF HENRIK IBSEN'S THE WILD DUCK Simon: "I guess the beautiful thing about the story is that it's a whole heap of people who have made various mistakes in their life, and it is [about] the vulnerability and the attempt to do the right thing. I'm very attracted to stories where you can't find the villain. So I love constellations of characters with a tragedy that kind of evolves out of the mistakes that the people are making — it doesn't evolve out of being able to blame anyone, it is just people falling into the traps that fate has set them, kind of. And it's the random confluences, confluences of various different people's motivations that are in conflict with each other. That creates the tragedy. You know, if you can blame anything, you can just blame bad luck." Odessa: "I was really attracted to the story by the integrity with which Simon wrote the character, and the insight that he seemed to have on her teenage personality and emotions, and just the complexity with which he wrote the teenage character. Because, I mean, I've read a lot of teenage characters — as you can imagine being a teenager auditioning for roles — and it's so rare that you actually come across a character that isn't just used as a buffer for the adult characters to take anger out on. Or they're quite often used as scapegoats. It is a really interesting kind of thing when you read something that isn't like that — when it is actually creating some autonomy for the character. That's really what gripped me about the role in the first place." ON ADAPTING THE STORY FOR A SECOND TIME Simon: "I had a series of instincts about the way I thought that it should look, but those instincts changed as I changed, in my mind, what kind of genre of movie it should maybe be in order to be most successful. I mean, if it had been just an incredibly realistic portrait of these events happening to this family like it was in my stage play, in a kind of inner-city environment like it was set in in my version of the play, then I think it would've been inconceivable at certain points. People would've gone, 'Actually, if you're pretending that all of these coincidences just take place in Surry Hills in a casual week in the casual lives of these people, then I'm not going to buy that.' "So I started looking for a genre for the movie that was going to be take advantage of the kind of mythological nature of the story in Ibsen's original play. It was just about finding the right genre, the right kind of references for myself, because I'm in love with every single genre of cinema. I love everything, so it kind of could've been anything." ON THE COMPLEX CHARACTERS AT THE HEART OF THE FILM Simon: "I don't believe in that moral absoluteness. I don't actually think it exists in the real world. I think it is a storytelling motif that people invented to express the fighting within someone's own soul. I think the classic villains and the classic gods versus devils stories that have existed in all the mythology since the beginning of religions, and in spiritual storytelling since humans painted stories on caves with pictures, the source of that was actually an expression of human instinct. The instincts within a human person, and the personification of those people was the kind of way of literalising and turning that battle into a figurative battle of two sides of the human personality. And I think people have kind of forgotten that." Odessa: "Even after I got the role, it was really heavy for me. I didn't know whether I could do it. I didn't know if I had the skills and the knowledge to play a character like this — that was so far opposite to what I am. So much of my character development was Simon's direction. We created a very important, easy shorthand quite early on in the process where it was all about paring back my own experiences as a teenager, not letting them filter through into the character, and creating a new set of experiences that would influence Hedvig's decisions and decision-making and her actions." ON MAKING A MOVIE THAT'S MORE THAN JUST THE SUM OF ITS AUSTRALIAN PARTS Simon: "I wanted the film to reflect all of the Australian stories that are not the clichéd Australian stories. Australia seems to have this real love of the idea of white working class stories or Asian stories or indigenous stories. But [I like] the idea of melding of all of the influences, the idea of actually taking a Scandinavian story, making it a little bit Australian, keeping it a little bit Scandinavian, and letting it be universal. Getting rid of the notion of what is the Australian-ness of this project, other than that it is being made by a whole heap of Australians. "And so the source material is part of the canon that Australia is kind of stealing from everywhere in the world, always. Because other than the indigenous stories and the dreaming, there is no Australian canon. It is just a series of other people's work, other culture's work, that kind of magpie culture where we are of just pilfering and making a beautiful and mangled mess. That's the kind of aim of the movie. And its a celebration to a certain extent that maybe we can eventually stop needing to ask questions about Australian-ness at some point." The Daughter is currently screening in Australian cinemas. Read our full review.
It's been five years since Robert Rodriguez turned in Sin City: A Dame To Kill For, and a full decade since James Cameron directed Avatar. Now, though, they've teamed up to create Alita: Battle Angel, a $200+ million sci-fi blockbuster based on Yukito Kishiro's iconic 90s cyberpunk manga of the same name. Set-up wise, it's a very familiar tale. We're deep into the future (2563, to be exact), and the world continues to reel from The Fall, aka the war to end all wars. Earth's remaining cities are massively overcrowded slums resembling the favelas of modern-day Sao Paulo, whilst high above them floats Zalem — the luxurious haven for the super wealthy and elite. In that sense, Alita is alota like 2013's Elysium and the recent Netflix series Altered Carbon, although for a refreshing change the inhabitants of the lower city aren't presented as weary, ravenous scum fighting one another for every last consumable. There's even a blue sky, regular sunlight, fresh fruit and delicious chocolate. Sure, there are the usual scavengers and rogues of various forms, but for the most part the community is exactly that — a harmonious, multicultural confederacy of peoples just trying to eek out a new life for themselves in the post-Fall world. The hero, too, enters the story with a very familiar backstory. Alita, a damaged cyborg rescued from the trash piles of Zalem, has no memory of her past. When push comes to literal shove, however, she discovers she's possessed of extraordinary martial arts abilities and highly lethal tendencies. In other words, Jason Bourne with robot limbs. Very quickly, Alita's childlike naivety gives way to a revenge-fuelled blood lust as she seeks out those who would do her (and her loved ones) harm. Gradually, too, the memories of her previous life (and mission) begin to resurface, setting her upon a seemingly-inevitable path towards Nova, the mysterious entity pulling all the strings from high above in Zalem. Portrayed by a digitally-enhanced Rosa Salazar, Alita is literally a wide-eyed wonder to behold. The special effects wizadry of Cameron's team has rendered her believable enough to not be distracting, yet different enough to do justice to the story's sci-fi legacy. Indeed, the majority of the film's characters carry some form of technological enhancement, ranging from simple mechanical arms to fully-fledged mech suits, most notably those 'worn' by the cyborg assassin Grewishka (a terrific Jackie Earle Haley). The myriad enhancements are gleefully displayed by Rodriguez during several scenes of motorball, a violent and frenetic sport that feels like the bastard offspring of NASCAR, Quidditch and roller derby. Basically, picture Mario Kart, but instead of spinning your opponent out with a banana, you rip their face off with a chainsaw. In supporting roles, Christoph Waltz delivers the best and most nuanced performance as Ido, the kindly surgeon who discovers, repairs and cares for Alita. Less convincing are Jennifer Connelly as Chiren, Ido's ex-wife, and Mahershala Ali as Vector, the kingpin of motorball. Keean Johnson, who'd comfortably double for a young Colin Farrell, plays the part of Alita's would-be love interest Hugo, however their dialogue (and indeed almost all of the film's dialogue) feels punishingly awkward and unnatural. Only Ido and Alita achieve a believably tender relationship, helped by the fact that they also have the film's only fleshed out backstories. Lack of originality notwithstanding, Alita: Battle Angel still delivers an engaging experience thanks to Rodriguez's nimble and full-throttle direction. The film's fight scenes are its strongest asset, with Alita's balletic combat offering the perfect counterpoint to her opponents' brute force. She's a terrific heroine to get behind — surefooted in her abilities, noble in her intentions and charming in her wisecracking. Whilst a sequel hasn't been confirmed, the film's ending all but demands one, and with a little more work on the scripting front, it could easily deliver a white-knuckled gangbuster of a sci-fi franchise. https://www.youtube.com/watch?v=w7pYhpJaJW8
Navigating Australia's vaccine rollout hasn't been easy or straightforward throughout 2021 so far, thanks to changing messages around who can get jabbed and when, as well as the Federal Government's frequently shifting plans and timeframes. And, when it's your turn to roll up your sleeves, booking in isn't always simple either — especially if you're looking for a Pfizer appointment. Every state has their own booking system, although residents in New South Wales are first directed to the Federal Government's online vaccine eligibility checker. You answer its questions, and the site then points you in the right direction if you're eligible. Well, it directs you towards a list of individual spots where you can get the jab — state-run hubs and GPs alike — and then leaves you to contact them all and work things out from there. That's not the most efficient or convenient system, which is where new website Covid Queue comes in. Purely directed at Sydneysiders, it aggregates data regarding available vaccination slots at the RPA Hospital, St Vincent Hospital, Sydney Olympic Hub and Westmead Hospital. All you need to do is hop in line — virtually, by pressing a button on the site — and it'll sound a bell when an appointment is available. If you hear one bell, there's a single appointment on offer. If two bells ring, there's two appointments available within three weeks apart. You can then click through to register from there, although it is recommended that you log in to the RPA Hospital, St Vincent Hospital or Sydney Olympic Hub sites beforehand. That way, when you go to book because an appointment has popped up, you'll already have gone through that step. At present, the Pfizer vaccine is available to folks aged between 40–59 years, and to people between 16–39 in certain circumstances. The latter applies if you're from an Indigenous and Torres Strait Islander background; are an NDIS participant, or care for NDIS participants of any age; are pregnant; work in quarantine, health care, aged care, disability care or as a border worker; live in aged care or disability care; or have an underlying medical condition or significant disability — and if you're deemed a critical or high-risk worker because you're employed in defence, police, fire, emergency services and meat processing. The Pfizer vaccine is recommended for everyone under the age of 60, but Australia's vaccine rollout hasn't reached the stage of jabbing everyone under 40 yet. If you'd like to get the AstraZeneca vaccine, that's recommended for folks over 60 — but it's also open to all ages if you're informed about possible side effects. For more information about Covid Queue, head to the online tool's website.
A thriving garden of fruits and vegetables in the middle of a city isn't something you come across very often. Thornton Budgens supermarket in North London argues that this shouldn't be so, and is taking steps towards a more sustainable future with produce. Thornton Budgens along with project leader Azul-Valerie Thome has created Food From The Sky, a rooftop permaculture garden of organic fruits, vegetables and herbs. The ultimate goal of the project is to prove that produce can be grown in cities and sold locally in a manner that is efficient and not wasteful. The grocery store began the project in May 2010 with only 10 tons of compost and 300 recycling boxes, but with care from employees and over 20 volunteers the garden now yields enough produce to sell every Friday. Any fruits or vegetables that are not sold, instead of simply being thrown away at the end of the day, become compost that will enhance the soil for the next batch of produce. What makes a rooftop garden a great idea? The warmth from the store's heating and lighting systems heat the floor of the roof, preventing the plant seeds from freezing during the colder months, and is free of the slugs and snails that cause pigeons to dig up the soil during vital growth periods. Why didn't we think of this before? In addition, the grocery store is offering courses about this alternative approach to food production in order to instill the power in others to sustain produce gardens in the city while being conscious of the planet. The Food From The Sky project aims to extend its influence to other supermarkets and be a template for other rooftop permaculture gardens in cities. "One day, I want to see supermarket roof-gardens all over the country," said Thome.
As music, spandex and glitter fans everywhere already know, the Eurovision Song Contest didn't go ahead this year. It's one of the many events worldwide that have been affected by COVID-19, alongside SXSW, Glastonbury, Coachella and Splendour in the Grass — but it's the only one to leave a huge Europop-shaped hole, of course. In Australia, broadcaster SBS attempted to make up for Eurovision's absence by spending a week celebrating the annual contest. And, globally, Netflix is also doing its bit. The latter is helping out in a much less serious fashion, however, all thanks to its new Will Ferrell and Rachel McAdams-starring comedy Eurovision Song Contest: The Story of Fire Saga. Due to hit the streaming platform at the end of June — and just dropping its first trailer this week, too — the film follows two small-town Icelandic singers who've always wanted to represent their country at the famed sing-off. Lars Erickssong (Ferrell) and Sigrit Ericksdottir (McAdams) aren't particularly well-liked in their homeland, or considered popular. But when they're named as the next Eurovision contestants, they're determined not only to win but to show that chasing their lifelong dream was worth it. Directed by Wedding Crashers, The Change-Up and The Judge filmmaker David Dobkin, Eurovision Song Contest: The Story of Fire Saga looks set to feature plenty of Ferrell's over-the-top comedy — as the initial sneak peek makes plain. It also boasts icy backdrops, a song called 'Volcano Man', a fierce rivalry between Fire Saga and fellow competitor Alexander Lemtov (Legion's Dan Evans), and a cast that also spans Pierce Brosnan and Demi Lovato. Check out the trailer below: https://www.youtube.com/watch?v=7q6Co-nd0lM Eurovision Song Contest: The Story of Fire Saga hits Netflix on Friday, June 26. Images: John Wilson and Elizabeth Viggiano, via Netflix.
He's the horror and thriller author responsible for bloody proms, haunted hotels, possessed cars, sewer-dwelling clowns and spooky animal resting grounds, not to mention literary stalkers, depression-era death row prisoners, a town plagued by unexplained fogginess and another trapped under a dome. Indeed, since coming to fame with Carrie back in the 70s, Stephen King has never proven unpopular — but the world sure loves the writer's work right now. The viewing world in particular seems to adore King at the moment, with page-to-screen adaptations of his books popping up thick and fast. In 2019 alone, a new version of Pet Sematary hit cinemas, as did IT: Chapter Two and The Shining sequel Doctor Sleep — while In the Tall Grass recently arrived on Netflix. On the small screen, Mr Mercedes is up to its third season, Castle Rock unfurled its second and Creepshow's first recently landed. Next year will see three more TV shows join them, too, all based on King's books — and if you like the author in murder-mystery mode, you might want to add The Outsider to your viewing list. HBO's addition to the fold is a ten-part mini-series taking inspiration from King's 2018 novel of the same name, which focuses on the gruesome death of an 11-year-boy. Little League coach Terry Maitland (Jason Bateman) is suspected of the shocking murder, with his fingerprints all over the scene; however, video footage places him 60 miles across town at the time the crime went down. Unravelling just what happened is a task for police detective Ralph Anderson (Ben Mendelsohn), who's also mourning the death of his own son. When nothing seems to add up, he brings in unconventional private investigator Holly Gibney (Widows and Bad Times at the El Royale's Cynthia Erivo) to help, despite him professing to have "no tolerance for the unexplainable". In case you're thinking that this all sounds like one of King's more straightforward tales, "an insidious supernatural force" is also involved according to the official HBO synopsis — it is called The Outsider, after all. And, while the show's first teaser focused on the murder case, its just-dropped full trailer plays up the creepiness, coincidences and the fact that something beyond the bounds of normal logic just might be going on. Mendo, Australia's favourite current acting export, also produces the show, as well as seemingly getting a rare chance to play something other than a blockbuster baddie of late (see Rogue One, Ready Player One and Robin Hood, for example). As for recent Emmy directing winner Bateman, he executive produces and jumps behind the lens on the series' first two episodes. Check out the new trailer below: https://www.youtube.com/watch?v=eNDKWr3Xmjk The Outsider starts airing on Sunday, January 12 in America — we'll update you once viewing details for Down Under have been announced.
First, the bad news: if you've been hanging out to see The Kid LAROI take to the stage on his first-ever Down Under stadium tour, you'll now be waiting longer. Now, the better news: part of the delay is due to trying to lock in a "really big surprise and special guest", the Australian singer-songwriter advised on Instagram, who couldn't be finalised before the planned February dates. "We've had to push back the Australian leg of the tour to October," Charlton Kenneth Jeffrey Howard noted. "The tour will now end off in Australia." The Kid LAROI also named "a bunch of other logistical stuff" as a reason for the delay, while saying that he wants to give audiences the best show he can — and "make everyone back home proud". The tour is in support of The Kid LAROI's debut studio album The First Time, and was originally set for a five-city Australian run. New dates haven't been announced as yet, but the star was due to play Melbourne's AAMI Park, Perth's HBF Park, Adelaide's Coopers Stadium, Sydney's Commbank Stadium and CBUS Super Stadium on the Gold Coast. The First Time might be a new 2023 arrival, but The Kid LAROI has been releasing music since 2018 — solo, and also teaming up with everyone from Juice WRLD and ONEFOUR to Justin Bieber. Accordingly, fans can look forward to hearing 'Stay', 'Without You', 'Thousand Miles', 'Love Again' and more next spring. The stadium tour follows The Kid LAROI's first headline Australian tour back in 2022, which sold out arenas across the country, sparking the addition of more dates. On his postponed 2024 dates, the artist has confirmed that ONEFOUR will still be on the bill. As for who else will join them, "we're working on the details including some new additions to the lineup and will let you know ASAP," the singer said. THE KID LAROI THE FIRST TIME TOUR 2024: October 2024 date TBC — AAMI Park, Melbourne October 2024 date TBC — HBF Park, Perth October 2024 date TBC — Coopers Stadium, Adelaide October 2024 date TBC — Commbank Stadium, Sydney October 2024 date TBC — CBUS Super Stadium, Gold Coast The Kid LAROI is touring Australia in October 2024, postponed from February 2024 — head to the Australian ticketing site for more information. Top image: Adam Kargenian.
First, the obvious fact: everyone watched plenty of films over the past year. We all ploughed through our streaming queues, checking out everything and anything that each and every platform served up — and we did it for the bulk of 2020. What we didn't do, however, is spend as much time watching big-screen blockbusters. Cinema closures and postponed release dates will do that. Accordingly, unless Tenet whips up a huge box office windfall across the rest of December or Wonder Woman 1984 does hefty business when it releases at the end of the month, 2020's top movie moneymakers worldwide will end up being Chinese action epic The Eight Hundred and, from way back in January, the abysmal Bad Boys for Life. In one rare pleasant side effect of 2020, the lack of supersized Hollywood flicks has meant that a plethora of smaller movies have reached audiences since cinemas reopened Down Under. Some of them might've hit the silver screen anyway, but some wouldn't have — and there are gems in both categories. Alas, even with more on-screen real estate available for these type of films, they didn't all draw crowds. There are many reasons for that, because this hasn't been an ordinary year. But if you're wondering which absolute must-sees you didn't catch in 2020 but should've — including titles released both before and after the pandemic changed this year forever — we've run through the ten best flicks that didn't set the box office alight, but you should add to your catch-up viewing list. https://www.youtube.com/watch?v=mRMPdhQBlWs QUEEN & SLIM No one knows how a Tinder meetup will eventuate, but the events that unfurl in Queen & Slim don't fit into anyone's idea of a dream date. One of the points of this crime drama — which also doubles as a romance and a road movie — is that, for Black Americans, being hassled by the police for no reason isn't an unlikely outcome of a simple night out. After an unnamed criminal defence attorney (Jodie Turner-Smith, Jett) and a Costco employee (Daniel Kaluuya, Widows) chart the above path, they're forced to go on the run across the US, with law enforcement on their trails. The debut feature from music video director Melina Matsoukas (a Grammy-winner for her work on Rihanna's 'We Found Love' and Beyonce's 'Formation'), Queen & Slim knows that it's leads will always evoke comparisons to Bonnie and Clyde. In fact, the script by Master of None star Lena Waithe namechecks the figures in its dialogue. But as its titular characters' lives change drastically, this potent film combines a powerful message, dynamic performances and intoxicating imagery into one supremely stylish, textured and outrage-filled package. It'd be nice to say that Queen and Slim's world changes, too; however, they've always been forced to inhabit a space where their very existence was precarious due to racism, prejudice and police brutality, as every second of this haunting movie stresses. Read our full review. https://www.youtube.com/watch?v=1Qn70iqo-4Q MONOS Set in a camp of teen guerrillas, Alejandro Landes' Sundance's Special Jury Award-winning third film Monos follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked by their unseen leaders with holding an American woman (The Outsider's Julianne Nicholson) hostage. Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of this stunning South America-set thriller. Echoes of William Golding's Lord of the Flies are evident (and Joseph Conrad's Heart of Darkness, the book that inspired Apocalypse Now, too), but Monos firmly tells its own story. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is one of the definite standouts of recent years (of 2019, when it premiered overseas and did the rounds of the local festival circuit, and of 2020, when it finally released in Aussie cinemas). That status is assured thanks to everything from the eye-popping landscape cinematography to the needling tension of Mica Levi's (Under the Skin) score and the commanding performances from the young cast. https://www.youtube.com/watch?v=biHUTtV4K40 IN FABRIC Anyone can make a movie about a haunted house, as many a filmmaker has shown. Peter Strickland could, too — but a feature about an eerie piece of clothing is far more intriguing, fascinating and entertaining. Viewers should expect nothing less from one of cinema's inimitable auteurs, of course, with the lauded British writer/director not only conjuring up narratives that no other helmer ever would or could, but also consistently bringing them to the screen with a distinctive sense of style and mood. It was true of his last two festival circuit hits, Berberian Sound Studio and The Duke of Burgundy. That observation remains just as accurate with In Fabric, aka his haunted dress flick. In London clothing store Dentley & Sopers, bank teller Sheila (Marianne Jean-Baptiste, Fatman) finds the perfect red dress for her first blind date. It both fits and looks a dream; however, despite her initial delight, she discovers that the fabulous frock has quite the dark side. Fashion items can live many lives, so that's just the start of In Fabric's story — and, also starring Game of Thrones' Gwendoline Christie, I, Daniel Blake's Hayley Squires and The Mighty Boosh's Julian Barratt, this sartorial-focused horror-comedy is a lurid, imaginative and mesmerising gem. It's also the kind of movie you haven't seen before, and won't again. https://www.youtube.com/watch?v=atKsEdLKPLo&feature=emb_logo THE WOMAN WHO RAN Combine alcohol, conversation and a scene-stealing cat in one equally melancholy and charming movie, and not only is South Korean great Hong Sang-soo firmly in his element, but he delivers exactly the type of film that has won him a legion of fans. Given how prolific the director is, it'd be easy to assume that he'll soon run out of ways to combine his usual trademarks. Or, to expect that he'll eventually exhaust all of his ideas. But Hong's features never stop finding new ways to twist his favourite touches, themes and inclusions together (see also: Hill of Freedom, Right Now, Wrong Then and Yourself and Yours). In The Woman Who Ran, booze flows freely. Drinking plenty of it is Gamhee, as played by Hong regular Kim Min-hee (On the Beach at Night Alone). She's enjoying her first time away from her husband in five years, visiting friends around Seoul while he's off on a business trip. In Hong's typical fashion, much of The Woman Who Ran unfurls as the characters simply chat — about their lives, hopes, dreams, problems and, with a pesky neighbour in the movie's funniest moment, about feeding stray felines. His penchant for long takes, playful repetition and expertly timed crash-zooms are all used to winning effect, in a movie that slots perfectly into his busy oeuvre and yet always feels uniquely insightful. Also, and it cannot be stressed enough, look out for one helluva kitty. Read our full review. https://www.youtube.com/watch?v=srPas4PqCkw BEATS Beats knows how to start with a bang, letting the sounds of Ultra-Sonic's 'Annihilating Rhythm Part 1' echo from the screen in its opening moments. It's a savvy move — if viewers are going to understand just what electronic music means to the film's protagonists, early 90s-era Scottish teenagers Johnno (Cristian Ortega, One of Us) and Spanner (Lorn Macdonald, Shetland), then they need to not only see and hear it, but feel it deep in their souls. The delight on the duo's faces as they listen to the song down the phone to each other says more than swathes of dialogue ever could. Whether you're a fan of the same kind of tunes or not, you'll instantly be brought into the moment and the elation with them. And, from there, you'll ride every up and down this black-and-white film delivers, as the stage-to-screen adaptation from filmmaker Brian Welsh (The Rat Pack) peers into the broader scene just as the UK government was passing legislation to effectively ban raves. Johnno and Spanner are desperate to attend the very events the powers-that-be are trying to stamp out and, when they get their chance to head to what might be their first and last dance music festival, they go for it. Featuring a thumping soundtrack of old-school tracks, Beats serves up an insightful exuberant coming-of-age film from there, as well as a as a thoughtful and reflective social-realist drama. https://www.youtube.com/watch?v=lYl1DVIgbAg SHIRLEY Elisabeth Moss has had a great year. While the Mad Men and The Handmaid's Tale star has enjoyed a fantastic past decade, she turned in two of her best performances yet in 2020. First came The Invisible Man, which twisted the classic horror tale in modern directions, including exploring gaslighting and the lack of willingness to believe women. Then, in Shirley, she stepped into the shoes of horror and mystery novelist Shirley Jackson. This is a movie by Madeline's Madeline director Josephine Decker, though, so it as never going to be a standard biopic about the The Haunting of Hill House author. Indeed, Shirley is drawn from a fictional novel by Susan Scarf Merrell, focusing on Jackson's home life with her husband Stanley Hyman (Michael Stuhlbarg, Call Me By Your Name) during a 1964 period when teaching aide Fred Nemser (Logan Lerman, Hunters) and his wife Rose (Australian The Daughter star Odessa Young) come to stay. An agoraphobic, Jackson's routine is unsettled by her new houseguests, although an unexpected connection springs with unlikely kindred spirit Rose. In telling this story, Decker is far more interested in capturing the essence of Jackson and her sensibilities than slavishly sticking to facts, and her film all the better for it. Indeed, this subjective and engaging character study is daring, disarming, dark and, unsurprisingly, anchored by a pitch-perfect lead performance. Read our full review. https://www.youtube.com/watch?v=RMB7SpEvxOI RIDE YOUR WAVE When 19-year-old surfer Hinako (voiced by former Japanese pop idol Rina Kawaei) frolics around a seaside spot with her boyfriend Minato (fellow local pop star Ryota Katayose), it's a scene that's familiar from many a film. In the picturesque Japanese city of Chiba, the pair chat, laugh, stroll and see the sights, as plenty of couples have in similar situations. Actually, this duo does so twice. The first time plays out exactly as expected but, occurring well into Ride Your Wave, the lovestruck duo's repeat romantic rendezvous has a twist. In the kind of image that can only really be brought to the screen via animation, Hinako isn't spending time with Minato in the flesh the second time around — instead, she's dragging around an inflatable porpoise filled with water that, when she hums the pair's favourite song, manifests her boyfriend's spirit from beyond the grave. While Ride Your Wave hails from a different filmmaker to big Japanese hits Your Name and Weathering with You, this Masaaki Yuasa-directed film falls in the same heartfelt, gorgeously animated, emotionally sweeping realm. It clearly also has an element of the supernatural to it, focuses on a star-cross'd romance, and delves into love and loss as well. Sweet, charming, sensitive and a joy to look at, it's especially thoughtful when it ruminates on the latter, tackling tough emotional terrain with unflinching, heart-swelling honesty Read our full review. https://www.youtube.com/watch?v=hroo3-sKc0w HONEY BOY Following a child star's journey both as a 12-year-old actor (The Undoing's Noah Jupe) in a hit TV show and as a young man (Waves' Lucas Hedges) grappling with his time the industry, Honey Boy boils down easily to a one-sentence description — but this isn't an easy or straightforward film. Just what its protagonist Otis experiences at both ages, and how his youthful time with his ex-rodeo clown and Vietnam veteran dad James Lort (Shia LaBeouf, The Peanut Butter Falcon) leaves an imprint, proves complex, messy and resonant in this intimate feature. It feels personal, too, because it should. LaBeouf isn't just playing any father figure. He's stepping into the shoes of a version of his own dad. And, he's starring a movie that he wrote, that's based on his own journey from Even Stevens to Transformers and beyond. Brought to the screen by first-time feature director Alma Har'el, Honey Boy is raw, reflective and expressive as it wanders through LeBeouf's heart and soul, and it's an intense but rewarding work from everyone involved. This isn't an idealised, nostalgic look backwards, or a work of unfettered anger. Honey Boy, like LaBeouf himself, pinballs between multiple extremes. It should come as no surprise that this frank and sincere movie was penned while LaBeouf was in rehab himself — where Otis heads as well — and that it always feels like he's confronting issues he knows will never completely be resolved. Read our full review. https://www.youtube.com/watch?v=IZvrlkF4TjM&feature=emb_logo LUCKY GRANDMA Lucky Grandma might be the second American-produced film about a Chinese grandmother in as many years, but no one should mistake Sasie Sealy's feature debut for The Farewell. Both offer up something special, and their similarities are truly only superficial. Here, the titular elderly woman (Tsai Chin, Now You See Me 2) is first seen chain-smoking and glaring her way through a fortune teller's appointment. When Grandma Wong is told that luck is coming her way on a specific day, she's quickly on the bus to Atlantic City. And when she spies a hefty stash of cash in the bag belonging to the gentleman sitting next to her on the return ride home, she barely hesitates. This string of events comes with consequences, however, with local Red Dragon gangsters soon following her every move. To cope, the feisty senior enlists the help of their rivals, and pays the towering Big Pong (Hsiao-Yuan Ha) to stick by her side as her bodyguard. Chin, who has featured in everything from You Only Live Twice to The Joy Luck Club, is such a gruff, no-nonsense treasure to watch in Lucky Grandma — and Sealy smartly lets audiences peer her way closely and regularly. Sometimes, Lucky Grandma is a drama about a widowed woman trying to make the most of what's left of her life. Sometimes, it's a crime caper that's hopping around Chinatown with glee. In Sealy's hands, that combination always works. Read our full review. https://www.youtube.com/watch?v=wLmvs9Wrem0 COLOR OUT OF SPACE If you're going to task anyone on this earth with finding a blazing rock that has plummeted from the heavens and crashed down at a remote New England property — and in a big-screen adaptation of a short story by horror and sci-fi writer HP Lovecraft at that — you may as well give the job to Nicolas Cage. If you're going to ask any actor to run an alpaca farm and profess their love for the animals, too, you also know that he's just perfect. Thanks to its story about the fallout from said meteor, which turns the sky an otherworldly shade, unleashes both radiation and shape-shifting aliens, and sparks quite the wave of strange events, a film version of Color Out of Space would always garner interest. Cage has made some out-there and seemingly intentionally terrible movies in his career, especially over the past two decades, but this weird and wonderful effort doesn't fall into that category. It's bettered by his presence, because no one does unhinged and manic quite like the Vampire's Kiss, Face/Off and Mandy actor; however, filmmaker Richard Stanley (The Island of Doctor Moreau) turns this wild tale into an off-kilter, hallucinatory, kaleidoscopic, vibrantly pink and purple-hued spectacle. It occasionally lets it get a little too lost in its own delirium and can threaten to become a bit weighed down, but letting Color Out of Space's gleefully bonkers sights, sounds and story developments wash over you is all part of the experience. Read our full review.
Did you wake up this morning with a pounding headache, a few Instagram selfies of you and a beardy blur that looks like Zach Galifianakis, and a strange number in your phone? Good news! Your horrible life decisions are actually not your fault at all — it's science! Or at least that's what we'll tactfully choose to deduct from the latest research out of Spain. Researchers at the University of Granada have recently published a study that scientifically proves the existence of beer goggles. Proving that the eye actually suffers a significant deterioration in optical quality after alcohol consumption, these boozing brainiacs figured out that ethanol from the alcohol you consume makes its way into your tear ducts and clouds the outermost layer of your tear film. This affects the quality of the image you see and, when drinking at night, it increases the perception of luminous circles — halos — around the objects you view. Giving an entirely new meaning to a certain Beyonce song, this new phenomenon manifests itself best at night and ends up looking a little something like this: Pouring various quantities of prize-winning Spanish wine into their 67 subjects — who knew science was so glamourous? — the researchers deducted that these halos were most prevalent in the volunteers whose breath alcohol limit exceeded the legal driving range of 0.25mg/litre. As if we needed more evidence that you shouldn't drive under the influence, this gives some physical proof to why drunk drivers are dangerous behind the wheel. But it also has important implications for your romantic life. Picture this: you're in a dim-lit underground bar with romantic candles perched around some snug booths and a dance floor. You've partaken in a certain 2-for-1 cocktail special and followed it up with a selection of shots named after 1950s movie stars (because, what can you say, you're classy like that). A man approaches, all bearded and stylish with an effortless Joaquin Phoenix-style strut. The music's too loud and you can't really hear what he says, but you feel somewhat compelled to mush your lips on his face, slip him your number, or some smooth combination of the two. With scientific fact in hand, maybe now you can think twice before trusting your Grey Goose-laden eyes. Via Science Daily. Photo credits: katie coleslaw via photopin cc and Juan Castro/University of Granada.
In King Richard, Will Smith does more acting than expected with his back to the on-screen action. He does more acting in general — while the Ali and Concussion star can be a transformative performer, here he feels like he's overtly playing a part rather than disappearing into a role — but the way his eponymous figure handles his daughters' matches instantly stands out. Richard Williams is a tennis parent who despises the usual tennis parent histrionics. At the time the film is set, in the early 90s, he has also coached Venus (Saniyya Sidney, Fences) and Serena (Demi Singleton, Godfather of Harlem) since they were four years old, and penned a 78-page plan mapping out their futures before they were born. He's dedicated his life to their success; however, he's so restless when they're volleying and backhanding that he can't bring himself to watch. These scenes in King Richard are among Smith's best. He's anxious yet determined, and lives the feeling like he's breathing it, in some of the movie's least blatantly showy and most quietly complex scenes as well. The Williams family patriarch has wisdom for all occasions, forged from a tough childhood in America's south, plus the hard work and hustle of turning Venus and Serena into budding champions, so he'd likely have something to say about the insights gleaned here: that you can tell oh-so-much about a person when they're under pressure but nobody's watching. If he was actively imparting this lesson to his daughters — five of them, not just the two that now have 30 Grand Slam singles titles between them — and they didn't glean it, he'd make them watch again. When they see Cinderella in the film, that's exactly what happens. But his courtside demeanour is teachable anyway, recognising how all the preparation and effort in the world will still see you tested over and over. King Richard mostly lobs around smaller moments, though — still life-defining for the aforementioned trio, matriarch Oracene (Aunjanue Ellis, Lovecraft Country) and the rest of the Williams brood, but before Venus and Serena became women's tennis superstars. It unpacks the effort put in to even get them a game, set or match and be taken seriously in a sport that's whiter than the lines marking out its courts, and the chances, sacrifices and wins of their formative years. From cracked Compton courts and homemade hype videos to seizing every hard-earned opportunity: that's the tale that King Richard tells. But, despite making a clear effort to pose this as a family portrait rather than a dad biopic, it still shares an approach with Joe Bell, director Reinaldo Marcus Green's prior film. It bears one man's name, celebrates him first and makes him the centre of someone else's exceptional story. In screenwriter Zach Baylin's debut script, Richard's aim is simple: get Venus and Serena to racquet-swinging glory by any means. His DIY tapes are bait for a professional coach, but attracting one is easier said than done for a working-class Black family without country club connections facing America's inbuilt racism and class clashes, and tennis' snobbery — even if Richard knows his daughters will reach their goals. A turning point comes when, after strolling into a practice match between Pete Sampras and John McEnroe, Richard convinces renowned coach Paul Cohen (Tony Goldwyn, Scandal) to watch his kids play and take on Venus for free. While she's swiftly impressing on the junior circuit, her dad becomes concerned about her psychological and emotional wellbeing, so he next works his persuasive act on Florida-based coach Rick Macci (Jon Bernthal, The Many Saints of Newark) — with a strict no-competition rule. One of the keys to King Richard, as witnessed in its namesake's decisions about his daughters that he unyieldingly makes alone, also proves an ace when he's looking away courtside. This is a movie about how Richard put Venus and Serena on their path to becoming two of the greatest sports women ever, but it's also about imperfections, struggles and contradictions in the pursuit of excellence. That said, it's an authorised account with the tennis legends and their sister Isha Price as executive producers, so it only dives as deep as that whole situation allows. When it focuses on difficult instances where the overbearing and stubborn Richard blazes ahead but Oracene, Venus and Serena call him out and demand their say, it's a better film, although that happens less often than it should. There's texture, weight and complication here, but also a crowd-pleasing smoothing of rough edges that undercuts the feature's power. The Williams sisters deserve multiple movies about their extraordinary achievements, obviously. Their careers stress that inherently. The standout scenes they're given here — including Serena's unhappiness when put second to her sister; today, she's the one that's considered the greatest of all time — also dynamically make the case for more of their tale to reach cinemas. While always in Smith's shadow, both Sidney and Singleton are phenomenal, but the film has been designed to be the former's show. With a hunched posture and pronounced Louisiana accent, Smith is an inescapable force surrounded by far more naturalistic portrayals, including from the terrific and grounded Ellis; however, he grows into a rhythm that matches the film's message. He calls upon the charm that's been a part of his game since his Fresh Prince days, too, and pushes because Richard had to to succeed "in the champion-raising business," as the character describes it. For all the sunny hues splashed around by cinematographer Robert Elswit (a veteran of Paul Thomas Anderson's Boogie Nights, Magnolia, Inherent Vice and more), King Richard doesn't opt for gloss with the clashes working against the Williams' dream. Although Venus's professional debut in 1994 at the age of 14 and her pivotal match against then-world number two Arantxa Sánchez Vicario provides the picture's climax, it's sparing with its tennis bouts, but the battles of race and class in Venus and Serena's way are in the draw from the get-go — discussed, and also made so visible that no line calls are needed. It took a flawed yet dogged king to navigate such relentless serves of engrained prejudice and disadvantage and ensure that the world received two queens, the film posits, and does so convincingly. King Richard is still an easy win, though, rather than an all-timer.
To swim at the beach is to enjoy pure, natural beauty, but swimming at the pool allows for something else: the appreciation of nature and the human-made together. Whether driven by landlocked location, the presence of healing hot springs, or just a fear of waves, people have built stunning public swimming pools all over the world. These are ten of the best. Gellert Baths - Budapest, Hungary One hundred and eighteen thermal springs produce 70 million litres of warm water in Budapest every day. It's little wonder that the Hungarian capital is otherwise known as the 'Spa City'. Of the many pools found there, the Gellert Baths are the most visited. Built during the First World War, they are famous for their majestic, art nouveau architecture and the healing powers of their springs, acknowledged since medieval times. Badeschiff - Berlin, Germany As part of a 2004 public art project, Berlin based artist Susanne Lorenz transformed the hull of a 32m-long ship into a swimming pool and set it afloat it on the River Spree. Known as the Badeschiff, meaning 'bathing ship' in English, it is now one of Berlin’s primary summer attractions and includes table tennis tables and DJs for year-round fun. Montjuic Municipal Pool - Barcelona, Spain If you're a Kylie Minogue fan, you might recognise this view. She and a crowd of rather statuesque divers spend her video clip 'Slow' rolling around on beach towels next to the Montjuic Municipal Pool. Located on a hill high above Barcelona, this one offers spectacular scenery and Olympic diving boards. The Blue Lagoon - Reykjavik, Iceland The silica- and sulphur-rich waters of the Blue Lagoon are believed to possess powerful medicinal qualities. Whether or not you're one of the faithful, you're bound to be seduced by the mystical surroundings and the year-round 37-39°C water temperatures, especially if you're visiting during one of Reykjavik's icy winters. Having appeared in The Amazing Race 6, Hostel: Part II, and Britain's Next Top Model, the Blue Lagoon is one of Iceland's star tourist attractions. Yrjonkatu Swimming Hall - Helsinki, Finland This one is a must for skinny dipping enthusiasts. Up until 2001, you weren't even allowed in the Yrjonkatu with your clothes on. These days, nudity is still popular, but not obligatory, and men and women must visit at separate times. Established in June 1928, Yrjönkatu is Scandinavia’s oldest indoor public swimming pool. Its stunning classical-style architecture conjures up an atmosphere reminiscent of the ancient Roman baths. Barton Springs Pool - Austin, Texas For thousands of years, the Tonkawa Native American tribe used the springs that feed into Barton Pool during sacred rituals. Acquired by settlers in the 19th century and then by the City of Austin during the 1920s, the springs have been transformed into a public pool, which now lies inside Zilker Metropolitan Park. The water temperature is never much lower than 20°C and rarely exceeds 22°C, so you can take the plunge in comfort at any time of year. Pocas do Gomes - Madeira, Portugal The Pocas do Gomes lie on the idyllic southern edge of Madeira, a Portugese archipelago located 400km north of the Canary Islands. Naturally formed from volcanic rock, these pools enable expansive views over the Atlantic Ocean. A nearby restaurant offers fresh seafood and Portugese-style culinary delights. Piscine Molitor - Paris, France The Piscine Molitor, after which Yann Martel's increasingly famous fictional hero is named, may not be considered one of the world’s most beautiful pools right now. Built in 1929, but having closed in 1989, it became a favourite haunt for hoodlums and graffiti artists throughout the 1990s. However, a 2014 reopening promises the reconstruction of the pool in all its art deco glory. If Ang Lee's imaginative depictions are anything to go by, the Piscine Molitor will soon be vying for top of the list. Krapfenbaldwad - Vienna, Austria Situated just outside of Vienna and surrounded by vineyards, Krapfenbaldwad affords sweeping views. Given that Austria is landlocked, this pool provides some welcome cool relief for both locals and visitors and is often packed during the summer months. The old-fashioned changing rooms add an olde worlde charm to the bathing experience. Bondi Icebergs Baths - Sydney, Australia Finally, we'd be doing ourselves a disservice were we to forget that some of the most beautiful scenery on Earth is on our doorstep. The Waverley Council recognised this back in the 1880s, when they built the Bondi Baths at the southern end of Australia's most popular beach. Since 1929, the Baths have been home to the famous Icebergs, the only licensed Winter Swimming Club in the world. To be a member, you must be willing to swim at least one length of the 50m pool on three Sundays out of every month, all winter long. Any attempts at an excuse will only see your membership relinquished. If that’s not quite your style, take a dip at your leisure for $5.50 (adults) / $3.50 (children/Seniors).
It's a question that film festivals face each and every year: how do you kick off? For the Melbourne International Film Festival in 2025, the answer comes courtesy of an award-winner with Australian ties that'll enjoy its Aussie premiere in the Victorian capital. The movie opening the fest on Thursday, August 7: If I Had Legs I'd Kick You starring Rose Byrne (Physical). The dramedy initially debuted at Sundance to significant acclaim, then made its way to the Berlin International Film Festival — and saw Byrne take home that fest's Silver Bear for Best Leading Performance. Scoring the opening-night slot at MIFF is no small feat, either, with attendees set to watch its lead portraying Linda, a psychologist struggling with balancing her clients, an ill child and an abyss on her building's roof. [caption id="attachment_1011660" align="alignnone" width="1920"] Nick Robertson[/caption] Fellow Aussie Danielle Macdonald (The Last Anniversary) co-stars, as does Conan O'Brien (Curb Your Enthusiasm), Christian Slater (Dexter: Original Sin) and A$AP Rocky (Highest 2 Lowest). Also among the cast: If I Had Legs I'd Kick You's writer/director Mary Bronstein (Yeast). "I am beyond thrilled to be bringing If I Had Legs I'd Kick You to MIFF. That would have been enough, but I am further honoured and gobsmacked to have been selected to open the festival," said the filmmaker. "My film is built around an unprecedented performance by one of the most-talented actors that has ever come out of Australia: Rose Byrne. It is all the more meaningful for me to be able to personally share Rose's soul-shattering work, along with the stunningly raw co-starring performance of fellow Australian Danielle MacDonald, with such celebration and reverence in their home country." "This New Yorker has never been to the other side of the globe before and I can't think of a better way to first experience beautiful Melbourne than through such deep appreciation for not just my film, but cinema in general, as MIFF is known around the world for." [caption id="attachment_1011661" align="alignnone" width="1920"] Nick Robertson[/caption] Added MIFF Artistic Director Al Cossar, "I'm so thrilled the electrifying If I Had Legs I'd Kick You opens this year's MIFF with some of the most intensely accomplished filmmaking you'll see this year. Urgent, funny, and audacious, we couldn't be prouder that Bronstein's singular vision will set the start to MIFF's 18-day immensity of cinema-going, as we welcome Melbourne audiences back once more to our 300-plus film adventure through the world's imagination." Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 in 2025, and began announcing this year's lineup back in June, ahead of the full program dropping on Thursday, July 10. Other highlights so far include Parasite composer Jung Jae-il coming to Australia to conduct the movie's score live in an Aussie exclusive, Jafar Panahi's Cannes Palme d'Or-winning It Was Just an Accident, almost-100-year-old masterpiece The Passion of Joan of Arc with a new score by Julia Holter performed live, an Australian time-loop comedy involving tequila, a Baker Boy- and Hugh Jackman (Deadpool & Wolverine)-narrated tribute to David Gulpilil, Eternal Sunshine of the Spotless Mind filmmaker Michel Gondry's latest and the world-premiere of natural disaster-focused virtual-reality documentary When the World Came Flooding In. The 2025 Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, including the full program from Thursday, July 10, visit the MIFF website.
It's a film about searching for treasure, and it is indeed a treasure. La Chimera is also dreamy in its look and, while watching, makes its viewers feel as if they've been whisked into one. There's much that fantasies are made of in writer/director Alice Rohrwacher's fourth feature, which follows Corpo Celeste, The Wonders and Happy as Lazzaro — God's Own Country breakout and The Crown star Josh O'Connor leading the picture as a British archaeologist raiding tombs in 80s-era Italy chief among them. Thinking about Lara Croft, be it the game, or the Angelina Jolie (in 2001 and 2003 flicks)- or Alicia Vikander (2018's Tomb Raider)-led movies, is poking into the wrong patch of soil. Thinking instead about the way that life is built upon the dead again and again, and upon unearthed secrets as well, is part of what makes La Chimera gleam. Rohrwacher's latest, which also boasts her Happy as Lazzaro collaborator Carmela Covino as a collaborating writer — plus Marco Pettenello (Io vivo altrove!) — resembles an illusion not just because it's a rare mix of both magical-realist and neorealist in one, too (well, rare for most who aren't this director). In addition, this blend of romance and drama alongside tragedy and comedy sports its mirage-esque vibe thanks to being so welcomely easy to get lost in. As a snapshot of a tombaroli gang in Tuscany that pilfers from Etruscan crypts to try to get by, it's a feature to dig into. As an example of how poetic a film can be, it's one to soar with. The loose red thread that weaves throughout La Chimera's frames, intriguing folks within the movie, also embodies how viewers should react: we want to chase it and hold on forever, even as we know that, as the feature's 130 minutes tick by, the picture is destined to slip through our fingers. Wearing his crumpled linen suits and residing in his makeshift shack, O'Connor's Arthur knows what it's like to not be able to grasp tightly onto what you want. Just as the movie that he's in transports its audience four decades back, he's stuck in the past, obsessing over the missing Beniamina (Yile Yara Vianello, The Beautiful Summer). Stolen Italian artefacts are his trade, with friends to help with the excavations but his own divining methods (rod included) locating where an invisible X marks the spot. When he's not dowsing and delving, or offloading the loot he extracts to antiquities dealers who profit from and perpetuate the cycle of tombaroli thievery far more than Arthur and his pals, the mansion of Beniamina's mother Flora (Isabella Rossellini, Spaceman) is his frequent pilgrimage. It was equally true of The Wonders and Happy as Lazzaro: a movie by Rohrwacher, and with cinematographer Hélène Louvart (Disco Boy, The Lost Daughter, Never Rarely Sometimes Always) behind the lens, is a movie that looks ethereal and earthy at once. Shot on a mix of different film stocks (35-millimetre, 16-millimetre and Super16), La Chimera's imagery virtually floats, but it similarly sees the dirt and the grit. Arthur's journey couldn't better live and breathe that contrast as he illicitly uncovers riches in a marvellous setting, but not without the grime and the risk that goes with it. He also starts the feature freshly released from jail for his grave-robbing manner of making a living, then spends his time chasing more 2000-year-old pieces — pottery, statues and such — that mysterious broker Spartaco will pay for, as punctuated with chats with Flora and a burgeoning connection with her housekeeper Italia (Carol Duarte, Segunda Chamada). The language of archaeology, whether taking from the dead or studying history through its physical remains, is the language of discovering and seeking — and mine, disinter and pursue, Arthur does, including with his feelings and hopes. He pines for his lost love while burrowing down where valuables, secrets and lives gone by are kept; he's navigating his own Orpheus and Eurydice as well. He's haunted, plunging literally to where such torments spring from in humanity's eternal grappling with mortality, and also emotionally and psychologically into memories that gnaw as if they too are possessed. A mastery of symbolism is among Rohrwacher's many skills as a filmmaker; however, so is a command of effortlessly lingering in the realm, as La Chimera does, between the tangible and intangible. Here's another talent to her name: casting, especially with O'Connor standing in front of the camera. While Rossellini's involvement is a magnificent touch — only she can switch to marauding from warm, and back, so naturalistically and so quickly; also, the link with Italian cinema history that she brings via her director father Roberto Rossellini, the neorealist great, is so wonderfully apt — O'Connor is an exquisite choice as La Chimera's lead. Rumpled charm, lost-soul melancholy, drifting and yearning, a hold on his temper that's flimsier than a deal on the relics black market: as Arthur, he conveys or has them all. A picture as enigmatic as this needs someone at its centre that's able to both go with its flow and be grounded — and again, in a role that joins Mothering Sunday, Emma, Hope Gap and Challengers on his post-God's Own Country resume, that's O'Connor. As La Chimera proves evocative and expressive, and loose and playful, it takes its audience on an adventure so layered and distinctive that Rohrwacher could be the only one guiding it. Thoughtful and contemplative as her film also is, it has clear eyes to stare daggers at social inequality, and towards those who think that they can own the past. Forming a trilogy with The Wonders and Happy as Lazzaro — one about beekeepers, the other about sharecroppers, each fascinated with communities that are far from the everyday now, as with the tombaroli — La Chimera almost feels as if it has pulled off a heist itself, then. In ensuring that every single element of the movie works perfectly, this gem steals itself a place as an unforgettable piece of cinema; long may it keep being cherished.
UPDATE, September 24, 2020: Arctic is available to stream via SBS On Demand, Google Play, YouTube Movies and iTunes. Whether stranding Sandra Bullock in space in Gravity, casting Robert Redford adrift in All Is Lost or pitting Liam Neeson against wolves in The Grey, survival thrillers rise and fall on the strength of their performances. You can now add Mads Mikkelsen to the list of actors testing their mettle against the elements — and add him to the ranks of stellar near-solo portrayals as well. His character, Overgård, is trapped in the Arctic Circle. Snow and rock stretch out as far as his weary eyes can see, the remnants of a crashed plane provide his only shelter, and greeting each morning relies on his wits and will. As a result, much of Arctic involves looking at his weathered, determined face, and it paints a compelling picture. Details are hard to come by in Arctic, which thrusts viewers into the thick of Overgård's plight from its opening frames. He's first spied scraping away at the ground to create a giant SOS sign, then tending to his icy fishing holes, and then cranking the transmitter he hopes will attract the attention of any aircraft that happen to fly nearby. The specifics of his situation — why, when, how — aren't offered, and they aren't important. All that matters is his dogged fight to survive. Before long, however, he's not the only person trying to endure oppressively frosty climes. A helicopter appears like something out of Overgård's dreams, but then it swiftly crashes, leaving an injured and unconscious woman (Maria Thelma Smáradóttir) in his care. While the scenario might sound familiar, The Mountain Between Us this isn't. Arctic is concerned with survival and nothing more, with no rosy backstories or blossoming romances. Writer-director Joe Penna and his co-scribe Ryan Morrison understand the most crucial aspect of their chosen genre: that there's nothing more powerful than watching a tale of life and death play out in the actions and expressions of a desperate protagonist. Faced with challenge after challenge — finding food, abiding the cold, attending to injuries, contending with polar bears, staving off frostbite and more — Overgård becomes the ultimate everyman. The circumstances he's navigating might be nightmare fuel for most, but the mechanics of soldiering on when the world is sparse, conditions are harsh and a disaster could wipe you out are both potent and relatable on an existential level. The key, unsurprisingly, is Mikkelsen. The Danish star has played a grimy drug dealer in crime franchise Pusher, a suave Bond villain in Casino Royale, a persecuted teacher in The Hunt and a cannibalistic sociopath in TV series Hannibal, amassing a hefty resume and becoming one of the finest actors working today. Monopolising the screen in Arctic, he's at his best as a man confronting his worst experience and persevering by any means necessary. His performance is one of loaded silence and telling physicality; of saying more by saying nothing. The exertion as Overgård battles the inhospitable conditions, the care as he treats a stranger's wellbeing like his own, the desolation as he thinks his quest will never end — Mikkelsen ensures that viewers always share the ride on his character's emotional rollercoaster. Indeed, when there's a talent like Mikkelsen leading the charge, it's easy to overlook Arctic's generic moments. Much about the film fits the survivalist playbook, yet it never feels routine — just recognisable. And when the movie's star isn't stealing the show, Brazilian first-timer Penna and his cinematographer Tómas Örn Tómasson have the ideal substitution, with Iceland's frozen vistas telling their own intricate tale. As lensed with an awareness of the landscape's stark beauty as well as its evident dangers (and often viewed in wide and aerial shots that emphasise its enormous size), Arctic's vast expanse of ice and snow perfectly reflects Overgård's inner state. https://www.youtube.com/watch?v=MjlJm_SJc3Y
Adapted from Kazuo Ishiguro's 2005 novel, the film version of Never Let Me Go is equal parts science fiction and love triangle, with one pretty girl wistfully gazing after the attractive boy who falls for another and remains impervious to her waif-like charms. Starring Andrew Garfield, Carey Mulligan and Keira Knightley, who both scored Academy Award nominations for their performances, the film has earned itself critical acclaim and a reputation for possibly making you cry. Beginning as a British boarding school jaunt with a period feel, you quickly learn that this is no ordinary school. Instead, it unravels that theirs is a boarding school for clones designed to become organ donors in a dystopian alternate reality where humans create people with the express purpose of killing them. We follow the three main characters through school and into adulthood, as they have to begin to come to terms with the tumultuous feelings they have for each other, while they face the haunting future that awaits them all. We have 30 double passes on offer to the film, which opens on March 31. To enter, make sure you're a subscriber to the Concrete Playground newsletter, and then shoot us an email at hello@concreteplayground.com.au for your chance to win. https://youtube.com/watch?v=EUPsKjdtQSM
For much of the six years that a new Hayao Miyazaki movie has been on the way, little was known except that the legendary Japanese animator was breaking his retirement after 2013's The Wind Rises. But there was a tentative title: How Do You Live?. While that isn't the name that the film's English-language release sports, both the moniker — which remains in Japan — and the nebulousness otherwise help sum up the gorgeous and staggering The Boy and the Heron. They also apply to the Studio Ghibli's co-founder's filmography overall. When a director and screenwriter escapes into imaginative realms as much as Miyazaki does, thrusting young characters still defining who they are away from everything they know into strange and surreal worlds, they ask how people exist, weather the chaos and trauma that's whisked their way, and bounce between whatever normality they're lucky to cling to and life's relentless uncertainties and heartbreaks. Miyazaki has long pondered how to navigate the fact that so little while we breathe proves a constant, and gets The Boy and the Heron spirited away by the same train of thought while climbing a tower of deeply resonant feelings. How Do You Live? is also a 1937 book by Genzaburo Yoshino, which Miyazaki was given by his mother as a child, and also earns a mention in his 12th feature. The Boy and the Heron isn't an adaptation; rather, it's a musing on that query that's the product of a great artist looking back at his life and achievements, plus his losses. The official blurb uses the term "semi-autobiographical fantasy", an elegant way to describe a movie that feels so authentic, and so tied to its creator, even though he can't have charted his current protagonist's exact path. Parts of the story are drawn from his youth, but it wouldn't likely surprise any Studio Ghibli fan if Miyazaki had magically had his Chihiro, Mei and Satsuki, or Howl moment, somehow living an adventure from Spirited Away, My Neighbour Totoro or Howl's Moving Castle. What definitely won't astonish anyone is that grappling with conjuring up these rich worlds and processing reality is far from simple, even for someone of Miyazaki's indisputable creative genius. Brilliance fills The Boy and the Heron visually, with its lush and entrancing hand-drawn animation both earthy and dreamlike, and its colour palette an emotional mood ring. Being trapped between two states, domains, zones and orbits recurs here in as many ways as Miyazaki can layer in. This is a film with a raging wartime fire that haunts with its flames, plus a traditional countryside home rendered with such detail that viewers can be forgiven for thinking they could step right into it — and of a tunnel where floating bubbles called warawara wait to be born, pelicans lament the circle of life and masses of people-eating oversized parakeets demand to enforce order. It's also a movie where the titular bird looks as a grey heron should, then flips its beak back like a hoodie to show something less standard loitering. Said fish-eating wader and the eponymous boy frequently make a pair, but the former is also the latter's white rabbit: following the feathered figure does indeed make everything curiouser and curiouser. Voiced by The Days' Soma Santoki in the Japanese original and No Hard Feelings' Luca Padovan in the English-language dub that's needless for adults but helpful for young children, Mahito Maki starts The Boy and the Heron in Tokyo in 1943 during World War II. And so it is that 2023 delivers two Japanese icons, Studio Ghibli and Godzilla, each harking back eight decades to spin stories steeped in loss and pain that never stops whispering in hearts and minds. As heralded by air-raid sirens, bombings leave 11-year-old Mahito without his mother. For viewers, the tragedy sees Miyazaki nodding to his own mourning for Isao Takahata, his Ghibli co-founder, who died in 2018. Grave of the Fireflies, the studio's greatest film — amid fierce competition and many fellow masterpieces — is not only set during the same conflict but is mirrored by The Boy and the Heron's early moments. How do you live? By knowing what to grasp to, Takahata's old friend posits. The Boy and the Heron plays like a mix of reverie and memory, as it is, albeit with the second beaming through in emotional truths more than narrative facts. Miyazaki evacuated Tokyo in the war as a boy, however, as Mahito does when his father Shoichi (The Swarm's Takuya Kimura and Amsterdam's Christian Bale) has a new bride in his wife's younger sister Natsuko (Avalanche's Yoshino Kimura and The Creator's Gemma Chan). The change doesn't usher in a reprieve from the quiet and lonely kid's longing for his mum. Instead, it brings the talking heron (Don't Call It Mystery: The Movie's Masaki Suda and The Batman's Robert Pattinson) and everywhere that the creature leads. In a feature with more thoughtful touches than a seemingly endless flock of parrots has feathers, that Mahito's mother and aunt's family estate springs from a great uncle said to have gone mad from reading too many books is quite the inclusion. Stories defined that relative's world, then, which Miyazaki makes literal. After beginning patiently, Miyazaki also makes following Mahito a tumble down the rabbit hole for his audience. Always inventive as a storyteller and a visionary, the Laputa: Castle in the Sky, Kiki's Delivery Service, Princess Mononoke and Ponyo helmer and scribe's return to cinema keeps besting its spectacle while giving Studio Ghibli some of its most breathtaking images (as set to a score by Joe Hisaishi, who's been doing the honours for the director for four decades, of course). There's no such thing as merely a pretty, dazzling or radiant picture for the great animation house, though. As meticulously controlled as its work is during its creation, with animators sketching in every single thing that's seen, Ghibli is unparalleled in understanding the expressive nature of its chosen medium. In conveying how war, growing up, death, love, fear, isolation, sadness, yearning, belonging, standing out, connecting and just life is a whirlwind of confusion, Miyazaki not only lets his imagination take flight, but his flair. The Boy and the Heron can be as trippy as his company's output gets — and as emotionally raw. Since 1984's Nausicaä of the Valley of the Wind, no one has made movies like Miyazaki, other than Takahata. As The Boy and the Heron sails through light and darkness, hope and horror, serendipity and choice, and alienation and acceptance, it also bobs and weaves through many of its filmmaker's trademarks, gleaning that the elements that can unite people and features alike can manifest in as many different ways as an ocean has waves. The pull to retreat then return is the same, whether for a director saying that he's retiring several times (including in 1997 and 2001, after Princess Mononoke and Spirited Away, respectively) or a lost child desperate to flee his hurt and bewilderment. An extraordinary return, and a personal one, The Boy and the Heron isn't expected to be Miyazaki's latest movie now that he's back behind the camera, but it's also the awe-inspiring piece of alchemy that it is because of that history.
The Art Gallery of New South Wales (AGNSW) has been given the green light by the NSW Government to go ahead with its $344 million expansion, dubbed the Sydney Modern Project. Kicking off in early 2019, the multimillion-dollar project is the gallery's bid to better compete with its interstate counterparts. While it was the country's most visited gallery in 2007, AGNSW has since dropped to fourth position behind Melbourne's NGV and ACMI and Queensland's GOMA. It's predicted this expansion will double the number of visitors to the Gallery. The ambitious plans, designed by Pritzker Prize-winning architecture and design practice, SANAA — who is also behind New York's New Museum of Contemporary Art and the Louvre's satellite museum in Lens — would double the current exhibition space, incorporating an entirely new building and an outdoor public art garden. The new building, set to cover 7,830 square metres, will include a gallery for Aboriginal and Torres Strait Islander art and a contemporary art space created from an old WWII oil tank. The expansion will also make the AGNSW Australia's first six-star Green Star rated public art museum, with the new building decked out with solar panels, rainwater tanks and an energy efficient method of air conditioning. The State Government already agreed to drop $244 million on the project back in June, with the gallery raising the remaining $100 million from private donations. Construction on AGNSW's Sydney Modern Project will begin in early 2019 and is slated for completion in 2021. The Gallery will remain open during this time. Images: Kazuyo Sejima + Ryue Nishizama/SANAA, courtesy of the AGNSW.
Sydneysiders have always liked writing obscurely profound things on the walls of the city. Sydney's the kind of city that breeds people like Arthur Stace, a reformed illiterate alcoholic who spent thirty-five years writing the word 'Eternity' in chalk all over the streets of Sydney in copperplate script, which can still be seen inside the bell of the GPO clock tower. And you still see street writing everywhere, from the scrawled messages on bus stops and railway underpasses, to the 'I have a dream' mural on King Street and heartfelt declarations like 'hands held violently onto words that meant nothing' on the back of St Stephen's Church in Camperdown Memorial Park. Now we can add to this list the moss poetry which has recently popped up in Sydney's own version of the Hanging Gardens of Babylon, Paddington Reservoir Gardens. The walls of the reservoir are currently covered in growing poetry, as part of a typographic installation entitled ''Modern Day Mossages. Created from locally sourced mud and moss, the words and phrases have been contributed by emerging Sydney poets paying tribute to John Thompson, founder of the resident action group The Paddington Society, after whom one of the Reservoir's gardens is named after. The moss poem is the product of a collaboration by members of Popperbox, a collective of Sydney-based artists, designers, illustrators and software engineers, who have been making experimental and accessible pieces since their formation in 2007. The installation aims to make you think about growth, nourishment, rejuvenation and the future, and was attached to the sandstone walls of the historic reservoir using a pungent mixture of heavy clay soil, beer and yoghurt. The artists are monitoring the growth of the moss daily in the hopes that it will continue to grow, although that shouldn't be a problem given the deluge which appears to be sticking around for the rest of the month. Modern Day Mossages is a short-term installation, one of three projects commissioned by the City of Sydney for the Paddington Reservoir Gardens in 2012. [Via D*Hub]
There's a difference between embracing the fantastical and making fantasy. As a book since 2018, then a stage production and now a seven-part Netflix series, Boy Swallows Universe knows how to fly in the first direction without becoming the second. Author and journalist Trent Dalton spins a semi-autobiographical 80s-set story, which surveys his childhood and its challenges with clear eyes, but also brims with hope and zero judgement. That's protagonist Eli Bell's (Felix Cameron, Penguin Bloom) approach to everything, including his recovering addict mother Frankie (Phoebe Tonkin, Babylon), his heroin-dealing stepfather Lyle Orlik (Travis Fimmel, Black Snow), his alcoholic and agoraphobic dad Robert (Simon Baker, Limbo), and his elder brother Gus (Lee Tiger Halley, The Heights), who hasn't spoken since a traumatic incident in the siblings' past. It's also how he sees family friend, babysitter, father figure, and no-nonsense but supportive source of wisdom Slim Halliday, as played by Australian acting icon Bryan Brown in Boy Swallows Universe's leap to the screen. The character is one of Dalton's great inclusions and, as with much in the novel, doesn't merely stem from Dalton's imagination. The name, that he spent decades in the Queensland capital's Boggo Road Gaol for the death of a taxi driver, his multiple escapes from the notorious prison: they're all 100-percent real. So is the fact that the young Dalton knew the convicted murderer when he was a boy growing up in Brisbane's west. Casting Brown is like most talent choices in Boy Swallows Universe: a dream pick. Chatting with Concrete Playground about the part and the Brisbane-made series, he's full of praise about Cameron as 12-year-old force-of-nature Eli. "He's a fabulous young kid and he's done a fabulous job," he advises. But Brown's own inclusion, like Tonkin, Fimmel, Baker, Halley, Totally Completely Fine's Zac Burgess as the older Eli, Talk to Me's Sophie Wilde's as Caitlyn Spies and more, is just as pitch-perfect. To Eli, Slim is a man with answers, encouragement and no sugarcoating — someone who believes in him, wants the best for him, but won't skip over life's realities. Try to picture an Aussie actor who'd nail the role and Brown is alone in springing to mind. Boy Swallows Universe joins his almost five-decade-long resume, at a time when Brown jokes that "someone asking me to do a job now is quite a good thing". In the past five months, he's been on-screen almost constantly — in fellow streaming series C*A*U*G*H*T, the recut of Baz Luhrmann's Australia as miniseries Faraway Downs and in US-produced but Sydney-shot rom-com Anyone But You. His career has followed the same path since the mid-70s, and reads like a history of Aussie film and television. For both 1980's Breaker Morant and 1999's Two Hands, he has Best Supporting Actor Australian Film Institute Awards. In the latter as with Boy Swallows Universe, he was paired with up-and-comer: there, it was Heath Ledger. [caption id="attachment_935699" align="alignnone" width="1920"] Jono Searle/Getty Images for Netflix[/caption] Brown's credits also span The Chant of Jimmy Blacksmith, Newsfront, The Shiralee, Dirty Deeds, Beautiful Kate, Red Dog: True Blue and Sweet Country. The list goes on. Over in Hollywood in the 80s, after TV's A Town Like Alice was a hit overseas as well as at home, he earned Golden Globe and Emmy nominations for The Thorn Birds, led action-thriller F/X, famously mixed drinks with Tom Cruise (Mission: Impossible — Dead Reckoning Part One) in Cocktail and starred opposite Sigourney Weaver (The Lost Flowers of Alice Hart) in Gorillas in the Mist. In 2004, he featured in the Ben Stiller (Locked Down)-led Along Came Polly as well. With Boy Swallows Universe, Brown was drawn in as everyone who has come across it in any form has been: by the story. Initially introduced via screenwriter John Collee's (Hotel Mumbai) scripts, he found it as astonishing as readers, theatre patrons and viewers keep doing. The series that results is now streaming — and we spoke with Brown about his first responses to Dalton's tale, his eagerness to play Slim, taking on someone with layers both on the page and in reality, mentoring Cameron, why everyone loves Boy Swallows Universe and more. ON BROWN'S FIRST EXPERIENCE WITH THE BOY SWALLOWS UNIVERSE STORY "The scripts. I hadn't read the book, and the producer Troy Lum (Palm Beach) sent me John Collee's — at that stage — eight one-hour scripts, and I thought they were quite wonderful, the scripts. That then led me to go get the book and read the book, and to thoroughly enjoy it and go 'this is a remarkable story this', given it was basically true. And so to be able to be a part of it, I was only too willing." ON WHAT APPEALED TO BROWN ABOUT PLAYING SLIM HALLIDAY "I think the fact that he was a crim, but we don't meet him doing anything criminal. We hear about what a crim he was, and how he'd been in jail for 30 years and how he'd escaped, but we see him as someone that really wants to help the boys not go the way that he did. So I think it's the fact that he's not as you would expect him to be. When someone says 'I've got a part for you to play, it's a crim, love you to do it' — [but] basically I'm babysitter in this." ON HOW TO PREPARE FOR A PART THAT ISN'T JUST A CHARACTER IN TRENT DALTON'S BOOK, BUT A REAL-LIFE PERSON "Basically I can only play the scripts. So if there's something missing in the scripts, then I go 'this conflicts with something else, I need to know more about it'. But the scripts were so well done, the character was so well-outlined, the relationship with the boy was so clear and it felt quite instinctive to be able to play — I didn't have to research his criminal activity. None of that came into the playing of this piece. So it was about trying to understand why he wanted to be with the boy and behave as he did, and pretty well the scenes answered that for me." ON PLAYING SLIM AS NO-NONSENSE BUT SUPPORTIVE, AND A FATHER FIGURE FOR ELI "Once again, I come back to how well something's written. If a character is written well, you're just pulling the glove on and getting on with it. It's where something comes into conflict or it doesn't make sense that you're at sixes and sevens in trying to play something. But this was so well-written on the page that I was able to play it pretty easily. It was a part that was enjoyable to play." ON HOW BROWN SEEES THE RELATIONSHIP BETWEEN SLIM AND ELI "I guess it is a bit father-son, but it's better than that. It's like he doesn't have to be the parent and exercise certain disciplines — he just has to be there as someone that appreciates and would always be there for the boy. And just that knowledge that he gives to the boy, there is someone solid here that believes in me, that's the relationship that I think that Slim brings." ON HOW THAT MENTORING RELATIONSHIP TRANSLATED WITH FELIX CAMERON OFF-SCREEN "People would probably say it did. We got on very well. We had a lot of fun together. He's a cheeky little bugger, and I really enjoyed mucking around with him. But behind all that there's a very bright young fella — and there's a fella who, obviously he's got wonderful parents. There's a boy that appreciates pretty well everything that's going on here. He appreciated doing this. It never went to his head in any way. I'm sure there were areas of confusion for him, but he never brought that to the table." ON WHY BOY SWALLOWS UNIVERSE CONTINUES TO STRIKE SUCH A CHORD "I think it is a story of hope. The boys want and hope that their life will be better, and do everything — they don't judge their parents, there's no judgement in this show about people, but there is the boys who just see that there's a life out there, and hope that they can have a life that's different to the ones that their parents are experiencing. I think that there's a joy in that. It's not a dour story. It's not a dark story. There's darkness in things that happen with the characters, but it's not a dark story. It's a story of hope and desire from the boys to have a real life, and I think you can't help but get affected by it." [caption id="attachment_935703" align="alignnone" width="1920"] Chris Hyde/Getty Images for Netflix[/caption] ON WHAT BROWN LOOKS FOR A ROLE "It's pretty easy. I read it. I go 'do I like the story?'. If I don't like the story, there's no point even thinking about the part. And if I do like the story, then I look at the character and I go 'how does this character contribute to the story?' and 'can I do something of value with that character that makes that story live?'. It's pretty straightforward. I know pretty well straight away if I don't want to something. But if I'm a bit intrigued, then I have to ask myself more questions as I go through it. Once again, it's instinct. I look at it and I go: 'am I there? Can I be there?'. And if I can, the other side of it is, I like to know who else is doing it, and I like to know who the production company is and who the director will be to make me feel confident about that it can be done well." Boy Swallows Universe streams via Netflix, arriving on Thursday, January 11, 2024. Read our review. Images: courtesy of Netflix © 2023.
Winter is not traditionally ice cream weather. However, when that ice cream is being served up by Gelato Messina — voted best gelato in Australia, officially by Good Food Guide and unofficially by our taste buds — seasons no longer matter, only the taste and the chance to devour as much as you can, and that chance just became a whole lot easier thanks to UBER. The on-demand private driver service has teamed up with the gelato giant for Friday, July 19, only to deliver their deliciousness directly to your door. UBER Ice Cream Trucks will be transporting specially prepared packs of Messina around Sydney from 2pm to 10pm and you can enjoy this service with the simple flick of a finger. To order, download the UBER app, then just open it, move the slider to the 'Ice Cream' option and request a delivery to your door in minutes — $20 will get you a 500ml tub and some UBER merch. It's easier than serving your own ice cream at home, and definitely more delicious (no offence to your ice cream, but this is pretty much the best there is). You can keep up to date with all of the action on Twitter and Instagram if you want (@Uber_Sydney and #UBERICECREAM) whilst devouring your mouthwatering treat but remember, this is for today Friday, July 19, only (or as I like to call it, ice-cream Christmas), so take advantage of this offer whilst you can. Heck, buy an extra freezer and order all of the ice cream. Whilst that may seem rash to the uninitiated, Gelato Messina fans know that this would be a wise move — to avoid the queues at least. Concrete Playground readers get an exclusive offer when they join Uber. Use the code CPVIP and get $20 off your first ride. The offer is available to new users only and is valid for all Black and Lux car services.
Musical fans of New South Wales and Victoria, the iconic theatre shows just keep coming, including for return seasons — and the latest production heading the region's way again wants you to take a jump to the left, then a step to the right. After already starting its Australian comeback in 2023, which featured Sydney and Melbourne stints, The Rocky Horror Show has locked in return dates to both cities in 2024. For half a century now, this hit musical has been astounding. And, with the Richard O'Brien-created production lasting that long, perhaps time really is fleeting. Either way, whenever this sci-fi/horror musical hits the stage — and wherever — a glorious kind of madness takes its toll. Come February, Melburnians will be able to listen closely again. From the end of March, the same will be true for Sydneysiders. Jason Donovan will be back as Frank N Furter, too, putting his hands on his hips, then bring his knees in tight at the Athenaeum Theatre and Theatre Royal Sydney. The dates: from Friday, February 9 in Melbourne and from Sunday, March 31 in Sydney. The show is also doing a Newcastle season from Friday, January 12 at the Civic Theatre. On offer: the tale that theatre audiences have loved for five decades — and movie-goers as well, thanks to 1975's iconic big-screen release The Rocky Horror Picture Show. For the uninitiated, the story involves college-aged couple Brad Majors and Janet Weiss getting a flat tyre, then wandering over to an old castle to ask for help. That's where they discover an extra-terrestrial mad scientist from the galaxy of Transylvania, plus his staff and his Frankenstein-style experiments. Spicks and Specks favourite Myf Warhurst will also be back as The Narrator. The show also features fellow returnees Ellis Dolan (School of Rock) as Eddie/Dr Scott, Darcey Eagle (Cruel Intentions: The 90s Musical) as Columbia, Deirdre Khoo (Once) as Janet and Henry Rollo (Jagged Little Pill the Musical) as Riff Raff. Since initially premiering in London in June 1973, The Rocky Horror Show has played in more than 30 countries — and over 30 million people have seen songs like 'Science Fiction/Double Feature', 'Dammit, Janet!', 'Sweet Transvestite', 'Over at the Frankenstein Place' and 'Touch-a, Touch-a, Touch-a, Touch Me'. If you haven't been before — and missed the live broadcast from Sydney back in March — this is your turn to join in. THE ROCKY HORROR SHOW 2024 AUSTRALIAN TOUR: From Friday, January 12 — Civic Theatre, Newcastle. From Friday, February 9 — Athenaeum Theatre, Melbourne From Sunday, March 31 — Theatre Royal Sydney The Rocky Horror Show's 2024 Australian tour will kick off in January, with tickets on sale now via the production's website. Images: Daniel Boud.
If catching a flick in style is your thing, get ready to plan a night out at Restaurant Hubert. The subterranean CBD restaurant and theatre is back with another season of its hit Magnum & Movies series for 2023, entertaining Sydneysiders with film, food and plenty of wine (in magnums, of course). It'll largely all take place every second Monday in Hubert's Theatre Royale, to really ramp up the film-meets-dinner vibe. Each evening will feature plenty of popcorn; canapes on arrival; an intermission buffet featuring braised beef cheek, roasted heirloom carrots and seasonal buttered greens; Restaurant Hubert's famous crème glacee for dessert; and magnums of wine, which will be passed around throughout the night. While past events have had running themes, this season's group of films is quite varied. Star-studded titles like The Big Short (January 23) sit alongside classics such as Amelie (February 13 and February 14) and Whiplash (March 27), while other picks include Dallas Buyers Club (February 27) and beloved music documentary Searching for Sugar Man (March 13). Tickets don't come cheap at $165 per head, but that price includes everything (food, wine, film andpopcorn). And, it's the kind of decadent weeknight affair you don't get to enjoy every day. These sessions unsurprisingly sell out quickly, so booking your spot ASAP is recommended.
Next time you have a great idea while making a cup of coffee, it could spark a hit comedy flick. That's what happened to Jackie van Beek, New Zealand comedian and one half of the writing/directing/acting duo behind The Breaker Upperers. "I was literally just wandering aimlessly around my kitchen, and I was just thinking about all those conversations that we've all had with friends about that horrible moment when you realise that you have to break up with your partner, and that feeling of dread," she explains. "And I just thought, "gosh, how much money would somebody pay to not have to do that themselves?". And I thought it'd be quite a lot of money, and I know a lot of people that would pay to get out of that responsibility." To answer the obvious question, van Beek never considered setting up a business to end other people's relationships for cash. Instead, she called fellow NZ comedian and actress Madeline Sami, and they started working on what would become 2018's best comedy. That was back in 2013. The script took years to perfect between other jobs, and the film shot across 22 days in 2017, with a cast that included Boy's James Rolleston and Rosehaven's Celia Pacquola. This year, The Breaker Upperers premiered its tale of best friends Jen (van Beek) and Mel (Sami), their love-busting business, their various life woes and their Celine Dion karaoke singalong at SXSW, and then opened the Sydney Film Festival. "It has been a whirlwind few months," Sami observes. "I didn't really have any expectations on how it would do. You spend so long editing the film, making it, and then you're just kind of relieved to have finished it. Then it comes out, and then all of these other people see it and take it into their hearts, and it's just overwhelmingly lovely." Indeed, while The Breaker Upperers is all about helping others when love has faded, there's plenty of love blossoming for this smart, funny film, with audiences both overseas, in New Zealand and in Australia reacting warmly. With the movie now releasing around Australia, we sat down with van Beek and Sami to chat about real-life break-ups, smashing rom-com conventions and working collaboratively in a Kiwi comedy scene that also includes the film's executive producer, Taika Waititi. https://www.youtube.com/watch?v=-phMlkRiWIg ON CREATING ROLES FOR THEMSELVES THAT DIDN'T EXIST OTHERWISE Sami: "We wanted to write characters that were fucked up women in their thirties, and that didn't have to settle down. That was the big, big point for us. Otherwise it's so unrealistic and so much pressure for women, and I hate that." van Beek: "And so exclusive. We've of course got so many friends that are single, in their early forties and are not going to have a baby now. What about happy endings for those guys? So it was very important that — we love rom-coms, but it was very important for us that we buck the convention and that we didn't end with a double church wedding with two women and two men tying the knot and talking about children." Sami: "We definitely thought about it in drafts and played with the idea, and it just never sat right. And we were just like, this is really a story about being okay with who they are, and accepting that and not having to bow to society's expectations — and the movies' expectations — of what your life should be like. It's really the movies. The movies tell us that we need to have all this shit together, especially for women. I think the pressure on women in movies — just the damsel in distress thing, it goes right back to Snow White. Or in all the Disney stuff. There's a princess who's stuck in a tower or she's in a coma, which is fucking dark, and she needs to be saved. And that same thing is in rom-coms today — a woman who's…" van Beek: "All befuddled." Sami: "And needs to be saved. And it's like, no we don't. We're cool. Just chill." van Beek: "We can figure out our own mess. It doesn't have to involve a man." Sami: "And also, a happy ending doesn't have to be what we've always been told what a happy ending is. It doesn't always have to be that conventional, settle down thing. It can just be 'well you're just not as dark and fucked up as you were at the beginning of the movie'." ON DECIDING TO NOT ONLY WRITE AND STAR IN THE BREAKER UPPERERS, BUT TO DIRECT IT, TOO van Beek: "It was always on the table." Sami: "We were scared." van Beek: "Were we scared? I wasn't scared." Sami: "There was a fear that it would take the fun away from the acting, which is what the whole reason we wanted to do it. It wasn't like scared to do it — it was just whether we were going to give ourselves too much of a workload." van Beek: "Yeah that's right. We knew that if we got too stressed, and we're on screen doing improvised comedy, it's just not going to be fun for us or the audience — so the stakes were quite high in making that decision." Sami: "And then we just like, we can't think of anyone who could fulfil this vision for us that we are planning in our own heads, so why don't we just do it? Take the gamble, and make sure we surround ourselves with really talented, experienced people so that we're supported. And that's what we did." van Beek: "People who are confident at improvisation, so we could all get there. And Taika was helpful." Sami: "Taika, we've worked with a lot — and he would've been a wonderful director for this film. But we knew that we were never going to get Taika because he was on Thor and was committed to that for years. But he shares our sensibility, we've worked with him — he directed the first series of a TV show that I'd made in New Zealand called Super City, and we had a lovely time when we worked together in that way. And he'd definitely get it. But he wasn't available, so we were the ones." van Beek: "But we got Jemaine Clement, who is an old friend of ours as well, he came up for three or four days of pre-production when we wanted to stand up and start exploring the characters ourselves. He'd come into the rehearsal room, and we'd do rewrites with him, and so it was all really..." Sami: "Collaborative." van Beek: "Supportive." Sami: "We've got so much amazing talent around us in New Zealand. There's so many amazing comedians coming up, and writers, that it was just really important for us to be energised by them. So we'd just keep them around us all the time, just everyone 'come in, add a joke in here if you want, yeah that's a good idea.' Just keep it fresh for ourselves, especially because we'd been writing for four-five years, so at a lot of points in that time, when you're right in it — especially towards the end, towards pre-production — you can't see. You're really close to it." ON SEEING NEW ZEALAND COMEDY FINALLY GET RECOGNITION OVERSEAS van Beek: "With Taika's films, and Flight of the Conchords and Rhys Darby having done so well internationally — we were over at SXSW with our film, and people were saying after the screening 'that's New Zealand' humour. They were identifying it. 'We love New Zealand humour! We love you guys.' It was quite exciting that people identify it, and many thanks to Taika who brought that New Zealand comedy voice into the mainstream with Thor." Sami: "When there's a bunch of people, and when there's support — the New Zealand Film Commission have really made an effort to get in behind New Zealand comedy over the last ten years probably. And because we've had success internationally, then there's more support back home. And it's kind of like with the Danish thrillers. All of a sudden the world loves Danish thrillers, and it's just the people making them are making them really well. I guess coming out of New Zealand right now, we've got a lot of great comedy, and it's just a time where it's just being recognised for what it is." van Beek: "Long may it last." Sami: "It's exciting. It's really just, I think, the world getting to know that New Zealand comedy a bit — and it started with Flight of the Conchords. There's an awkwardness to the comedy we make. So yeah, who knows how long that will last. But it's exciting that we don't have to explain our accent any more. People can start to tell the difference a little bit [between Australian and New Zealand accents]. We'll see Americanss try to do a Kiwi accent rather than just going 'oh, I can do a Kiwi accent — g'day mate'." van Beek: "Now they do Flight of the Conchords." Sami: "Yeah, 'Brett'. Or they do, 'oh hi, I'm Korg,' [from Thor: Ragnarok] or stuff like that. They're showing that they know the difference." van Beek: "By mocking us in a different way." Sami: "I loved being mocked." ON FINDING INSPIRATION FOR THE FILM'S MANY BREAK-UP SCENES Sami: "I've never been two-timed by someone, and then found out that... aah, I think I have." van Beek: "You have?" Sami: "Maybe I have." van Beek: "There's always going to be a bit of crossover." Sami: "There's just a bit of subconscious stuff — for me, the break up scenarios, everything you see in the film, nothing is specific to anything but everything is influenced by stories we've heard or things we've experienced. But there's no one like, 'yeah, I had this terrible breakup and this is exactly how the story went'." van Beek: "Or 'yeah, my boyfriend pretended to be in a coma and then died.' That all came from our imagination, but it was more like — definitely I've been through phases in my life when I've been a bit more like Jen, and just been in denial. I've been heartbroken and not wanting to grow up." Sami: "We did have a lot more scenarios and they got a lot more extreme. Obviously some were cut for time, and we didn't shoot all of them — a lot of them we just weren't going to be able to. To shoot someone falling off a speedboat in the middle of Auckland of harbour and taking an underwater scuba to an island and then sailing off, that would've been the whole budget of our film probably, just for that one day." van Beek: "We spent a bit of time writing it though." Sami: "It was a lot of fun writing and thinking out the ways people might choose to break up with each other." The Breaker Upperers is now screening in Australian cinemas.
Ramen fans, rejoice! Popular noodle chain Motto Motto Japanese Kitchen is celebrating the opening of its fifth Sydney outpost — and its first in the CBD — with a massive discount promotion. From 11am on Saturday, July 27, the first 500 patrons through door of the new Sydney Plaza branch will be able to snag a steaming bowl of soupy noods for just $1. This cozzie-livs-defying deal applies exclusively to Motto Motto's signature ramen, made to a recipe devised by Executive Chef Ryuji Tomihara. The signature serve sees rich, creamy tonkotsu broth flavoured with shoyu kaeshi share the bowl with fresh noodles — made in-house — and finished with with tender slices of pork, a marinated soft-boiled egg, fresh shallots and seaweed. In addition to this opening day bargain bonanza, Motto Motto will keep the good times slurpin' for one lucky Sydneysider, with a year's worth of ramen for free. To enter, simply sign up to be a Motto Motto member, selecting the Sydney Plaza branch as your local. The winner will be drawn at random on Wednesday, July 31.
The world-renowned violinist, acclaimed author, sassy singer and all-round enthralling performer Emilie Autumn is stepping on to Australian shores this week and is ready to amaze audiences around the country. The show was announced last year following the release of Autumn's third and most successful studio album, Fight Like a Girl, which was inspired by her book The Asylum for Wayward Victorian Girls and her own intimate personal experiences. Emilie Autumn describes her musical style as 'victoriandustrial', largely because she draws inspiration from poetry, plays, novels and history, particularly from the Victorian era. Think punk meets classical meets burlesque mixed in with a dash of darkwave and synth pop to create a theatrical musical feast like no other — and, of course, we can't forget the avant garde stage constumes which have helped develop Autumn as a fashion icon over recent years. The beats of all-girl backing band the Bloody Crumpets will add to the already dazzling performance, ensuring that the violin fireworks will be a humdrum point in the evening. With a stage presence as bright and extravagant as her hair, Emilie Autumn is a refreshingly unique addition to the 21st-century music scene who has to be seen to be appreciated. https://youtube.com/watch?v=8NGKQ1UUD40
While wallet-friendly price points and a penchant for the flat-pack can often see IKEA's designs pitched as short-term furniture, the Swedish retailer is keen to shake off those perceptions. And how better to do so than by teaming up with an acclaimed design company for a clever new collection? The latest move in IKEA's push towards longevity is a statement range called Ypperlig, created in collaboration with Danish designers HAY. Launching this October, it's a collection of basics crafted for contemporary styling, drawing on HAY's flair for functionality and aesthetics. According to Rolf Hay, one half of the husband-and-wife duo behind the design company, the project proved an all-round win. "It's fair to say that HAY and IKEA are two very different companies," he acknowledged. "But when we started talking to IKEA it became very clear that we shared many perspectives on design." Unlike some of IKEA's more ubiquitous designs, this is a range of furniture and accessories you won't want to get rid of in a hurry — each piece clever, yet understated, sleek and undeniably Danish. Expect nifty products like a slimline LED lamp complete with in-built touch dimmer, hand-painted stoneware vases, a contemporary take on the classic Scandinavian plank table and a spring mattress sofa bed that's actually comfy enough to sleep on. HAY has even redesigned the iconic blue Ikea shopping bag, working in a range of new colours and weave patterns. The best part about this HAY x IKEA collaboration is that you can purchase a HAY piece for IKEA prices. While a HAY chair retails for around $200–400, one from their IKEA collaboration will set you back less than $100. The HAY x IKEA Ypperlig collection will go on sale this month. To browse the collection, visit ikea.com.
Come with us on now, on a journey through time and space, to the world of Behind The Boosh. You may not hear those words spoken aloud when you walk into the exhibition celebrating British comedy troupe The Mighty Boosh, but fans will think them. When you're peering at behind-the-scenes peeks into Julian Barratt and Noel Fielding's hilarious and surreal creation, as snapped by fellow group member Dave Brown, that's the very first thing that should come to mind. A part of all things Boosh since the troupe was first formed in the 90s, Brown played Bollo the Gorilla, Naan bread, Black Frost and Australian zookeeper Joey Moose. He's also taken care of tour posters, DVDs, set graphics and merchandise; compiled and designed The Mighty Book of Boosh; and had a hand in Boosh music and choreography. And, he's been snapping away with his camera — the results of which are gracing this photography showcase. There aren't enough elbow patches in the world for this exhibition, or shoes filled with Baileys. Whether or nor you can find either — or the black hair dye and strong hairspray needed to get Vince Noir-style locks, green Old Gregg-esque body paint or 60s-era suits that look like they've been taken straight from Howard Moon's wardrobe — heading to Sydney's M2 Gallery and Melbourne's North Gallery this August means getting a glimpse into the minds behind The Mighty Boosh's stage shows and radio series, and obviously the three-season TV gem also called The Mighty Boosh. Brown's two decades of images traverse a history that saw The Boosh become a live smash at the Edinburgh and Melbourne Comedy Festivals, then a 00s cult hit on the small screen. These days, Fielding might co-present The Great British Bake Off and do team captain duties on Never Mind the Buzzcocks, while Barratt has been playing a part in The Great, but they'll always been known for The Boosh. "These images are like children to me, badly behaved children with no manners but also beautifully funny, insanely dressed up children that are two dimensional and don't move," explained Brown of his Behind The Boosh photos. "I love these pics, incredible memories of a special time with my Boosh band of brothers and sharing them with our beautiful Aussie Boosh fans is long overdue." "The love The Mighty Boosh still has to this day is comparable to legendary acts such as Monty Python and continues to draw in people of all ages. It was such a bonus to have a great photographer who was part of the show; Dave never missed anything! I almost find it difficult to look at them because it takes me back immediately to that time, and because Dave was always taking photos, the snaps are genuine; they're not posed," said Fielding. "Dave is a lens with legs! Ever since I have known him, he's had a camera strapped to his face. I have a terrible memory which is why Dave is my saviour, if we are our memories then without Dave Brown I simply would not exist," added Barratt. Brown is also in Australia with the exhibition, which runs from Wednesday, August 2–Sunday, August 6 in Sydney and Wednesday, August 16–Sunday, August 20 in Melbourne. In both cities, on the Saturdays in each, he's doing an artist talk to chat through his work — and being part of a troupe, plus their various onstage and on-screen shows, where anything could happen. In Sydney as well, Brown will hit the decks at Redfern Surf Club's Surfapolooza festival on Saturday, August 5. BEHIND THE BOOSH AUSTRALIAN DATES: Wednesday, August 2–Sunday, August 6 — M2 Gallery, 4/450 Elizabeth Street, Surry Hills, Sydney Wednesday, August 16–Sunday, August 20 — North Gallery, Level 1/55-57 Gertrude Street, Fitzroy, Melbourne Behind the Boosh displays in Sydney and Melbourne in August 2023 — head to the exhibition website for further details. Images: Dave Brown.
It's almost that time of year when Sydney Festival takes over this town and spoils us with fascinating, thought-provoking and straight-up stunning art and culture from all over the world (and plenty from right here at home). As always there are some amazing international musicians, and we've picked out ten of the best to help you decide what gets included in those precious festival multi-packs. From underwater music and concept concerts about nuclear war to protest punk operas and politically charged cabaret, there won't be a dull moment. But of course, this is just a snapshot of the massive lineup, so go check out the full program at the Sydney Festival website.
It can sometimes be hard for cafes to stand out in this city. With so many places peddling their wares, it's not the easiest thing for operators to find their niche — the one little difference that puts them before the rest. I mean, something as simple as geographic location is usually the clincher when I decide where to eat in the morning. At Sticky Fingers, which is nestled in the backstreets of Surry Hills, they've gone for a strongly Asian-influenced menu for both brunch and lunch that tends towards a sweet Sunday morning decadence. The fit-out in the café is a classic, semi-industrial chic that shows off the history of the building and the suburb. There's a communal table and plenty of space for a few groups, but the option for more intimate dining is there as well. It's a place that caters for everyone, and this is obvious from the menu, as well as the décor. Look out for breakfast items like the pulled pork Benedict, served on a soft bun and garnished with a forest of fried sweet potato shavings ($18). The pork itself is lovely, not too dry and not too salty, and the overall dish a massive undertaking — perfect for a hungover or famished patron. The lunch menu takes the Asian influence a bit more seriously, with the inclusion of dishes like a succulent duck stir fry ($17). The duck, which can be so easy to overcook, is soft and delicious; a sharp sauce with a subtle umami binds protein, rice and crisp vegetables together. As is the norm, the coffee rotates regularly (depending on how you take your Joe), and comes from Marrickville's Golden Cobra. It's tops and the Bloody Marys are incredible. All in all, it's a comfortable, welcoming joint with a varied menu that caters for everyone without ever compromising the cafe's brand.
