Redfern's new watering hole, Moya's Juniper Lounge, takes a reverent approach to all things gin. Since opening on Regent Street, the little hole-in-the-wall venue has been generating industry buzz, and it's not hard to see why. It's not flashy or elaborate – forget extensive menus that cater to your every whim. Instead, the Moya's team are single-mindedly interested in perfection. The mainstay of the operation is the sassy gin-centric cocktail list, each garnished with the words of great drinkers and thinkers of the ages – including the Queen Mother, Robert Downey Jr. and George Costanza. "All the drinks are classics," says co-owner and operator Charles Casben. "We're not doing anything new but we're trying to do traditionalism well." The bar currently serves a small but well paired menu, featuring pickle plates, cured meats sliced to order, and a ham and cheese sandwich on a brioche bun. Perfectly sophisticated, dahhling. The interior of the venue hints at traditionalism, and that's fitting. The history of gin reaches back over two hundred years and has appealed to completely polar identities during that time. When gin was introduced in England in the early 1700s, it was thought an unethical and wicked vice of the lower classes. After doing battle with prohibition and alcohol reform and emerging as a gentleman's drink, gin production became more refined, more like the gin we know (and love) today. Moya's Juniper Lounge references the gin palaces of old with a cosy but plush atmosphere, mismatched velvet lounges, long runner rugs and old fashioned decoration. Still, while they may serve cocktails and delicate sandwiches, there's nothing snooty about this place, which is gunning to become your new local. "We really wanted it to be a local, friendly little cocktail bar," says Casben. "When I was working at Ester, the community around Chippendale/Redfern had a really local, genuine, friendly atmosphere and it was really enticing; we wanted to be a part of it." Images: Steven Woodburn.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue in April. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. AUNTY DONNA'S COFFEE CAFE If comedy is all about timing, then Aunty Donna have it — not just onstage. In 2020, Aunty Donna's Big Ol' House of Fun was the hysterical sketch-comedy series that the world needed, with the six-episode show satirising sharehouse living dropping at the ideal moment. While the Australian jokesters' Netflix hit wasn't just hilarious because it arrived when everyone had been spending more time than anyone dreamed at home thanks to the early days of the pandemic, the ridiculousness it found in domesticity was as inspired as it was sidesplittingly absurd. Three years later, heading out is well and truly back, as are Aunty Donna on-screen. Their target in Aunty Donna's Coffee Cafe: cafe culture, with Mark Samual Bonanno, Broden Kelly and Zachary Ruane returning to make fun of one of the simplest reasons to go out that there is. Grabbing a cuppa is such an ordinary and everyday task, so much so that it was taken for granted until it was no longer an easy part of our routines. Unsurprisingly, now that caffeine fixes are back and brewing, Aunty Donna finds much to parody. With fellow group members Sam Lingham (a co-writer here), Max Miller (the show's director) and Tom Zahariou (its composer), Aunty Donna's well-known trio of faces set their new six-parter in the most obvious place they can: a Melbourne cafe called 'Morning Brown'. The track itself doesn't get a spin, however, with the show's central piece of naming is its most expected move. As demonstrated in episodes that turn the cafe into a courtroom, ponder whether Broden might still be a child and riff on Australian Prime Minister Harold Holt's 1967 disappearance, nothing else about Aunty Donna's Coffee Cafe earns that description. Pinballing in any and every direction possible has always been one of the Aussie comedy troupe's biggest talents, with their latest series deeply steeped — riotously, eclectically and entertainingly, too — in that approach. Think: Richard Roxburgh (Elvis) playing Rake, even though that's not his Rake character's name; Looking for Alibrandi's Pia Miranda making tomato day jokes;. stanning Gardening Australia and skewering unreliable streaming services, complete with jokes at ABC iView's expense; and relentlessly giggling at the hospitality industry again and again. Aunty Donna's Coffee Cafe streams via ABC iView. Read our full review. RYE LANE When Dom (David Jonsson, Industry) and Yas (Vivian Oparah, Then You Run) are asked how they met, they tell a tale about a karaoke performance getting an entire bar cheering. Gia (Karene Peter, Emmerdale Farm), Dom's ex, is both shocked and envious, even though she cheated on him with his primary-school best friend Eric (Benjamin Sarpong-Broni, The Secret). It's the kind of story a movie couple would love to spin — the type that tends to only happen in the movies, too. But even for Rye Lane's fictional characters, it's a piece of pure imagination. Instead, the pair meet in South London, in the toilet at an art show. He's crying in a stall, they chat awkwardly through the gender-neutral space's wall, then get introduced properly outside. It's clumsy, but they keep the conversation going even when they leave the exhibition, then find themselves doing the good ol' fashioned rom-com walk and talk, then slide in for that dinner rendezvous with the flabbergasted Gia. It's easy to think of on-screen romances gone by during British filmmaker Raine Allen-Miller's feature debut — working with a script from Bloods duo Nathan Bryon and Tom Melia — which this charming Sundance-premiering flick overtly wants viewers to. There's a helluva sight gag about Love Actually, as well as a cameo to match, and the whole meandering-and-nattering setup helped make Before Sunrise, Before Sunset and Before Midnight an iconic trilogy. That said, as Rye Lane spends time with shy accountant Dom, who has barely left his parents' house since the breakup, and the outgoing costume designer Yas, who has her own recent relationship troubles casting a shadow, it isn't propelled by nods and winks. Rather, it's smart and savvy in a Starstruck way about paying tribute to what's come before while wandering down its own path. The lead casting is dynamic, with Jonsson and Oparah making a duo that audiences could spend hours with, and Allen-Miller's eye as a director is playful, lively, loving and probing. Rom-coms are always about watching people fall for each other, but this one plunges viewers into its swooning couple's mindset with every visual and sensory touch it can. Rye Lane streams via Disney+. BEEF As plenty does (see also: Rye Lane above), Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. TOTALLY COMPLETELY FINE In Thomasin McKenzie's breakout role in 2018's deeply thoughtful and moving Leave No Trace, she played a teen being the responsible one while living off the grid with her PTSD-afflicted father. She turned in a magnificent performance in a film that also earns the same description — one of that year's best — and a portrayal that rightly ensured that more work came her way. In Totally Completely Fine, the New Zealand actor is again excellent, as she's been in Jojo Rabbit, The Justice of Bunny King, Old and Last Night in Soho in-between; however, this six-part Australian series, which makes ample use of its Sydney setting, casts McKenzie as the least responsible among her siblings. Vivian Cunningham's elder brothers John (Rowan Witt, Spreadsheet) and Hendrix (Brandon McClelland, Significant Others) are conscientious and family-focused, respectively, while she has internalised her bad decisions to the point of thinking that she ruins everything. But then her grandfather passes away when she's at a particularly low moment, wills only her his cliffside house and also leaves a note saying that she'll learn what to do with it. When Totally Completely Fine begins, Vivian is close to saying goodbye. Soon, she discovers that her inherited home is a destination for others feeling the same way. Creator Gretel Vella (a staff writer on The Great, and also a scribe on Christmas Ransom and Class of '07) doesn't shy away from a a tricky topic, as her definitely-not-totally-completely-fine protagonist becomes an unofficial counsellor to strangers — like runaway bride Amy (Contessa Treffone, Wellmania) — who step into her yard planning to commit suicide. This character-driven series doesn't ever reductively posit that only struggling people can help struggling people. Instead, it sees life's difficulties everywhere, the many ways that folks attempt to cope and don't, and the parts that others can have in that journey. McKenzie's performance is pivotal, selling the deep-seated grief that has defined Vivian's life, the chaos she's embraced as an escape, and how telling others that they have something to live for is both complicated and crucial. Totally Completely Fine streams via Stan. HUNGER Let's call it the reality TV effect: after years of culinary contests carving up prime-time television, the savage on-screen steps into the food world just keep bubbling. The Bear turned the hospitality industry into not just a tension-dripping dramedy, but one of 2022's best new shows. In cinemas, British pressure-cooker Boiling Point and the sleek and sublimely cast The Menu have tasted from the same intense plate. Now Hunger sits down at the table, giving viewers another thriller of a meal — this time focusing on a Thai noodle cook who wants to be special. When Aoy's (Chutimon Chuengcharoensukying, One for the Road) street-food dishes based on her Nanna's recipes get the attention of fellow chef Tone (Gunn Svasti Na Ayudhya, Tootsies & the Fake), he tells her that she needs to be plying her talents elsewhere. In fact, he works for Chef Paul (Nopachai Jayanama, Hurts Like Hell), who specialises in the type of fine-dining dishes that only the wealthiest of the wealthy can afford, and is as exacting and demanding as the most monstrous kitchen genius that fiction has ever dreamed up. There's more to making it in the restaurant trade than money, acclaim and status, just like there's more to life as well. As told with slickness and pace, even while clocking in at almost two-and-a-half hours, that's the lesson that director Sitisiri Mongkolsiri (Folklore) and screenwriter Kongdej Jaturanrasamee (Faces of Anne) serve Aoy. She's tempted by the glitz and recognition, and being steeped in a world far different from her own; however, all that gleams isn't always palatable. Plot-wise, Hunger uses familiar ingredients, but always ensures that they taste like their own dish — in no small part thanks to the excellent casting of Chuengcharoensukying as the film's conflicted but determined lead. A model also known as Aokbab, she proved a revelation in 2017's cheating heist thriller Bad Genius, and she's just as compelling here. The two movies would make a high-stakes pair for more than just their shared star, both sinking their teeth into class commentary as well. Yes, like The Menu before it, Hunger is also an eat-the-rich flick, and loves biting into social inequity as hard as it can. Hunger streams via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader has wanted to be something other than a gun for hire. An ex-military sniper, he's always been skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, is no anomaly, but it also realises that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry has been grappling with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake is surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it's been doing so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) keep asking those questions in season four to marvellous results. Barry being Barry, posing such queries and seeing its central figures for who they are is an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he is when the show's new go-around kicks off. He isn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. LOVE & DEATH In the late 70s, when Texas housewife, mother of two and popular church choir singer Candy Montgomery had an affair with fellow congregation member Allan Gore, commenting about her being a scarlet woman only had one meaning. If anyone other than Elizabeth Olsen was stepping into her shoes in true-crime miniseries Love & Death, it would've remained that way, too; indeed, Jessica Biel just gave the IRL figure an on-screen portrayal in 2022 series Candy. Of course, Olsen is widely known for playing the Wanda Maximoff aka the Scarlet Witch in the Marvel Cinematic Universe, as seen in WandaVision and Doctor Strange in the Multiverse of Madness most recently. So, mention 'scarlet' in a line of dialogue around her, and it calls attention to how far she is away from casting spells and breaking out superhero skills. And she is, given that Montgomery keeps fascinating Hollywood (see also: 1990 TV movie A Killing in a Small Town) due to the fact that she was accused, arrested and put on trial for being an axe murderer. The victim: Betty Gore, Allan's wife, who was struck with the blade 41 times. It's with pluck and perkiness that Olsen brings Candy to the screen again, initially painting the picture of a perfect suburban wife and mum. She keeps exuding those traits when Candy decides that she'd quite fancy an extra-marital liaison with Allan (Jesse Plemons, The Power of the Dog) — slowly winning him over, but setting ground rules in the hope that her husband Pat (Patrick Fugit, Babylon) won't get hurt, nor Betty (Lily Rabe, Shrinking) as well. For viewers that don't know the outcome when first sitting down to the seven-episode series, that bloody end is referenced in the first instalment. With restraint, sensitivity and a suitably complicated lead performance, Love & Death then leads up to it amid local scandals over a beloved pastor (Elizabeth Marvel, Mrs Davis) leaving and being replaced (by Keir Gilchrist, Atypical). It also explores the legal proceedings that follow (with She Said's Tom Pelphrey as Candy's lawyer). Olsen is terrific whether she's in bubbly, dutiful, calculating or unsettling mode, and the show itself slides in convincingly alongside writer/producer David E Kelley's recent slate of twisty tales with Big Little Lies, The Undoing and Nine Perfect Strangers (Nicole Kidman is also an executive producer). Love & Death streams via Binge. Read our full review. THE BIG DOOR PRIZE Sometimes Apple TV+ dives into real-life crimes, as miniseries Black Bird did. Sometimes it mines the whodunnit setup for laughs, which The Afterparty winningly achieved. The family feuds of Bad Sisters, Servant's domestic horrors, Hello Tomorrow!'s retrofuturistic dream, the titular take on work-life balance in Severance — they've all presented streaming audiences with puzzles, too, because this platform's original programming loves a mystery. So, of course The Big Door Prize, the service's new dramedy, is all about asking questions from the outset. Here, no one is wondering who killed who, why a baby has been resurrected or if a situation that sounds too good to be true unsurprisingly is. Rather, in a premise isn't merely a metaphor for existential musings, they're pondering a magical machine and what it tells them about themselves. Everyone in The Big Door Prize does go down the "what does it all mean?" rabbit hole, naturally, but trying to work out why the Morpho has popped up in the small town of Deerfield, where it came from, whether it can be trusted, and if it's just a bit of fun or a modern-day clairvoyant game are pressing concerns. When the machine arrives, it literally informs residents of their true potential. Crowds flock, but not everyone is initially fascinated with the mysterious gadget. Turning 40, and marking the occasion with that many gifts from his wife Cass (Gabrielle Dennis, A Black Lady Sketch Show) and teenage daughter Trina (Djouliet Amara, Devil in Ohio), high-school history teacher Dusty Hubbard (Chris O'Dowd, Slumberland) is nonplussed. Amid riding his new scooter and wondering why he's been given a theremin, he's baffled by all the talk about the Morpho, the new reason to head to Mr Johnson's (Patrick Kerr, Search Party) store. As school principal Pat (Cocoa Brown, Never Have I Ever) embraces her inner biker because the machine said so, and charisma-dripping restaurateur Giorgio (Josh Segarra, Scream VI) revels in being told he's a superstar, Dusty claims he's happy not joining in — until he does. The Big Door Prize streams via Apple TV+. Read our full review. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis screens in Australia via Binge. Read our full review. RECENT MOVIES FROM THE PAST FEW YEARS THAT YOU NEED TO CATCH UP WITH EMA Every project by Chilean director Pablo Larraín is always cause for excitement, and Ema, his drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to be a mother, rewards that enthusiasm spectacularly. It's a stunning piece of cinema, and one that stands out even among his impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda, and the astonishing Jackie and Spencer — with Natalie Portman earning an Oscar nomination for the former, and Kristen Stewart for the latter — so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes intently. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, La Verónica) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Werewolf by Night), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light, while Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Ema streams via SBS On Demand. Read our full review. SHE DIES TOMORROW When She Dies Tomorrow splashes Kate Lyn Sheil's face across the screen, then bathes it in neon flashes of pink, blue, red and purple, it isn't easily forgotten. It's a vivid, visceral, even psychedelic sight, which filmmaker Amy Seimetz lingers on, forcing her audience to do the same as well. Viewers aren't just soaking in trippy lights and colours, though. They're staring at the expression beneath the multi-hued glow, which seethes with harrowing levels of shock, fright, distress and anxiety. That's understandable; this is the look of someone who has just had the most unnerving realisation there is: that she is going to die tomorrow. In her second stint directing a feature after 2012's Sun Don't Shine, Pet Sematary, Lean on Pete and Alien: Covenant actor Seimetz serves up a straightforward concept that's all there in the title. Her protagonist — who is also called Amy (Swarm's Sheil) — believes that her life will end the next day, plain and simple. But it's how the on-screen Amy copes with the apocalyptic news, and how it also spreads virally from person to person, that fuels the movie. Initially, she responds by searching for urns, researching how leather jackets are made and roaming aimlessly around the new home she has recently purchased, and by brushing off her worried but sceptical friend Jane (Hacks' Jane Adams). If Amy is merely being paranoid, that persecution-driven delusion soon proves contagious, with the feature's cast also including Katie Aselton (Bombshell), Chris Messina (Air), Josh Lucas (Yellowstone), Tunde Adebimpe (Marriage Story) and Jennifer Kim (Dr Death). Among of the joys of She Dies Tomorrow is that it's never one for obvious or easy answers, or for explaining any more than it needs to. Indeed, how it morphs from exploring one woman's fears to cataloguing a shared nightmare that spreads like a pandemic is best discovered by watching; however, Seimetz crafts a gloriously smart and unsettling thriller that toys with surreal Lynchian moments yet always feels disarmingly astute. The film was made prior to COVID-19, so it pre-dates our coronavirus-afflicted world — but, as it ponders humanity's reaction to life-shattering news both on an individual and collective basis, the way that panic and doubt spreads oh-so-quickly, and how one idea can soon overtake entire communities, it's hard not to think of the real-life parallels. She Dies Tomorrow streams via Stan from Saturday, April 29. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2022 — plus January, February and March 2023. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
3D printing technology is a lot to get your head around, especially in regards to the science fiction-esque breakthroughs of the medical world. But in regards to improving your herb garden, 3D printing can lend a hand here as well. Like a family tree for plants, the new 3D Printed Aqueduct Planters have a built in trickle down irrigation system so you only need to soak the top plant in water and the rest will follow. The planter utilizes the connections between each planter as a method of transferring water and saturating the soil from the top planter to the lower plants. This is especially useful for air plants or plants that don’t need a lot of soil. The planter system can be set up in an array of configurations so you can construct your living wall to complement your living space. [via inhabit]
Not every dining experience has to be an all-in extravaganza rolling through one course after another for hours on end. Instead, Bennelong at the Sydney Opera House has crafted a short-on-time session, perfect for easygoing pre-show dates or a stellar bite afterwards when it's time to discuss what you've just witnessed on the stage. Priced at $50 per person, 'Bennelong In 45 Minutes' features three top-notch bar snacks and a Traveller's cocktail served upstairs in the Bennelong Bar. Pretty good, considering it also comes with unbeatable harbour views. Crafted by Executive Chef Peter Gilmore and Head Chef Rob Cockerill, this sophisticated quick-fire offering is served daily from 5.30pm. The tight-knit menu is drawn from Bennelong Bar's everyday selection, where each dish is served with delicacy and innovation in equal measure. Think options like Maremma duck pithivier with black garlic; wagyu bresaola panisse with brown butter aioli; and chestnut, truffle and shiitake arancini. Meanwhile, your trio of treats includes a signature concoction plucked from the restaurant's much-loved cocktail menu, 'The Travellers'. Indebted to the Bellalong team's homelands, this collection of six creative tipples spans options like the Vietnamese-inspired Citadel and the Big Ben — a gin-heavy number featuring sugar snap peas and English bitters. Ready for an indulgent, but short-lived affair? Bennelong In 45 Minutes might just be the most decadent way to spend a snack-sized moment in town. So, take the time to soak up the venue's iconic surrounds and relish the restaurant's renowned cuisine. After all, you shouldn't need to rush to make the curtain call. Opened in 2015, Bennelong is the Sydney Opera House's premier restaurant, offering a luxe way to elevate your theatre-going experience. And if you're not catching a show, this special sip and snack session is still a great way to get acquainted with a celebrated dining destination without forking out for a multi-course feast. Bennelong In 45 Minutes is served daily from 5.30pm in the Bennelong Bar at the Sydney Opera House. Head to the website for more information.
Today, Premier Gladys Berejiklian announced the new arrangements for NSW, specifically for Greater Sydney, in relation to New Year's Eve. Back in November, the Government announced it would be allocating spots along the Sydney Harbour foreshore for frontline workers to view the seven-minute fireworks display at midnight. While the Premier has confirmed the fireworks will be going ahead, the vantage point offering for frontline workers is no longer available, stating the government "don't want any crowds on the foreshore around Sydney whatsoever". Instead, she encouraged everyone to watch the fireworks on television. Events at hospitality venues are permitted to proceed provided they adhere to the four-square-metre rule and have a COVID-safe plan in place, and all patrons who have a reservation must apply for a permit through Service NSW to attend. In keeping with the current restrictions on indoor gatherings, residents of Greater Sydney (outside the northern beaches), Central Coast and Wollongong are allowed to have ten visitors in their home. If you are a resident or guest of a resident within the designated green zones on New Year's Eve, you must also apply for a permit through Service NSW. Meanwhile, outdoor gatherings, including picnics and barbecues, are restricted to 50 guests (down from 100). Stay-at-home orders remain in place for northern beaches residents until January 2 for the southern zone and January 9 for the northern zone, with some easing of restrictions for New Year's Eve and New Year's Day. Residents of the northern zone are allowed to have indoor and outdoor gatherings of up to five visitors provided they are also from the northern zone. Meanwhile, those in the southern zone can have indoor and outdoor gatherings of up to ten visitors from within their zone. Restrictions on gatherings in regional NSW remain unchanged, with 50 allowed at indoor gatherings and 100 at outdoor. The announcement comes as NSW records five additional cases of locally acquired COVID-19 in the 24 hours leading up to 8pm on Sunday, December 27. Four of those are directly linked to the Avalon cluster with one under investigation. Yesterday saw around 15,364 tests — a significant drop from the high testing numbers between December 24–27 — with the Premier stating she wants the testing rates to "go higher and stay high to give us confidence about the decisions we can take moving forward". For more information about NSW's coronavirus restrictions and NYE plans, head to the NSW Government website. Top image: NYE Fireworks 2016 by City of Sydney.
A new microbrewery has opened in Redfern, thanks to WA beer brand Gage Roads Brewing Co. After snapping up the Redfern digs last March, the Perth brewery has opened its very first taproom — and we're lucky enough to have it right here in Sydney. Punters can expect much more than just a brewpub, too — a Thai-inspired restaurant and an all-day co-working space are part of the space. At the bar, you'll find Atomic Beer Project signatures — such as the pale ale, XPA and IPA — alongside seasonal and experimental releases, which already include a red ale and porter. Beer styles that haven't been brewed previously under the Gage Roads banner are also up for grabs. The bar also offers wine and spirits by local producers including Brix Distillers, Poor Toms and Archie Rose. While the bar slings the booze, the kitchen serves up Southeast Asian share plates by Head Chef Jordan McLeod (Longrain Tokyo). The seasonal menu features small bites like porter-braised beef cheek stuffed in croissants, grilled tiger prawn skewers with green curry butter and kingfish sashimi with shoyu dressing. Larger plates include chargrilled riverine sirloin with chimichurri, pork and squid nuoc cham salad, barbecued Bannockburn chicken with soy mirin glaze and yellow curry with roasted cauliflower, eggplant and snake beans. The brand invested a whopping $3 million into the 578-square-metre space, working with Promena Projects (Bopp & Tone, Brix Distillers, Tayim) and interior design studio YSG (Edition Coffee Roasters, The Collectionist). The industrial fit-out features polished concrete, rusted beams and stainless steel elements — including the brewhouse tanks, which are on full display. Meanwhile, heaps of colour can be found in the furnishings, including the neon green bar, bright red tables and forest green tiled walls. On the upper level is an open dining room that doubles as a co-working space with views to the brewhouse below. It boasts office amenities like unlimited wifi and bookable tables with USBs and power sockets — plus coffees from 7am daily, an all-day menu and beer on tap, of course. Having launched way back in 2004, Gage Roads has expanded to become one of Australia's largest independently owned breweries. In 2018, it rebranded nationally as Good Drinks and acquired Western Australian brewery Matso's — makers of the state's favourite alcoholic ginger beer — with more brands expected to join Good Drinks in the future. Images: Steven Woodburn Appears in: The Best Sydney Brewery Bars for 2023
Circular Quay has a new spot for golden-hour escapism, with Acapulco El Vista bringing a dose of 1960s Latin glamour to the harbourfront. And much like the golden age the venue channels, there's some serious star power on display here: El Vista marks the second collaboration between The Maybe Group (Maybe Sammy) and Accor's new in-house hospitality arm Table For — landing hot on the heels of their all-day Bond Street spot Bar Allora — and also Table For's second project with chef Giovanni Pilu (Pilu at Freshwater), who has just opened Flaminia in the same hotel. Together, they've created a relaxed yet polished harbourside hangout that leans into bright coastal flavours and sunset sessions. Set on level three of the Pullman Quay Grand, El Vista is pitched as a lounge-bar made for lingering, thanks to Pilu's share-style menu and a soundtrack that moves from Latin jazz to global grooves as the night unfolds. Interiors nod to the resorts of Acapulco's golden age — when the Mexican Riviera drew Hollywood starlets and international glitterati — while keeping the focus firmly on those sweeping harbour views. The cocktail program commits to the bit, led by margaritas, daiquiris and reimagined classics — including a mango paloma and a peach-and-coconut mojito — plus a dedicated colada section. Inventive signatures add even more personality, from a dulce de leche espresso martini to a chilled, milky rum sour. Pilu's menu keeps things lively and shareable. Expect seafood-forward plates like a yellowtail kingfish aguachile, crispy yellowfin tuna tacos and a spanner crab and corn tortita, alongside crowd-pleasing bites like cheese empanadas and a pineapple- and pickled onion-topped choripán. Settle in during the day for a breezy lounge vibe backed by Latin jazz, or drop by later as DJ sets take over from Thursday through Saturday. Sundays start with acoustic brunches before sliding into sultry Latin evenings — a weekly rhythm that mirrors the venue's coastal nightlife feel.
UPDATE, August 12, 2022: Drive My Car is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. More than four decades have passed since Haruki Murakami's debut novel reached shelves, and since the first film adaptation of his work followed, too; however, the two best page-to-screen versions of the author's prose have arrived in the past four years. It's easy to think about South Korean drama Burning while watching Drive My Car, because the two features — one Oscar-shortlisted, the other now the first Japanese movie to be nominated for Best Picture — spin the writer's words into astonishing, intricately observed portraits of human relationships. Both films are also exceptional. In the pair, Murakami's text is only a starting point, with his tales hitting the screen filtered through each picture's respective director. For Drive My Car, Japanese filmmaker Ryûsuke Hamaguchi does the honours, taking audiences riding through another of the Happy Hour, Asako I & II and with Wheel of Fortune and Fantasy helmer's layered, thoughtful and probing reflections on connection. Using Murakami's short story from 2014 collection Men Without Women as its basis, Drive My Car's setup is simple. Yes, the film's title is descriptive. Two years after a personal tragedy, actor/director Yūsuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to bring Chekhov's Uncle Vanya to the stage in Hiroshima, and the company behind it insists on giving him a chauffeur for his stay. He declines— he'd asked to stay an hour away from the theatre so he could listen to recorded tapes of the play on his drive — yet his new employers contend that it's mandatory for insurance and liability reasons. Enter 23-year-old Misaki Watari (Tôko Miura, Spaghetti Code Love), who becomes a regular part of Yūsuke's working stint in the city. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours. It doesn't rush to get to its basic premise, either. Before the film's opening credits arrive 40 minutes in, it steps through Yūsuke's existence back when he was appearing in a version of Uncle Vanya himself, married to television scriptwriter Oto (Reika Kirishima, Japanese TV's Sherlock) and grappling with an earlier heartbreak. His wife is also sleeping with younger actor Takatsuki (Masaki Okada, Arc), which Yūsuke discovers, says nothing about but works towards discussing until fate intervenes. Then, when he sits in his red 1987 Saab 900 Turbo just as the movie's titles finally display, he's a man still wracked by grief. It's also swiftly clear that he's using his two-month Hiroshima residency as a distraction, even while knowing that this exact play — and Oto's voice on the tapes he keeps listening to — will always be deeply tied to his life-shattering loss. This prologue does more than set the scene; there's a reason that Hamaguchi, who co-wrote the screenplay with Takamasa Oe (The Naked Director), directs so much time its way. Where tales of tragedy and mourning often plunge into happy lives suddenly unsettled by something catastrophic or the process of picking up the pieces in the aftermath — typically making a concerted choice between one or the other — Drive My Car sees the two as the forever-linked halves of a complicated journey, as they are. The film isn't interested in the events that've forever altered the plot of Yūsuke's life, but in who he is, how he copes, and what ripples that inescapable hurt causes. It's just as fascinated with another fact: that so many of us have these stories. Just as losing someone and soldiering on afterwards are unshakeably connected, so are we all by sharing these cruel constants of life. The reality that anyone can have a history as complex and as coloured by pain is a lesson for Yūsuke to learn. Although he makes a living plumbing the depths of human emotion through art, and cathartically so, reading those same feelings into the people around him — recognising the same highs and lows in their experiences, as in his own — is a thornier path to chart. But in his daily treks to and from his theatre rehearsals, he starts making the trip towards that realisation as Misaki sits behind the wheel of his trusty Saab. Initially, neither speaks, with Oto's line readings via cassette breaking the silence. Yūsuke saves his words for the International cast he auditions and then directs, each relaying Uncle Vanya in their native tongues (or, in one instance, by an actor who is deaf and signs her dialogue). Slowly, though, the drives find their own language, as Misaki opens up about her past and vice versa. Forget Green Book and Driving Miss Daisy, American Oscar-applauded films similarly about drivers, passengers and unexpected camaraderie — Drive My Car is in a lane of its own, and not just because it isn't a simplistic and saccharine attempt to weave a heartwarming story out of racial reconciliation. Hamaguchi takes his central pair and his audience on a patient, engrossing and rewarding trip that cuts to the heart of dealing with life, love, loss, pain, shame and despair, and also sees how fickle twists of chance — a recurrent topic in the director's films — unavoidably dictate our routes. Another thing that the filmmaker does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yūsuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Sitting — while driving and during rehearsals — is a recurrent sight in Drive My Car. It's fitting; this is a film to sit with. The movie's lengthy duration lets viewers take in its gorgeously shot visuals as they might revel in landscape spied from a car window, whether cinematographer Hidetoshi Shinomiya (Ju-on: Origins) is lensing the road as it winds by the Seto Inland Sea, spending time with the feature's core duo or chronicling Yūsuke's efforts at the theatre. Crisp, poetic and revealing even in a visit to a waste treatment facility, Drive My Car's naturalistic imagery provides a striking canvas for its affecting performances, too, with Nishijima and Miura as quietly expressive as any film — and any Murakami adaptation — could hope of its actors. In one of the picture's most stunning sequences, they chat by steps near the ocean, and the camera sees everything about their characters, and simply existing, and also tussling with life's pain, in each emotionally loaded closeup and sweeping, waterside wide shot. These are moments that drive a movie to greatness, and this moving and perceptive masterpiece is filled with them.
In 1985, Agostinho Ferreira and his family moved from Lisbon to Sydney and brought something truly remarkable with them — an original recipe for Pasteis de nata, also known as Portuguese tarts. It didn't take long for word to spread and, eventually, thousands of the flaky, silky pastries that Agostinho had crafted years ago were being sold across the city. Fast forward over three decades, and Agostinho's wife Lucia and son Diogo now manage the business, hand-making and selling the same tarts from Tuga Pastries in Clovelly and Alexandria. Diogo is also the owner of Village on Cloey, a classic European-inspired cafe a few doors down from Tuga. And now he is bringing the best of both worlds together in Tuga x Village, an update and rebrand of the Village on Cloey space that is now aiming to deliver the most authentic Portuguese food in Sydney. Now a combined bakery and cafe, Tuga x Village will still be selling the beloved pasteis de nata and will also be baking traditional Portuguese recipes like Pão Alentejano (a crispy sourdough-style bread), Bolo do caco (a sweet potato bun) and Torricado (chargrilled sourdough rubbed with garlic and olive oil and served with toppings). Beyond the baked goods on offer, you can also tuck into breakfast and lunch options aplenty. The classic bacon and egg roll isn't going anywhere. In fact, it's being joined by gourmet sandwiches and toast with decadent Portuguese toppings. None of the qualities that you love about Tuga or Village on Cloey are changing. It's just a mixing of the old and the new at Tuga x Village. This isn't the only thing exciting on the horizon for Tuga either. A little birdy told us that a huge flagship store will be opening somewhere in Sydney's southwest but you'll have to wait a little longer for the full story on that. Watch this space... Tuga x Village can be found at 231 Clovelly Road, open seven days a week from 6am - 2.30pm.
Tinker on your motorbike and slurp your way through bowls of ramen on the same premises at Rising Sun Workshop's permanent Newtown digs. For the uninitiated, Rising Sun is a social enterprise that serves two purposes. On one hand, it provides its motor-revving members with a communal space for repairing and polishing up their bikes. On the other, it's a café, serving coffee, cookies and seriously killer ramen. The independent organisation was started by three friends who love riding bikes, working on bikes and chatting about bikes while also drinking coffee. They decided that Sydney needed an open, friendly, affordable space where this could happen more often. So, in 2013 they turned to Pozible and ran crowdfunding campaign, and soon discovering that 160 other people felt the same way. The 90-day campaign raised a cool $40,000. This gave them enough cash to launch a pop-up. In 2014, they hung out in a "barely legal" space in Camperdown, building an elite Hill Fighter, cooking up ramen and gathering friends. Needless to say, the finding of a solid, full-time home has come as a major relief. You'll find Rising Sun's new workshop at 1C Whateley Street. It used to house a century-old hardware store, so there's oodles of space. Also, the menu has scored a serious upgrade. You can now get nosh at breakfast, lunch and dinner, and you'll find some Southern influences mixing with Japanese tradition. One of the new star dishes is a Japanese-style breakfast, served on a tray. It's worth getting up early for.
For the second year in a row, heading to the movies wasn't a simple activity in 2021. Sometimes, it wasn't even possible at all. But when picture palaces were open, their projectors whirring and the scent of popcorn floating through the foyers, Australians went to see big-budget blockbusters such as Godzilla vs Kong, Fast and Furious 9, Shang-Chi and the Legend of the Ten Rings, Eternals, Black Widow and No Time to Die en masse. We also threw plenty of love — and cash — at Aussie page-to-screen adaptation The Dry as well. They're some of 2021's cinema success stories in dollars, but money never tells the whole movie-going story in any year. Plenty of other films reached the silver screen Down Under over the past 12 months, didn't set the box office alight, but absolutely rank among the year's best. They're the must-sees that, based on their cinema takings, you likely didn't actually see — and you really should've. Whether you missed them because of lockdowns, restrictions, a lack of time, they weren't showing near you or just due to life in general (sorry, Jurassic Park, but sometimes life doesn't find a way), here are 12 top-notch flicks that hit Aussie cinemas in 2021 that you need to add to your catch-up list right now. EMA A new project by Chilean director Pablo Larraín is always cause for excitement, and Ema, his drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to be a mother, rewards that enthusiasm spectacularly. It's a stunning piece of cinema, and one that stands out even among his already-impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda and the astonishing, Natalie Portman-starring Jackie, so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his now six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes intently. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, Much Ado About Nothing) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Mozart in the Jungle), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light, while Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Read our full review. PIG Nicolas Cage plays a truffle hunter. That's it, that's the pitch. When securing funding, those six words should've been enough to ensure that Pig made it to cinemas. Or, maybe debut feature writer/director Michael Sarnoski went with these seven words: Nicolas Cage tracks down his stolen pet. Here's a final possibility that could've done the trick, too: Nicolas Cage does a moodier John Wick with a pig. Whichever hit the spot, or even if none did, Pig isn't merely the movie these descriptions intimate. It's better. It's weightier. It's exceptional. It always snuffles out its own trail, it takes joy in subverting almost every expectation and savouring the moment, and it constantly unearths surprises. When Cage is at his absolute best, he plays characters whose biggest demons are internal. Here, he broods and soul-searches as a man willing to do whatever it takes to find his beloved porcine pal, punish everyone involved in her kidnapping and come to terms with his longstanding, spirit-crushing woes. And, it's a measured gem of a portrayal, and a versatile, touching, deeply empathetic and haunting one that's up there with his finest ever. Sarnoski keeps things sparse when Pig begins; for the poetically shot film and its determined protagonist, less is always more. Rob Feld (Cage) lives a stripped-back existence in a cabin in the woods, with just his cherished truffle pig for company — plus occasional visits from Amir (Alex Wolff, Hereditary), the restaurant supplier who buys the highly sought-after wares Rob and his swine forage for on their walks through the trees. He's taken this life by choice, after the kind of heartbreak that stops him from listening to tapes of the woman he loved. But then Rob's pig is abducted in the dark of the night, turning him into a man on a mission. As the swine's distressed squeals echo in his head, Rob stalks towards Portland to get her back. He has an idea of where to look, but he needs Amir to chauffeur him around the city — and Pig is at its finest when its two main characters are together, unpacking what it means to navigate tragedy, fear, loss, regret, uncertainty, an uncaring world and a complicated industry. Read our full review. LITTLE JOE Pipes blow gently. The camera swirls. Rows of plants fill the screen. Some are leafy as they reach for the sky; others are mere stems topped with closed buds. Both types of vegetation are lined up in boxes in an austere-looking laboratory greenhouse — and soon another shoot of green appears among them. Plant breeder Alice (Cruella's Emily Beecham, who won the Cannes Film Festival's Best Actress award for her work here) is cloaked in a lab coat far paler than any plant, but the symbolism is immediately evident. Audiences don't know it yet, but her shock of cropped red hair resembles the crimson flowers that'll blossom in her genetically engineered new type of flora, too. "The aim has been to create a plant with a scent that makes its owner happy," she tells a small audience, hailing the virtues of a species that's been designed to make its owners love it like it was their own child. So starts Little Joe, which shares its name with the vegetation in question — a "mood-lifting, anti-depressant, happy plant," Alice's boss (David Wilmot, Calm with Horses) boasts. She's borrowed her own teenage son's (Kit Connor, Rocketman) moniker for her new baby, although she gives it more attention than her flesh-and-blood offspring, especially with the push to get it to market speeding up. The clinical gaze favoured by Austrian filmmaker Jessica Hausner (Amour fou) is telling, though. The eerie tone to the feature's Japanese-style, flute- and percussion-heavy score sets an uneasy mood as well. Making her first English-language feature, Hausner helms a disquieting and anxious sci-fi/horror masterwork. Like many movies in the genre, this is a film about possibilities and consequences, creation and its costs, and happiness and its sacrifices — and about both daring to challenge and dutifully abiding by conformity — and yet it's always its own beast. Read our full review. RIDERS OF JUSTICE Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie, which is one fantastic film experience that 2021 has delivered. But the always-watchable actor is equally magnetic and exceptional in Riders of Justice, a revenge-driven Danish comedy that's all about tackling your problems in a different and far less boozy fashion. In both features, he plays the type of man unlikely to express his feelings. Here, he's a dedicated solider who's more often away than home. Beneath his close-cropped hair and steely, bristly beard, he's stern, sullen and stoic, not to mention hot-tempered when he does betray what's bubbling inside, and he outwardly expects the same of everyone around him — including when a a train explosion taints his character, Markus, with tragedy, leaving him the sole parent to traumatised teenager Mathilde (Andrea Heick Gadeberg, Pagten). With a name that sounds like one of the many by-the-numbers action flicks Liam Neeson has starred in since Taken, Riders of Justice initially appears as if it'll take its no-nonsense central figure to an obvious place, and yet this ambitious, astute and entertaining movie both does and doesn't. When Markus returns home from Afghanistan, Riders of Justice's writer/director Anders Thomas Jensen (Men & Chicken) and screenwriter Nikolaj Arcel (A Royal Affair) send statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) knocking at the grieving family's door — a trio of stereotypically studious outsiders to his stony-faced military man who come uttering a theory he seizes upon. Narratives about seeking justice often ride the expected rails on autopilot, getting from start to finish on the standard vengeance template's inherent momentum; however, this layered gem questions and subverts every usual cliche, convention and motif along the way, including by putting its characters first. Read our full review. LAMB Staring into the soul of a woman not just yearning for her own modest slice of happiness, but willing to do whatever it takes to get it — and starring Noomi Rapace (The Secrets We Keep) in what might be her best role yet, and best performance — Lamb is all animal at first. In this Icelandic blend of folk-horror thrills, relationship dramas and even deadpan comedy, something rumbles in the movie's misty, mountainside farm setting, spooking the horses. In the sheep barn, where cinematographer Eli Arenson (Hospitality) swaps arresting landscape for a ewe's-eye view, the mood is tense and restless as well. Making his feature debut, filmmaker Valdimar Jóhannsson doesn't overplay his hand early. As entrancing as the movie's visuals prove in all their disquieting stillness, he keeps the film cautious about what's scaring the livestock. But Lamb's expert sound design offers a masterclass in evoking unease from its very first noise, and makes it plain that all that eeriness, anxiety and dripping distress has an unnerving — and tangible — source. This enticing, surreal and starkly unsettling is as human as it is ovine, though, as it unleashes an intense and absurdist pastoral symphony of dread and hope, bleakness and sweetness, and terror and love. The farm belongs to Rapace's Maria and her partner Ingvar (Hilmir Snær Guðnason, A White, White Day), who've thrown themselves into its routines after losing a child. They're a couple that let their taciturn faces do the talking, including with each other, but neither hides their delight when one ewe gives birth to a hybrid they name Ada. Doting and beaming, they take the sheep-child into their home as their own. Its woolly mother stands staring and baa-ing outside their kitchen window, but they're both content in of their newfound domestic happiness. When Ingvar's ex-pop star brother Pétur (Björn Hlynur Haraldsson, Eurovision Song Contest: The Story of Fire Saga) arrives unexpectedly, they don't even dream of hiding their new family idyll — even as he's initially shocked and hardly approving. Read our full review. SAINT MAUD If humanity ever managed to cure or circumvent death — or even just stop despairing about our own mortality — the horror genre would feel the difference. Lives are frequently in peril in films that are meant to spook and frighten. Fears of dying underscore everything from serial killer thrillers and body horror flicks to stories of zombies, ghosts and vampires, too. Indeed, if a scary movie isn't pondering the fact that our days are finite, it's often contemplating our easily damaged and destroyed anatomy. Or, it's recognising that our darkest urges can bring about brutal repercussions, or noting that the desperation to avoid our expiration dates can even spark our demise. Accordingly, Saint Maud's obsession with death isn't a rarity in an ever-growing genre that routinely serves it up, muses on it and makes audiences do the same whether they always realise it or not. In an immensely crowded realm, this striking, instantly unsettling feature debut by British writer/director Rose Glass definitely stands out, though. Bumps, jumps, shocks and scares come in all manner of shapes and sizes, as do worries and anxieties about the end that awaits us all. In Saint Maud, they're a matter of faith. The eponymous in-home nurse (Dracula and His Dark Materials' Morfydd Clark) has it. She has enough to share, actually, which she's keen to do daily. Maud is devoted to three things: Christianity, helping those in her care physically and saving them spiritually. Alas, her latest cancer-stricken patient doesn't hold the same convictions, or appreciate them. Amanda (Jennifer Ehle, Vox Lux) isn't fond of Maud's fixation on her salvation or her strict judgements about her lifestyle. She knows her time is waning, her body is failing and that she needs Maud's help, but the celebrated ex-dancer and choreographer does not want to go gently or faithfully in that good night. Instead, she'd much prefer the solace that sex and alcohol brings over her palliative care nurse's intensely devout zeal. Read our full review. THE KILLING OF TWO LOVERS In a sparse small town — with the film shot in Kanosh, Utah — the separated-and-unhappy-about-it David (Clayne Crawford, Rectify) attempts to adjust to living with his ailing widower father (Bruce Graham, Forty Years From Yesterday). His wife Niki (Sepideh Moafi, The L Word: Generation Q) remains in their home with their four children, as they've agreed while they take a break to work through their problems. David isn't coping, though, a fact that's apparent long before his teenage daughter Jess (Avery Pizzuto, We Fall Down) gets angry because she thinks he isn't fighting hard enough to save their family. He's trying, but as Crawford conveys in a brooding but nervy performance — and as writer/director/editor Robert Machoian (When She Runs) and cinematographer Oscar Ignacio Jiménez (Immanence) can't stop looking at in lengthy and patient takes — he can't quite adapt to the idea of losing everything he knows. There's an element of Scenes From a Marriage at play here, although The Killing of Two Lovers pre-dates this year's remake — and so much of the feeling in this gorgeously shot movie comes from its imagery. When it's hard to look away from such rich and enticing visuals, it's impossible not to spot and soak in everything they depict. Each frame is postcard-perfect, not that those pieces of cardboard ever capture such everyday sights, but wide vistas and the snowy mountains hovering in the background are just the beginning. With its long takes, The Killing of Two Lovers forces its audience to glean the naturalistic lighting that never casts David and Niki's hometown in either a warm glow or grim glower. Repeated images of David alone, especially in his car, also leave a firm impression of a man moving and solo. Read our full review. HERSELF Survivalist films typically pit humans against the elements, nature or space, testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), enduring unwelcoming expanses (Into the Wild, Arctic), faced with animal predators (The Grey, Crawl) or navigating the heavens (Gravity, The Martian). Herself doesn't tick any of those boxes, but it still fits the genre — because what else is a movie about a woman trying to escape an abusive marriage, care for her two young daughters alone and build a safe future if not a story of survival? In Dublin, Sandra (Spider-Man: Far From Home's Claire Dunne, who also co-wrote the feature's screenplay) is unhappily married to Gary (Ian Lloyd Anderson, Vikings), and has the bruises to prove it. When he finds money hidden in her car, a badly fractured hand becomes the latest marker of their domestic horror. Sandra leaves, children Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara) in tow, but forging a path forward proves complicated at every turn. As a writer (with What Richard Did's Malcolm Campbell), Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra, but avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, tender gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles forward, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense, compassionate but still clear-eyed drama without any cloying sentiment, but still rich in hope and tenacity. Read our full review. THE TRUFFLE HUNTERS Northern Italy's woods are abundant with truffles, especially the tuber magnatum — otherwise known as the white variety. But before these highly sought-after morsels can make their way into kitchens, onto plates, and into many a willing and eager mouth, someone has to spend their time and expend their energy finding the edible fungus. Accordingly, The Truffle Hunters introduces viewers to multiple elderly men and their adorable dogs who all do just that, with their lives revolving around roving the forest and searching out the prized food. It might sound like a relaxed pursuit — as walking through trees with your pet pooch to fill your pockets with a delicacy is bound to — but it's a highly competitive endeavour, and one that the documentary's central figures are intensely passionate about. Charting four men's stories — tales that involve canine partners, cantankerous veterans and sneaking out at night to search with a torch in hand, lest one truffle hunter be caught by his wife — directors Michael Dweck (The Last Race) and Gregory Kershaw (cinematographer on The Last Race, and also on this) survey a wealth of details. The titular subjects try care for their dogs, argue with others encroaching on their turf, type missives about how the world has changed and, in one case, keep absconding by moonlight. Dweck and Kershaw aren't above using puppy cam as well, and it's both a joy and a thrill, as well as emblematic of the film's fondness for flavour and character above all else. The Truffle Hunters is a leisurely movie that's content to chronicle its subjects' easy-going lives, lean into their eccentricities and survey their lush surroundings — and, even clocking in at just 84 minutes, it's an unhurried gem of a film — however, it's also carefully compiled. Read our full review. MY ZOE Rare is the film that nods overtly to more than a few of its influences, yet still manages to inhabit its own niche and no one else's. My Zoe is one of those movies. Its first half bears much in common with 2017's exceptional French drama Custody, while its second half takes its cues from the greatest horror novel ever written, aka Mary Shelley's Frankenstein. That combination works astonishing (and almost disarmingly) well, and nothing here every feels like a mere clone of better material. Indeed, writer/director/star Julie Delpy (Looking for Jimmy, 2 Days in Paris, The Countess, Skylab, 2 Days in New York and Lolo) blends relationship dramas, a tragedy and a science fiction-tinged exploration of loss into a gripping and empathetic film that ponders how grief leads to drastic reactions, how science can let humans play god in increasingly bold and consequential manners, and how we're hardwired to use the latter to work through the former, as well as our fears of mortality. In the movie's opening section, Berlin-based geneticist Isabelle (Delpy, Wiener-Dog) juggles the struggles of co-parenting with her ex James (Richard Armitage, The Lodge). They both dote on seven-year-old Zoe (Sophia Ally, The Current War), but they also argue incessantly — largely due to James' dour behaviour, cruel demeanour and ludicrous demands. By the time that Isabelle calls him "just an awful human being" in one of their arguments, the audience is already on her side. They settle their custody dispute, but the bickering doesn't subside when Zoe is found unconscious and requires hospitalisation. Eventually, though, Isabelle has another dilemma to navigate, involving a desperate ploy to get back what she's lost, a risk-taking doctor (Daniel Brühl, The Falcon and the Winter Soldier) in Moscow and an option his own wife (Gemma Arteton, Summerland) warns against. Read our full review. FANNY LYE DELIVER'D Even on a sunny day, a storm can darken a dazzling blue sky, cracking through that gorgeous facade with the weather's version of stress and woe. That's the sensation that emanates from Fanny Lye Deliver'd's early shots, which show a picturesque Shropshire farm shrouded in mist so scenic that the entire image looks like it could've been rendered in watercolours — back in 1657, too, when the movie is set. But little is perfect behind this bucolic beauty, and that's true even before two strangers unsettle the household. As they prepare to attend church on an otherwise ordinary Sunday, Fanny Lye (Maxine Peake, Peterloo) is used to being treated with disdain by her Puritan husband John Lye (Charles Dance, Game of Thrones), including in front of their son Arthur (Zak Adams, Alice Through the Looking Glass). But then young lovers Thomas Ashbury (Freddie Fox, The Pursuit of Love) and Rebecca Henshaw (Tanya Reynolds, Emma) sneak their way into the Lye home, and nothing is the same again. Fanny Lye Deliver'd isn't writer/director Thomas Clay's first feature or even his second, but it's made with a distinctive vision. Every visible detail, meticulous performance, probing line and weighty rumination upon the subjugation of women and the ills enforced in faith's name — here, during Oliver Cromwell's reign over Britain following the English Civil War — is that fastidious and intoxicating, even when depicting brutality. Clay's picture could easily sit in the mud, folklore and farmland anxiety with The Witch, a film that similarly steps into a god-fearing community where the hatred of women ascending beyond the meagre station allotted them has infected every thought and action. It plays like a cousin to that similarly entrancing and potent movie, however, rather than a sibling. Fanny Lye Deliver'd also benefits from Peake's ferocious and arresting work in the eponymous role, in what proves a stunning survivalist film about women attempting to persist amidst violence and persecution. Read our full review. FIRST LOVE When boxer Leo (Masataka Kubota, Diner) receives news that no one wants to hear — he has a brain tumour, it's inoperable and he doesn't have much time left — he takes it as gloomily as anyone would. But when he subsequently crosses paths with sex worker Monica (Sakurako Konishi, Colorless), his evening takes another unexpected turn. She's fleeing the yakuza gangsters who forced her into prostitution, including one particularly scheming underling (Sometani, Detective Chinatown 3) who plans to use her in a ploy with a crooked cop (Seiyô Uchino, 13 Assassins) to eradicate a Chinese triad gang. They start off as strangers, but Leo swiftly becomes Monica's only friend amidst the bloody mayhem. Iconic Japanese filmmaker Takashi Miike has more than 100 movies to his name, shows zero signs of stopping and is clearly doing something he knows he adores (and that he's proven he's great at) with First Love. That doesn't make the prolific Audition, Ichi the Killer and Yakuza Apocalypse director's latest any less inventive, dynamic, enjoyable or brilliant, though. Here, pulp violence, a twisty crime tale and the Japanese auteur's gonzo energy all combine in a Tokyo-set noir-thriller, which ripples with Miike's distinctive brand of magic again and again — including in the movie's blending of gleefully cartoonish mania with a poignant outsiders-against-the-world narrative, and in everything from its jazz-rock score to its immaculately executed hardware store showdown as well. The inimitable talent can never be accused of painting by numbers, with everything here fitting and working as it should. Yes, he's both found and embraced his wavelength. Read our full review.
When The Carrington became that rare thing — a Drink N Dine closure — it looked like the pub was gone for good. Now the venue is teeming with new life following a resurrection by Luke Butler and Roger Gregg, formerly of the Keystone Group. Mirroring its leafy Bourke Street surrounds, The Carrington has emerged fresh as a daisy with new palm tree wallpaper, barnyard shutters and a tropical rainforest of hanging plants. Out the back where Chica Linda used to be, there's a dog-friendly garden bar where you can order a summery fruit pitcher and cuddle strangers' dogs. All that's left to do is kick back and wait for the beards to arrive. Some of the biggest changes that have taken place are on the menu, which has been totally overhauled by Glebe Point Diner's Alex Kearns and head chef Jon Cowan. They've replaced their famous salami-laden parmaggedon with a much more dignified Kurobuta pork neck schnitzel ($24), which uses premium Japanese black Berkshire pig, the wagyu of the pork world. Prices have also leapt up too, but if you come on the right day there are still good deals to be had. On a Thursday you'll get that schnitty for half price, and on Wednesdays it's just $15 for a Greenstone Creek scotch fillet with cafe de Paris butter, which will set you back $26 the rest of the week. As a whole, the quality of the food has lifted considerably, so if your flatmates are too busy, you can take your parents instead — even if they haven't been back since they were served fries in liquid cheese last time. Alongside bistro classics, there's a salt poached chicken salad with freekeh, pickled zucchini, green tahini and mint ($20) as well as goat's cheese and thyme croquettes with a drizzle of honey ($13). The management were kind enough to let me trade up a side of shoestring fries for crispy smashed spuds in celery salt with smoked aioli ($10), which had all the nostalgia value of Sizzler's potato skins. I recommend highly. The feasting ended with a pavlova-gone-wrong, otherwise known as an Eton mess ($12). A beautiful tousle of whipped cream and strawberries with ripples of poached rhubarb, topped with black pepper spiked meringue is sensational. It's just one of the many good things about the new and improved Carrington. Image credit: Diana Scalfati
Travellers are already obsessed with Japan's wild natural landscapes and hyper-organised cities bursting with a delightfully diverse culture. You've also got ancient temples, onsen baths and picturesque towns scattered about the islands. But cover all of this in snow, and see it become something far more magical. And, yes, cold. But magical, nonetheless. In the colder months, Japan comes alive with a range of activities like skiing, snowboarding and a vibrant selection of seasonal festivals. There is a rich winter culture in Japan that is seemingly underrated — read on to see why we are obsessed with Japan when it's doused in snow. [caption id="attachment_878150" align="alignnone" width="1920"] Sam Lee (Unsplash)[/caption] WINTER WONDERLAND VILLAGES Head to remote mountain villages to find Japan's own version of hygge. The steep pitched roofs of alpine homes are covered in snow and surrounded by frosted trees. Deep blankets of white consume the streets and cover frozen lakes, too. Yep, it's a lot of snow. The two most famous villages to visit — Shirakawa-go and Gokayama — are both UNESCO World Heritage sites. You'll want longer than a day trip to experience them, so stay in one of the farmhouses that have been converted into small family-run bed and breakfasts to experience rural Japanese culture authentically. Take your time exploring these winter oases, getting to know the people who call them home. [caption id="attachment_878141" align="alignnone" width="1920"] Japan National Tourism Organisation[/caption] SKIING AND SNOWBOARDING With all the snow and countless mountain ranges, it's no surprise that Japan is one of the world's biggest skiing and snowboarding destinations. There are over 500 ski resorts here, and they've even hosted two Winter Olympics. If you're into winter sports, then heading to Japan in winter is a no-brainer. On the main island, visit Hakuba Valley to find a series of connected resorts. The northern island is also incredibly popular for its very reliable snowfall. Rusutsu, Niseko and Furano are some of the most popular in this region. But, if we're being honest, just about any ski spot in Japan will be spectacular. Editor's tip: book the ultimate Japan ski tour (including lift passes, transfers and all your accommodation for seven nights) around the Hakuba Valley here. [caption id="attachment_878154" align="alignnone" width="1920"] Steven Diaz (Unsplash)[/caption] ONSEN HOPPING There's no need to run all the way to Iceland to soak in hot natural springs. Japan, a collection of volcanic islands, is full of this naturally heated water that bubbles up to the surface. It's great for your skin and your soul. And, yeah, you can visit these all year round — but nothing beats a winter onsen. Just think: vistas of Japan's snow-covered countryside while you soak your troubles away. It's an experience like no other. And, when you're searching for onsens, be sure to check out the other nature parks nearby. See snow monkeys bathing in hot springs at the Jigokudani Monkey Park, feed foxes at Zao Fox Village and watch cranes dance in the fields within the Kushiro Marsh. [caption id="attachment_878166" align="alignnone" width="1920"] Alva Pratt (Unsplash)[/caption] SEASONAL FOOD AND DRINK While you're soaking in onsens, hanging out at ski resorts and wandering rugged-up around the country's towns and cities, few things will heat you up like a shot of sake. It's like a delicious instant heat pack for your insides. And hot sake is popular for that very reason. Head to an izakaya or two during your stay and drink a few tipples. We all know the cuisine in Japan is next level, and there are dishes that are traditionally made for winter. First off, there's oden. It's a one-pot dish of various savoury goodies simmered in a soy sauce and dashi kelp broth. You can get this anywhere, even convenience stores. Nabe is also a must-try. It's a classic hot-pot dish that's similar to Korean and Chinese hot pots — just with quintessential Japanese flavours. Get cosy around these brothy bowls on a cold winter evening with your mates. [caption id="attachment_878147" align="alignnone" width="1920"] Japan National Tourism Organisation[/caption] WINTER FESTIVALS We all know that Japan uniquely blends its traditional customs with its modern culture and technology. And we believe the best way to experience this phenomenon is by hitting up some local festivals. The spring cherry blossom festival is the best known, but Japan has its own winter celebrations that rival those throughout other times of the year. Christmas and New Year's Eve are big in Japan, but are very family oriented. If you're visiting with mates, or don't know any locals, we recommend you hit up Japan during the Sapporo Snow Festival from February 4–11. The city of Sapporo is taken over by snow and ice sculptures, with live music, street food and carnivals rides too. Be sure to check out the nearby Otaru Snow Light Path Festival and Tokyo's Winter Illuminations as well. [caption id="attachment_878169" align="alignnone" width="1920"] Alessio Roversi (Unsplash)[/caption] SUMO WRESTLING When you have mates visiting from overseas, it's not abnormal to take them to an AFL or NRL match. The same can be said for sumo wrestling in Japan. Not only is the sport so much fun to watch, it's also one of the best places to do some people watching. A wide cross-section of Japanese people will attend these games, having a big day of drinking, eating and cheering on the athletes. Winter is one of the best times to do some athletic spectating here, too. There are a few big tournaments in January and February, with Tokyo being the best place to see them. Just make sure you plan ahead and book tickets early. Make a proper day of it: tickets usually give you access to the arena for the entire day, so take your time learning all the intricacies of the sport with a few drinks in hand. [caption id="attachment_878170" align="alignnone" width="1920"] Jezeal Melgoza (Unsplash)[/caption] SUPER SALES A lot of people come to Japan for the shopping. It's a thing. The city is full of unique fashion stores and all the best tech companies selling the latest devices. But you'd be a fool to come to Japan for shopping any other time than the start of the year — as bargains abound in the major cities. It's also when you'll find fukubukuro (literally 'lucky bag'). These Japanese New Year treats are put together by store owners, and hold a bunch of mystery items that are usually worth a lot more than the price you pay for the bag. It's a lucky dip and hugely popular — people go nuts for them. While visiting Japan in winter, be sure to nab a couple and see what you find. Feeling inspired to book a Japanese getaway? Through Concrete Playground Trips, our new travel booking platform, can you purchase holidays specially curated by our writers and editors. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips at destinations all over the world — check it out. Top images: Japan National Tourism Organisation
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from December's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW LANDSCAPERS In 2013, in an ordinary backyard in Mansfield, Nottinghamshire, UK police excavated the bodies of Patricia and William Wycherley. The elderly couple was last seen 15 years prior, with their librarian daughter Susan Edwards and her accountant husband Chris telling neighbours that the Wycherleys had moved — before Susan and Chris fled their own bills and chased their own love of Gallic cinema to France, that is. In 2014, the younger duo were convicted of the Wycherleys murders, despite willingly returning to England to face questioning and offering their own version of events in the process. To the police, the crime was a premeditated act motivated by money. In their tale, Susan and Chris spoke of multiple layers of abuse, of a heated night that ended badly, and of poor decisions inspired by a lifetime of fear. With Olivia Colman (The Lost Daughter) playing Susan and David Thewlis (I'm Thinking of Ending Things) as Chris, Landscapers unfurls the Edwards-Wycherley saga, digging into the story's details across a four-part true-crime miniseries. But as its irreverent name makes plain, this isn't the usual dive into real-life crime — and not just because its two leads turn in phenomenal performances that rank among their very best. As he's done in both TV series Flowers and recent feature The Electrical Life of Louis Wain, filmmaker Will Sharpe brings his whimsical style to this experimental retelling. On paper, such a tone and the visual flourishes that come with it might seem ill-suited to the material, but it's all a part of the show's interrogation of how its central pair — and everyone in general — navigate life by spinning their own version of reality. It's an inspired touch, and makes Landscapers one of the most distinctive and engrossing additions yet to a ridiculously busy, ever-popular genre. Landscapers is available to stream via Stan. ENCOUNTER Excellent casting can't save all films. Ambitious directors can't, either. But with Encounter, it's easy to see how the sci-fi thriller would've turned out if anyone other than Riz Ahmed was leading the show — and if a filmmaker other than Michael Pearce was at the helm. Across the last three years and his past three movies, Ahmed has turned in a trio of stunning performances that lay bare struggling men battling to reclaim a sense of normality. Indeed, arriving after Mogul Mowgli and Sound of Metal, Encounter couldn't be better placed on his resume. As for Pearce, he jumps into this slippery story of a father, a road trip and a possible alien parasite invasion after making a tremendous feature debut with 2017's Beast, and serves up the same commitment to telling thorny tales without needing to explain away everything. When Ahmed's ex-soldier Malik Khan kills a wasp in his motel room with intense determination, it's clear that he's unusually passionate about eradicating insects — and, believing that a meteorite crashed into earth not so long ago, brought extraterrestrial invaders with it, but hardly anyone else noticed, he has good reason for his entomophobia. His mission: to rescue his two young sons (Heartland's Lucian-River Chauhan and first-timer Aditya Geddada) from the bug-sized aliens, even if it means whisking them away from his ex-wife (Janina Gavankar, The Morning Show) in the middle of the night. Co-written with Joe Barton (Girl/Haji), Pearce's film isn't quite the mystery he thinks it is, but it doesn't need to be to relay its weighty character study. Whenever Ahmed is on-screen, which is often, this is a tense and moving examination of trauma, stress and endeavouring to cope with chaos both everyday and extraordinary. Encounter is available to stream via Amazon Prime Video. THE SEX LIVES OF COLLEGE GIRLS Here's a great way to know whether a new TV comedy is worth watching: check whether Mindy Kaling is involved. After stealing every scene she could in The Office, then turning The Mindy Project into a smart, funny and adorable rom-com sitcom made with oh-so-much love for the genre, she just keeps adding new shows to her resume as a co-creator, writer and producer. The Sex Lives of College Girls is the latest, and quickly thrives thanks to the kind of savvy, authentic, honest and highly amusing writing that's always been a hallmark of Kaling's work. If you didn't know she was behind it going in, you'd easily guess. It also sports an immensely descriptive title, following four college freshmen — strangers to each other, but now roommates — as they navigate the move from high school to the fictional Essex College in Vermont. Because three movies currently in cinemas starring a member of Chalamet family just isn't enough (aka Dune, The French Dispatch and Don't Look Up), The Sex Lives of College Girls features his Timothée's sister Pauline (The King of Staten Island). She plays Kimberly Finkle, who heads to Essex as valedictorian of her small-town school, is more excited about the classes than the parties, but still wants to have the full college experience. And, she's thrilled to find herself rooming with aspiring comedy writer Bela Malhotra (Amrit Kaur, The D Cut), star soccer player Whitney Chase (first-timer Alyah Chanelle Scott) and the wealthy Leighton Murray (theatre star Reneé Rapp) — even if the latter in particular doesn't initially return the enthusiasm. The quartet's exploits from there navigate all the usual kinds of relatable college antics, but do so with a warm-hearted vibe, a great cast, insightful humour, and a shrewd focus on friendships and figuring out who you want to be. The first season of The Sex Lives of College Girls is available to stream via Binge. SWAN SONG It took Mahershala Ali a mere two years to back up his first Best Supporting Actor Oscar with a second one, initially winning for the sublime Moonlight before again earning the nod for being the best thing about Green Book. He won't add a third Academy Award to his mantle for Swan Song, but he gives it two tries — playing a terminally ill illustrator who doesn't want to put his family through the pain of losing him, and also playing the clone his character has secretly had made to replace him without his loved ones ever knowing he was even sick. That's the futuristic sci-fi premise behind this poignant drama, which tussles with life, love, loss and two inescapable realisations. This isn't just a movie about facing your own mortality, but about confronting the fact that everything that's important to you — everyone that's important, to be specific — will still continue on after you say goodbye. Not to be confused with the Udo Kier-starring film of the exact same name that's just reached cinemas, Swan Song ruminates on Cameron Turner's (Ali, Alita: Battle Angel) moral quandary after enlisting Dr Scott (Glenn Close, Hillbilly Elegy) to replicate him before he succumbs to his illness. Even after seeing how fellow patient Kate (Awkwafina, Shang-Chi and the Legend of the Ten Rings) and her clone fare, it's a decision that weighs heavily on his mind — especially given his wife Poppy (Naomie Harris, Venom: Let There Be Carnage) is expecting their second child. So much of Swan Song's power stems from Ali's ability to wade through such a difficult choice, and to convey its emotional ramifications often without saying a word. In this thoughtful directorial debut by writer/director Benjamin Cleary, Ali also unpacks the flipside as Jack, who'll replace Cameron, and sees the possibilities his existence brings with literally fresh eyes. Swan Song is available to stream via Apple TV+. THE NORTH WATER When ex-army surgeon Patrick Sumner (Jack O'Connell, Seberg) secures a gig on a whaling expedition to the Arctic working as the ship's doctor, he's clearly running from something. His new colleagues are instantly suspicious of his story, bloodthirsty harpooner Henry Drax (Colin Farrell, Voyagers) among them — although Captain Brownlee (Stephen Graham, Venom: Let There Be Carnage) and whaling company owner Baxter (Tom Courtenay, Summerland) are mostly just happy for his cheap services. That's the setup for The North Water, the 19th-century-set, five-part miniseries that takes to the seas, to the cold and to a brutal world, and proves grimly mesmerising with its Moby Dick-meets-Heart of Darkness vibes. Charting a survivalist tale not just of the physical kind amid all that unforgiving ice (and on those treacherous waters), but also of the emotional and mental variety as well, this is one of the most relentlessly intense shows to hit screens in 2021 — and it's also gripping from start to finish. The first episode sets the scene in a slow-burn fashion, culminating in sights so searing they're impossible to forget — and the story, as well as the vast chasm between Sumner and Drax, only grows from there. Writer/director Andrew Haigh adapts Ian McGuire's novel of the same name, but this series has the Weekend, 45 Years and Lean on Pete filmmaker's stamp all over it. He finds as much empathy here as he has throughout his stellar big-screen projects, and once again demonstrates his extraordinary eye for detail, exceptional sense of place and winning way with actors. With the latter, having O'Connell and Farrell lead the charge obviously helps. They're not only reliably phenomenal; they each put in some of their best-ever work, and their performances seethe with complexity. So does the entire miniseries, which is never willing to pose easy answers or provide straightforward interpretations when ruminating over the minutiae is much more riveting, fascinating and realistic. The North Water is available to stream via Binge. MACGRUBER They can't all be The Blues Brothers or Wayne's World — films based on Saturday Night Live sketches, that is. Eagerly silly, as you'd expect of any MacGyver send-up, 2010's MacGruber definitely doesn't belong in the same category as the two best SNL-to-cinema flicks. That hasn't stopped an action-parody TV series hitting streaming 11 years later, however. And, with Will Forte once again donning a Richard Dean Anderson-style mullet and wearing plenty of flannelette, this MacGruber revival is the satire's finest moment yet. You could easily think that it only exists because Forte had a gap in his schedule, or because even television skits-turned-movies never die, and both are likely true. Still, when it comes to making fun of all the action cliches that'll never leave screens either big or small, this series knows its unashamedly ridiculous niche. The setup: after spending a decade in prison, the eponymous hero is given a reprieve by his pal General Barrett Fasoose (Laurence Fishburne, The Ice Road) when the president's daughter is kidnapped. He's part of the ransom demand, but his long-term foe Brigadier Commander Enos Queeth (Billy Zane, The Boys) also has other plans. Cue a cavalcade of amusingly over-the-top gags about action-flick machismo and every other trope the genre keeps throwing at viewers, all with Forte and his co-stars as committed as ever to the concept, tone and non-stop jokes. If it wasn't so self-aware — and if both Forte and Kristen Wiig (Barb and Star Go to Vista Del Mar) weren't so pitch-perfect in their parts — it might just be stupid rather than stupidly funny. Thankfully, MacGruber knows what it is, knows how to do it well, and knows the difference between being dumb and serving up gleefully dumb fun. The first season of MacGruber is available to stream via Stan. NEW SHOWS TO CHECK OUT WEEK BY WEEK STATION ELEVEN Add Station Eleven to the pile of post-pandemic movies and shows that ponder that very subject — a topic that'll continue to grace our screens for years and decades to come. It's unfair to clump this haunting end-of-the-world miniseries into the same group as opportunistic flicks such as Locked Down, though. Instead, like Y: The Last Man, it predates COVID-19, arrives after garnering a devoted following on the page, and taps into something far deeper than obvious observations about being stuck at home with your significant other and having to scramble to buy toilet paper. The focus of this excellent show, and of Emily St. John Mandel's 2014 book before it, is how art and community all play immeasurable parts in helping humanity process and navigate existence-shattering traumas — and to find a path out the other side. That's a sentiment that might sound mawkish and self-evident when described in a mere sentence, but nothing about Station Eleven ever earns such terms. It all starts with a flu that swiftly proves more than just the usual sniffles, coughs, aches and pains. For eight-year-old Shakespearean actor Kirsten (Matilda Lawler, Evil), the chaos descends during a tumultuous opening-night performance of King Lear led by Arthur Leander (Gael García Bernal, Old), the aftermath of which sees her traipsing around snowy Chicago with Jeevan (Himesh Patel, Don't Look Up), who she has just met. That's really just the beginning of this multi-layered narrative, which also jumps forward 20 years to experience Kirsten's (Mackenzie Davis, Happiest Season) life with a travelling theatre troupe as the planet adjusts to its new normality — and keeps fluttering backwards into her younger exploits, and into the experiences of others connected to her story in various ways. This is a dystopian disaster tale not just about merely surviving, but about truly enduring, and it's a lyrical, heartfelt and character-driven apocalyptic musing with an immediate difference. The first five episodes of Station Eleven are available to stream via Stan, with new episodes dropping weekly. FIREBITE Trust Warwick Thornton to rove his eyes across Australia's sunburnt landscape, imagine vampires prowling the outback and cast those predators within a narrative that hails back to the First Fleet's arrival. The Samson and Delilah and Sweet Country filmmaker co-created new Aussie fantasy-horror series Firebite with Mad Bastards' director Brendan Fletcher, so the credit isn't his alone; however, given that he's spent his career exploring the nation's treatment of Indigenous Australians, it slips easily into his filmography. His third TV project in short succession following the second season of Mystery Road and stunning docoseries The Beach, Firebite also carves out a place for Indigenous tales within the undead genre. Indeed, seeing the colonisation of Australia as the act of ruthless bloodsuckers is an idea so smart and shrewd that this new streaming delight deserves to span on for several seasons. Making glorious use of Coober Pedy's dusty expanse — and its underground dugouts, which help locals escape the heat — Firebite follows two black vampire hunters, aka bloodhunters. Tyson (Rob Collins, The Drover's Wife The Legend of Molly Johnson) doesn't really like the label, but he's determined to keep his hometown of Opal City free of vampires, and he's teaching his teenage daughter Shanika (Shantae Barnes-Cowan, Total Control) the trade. But then The King (Callan Mulvey, High Ground) arrives, and more bloodsuckers follow. As a century of vampire fare dictates, this doesn't bode well for humans. Thornton and Fletcher — and fellow director Tony Krawitz (Secret City) — never merely follow in anyone else's footsteps, though. In fact, they don't just sink their teeth into a familiar concept, but tear into it to tell their own standout tale, and do so with a devil-may-care attitude that drips through Firebite's style, story and performances. The first two episodes of Firebite are available to stream via AMC+, with new episodes dropping weekly. EXCELLENT RECENT BIG-SCREEN RELEASES TO CATCH UP WITH IMMEDIATELY THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (Spider-Man: No Way Home's Benedict Cumberbatch a career-best, awards-worthy, downright phenomenal turn, plus Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. The Power of the Dog is available to stream via Netflix. Read our full review. THERE IS NO EVIL The death penalty casts a dark and inescapable shadow over There Is No Evil, which is just as writer/director Mohammad Rasoulof intends. The Iranian filmmaker has spent his career examining the reality of his homeland, as previously seen in 2013's Manuscripts Don't Burn and 2017's A Man of Integrity — so much so that he's actually been banned from his craft, not that that's stopping him. With There Is No Evil, Rasoulof doesn't simply continue the trend that's guided his cinematic resume thus far. Rather, he interrogates the most severe form of punishment that any society can enact, and doesn't shy away from horrors both obvious and unplanned. To call the result powerful is an understatement, and it's won him Berlinale's prestigious Golden Bear in 2020, and now the 2021 Sydney Film Festival Prize as well. An anthology film that unfurls across four segments, There Is No Evil explores capital punishment, its impact and the ripples that executions have upon Iranian society. Even the mere concept of state-sanctioned killing rolls through the feature like waves, changing and reshaping much in its wake. It touches a stressed husband and father (feature first-timer Ehsan Mirhosseini), a conscript (Kaveh Ahangar, Don't Be Embarrassed) who can't fathom ending someone's life, a soldier (Mohammad Valizadegan, Lady of the City) whose compliance causes personal issues and a physician (Mohammad Seddighimehr, The Sad Widows of the Warlord) unable to practise his trade. While some sections hit their mark more firmly and decisively than others — There Is No Evil's introduction sets a high bar — this meticulously crafted movie, both visually and thematically, has a lingering cumulative effect as it ruminates on the threats and freedoms that come with life under an oppressive regime. There Is No Evil is available to stream via SBS On Demand. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October and November this year — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well. Top image: Ian Routledge/AMC+.
Under current COVID-19 restrictions, you can't go on a holiday (locally or overseas). But, the government has hinted travel between Australia and New Zealand may be allowed in the near future, so it's time to start dreaming. Bookmark this for when you can explore once again. With a bountiful backyard to be explored, it's high time you got out and slept in the most jaw-dropping rest stops in the South Island. You may be giving up your own bed, but you don't have to sacrifice any comfort for that natural NZ beauty at these glamping retreats. To help you find the perfect place to rest your head in the great outdoors (without getting too lo-fi), we've gathered a list of the best glamping spots in the south. Get ready for a night of luxury, trust us, you'll never sleep better. CAMP KEKERENGU, KAIKOURA Waking up at Kaikoura's Camp Kekerengu is like waking up on the edge of the earth. Perched high above the wild Clarence River, you can watch the sunrise from your bed over the expansive beaches below then enjoy sights of playful seals and whales putting on a show. The campsite is complete with outdoor baths and a kitchen with a vista to die for — you'll be moving in before you know it. Go for the full luxe experience, and head to Nin's Bin to eat some of the freshest crayfish you can get your hands on. $220 per night. LAVERICKS BAY, CHRISTCHURCH If you just want to switch off and escape, look no further than Lavericks Bay. Tucked away in the coves of the Banks Peninsula, this lavish campsite boasts wooden outdoor hot tubs and toasty wood burners for the cooler Christchurch nights. It also opens onto a private beach and backs onto rolling hills for your exploring pleasure. Fall asleep watching the stars, then hike up the hill to watch the sun rise over the ocean and feel the serenity. At a 40 minutes' drive from Akaroa and two hours from the garden city, it's a bit of a trek — but, trust us, it's worth the effort. While you're there, grab a surfboard and check out some of the remote breaks dotted around the Banks Peninsula. $210 per night. ROCKY POINT HUT, PEPIN ISLAND Just a stone's throw away from Nelson — but far enough to look back on the bay's beauty — is Rocky Point Hut on Pepin Island. Nestled on the remote tip of the picturesque farming island, the accommodation is a two-hour walk from the isolated Cable Bay beach. While that sounds long, your hard work will be rewarded with an epic vista to make you feel like the king of the land. Your throne? The outdoor hot tub with panoramic views of Tasman Bay. For the full royal treatment, forgo cooking and head to Cable Bay Cafe instead. It's a secret spot only the locals know and serves some of New Zealand's best fare. $150 per night. VALLEY VIEWS, OTAGO Deep in the heart of Mackenzie Country, you'll find a village of luxurious tents to call home. Valley Views Glamping does what it says, delivering incredible views of farm, river and mountain across the vast Waitaki Valley. The campsite sits two hours from Wanaka, giving you a chance to soak in the southern sights on your way to the comfy bed and cosy log burner that await your arrival. Bring a book, and your favourite person, you're not going to want to leave. While you're there, make tracks to Kurow Estate Winery's Cellar Door and pick up some vino to enjoy with the views. $200–$300 per night. WOODPECKER HUT Welcome to Woodpecker Hut, an oasis in the midst of the West Coast wilderness where you can kick back and let your worries subside. Designed and built by locals, the isolated cabin sits harmoniously within its natural surrounds. The hut marries luxury with nature seamlessly, so you can soak in the wooden hot tub all while you soak up a sunset. With bushwalks and beaches at your doorstep, there's plenty of adventuring to be done if you get tired of relaxing, too. If you're after even more views, take a trip just five minutes down the road to the breathtaking Pancake Rocks. $290 per night. Start planning your trip to New Zealand's south with our guide to the South Island journeys to take here.
Sydney's love of sandwiches is showing no signs of slowing down, with a newcomer bringing some serious two-handers to the city's southwest. Now open in Revesby, San San is an airy new spot on Marco Avenue that's dishing up stacked sandwiches and by-the-slice pizza on fluffy, daily-baked focaccia. San San is the brainchild of siblings Jade and Jonny Massaad and Jonny's wife Julie, who turned their sandwich cravings into a cosy neighbourhood hangout. The siblings are no strangers to Sydney's food & bev scene — Jade is the founder of hospo-focused social media agency The Hype, while Jonny is the baker behind online cake shop Cake Mail. San San's menu features ten sandwiches, all of which come on that appetising focaccia slice. Highlights include the Mortadella, which features fig jam, ricotta and a house-made hot honey, Jonny's Smoky BBQ Schnitty, which sees a plump chicken schnitzel teamed with smoky barbecue sauce, hot chilli oil, potato crisps and butter lettuce, and the Eggplant and Roasted Capsicum, which is elevated with Julie's mum's homemade baba ganoush. Hot tip: pair your sandwich with a serve of house lemonade, made from another family recipe. Head in before 11am to take your pick from San San's breakfast options. There's a Sausage McMuffin dupe elevated with a spicy house mayo and caramelised onions, as well as a manoush loaded with za'atar, labneh and a heap of fresh veggies. Beyond the sandwiches, there's a selection of focaccia pizza by the slice, a grazing plate and a schnitty-loaded salad finished with that house mayo. In keeping with the family theme, you'll also find a selection of Cake Mail baked goods and gooey cookies. Sydneysiders looking for a post-lunch caffeine fix can often struggle to find anything open, but San San is doing things a little differently — it's open until 4pm, seven days a week. San San is now open at 4/19-29 Marco Avenue, Revesby. Find out more at the website.
Before Monday, March 28 comes to a close Down Under, Hollywood will have anointed a new batch of winners. After months of chatter — almost two since the nominations were announced, in fact — and even longer still of speculation, the Academy Awards will shower accolades upon its 94th round of recipients. Sweeping revisionist westerns, heartwarming animated hits, sci-fi spectacles, history-making documentaries: amid the gorgeous gowns, snappy monologues and sweet speeches that'll inevitably come with 2022's Amy Schumer, Regina Hall and Wanda Sykes-hosted ceremony, they're all in the running. Yes, the list goes in. And, in a bonus for movie lovers in Australia, you can watch 36 of this year's nominated features right now. Some are showing in cinemas, others are streaming, and a few give you options for either big- or small-screen viewings — and here's your pre-Oscars binging rundown on where to see them all. ON THE BIG SCREEN: BELFAST Nominations: Best Picture, Best Director (Kenneth Branagh), Best Supporting Actor (Ciarán Hinds), Best Supporting Actress (Judi Dench), Best Original Screenplay, Best Sound Our thoughts: Warm, cosy, rosy, charming, feel-good: typically when a film spins its story during The Troubles in Northern Ireland, none of these words apply. But with Belfast, Kenneth Branagh has made a movie set in its eponymous city when the Protestant-versus-Catholic violence was a constant sight, and also helmed a Jamie Dornan, Caitríona Balfe and Judi Dench-starring feature that's about a childhood spent with that conflict as a backdrop. Where to watch: Belfast is currently screening in Australian cinemas. Read our full review. CYRANO Nominations: Best Costume Design Our thoughts: Love can spring quickly, igniting sparks instantly. Or, it can build gradually and gracefully, including over a lifetime. In the sumptuous confines of Cyrano, all of the above happens — and, with director Joe Wright helming a handsome, detail-laden, rhythmic piece of cinema starring a fantastic Peter Dinklage, Haley Bennett and Kelvin Harrison Jr, this musical adaptation of Edmond Rostand's 1897 play Cyrano de Bergerac truly sings. Where to watch: Cyrano is currently screening in Australian cinemas. Read our full review. DRIVE MY CAR Nominations: Best Picture, Best Director (Ryusuke Hamaguchi), Best International Feature, Best Adapted Screenplay Our thoughts: Forget Green Book and Driving Miss Daisy, American Oscar-applauded films similarly about drivers, passengers and unexpected camaraderie — Drive My Car is in a lane of its own. Filmmaker Ryusuke Hamaguchi takes his central pair and his audience on a patient, engrossing and rewarding trip that cuts to the heart of dealing with life, love, loss, pain, shame and despair, and also sees how fickle twists of chance unavoidably dictate our routes. Where to watch: Drive My Car is currently screening in Australian cinemas. Read our full review. FLEE Nominations: Best International Feature, Best Documentary Feature, Best Animated Feature Our thoughts: Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen has created one of the best instances of the combination yet, all to share the story of an Afghan refugee who was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen, and now talks through the astonishing ups and downs in his tale. Where to watch: Flee is currently screening in Australian cinemas. Read our full review. LICORICE PIZZA Nominations: Best Picture, Best Director (Paul Thomas Anderson), Best Original Screenplay Our thoughts: Paul Thomas Anderson's ninth feature births two new on-screen talents, both putting in two of the past year's best performances and two of the finest-ever movie debuts. In this sublime tale of friendship, romance, hanging out and navigating the 70s in San Fernando Valley, that's evident from the first grainy 35-millimetre-shot moments, as Alana Haim (of Haim) and Cooper Hoffman (son of Philip Seymour Hoffman) do little more than chat, stroll and charm. Where to watch: Licorice Pizza is currently screening in Australian cinemas. Read our full review. PARALLEL MOTHERS Nominations: Best Actress (Penélope Cruz), Best Original Score Our thoughts: Parallel Mothers is classic Pedro Almodóvar, but nothing about that description ever simply unfurls as expected. Once again, he puts Penélope Cruz at the centre of his frames, paints with the vibrant-toned costume and set design that make his movies such a blissful sight for colour-seeking eyes, and focuses on mothers of all shades navigating life's many difficulties — and the result is one of his best films so far. Where to watch: Parallel Mothers is currently screening in Australian cinemas. Read our full review. IN CINEMAS OR AT HOME: DUNE Nominations: Best Picture, Best Original Score, Best Adapted Screenplay, Best Visual Effects, Best Cinematography, Best Production Design, Best Costume Design, Best Film Editing, Best Sound Our thoughts: A spice-war space opera about feuding houses on far-flung planets, Dune has long been a pop-culture building block. It's always been something special, too — but as he did with Blade Runner 2049, writer/director Denis Villeneuve has once again grasped something already enormously influential, peered at it with astute eyes, built it anew and created an instant sci-fi classic in the process. Where to watch: Dune is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. ENCANTO Nominations: Best Animated Feature, Best Original Score, Best Song Our thoughts: Five years after Lin-Manuel Miranda and Disney first teamed up on an animated musical with the catchiest of tunes, aka Moana, they're back at it again with Encanto. To viewers eager for another colourful, thoughtful and engaging film — and another that embraces a particular culture with the heartiest of hugs, and is all the better for it — what can the past decade's most influential composer and biggest entertainment behemoth say except you're welcome? Where to watch: Encanto is currently screening in Australian cinemas, and is also available to stream via Disney+,Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HOUSE OF GUCCI Nominations: Best Makeup and Hairstyling Our thoughts: For the second time in as many movies, Lady Gaga is caught in a bad romance in House of Gucci. Yes, she's already sung the song to match. The pop diva doesn't belt out ballads or croon upbeat tunes in this true-crime drama about the titular fashion family, unlike in her Oscar-nominated role in A Star Is Born, but she does shimmy into a tale about love and revenge, horror and design, and wanting someone's everything as long as it's free. Where to watch: House of Gucci is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. KING RICHARD Nominations: Best Picture, Best Actor (Will Smith), Best Supporting Actress (Aunjanue Ellis), Best Original Screenplay, Best Film Editing Our thoughts: Stepping into Venus and Serena Williams' childhood as aspiring tennis stars, King Richard mostly lobs around smaller moments — and it's a tale about imperfections, struggles and contradictions in the pursuit of excellence, too. It spies the sporting greats' formative years through their father (Will Smith), but still steps through life-defining events for the entire family — and the end product is an easy win, though, rather than an all-timer Where to watch: King Richard is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NIGHTMARE ALLEY Nominations: Best Picture, Best Cinematography, Best Production Design, Best Costume Design Our thoughts: Don't mistake the blaze that starts Nightmare Alley for warmth; in his 11th film, Guillermo del Toro gets chillier than he ever has. A lover of gothic tales told with empathy and curiosity, the Mexican filmmaker has always understood that escapism and agony go hand in hand — and here, in a carnival noir that springs from William Lindsay Gresham's 1946 novel and previously reached cinemas in 1947, he runs headfirst into cold, unrelenting darkness. Where to watch: Nightmare Alley is currently screening in Australian cinemas, and is also available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SPENCER Nominations: Best Actress (Kristen Stewart) Our thoughts: Spencer joins Kristen Stewart's resume after weighty parts in Clouds of Sils Maria, Personal Shopper, Certain Women and Seberg, and has her do something she's long done magnificently: let a world of pain and uncertainty seep quietly from her entire being. The new regal drama should do just that, of course, given its subject — but saying that director Pablo Larraín has cast his Diana well, pitch-perfect head tilt and all, is a royal understatement. Where to watch: Spencer is currently screening in Australian cinemas, and is also available to stream via Prime Video. Read our full review. SPIDER-MAN: NO WAY HOME Nominations: Best Visual Effects Our thoughts: Spider-Man: No Way Home isn't without its charms; Tom Holland and Zendaya's chemistry still sparkles, it's a definite treat to see Willem Dafoe and Alfred Molina back in the fold, and, as blasts from the pasts keep popping up, director Jon Watts cleverly juggles the varying tones of all three different web-slinging franchises. But this spider-sequel is always happiest when it's trying to catch the audience's claps and cheers just like flies. Where to watch: Spider-Man: No Way Home is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WEST SIDE STORY Nominations: Best Picture, Best Director (Steven Spielberg), Best Supporting Actress (Ariana DeBose), Best Cinematography, Best Production Design, Best Costume Design, Best Sound Our thoughts: Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. With this swooning, socially aware remake of one of cinema's favourite stories about star-crossed lovers, the veteran filmmaker pirouettes back from the atrocious Ready Player One by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Where to watch: West Side Story is currently screening in Australian cinemas, and is also available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE WORST PERSON IN THE WORLD Nominations: Best International Feature, Best Original Screenplay Our thoughts: Capturing the relentlessly on-the-go sensation that comes with adulthood, as well as the inertia of feeling like you're never quite getting anywhere that you're meant to be, The Worst Person in the World is filled with running scenes that paint a wonderfully evocative and relatable image. Those are apt terms for Norwegian writer/director Joachim Trier's latest gem overall, actually, which meets Julie as she's pinballing through the shambles of her millennial life. Where to watch: The Worst Person in the World is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. VIA STREAMING: ASCENSION Nominations: Best Documentary Feature Our thoughts: Starting with factory recruitment on the streets, then stepping into mass production, then climbing the social hierarchy up to the rich and privileged, Ascension explores employment, consumerism and the everyday dream in China. Observational to a mesmerising degree, it lets its slices of life and the behaviour, attitudes and patterns they capture do the talking — and what a smart, telling, incisive and surreal story they unfurl. Where to watch: Ascension is available to stream via Paramount+. ATTICA Nominations: Best Documentary Feature Our thoughts: Half a century after the infamous Attica uprising at the New York jail — which ended with 33 inmates and 10 correctional officers dead, all most all at the hands of law enforcement — this intelligent, compassionate and powerful documentary asks prisoners who were there to share their stories. Entwined with archival footage, it isn't an easy watch, but it's not just grim and infuriating but gripping and essential during every second. Where to watch: Attica is available to stream via Paramount+. BEING THE RICARDOS Nominations: Best Actor (Javier Bardem), Best Actress (Nicole Kidman), Best Supporting Actor (JK Simmons) Our thoughts: If Aaron Sorkin's name is attached to a project, film or TV alike, plenty of talk always ensues. That's no different in this Sorkin-written and directed biopic about Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) — which focuses on a difficult time in their marriage, and in their sitcom I Love Lucy, but largely just makes viewers wish that they were watching that television series and the real-life Ball instead. Where to watch: Being the Ricardos is available to stream via Prime Video. CODA Nominations: Best Picture, Best Supporting Actor (Troy Kotsur), Best Adapted Screenplay, Our thoughts: CODA, the sophomore feature from writer/director Sian Heder (Tallulah), takes its cues from 2014 French hit La Famille Bélier — and it's a rare example of the remake bettering the original. Following 17-year-old Ruby Rossi's (Emilia Jones, Locke & Key) struggle to balance her commitments to her family, all of whom are deaf, with her dreams of attending music school, it's filled with warmth, naturalism, engaging performances and a welcome lack of cheesiness. Where to watch: CODA is available to stream via Apple TV+. Read our full review. COMING 2 AMERICA Nominations: Best Makeup and Hairstyling Our thoughts: Coming 2 America might make knowing jokes about pointless sequels made decades after original hits, but that winking attitude doesn't make this 33-years-later sequel to Coming to America any better. This time around, Eddie Murphy's Prince Akeem of Zamunda has to grapple with becoming king, finding out he has a 30-year-old son and realising that his country's patriarchal traditions need dismantling, and laughs are thin from start to finish. Where to watch: Coming 2 America is available to stream via Prime Video. CRUELLA Nominations: Best Costume Design, Best Makeup and Hairstyling Our thoughts: A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — but if the Emma Stone-starring affair was a fashion item itself, though, it'd be a piece that appears fabulous from afar, but can't hide its seams. Where to watch: Cruella is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DON'T LOOK UP Nominations: Best Picture, Best Original Screenplay, Best Original Score, Best Film Editing Our thoughts: On paper, Don't Look Up sounds like a dream. Using a comet hurtling towards earth as a stand-in, Adam McKay parodies climate change inaction and the circus that tackling COVID-19 has turned into in the US, spoofs self-serious disaster blockbusters and enlists a fantasy cast. But he's still simply making the most blatant gags, all while assuming viewers wouldn't care about saving the planet, or their own lives, without such star-studded and glossily shot packaging. Where to watch: Don't Look Up is available to stream via Netflix. Read our full review. THE EYES OF TAMMY FAYE Nominations: Best Actress (Jessica Chastain), Best Makeup and Hairstyling Our thoughts: Not for the first time, the eyes have it, but then they always have with Tammy Faye Bakker. The second film called The Eyes of Tammy Faye to tell the 70s and 80s televangelist's tale, this biopic, frequently puts its namesake's OTT and instantly eye-grabbing peepers in focus. That's apt, given the Jessica Chastain-starring flick hones in on perspective; however, it'd be a better film if it pondered what she truly saw, or didn't. Where to watch: The Eyes of Tammy Faye is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FOUR GOOD DAYS Nominations: Best Original Song Our thoughts: Based on a true tale and coming to the screen via a Washington Post article, Four Good Days isn't subtle — but Mila Kunis and Glenn Close's performances still hit the mark with power and empathy. They play a mother and daughter, the former a ten-year heroin addict trying to get clean for the 15th time, the latter her long-suffering mother, and both wading through a lifetime of woes in search of a brighter future. Where to watch: Four Good Days is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. FREE GUY Nominations: Best Visual Effects Our thoughts: Free Guy is a big-budget, star-led movie that primarily exists to answer two not-at-all pressing questions: what would The Truman Show look like if it starred Ryan Reynolds, and how would that 1998 classic would fare if it was about massive online video games instead of TV? In the process, it's firmly Hollywood's equivalent of mass-produced soft furnishings emblazoned with self-help platitudes and designed to sit on as many couches as possible. Where to watch: Free Guy is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE HAND OF GOD Nominations: Best International Feature Our thoughts: The Hand of God isn't a Diego Maradona biopic; however, Paolo Sorrentino's film takes its name from the soccer star's move during a 1986 World Cup match, where he used his hand to score a goal and helped win the game. Based on the filmmaker's own youth, it also tells of a time when the player was a deity to the not-yet-movie-obsessed future Italian cinema great — and the life-changing personal dramas that occurred with that soccer worship in the background. Where to watch: The Hand of God is available to stream via Netflix. Read our full review. THE LOST DAUGHTER Nominations: Best Actress (Olivia Colman), Best Supporting Actress (Jessie Buckley), Best Adapted Screenplay Our thoughts: Watching Olivia Colman play a complicated woman is like staring at the ocean: it's never the same twice; it couldn't be more unpredictable, no matter how comfortable it appears; and all that surface texture bobs, floats, swells, gleams and glides atop leagues of unseen complexity. The Lost Daughter is the latest example, and it's exceptional, with actor-turned-filmmaker Maggie Gyllenhaal making a bold directorial debut bringing Elena Ferrante's novel to the screen. Where to watch: The Lost Daughter is available to stream via Netflix. Read our full review. LUCA Nominations: Best Animated Feature Our thoughts: Even when Pixar makes a minor delight, like Luca, its usually swims well beyond most of the other family-friendly fare that gets pumped in front of young eyes. Set in Italy over a resplendent summer, this coming-of-age tale might be the closest that Pixar ever gets to making a Frankenstein movie. Forget the whole coming back from the dead part; instead, teenage sea monsters Luca (Jacob Tremblay) and Alberto (Jack Dylan Grazer) just want to belong. Where to watch: Luca is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE MITCHELLS VS THE MACHINES Nominations: Best Animated Feature Our thoughts: Fighting the robot apocalypse has rarely been as fun on-screen as it is in this feel-good, family-friendly (and family-loving) animated delight. Artificial intelligence takes over, the world's technological gadgets enslave humans, and it's up to a film-obsessed teenager and her quirky family to save the day, work through their baggage and ensure that humanity has a future — all of which makes for smart, funny, warmhearted and savvily playful viewing. Where to watch: The Mitchells vs the Machines is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. NO TIME TO DIE Nominations: Best Original Song, Best Visual Effects, Best Sound Our thoughts: James Bond might prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril. But, there's more weight in Daniel Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes. Where to watch: No Time to Die is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE POWER OF THE DOG Nominations: Best Picture, Best Director (Jane Campion), Best Actor (Benedict Cumberbatch), Best Supporting Actor (Jesse Plemons, Kodi Smit-McPhee), Best Supporting Actress (Kirsten Dunst), Best Adapted Screenplay, Best Cinematography, Best Original Score, Best Production Design, Best Film Editing, Best Sound Our thoughts: Jane Campion has never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, the New Zealand director is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop, and is also teeming with stunning performances. Where to watch: The Power of the Dog is available to stream via Netflix. Read our full review. RAYA AND THE LAST DRAGON Nominations: Best Animated Feature Our thoughts: Featuring a vibrant animated spectacle that heroes vivid green and blue hues, a rousing central figure who is never a stock-standard Disney princess and lively voice work, Raya and the Last Dragon boasts plenty of highlights. It embraces southeast Asian culture with a warm hug; it's always detailed, organic, inclusive and thoughtful, and never tokenistic; and it benefits from the pitch-perfect vocal stylings of Awkwafina as the playful, mystical half of the film's title. Where to watch: Raya and the Last Dragon is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SHANG-CHI AND THE LEGEND OF THE TEN RINGS Nominations: Best Visual Effects Our thoughts: In Marvel's 25th film, Simu Liu anchors a film about history and destiny, too — one that's about breaking free from the past and committing to the future — and he heartily embraces the occasion. Shang-Chi and the Legend of the Ten Rings itself flits between offering up a lively picture that strives to carve out its own space in the series, and simply serving up more of the usual Marvel template but in enticing packaging, however, but it's always entertaining. Where to watch: Shang-Chi and the Legend of the Ten Rings is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) Nominations: Best Documentary Feature Our thoughts: Much of Summer of Soul (...Or, When the Revolution Could Not Be Televised) involves stunning archival footage, as recorded more than five decades ago and never seen since, capturing live performances by an astonishing lineup of musicians at the 1969 Harlem Cultural Festival. Directed by Questlove, consider this glorious documentary an act of unearthing, reclamation and celebration, then. It's a gift, too — and a phenomenal one. Where to watch: Summer of Soul (…Or, When the Revolution Could Not Be Televised) is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TICK, TICK... BOOM! Nominations: Best Actor (Andrew Garfield), Best Film Editing Our thoughts: Lin-Manuel Miranda's filmmaking directorial debut, Tick, Tick… Boom! charts theatre composer Jonathan Larson's (Andrew Garfield) path to the autobiographical one-man-show that shares its name — before he went on to make a little production called Rent. It's a loving ode, albeit an inescapably overexcited one. And it's also clearly a case of art imitating life, with Larson's enthusiasm for the art form he cherished so feverishly coming through strong. Where to watch: Tick, Tick... Boom! is available to stream via Netflix. Read our full review. THE TRAGEDY OF MACBETH Nominations: Best Actor (Denzel Washington), Best Cinematography, Best Production Design Our thoughts: Bringing Shakespeare to the big screen is no longer just about doing the material justice, or even letting a new batch of the medium's standout talents give their best to the Bard's immortal words. For everyone attempting the feat (a list that just keeps growing), it's also about gifting the playwright's material with the finest touches that cinema allows — and this version of Macbeth, directed solo by Joel Coen, bubbles not only with toil and trouble but with all of the above. Where to watch: The Tragedy of Macbeth is available to stream via Apple TV+. Read our full review.
Pyrmont's not exactly known for its food and drinks scene but if you know where to look there are gems to be found. Mister Percy is one such place. An inviting wine bar and restaurant hidden within the sandstone walls of the Ovolo 1888, Mister Percy has had a few iterations over the few years that it's been open but the seductive mood and inspired wine list remain the common threads. Mister Percy is named in honour of Percy Ewart, a former wool classer who worked in the site's original wool store — hints of which remain among the blend of leather, marble, plush fabrics and paintings, paying homage to its history while simultaneously celebrating the contemporary. If you settle in for dinner, the offering from the kitchen is a blend of Mediterranean cuisine, Japanese flavours and mainstays of contemporary Australian menus (I see you burrata and flash fried calamari!). You don't have to skim far on the menu, created by Head Chef Carmela Cordero, to encounter the influence of Japan — from the soy mirin glaze on the risotto to the miso dashi sauce served with the grilled fish. The snack selection of the menu is a particular stand-out for accompanying an evening experimenting with the wine list (more on that shortly) but another option is the four-course 'feed me' menu which, at $75 per person with paired wines for an additional $50, is a pretty reasonable decision-free date night. But ultimately, at its heart and in execution, Mister Percy is a wine bar and it is the drinks list that makes the biggest impact thanks to the thoughtful curation of Sommelier Luis Manzanares. The wine list is surprisingly dynamic with heaps of unexpected drops you rarely see in a standard hotel bar, including a great range of Spanish wines, skin contact by the glass and bottle, and some lesser-represented Australian producers. Expect to kick back with excellent drops like the 2021 Neldner Road shiraz or the elegant Remelluri reserva tempranillo, many of which are available by the glass. Impress your date with your own selections or leave yourself in Mr Manzanares's safe hands.
Dot Lee and Jarrod Walsh have done it again. The crew behind Hartsyard now resides in Chippendale, taking over the food and drink operations at The Old Clare Hotel and impressing with an adjoining seafood restaurant and wine bar, Longshore. Taking over Automata's previous digs, the team's revamp is all about stunning produce and top-notch wines. The 80-seat bar and restaurant is adorned with a refined coastal-inspired fitout. Brought to life by Guru Design, the outpost is filled with warm lighting, textured ceilings, hints of blue and olive green embellishments and sandy terrazzo at the front of the long open kitchen. An Automata favourite as well, this peak behind the scenes allows diners to marvel at Walsh and the team at work as they tuck into what Longshore has to offer. [caption id="attachment_905601" align="alignnone" width="1920"] Jason Loucas[/caption] Open for long business lunches or intimate dinners, the many dining options allow for a variety of ways to explore the various eats. Take your pick from the five-course tasting menu, available with or without wine pairings; the experimental ten-course snack flight for a journey through the restaurant's best mouthfuls; or choices of your own from the a la carte offerings. The crunchy baby turnips with sesame taramasalata, abalone party pies, marinated octopus skewers and pickled Jervis Bay mussels are all ideal places to start at Longshore. Seafood lovers also mustn't miss the Skull Island tiger prawn which is served with habanero paste in a taco-like wrap of fragrant leaves. As for the mains, the roasted dry-aged lamb rump and crispy belly accompanied by pumpkin koi and black garlic will rival any cut of meat you've had around Sydney. Other options include tempura blue oyster mushrooms and swordfish steak on the bone. Partner your meal with a drop from the wine list that offers up both established classics to newcomers. The whites are fresh and ready to pair with the many seafood menu items, there's chilled red to accompany your lamb and if you're a fan of a natty, that's on offer too. Adding to the charm of Longshore is the venue's zero-waste policy, with every part of the abalone used for the pies and a cocktail menu that incorporates leftovers from the kitchen.
This unassuming Thai restaurant in Capitol Square goes off on weekends, with Thai bands rocking it loud and late into the night and large groups of friends sharing the signature bottles of whiskey and mixes at nearly every table. The place gets absolutely packed out, but if you're lucky enough to nab a table, you're in for a real treat. They're serving up some legit Thai food alongside the drinks, including the requisite tom yum, array of rice dishes, curries and noodles, along with an impossibly spicy whole fish with chilli and ginger. When combined, this atmosphere somehow manages to transport you from a dingy shopping mall to the raucous streets of Bangkok.
The Unicorn, a revered Paddo pub of pubs is a collective effort from Mary's guys Kenny Graham and Jake Smyth, plus Porteno's Elvis Abrahanowicz and Young Henrys Oscar McMahon. Proudly dishing up Aussie pub classics, including steak and chips, roast chook, meat pies and a bloody good pav if you choose dessert over another beer. Despite the historically swanky Paddington location, you won't find leather banquettes or fancy dangly lights decking out The Unicorn. Instead, there's a dartboard, a pool table, an old piano for drunken sing-alongs, cold beer and good food. To start, you can order Jatz with house-made French onion dip — the ultimate 70s-style party starter. From the main menu, it's pretty hard to go past the Mary's burger, but with Elvis in charge there are still plenty of other dishes to instil food envy. The Unicorn's Bannockburn chicken schnitzel uses both the breast and wing, which are fried to a golden crust. It's served with creamy mash and a pool of pan gravy. There are also a few steaks on offer, although you won't find the usual porterhouse, scotch fillet and rib eye on the list. Here it's 'the daily steak' or 'the fancy steak' — expertly cooked with two choices of sides, ranging from cauliflower cheese, crinkle-cut chips, peas, mash or honey carrots. Then there's 'the big and fancy steak' which is served medium rare with smoked eschallot butter and four sides of your choice. The cherry atop The Unicorn is the old-fashioned dessert list, which includes a pav with banana cream or a chocolate fondant with baked fruit and malt ice cream. Young Henrys is well represented on tap — however, it would be pretty un-Australian to neglect the VB, Resch's and Carlton, which feature alongside. For the plonk, the wine list is all-Australian, featuring top drops by small local producers, listed by state. All in all, an unpretentious Aussie pub with good food and good vibes. Images: Byron Martin for PADDO(Collective), Bodhi Liggett
If a certain bespectacled boy wizard and two best friends have taught us anything, it's that life really is magical sometimes. Take the latest Harry Potter-themed event, which we're certain is going to become the next big pop culture/fitness craze craze. Who doesn't want to bend and stretch in a HP yoga class? Yep, on October 30, the folks at Circle Brewing Co in Austin, Texas did something even more wonderful than make delicious alcoholic beverages; they made many a Harry Potter fan's dreams come true. It's part of their Pints & Poses series (which seriously sounds like our kind of exercise), and was held as both a fun Halloween and Dia de los Muertos-esque shindig, and a celebration of the life of Lily and James Potter on the eve of the anniversary of their passing. Attendees worked Slytherin cobra and Whomping Willow poses, wielded wands to summon a Patronus and cast off Dementors, and were told to "imagine you're sitting on the Hogwarts Express," according to Cosmopolitan in the US. They also ate sorting hat-shaped cookies, visited a potion station, and, afterwards, everyone had a pint of Circle (non-butter)beer. Of course they did. The class was so popular that two more are now slated for November, should you happen to be in the vicinity this month. Given that we already have silent yoga, silent disco yoga, cat yoga, blindfolded yoga, hip hop yoga, brewhouse yoga, rooftop yoga, Beyonce yoga, Drake yoga and stand-up paddleboard yoga on our fair shores, it really is the kind of thing that someone in Australia ought to conjure up, and fast. Accio fitness, and all that. Images: Circle Brewing Co.
Award-winning street artist and muralist Matt Adnate has added a big dose of colour to Clovelly Beach with the creation of a vibrant new mural at the swimming hole's surf club. Depicting surf life savers in action — and Clovelly's most beloved resident, the iconic blue groper — the expansive public artwork now adorns the north wall of the Clovelly Surf Life Saving Club, facing out onto the water. One of Sydney's most beloved swim spots, Clovelly is known for its myriad of underwater life and its concrete sunbathing areas. The latest edition to this eastern suburbs hub comes courtesy of Dulux, who commissioned the mural to celebrate the tenth anniversary of its partnership with Surf Life Saving Australia. Beachgoers will notice that a can of Dulux paint and the old English sheepdog synonymous with the brand also make appearances on the mural, alongside the surf life savers and local sea life. Across the last decade, Dulux has donated over 40,000 litres of paint to more than 250 surf life-saving clubs across Australia. Several surf clubs were considered for the mural, but it ended up on the walls at Clovelly due to its longstanding role in the community — with the club established over a century ago in 1906 — and its iconic look. The artist behind the work, Matt Adnate, has created larger-than-life public artworks around Australia including the Southern Hemisphere's tallest mural at a Collingwood public housing block. He also created the ARIA-award-winning cover art for Baker Boy's acclaimed debut album Gela. Adnate's Clovelly Beach mural is now complete, so anyone heading out to the beaches for a swim or a cliff walk this weekend (or in the near future, once this rain stops) should drop into Clovelly to check out its new dose of public art. Clovelly Surf Life Saving Club is located at Bundock Park, Donellan Circuit, Clovelly. Images: Enzo Amato.
Martha Marcy May Marlene is a moving psychological thriller detailing the plight of Martha (Elizabeth Olson), who has recently spent two years living with an abusive cult and its deceivingly charming leader (John Hawkes). After her escape, she reunites with her sister Lucy (Sarah Paulson) and brother-in-law (Hugh Dancy). She attempts to mould her life back to routine, yet is unwilling to divulge details of her mysterious and lengthy disappearance. Despite her family's concerns and inquiries, Martha's history is still kept hidden in darkness and the film pivots around the haunting memories of her ordeal. When such memories begin to fuel her paranoia and the fear that she may be recaptured, Martha becomes a victim of her past as her concept of reality becomes distorted with immense vigour. A dark and magnetic exploration of human consciousness, Martha Marcy May Marlene exposes the unturned side of humanity that we fear to recognise. The film is directed and written by Sean Durkin, who won the esteemed award for "Best Director" at the Sundance Film Festival in 2011, and opens in cinemas February 2. Courtesy of Fox Searchlight, Concrete Playground has twenty double passes to giveaway. To win tickets to Martha Marcy May Marlene, just make sure you are subscribed to Concrete Playground then email your name and postal address through to hello@concreteplayground.com.au by 5pm on Friday, January 21. https://youtube.com/watch?v=KFu-zcQ7Mh4
It might highlight the best in TV as well as film, but there's nothing small about the Australian Academy of Cinema and Television Awards, or the festival that's sprung up around it. In 2024, in tandem with its move to the Gold Coast, the accolades unveiled a multi-day program of talks, events and screenings around the ceremony, all celebrating Aussie movies and shows, plus the talent behind them. In 2025, AACTA Festival is returning — for a longer run and with a bigger program. 2024's four-day, 70-plus-event lineup has been eclipsed by 2025's five-day bill with more than 100 events. HOTA, Home of the Arts is AACTA Festival's base again. The dates for your diary: Wednesday, February 5–Sunday, February 9 for the fest, and Friday, February 7 for the main awards ceremony. The bulk of the movies and TV shows nominated for this year's AACTAs won't be announced until Saturday, December 7, which means that more AACTA Festival lineup details will arrive afterwards; however, the program revealed so far is already impressive. One big highlight: getting the Working Dog team, aka Santo Cilauro, Tom Gleisner, Jane Kennedy, Michael Hirsh and Rob Sitch, together for an in-conversation session that's bound to touch upon everything from The Castle, Frontline, Thank God You're Here and Utopia to The Dish, The Hollowmen and Have You Been Paying Attention?. The Dish will also be on the screening program, and the Working Dog team will receive the prestigious AACTA Longford Lyell Award. Australian cinematographer Greig Fraser, who won an Oscar for Dune and is highly tipped for another one for Dune: Part Two, is another big-name inclusion, chatting about his Hollywood work. Also in the same category: John Seale, who took home an Academy Award for The English Patient, and was nominated for Witness, Rain Man, Cold Mountain and Mad Max: Fury Road. Attendees can also look forward to authors Trent Dalton and Holly Ringland returning from 2024's lineup, chatting about Boy Swallows Universe and The Lost Flowers of Alice on the small screen, respectively; a dive into the Heartbreak High soundtrack; a panel on queer storytelling with RuPaul's Drag Race Down Under season two winner Spankie Jackzon and Deadloch's Nina Oyama; and a session with First Nations filmmakers. Australia's contribution to the horror genre, tunes from the How to Make Gravy movie performed live, Dani Im's Eurovision experience, a Taylor Swift symposium: they're part of AACTA Festival as well. And if you're keen to watch movies, Gettin' Square followup Spit will enjoy its Queensland premiere, complete with star David Wenham (Fake) chatting about the feature's journey; Looney Tunes: The Day The Earth Blew Up will make its Australian debut, at Movie World, of course; and upcoming action film Homeward with Nathan Phillips (Kid Snow) and Jake Ryan (Territory) will take viewers behind the scenes. "AACTA Festival is a one-of-a-kind event that connects and celebrates our entire screen industry. With over 100 events led by our industry's best, it is a truly transformative experience for anyone passionate about the screen industry, offering an unparalleled opportunity to explore career pathways and connect with some of the brightest minds in film and television," said AACTA CEO Damian Trewhella about 2025's lineup. "This year, we're especially excited to shine a spotlight on the resurgence of music in screen storytelling. With an incredible program of events featuring world-class composers, songwriters and music supervisors, we're not just celebrating the artistry of soundtracks and scores; we're also providing invaluable development opportunities for aspiring creatives to learn, network and advance their careers. AACTA Festival is where inspiration meets opportunity, and we can't wait to see the next generation of Australian screen talent emerge." [caption id="attachment_955328" align="alignnone" width="1920"] Netflix[/caption] [caption id="attachment_927965" align="alignnone" width="1920"] Netflix © 2023[/caption] AACTA Festival will run from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise Gold Coast. For further details, head to the fest's website.
Rosebery is fast becoming one of Sydney's most desirable neighbourhoods, largely in part to The Cannery, a huge 4500-square-metre retrofitted warehouse precinct, which houses the delicious likes of Archie Rose Distillery, Black Star Pastry, Koskela and Italian restaurant Da Mario. In 2016, however, The Cannery really took things next-level, with the opening of several game-changing additions. Brand new providore marketplace Saporium opened in May 2016, and is designed to bring everything you need to live a wholesome, healthy life together in one place, with a greengrocer, a butcher, a baker, a coffee roaster, restaurants and a cooking school. It's been in development for some time. The first stage saw Grain Organic Bakery, Zeus Street Greek, 5th Earl and The Choc Pot open their doors, then came Vive Cooking School, organic grocer Wholefoods House, artisan butcher Kingsmore Meats and Welcome Dose Specialty Coffee. The space even launched its own weekly market. In November, Saporium also landed a sustainable bottle shop, The Drink Hive, which features refillable beer and wine stations. With the crew from Three Blue Ducks joining the neighbourhood in June, The Cannery has been one of the buzziest areas of Sydney in 2016. And it's not done yet.
Have you ever struck gold in an op-shop? It's a high, isn't it? The thrill — akin to finding money on the ground or winning a game — comes from small victories like picking up a piece that emulates a current trend (say, anything aquamarine right now) or a trinket to fill that empty space on your shelf. Dedicated thrifters take on bigger conquests, such as finding a brand new wedding dress at a regional Salvos. Op shopping has long been a practical (and sometimes, necessary) cost-cutting measure. A recent study from Salvos and Glow Research has pulled back the curtain on the incredible highs and lows of the op shopping experience — naturally, 60% of Australians value the savings, but the data reveals that more shoppers are rummaging the racks for fun today. Almost three-quarters of respondents agree that the experience feels like a treasure hunt, and that finding the right item brings a sense of personal accomplishment. You never know what lies in your local second-hander, but you're likely to luck out. A crystal chandelier, a rare Dobro guitar — these are among the items of "exceptional value" that 68% of Aussies have purchased at op-shops. This unending potential for discovery explains why two in three Australians find op shopping more exciting than browsing boutiques or department stores. Hard-to-find items have a maverick appeal, but the unique potential and individuality of these items also raise the stakes for shoppers. Something mass-produced can be bought anytime, but who knows when you'll see those vintage leather boots again? Salvos reports shoppers are twice as likely to regret leaving something behind at the op shop than at a regular retail store. It's the opposite of buyer's remorse; 48% of shoppers have returned to the op shop for a previously abandoned item. If they're lucky, it hasn't been snapped up by another discerning eye. Interestingly, op shops backed by charities even offset the guilt of impulse spending for almost 70% of respondents. As sustainability becomes an increasingly urgent topic, you're less likely to feel guilty when you're avoiding fast fashion. Still, moderation is always wise. This data was supplied by Salvos and was based on a study of a national representative sample of 1000 Australians. Images: supplied Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
Amidst all of this pandemic doom and gloom, three Sydney hospitality legends have joined forces to bring us a new restaurant to look forward to. Bistro Rex's Nick and Kirk Mathews-Bowden are teaming up with Chef Ben Sears (Paper Bird, Moon Park) to open Ezra — a love letter to Tel Aviv, a city on Israel's Mediterranean coast. "Kirk and I used to live in London and there are amazing Middle Eastern and Mediterranean restaurants over there, which led us to visit Israel," Nick told Concrete Playground. "We were instantly swept up by Tel Aviv. It is one of the coolest cities on earth. It has this huge nightlife scene and an unstoppable sense of hospitality." It's this unstoppable hospitality the trio hopes to bring to Kings Cross, where Ezra is set to open inside an old terrace house in early September. Its design takes cues from Tel Aviv's byzantine and bauhaus architecture, with many curves and lots of earthy tones. The space boasts two plant-filled courtyards — one out back and one in the front — a long walnut bar and a large mosaic archway, made using handmade Lebanese tiles. Floral sculptor Tracy Deep will make dried native arrangements for the space, too, while local artist Amy Hunter will create original pieces for the walls. Apart from table seating, diners can pull up a stool at both the bar and in front of the open kitchen. Expect family-style dining here, with the menu split into small snacks, salads and larger charcoal-grilled dishes. It'll be veggie heavy, too. While the menu is still being finalised, a few dishes that Sears is testing out include a falafel and tahini snack, baked cauliflower with haloumi and a chicken parfait with amba (a pickled mango condiment) that's a play on a classic Israeli liver and onions dish. For starters, expect mezze and flat breads made in house — and, for dessert, an ice cream baklava sandwich is in the works. At Moon Park and Paper Bird, Sears was known for his riffs on Korean, Japanese and Chinese dishes, and he'll be incorporating some of those flavours into the dishes at Ezra, too. The whole grilled flathead, for example, will come dressed with a chickpea miso from Tasmania. To accompany the food, a relatively succinct wine list will span both "natural" and "nostalgic", meaning you can get pét-nats, orange and minimal-intervention wines alongside a classic chablis. "Every day we'll be opening something different and seeing what the neighbourhood leans into," says Nick. Apart from wine, there will be a short cocktail list, created by a friend from Melbourne's Black Pearl. On it will be a paloma, a limonana — a gin-spiked Israeli mint lemonade that's been shaken with lemon sorbet — and a play on a Brazilian batida de coco. That last one is a dark rum-based drink similar to a piña colada, but the Ezra version uses natural yoghurt instead of coconut milk. If the trio's experience in Tel Aviv is anything to go by, expect them to be downing shots at the end of the meal with you, too. "Young people [in Tel Aviv] are being quite creative with cafes and restaurants," says Kirk "They'll bring you whisky at the end of a meal and ask if you want to do a shot together, that sort of thing. It's such a vibrant city full of rooftop bars and restaurants doing fresh, zingy takes on Middle Eastern and Mediterranean blended food." The restaurant has room for 90 all up, but that number will be limited by NSW Government COVID-19 restrictions — so booking ahead is highly recommended. But, when the days of spontaneous walk-ins finally resume, you can bet a free seat at the bar will beckon you inside. Ezra is set to open on Friday, September 4 at 3 Kellett Street, Potts Point. Keep an eye on this space for an official opening announcement. UPDATE: WEDNESDAY, AUGUST 17, 2020 — Ezra was originally slated to open on Friday, August 28 but this has been delayed by a week until Friday, September 4.
There's plenty of unwinding to be done while you dine at the new-look Tilbury Hotel. Last November the Wooloomooloo pub underwent renovations — its first reno in 12 years — and has emerged on the other side with a new menu, a new vibe and a new aesthetic. Pastel undertones, bright whites, gold brass trimmings offset with dark and light woods will have you escaping the city grind in no time. Think Scandinavian meets coastal sea breeze, and a few retro details flowing out into the sunny courtyard. Grab a seat at one of the leather banquettes, or pull up a chair complete with its own stitched quilt, where you can expect a gastropub menu with a little bit of everything. A glass of sparkling and a few Port Stephens rock oysters with Archie Rose gin, dill and cucumber ($4 each) will have you kicking back in no time. Chase it up with Fraser Island spanner crab on toast ($4 each), and you might just quit your day job. The crispy smoked ox cheek, radish and pickled mushrooms ($22) will take things up a notch, or if you're more of a poultry fan, try the chicken terrine with apple and celeriac remoulade, hazelnuts and sourdough ($18). Best washed down with an ice-cold bottled, or on-tap brew. Jumping straight to mains? Skip the ricotta gnocchi with garlic prawns, scallops and heirloom tomatoes — the blended capsicum in the sauce overpowers the delicate flavours — but do go for the pan fried snapper, saag aloo, lentil dahl and lassi dressing ($33). The fish is perfectly cooked, the spices well-balanced, and it goes down nicely with a glass of La Belle Pierre rose ($12). Of course, there's also a few meaty options for those who need something more substantial. Desserts will surprise; there's a savoury element in each offering. You can stick to the classics with the choccy and cardamom pudding with rosewater cream ($15), but we suggest going for it with something more exotic like the pumpkin panna cotta with cacao nib and pumpkin puree ($15). It's creamy, light and the perfect combination of sweet and savoury. Can't decide? Order the dessert platter ($30) and you won't have to. And if you prefer to drink your dessert, an espresso martini will do the trick ($18). Apart from the regular lunch and dinner menu, they're also serving brunch from 10am on Sundays, and, once the clock strikes noon, they switch to a Sunday roast with all the trimmings. If it's fine food in a relaxed and polished pub setting you're after, then The Tilbury's got you covered. Just make sure you leave enough time to really unwind, and enough room for dessert. Updated: March 10, 2016.
Got a ticket to the game? What you need now is a trusty pub for a pre- or post-game bevvie, or two. No ticket? What you need is a pub with a big screen — chances are, you'll have a better view than half the people in the stadium. The trick is finding the right spot. For a venue to be game friendly, several elements need to be on point: well-positioned screens, a decent sound system, a friendly — albeit feverishly competitive — atmosphere, and quality food and beer. After all, watching a match can feel as taxing as playing one, so fuelling up and cooling down correctly is essential. We've joined forces with Heineken to round up four pubs that won't let you down. They're scattered across the eastern suburbs, the inner west and the lower north shore. So, wherever you are, both the game and a refreshing Heineken will be within reach.
It's likely safe to say that no one IRL has met their significant other via the unique combination of a flashed nipple, a dog on the street, then strangers coming together not only to ensure that an injured pooch gets the medical treatment that it needs, but to care for the cute pup together from that instant forwards. It's the type of situation that screenwriters conjure up. In this case, writers and actors Harriet Dyer and Patrick Brammall have done just that. But one of the charms of Colin From Accounts from its first scenes back when its initial season arrived at the end of 2022 is the fact that it takes an only-on-TV (or in the movies) kind of meet-cute and makes everything about it, and also all that's followed between its protagonists, feel authentic. The charisma between Dyer and Brammall was always going to radiate a genuine vibe. They're married. They're also no strangers to working together on an Aussie comedy series where sparks fly between their characters. The now-American Auto and Evil stars, respectively, also teamed up on the two homegrown seasons of No Activity across 2015–16 (they each appeared in the show's US remake as well, which ran for four seasons across 2017–21, and preceded both versions of the show with A Moody Christmas and Ruben Guthrie). To watch, even playing folks who wouldn't have any awareness of each other if it wasn't for an impossible-to-predict series of events as in Colin From Accounts, their shared presence couldn't be more comfortable. [caption id="attachment_881020" align="alignnone" width="1920"] Lisa Tomasetti[/caption] There's an ease to Colin From Accounts that spans far beyond its on- and off-screen driving forces, though, and a relatability. Even the sequence that gets Ashley and Gordon, aka Dyer's medical student and Brammall's microbrewery owner, crossing paths unfurls with a sense that each step along the way isn't out of the question. In fact, it all begins as everyone watching has experienced themselves: with two people not knowing what to do when they literally cross each other's path in the street. Kicking off as you mean to go on — with amusing and insightful comedy that manages not to seem too far from reality when it's at its most heightened, with a new couple and their adorable pet, and with a winning sense of humour — is firmly Dyer and Brammall's approach with Colin From Accounts.facc Accordingly, it's been no wonder that the Binge series has proved a viewer favourite at home and overseas, and earned renewal for a second season. It wasn't a surprise, either, when it started collecting a swag of awards — AACTAs and Logies in Australia, also gongs from the nation's writers' and casting guilds, plus the Breakthrough Comedy Series accolade alongside the Outstanding Performance in a Comedy Series prize for Dyer at the first-ever Gotham TV Awards in the US. Speaking with Concrete Playground about season two, which is streaming for Aussie audiences via Binge, Dyer and Brammall give the series the sheen of a miracle, however, thanks to sharing a simple fact: that Colin From Accounts began as a fun thing for the pair to write for themselves, including to act in, but without thinking that anything more would come of it. [caption id="attachment_881024" align="alignnone" width="1920"] Tony Mott[/caption] For most, that'll be the least-relatable thing about the hit series: that something this delightful can spring from merely "bouncing an idea around", as Brammall describes it, without having confidence that it'd find its way to the screen. With the pair's resumes — Dyer's also includes Down Under, Killing Ground, Love Child, The Other Guy, The Invisible Man and Wakefield, while Brammall's sports Home and Away, Griff the Invisible, The Moodys, Offspring, Upper Middle Bogan, Glitch, Overlord and Lodge 49, to name just a few other credits for both — the least-believable aspect might be that there was ever any question that the project would, could and should make it to fruition. Season two of Colin From Accounts doesn't dare feel like an easy repeat of the first. Ashley and Gordon are past the will-they-won't-they stage, but now they have the next question to ponder: should've they? The season picks up with them still regretting giving Colin away, so much so that they're desperate to get him back to the point of popping up in the park where he's playing with his new owners, becoming a big part of Colin's new humans' lives — much to the latter's chagrin — and doing whatever it takes to bring their dog back home. But that's just the opening storyline, and something to distract a no-longer-new duo from whether they really are right for each other. From there, the season digs into their romantic histories, approaches to self-pleasure and miscommunication, then what happens when meeting the parents doesn't quite gel and how they might want different things for the future. In addition to the show's original idea and sliding-door moment, we also chatted with Dyer and Brammall about their starting point for the second season, plans for Ashley and Gordon across the series' latest eight instalments, and veering down a new route in its fifth episode. If you've ever wondered how difficult it is to come up with a name that'll work for both a dog and a TV show, we plunged into that as well, then explored the naturalism of Colin From Accounts' dialogue — another factor that makes it feel so authentic — including both when it's scripted and improvised. [caption id="attachment_881023" align="alignnone" width="1920"] Tony Mott[/caption] On the Original Idea for Colin From Accounts Springing From a Nipple Flash, a Dog and Strangers Committing to Take Care of a Cute Injured Pooch Together Harriet: "We just made it up." Patrick: "We were just bouncing an idea around, really. I mean, we didn't think it would get made. It was just like 'hey, this would be fun to write something for us to act in because we're actors'." Harriet: "We wanted two people that only had chemistry. They didn't know each other, they didn't have ..." Patrick: "Anything in common." [caption id="attachment_881021" align="alignnone" width="1920"] Lisa Tomasetti[/caption] Harriet: "They were not expecting to see each other beyond that moment. It could have been a sliding-door situation where the postman didn't let the dog out, and she just flashes her nipple and he keeps driving and goes 'who was that woman?', and tells his friends at work and that's it." Patrick: "Yeah, that's right." Harriet: "But because the man didn't close the gate properly, then you've got a dog. And that's the kind of magical bit." [caption id="attachment_881022" align="alignnone" width="1920"] Lisa Tomasetti[/caption] On the Deliberation That Went Giving a Dog That Name That Also Doubled as the Moniker for a TV Series Harriet: "It's interesting. I never actually loved the name Colin From Accounts as a TV show. I didn't know what else to call it, but I thought it sounded a bit broad, but it's working. It's worked. I can't note it now." Patrick: "Are you kidding? I loved it always." Harriet: "You did." Patrick: "Yes." Harriet: "Yes." Patrick: "We did talk — Binge at one point were like 'hey, do we love the title? Do we think it should be something else?'. And we had a think and the best we could come up with was Dog with Wheels." [caption id="attachment_952631" align="alignnone" width="1920"] Lisa Tomasetti[/caption] Harriet: "Dog with Wheels is a different kind of broad." Patrick: "Yeah, yeah. No, not good." Harriet: "It's neither better nor worse, though." Patrick: "Colin From Accounts, I love it cause it's a good misdirect." Harriet: "People think it's about Patty." [caption id="attachment_964082" align="alignnone" width="1917"] Joel Pratley[/caption] Patrick: "Yeah, and that my name's Colin. But it comes from real life because we, a few years ago, fostered a dog for a short time, and he had a name we didn't like. It was Minshu. Like, well done, but we just didn't he looked like a Minshu. And so we literally that conversation we have in episode one season one, pretty much verbatim ..." Harriet: "Airlifted, yeah." Patrick: "... a conversation that we had in life. 'What does he look like? He looks like a Colin. He looks like Colin from accounts'. And we did that, and it amused us to call a dog Colin From Accounts. And so because these two characters, they meet on the same frequency. That's what turns each other on about the other. So that made sense to make that the name of the show, because that's a weird thing when they meet." [caption id="attachment_952629" align="alignnone" width="1920"] Lisa Tomasetti[/caption] On the Starting Point for Season Two as Writers, and Diving Further Into Ashley and Gordon's Lives and Relationship Harriet: "We knew that we had to get the dog back, otherwise no one would forgive us. But we knew that it couldn't be that simple —we had to give them obstacles. They couldn't just be like 'oh, here you go'. And so it did feel a little hijinks-y trying to give them — they try, it's blocked, they try, it's blocked, but ultimately, they got him. We just had to get him back. And then once we solved that — we wanted to solve that nicely by the end of the first episode, because we didn't want to spend a lot of time on what felt pretty obvious — but then it was like 'okay, so we got him'. We also talked about do we work without him? We opened the curtain of that, and then we got him back. So that kind of curtain is still a little open, because well, now we've got him, but should we still stay together?" [caption id="attachment_964083" align="alignnone" width="1917"] Joel Pratley[/caption] Patrick: "That's right, because just before that moment happens in episode one, Gordon's like 'you know, let's just see what we're like without him, just us'." Harriet: "And then: knock, knock, knock." Patrick: "And then: knock, knock, knock — and things take over. But really, what we knew we wanted to explore in this season was the baggage that people bring to a relationship. And it's a little bit more Gordon's baggage because he's been a single pants man for so many years. He's in his 40s, and he's just never had a long, meaningful relationship." Harriet: "And he's less front-footed about his stuff. I think Ashley wears her heart and all her BS on her sleeve, whereas he's kind of tucking it away into weird corners. And trying to present this clean guy. And then she finds that box of beers and is like 'what? Just be open about whatever you are'." [caption id="attachment_952630" align="alignnone" width="1920"] Lisa Tomasetti[/caption] Patrick: "That's right. So we knew we wanted to open doors in each of them. Now that they're together, what does that mean? So that's what we did. And then we just thought about what do we want the other characters to do?. And we thought of some setpieces in episode four — at the start of episode four, there's a funny kind of moment in our new relationship, which we thought was funny, a bit sexy, and also a bit cringy and real. And we thought that's not only funny, it could be a great conversation-starter for people in relationships to talk about their sexuality." Harriet: "And what their sexuality means to them, and what does it look like when they're by themselves, and habits and all that kind of stuff." [caption id="attachment_964084" align="alignnone" width="1917"] Joel Pratley[/caption] Patrick: "And in episode five, we changed the format of the show a little bit, just to play with something, a particular idea. And the idea we had for that is something that happens to Ashley, and that dictated the form of that show. It's quite different to the other episodes." Harriet: "Yeah, five is a bit different." Patrick: "And then we wanted to meet Gordon's family. And so these things kind of presented themselves, and we placed them around the season where we felt it was appropriate for them to come up." Harriet: "Yep." Patrick: "And then before you know it, you've got a season, you've got eight shows." On Ensuring That the Show's Dialogue Sounds Authentic — Both as Writers and as Actors Harriet: "Because we wrote it, we have a healthy disrespect for it. Learning lines is very easy when you or he wrote it. And also, it's funny, our script supervisor, they're the ones that come over and go 'it's actually and not but' — and we had to pretty quickly go 'we're probably not going to say what we wrote'. But sometimes we have to because we're hitting points. And also sometimes the joke is written so well that you do have to learn exactly the rhythm of it." Patrick: "Yeah." Harriet: "But there's definitely moments that ad-lib happened, and we just always left space for that. And our director Trent O'Donnell [who also directed No Activity] was so good at that. He'd give you a bit to riff on — like that whole bit with the unicycle that was so kind of iconic in season one, 'was this yours? How long have you been single?', that was a bit that he just called out from behind the camera because the props and art department put a unicycle there. That wasn't in the script, but then it ended up in the trailer. So the show is just the sum of its parts like that. Because Patty said ' hey, I want Gordy's house to be filled with half-completed hobbies'. So they had there like herbs, a punching bag ..." Patrick: "A drum kit." Harriet: "Drums, the unicycle. And it was just like this man has so many hobbies and he's not seeing any of them through." Patrick: "That's right, because it speaks to character." [caption id="attachment_964086" align="alignnone" width="1917"] Lisa Tomesetti[/caption] Harriet: "And so that realism that you're talking about, every department delivers on that, and then we just play with all the world." Patrick: "And we always, we're never too strict about the script. As Harry just said, we leave about ten percent for play, because you might find some magic there." Harriet: "And if you've got time, we go 'let's do a fun run', and that's all the characters. Just say your favourite bits of the script, but if there's something else that's popping into your head, say that." Patrick: "Or if the line isn't working for an actor, we'll just go 'don't worry about that. What do you want to say instead?'." Harriet: "But sometimes if the pitch doesn't feel right — especially some day players, they'll have an idea of what Colin From Account is, and so they'll pitch a joke that's just not it. And we'll be like 'oh my god, it's so good, but not that'. But also 'have a go, let's do that, and then we'll just do one as a script because we need it for the big guys upstairs, they're asking for it'." Patrick: "But equally, some people are great at improvising in that way. But the thing to make it feel like 'oh, this does not feel like this is the scripted bit and this is the improvised bit'. It's all got to feel real." Harriet: "Yes, yes." Patrick: "And when we're writing, that's very much one of our primary things is to make it feel like something that humans would actually say, rather than a bit of exposition." Harriet: "That's right. So some of the stuff that is definitely scripted feels improv because it's just a bit throwaway — it's not overly worked." Colin From Accounts streams via Binge, with both season one and season two available now. Read our reviews of season one and season two. Top image: Joel Pratley.
If you've ever wanted to know how a billionaire feels when they eat their breakfast, you should probably check out the Boathouse at Balmoral. Because, let's face it, it's a hell of lot easier than making a billion dollars. Renovated in early 2014 by Pip and Andrew Goldsmith, the power team who brought us The Boathouse in Palm Beach and the Armchair Collective in Mona Vale, the Boatshed is a glorious improvement on the modest cafe it once was. Unfortunately, they don't take reservations, so we'd would advise going at least 30 minutes before you think you'll be hungry to avoid any potential hanger while you queue. That said, there are worse places to queue seeing how you're surrounded by water views. For breakfast, we recommend the green eggs and ham ($23), which offers perfectly poached eggs, grilled leg ham and tomatoes with a generous dollop of house-made pesto on toasted sourdough. And for lunch, it's hard to look past the seafood when you're sitting outside in the sunshine on a deck suspended over the ocean. Try the beer battered flathead served atop a mountain of thick cut chips with a side of Boathouse tartare ($29). Sure, the food is a little pricey, but at the Boathouse, you pay for the stunning view of Balmoral Beach, the giant wooden barrels of seasonal fruit that adorn the entrance, the crab traps suspended from the ceiling, the smoothies served in pint glasses with old fashioned paper straws and the sand you find between your toes long after you've left.
In a bustling city like Sydney, it's easy to lose your "village". With its sprawling suburbs and fleeting inner-city hot spots, the community feeling in towns and regional suburbs can often be missed. In the Eastern suburbs of Randwick, however, one community is ensuring the spirit of the "village" isn't one from a bygone era. "The Spot is one of those rare Sydney areas that still feels like a true village, full of character, culture, and community charm," says Marianne Poirey, General Manager of the local Four Frogs Crêperie. Marianne is referencing Randwick's dining and entertainment event, Spot On. Presented by Randwick City Council in association with the NSW Government's Open Street Program, the event encourages locals to enjoy a vibrant night-time culture, local performers, eateries and bars, and a fun and inclusive space for all ages every second Thursday between August 7 and November 27, 2025, from 5.30pm to 9pm, making it an easy date night or family-friendly destination post-work. "You've got everything within a few steps," says Marianne. "Incredible restaurants with international cuisines (French, Italian, Japanese, you name it), a historic cinema showing everything from new releases to film festivals, and street events that bring everyone together." Local businesses can take advantage of the council-approved road closure and extend dining out onto the street, into the spring sunshine. "There's an energy in the air when the restaurants are full, people are gathering outside, and the lights of the Ritz Cinema glow across the square. That mix of local charm and energy makes every evening special," says Marianne. Marousa Polias, the general manager of Randwick's accommodation destination, Sydney Lodges, agrees. "There is a village-type feel to The Spot, which is very special and unusual in such a busy and thriving suburb." If you head down to Spot On, Marousa recommends the newly opened Taste Baguette, a French-Vietnamese bakery, for a snack or lunch. For dinner, the authentic Italian restaurant, Dolce Fiori. Afterwards, she encourages visitors to head to Gaia Gelato to refresh the palate with their innovative flavours. "The Spot is unique because it has many long-standing businesses that service and contribute to the local community," says Marousa. "Witnessing people of all ages and backgrounds enjoying themselves out and about on a weeknight is heart-warming." Bombay Bloomers opened in 1987 and is now a Randwick culinary institution. Varinder Singh, the owner and chef of Bombay Bloomers, shared why Spot On is so important to the suburb. "The Spot is a one-of-a-kind pocket of Randwick, where history, culture, dining, and entertainment all come together. It's vibrant yet relaxed, making it the perfect place to eat, drink, and enjoy the cinema in one setting." Varinder recommends trying out Bombay Bloomers' "crowd favourite" dish. "Our signature dish is the Butter Chicken, a true crowd favourite. Paired with freshly baked garlic and cheese naan and a chilled mango lassi, it's the perfect pre- or post-movie meal." The chef notes that Spot On is a chance to connect with new guests, celebrate with the community and showcase the Indian flavours that Bombay Bloomers is passionate about. "Spot On puts Randwick on the map as more than just a dining or cinema destination," says Varinder. "It highlights the area as a cultural hub." While Spot On is a chance for locals to commune, the event also aims to bring together people from all over the city, and Randwick's Mayor, Dylan Parker, says that Spot On aims to unite Sydneysiders through food and music under the stars. "Whether you're a long-time resident or visiting Randwick City for the first time, Spot On is a chance to experience the warmth and vibrancy of Randwick." By transforming the main streets into pedestrian-friendly spaces filled with music, performance, and outdoor dining, Randwick is helping creatives and local businesses to thrive while giving people a fun and family-friendly mid-week outing. Intrigued to try it for yourself? Spot On takes place on St Pauls Street, Randwick, every second Thursday between August 7 and November 27, 2025, from 5.30pm to 9pm. Bring your family and friends for a great night of food, fun and entertainment at Spot On.
Paisano & Daughters' Australia Street precinct has seen a lot of action in recent times, with all-day vegetarian diner Flora and seafood bar Mister Grotto launching in February. And now, the fourth and final restaurant in this long-envisioned hub, Osteria Mucca, has opened alongside the venue that started it all, Continental Deli. This latest venture is a 50-seat Italian restaurant celebrating regional classics, family recipes and the beauty of traditional craftsmanship. Paying homage to the storefront's legacy as a former butcher shop, Osteria Mucca showcases refined meat-centred dishes, charcuterie and handmade pasta — after all, 'mucca' is the Italian word for 'cow'. Leading this kitchen concept is head chef Janina Allende (Alberto's Lounge, Pellegrino 2000), whose menu serves as a love letter to old-world Italian techniques and recipes. Expect hearty, flavour-forward dishes like gnudi with brown butter and sage; lamb tartare with rocket and pecorino; veal tongue with salsa verde; and house-made sausage. With the grill roaring every night of the week, one standout dish will be the 800-gram T-bone steak. Prepared for two, it's served with pickled vegetables and fava bean puree to bring a bright, fresh element to the plate. With sweet treats almost as important as the main event in Italian cuisine, Lauren Eldridge, the hospitality group's award-winning head pastry chef, has reimagined simple, traditional flavours. Highlights include zabaglione with coffee granita and almond biscotti and cassata with ricotta, chocolate and candied fruit. There'll also be a daily-rotating flavour of house-made gelato. The drinks menu is a similarly thoughtful, down-to-earth affair. Here, the list covers a selection of small, family-run vineyards situated throughout Italy's finest winemaking regions, from Tuscany to Piemonte and Veneto to Sicily. The menu also features a collection of aperitivo and digestivo cocktails, made for bookending a long and boisterous Italian feast. While the opening of Osteria Mucca means Paisano & Daughters' Australia Street dining offering is complete, there's still one more launch to keep your eyes on. In the near future, Australia Street Suites, a series of boutique accommodations designed as a stylish launching pad for the Inner West, will join this hospitality hub, so watch this space. Osteria Mucca is now open seven days from 5.30–11pm, as well as Saturday–Sunday from 12–3pm, at 212 Australia Street, Newtown. Head to the venue's website for more information.
We're definitely biased, but Sydney's one of the most beautiful places to see and stay. There's always something to do, some place to drink, somewhere to swim (winter doesn't stop those Sydneysiders from achieving their morning dip). And if you're touring in style, you might as well get the full experience with a luxury stay. Whether you're visiting from interstate or a few suburbs over, Sydney is packed with five-star hotels offering plush sheets (there's no better feeling), silver-platter room service, pamper packages, and infinity pools overlooking heart-stopping views. Capella Sydney, Loftus Street Ever wondered what it's like to stay in one of the world's best hotels? Look no further than Circular Quay — with Capella Sydney crowned the 12th best hotel on The World's 50 Best Hotels list. A feast for the architectural eyes, the meticulously restored former Department of Education building invites discerning guests to another kind of art deco wonderland. Hiding behind a historic facade lies a "meadow garden" — a kinetic lighting installation, featuring wildflower-like lanterns that bloom and fold; a Baroque-style indoor pool and wellness sanctuary, including the serene Aruiga Spa, as well as some of the best dining experiences in the city. Find timeless, moody glamour at the Victorian-style drinking den, McCrae, and award-winning and seasonal brasserie classics at Brasserie 1930. The rooms also fuse heritage motifs with contemporary furnishings and appliances — think Dyson hairdryers, intuitive tablets, and oversized bathtubs. Because what's a staycation without an indulgently long morning soak? 24 Loftus St, Sydney [caption id="attachment_1069490" align="aligncenter" width="1920"] Justin Nicholas[/caption] 25 Hours The Olympia, Paddington Ever return from a holiday or staycation wishing you had more time? Well, at 25 Hours Hotel Olympia, you've got an "extra hour" to play around with or lazily sink into — with an unhurried, halcyon-like atmosphere designed for comfort and presence. The global hotel chain, known for its soul-driven, chicly themed outposts, recently opened its first Australian branch at the original West Olympia Theatre in Paddington. Featuring 109 rooms for both the "dreamers" and "renegades" (the hotel's divided into two bold archetypes), wanderlust cinephiles are taken on a cinematic journey. There's "25 hours" service, retro furnishings, and a swathe of onsite destinations to check out — from the Mediterranean-inspired restaurant, The Palomar, on the ground floor (helmed by Luke Davenport, ex-The Palomar, London), to a buzzy Los Angeles-like rooftop, Monica. Guests can even pick up their morning brew and pastry at Jacob the Angel, the UK's specialist coffee house. With an international feel in one of Sydney's most fashionable enclaves, you'll totally absorb main character holiday energy. 1 Oxford St, Paddington InterContinental Sydney Coogee Beach Bondi may be Sydney's most famous beach, but Coogee's now home to the area's most luxurious hotel. Opened in December, the old Crown Plaza has transformed into a sparkling Grecian escape thanks to a not-so-little makeover by The InterContinental. The five-star utopia features 198 light-filled rooms and 22 sea-facing suites (some with lavish outdoor baths), all inspired by the undulating rhythm and colours of the shoreline. Because it's the eastern suburbs, obviously, there's a clear focus on wellness and rejuvenation: you'll find sunrise yoga sessions on the sand, pickleball courts for sprightly travellers, and lavish spa treatments for the digital detoxer. The palm-fringed infinity pool, bar, and leisure deck are now open, with the fully immersive Èliva Spa and Club InterContinental set to open in May, offering stellar rest and recovery alongside members-only perks. In the meantime, guests and visitors can check out Shutters Restaurant & Bar, a fitting Australian-Mediterranean fusion, as well as the hotly anticipated Rick Stein at Coogee Beach. The influential British chef's second Aussie outpost (he's got Bannisters by the Sea in Port Stephens) heroes Stein's "fresh seafood, simply prepared" ethos for a glitzy Sydney audience. You can order everything from Singapore chilli crab to hot shellfish platters, and even classic fish and chips. 242 Arden St, Coogee View this post on Instagram A post shared by The EVE Hotel (@theevehotel) The EVE, Redfern With Palm Springs sensibilities and a seriously cool, biophilic design, The EVE is a hidden oasis in Sydney's inner city. The five-star hotel by the TFE Hotels (the hotel management team behind Brisbane's southern-Cali-inspired hotel, The Calile) sits on the chic new Wunderlich Lane in Redfern, where some of the best new Sydney restaurants, bars and boutiques are situated, such as lifestyle brand Saardé (which partners with the hotel for luxury bathroom essentials). You'll find a mixed bag of clientele here, from tastemakers and It-girls in new-season St. Agni to corporate somebodies and aspirational digital nomads — languidly soaking up the lobby's mid-century modern interiors, as well as the piece de résistance: the rooftop pool. Featuring rust coloured sunloungers, cabanas, and bar service amongst the palms, this 102-room and suite space feels more like an exclusive members club than a standard hotel. 8 Baptist St, Redfern [caption id="attachment_986313" align="aligncenter" width="1920"] Christopher Pearce[/caption] The Grand National Hotel, Paddington The Grand National Hotel isn't your average foodie hotel. Founded by renowned restaurateurs Josh and Julie Niland, the restored neighbourhood pub punches above its weight in both flavour and flair. Tucked away from Oxford Street, the Paddington venue expands on Niland's three-hatted seafood-first restaurant, Saint Peter — while offering those in a food coma a place to nod off. Seamlessly blending the building's heritage charm with their ethos of sustainability and modern innovation, the 14-room boutique hotel heroes natural materials and local artisans. Eucalyptus and earthy brown tones encourage the outside world in, meanwhile custom-rendered walls and ribbed tiling mimic the ocean's ripples and fish scales. There's even fish-fat candles, ceramics made from fish bones, and custom plates and cups using discarded fish bones, in each distinctive room. As for the menu? Saint Peter 2.0 invites visitors to lap up their yellowfin tuna cheeseburger at the bar, and guests to embrace their three-course breakfast of champions. The marron scrambled eggs is a must-order. 161 Underwood St, Paddington [caption id="attachment_797071" align="aligncenter" width="1920"] George Apostolidis[/caption] Crown Sydney, Barangaroo The shining, sculpturally designed beacon of Barangaroo is the city's first six-star hotel — with everything at its doorstep. From the moment you walk in the lobby, Crown Sydney exudes Hollywood glamour. You'll be greeted by distinguished uniformed doormen before being dazzled by a gigantic six-storey crystal chandelier and monolithic white marble columns sourced from Europe. Sydney's tallest hotel offers 327 guest rooms, including premium villas and two super-prime villas, featuring deep-soaking baths and floor-to-ceiling windows, showcasing sweeping sea vistas. Postcard views aside, guests can relish in a true staycation experience here — with an incredible infinity pool that seems to flow into the harbour, as well as an open-air tennis court, a luxurious day spa optimising La Prairie products, and 14 restaurants and eateries to taste test at. Have a cucumber-infused tequila cocktail on the rooftop at CIRQ, followed by Nobu's signature black cod miso for dinner. Dessert on white chocolate mousse at Teahouse… then rinse, rotate, and repeat the next day. 1 Barangaroo Ave, Barangaroo W Sydney, Darling Harbour Darling Harbour is so back. The '80s and '90s weekend hotspot for food, entertainment and immaculate views underwent a major a revitalisation in the early 2020s — and W Sydney is part of the glow-up. The largest of the global W Hotel group stands tall like a wave (it's shaped as such), luring tourists and locals seeking some "big smoke" energy. There's 588 maximalist rooms and suites to soak in harbour views, with pulsating beats reverberating through the high-shine hallways. A two-storey rooftop bar and infinity pool encourages the party at night with bold flavours and innovative cocktails; whereas the on-site restaurant BTWN (because it sits directly "between" two motorways on each side of the hotel), honours locally-sourced, seasonal produce from morning to night. If you're a sweet treat before bed kinda person there's also 2am: Dessertbar by Janice Wong inside. Indulge in one of the world's best sticky date puddings and Basque cheesecakes (Wong won Asia's Best Pastry Chef) while watching the world go by. 31 Wheat Rd, Sydney [caption id="attachment_854324" align="aligncenter" width="1920"] Ace Hotel[/caption] Ace Hotel Sydney, Surry Hills One of the world's most stylish hotel chains finally opened its doors Down Under in 2022. Ace Hotel has built itself up a cult following since opening in 1999, with the boutique chain going for a luxe-vintage vibe — and now, it boasts a sleek 18-storey outpost in Surry Hills. Apart from the 264 rooms (some that are pet-friendly), there are heaps of spaces to hang out in. Once you make your way past reception, you'll stumble upon the fun, laidback lobby cocktail bar that's regularly offering up DJ sets, artistic residencies and absolutely killer negronis. There are also two restaurants — the ground-floor neighbourhood diner Loam and Kiln, a rooftop restaurant and bar by Mitch Orr. They're joined by the final piece of the Ace Hotel's culinary puzzle, laneway cafe and bar Good Chemistry. Either spend the night at one of Sydney's best hotels or just drop by for drinks and dinner. 53 Wentworth Avenue, Sydney Paramount House, Surry Hills When Paramount House Hotel was first announced back in August 2017, it promised it wouldn't be your standard luxury Sydney hotel but rather an experience that would immerse patrons in the inner-city culture of Surry Hills. And when it opened in 2018, it delivered on that guarantee. You'll never have a dull moment at Paramount (unless you actively want one) as the building offers up a rooftop gym, gorgeous independent cinema and one of Sydney's best cafes — plus, depending on when you book your stay, you're likely to find a dance party, art exhibition or a film retrospective awaiting your attendance. There's also a new mini mart, Paramart, in the hotel lobby, which blends the classic Australian milk bar experience with the convenience and style of Tokyo vending machines. Designed by Anna Wu of AWA Studio, the concept heroes local restaurants, bars, cafes, and stores — while injecting a playful edge into your stay. Guests can mess around with vintage Nintendo Game Boys, chess sets, and even tarot cards. Set in an old 40s warehouse, the 29-room hotel features soaring ceilings with exposed brickwork, luxury copper finishes and Jardan sofas that complete the Paramount House identity. 80 Commonwealth Street, Surry Hills The Langham Sydney, Millers Point Just a ten-minute walk from Circular Quay and The Rocks, The Langham is the epitome of indulgence. With 96 rooms on offer, demand for even just one night at this Sydney institution is high all year round. And with facilities like its fitness centre, sauna, day spa and spectacular indoor pool with a star-dappled sky ceiling, you'll find it hard to tear yourself away from the Sydney hotel to explore the amazing surrounding areas. Within the suites, expect plush furniture, high ceilings and large windows overlooking the western side of the harbour. Bed and breakfast specials are also on offer, as is a 'pampered pets program' — making it one of Sydney's few pet-friendly accommodation options at the luxury level. We're also very big fans of The Langham's traditional afternoon tea. Enjoy a bespoke version of this beloved British tradition, elevated with classic Wedgwood teaware and The Langham Sydney's champagne of choice, Laurent-Perrier. 89-113 Kent Street, Millers Point Oxford House, Paddington Find West Hollywood (or year-long summers) in Paddington with one of the city's sunniest hotels. Revitalising a mid-century gem, Oxford House (or OH! for short) comprises 56 rooms and suites of earthy hues, layered textures, and natural light. There's a stylish nod to local and international artisans and designers with curated art and photography by Ksubi co-founder George Gorrow — including work by Lena Gustafson, Adam Turnbull, and Niah McLeod — as well as custom bathrobes by Paddington designer, Double Rainbouu. In-house wine, restaurant and hi-fi bar Busby's promises dimly-lit hedonism, groovy tunes, and steak frites. If you fancy breakfast, you can carb-load with potato rostis and poached eggs. But the main event revolves around the bright and leafy courtyard pool (which many rooms face), which absolutely pops off on weekends. Poolside DJ sets and digital projections lift the mood, meanwhile, the bar keeps you well-fed and "hydrated" with Mandarin Palomas and club sandwiches. 21 Oxford St, Paddington Little National Sydney, Clarence Street A pint-sized national treasure. The Little National Hotel may be just steps away from Barangaroo and the CBD, but inside, there's a sense of zen. The intimate hotel honours Japanese minimalism with 230 petit-chic rooms and bare necessities. Little luxuries include plush king-sized beds, crisp white linen, skin and hair products by Appelles Apothecary and Lab, bathrobes by Brogo, complimentary movie access, intuitive tablets, and a partnership with UberEats. That means you can order from any available CBD-based business — and have food items delivered straight to your door by hotel staff, along with sustainable disposable plates and cutlery. Head up top, and you'll find a rooftop oasis featuring a timber-decked balcony, lush greenery, and communal sofas. Order a spritz at the bar in summer, and sip on a negroni in the indoor velveted lounge areas during winter. For commuters, businesspeople, and digital nomads, there's also "the library" (a quiet workzone) to get in a flow state and print those tickets. If you're after big-city vibes in mindful settings, The Little National is your gateway to productive rest. 26 Clarence St, Sydney [caption id="attachment_975684" align="aligncenter" width="1920"] The Old Clare Hotel[/caption] The Old Clare Hotel, Chippendale Since its highly anticipated re-opening back in 2015, Chippendale's Old Clare Hotel has held a firm place as one of the best hotels in Sydney. Reborn from the (metaphorical) ashes of the historic (and dearly beloved) Clare Hotel, and adjoining Carlton United Brewery Administrative Building, the city stay boasts heritage timber panelling and exposed brick walls, furnished with pendant lighting and vintage furniture. You can also bring your pooch along, thanks to several dog-friendly suites. Other hotel amenities include a rooftop pool, private gym and in-room massage services. Guests can also take advantage of custom-made bicycles to explore the surrounding neighbourhood. At night, simply relax at The Clare Bar or on the city-sweeping rooftop bar. 1 Kensington Street, Chippendale Shangri-La Sydney, The Rocks The views from Shangri-La Sydney look as if they have been plucked right out of a Tourism Australia ad. Look to the left and you'll see the Harbour Bridge up and close. Roll over in bed and look to your right, and you've got the Opera House just sitting there looking right back at you. It's pinch-yourself stunning. And everything you get is centred around those panoramic harbour views. Each of the 565 rooms has a different angle of the harbour. The restaurant and bar, up on level 36, are also made for gawking out at the surrounding Sydney landmarks. As you'd expect from a five-star hotel, the Shangri-La also has its own opulent spa facility. Relax here before heading to the gym, indoor swimming pool, hot whirlpool bath or sundeck. Deep dive into that self-care life. We could think of worse places to rest your head for a few nights. 176 Cumberland Street, The Rocks Sofitel Sydney Darling Harbour This 590-room five-star haven was Sydney's very first luxury hotel built in the CBD. And it has never fallen behind the pack, constantly setting the standard for all new hotels in the area. It is a true Sydney institution — for overnight stays, pampering and dining. First off, the Sofitel Sydney Darling Harbour rooms are just stupid glamorous. Spread over 35 floors in Darling Harbour's tallest building, guests enjoy all the latest tech and contemporary design with chic French touches. The rooms are classically designed, but they never feel old or outdated — much of this is thanks to the constant updates going on here. If you're not trying out its new luxury spa facilities, be sure to at least take a dip in the infinity pool overlooking the harbour. Food and drink-wise, you'll be sorted too. Visit the French-inspired grill combining French flavours with locally sourced produce at Atelier, order a poolside cocktail at Le Rivage Pool Bar, take in the sunset at the award-winning Champagne Bar or grab a coffee & croissant at the Esprit Noir Lobby Bar on Sundays. It's clear why Sofitel Sydney remains one of the very best hotels in Sydney. 12 Darling Drive, Sydney Crystalbrook Albion, Surry Hills Crystalbrook Albion is a luxurious operation in the heart of Surry Hills. It was launched back in July 2018 by 8Hotels, but has since been acquired by the Crystalbrook Collection hotel group. With 24-hour service and brekkie included, this guest house is pitched as a fusion of hotel and home. Here, at one of the best hotels in Sydney, you'll get to lounge around in designer interiors decked out with a covetable art collection — and in a rooftop garden complete with an outdoor shower and panoramic city views. There's also an honour system bar, where guests can help themselves to high-end nibbles and drinks. When it comes to the food and drinks, both at the breakfast table and in the mini bar, working with local businesses such as Brix Distillery, Infinity Bakery and Poho Flowers is of major importance. 21 Little Albion Street, Surry Hills [caption id="attachment_936166" align="aligncenter" width="1920"] Kimpton Margot Sydney[/caption] Kimpton Margot Sydney, Pitt Street Kimpton Margot Sydney may have only opened in 2022, but the Sydney hotel has some real old-world energy about it. Stacks of heritage-listed art deco architectural features have been paired with some contemporary Aussie style. The art deco vibe flows through to each of the 172 spacious rooms and suites, as well as the four restaurants and bars. Out of these drinking and dining spaces, Luke's Kitchen is the centrepiece — helmed by chef Luke Mangan. You can't stay at Kimpton Margot Sydney without taking a dip in the sun-drenched rooftop pool overlooking the city — especially come summer in Sydney. It's a proper concrete oasis, decked out with lounge chairs and couches, surrounded by city towers. All these luxury offerings are also paired with a heap of complementary amenities. Grab a free bike for the day, do some yoga in your room with all the gear and online tutorials provided, and even bring your dog — at no extra charge. 339 Pitt Street, Sydney QT Sydney, Market Street Every one of QT Sydney's guest suites has been carefully crafted to reflect and honour the historic Gowings and State Theatre buildings in which it resides. QT's exterior sports a striking blend of gothic, art deco, and Italianate-influenced architecture — and inside, the luxurious rooms carry through that art deco-meets-gothic aesthetic to quite a striking degree. Plus, thanks to its location right in the centre of the CBD — and alongside one of the city's most famous theatres — the luxury Sydney hotel is a great pick for out-of-towners, while locals can often be found making the best of its various bars, bistros and restaurants. Want to stay a little closer to the beach? Hop over to the QT Bondi for a coastal escape. 49 Market Street, Sydney Travelling with a four-legged friend? Check out our list for the best dog-friendly hotels in Sydney before you go. Images: supplied
Come November, a whole heap of Aussies will be stripping off on a beach in the Whitsundays as acclaimed New York artist Spencer Tunick returns to Australia to stage the next of his famed mass nude photographs. It's been 18 years since Australia's first taste of the internationally famed artist's work, when 4500 naked volunteers posed for a snap near Federation Square as part of the 2001 Fringe Festival. Tunick then photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras and returned to Australia just last year to shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths. Elsewhere, he's photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. Now, the artist is set to return to our shores and his sights are set on the white sands and sparkling blue waters of Whitsundays' Whitehaven Beach. Tunick will assemble another contingent of naked folk this November, for a work titled Sea Earth Change. Interestingly, the shoot is part of The Iconic's (yes, that online clothing store) upcoming summer campaign We Are Human. [caption id="attachment_671796" align="alignnone" width="1920"] Spencer Tunick, Sydney (2010)[/caption] Anyone over the age of 18 can get their kit off and get involved — Tunick hopes to have a diverse mix of bodies in the shoot, which will be held on Saturday, November 23. Participants each get a print of the photograph, and, we're sure, a big boost of body confidence. They'll also be invited to the unveiling of the artwork at The Calile Hotel, Brisbane, a few days later. Successful candidates will be notified about a week before the shoot. The catch here is, of course, the location. If you're not usually located on the tropical Queensland archipelago, you will need to travel there. From Sydney, Melbourne and Brisbane, you can fly into the Hamilton Island or Whitsunday Coast airports, then take a 60-minute ferry or 30-minute drive, respectively, to Airlie Port Marina. The team will look after your transport from here. It'll be a worthwhile journey, though — as well as being involved in a once-in-a-lifetime photoshoot, you'll also get to visit the second best beach in the world. Sea Earth Change will be shot on Saturday, November 23 on Whitehaven Beach, Whitsundays. You can register to take part here before Thursday, November 14. Images: Spencer Tunick, Miami (2007) and Burgundy (2009).
Two Good Co, the social enterprise dedicated to supporting vulnerable women by providing pathways out of crisis living, has opened its first cafe and convenience store in philanthropic hub Yirranma Place. Two Good Co first launched in 2015 as a soup kitchen at Kings Cross, before expanding into selling soup products, salads and toiletries to raise funds for its good work. Created in partnership with the Paul Ramsay Foundation, the venue is open 7am–3pm weekdays, serving breakfast and lunch with a strong focus on local artisan and ethically-minded businesses. Brands you'll find within the store include The Bread & Butter Project, Kua Coffee, Mood and T Totaler teas, Blak Cede and Gelato Messina. The cafe helps fund Two Good Co's programs while also employing vulnerable women across the front of house, kitchen and concierge roles. "Training, empowering, and employing vulnerable women is the reason we do what we do," Two Good co-founder Rob Caslick said. "We see our partnership with the Paul Ramsay Foundation as a springboard to showcase this model to other organisations who want their office catering and café service to make a real difference." Alongside the standard breakfast and lunch menus, a special monthly menu curated by culinary friends of Two Good Co is also on offer. The organisation has worked with the likes of Kylie Kwong, Maggie Beer, Peter Gilmore and Matt Moran in the past, and will be teaming back up with some of its high-profile mates for these menus. Three Blue Ducks chef and co-owner Darren Robertson was the first to take charge of the menu, featuring cauliflower cheese toasties, and his renowned chocolate cookies, while Matt Moran followed with a menu headlined by Croque monsieur toasties and rice pudding with rhubarb. Head over to the Two Good Co Instagram page for this month's specials. The organisation has also expanded its catering service for those wanting to host a function while supporting a good cause. The service now offers a variety of options from small breakfasts and grazing boxes to cocktail canapes and large-scale event catering.
If you know anything about the Hotel Rose Bay, it's probably the pub's obsession with miniature trains — up until recently, it sported a model that would skirt around the venue every hour. But an extensive renovation and a few million dollars later, and the 90-year-old pub will choo-choo no more. It has reopened as a sleek new eastern suburbs venue. The heritage facade had been kept, but inside the space has undergone some serious work by Richards Stanisich Interiors, who raised ceilings, added more windows and doubled the interior space. It's now brighter and more airy and befits the venue's harbourside location. Rose gold finishes, terrazzo tiling and Australian spotted gum furnishings, along with an emerald granite bar, have replaced the pub's train track. As a result, there are now three distinct spaces on offer: the main bar and lounge with a cocktail list and share plates, the sports bar, and the 70-seat restaurant. The latter is helmed by ex-Flying Fish and Catalina executive chef Ian Royle, who's bringing his fine-dining background to pub grub. Sure, you'll find the usual fish and chips, cheeseburgers and steaks, but also a barramundi fillet with cauliflower and tamarind butter ($29.50) and soy spare ribs served with sriracha mayo ($29). Other menu specialties include the king prawns with burnt butter and native greens ($28), the free-range chicken with chilli coconut and peanut sauce ($28), and the salmon tartare with avocado, tomato ponzu and wonton crisps ($18.5). Having first opened its doors back in 1929, Hotel Rose Bay is also one of the few independent pubs around town — it's been owned and operated by the Auswild family from Bellevue Hill for over 20 years now. Food images: Oliver Minnett.
Beer's great for a hot day and whisky for a cold night, but few alcoholic drinks are as versatile as the botanically complex cure-all: gin. If you have a base understanding of distilling, you know it's actually a relatively simple offshoot of vodka, but it's a spirit that has a lot of depth, both for itself and the drinks it produces. If you love a gin and tonic, martini, negroni, gin fizz or even just a dram of the base spirit, you ought to hit up this year's Botanica Gin and Spirits Journey. Hitting North Sydney from Thursday, May 8 to Sunday, May 11, this weekend celebration of gin (and spirits) is taking over a 150-metre tunnel complex inside the Coal Loader Centre for Sustainability with a tasting trail through 25 participating distilleries. Expect award-winning gins, vodkas, whiskys, rums and liqueurs from boutique distillers like Brix Distillers, Ester Spirits, Bathurst Grange Distillery, Gindu, Manly Spirits Co., Hickson House Distilling Co., Renegade Spirits and many more. The event goes beyond simply enjoying what's in the glass, though, shining a light on what these drinks all have in common: native Australian botanicals. To that end, you'll also come across more than just drinks. Throughout the corners and hallways of the Coal Loader tunnels, you'll also encounter native-inspired delicacies, including sensory stations to learn about, feel and sample the base native botanicals that help craft the liquid flavours you know and love. For $95 per ticket, you can book attendance for a two-and-a-half-hour session, either 3.30-6.00pm and 6.30-9.00pm on Thursday, May 8; 12.00-2.30pm, 3.00-5.30pm and 6.30-9.00pm on Friday, May 9; 10.00am-12.30pm, 1.00-3.30pm, 4.00-6.30pm and 7.00-9.30pm on Saturday, May 10; and 10.00am-12.30pm, 1.00-3.30pm and 4.00-6.30pm on Sunday, May 11. Each ticket includes tastings, a free tote bag, an event map, a tasting glass and other Botanica goodies. And of course, you'll be able to purchase bottles of spirits to take home.
Go big for your next date night at Willo Restaurant & Bar: a hatted restaurant plating up striking dishes with Mediterranean and Australian influences. The glamorous space in central Parramatta boasts a grand indoor dining room and bar that spills onto the foyer outdoors. The Tiny Bird's Nest is a must — a delicate brioche filled with chorizo cream and topped with Italian meringue. Follow it up with Hokkaido scallops with artichoke and chilli oil, or crispy pork ribs with pesto. Bigger mains include a Venetian duck ragu pasta, girasoli stuffed with blue swimmer crab and prawns, and slow-roasted lamb with harissa and pomegranate. Top Images: Nikki To
Charcoal chicken, hot chippies, and a mean garlic sauce. The holy trinity, one perfected in its deliciousness by the beloved Lebanese-style charcoal chicken chain El Jannah. Best enjoyed in a wrap, burger or with your bare hands — it's as versatile as it is tasty, and from right this second until sold out, it won't cost you anything. Today marks the conclusion of summer, and you might be feeling a bit glum. Well, El Jannah's grandmothers (aka Taytas) are worried about you; "you too skinny," they said, "you need to eat whole chicken now". Maybe that's why they said it's okay for their grandkids to run this deal, which is estimated to see $2 million worth of chicken leave the kitchens and enter Australian stomachs without a dollar spent. View this post on Instagram A post shared by El Jannah (@el__jannah) More specifically, it's 100,000 whole charcoal chickens, each with a side of the top-secret-recipe garlic sauce, redeemable in every El Jannah store from today until stocks run out. Considering the brand — which started as a lone chicken shop in Western Sydney back in 1998 — now operates almost 50 stores in three states, we wouldn't wait too long to go and get yours. To redeem the offer, you'll need to download the El Jannah app and join the Legendary Rewards program, then simply redeem in-store to claim your juicy, smoky delight and its tangy accompaniment. If you're already a legendary rewards member, don't panic; you can refer a family member or friend to redeem your portion of the goods. El Jannah's 100,000 free chickens offer is only while stocks last, T&Cs apply, find out more on the website and find your nearest El Jannah store here.
A historic Newtown theatre off King Street and Enmore Road is set to be transformed into a multilevel craft brew bar and entertainment venue. Sydney hospitality mainstay Michael Vale (Cafe Del Mar) has proposed a new redevelopment of the property which has laid relatively vacant for the past two decades. Vale's plan consists of a 650-person capacity bar called the Urban House of Brews, accommodating five Australian breweries and a performance area that will hark back to the Hub's history as a theatre. Under Vale's vision for the building, five Australian breweries would make the Urban House of Brews their inner west home, each complete with ten beer taps. The five breweries currently on board are: Murray's, Urban Alley, Spinifex, Moo Brew and Catchment. Each brewery represents a different Australian state, and each has been hand-selected by Vale. Alongside craft beer, the venue will host live entertainment with plans in place for music, stand-up comedy, drag, open mic nights and cultural events. [caption id="attachment_687711" align="alignnone" width="1920"] Urban Alley Brewery[/caption] One element of the entertainment offering that Vale believes will be unique to the venue is a roster of digital entertainment, shown or streamed on a theatre screen. This will include musical tributes to artists like Bob Marley and Marvin Gaye, as well as live-streamed sets from New York City clubs and comedy houses. Completing the ambitious plans for the Newtown building are a distillery and cocktail bar that will live on an extended Mezzanine Level, and an 84-seat al fresco dining area. According to the floor plan provided by Vale, the outdoor dining area will occupy a large chunk of the open space between The Hub and King Street, often used for the popular Newtown markets. The Hub, which currently sits beside Beach Burrito Newtown, was originally the site of the Newtown Hippodrome in the early 1900s before the Clay's Bridge Theatre was built in 1913. The building had several different residents throughout the next 50 years including a non-English Language film theatre, the home to the Sydney Film Festival and 'Marcus Clarke's Cash Store', which coined the name The Hub of Newtown. Vale says the venue is expected to open in July 2022, with both the Inner West City Council and building owner, Chris Vlattas, supportive of the venture. The Hub is located at 7–13 Bedford Street, Newtown. Top Image: Photographer Graeme Nichols, Courtesy City of Sydney Archives
Darling Harbour's ever-expanding dining precinct Darling Square has added another exciting new restaurant to its list of eateries with a neon-lit Japanese street food spot opening its doors on Monday, June 27. Tsukiyo presents fun and vibrant Japanese street food dishes, with the menu split between two primary dishes. The first is takoyaki, crispy golden fried balls of batter topped with bonito flakes and takoyaki sauce. The original flavour is also topped with kewpie mayo, but you can also order it spicy with mentaiko mayo and katsuobushi, or rotating special varieties like the Barcelona takoyaki featuring LP's chorizo, smoked paprika, aioli, tomato, fried parsley and lemon. The second style of dish is the cute fish-shaped taiyaki. These waffles come made in the shape of Japanese tai fish and are packed with a variety of fillings. The flavours include red bean, vanilla bean custard and chesnut, with each taiyaki coming with your prefered flavour of gelato and toppings. There's also a far less traditional croque monsieur taiyaiki on the menu that is filled with ham and gruyere. The final element of the menu is fruit sandos, made with fluffy slices of white bread, locally sourced Australian fruit and Calpis whipped cream. The restaurant has been developed by Zach Tan's Devon Hospitality Group and Hidetoshi Tsuboi (Hakatamon Ramen) with the help of former Zumbo pastry chef Markus Andrew. "Meaning 'moonlit night' in Japanese, Tsukiyo is the culmination of our innate yearning to recreate the nostalgic feeling of walking through the side street food stalls of Osaka's neon-laden Dotonbori district," Tan said. "I have always been a huge fan of Japanese food and culture, having opened both Devon Cafe and Japanese donburi restaurant, Dopa, so I'm excited to expand our offering with Tsukiyo." Tsukiyo is located at 17–19 Little Hay Street, Haymarket. It's open midday–9pm Monday–Sunday.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from June's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW BO BURNHAM: INSIDE Watching Bo Burnham: Inside, a stunning fact becomes evident. A life-changing realisation, really. During a period when most people tried to make sourdough, pieced together jigsaws and spent too much time on Zoom, Bo Burnham created a comedy masterpiece. How does he ever top a special this raw, insightful, funny, clever and of the moment? How did he make it to begin with? How does anyone ever manage to capture every emotion that we've all felt about lockdowns — and about the world's general chaos, spending too much time on the internet, capitalism's exploitation and just the general hellscape that is our modern lives, too — in one 90-minute musical-comedy whirlwind? Filmed in one room of his house over several months (and with his hair and beard growth helping mark the time), Inside unfurls via songs about being stuck indoors, video chats, today's performative society, sexting, ageing and mental health. Burnham sings and acts, and also wrote, directed, shot, edited and produced the whole thing, and there's not a moment, image or line that goes to waste. Being trapped in that room with the Promising Young Woman star and Eighth Grade filmmaker, and therefore being stuck inside the closest thing he can find to manifesting his mind outside his skull, becomes the best kind of rollercoaster ride. Just try getting Burnham's tunes out of your head afterwards, too, because this is an oh-so-relatable and insightful special that lingers. It's also the best thing that's been made about this pandemic yet, hands down. Bo Burnham: Inside is available to stream via Netflix. THIS WAY UP At the beginning of This Way Up, Áine (Aisling Bea, Living With Yourself) is being checked out of a London mental health facility by her older sister Shona (Sharon Horgan, Catastrophe). Her complaints about the lack of a spa are just jokes, but they're also one of her coping mechanisms. She wears that sense of humour like a shield as she steps back into her usual routine — teaching English to folks learning it as a second language, trying to avoid spending too much time at home and attempting not to think about her ex (Chris Geere, You're the Worst). There's shades of Catastrophe in This Way Up, unsurprisingly, and also echoes of Fleabag, Back to Life and Breeders, too. In other words, it has been a great few years for acerbic UK shows about people struggling with all the baggage, expectations and responsibilities that come with being adults — and this addition to the fold, which the always-charming Bea also wrote, continues the trend. Also evident in This Way Up's fellow comedies, as well as here, is a strong focus on women who don't have it all together, or even pretend otherwise. Áine's exploits involve everything from trying to hook up with a fellow rehab patient and getting a crush on Richard (Tobias Menzies, The Crown), the father of a French boy she tutors, to constantly being the third wheel in Shona's relationship with her boyfriend Vish (Aasif Mandvi, Evil), and she stumbles and puns her way through all of it. A second season of her antics is on the way, too, which this first batch of episodes will leave you hanging out for. The first season of This Way Up is available to stream via Stan. STARSTRUCK When Rose Matafeo last graced our screens, she took on pregnancy-centric rom-coms in 2020's Baby Done. Now, in Starstruck, she's still pairing the romantic and the comedic. In another thoughtful, plucky and relatable performance, she plays Jessie, a 28-year-old New Zealander in London who splits her time between working in a cinema and nannying, and isn't expecting much when her best friend and roommate Kate (Emma Sidi, Pls Like) drags her out to a bar on New Year's Eve. For most of the evening, her lack of enthusiasm proves astute. Then she meets Tom (Nikesh Patel, Four Weddings and a Funeral). He overhears her rambling drunkenly to herself in the men's bathroom, they chat at the bar and, when sparks fly, she ends up back at his sprawling flat. It isn't until the next morning, however — when she sees a poster adorned with his face leaning against his living room wall — that she realises that he's actually one of the biggest movie stars in the world. Yes, Starstruck takes Notting Hill's premise and gives it a 22-years-later update, and delivers a smart, sidesplittingly funny and all-round charming rom-com sitcom in the process. When a film or TV show is crafted with a deep-seated love for its chosen genre, it shows. When it wants to do more than just nod and wink at greats gone by like a big on-screen super fan — when its creators passionately hope that it might become a classic in its own right, rather than a mere imitation of better titles — that comes through, too. And that's definitely the case with this ridiculously easy-to-binge charmer. The first season of Starstruck is available to stream via ABC iView. Read our full review. LUCA Unlike Studio Ghibli, Pixar can make bad movies. The main culprit: the Cars franchise. They're a rarity among the Disney-owned animation studio's output, thankfully — because even when it makes a minor delight, like Luca, its usually swims well beyond most of the other family-friendly fare that gets pumped in front of young eyes. Set in Italy over a resplendent summer, this coming-of-age tale might be the closest that Pixar ever gets to making a Frankenstein movie. Forget the whole coming back from the dead part; instead, teenage sea monsters Luca (Jacob Tremblay, Doctor Sleep) and Alberto (Jack Dylan Grazer, We Are Who We Are) just want to belong. But, even though they can't help the fact that they're sea monsters, they'd be shunned by the village they decide to call home if anyone ever worked out that they aren't human. The pair cross paths in the water, but when Luca follows his new pal to the surface, he disobeys his parents' strict warnings. They bond over a Vespa, which they both want. Next, they befriend an ordinary girl, Giulia (first-timer Emma Berman), in a quest to win a race to nab their very own moped. The story is straightforward, but the themes still float along meaningfully in this feature debut from director Enrico Casarosa (Pixar short La Luna) — and the sun-dappled seaside animation is a dazzling treat. Luca is available to stream via Disney+. THE AMUSEMENT PARK In 1968, George A Romero changed cinema forever. Night of the Living Dead, his first film, was famously made on a tiny budget — but it swiftly became the zombie movie that's influenced every single other zombie movie that's ever followed. His resume from there is filled with other highlights, including further Dead films and the astonishing Martin, but one of his intriguing features didn't actually see the light of day until recently. It was also commissioned by the Lutheran Service Society of Western Pennsylvania to preach the evils of elder abuse, which isn't the type of thing that can be said about any other flick. The Amusement Park is incredibly effective in getting that message across, actually. As star Lincoln Maazel explains in the introduction, it aims to make its statement by putting the audience in its ageing characters' shoes, conveying their ill-treatment just for their advancing years and showing the chaos they feel as a result. That's the exact outcome as Maazel plays an older man who spends a day wandering around the titular setting, only to be constantly disregarded, denigrated, laughed at and pushed aside as hellishness greets him at every turn. Romero's film is grim, obvious and absurd all at once, and it's a powerful and winning combination in his hands. The Amusement Park is available to stream via Shudder. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK PHYSICAL On a typical early-80s day, San Diego housewife Sheila Rubin (Rose Byrne, Irresistible) will make breakfast for her professor husband Danny (Rory Scovel, I Feel Pretty), take their daughter to school, then run errands. She'll also buy three fast food meals, book into a motel, eat them all naked, then purge. Physical can be bleak — about the pain festering inside its bitterly unhappy protagonist, her constantly fraying mental health, the smile she's forced to plaster across her face as she soldiers on, and her excoriating options of herself — but it also finds a rich vein of dark comedy in Sheila's efforts to change her life through aerobics. Add the series to the list of 80s-set shows about women getting sick of being cast aside, breaking free of their societally enforced roles and jumping into something active. GLOW did it. On Becoming a God in Central Florida did, too. And now those two excellent series have a kindred spirit in this sharp, compelling and often brutally candid show. Byrne is a force to be reckoned with here, in one of her best performances in some time (and a reminder that in everything from Heartbreak High to Damages and Mrs America, she's always done well on TV). Also entrancing, engaging and difficult to forget: Physical's desperate-but-determined tone, and the way it seethes with tension beneath the spandex, sequins and sunny beach shots. The first three episodes of Physical are available to stream via Apple TV+, with new episodes dropping weekly. LOKI With WandaVision, Marvel gave the world a nodding, winking sitcom that morphed into an engaging but still quite standard entry in its ever-sprawling on-screen realm. With The Falcon and the Winter Soldier, it opted for an odd couple action-thriller that hit every mark it needed to, but rarely more. Loki, the third Disney+ Marvel series to hit streaming this year — and the third to focus on characters from the Marvel Cinematic Universe — stands out from the crowd instantly. Having Tom Hiddleston (Avengers: Endgame) step back into the God of Mischief's shoes will do that. Loki's charms don't solely radiate from its leading man, though. He's as charismatically wily as ever (as he's always been in his scene-stealing big-screen appearances in the Thor and Avengers films), but this series is helped immensely by its willingness to have fun with its premise, and also by the great cast surrounding its star. Teaming up duos is obviously currently Marvel's thing, but Loki pairs its eponymous trickster with a time cop played by Owen Wilson (Bliss), gets them palling around in buddy cop-meets-science fiction territory, and also throws in Sophia Di Martino (Yesterday) as a character that best discovered by watching. Here, come for the usual Hiddleston mischievousness, stay for everything this quickly involving series builds around him as Loki is forced to face the consequences of his past actions. The first four episodes of Loki are available to stream via Disney+, with new episodes dropping weekly. RICK AND MORTY Five seasons in, Rick and Morty has long passed the point where its premise is its main drawcard. That setup is stellar, of course, and always will be — as you'd expect of a series that takes it cues from Back to the Future, but swaps in a dimension-hopping, drunken, cantankerous grandfather and his nervous teenage grandson. What keeps viewers coming back, and also eagerly awaiting each new batch of episodes, is the show's constant ability to twist and morph in different directions in each and every new instalment. That, and its cynical-meets-absurdist sense of humour, its ability to weave in more pop culture references than should be possible while never feeling like the mere sum of its influences, and its deeply melancholic musings on life, happiness and connection. All these traits are on display in Rick and Morty season five so far, even just two episodes in. Co-creator Justin Roiland might now have another animated sitcom about an unconventional family demanding his attention — the also excellent Solar Opposites — but his first stab at the genre shows no signs of waning. Rare is the show that proclaims that existence is meaningless with such gusto, while also celebrating life's small wins and moments. Wubba lubba dub dub indeed. The first two episodes of Rick and Morty's fifth season are available to stream via Netflix, with new episodes dropping weekly. LISEY'S STORY The list of Stephen King books that've made the leap to screens big or small is hefty. The number of those on-screen projects that the author has had a hand in himself is far smaller. That alone gives Lisey's Story an air of intrigue, with every episode of this eight-part adaptation of King's 2006 novel penned by him. As the series follows Lisey Landon, the widow of a famous author, King isn't actually the MVP, though. His presence is felt — which, depending on how much of a fan you are, isn't always a good thing — but this show has plenty of other talent to assist. Firstly, the always-great Julianne Moore (The Woman in the Window) plays the titular character. Secondly, exceptional Chilean filmmaker Pablo Larraín (Ema) directs the whole show. When Moore dives deep into a role, as she's clearly given the room to here in one of her rare TV parts, she makes the figures she's playing feel as if they could walk right off the screen and into reality. When Larraín lets audiences see the world through his eyes, every frame he creates is utterly magnetic, and yet also probes and ponders everything it is peering at at the same time. It's these two traits that make Lisey's Story a must-see, although a cast that also includes Clive Owen (back on TV screens after the astounding The Knick), Jennifer Jason Leigh (Possessor), Dane DeHaan (Valerian and the City of a Thousand Planets), Joan Allen (Room), Michael Pitt (The Last Days of American Crime) and Sung Kang (Fast and Furious 9) more than helps. The first five episodes of Lisey's Story are available to stream via Apple TV+, with new episodes dropping weekly. CLASSICS TO WATCH AND REWATCH PLANET TERROR + DEATH PROOF The year is 2007. Quentin Tarantino and Robert Rodriguez team up on two films that pay tribute to 70s exploitation flicks — and they make their movies, dubbed Grindhouse, as two parts of a double feature. That's not always how audiences have been able to watch Planet Terror and Death Proof, either then or since, but this pair of memorable flicks is well worth viewing back to back exactly as the directors intended. In the first instalment, Rodriguez serves up an OTT zombie film that revolves around a go-go dancer named Cherry Darling (Rose McGowan, The Sound). In the second chapter, QT gives the world one of his best movies ever, all thanks to the psychopathic Stuntman Mike (Kurt Russell, Fast and Furious 9) and the group of women (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)'s Mary Elizabeth Winstead, Zombieland: Double Tap's Rosario Dawson and seasoned stunt performer Zoë Bell) he tries to stalk with his supposedly indestructible car. Both directors play with familiar stories, and with narrative conventions, but that's a big part of the point. Watching them each deliver the most lurid features of their careers (which, in From Dusk Till Dawn director Rodriguez's case, is saying something) is a delight. And from its perfect casting to its nervy mood and tense car scenes, Death Proof is a flat-out wonder. Planet Terror and Death Proof are available to stream via Stan.
Descend into the basement at Dulcie's and you'll find yourself swept back into the 1930s, when poets, writers, artists, musicians and dancers ruled supreme over Kings Cross. The bar takes its name from one of the era's best-known figures: Mary Elizabeth Kathleen Dulcie Deamer. She was Australia's first female boxing reporter, the founder of the Australian Writers' Centre, a novelist and journo — and, side note, she attended the 1923 Artists' Ball wearing a leopard skin dress and a dog's tooth pendant. Dulcie's embraces the art deco history of its venue. Think fringed lamps, fancy mirrors, pre-Bridge photos of Sydney Harbour, newsboy caps and suspenders. There's a stage, too, which you should keep an eye on for theatre, cabaret, dance and who knows what else — especially after midnight. The drinks list is entirely Australian. Signature cocktails are definitely the heroes, each of which pays homage to one of Sydney's historical legends. Repin's Coffee pays homage to Ivan Repin – one of the city's first champions of good coffee – and is a take on the espresso martini, with Old Young's smoked vodka from Perth, Mr Black Coffee Liqueur from the Central Coast and T Totaler chai tea milk from Sydney. The Fifty-Fifty Club is a paean to a 1930s dance hall (and sly grog spot), made up of Prohibition Bathtub Cut Gin from SA with local vermouths Regal Rogue and Castagna, Marionette dry curacao from Melbourne and cocoa and macadamia bitters. Bar snacks like charcuterie boards are available too, and yum cha Sundays are set to be introduced soon. Appears in: Sydney's Best Underground Bars for 2023
Crap in a suitcase and you too might win an Emmy. Actually, don't try that at home. It worked well for Australian actor Murray Bartlett, though, after he just nabbed one of TV's most prestigious awards — and gave his mum back home Down Under a shoutout in the process — for the all-round phenomenal first season of The White Lotus. In 2022, the Emmy Awards did what the Emmy Awards always do: gave a heap of gleaming trophies to a heap of ace TV shows, and the folks who make them, of course. Oh, and it also had people dancing to the Law and Order theme, among other classic television tunes; enlisted Oprah to stress how massive the odds are of anyone ever winning; and paid tribute to the one and only Geena Davis as well. The winners, which included frontrunners Succession, The White Lotus, Ted Lasso and Squid Game, all showed that it really has been an exceptional time for TV lately. The nominees list illustrated that anyway — and even if Severance, Better Call Saul, Yellowjackets, What We Do in the Shadows,Only Murders in the Building, Barry, Station Eleven and Scenes From a Marriage didn't end up emerging victorious, they're all still among the absolute best shows that graced the small screen over the past year. That's the ceremony done and dusted. Looking for a rundown of how it all went down, as well as a list of winners? We've got that taken care of. Now, here comes the next part for all of us at home: celebrating all of the series that earned Emmy recognition this year by getting watching or rewatching. Here's ten you should check out ASAP. THE WHITE LOTUS With Enlightened, his excellent two-season Laura Dern-starring comedy-drama from 2011–13, writer/director Mike White (Brad's Status) followed an executive who broke down at work. When she stepped back into her life, she found herself wanting something completely different not just for herself, but for and from the world. It isn't linked, narrative-wise, to White's latest TV miniseries The White Lotus. The same mood flows through, however. Here, wealthy Americans holiday at a luxe Hawaiian resort, which is managed by Australian Armond (Murray Bartlett, Tales of the City) — folks like business star Nicole (Connie Britton, Bombshell), her husband Mark (Steve Zahn, Where'd You Go, Bernadette), and the teenage trio of Olivia (Sydney Sweeney, Euphoria), Paula (Brittany O'Grady, Little Voice) and Quinn (Fred Hechinger, Fear Street); newlyweds Rachel (Alexandra Daddario, Songbird) and Shane (Jake Lacy, Mrs America); and the recently bereaved Tanya (Jennifer Coolidge, Promising Young Woman). From the outset, when the opening scene shows Shane accompanying a body on the way home, viewers know this'll end with a death. But as each episode unfurls, it's clear that these characters are reassessing what they want out of life as well. In The White Lotus, a glam and glossy getaway becomes a hellish trap, magnifying glass and mirror, with everyone's issues and problems only augmented by their time at the eponymous location. In terms of sinking its claws into the affluent, eat the rich-style, this perceptive, alluring and excellently cast drama also pairs nicely with the White-penned Beatriz at Dinner, especially as it examines the differences between the resort's guests and staff. EMMYS: Won: Outstanding Limited Series, Outstanding Supporting Actor in a Limited Series of Television Movie (Murray Bartlett), Outstanding Supporting Actress in a Limited Series of Television Movie (Jennifer Coolidge), Directing for a Limited or Anthology Series or Movie (Mike White), Writing for a Limited or Anthology Series or Movie (Mike White) Where to watch it: Binge. Read our review of season one. SUCCESSION Fans of blistering TV shows about wealth, power, the vast chasm between the rich and everyone else, and the societal problems that fester due to such rampant inequality, are living in a golden time. Just in the past 12 months or so, The White Lotus has fit the bill, as has Squid Game; however, Succession has always been in its own league. In the 'eat the rich' genre, the HBO drama sits at the top of the food chain as it chronicles the extremely lavish and influential lives of the Roy family. No series slings insults as brutally; no show channels feuding and backstabbing into such an insightful and gripping satire of the one percent, either. Finally returning in 2021 after a two-year gap between its second and third seasons, Succession didn't just keep plying its astute and addictive battles and power struggles — following season two's big bombshell, it kept diving deeper. The premise has remained the same since day one, with Logan Roy's (Brian Cox, Super Troopers 2) kids Kendall (Jeremy Strong, The Trial of the Chicago 7), Shiv (Sarah Snook, Pieces of a Woman), Roman (Kieran Culkin, No Sudden Move) and Connor (Alan Ruck, Gringo) vying to take over the family media empire. This brood's tenuous and tempestuous relationship only gets thornier with each episode, and its examination of their privileged lives — and what that bubble has done to them emotionally, psychologically and ideologically — only grows in season three. It becomes more addictive, too. There's no better show currently on TV, and no better source of witty dialogue. And there's no one turning in performances as layered as Strong, Cox, Snook, Culkin, J Smith-Cameron (Search Party), Matthew Macfadyen (The Assistant) and Nicholas Braun (Zola). EMMYS Won: Outstanding Drama Series, Outstanding Supporting Actor in a Drama Series (Matthew Macfadyen), Writing for a Drama Series (Jesse Armstrong) Where to watch it: Binge. Read our review of season three. SQUID GAME Exploring societal divides within South Korea wasn't invented by Parasite, Bong Joon-ho's excellent Oscar-winning 2019 thriller, but its success was always going to give other films and TV shows on the topic a healthy boost. Accordingly, it's easy to see thematic and narrative parallels between the acclaimed movie and Netflix's highly addictive Squid Game — the show that's become the platform's biggest show ever (yes, bigger than everything from Stranger Things to Bridgerton). Anyone who has seen even an episode knows why this nine-part series is so compulsively watchable. Its puzzle-like storyline and its unflinching savagery making quite the combination. Here, in a Battle Royale and Hunger Games-style setup, 456 competitors are selected to work their way through six seemingly easy children's games. They're all given numbers and green tracksuits, they're competing for 45.6 billion won, and it turns out that they've also all made their way to the contest after being singled out for having enormous debts. That includes series protagonist Seong Gi-hun (Lee Jung-jae, Deliver Us From Evil), a chauffeur with a gambling problem, and also a divorcé desperate to do whatever he needs to to keep his daughter in his life. But, as it probes the chasms caused by capitalism and cash — and the things the latter makes people do under the former — this program isn't just about one player. It's about survival, the status quo the world has accepted when it comes to money, and the real inequality present both in South Korea and elsewhere. Filled with electric performances, as clever as it is compelling, unsurprisingly littered with smart cliffhangers, and never afraid to get bloody and brutal, the result is a savvy, tense and taut horror-thriller that entertains instantly and also has much to say. EMMYS: Won: Outstanding Lead Actor in a Drama Series (Lee Jung-jae), Directing for a Drama Series (Hwang Dong-hyuk) Where to watch it: Netflix. TED LASSO A sports-centric sitcom that's like a big warm hug, Ted Lasso belongs in the camp of comedies that focus on nice and caring people doing nice and caring things. Parks and Recreation is the ultimate recent example of this subgenre, as well as fellow Michael Schur-created favourite Brooklyn Nine-Nine — shows that celebrate people supporting and being there for each other, and the bonds that spring between them, to not just an entertaining but to a soul-replenishing degree. As played by Jason Sudeikis (Booksmart), the series' namesake is all positivity, all the time. A small-time US college football coach, he scored an unlikely job as manager of British soccer team AFC Richmond in the show's first season, a job that came with struggles. The ravenous media wrote him off instantly, the club was hardly doing its best, owner Rebecca (Hannah Waddingham, Sex Education) had just taken over the organisation as part of her divorce settlement, and veteran champion Roy Kent (Brett Goldstein, Uncle) and current hotshot Jamie Tartt (Phil Dunster, Judy) refused to get along. Ted's upbeat attitude does wonders, though. In Ted Lasso's also-excellent second season, however, he finds new team psychologist Dr Sharon Fieldstone (Sarah Niles, I May Destroy You) an unsettling presence. You definitely don't need to love soccer or even sport to fall for this show's ongoing charms, to adore its heartwarming determination to value banding together and looking on the bright side, and to love its depiction of both male tenderness and supportive female friendships (which is where Maleficent: Mistress of Evil's Juno Temple comes in). In fact, this is the best sitcom currently in production. EMMYS: Won: Outstanding Comedy Series, Outstanding Lead Actor in a Comedy Series (Jason Sudeikis), Outstanding Supporting Actor in a Comedy Series (Brett Goldstein), Directing for a Comedy Series (MJ Delaney) Where to watch it: Apple TV+. Read our review of season two. ABBOTT ELEMENTARY The Office did it, in both the UK and US versions. Parks and Recreation did it too. What We Do in the Shadows still does it — and, yes, there's more where they all came from. By now, the mockumentary format is such a well-established part of the sitcom realm that new shows deciding to give it a whirl isn't noteworthy. But in Abbott Elementary, the gimmick is also deployed as an outlet for the series' characters, all public school elementary teachers in Philadelphia, to help convey the stresses and tolls of doing what they're devoted to. In a wonderfully warm and also clear-eyed gem created by, co-written by and starring triple-threat Quinta Brunson (Miracle Workers), that'd be teaching young hearts and minds no matter the everyday obstacles, the utter lack of resources and funding, or the absence of interest from the bureaucracy above them. Brunson plays perennially perky 25-year-old teacher Janine Teagues, who loves her gig and her second-grade class. She also adores her colleague Barbara Howard (Sheryl Lee Ralph, Ray Donovan), the kindergarten teacher that she sees as a mentor and work mum. Actually, Janine isn't just fond of all of the above — she's so devoted to her job that she'll let nothing stand in her way. But that isn't easy or straightforward in a system that's short on cash and care from the powers-that-be to make school better for its predominantly Black student populace. Also featuring Everybody Hates Chris' Tyler James Williams (also The United States vs Billie Holiday) as an apathetic substitute teacher, Lisa Ann Walter (The Right Mom) and Chris Perfetti (Sound of Metal) as Abbott faculty mainstays, and Janelle James (Black Monday) as the incompetent principal who only scored her position via blackmail, everything about Abbott Elementary is smart, kindhearted, funny and also honest. A second season is on its way, too. EMMYS: Won: Outstanding Supporting Actress in a Comedy Series (Sheryl Lee Ralph), Outstanding Writing for a Comedy Series (Quinta Brunson) Where to watch it: Disney+. EUPHORIA From the very first frames of its debut episode back in June 2019, when just-out-of-rehab 17-year-old Rue Bennett (Zendaya, Spider-Man: No Way Home) gave viewers the lowdown on her life, mindset, baggage, friends, family and everyday chaos, Euphoria has courted attention — or, mirroring the tumultuous teens at the centre of its dramas, the Emmy-winning HBO series just knew that eyeballs would come its way no matter what it did. The brainchild of filmmaker Sam Levinson (Malcolm & Marie), adapted from an Israeli series by the same name, and featuring phenomenal work by its entire cast, it's flashy, gritty, tense, raw, stark and wild, and manages to be both hyper-stylised to visually striking degree and deeply empathetic. In other words, if teen dramas reflect the times they're made — and from Degrassi, Press Gang and Beverly Hills 90210 through to The OC, Friday Night Lights and Skins, they repeatedly have — Euphoria has always been a glittery eyeshadow-strewn sign of today's times. That hasn't changed in the show's second season. Almost two and a half years elapsed between Euphoria's first and second batch of episodes — a pair of out-of-season instalments in late 2020 and early 2021 aside — but it's still as potent, intense and addictive as ever. And, as dark, as Rue's life and those of her pals (with the cast including Hunter Schafer, The King of Staten Island's Maude Apatow, The Kissing Booth franchise's Jacob Elordi, The White Lotus' Sydney Sweeney, The Afterparty's Barbie Ferreira, North Hollywood's Angus Cloud and Waves' Alexa Demie) bobs and weaves through everything from suicidal despair, Russian Roulette, bloody genitals, unforgettable school plays, raucous parties and just garden-variety 2022-era teen angst. The list always goes on; in fact, as once again relayed in Levinson's non-stop, hyper-pop style, the relentlessness that is being a teenager today, trying to work out who you are and navigating all that the world throws at you is Euphoria's point. EMMYS: Won: Outstanding Lead Actress in a Drama Series (Zendaya) Where to watch it: Binge. HACKS In 2021, Hacks' first season quickly cemented itself as one of 2021's best new TV shows — one of two knockout newbies starring Jean Smart last year, thanks to Mare of Easttown as well — and it's just as ace the second time around. It's still searingly funny, nailing that often-elusive blend of insight, intelligence and hilarity. It retains its observational, wry tone, and remains devastatingly relatable even if you've never been a woman trying to make it in comedy. And it's happy to linger where it needs to to truly understand its characters, but never simply dwells in the same place as its last batch of episodes. Season two is literally about hitting the road, so covering fresh territory is baked into the story; however, Hacks' trio of key behind-the-scenes creatives — writer Jen Statsky (The Good Place), writer/director Lucia Aniello (Rough Night) and writer/director/co-star Paul W Downs (The Other Two) — aren't content to merely repeat themselves with a different backdrop. Those guiding hands started Hacks after helping to make Broad City a hit. Clearly, they all know a thing or two about moving on from the past. That's the decision both veteran comedian Deborah Vance (Smart) and her twentysomething writer-turned-assistant Ava Daniels (Hannah Einbinder, North Hollywood) had to make themselves in season one, with the show's second season now charting the fallout. So, Deborah has farewelled her residency and the dependable gags that kept pulling in crowds, opting to test out new and far-more-personal material on a cross-country tour instead. Ava has accepted her role by Deborah's side, and is willing to see it as a valid career move rather than an embarrassing stopgap. But that journey comes a few narrative bumps. Of course, Hacks has always been willing to see that actions have consequences, not only for an industry that repeatedly marginalises women, but for its imperfect leading ladies. EMMYS: Won: Outstanding Lead Actress in a Comedy Series (Jean Smart) Where to watch it: Stan. Read our full review of season two. THE DROPOUT Dramatising the Theranos scandal, eight-part miniseries The Dropout is one of several high-profile releases this year to relive a wild true-crime tale — including the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, and also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. It also dives into the horror-inducing Dr Death-esque realm, because when a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. And, it's the most gripping of the bunch, even though we're clearly living in peak scandal-to-screen times. Scam culture might be here to stay as Inventing Anna told us in a telling line of dialogue, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. EMMYS: Won: Outstanding Lead Actress in a Limited Series of Television Movie (Amanda Seyfried) Where to watch it: Disney+. Read our review. DOPESICK 'Eat the rich' dramas have been having their day across small screens and streaming queues (see: Succession, The White Lotus and Squid Game above), inescapably so. That said, shows in another big current trend are everywhere, too. Dramatised true tales just keep enlisting stacked high-profile casts to wade through murky IRL details, Dopesick included — which adapts Beth Macy's non-fiction book Dopesick: Dealers, Doctors, and the Drug Company that Addicted America. You don't need to have read that text to instantly know that it's about the impact of opioids throughout the US. Everyone has heard of painkiller OxyContin, which originated from US pharmaceutical company Purdue Pharma. Everyone now knows that it is highly addictive, and that that simple fact is the cause of too many woes. If you aren't aware of all the details — or even if you are — prepare for grim viewing via this eight-part affair. The names don't mirror real life, but the story is factual — and infuriating. Michael Keaton (Morbius) plays Samuel Finnix, a mining town doctor who is convinced by Purdue rep Billy Cutler (Will Poulter, Midsommar) to begin prescribing the then-new OxyContin to patients — such as Betsy (Kaitlyn Dever, Dear Evan Hansen), who has a back injury. Also covered: the legal efforts by assistant US attorneys Rick Mountcastle (Peter Sarsgaard, The Lost Daughter) and Randy Ramseyer (John Hoogenakker, Castle Rock) to make Purdue accountable, with the series never holding back about the ills that the drug has caused. The word for the end result: harrowing in oh-so-many ways and for oh-so-many reasons, and also empathetic towards the people affected by opioids. EMMYS: Won: Outstanding Lead Actor in a Limited Series of Television Movie (Michael Keaton) Where to watch it: Disney+. OZARK In 2022, Julia Garner schemed her away into New York's upper echelons in the instantly addictive Inventing Anna, playing IRL faux socialite Anna Delvey — and won the unofficial award for wildest accent on TV, too. She didn't end up nabbing an Emmy for her part, despite being nominated; however, the acclaimed actress didn't go home empty-handed. The reason? Fellow Netflix series Ozark. Not for the first time, The Assistant star picked up the Outstanding Supporting Actress in a Drama Series gong for the crime drama. Actually, this marks her third win, all for her blistering performance as Ruth Langmore. When the show started back in 2017, Garner wasn't in its top-two biggest names, thanks to Jason Bateman (The Outsider) and Laura Linney (Tales of the City), but she's turned her part into an absolute powerhouse. Ozark's focus: a financial advisor, Marty Byrde (Bateman), who moves from Chicago to a quiet Missouri town — yes, in the titular Ozarks region — after a money-laundering scheme goes wrong in a big way. That's a significant shift for his wife Wendy (Linney) and kids Charlotte (Sofia Hublitz, What Breaks the Ice) and Jonah (Skylar Gaertner, Daredevil), but it doesn't see Marty change his ways. Instead, more laundering is in his future, as well as crossing paths with Ruth, who hails from a criminal family. Across its four-season run, Ozark has always been lifted by its performances, which is unsurprising given that Bateman, Linney and Garner are all at the top of their games. It's a masterclass in tension, too, and in conveying a relentless feeling of dread. EMMYS: Won: Outstanding Supporting Actress in a Drama Series (Julia Garner) Where to watch it: Netflix. Top image: Mario Perez/HBO.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=WL-G4oCoDF0&feature=youtu.be HIGH GROUND Violence is never splashed across a cinema screen unthinkingly. Depicting physical force is always a choice, even in by-the-numbers action films where fists and bullets fly far more frequently than meaningful moments. Accordingly, when brutality and bloodshed arrives in a drama that peers back at Australia's colonial past, there's no doubting that the filmmakers responsible have thought about what they're including, why, the message it conveys and the impact it'll have on the audience. High Ground is one such Aussie feature. Its main forceful encounter occurs early, motivating everything that follows and proving impossible to forget. In 1919, ex-World War I sniper-turned-police officer Travis (Simon Baker, Breath) sets out across the area now known as Kakadu National Park, leading a law enforcement team on a routine expedition; however, it doesn't take much — namely, the decisions of his less fair-minded colleagues — for the journey to end with the slaughter of Indigenous Australians. Twelve years later, in the 30s, Travis is still haunted by the incident. In one of High Ground's most important choices, it doesn't require any effort at all to understand why he feels the way he does, or why his eyes have taken on a sorrowful glint. The movie's viewers have witnessed the same awful events, with Aboriginal men, women and children who were enjoying a peaceful waterside gathering all suddenly and savagely killed, and a boy called Gutjuk (played by as a child Guruwuk Mununggurr and Jacob Junior Nayinggul as an adult) only managing to leave the scene alive thanks to Travis' intervention. Even when untainted by blood, the country's landscape has blazed with red, orange and ochre hues since long before European settlement — since the sun first started beating down upon it, undoubtedly — with those colours helping many an Aussie film bake heated feelings of fury and torment into their frames. Indeed, simmering anguish goes with the territory in High Ground. That's true of every movie that recognises that Australia was far from terra nullius when the First Fleet arrived, but there's no escaping the scorching mood that radiates here, as director Stephen Maxwell Johnson (Yolngu Boy) intends. Working with cinematographer Andrew Commis (Babyteeth) to bring screenwriter Chris Anastassiades' (The Kings of Mykonos) script to the screen, the filmmaker fills his first feature in two decades with picturesque yet also pulsating scenery. Peering down at eye-catching swathes of the Northern Territory, the nation's earthy beauty is striking and stunning, and so is the knowledge that it was walked upon by Indigenous Australians for tens of thousands of years. And one goes with the other, as the movie's soundtrack also helps reinforce, layering the noises of birds and wildlife with songs by Yolngu singers such as Yothu Yindi's Witiyana Marika — who also appears in the film as Gutjuk's grandfather Dharrpa — and his son Yirrmal Marika. Read our full review. https://www.youtube.com/watch?v=SG_EVA58P-g NEWS OF THE WORLD A year after his exquisite and rightly Oscar-nominated performance in A Beautiful Day in the Neighbourhood, Tom Hanks returns to the big screen with his latest great film. In News of the World, he plays a Civil War veteran-turned-travelling newsman who becomes saddled with escorting a child back to her family — and he's as gripping and compelling to watch as he's ever been. Hanks' character, Captain Jefferson Kyle Kidd, is a travelling newsman in the very literal and era-appropriate sense. He journeys from town to town to read newspapers to amassed crowds for ten cents a person, all so folks across America can discover what's going on — not just locally, but around the country and the world. Then, on one otherwise routine trip in 1870, he passes an overturned wagon. Only a blonde-haired ten-year-old girl, Johanna (Helena Zengel, System Crasher), remains alive. Kidd soon discovers that she had been abducted by the Kiowa people years earlier during a raid that saw her entire family slaughtered, and was then raised as one of their own, but she has now been left homeless after more violence. The wagon was transporting Johanna to her last remaining relatives and, in the absence of any officials willing to take over — or ensure her safety until they get around to setting off — Kidd reluctantly agrees to the task. Reading the news is still part of their trek, but so is avoiding the many dangers that plague their ride across Texas' golden-hued landscape. If the sight of a wearied Hanks donning a wide-brimmed hat, sitting atop a horse and galloping across scrubby plains feels unfamiliar, that's because it hasn't happened before — with News of the World marking his first-ever western more than four decades after he made his acting debut. (No, his time voicing cowboy plaything Woody in the Toy Story movies doesn't count.) Hanks is a natural fit, unsurprisingly. The grounded presence he has brought to everything from Apollo 13 to The Post couldn't pair better with a genre that trots so openly across the earth, and ties its characters' fortunes so tightly to the desolate and wild conditions that surround them, after all. As a result, the fact that News of the World eagerly recalls previous western highlights such as The Searchers and True Grit doesn't ever become a drawback. Instead, this adaptation of Paulette Jiles' 2016 novel makes a purposeful effort to put its star in the same company as the many on-screen talents who've shone in — and strutted and scowled through — the genre. Hanks takes to the saddle like he's been perched upon one his entire career, of course, and takes to Kidd's lone-rider status with the same naturalistic air as well. But, in a movie directed with less frenetic and jittery flair but the right amount of pulsating emotion by Captain Phillips filmmaker Paul Greengrass, he isn't the only standout. His young co-star is just as phenomenal, in fact, although that won't come as even the slightest surprise to anyone who saw Zengel's performance in 2019's System Crasher, which won the pre-teen the German Film Prize for Best Actress. Read our full review. https://www.youtube.com/watch?v=CGZmwsK58M8 MALCOLM & MARIE Shot in quarantine in mid-2020, Malcolm & Marie meets its eponymous couple on a momentous night, with filmmaker Malcolm (John David Washington, Tenet) all abuzz after the premiere of his latest feature. The critics gushed to him in-person so, arriving back at the flashy house that's been rented for him, he's drunk on praise and eager to celebrate with his girlfriend and aspiring actress Marie (Zendaya, Spider-Man: Far From Home). As she cooks him mac 'n' cheese, he pours drinks and relives the evening's events. But Marie isn't as enthusiastic, or as willing to cast everything about the premiere in a rosy glow. The catalyst for her simmering discontent, other than just the state of their relationship: as Malcolm & Marie writer/director Sam Levinson admits he did himself at the premiere of his 2017 movie Assassination Nation, Malcolm forgot to thank Marie. Levinson's wife only brought it up once, he has said; however, the moment the subject comes up on-screen, Marie isn't willing to accept Malcolm's claim that he simply forgot. Cue oh-so-much arguing, mixed in with cosier banter, broader chats about art and politics, Marie's frequent escapes outside to smoke and Malcolm's impatient waiting for the first reviews of his film to drop. Again and again, their discussion circles back to their history. Malcolm's movie is about a 20-year-old addict, and Marie once was that woman. So, she feels as if her real and painful experiences have hoovered up by him, without any appreciation or recognition — without casting her in the role, too. Where everything from Blue Valentine and the Before trilogy to Marriage Story have previously gone, Malcolm & Marie follows: into the fiery heat and knotty struggles of a complicated relationship. Like Blue Valentine, it charts ecstatic highs and agonising lows. As Before Sunrise, Before Sunset and Before Midnight did, it relies upon dialogue swapped frequently and passionately. And stepping in Marriage Story's territory, it follows a director and an actor as their career choices highlight issues they've plastered over for far too long. Still, while assembled from familiar pieces, Malcolm & Marie slinks into its niche. It's devastatingly stylish thanks to its black-and-white colour palette, elegant costuming and luxurious single-location setting. It glides by almost entirely on the strength of its ferocious performances, with Zendaya and Washington both exceptional. But it's also indulgent and obvious, as well as clumsy in its handling of many of its conversation topics. The film is at its best when its characters fight specifically about their relationship, and at its worst when it forgets that it's about people rather than about ideas. Like most relationships, it soars at times and sinks at others — and, in a very 2020–1 outcome, it easily leaves viewers wondering what might've eventuated if it hadn't been cooked up in a pandemic, designed to work within COVID-19 restrictions and scripted in just six days. Malcolm & Marie is screening in select Sydney and Melbourne cinemas. Read our full review. https://www.youtube.com/watch?v=uZLKevPsC6M PIXIE 2021 is barely a month old, but only one film reaching cinemas this year will feature beloved comedian Dylan Moran as a drug kingpin working out of a fish factory — and remaining as acerbic as ever in the process, of course — as well as Alec Baldwin as a gangster priest who uses his collar and church as a cover. That'd be Irish caper comedy Pixie, which takes its name from the woman, Pixie O'Brien (Olivia Cooke, Sound of Metal), at the centre of a heist, more than a few instances of double-crossing and a long-running feud between two groups of mobsters. Her stepfather Dermot (Colm Meaney, Gangs of London) leads one faction. Her still-yearning ex-boyfriend Colin (Rory Fleck Byrne, Zomboat!) is in his employ, but is willing to put his job and life at risk by ripping off a huge haul of MDMA. That said, most of Pixie's quest to cash in on the big score and flee to art school in San Francisco sees her spending time with best mates Frank (Ben Hardy, Bohemian Rhapsody) and Harland (Daryl McCormack, Peaky Blinders). The former has always had a crush on the titular character, while the latter sports his own feelings — and the fact that they're told "she won't just break you, she'll take a Kalashnikov to your heart" doesn't phase them in the slightest when they think they have a chance to earn her attention and affection. Directed by St Trinian's and St Trinian's 2: The Legend of Fritton's Gold helmer (and Wayne's World and Spice World producer) Barnaby Thompson using a script penned by his son Preston (Kids in Love), Pixie finds enough charm in two key places: its engaging lead actor and its energy. Cooke is fantastic, running rings around every single one of her almost-exclusively male co-stars with her smart, spirited attitude and mesmerising presence. And, tonally, the film sports a distinct mid-90s/early-00s vibe; if you found it on a streaming platform rather than showing on the big screen, you could easily think that it had been sitting in an online catalogue for quite some time and you just hadn't ever heard of it. Still, Pixie is never anything more than watchable. The younger Thompson's screenplay doesn't quite perfect its attempts to make its protagonist her own person, leaning too heavily on male fantasies even despite Cooke's impressive efforts. Also, almost every aspect of the plot seems like the product of someone who spent their formative years worshipping Quentin Tarantino, Martin McDonagh (In Bruges) and John McDonagh (The Guard). In fact, the elder Thompson's stylistic approach actually does the latter, too, which is evident no matter how quickly the whole movies zips along. https://www.youtube.com/watch?v=f8tofjqqrV8 OCCUPATION: RAINFALL Every science fiction film that has reached cinemas since 1977 has sat in the shadows of Star Wars, the best-known big-screen franchise there in the genre. But few movies have splashed around their desire to resemble the George Lucas-created saga and its success as blatantly as the Gold Coast-shot Occupation: Rainfall, the second entry in Australia's Occupation series. Narrative-wise, it follows an alien invasion, which its 2018 predecessor first detailed. That might sound more like Independence Day than Star Wars; however, humanity's survivors are cast as rebels fighting back against ruthless extraterrestrial forces with planet-eradicating weapons, which should ring more than a few bells from a tale set a long time ago in a galaxy far, far away. It's also impossible not to notice the red beams of light adorning sword-like weapons, especially when they're swung around in one-on-one face-offs; the frequent front-on shots of solo pilots sitting in their aircrafts as sky battles rage around them; the way that everything from towering military technologies to bobbing, weaving and crashing aerial conflicts are framed; and the sound effects so familiar you'd be forgiven for thinking they've just been lifted wholesale. There's also a comic green-skinned critter as a sidekick, this time quoting lines from other films rather than saying "ooh, mooey mooey, I love you!" (and, interestingly, voiced by Harry Potter's Jason Isaacs). That Occupation: Rainfall proves so derivative sits at odds with its ambition. Writer/director Luke Sparke is clearly dreaming big, which is to be admired and applauded — as any attempt to remedy Australia's lack of a big homegrown sci-fi franchise should be. Alas, just as Occupation's aping of Red Dawn and Tomorrow, When the War Began was always evident, the debt that Rainfall owes its high-profile influences is obvious to the point of being distracting. The thin storyline doesn't help, with Rainfall starting with the decimation of Sydney, then splitting its focus between resistance fighter Matt Simmons (Dan Ewing, Home and Away) and his reluctant alliance with alien Gary (Lawrence Makoare, The Dead Lands), and the ideological differences between his colleagues Amelia Chambers (Jet Tranter, Tidelands) and Wing Commander Hayes (Daniel Gillies, The Originals). Matt and Gary head to Pine Gap to track down an item of value to the extraterrestrials, which puts them in odd-couple road-movie territory, while Amelia disagrees with Hayes' willingness to conduct experiments on and torture their otherworldly foes. The clunky dialogue everyone is forced to utter doesn't assist either, and neither does the return of Star Wars alumnus Temuera Morrison or the appearance of Community's Ken Jeong — or the always-apparent reality that keeping the franchise going and laying the groundwork for a third film is the main aim above all else. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7, January 14 and January 21. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger and Only the Animals. Top images: News of the World, Bruce W Talamon/Universal Pictures/Netflix; Malcolm & Marie, Dominic Miller, Netflix.
Sydney, can you feel the heat? The fiery Dragon Hot Pot has finally landed in Sydney, bringing its renowned build-your-own Ma La Tang bowls to Darling Square, Haymarket. With scores of outposts stationed across Melbourne and further afield (in Indonesia, Malaysia, and Vietnam), the brand has now expanded to NSW in response to endless requests from Sydney-siders seeking a taste of the dragon in their city. Dragon Hot Pot is known and loved for its signature golden broth based on centuries-old recipes. Marrow bones are simmered with more than 20 traditional Chinese herbs for over 12 hours to produce a fragrant broth. From there, diners customise their bowls with seven signature bases, over 100 ingredients, and varying levels of spice available. The options are endless, with many diners returning to try something new each time, while others stick to tried-and-tested favourites. Grab a bowl and head to the ingredient wall, packed with seemingly limitless options, including fresh vegetables, premium wagyu, seafood, noodles, and the crowd favourite fish-tofu. Then choose your base, perhaps sample the Sichuan hot and sour broth, or go for the mild and creamy collagen bone broth. If you're not in the mood for soup, there's almost a dry Ma La stir-fry option. "We've had Sydneysiders asking us for years when we'd finally open in NSW, and it's been humbling to see the demand," says co-founder Louis Kuo. "Sydney has such an incredible food culture, and we're excited to have brought our signature Ma La Tang to a city that truly appreciates big flavour, comfort, and a little heat. Dragon Hot Pot is more than just soup; it's a ritual. It's about grabbing those tongs, piling your bowl high with exactly what you want, and diving into that rich, golden broth. We are thrilled to finally answer the call and bring the authentic, comforting, and electrifying energy of Ma La Tang that our fans are obsessed with to Sydney. We're excited to welcome both new and old fans to our Darling Square location." Images: Supplied.
