Under current COVID-19 restrictions in Australia, you can't go on a holiday (locally or overseas). But, you can start dreaming. Bookmark this for when you can explore once again. Winding through the rugged expanse of Victoria's Wimmera Mallee region, lies the country's largest outdoor gallery, where the artworks are metres tall, and grace not walls, but towering grain silos. First dreamt up back in 2016, evolving from a small community art project, the now famed Silo Art Trail unfolds over 200 kilometres, where six large-scale works have transformed structures in Brim, Patchewollock, Lascelles, Rupanyup, Sheep Hills and Rosebery. The mural portraits, painted by a collective of artists in conjunction with Yarriambiack Shire Council and international street art agency Juddy Roller, capture the spirit and history of this unique corner of the world, each work offering a snapshot of its host town. If you're visiting the art trail from Melbourne, the closest silo is in Rupanyup — approximately 3.5-hours' drive from the CBD. From there, it'll take you just over two hours to reach the other end of the art trail in Patchewollock. That's the order we've listed the artworks here, but to design an alternate route, head to the Silo Art Trail website. [caption id="attachment_681273" align="alignnone" width="1920"] Nicole Reed[/caption] RUPANYUP, JULIA VOLCHKOVA When you reach Rupanyup, you'll spy a realistic pair of faces by Russian muralist Julia Volchkova, an homage to local youngsters Ebony Baker and Jordan Weidemann. Kitted out in their sports gear and looking bright-eyed and fearless, the characters are a nod to the region's younger generation and the realities of rural life for adolescents. Here, Volchkova has used monochrome tones to capture a spirit of strength, creating a lifelike mural similar to her large-scale works depicting locals across Southeast Asia. [caption id="attachment_681271" align="alignnone" width="1920"] Nicole Reed[/caption] SHEEP HILLS, ADNATE Shining a light on the region's indigenous history and community, the 80-year-old GrainCorp silos in Sheep Hills now boast a vibrant portrait of four locals — Wergaia Elder Uncle Ron Marks and Wotjobaluk Elder Aunty Regina Hood, alongside children Curtly McDonald and Savannah Marks — with a bold, dreamtime-inspired night sky as the background. The striking piece is the work of Melbourne artist Adnate, whose creative focus often lies in sharing the stories and cultures of Aboriginal Australians. Here, he has embraced the concept of customs and wisdom being passed down through the generations, and the strong ancestral bonds shared among the area's indigenous community. [caption id="attachment_681276" align="alignnone" width="1920"] Nicole Reed[/caption] BRIM, GUIDO VAN HELTEN The striking Guido van Helten mural in Brim is where it all began in 2016, spurring inspiration for the rest of the project after putting this sleepy town on the map. Melbourne-raised van Helten kicked things off strongly with his earthy-toned portrait of four farmers, all varying ages, themed around shifting ideas of community identity. The artist's work using translucent aerosol paints lends a faded, ghostlike quality to the characters, shaking the concept of time. [caption id="attachment_681274" align="alignnone" width="1920"] Nicole Reed[/caption] ROSEBERY, KAFF-EINE The latest addition to the Silo Art Trail is a captivating Rosebery mural by lawyer-turned-street artist Kaff-eine. She has set out to embrace the region's past, present and future, with a portrait of a young female sheep farmer, alongside one of a horseman bonding with his four-legged mate. Elements like cowboy boots, Akubra hat and oilskin vest aren't just an unmistakable nod to country life, but capture the strong sense of symbolism that is signature to much of Kaff-eine's work. [caption id="attachment_681275" align="alignnone" width="1920"] Nicole Reed[/caption] LASCELLES, RONE Meanwhile, over in Lascelles, there's a sense of quiet wisdom that emanates from the portrait of fourth-generation farming couple Geoff and Merrilyn Horman, wrapped around two decades-old grain silos. Captured by Melbourne's Rone in 2017, this one speaks to a people's deep, long-running connection to the land, with monochrome hues and water-blended paint creating a hazy, ghostly effect through the work. [caption id="attachment_681272" align="alignnone" width="1920"] Nicole Reed[/caption] PATCHEWOLLOCK, FINTAN MAGEE In Patchewollock, Fintan Magee's 2016 silo mural was inspired by a stay at the local pub, where he met his portrait subject, local farmer Nick "Noodle" Hulland. The colourful, 35-metre-tall piece is a fitting ode to the hard-working Aussie farming community and its rugged spirit. Hulland's shown gazing to the horizon wearing the classic faded flanny, sun-bleached hair and weathered face that so often go hand in hand with life on the land.
Hey boy, hey girl — we've got some news. Pioneering electronic music duo The Chemical Brothers is heading Down Under — for its first Aussie tour in six years. Off the back of dropping its ninth studio album No Geography just last month, the pair has just announced it'll be taking a new live show (also called No Geography) around the world this year. Stops include the UK, US and Mexico — and, luckily, also Australia. If you've been lucky enough to catch The Chemical Brothers live before, you'll know its shows aren't your average stand-behind-the-decks-and-play performances. They feature strobe lights, lasers and mind-bending images projected onto huge screens. It's sort of like a trip, without the LSD. If you haven't seen one before, take a peek at one of the psychedelic shows below. As well as new hits off the new No Geography album, including 'Free Yourself' and 'MAH', we're hoping the duo will add some throwbacks to its live performances — the late-90s and early-2000s hits 'Hey Boy, Hey Girl' and 'Galvanize' would be particularly welcome. As an added bonus, the duo will be touring the country with a big-name local: The Avalanches. The Melbourne-born electro group will be playing a live DJ set at all The Chemical Brothers' shows. If you don't know them, you'll definitely know their song 'Since I Left You'. https://www.youtube.com/watch?v=tri7gjlmfdk THE CHEMICAL BROTHERS NO GEOGRAPHY LIVE 2019 DATES Brisbane — Thursday, October 31, Brisbane Riverstage Sydney — Saturday, November 2, The Dome, Sydney Showground Melbourne — Tuesday, November 5, Melbourne Arena The Chemical Brothers No Geography Live pre-sale tickets start at 10am on Tuesday, May 7 with general tickets going on sale at 10am on Thursday, May 9. For more information, and to sign up for pre-sale access, head to the Frontier Touring website.
I love a versatile breakfast — one that can overflow into brunch or snuggle you in with a night-capping brinner. But have you heard of this recent brinnervation? Vibewire Youth Inc in conjunction with the Powerhouse Museum have poached five sharp, young industry leaders from their corporate and non-profit organisations to share ideas around the humble breakfast table, with a menu bursting with ideas and innovations. The inter-disciplinary buffet hopes to attract entrepreneurs from all areas, including science, technology, education, media and the arts. Passing the milk at August's table will be photographer Carlo Ambrosio T. Lina, social activist Justin Koonin, Project Australia founder Donnie Maclurcan, Vibewire director Annie Le Cavalier and writer Catriona Menzies-Pike. Given the topic 'Failure', these idea-creators will toast you to the tune of commercialisation, collaboration, connections and conversation. If you miss out, mark down the next fastBREAK in your calendar: they're on the last Friday of each month.
From start to finish, Challengers plunges into a tennis match. Holding the racquets: Art Donaldson (Mike Faist, West Side Story) and Patrick Zweig (Josh O'Connor, La Chimera). The pair were childhood roommates and best friends, then doubles partners on the court. Meeting Tashi Duncan (Zendaya, Dune: Part Two), a ruthless tennis prodigy destined for big things, changed everything when they were teens — and now 13 years after first crossing her path, Art and Patrick are facing off at a competition that's basically a warm-up for the former, a multiple grand slam-winner is now married to Tashi and also coached by her, but represents Patrick's best route to a chance at big-time professional success. The bout that bounces back and forth throughout Challengers isn't the movie's only bit of tennis, of course. The latest film by Call Me By Your Name, Suspiria and Bones and All director Luca Guadagnino flits between moments in its main trio's life leading up to the pivotal bout, too, games included. So, as Art and Patrick compete in the movie's showcase showdown, years of complexity are batted back and forth alongside the ball — mentally and emotionally for the pair, and for Tashi as she watches on, seeing her husband and her ex-boyfriend do battle, and wishing that her career hadn't been ended by injury; plus literally for viewers quickly hung up on every serve and return. "I felt like we were just shooting this sequence for so long. And you're like 'dang, did we, what day is it? Wait, how is the character feeling at this point?'. Because you're still wearing the same outfits and it's supposed to be one game, but it's like the next week," explains Zendaya in Sydney, where she visited in late March on a promotional tour for Challengers accompanied by O'Connor and Faist. "I remember we had a storm, some weather issues, which ended up prolonging the process and all these kinds of things, but it was really special and cool. Sometimes I'd feel left out because I was sitting on the side watching them play and I was like 'hey guys'. But it was fun." Both in that match and whenever else Tashi, Art and Patrick are donning white and standing on green, tennis isn't just tennis in Challengers, though. "The tennis is the sex scene," notes O'Connor about a film that brings one word to mind over and over: sexy. This is a movie about three athletes in a complicated love triangle who are yearning to connect as much as they're lusting for tennis glory, as set to a propulsive and slinky electronic score by Trent Reznor and Atticus Ross (Oscar-winners for Soul). Saying that Guadagnino laces the feature with desire is an understatement — and as anyone who has seen his work, especially both Call Me By Your Name and Bones and All starring Zendaya's Dune and Dune: Part Two co-star Timothée Chalamet, will know, it's also one of his talents. [caption id="attachment_951455" align="alignnone" width="1920"] Caroline McCredie[/caption] The result: one of 2024's must-sees, no matter how you feel about tennis going in. It's also a flick with much to discuss, as Zendaya, O'Connor and Faist did when they made the trip Down Under to screen the film, and also get talking at a press conference. Similarly covered: Zendaya doing double duty as a producer on Challengers, the complexity of Tashi as a character, playing such competitive parts, the picture's love triangle and queer themes, its immersive cinematography by Call Me By Your Name and Suspiria's Sayombhu Mukdeeprom, if KC Undercover helped Zendaya prepare for her performance and making "codependency the movie", as she dubs it — and more. On Zendaya's Working Relationship with Luca Guadagnino as an Actor as Well as a Producer Zendaya: "It was really, really special. Producing is something that I'm definitely not new to, but for me it's always been a way to be creative in a different sense. I was always a shy kid, and so the more I do this, the more I love moving behind the camera. I love being able to learn from people and and grow from different directors, whether I'm a producer or not. I just like being on sets and learning and asking questions —and problem-solving and figuring out how things work. And then also I think it's being able to have — I learned quite early, I think, when I was younger, being able to have a real title allows you to be able to protect yourself in a lot of different spaces. It allows for you to be like 'actually, this is what's happening and I can be part of this conversation'. So it also allows me to protect my work and myself and people around me." On Tashi's Complexity and What Zendaya Was Most Looking Forward to Tackling in the Part Zendaya: "I guess the obvious thing to read — I mean, many things these characters do, but to read Tashi, you'd be like 'she's unlikable'. You judge her immediately. You're like 'she's too much'. It's messy. It's whatever. And so I think my job was trying to find her gooey centre, and trying to find her empathy, and why she makes the decisions and what pain it's coming from. And I think ultimately while she's ruthless, which I love, there is something to her that is — I think it's grief, I think it's grief over a career and a life that she never got to live. And I think her true love, her one true love, was always tennis. And she is trying whatever she can to be close to it, to touch it, to do it. And so she uses people to get that feeling, because she can't do it anymore on her own. And she's never really had a moment to just sit with it, and I think that she's never allowed herself a moment to feel bad for herself. She's just like 'moving on, what's next?'. [caption id="attachment_951462" align="alignnone" width="1920"] Eamonn M. McCormack/Getty Images for Warner Bros[/caption] I think we're watching that become a very real thing for her once her tangibility or her closeness to tennis is threatened by the fact that her husband's ready to be done. And she's like 'what? What do you mean?'. So these people are lifelines for her. It's her holding herself up and keeping herself alive. So yeah, I think it was figuring out her nuance and not just make her just bitchy, because I don't think she is. I think there's a reason behind everything she does, I hope." On the Competitive Nature of the Film's Lead Trio Josh: "I think the competitiveness is also out of an obsession with each other. At the beginning of this film, in terms of the competitiveness, when they're younger that's there but — I don't want speak to their characters, but Art is is on the way of falling out of love with tennis. And I think Patrick is just desperate for connection. I think all three of them are desperate for connection, whether it's Art seeking to restore the the love in his marriage or Tashi to restore this three-way love affair. I think Patrick, likewise, the tennis to him is the the utmost connection. He's always searching for that with Art, and with Tashi, too. And so I think the competitiveness comes secondary to that. But then also there's…" Zendaya: "We're so competitive with each other." Josh: "We are very competitive, but when it comes to tennis, not that competitive because we can't compete. But we were competitive between takes in things like Rock, Paper, Scissors and mini tennis, which I'm actually…" Mike: "Very good." Josh: "…Phenomenal at. That was very competitive." [caption id="attachment_951456" align="alignnone" width="1920"] Caroline McCredie[/caption] On Whether This is a Film About Love, Tennis or the Love of Tennis Mike: "It's kind of this weird thing, because I think we naturally as humans bring whatever thing that we're trying to get out of our work — we fall in love with whatever we do, whether that's storytelling in what you guys do or storytelling in what we do. And we can't help but put a piece of ourselves into that, and we're trying to get something out of that as well at the same time. And so there is this kind of bleeding of lines of that. And so it's probably both, is the truth of the matter." Zendaya: "We say it's 'codependency the movie'. I think that's what it's about. I also think it's about a million things, and I think tennis is the metaphor in which they use, or we use, to express that. What I think is really enjoyable, I think people, I've watched it with family and people who are not tennis people or don't really understand how tennis work, and they still feel like they're like 'ohhhhh' inside the match. And there's something alive in them, they still like they can follow it and it makes sense to them. While hopefully people who do really care about tennis will not be distracted by any of our imperfect forms, and will also be able to enjoy it and feel connected in their own personal way. So I hope it's for everyone." [caption id="attachment_947834" align="alignnone" width="1920"] Euphoria, Eddy Chenn, HBO.[/caption] On Which of Their Previous Roles Helped the Cast Prepare for Challengers Zendaya: "KC Undercover. No, I'm kidding. No, listen, the Disney stuff really does — it's a good training ground." Josh: "I did one sports film a long time ago, very early in my career. I had like one scene with dialogue and then one scene cycling. It was called The Program. Stephen Frears [The Lost King] is the director, it was Ben Foster [Finestkind] playing Lance Armstrong. I did no training, and I was cycling up, I think it's called the 21 turns in the Alps. And I got two turns in, and I always remember Stephen Frears was in a golf buggy going past, and all the other actors had been training for months, like Jesse Plemons [Civil War] and all these guys, and they were way ahead of me. And I was like [gasps] dying, and I was supposed to be one of the best ones. So, that doesn't answer your question, because that didn't prepare me at all." Zendaya: "That trauma." Josh: "Exactly, the trauma, I guess it taught me that I do have to prepare if I'm playing a sports person." [caption id="attachment_951463" align="alignnone" width="1920"] Caroline McCredie[/caption] On Getting Into the Win-at-All-Costs Mindset Mike: "The thing is, that what drew me to the character of Art was this idea of falling out of love with your craft. It's kind of this thing, is this idea I think when you're in your twenties, at least for me, I can speak to myself, is that I'm I moved to New York to become an actor. And I'm just grinding. All you're doing is just working, working, working, working. You're hustling, hustling, hustling. And then you finally get to a place of somewhat success and you've kind of achieved what you thought was the thing, and then you're of left with that idea of 'well, now what?'. And it's that thing — you're damned if you do, damned if you don't. It's almost a curse, almost, that thing when you achieve that monumental moment of success. You start to wonder just for yourself 'well, where else can I actually go from here? What else is there in life? Is this all of who I am? What else does compile a life of a human?'. There's a lot of questions and existentialism that goes within that. And that's honestly what I just connected with, is the truth." [caption id="attachment_951457" align="alignnone" width="1920"] Gareth Cattermole/Getty Images for Warner Bros[/caption] On the Way That Guadagnino Portrays Romance and Desire On-Screen, Including Through Tennis Josh: "Luca's always had this eye for, or an instinct to push that desire, and how to tell desire in ways that are less than obvious — and intriguing. I feel like that's just the responsibility of cinema generally, is how do you show something that is going to resonate in a new way, in a way that we haven't seen before? And yet also, Luca displays really classic, inspired-from-classics ways of telling love as well. At the same time, he references other films a lot. And so, he's always pushing it that one step further, I think. It feels exciting. Yesterday we were asked in an interview about the sex scenes. And Z was like 'there aren't any'. It wasn't a stupid question. It was a reasonable question, because it feels so on the edge of that at all times — and actually the tennis is the sex scene. That's their intimacy, and when they're vulnerable." Zendaya: "I do want to chime in real quick and say for someone who had really no idea about tennis and how it worked — because I remember all of us sitting around, and Luca was like, 'wait, so what do the lines, where do they stand like, what is this?'. And we would write out little maps and be like 'okay, so it goes here, and the ball goes here, and what does that mean?'. So for someone who really started, he really, I think, very quickly understood how to capture the the game — really did it in a way that felt very emotional as well. We never are disconnected from any one of these characters throughout their match, and I think it was very exciting how he made us feel like we were sometimes the character. You know, sometimes the camera is the player, sometimes the camera is the ball, and you just feel immersed inside of this this game. You can feel the sweat and you can feel their heartbeat. I think that that was really, really special to watch him map out, really map out shot by shot — it was a long shot list — and figure out how to take an audience on a journey visually, but also emotionally, somehow too." On How the Film Tells Its Tale Visually Thanks to Cinematographer Sayombhu Mukdeeprom Zendaya: "Sayombhu is amazing. He's such a lovely presence to be around. I think also he's got such a calmness to him, and you can watch him, he'll sit down in his chair and he just looks around, and he's checking the light. Then he'll get up and he'll test something. He'll look, he'll fix it. Then he'll just go sit back down. He's so calm, and and masterful at what he does. Obviously, his previous work, we can see that. I know this is stupid to say, but like I felt like very, I don't know, like I felt like the light kind also played so much into how our characters — it's not stupid to say, I take that back — it played into our characters. He somehow gave us some kind of youthful glow, somehow, and was able to like make us look younger through his lights, and make us feel like we were in a different part of our life with the way that. He illuminated our, I don't know, our skin or colour. I'm not sure the specific technique in which he did so, but I felt like I could see a difference in tonality with the way he chose to to light us when we're younger versus when we're older. And I never actually asked him if he did anything different, or if that was a choice by any means, but I felt it at least watching it. Something feels like when they're younger, the colours feel richer or something, like there's just like the exuberance, and then something he did, he gave us, he contributed, I think, a lot that emotional arc of where the characters go." Josh: "He's also really like such a gift for a cinematographer to allow space, so that when you — it sounds really obvious, but it's actually such a talent, to make you feel like there's not a camera there. He was really good at that creating that environment. So Sayombhu, we saw him a lot in rehearsals, and he was the sweetest, most gentle guy. And then during filming, you just see him run past and be like 'what's he doing? He's doing some magic.'. But really, apart from in the tennis match with the cameras in your face, it generally really felt like we were in our world and left to it, if that makes sense." On Exploring the Film's Love Triangle and Queer Angles Josh: "In some ways, those conversations were never needed to be had, because really it's very apparent from the beginning that love and attraction and lust they have for each other is just unanimous. The point is that the three of them are bound together from the start. The three of us were talking about the first, one of the early scenes when Zendaya comes — oh, Tashi comes — to the hotel room and the three of them are sat there on the floor, which is such a teenage feeling. I think that's captured so well. But it's really funny as well. And I think from that moment on, the three of them are bound. And so that scene where it's a sort of three-way kiss, and then Tashi's enjoying the observation of the two of them, of Art and Patrick, I just think that puts them in this this tornado together — which allows for them to be incredibly nasty to each other, and act badly and act brilliantly, and compete and push each other. And so the undertones of relationships between all three of them go up and down at all times. So it's sort of unspoken, but yeah, I can see that that's that's very much there." Zendaya: "I agree. Also, just Luca is brilliant, and he knows how to carve things out that he wants more of, and nuance. And so much is done in things that I think aren't even on the page. You know, there's the scene that's on the page, and then there's another one that the characters aren't speaking, but they're saying to us and we can all very clearly read what they're saying. I think that's where he's so masterful. I mean, he knows what he's doing. So there's such a trust in in his taste, and what his vision is, also, for the characters. And that was apparent when I had my first meeting with him. He really understood them and their connection and their love and their lust and their everything in a deeper way than was just purely on paper. So yeah, it's definitely there." On Playing Someone Who Exudes Power — and Whether Zendaya Relates Zendaya: "I guess in some ways. I think she enjoys power in a way that I don't think I would ever be comfortable with. I think to me, I have an uncomfortable relationship with that idea. But her, I think it's very clear, I think, from when we first meet her that she's completely unafraid of her power and wielding it over other people, and playing with it and and toying with it, which is what I appreciated about it. It didn't take her injury to turn into this ruthless power whatever. She was like that as a teenager. She was already going into the game like this. She was like 'I'm a winner and I know that, and I know how to control people, through whatever'. It's clear from the beginning, so I appreciated that we weren't trying to reason her personality or trying to apologise for how she is. She just is this way, and we just see her, like I said, we see that strong veneer fall apart. The the decision-making gets a little messier, because I think it's now — when she was younger, it was fun, and now it's for survival. Before she was just toying with them because it was fun. And now it's like, 'no, this is my life now'. So I think the stakes became different. I don't want to relate too much to her now. But I say don't judge them, because I find that upon first viewing, you'll have an opinion — and then you watch it again and I guarantee that opinion will change. And then you watch it again, and it might change again. I feel like every time I watch it, I'm like 'ooh, Tashi girl, what are you doing?'. And then the next thing I'm like 'actually, she didn't do anything wrong and it was Art all along'. And then I'm like 'actually, Patrick, should have never said that'. So every time I'm angry at a different character, or I feel more passionate about a different character. I feel heartbroken for — it constantly changes. So I say don't judge because I feel like your opinions will change every time you watch it. And that's the fun part about the film. You just never really have the answers you want, and that makes you question everything and question yourself. And like 'who do I feel like?' It's just one of those those pieces. That was not to promote or anything — I genuinely mean it, every time I've watched it." Josh: "But also go at least three times. But, seriously, go four times." Challengers opened in cinemas Down Under on Thursday, April 18, 2024. Read our review. Challengers stills: Niko Tavernise / Metro Goldwyn Mayer Pictures © 2023 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.
It's been seven years in the making, but Sydney's new Metro line, connecting Sydenham in the city's southeast to Chatswood in the north, is now set to welcome passengers from Sunday, August 4. In addition to platforms at existing stations like Martin Place and Sydney Central, six new stations have been constructed along the line, but these transport hubs will offer more than just access to trains. To take advantage of the influx of Sydneysiders using the Metro, placemaking plans are in the works to develop precincts in and around new stations. The first to be unveiled is in Barangaroo, where new footpaths, over 200 trees and plants, 38 new streetlights and new bike parking facilities, as well as pleasant seating areas, taxi ranks and bus stops have been installed. Travellers leaving the station via the Nawi Cove entrance will find a fascinating monument marking the spot where the Barangaroo Boat was discovered. The well-preserved 200-year-old remains of a vessel were unearthed in November 2018 during the Metro station's excavations and it is believed to be the oldest colonial-era Australian-built craft to ever be fully excavated, recorded and raised. A dramatic, rusting iron inlay, depicting a nine-metre-long, three-metre-wide overview of the boat as it was found buried in the soft harbourside earth, has been etched into the pavement. The craft would most likely have been used to ferry cargo around Sydney Harbour during the earliest days of European settlement. Other areas of the precinct have yet to be completed but they should be accessible to the public by the end of the year. These areas will feature upgraded roads leading to the Dalgety Bridge and a major new car park at 25 Hickson Road as well as a pedestrian footpath and bicycle path on the eastern edge of Hickson Road. Not only will the new Barangaroo precinct service the new Barangaroo ferry hub and the eateries and bars around Crown Towers, Cockle Bay and Darling Harbour, but it will also offer better access to the Walsh Bay Arts Precinct and Roslyn Packer Theatre, which is currently difficult to reach using public transport. Impressive as the Barangaroo precinct may be, there is arguably an even more astonishing feat of infrastructure hiding beneath Sydney's streets just a few blocks away. The Martin Place superhub, also set to open on Sunday, August 4, will feature 3,000 square-metres of retail and dining space spread over three levels encircling a cavernous atrium where escalators will deliver passengers to the station's platforms. For more details on the Sydney Metro's City and Southwest Line head to the Sydney Metro website. Images: Transport for NSW
Timothée Chalamet (Dune: Part Two) playing Bob Dylan. Nicole Kidman (The Perfect Couple) getting steamy with Harris Dickinson (Blitz) in an erotic thriller. Daniel Craig (Glass Onion: A Knives Out Mystery) leading the latest film from Challengers director Luca Guadagnino, who reteams with the tennis hit's screenwriter Justin Kuritzkes. A Complete Unknown, plus the Australian premieres of both Babygirl and Queer, are just three standouts on the upcoming Westpac Openair Cinema program, but they're indicative of an impressive full lineup. After teasing its 2025 slate throughout November, the Sydney summer favourite has now dropped its complete program. Big screen, big highlight of January and February for Harbour City cinephiles, big movies: when Westpac Openair Cinema returns to Mrs Macquaries Point with its three-storey-high screen to kick off another year, it'll tick all of those boxes. The Chalamet-led A Complete Unknown had already been revealed as the outdoor picture palace's opening-night pick, screening on Thursday, January 9 to start 41 nights of movies under the stars in stunning surroundings — but now it has plenty of company. Maria, with Angelina Jolie (Eternals) as famous soprano Maria Callas, is also on the bill — and, as with A Complete Unknown, Babygirl and Queer, will be playing to Westpac Openair Cinema audiences before releasing in theatres elsewhere in Australia. The 1972 Munich Olympics-set September 5 and and Sweden's The Last Journey fall into the same category, alongside the previously announced Bridget Jones: Mad About the Boy. Spit, the Gettin' Square followup featuring David Wenham (Fake) returning to the role of Johnny Spiteri, will premiere to close out the season on Tuesday, February 18 — but before that, the Pierre Niney (The Book of Solutions)-led latest take on The Count of Monte Cristo will also make its first appearance Down Under, in a session in conjunction with the Alliance Française French Film Festival. Elsewhere, spanning both titles that were named in advance and new additions, audiences can look forward to Paul Mescal (All of Us Strangers) in Gladiator II; the first Wicked movie with Ariana Grande (Don't Look Up) as Glinda and Cynthia Erivo (Pinocchio) as Elphaba; and 2024 Cannes Palme d'Or-winner Anora from Tangerine, The Florida Project and Red Rocket filmmaker Sean Baker. Or, there's My Old Ass, about a teen who receives life advice from her older self — who happens to be played by Aubrey Plaza (Agatha All Along) — and Spanish auteur Pedro Almodóvar's (Parallel Mothers, Pain and Glory) English-language feature debut The Room Next Door, with the iconic director teaming up with Tilda Swinton (Fantasmas), Julianne Moore (May December) and John Turturro (Mr & Mrs Smith). With We Live in Time, audiences can look forward to Florence Pugh (Dune: Part Two) and Andrew Garfield (Under the Banner of Heaven) in a romance from Brooklyn filmmaker John Crowley, which follows a couple's relationship across a decade — and with Nightbitch by The Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighbourhood director Marielle Heller, viewers can watch Amy Adams (Dear Evan Hansen) playing a stay-at-home mum who turns canine. [caption id="attachment_981883" align="alignnone" width="1920"] Buffet Digital, @patstevenson[/caption] Ralph Fiennes (The Wonderful Story of Henry Sugar) is at the centre of witty papal election thriller Conclave, alongside Citadel's Stanley Tucci, Killers of the Flower Moon's John Lithgow and Spaceman's Isabella Rossellini; Better Man puts Robbie Williams in the spotlight, but is never a mere traditional music biopic; and A Real Pain is helmed by and stars Jesse Eisenberg (Fleishman Is in Trouble), doing the latter opposite Kieran Culkin (Succession). Or, there's musical crime comedy Emilia Perez from Jacques Audiard (A Prophet, Rust and Bone), which won stars Karla Sofia Gascón (Harina), Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building) the 2024 Cannes' Best Actress prize to share — and also Irish rappers Kneecap playing themselves in the delightful film that shares their name. Notting Hill, Dirty Dancing, the original Bridget Jones' Diary and Crazy, Stupid, Love have blasts from the past covered — and, although it's only from earlier in 2024, so does the Sydney-shot The Fall Guy. [caption id="attachment_981867" align="alignnone" width="1920"] Fiora Sacco[/caption] For bites to eat, this year's season will feature a Festival of Food, with Luke Nguyen (Botanic House's Culinary Director), Danielle Alvarez (Chef and Sydney Opera House's Culinary Director of its event venues) and Scott McComas-Williams (Love Tilly Group's Group Executive Chef) curating. Three dining experiences will greet moviegoers. At the casual Luke Nguyen at The Point, Vietnamese fusion menu will be on offer. Summer House Dining by Danielle Alvarez is all about Mediterranean-inspired meals and full-service dining. And at Fabbrica at Chandon Garden, there'll be a pasta bar-style menu. As happens every year, tickets to Westpac Openair Cinema likely to go quickly when they go on sale at 9am AEDT on Monday, December 9. Across the summer of 2018–19, more than 40,000 tickets sold within the first two days of pre-sale, for instance — so put it in your diary ASAP. [caption id="attachment_980238" align="alignnone" width="1920"] Buffet Digital, @patstevenson[/caption] [caption id="attachment_980239" align="alignnone" width="1920"] Buffet Digital, @patstevenson[/caption] [caption id="attachment_978120" align="alignnone" width="1920"] Fiora Sacco[/caption] [caption id="attachment_978121" align="alignnone" width="1920"] Chris Grundy[/caption] Westpac Openair 2025 runs from Thursday, January 9—Tuesday, February 18. Tickets go on sale at 9am AEDT on Monday, December 9, 2024 — head to the event's website for more details.
Between them, Jane Austen, William Shakespeare, JRR Tolkien, Bram Stoker, the Brontë sisters, Virginia Woolf and Sir Arthur Conan Doyle are responsible for a wealth of literary treasures. So are Oscar Wilde, Harold Pinter, William Blake, Charles Dickens, Lewis Carroll, Lord Byron, TS Eliot, Thomas Hardy, James Joyce, DH Lawrence, John Keats, William Wordsworth and Rudyard Kipling, plus AA Milne, Beatrix Potter, Dylan Thomas, Sir Kazuo Ishiguro and Zadie Smith. HOTA, Home of the Arts on the Gold Coast mightn't seem like the usual place to celebrate them all, but it is until the start of August 2025, all thanks to Writers Revealed: Treasures From the British Library and National Portrait Gallery, London. Announced earlier in the year, open since mid-April and running till Sunday, August 3, this exhibition is all about paying tribute to great authors and writers — beyond libraries, bookstores, and your own bookshelf or Kindle. Indeed, getting the chance to revel in the talents behind some of the finest works of literature ever committed to paper in a stunning showcase across a gallery's walls is rare. Writers Revealed is a world-first. What features at an exhibition devoted to wordsmiths? Eager word nerds can see author portraits, plus rare handwritten manuscripts and first editions. More than 100 literary artefacts and portraits span the likenesses of the writers responsible for Pride and Prejudice, Romeo and Juliet, The Lord of the Rings, Dracula, Wuthering Heights, Sherlock Holmes and other masterpieces, as well as texts themselves, with five centuries of literature covered. As the exhibition's full name states, this is a collaboration between the British Library and the National Portrait Gallery, London. If you're wondering why the two institutions are pairing portraits with books, one of the showcase's aims to explore how literature and visual expression are linked. Also in the spotlight: the legacy of influential writers, plus digging into their creative processes. A draft of Dracula, what's thought to be the only Shakespeare portrait to be painted while he was alive, a picture of Austen by her sister, John Milton's publishing contract for Paradise Lost, letters from both Smith and Ishiguro: they're among the highlights that can be found across 1000 square metres in HOTA's Gallery 1. "We are thrilled to collaborate with the National Portrait Gallery on Writers Revealed, a truly unique exhibition that brings together some of the most exceptional objects from our collections. Visitors will experience rare first editions and exquisite manuscripts alongside celebrated portraits of the writers who created them," said Alexandra Ault, Lead Curator of Modern Archives and Manuscripts at the British Library, announcing the exhibition. "Featuring treasures that rarely leave our gallery in London, this major new exhibition will bring HOTA's visitors closer to some of the most-important figures in English literary history," added Catharine MacLeod, Senior Curator of 17th Century Collections at the National Portrait Gallery. "Encountering these displays, visitors will discover what is revealed and what is hidden when life, writing and portraiture intersect." Writers Revealed: Treasures From the British Library and National Portrait Gallery, London displays at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast until Sunday, August 3, 2025. Head to the gallery's website for further details and tickets.
When Yo came out we thought it was totally ridiculous. A single use app that just sends the word 'Yo' to your friends, it seemed like another sign of the world going app crazy — a new age equivalent of the creepy and superfluous Facebook poke. (Seriously, that thing was solely used by your grandparents and first-time flirters). But, despite our cynicism, the app took off in a big way and has now led the way for something even better. Working in exactly the same as Yo, but bearing a different message, Beer?! has been born. Finally saving your text-tired thumbs from making six separate motions on the keypad, Beer?! allows you to assemble your drinking buds with a single effective motion. There's no ambiguity; no unique invitation to be carefully crafted. Beer?! is as simple as it gets. It's about drinking beer. Soon. Possibly with you. With no emojis, no timestamps and no awkward 'seen' messages, single use apps like Beer?! have a strangely alluring appeal. As people become increasingly confounded with their smartphone's latest fandangled features and constantly evolving uses, simplicity like this is looking pretty good. Available now from the app store, it helps that the service is both free to download and free to use. It also comes with a surprising endorsement from Portugal The Man. So, that's something. Of course, to use the app properly you'll have to arrange some details in advance. Your friend is only able to communicate with the word 'Beer?!' so you'll need to figure out if a reply equals confirmation, and if so, where you'll be heading. There's never been a better time to adopt a pub as your local. We'd advise you to just call them, but really, that would defeat the whole purpose. Via PSFK. Photo credit: Daveybot via photopin cc.
Contemplating a renovation? Before you head to IKEA or the nearest op shop, stop right here. Why settle for standard seating, expected entranceways and simple staircases when you could be installing sandpits under work desks and doors that double as ping pong tables, slides and skate ramps? Interior design is one thing, but home hacking is quite another. Here are ten ways to turn an ordinary house into a carnival ground. Forms in Nature Light Sculpture Turn your room into a scene from Nightmare Before Christmas at the flick of a switch. Ernst Haeckel’s drawings are the inspiration behind this sculpture, created by Danish designers Thyra Hilden and Pio Diaz. A complex, unruly root system surrounds a bright light. "The shadows engulf the room and transforms the walls into unruly shadows of branches, bushes and gnarled trees," the designers explain. "Mirrorings are thrown out upon the walls and ceilings and provide weak Rorschach-like hints of faces, life and flow of consciousness. Dimming the lights transforms the installation and one senses a weak fire burning deep in the center of the forest." Image: Hilden and Diaz Surfing with the sand between my toes Why settle for working from home when you could, simultaneously, be working from the beach? This installation takes the freelancer's freedom to a whole new level. Created by artist Justin Kemp, who's based in Massachusetts (about thirty or so miles from the coast), 'Surfing with the sand between my toes' aims to blur the lines between work and play. "The sand is relaxing, but for me it's more a symbol of my permanent vacation," he explains. "It's the design of a lifestyle where 'work' becomes so satisfying that vacation and retirement become undesirable. It's a permanent state of chill." Image: Justin Kemp The Ping Pong Door Here's a way to create more space, get your daily exercise and maintain a healthy competitiveness with your roommates, especially if you're living in a teeny-tiny apartment: a door that turns into a ping pong table. It's the brainchild of Berlin-based designer Tobias Fraenzel. "Design can and should be fun," he says. "A product that generates positive emotions in people, that brings them together and gets used again and again, that is a good product!" Image: Marcel Koehler Bedroom-to-Pool Waterslide Where Professor Digory Kirke's wardrobe led to Narnia, the cupboard in this proposed country mansion reveals a water slide connected to a pool. Yet to be realised, the plans are the creation of Neil Collins Architects, who specialise in one-off homes. The slide would be part of a £2 million, three-bedroom, underground dwelling entered via a TARDIS-style elevator. Image: Neil Collins Bookshelf-Staircase-Slide Why waste time walking up and down the stairs when you could be sliding? This multifunctional staircase has something for everyone. Architecture firm Moon Hoon came up with it when commissioned to design the Panorama House, a spacious home for a six-piece Korean family. It's one amongst many staircase-slides that are injecting fun into the daily routine. Image: Namgoong Sun The Cloud Sofa If you've never recovered from Neverending Story, here, at long last, is the antidote. Spend a little part of every day floating on your own private cloud. A shiny silver oval on the floor is what makes the Cloud Sofa as magical as Falkor. Its mysterious magnetic force can keep both you and your softest-ever sofa hovering all night long. We have D.K. & Wei Design to thank. Image: D.K. Wei The Skateboard House Welcome to Bart Simpson's dream home. There's not a single surface — inside or outside — that can't be skated on. It's the vision of ex-world champion, pro-skater and CEO of Sole Technology Inc. Pierre Andre Senizergues. He approached architect Francois Perrin and designer-skateboarder Gil Lebon Delapoint to make it happen. La Gaite Lyrique Museum in Paris exhibited a wooden prototype in 2011. Real-life construction is underway in Malibu, California. Image: Pierre Andre Senizergues Pirate Ship Bedroom Do you have a belief, deep-down, that Walt Disney should've cast you, instead of Johnny Depp, in Pirates of the Caribbean? You could see a psychiatrist. But it might well be cheaper to install a pirate ship in your bedroom. Designed by Steve Kuhl, this suspended schooner is entered via rope bridge and exited via secret slide. For miscreants, there's a one-person jail cell. Image: Steve Kuhl Moss Bathroom Mat The ingenious thing about this is that, as long as you shower frequently-ish, you don't need to water it. A latex frame holds together 70 x 6cm pieces of foam, planted with three types of moss: ball, island and forest. Not only do they form a complex microcosmic forest, they also feel super-soft underfoot. It's the creation of Swiss designer Nguyen La Chanh. "The idea was to find a new way of having your plants inside," she explains. "Not only plants in pots quietly standing in the corner of a living room, but alive plants, evolving in the house." Image: Nguyen La Chanh DIY Grass Couch All you have to do is find a piece of furniture, pack the frame with soil, plant some seeds and let them grow. Of course, a regular mowing and trimming routine is part of the deal. Back in 2006, these popped up all over San Francisco as part of the Let's Green this City initiative.
Two entries into their feature filmmaking career, there's no such thing as a bad horror movie from Danny and Michael Philippou. Talk to Me was a smash in every way possible: at festivals, with audiences, at the box office, with awards bodies and at introducing not just Australia but the world to a pair of potent new voices in the genre. With absolutely sign of second-film syndrome creeping in, the Adelaide-born twins' sophomore flick Bring Her Back is also an instant unease-dripping cinema great. While a Talk to Me sequel is also in the works, Danny and Michael have detoured into a different reckoning with loss and death first. And, where their debut movie featured Miranda Otto (The Lord of the Rings: The War of the Rohirrim) as its big name, their second enlists two-time Oscar-nominee (for Blue Jasmine and The Shape of Water) Sally Hawkins. There's also no such thing as a dull conversation with the Philippou brothers, either. When Concrete Playground had a date to discuss Talk to Me with them back in 2023, Danny was apologetic that Michael was unexpectedly AWOL — and he was also bubbling with joking ribbing. This time, both siblings are present and keen to natter, but Danny has lost his voice. "Too much excitement. Too much screaming," he advises. It doesn't stop him from engaging enthusiastically and energetically, although that's always this duo's vibe. The brotherly teasing remains as well. They've been dubbed "horror twins" more than once since they've made the leap from RackaRacka's viral YouTube videos to worldwide movie stardom — and while that's a term that normally brings on-screen characters like the Grady girls from The Shining to mind, rather than filmmakers, Danny and Michael can get onboard with it. "I'll embrace the term," says Michael, after first pondering whether it means that he and his brother are horrific. "Horror twins, we're all for it," adds Danny. If the label "horror siblings" was being used instead, it could also apply to key figures in both of their features so far, however. Bring Her Back's version: 17-year-old Andy (Billy Barratt, Invasion) and his younger sister Piper (first-timer Sora Wong), who has a visual impairment. Grief haunts this film from the outset, as Andy and Piper find themselves grappling with a tragedy and in need of a foster home, albeit ideally just for the three months until the former turns 18 and can obtain guardianship for the latter. Enter Hawkins as Laura, who has lost a daughter, and now welcomes orphaned children into her suburban house with an empty pool and an ominous circle surrounding the property. Enter Oliver (Jonah Wren Phillips, How to Make Gravy), the withdrawn, non-verbal boy already in her care, too. For Andy, Piper and viewers alike, Bring Her Back then plunges into an atmosphere of festering stress — and an environment within the storyline where anxiety and unshakeable mourning radiates from Laura, Oliver unsettles with just a stare and his presence, both siblings mightn't be equally wanted and not all motives are altruistic. Talk to Me confronted the end that awaits us all via personal loss as well — and embraced the yearning to hold onto loved ones now gone through a severed embalmed hand that, when grasped by the living, acted as a conduit to those who've shuffled off this mortal coil. There's no lopped-off appendage acting as a beyond-the-void communication device in Bring Her Back; however, the Philippous are proving themselves experts in dealing with familiar and frequently explored horror-movie themes firmly in their own ways, and also in new fashions each time. Beating, needling and piercing at the heart of both of their films to date is a truth that everyone knows in their gut but rarely vocalises: that losing someone means never being okay, or at least the same, ever again. Bring Her Back is another stellar feature from the co-director pair, with Danny penning their screenplays with co-scribe Bill Hinzman, that boasts a strong emotional core, then — and with thoughtfully written, resonant and relatable characters, even when they're making dread-inducing and disquieting choices. The Philippous' second film is also blessed with a phenomenal turn from a giving-her-all Hawkins, who certainly didn't navigate the same terrain when she was portraying Mrs Brown and taking in Paddington in that franchise's first two movies. One more Bring Her Back feat: it'll ensure that no one ever looks at kitchen knives and perhaps their own limbs in the same way again, while lingering in everyone's mind whenever diving into coping with grief and complicated families fuels any other future movie. When it gets gory — and it does — this is a film that audiences react to audibly. "We don't want them to faint," says Danny. "If you're prone to fainting, bring a pillow. Gasps are good, but please don't faint," adds Michael. "We apologise to the fainters," Danny pipes back in. As they both explain, they also found Bring Her Back affecting to direct, something that they mostly agree didn't really happen in their RackaRacka days. Cue the brotherly riffing again: "actually, Michael, we once set off a bomb and a stick got lodged into Michael's cheek. I thought I saw some tears from his loser," says Danny; "they were tears of joy," is Michael's reply. After Talk to Me exploded with such success, they were still committed to making Bring Her Back at home in Adelaide — and to original horror. Why? That was also part of our discussion. Plus, among other topics, Danny and Michael chatted with us about how the feature's origin story also involves being inspired by a friend's little sister, plus classic films like What Ever Happened to Baby Jane?; getting Hawkins onboard and then not wanting to let her down; and the pride that comes with being a prime example of how online videos are sparking a new generation of filmmakers, just as video stores in the 80s and 90s did. On How Talk to Me's Massive Success Helped Lead to Bring Her Back Danny: "It was like we had to sign on for the next project straight away, because I could feel the anxiety overtaking my body — and if we didn't sign up for something, I felt like I would have never made another movie again. Because you overthink it, and you're overshadowed by things. And if you're just making something, you can't think about it, you just have to do it. So yeah, that was part of the thing with Bring Her Back — like, let's just sign on. Let's start the process." [caption id="attachment_986977" align="alignnone" width="1920"] Jono Searle/Getty Images for AFI[/caption] Michael: "It was being developed at the same time as Talk to Me. So it was a script that was already kind of almost ready to go." Danny: "It was bubbling away." Michael: "It was bubbling away in background." Danny: "It was bubbling away." On Drawing Upon Real-Life People, Classic Films and Personal Experiences to Build Bring Her Back — and Realising When These Pieces Were All Fitting Together Danny: "I think it's once we found some of those ending beats. And once you really solidify those things, building up to that is so much easier when you know where you're going — because a big part of the writing process is just putting together scenes and ideas and moments. And there's no real road map. But once you have a final destination, that's where you're like 'oh gosh, this is really powerful. This sort of speaks to everything that we've been writing'. And the build up to that just felt like, yeah, it was solid." On Finding New Ways Into Interrogating Grief and Death, Two Frequently Explored Horror Themes Danny: "It's still something that we haven't fully expressed yet. And naturally when you're writing, you're writing about things that have happened to you or are happening to you in that moment, and it didn't feel like we fully explored that subject yet. And we couldn't go into it thinking 'there's been all these films about grief already, we can't make another one'. We just had to make sure it was personal to us, and it was drawing from our own experiences, so that way it could feel more unique. We can't go into it overthinking what people are going to think or how it's going to be received. You just have to make something that's true to you." On Tapping Into the Truth That Losing Someone Never Means Being Okay — or At Least Never Being the Same Again Danny: "It was weird because we had a loss at the start of pre-production, and the film became our way of dealing with it and figuring that stuff out. And the script changed because of it. And there was a scene in the pool shed towards the end of the movie where it felt like we were saying goodbye to somebody, and it was directed through tears. So it was never a strategised thing. It was just something we were dealing with and expressing." Michael: "Yeah, some of the scenes are supposed to be horror. And then they turned out sad. I've never cried before directing, but I did in that scene." Danny: "Yeah, yeah. And my co-writer, when he saw the film, he's like 'what? What movie is this? What? What is this? We didn't write this'. And I was like 'we were just responding to what was happening, so it changed'." On Never Being Afraid of Horror Tropes, But Always Grounding Them in Character Danny: "There's something exciting about existing within the horror tropes. And some people deny that they're making a horror film. We do try to work it at a drama level and have it work as a horror film, too, but we're not afraid of those tropes — and embracing those tropes. And then doing your own spin on those tropes is always a fun thing. It's always about grounding it with our characters and in this place. And there's something about having the Australianisms of some of those moments and those beats, I think, that automatically puts it in a different lens from other films, if that makes sense." On the Key Aim When It Comes to Putting a Strong Emotional Core and Thoughtfully Written Characters at the Heart of the Philippous' Films Michael: "For them to work as real human beings. And even, say Laura, she's not outrightly evil — she's driven to madness from grief. It's swallowed her. So it's the world that has made it this way, and she was unable to let go, and what does that look like? It's the spiral. It's a lot about what the circle represents as well. So it's those things that, hopefully, you can empathise with certain characters — even if you don't agree with what they're doing, you understand why they're doing it." On Making Another Firmly Australian Horror Movie, and Doing So at Home, After All of the Offers That Came Following Talk to Me Danny: "There's something that just felt right about it. And we had so many offers, like dozens and dozens. And the budgets were mind-blowing. And the idea of doing it was so, it felt — yeah, that just seems so impossible to even to be offered that. But it didn't feel right. It didn't feel natural. And it didn't feel real. This feels real. This feels personal. And this is a proper expression — and we have full control over these characters and this narrative. [caption id="attachment_1007259" align="alignnone" width="1920"] Scott Ehler[/caption] And A24 is a studio that allows us to go wherever we want with the script and with the edit. And they're not sitting there — it's not filmmaking by committee. It's filmmaker-driven. So it just feels like — it just felt right." On the Pitch to Get Two-Time Oscar Nominee Sally Hawkins Onboard Michael: "She was the first person on our list, and we were thinking 'there's no fucking way Sally Hawkins is going to say yes to working with us'. But we sent them the script, we sent her people the script. And she read it, and we heard back and she said that she loved it, and wanted to jump on a zoom. And we had one meeting with her. And I was kind of afraid with the big Hollywood name, of an ego or something. I don't know, I don't know what I was picturing. But when we spoke to her, she's so down to earth. So amazing. She understood all the nuances in the script that no one else had, and she connected with it not because it was a horror film, but from a character point of view. She really understood Laura. And she was a bit intimidated by playing her as well. I don't know if she was wondering whether she could pull it off. But so, that was the first person that we reached out to, and it was who we got, which was incredible. And she blew everyone away. She's amazing." On What a Performance Like Hawkins', Including in Such a Complicated Part, Gives You as a Director Danny: "It was like the biggest fear of this movie was letting Sally Hawkins down. We didn't want to, us, put together this piece of crap when she's given a part of her soul for this performance. So that was always a thing in the back of your mind. You're like 'oh, please, we can't let Sally down. Please'." Michael: "And the film was structured to be in chronological order as much as possible. So you know these big scenes are coming, and you're so excited because you know Sally's going to go there. So there's those scenes, and you're watching it on the monitor, and there's this magic in front of your face. It's the most-unbelievable experience. And then you can just say little things to Sally, just one or two words, and she just understands. And she will just do another take with these subtle changes, but still in that character. It's unbelievable. It's so, so amazing to watch." On What Inspired the Scenes in Bring Her Back That'll Ensure That Audiences Never Look at Kitchen Knives or Their Limbs in the Same Way Again Danny: "It's just about tapping into stuff that makes you uncomfortable, especially when you're writing horror and stuff. Like metal on teeth, that is so upsetting to me, and so it's about tapping into that and writing about it, and finding a visual that surrounds that. And then when you go back through it, it's about finding a way to tie that back into character, back into theme." Michael: "And grief is all-consuming." Danny: "But also, all of it represents more than just that." Michael: "I know, I know, but I'm saying that's one part of it. And then when you have things like that that go into those ideas, what is the physical representation of the themes and what we're talking about from a character point of view? And those scenes, just they come — and it's one of those things. We didn't want to shy away from it, when that stuff does happen. And I don't think we did." Danny: "I don't think we did." On How It Feels to Be an Example of How YouTube Can Be a Launchpad for Filmmakers to Hone Their Skills, Find Their Voice, Then Make the Leap Into Features Danny: "Just so proud, because filmmakers or storytellers can exist in all platforms and can come from anywhere. They could be — like the future Steven Spielberg, he could be there, or she could be there, right now, just only having access to their phone, and that doesn't make them any less of a storyteller. So I like that. Even when we're in meetings now, we're really pushing creators and different people, and letting them know that this is the next gen. [caption id="attachment_1007252" align="alignnone" width="1920"] Scott Ehler[/caption] These people want to be able to express themselves, and they've got different mediums to use it. That doesn't make them any less of an artist. Yeah, I feel very proud of that." Bring Her Back released in cinemas Down Under on Thursday, May 29, 2025. Read our review of Talk to Me, and our interview with Danny Philippou about Talk to Me.
Dishing up a young, fun take on Southeast Asian fare, with an infusion of classic Aussie ingredients, Chubby Cheeks has burst onto the scene in Paddington. Making its home within Oxford Street's former Max Brenner site, the vibrant Thai street food eatery has all the makings of a neighbourhood favourite, with all exposed brick, raw timber and bold tropical prints. From the same minds that brought you Mona Vale's coastal café and retail space Armchair Collective, Songpol and Lyn Manoonpong, it's pitched at that coveted balance between relaxed and stylish. The menu leans to the crafty, bringing traditional Asian flavours to life with the addition of top local produce. Big-flavoured fare includes the likes of tea-smoked duck breast on banana blossom salad, a 12-hour smoked Rangers Valley wagyu brisket with green papaya and a burnt chilli sauce, and crispy turmeric rice crêpes, stuffed with either prawns and pork, or tofu. If you're rolling with two or more people, leave decisions at the door and share your way through the $49 tasting menu. From the central bar comes some equally gutsy cocktails — including a Thai-spiced negroni, and a bright and breezy lemongrass and lychee caprioska — a beer list mixing local craft brews with crisp Asian imports, and a largely Aussie wine lineup heroing lighter, fresher varietals.
Winter is here and, unlike the disappointing Game of Thrones finale, the change of weather is actually a good thing. The new season brings with it that cosy jeans-and-sweater weather and crisp, invigorating air — all of which means you can spend the majority of your time cosied up next to a fireplace. While Sydney is known for its sunshine and beaches, it doesn't mean the city stops once the temperature drops. In fact, there are many activities worth getting out from under the doona for — some indoorsy, some outdoorsy. So you don't miss out on any of these winter happenings, we've partnered with Tanqueray to bring you some top activities to tackle this season. From getting snug in a cinema for Sydney Film Festival to ice skating at Bondi Beach, there's plenty to keep you entertained with, of course, a gin in hand. CELEBRATE WORLD GIN DAY What better way to kick off winter (aka gin season) than with a whole day dedicated to your favourite spirit? World Gin Day falls on Saturday, June 8 this year — the start to the Queen's birthday long weekend. So, in honour of this spirit and Australia's undying love for it, hit the streets and head to any bar in town. If you're a gin aficionado though, you'll be best perched at one of Sydney's best gin bars. Try a whole range of gins at The Barber Shop with Tanqueray London Dry, Bloomsbury, Lovage, Old Tom, Rangpur, Sevilla and Tanqueray Ten all on offer to create a top-notch G&T or martini. Or at Gin Lane, you can go for one of several Tanqueray cocktails, with old school options like the Aviation, with Tanqueray, maraschino liqueur, creme de violet and fresh-pressed citrus, or something spritzy like the Hibiscus & Rose Fizz, with rose-infused Tanqueray, hibiscus, orange, rose syrup, pressed-organic raspberry and prosecco — all served in a smoking pipe. And if you really want to celebrate, Jacoby's Tiki Bar is the place, with Neptune's Punch, a four-person cocktail containing Tanqueray, rum, cognac, orange liqueur, passionfruit, falernum, orgeat and lemon. And, seeing how it's winter, best pay the extra fiver and it'll come on fire. GO FOR A TWIRL ON BONDI'S ICE SKATING RINK Where else can you watch surfers catch waves, all while gliding across the ice? Water doesn't freeze over in Sydney in winter — except in Bondi. The suburb's beachside ice skating rink will pop up again for three weeks this year. At Bondi Winter Magic, there'll also be a 22-metre ferris wheel alongside the outdoor rink, as well as a program with an avalanche of frosty fun. After all that action on the ice, you'll probably feel like a little post-skate celebratory tipple (particularly if you managed to last the whole time without falling). Keep the water views going, and head to Bondi's famed Icebergs Dining Room and Bar with million-dollar views of the beach. Order the Classic Aperitivo, made with Tanqueray gin, Italian bitters, house-made grapefruit cordial, orange juice, basil and soda; it's a tasty way to unwind. For something more low-key, head to Bondi Beach Public Bar for a classic negroni or the Tanqueray gin 'n' juice with a twist. [caption id="attachment_721080" align="alignnone" width="1920"] Archibald Prize Winner: Lindy Lee by Tony Costa.[/caption] HAVE AN ARTY AFTERNOON THEN GO FOR A LATE LAVISH LUNCH With Australia's most prestigious portrait award — The Archibald — plus the Wynne and Sulman Prizes all showing at the Art Gallery of NSW, it would be remiss not to put on your winter woollies and head to the gallery. Need even more of a reason? A huge retrospective of Marcel Duchamp (the man who made art out of a urinal) is also running this winter. After getting your cultural fix, wander down to Woolloomooloo and treat yourself to a late, long lunch at Riley St Garage. The industrial, art deco restaurant has a share plate menu, with everything from oysters and a raw bar offering to heartier dishes like the crispy pork knuckle. And better yet, you'll find $2 oysters available Tuesday to Saturday for 55 minutes starting at 5pm. Make it in time for cheap oysters, and you can spend a bit more on some fine gin cocktails like the Pet Sounds with gin, rosé, plum and pet nat, or a classic G&T with Tanqueray London Dry, Sevilla or Ten complete with Fever Tree tonic. SIP PRE-SHOW COCKTAILS BEFORE SEEING SOME LOCAL EMERGING TALENT This year, Belvoir Theatre is hosting 25A — a series of low-budget (but story-rich) plays supporting emerging theatre talent. Showing in the Downstairs Theatre, the plays running over winter include The Astral Plane, an energetic comedy that's simultaneously enlightening and deeply felt, showing from June 12–29; Skyduck: A Chinese Spy Comedy from July 11–20; and Te Molimau, a futuristic story of a young woman on a sinking island in the Pacific Ocean, running from August 7–24. Tickets are priced at an extremely reasonable $25 (online or at the door), with previews costing only $20, meaning you can splurge a little beforehand. Just a short walk from Belvoir is Redfern small-bar-cum-Italian-eatery, Vasco. The bohemian bar has an extensive cocktail list, with the Heart-Shaped Box, made of Tanqueray gin, house-made kiwi shrub, citrus and orange blossom, a particular crowd favourite. Foodwise, there's some Mediterranean snacks like antipasti, meatballs served with bread and bruschetta as well as lots and lots of homemade gnocchi. [caption id="attachment_618730" align="alignnone" width="1920"] State Theatre by Lottie P via Flickr.[/caption] CATCH A SYDNEY FILM FESTIVAL PREMIERE AT THE STATE THEATRE Sydney Film Festival is back and this year it's got Oscar nominees, Sundance hits and even some titles straight from Cannes. Throw in plenty of famous faces, a few more local flicks and a heap of acclaimed docos, and another busy fest will grace our city till Sunday, June 16. The full program is packed with just about every genre, with many screenings hosted at the decadent State Theatre. Book a film at the State Theatre, and afterwards, pop next door to Gowings Bar & Grill at the QT Hotel. Here you can sip the signature Perfect Bubbles cocktail with Tanqueray Ten, strawberry aperitif, lemon, rhubarb shrub and sparkling wine or order the Clover Club made with Tanqueray gin, raspberry, lemon and egg white. Celebrate the return of winter with a Tanqueray tipple in hand at home or around your city. Top image: Gin Lane.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are ten that you can watch right now at home. BARBIE No one plays with a Barbie too hard when the Mattel product is fresh out of the box. As that new doll smell lingers, and the toy's synthetic limbs gleam and locks glisten, so does a child's sense of wonder. The more that the world-famous mass-produced figurine is trotted through DreamHouses, slipped into convertibles and decked out in different outfits, though — then given non-standard makeovers — the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also a cleverly funny flick from its 2001: A Space Odyssey-riffing outset. The longer that it continues, however, the harder and wilder that Lady Bird and Little Women director Greta Gerwig goes, as does her Babylon and Amsterdam star lead-slash-producer Margot Robbie as Barbie. In Barbie's Barbie Land, life is utopian. Robbie's Stereotypical Barbie and her fellow dolls (including The Gray Man's Ryan Gosling as Stereotypical Ken) genuinely believe that their rosy beachside suburban excellence is infectious, too. And, they're certain that this female-championing realm — and the Barbies being female champions of all skills, talents and appearances — has changed the real world inhabited by humans. But there's a Weird Barbie living in a misshapen abode. While she isn't Barbie's villain, not for a second, her nonconformist look and attitude says everything about Barbie at its most delightful. Sporting cropped hair, a scribbled-on face and legs akimbo, she's brought to life by Saturday Night Live great Kate McKinnon having a blast, and explained as the outcome of a kid somewhere playing too eagerly. Meet Gerwig's spirit animal; when she lets Weird Barbie's vibe rain down like a shower of glitter, covering everything and everyone in sight both in Barbie Land and in reality, the always-intelligent, amusing and dazzling Barbie is at its brightest and most brilliant. Barbie is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TALK TO ME An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds, as Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low) explain. But, as she navigates the anniversary of her mother's death, Mia (Sophie Wilde, The Portable Door) is up for going as far as she can. Here, being consumed by sinister spirits, not consuming booze, is an escape. That, and filming whatever twisted chaos happens when you connect with the otherworldly. It isn't all fun and frights and games, though; when her best friend Jade's (Alexandra Jensen, Joe vs Carole) 14-year-old brother Riley (Joe Bird, First Day) takes part, traumatic consequences spring. Talk to Me is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Danny Philippou. THE NEW BOY Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The New Boy is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Warwick Thornton. RED WHITE & BRASS Watch Red, White & Brass and you'll never see the pre-game or half-time entertainment at a big sporting match the same way again. Of course, if Rihanna, or Beyoncé with Destiny's Child, or a heap of hip hop and rap legends are taking to the stage at the Super Bowl, you won't question it — but if there's a community band on the turf, you might start wondering when they first picked up their instruments, why and if it was only four weeks ago to make it to this very gig. Are they just out there because they were that desperate to see their team play? And, because they missed out on expensive and instantly sold-out tickets? Were they so eager, in fact, that they bluffed their way into a gig by claiming to already be a musical group, then had to speedily do anything and everything to learn how to get melodic, and obviously not embarrass themselves, in a passion-fuelled whirlwind of pretence and practice? A band solely forming to score access to a rugby game sounds like pure screenwriting confection. Often enough, though, when tales like that make it to the silver screen, it's because they're so wild that they can only be true. Such is the case with Red, White & Brass' premise, as it notes at the outset, with co-writer Halaifonua (Nua) Finau scripting the story with first-time feature director Damon Fepulea'i from his very own experiences. Back in 2011, New Zealand hosted the Rugby World Cup, which was a source of particular excitement to Aotearoa's Tongan population, and especially to avid aficionados at a Wellington church. The kind of fans that were showing their devotion by decking out their homes in the Tongan flag top to bottom, hitching the red-and-white cloth to every free space on their cars and carrying around the symbol on their phone cases, they were determined to see Tonga play France in their own home city, and willing to whatever it takes to do so — wholesomely, in the type of underdog story about fervour, ingenuity, self-belief and luck that engagingly makes for an easy and warm-hearted cinema crowd-pleaser. Red, White & Brass is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with John-Paul Foliaki and Damon Fepulea'i. CARMEN Breaking down a classic tale best known as an opera, rebuilding it as a lovers-on-the-run drama set across the US–Mexico border and making every moment burst with emotion, Benjamin Millepied's Carmen is a movie that moves. While its director is a feature debutant, his background as a dancer and choreographer — he did both on Black Swan, the latter on Vox Lux as well, then designed the latest Dune films' sandwalk — perhaps means that the former New York City Ballet principal and Paris Opera Ballet Director of Dance was fated to helm rhythmic, fluid and rousing cinema. His loose take on Georges Bizet's singing-driven show and Prosper Mérimée's novella before it, plus Alexander Pushkin's poem The Gypsies that the first is thought to be based on, is evocative and sensual. It's sumptuous and a swirl of feelings, too, as aided in no small part by its penchant for dance. And, it pirouettes with swoon-inducing strength with help from its stunningly cast leads: Scream queen and In the Heights star Melissa Barrera, plus Normal People breakout and Aftersun Oscar-nominee Paul Mescal. When Mescal earned the world's attention in streaming's initial Sally Rooney adaptation, he had viewers dreaming of fleeing somewhere — Ireland or anywhere — with him. Carmen's namesake (Barrera) absconds first, then has PTSD-afflicted Marine Aidan (Mescal) join her attempt to escape to Los Angeles. Carmen runs after her mother Zilah (flamenco dancer Marina Tamayo) greets the cartel with thunderous footwork, but can't stave off their violence. Aidan enters the story once Carmen is smuggled stateside, where he's a reluctant volunteer border guard in Texas alongside the trigger-happy Mike (Benedict Hardie, The Drover's Wife The Legend of Molly Johnson). As the picture's central pair soon hurtle towards California, to Zilah's lifelong friend Masilda's (Rossy de Palma, Parallel Mothers) bar, they try to fly to whatever safety and security they can find. That may be fleeting, however, and might also be in each other's arms. Carmen is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Benjamin Millepied. HOW TO BLOW UP A PIPELINE Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. How to Blow Up a Pipeline is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SISU Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but writer/director Jalmari Helander's (Rare Exports: A Christmas Tale) latest effort means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, also Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. Sisu is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INDIANA JONES AND THE DIAL OF DESTINY Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment from Logan and Ford v Ferrari filmmaker James Mangold whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Indiana Jones and the Dial of Destiny is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BOOGEYMAN Teenagers are savage in The Boogeyman, specifically to Yellowjackets standout Sophie Thatcher, but none of them literally take a bite. Grief helps usher a stalking dark force to a distraught family's door; however, that malevolent presence obviously doesn't share The Babadook's moniker. What can and can't be seen haunts this dimly lit film from Host and Dashcam director Rob Savage, and yet this isn't Bird Box, which co-star Vivien Lyra Blair also appeared in. And a distressed man visits a psychiatrist to talk about his own losses, especially the otherworldly monster who he claims preyed upon his children, just as in Stephen King's 1973 short story also called The Boogeyman — but while this The Boogeyman is based on that The Boogeyman, which then made it into the author's 1978 Night Shift collection that gave rise to a packed closet full of fellow movie adaptations including Children of the Corn, Graveyard Shift and The Lawnmower Man, this flick uses the horror maestro's words as a mere beginning. On the page and the screen alike, Lester Billings (David Dastmalchian, Boston Strangler) seeks therapist Will Harper's (Chris Messina, Air) assistance, reclining on his couch to relay a tragic tale. As the new patient talks, he isn't just shaken and shellshocked — he's a shadow of a person. He's perturbed by what loiters where light doesn't reach, in fact, and by what he's certain has been lurking in his own home. Here, he couldn't be more adamant that "the thing that comes for your kids when you're not paying attention" did come for his. And, the film Lester has chosen his audience carefully, because Will's wife recently died in a car accident, leaving his daughters Sadie (Thatcher) and Sawyer (Blair) still struggling to cope. On the day of this fateful session, the two girls have just returned to school for the first time, only for Sadie to sneak back when her so-called friends cruelly can't manage any sympathy. The Boogeyman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEG 2: THE TRENCH Jaws, but bigger. Jurassic Park but sharks. Like a prehistoric underwater predator scooping up a heap of beachgoers in one hefty mouthful, describing what The Meg and its sequel Meg 2: The Trench are each aiming to be is easy. Ridiculous big-screen fun that sets Jason Statham (Fast X) against multiple megalodons, his scowl as shiny as their razor-sharp teeth: they're the type of waters that this creature-feature franchise also wants to paddle in. Since debuting in cinemas in 2018, all things The Meg have always had a seriousness problem, however. They're at their best when they're also at their silliest, but they're rarely as entertainingly ludicrous as they're desperate to be. This five-years-later follow-up might task Statham with shooting harpoons while riding a jet ski at a tourist-trap holiday destination called Fun Island — and also busting out the line "see ya later, chum", which lands with such a sense of self-satisfaction that it feels like the entire reason that the movie even exists — but such gleeful preposterousness is about as common as a herbivore with a meg's massive chompers. Again based on one of author Steve Alten's books — he's penned seven so far, so more flicks are likely — Meg 2: The Trench doesn't just want to ape the Jurassic series. It does exactly that overtly and unsubtly from the outset, but this film is also happy to brazenly treat multiple movies from a few decades back as fuel for its choppy antics. When the feature starts, it's 65 million years ago, dinosaurs demonstrate the cretaceous period's food chain, then a megalodon shows who's boss from the water. Obviously, life will find a way to bring some of this sequence's non-meg critters into the present day. Next comes a dive in The Abyss' slipstream, before embracing being a Jaws clone again — even shouting out to Jaws 2 in dialogue — but with a Piranha vibe. Before it's all over, Meg 2: The Trench also flails in Mega Shark Versus Giant Octopus' direction, just with a visibly larger budget. Meg 2: The Trench is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June, July and August, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
It has been 13 years since Planet Earth, the 11-part documentary series that combined stunning high-definition images of this place we all call home with David Attenborough's inimitable narration. It has been three years since Planet Earth II, the show's six-part sequel, did the same too. A third program, Planet Earth III, is slated to join them in 2022 — but you don't need to wait that long for your next Attenborough-voiced nature doco fix. Four years in the making, Netflix's Our Planet will help fill the gap. Releasing in April, it isn't related to BBC's Planet shows — which also include The Blue Planet and Frozen Planet — but it does still feature Attenborough's informative tones. Across eight episodes, the iconic broadcaster and natural historian will talk viewers through the planet's remaining wilderness areas and their animal inhabitants. The series is made in partnership with the World Wildlife Fund, so expect to see plenty of astonishing and majestic critters. And we do mean plenty. Our Planet was filmed in 50 countries across all the continents of the world, heading everywhere from the remote Arctic wilderness to the South American jungles — and to sprawling African landscapes and the depths of the ocean, as well. In total, it took 600 crew members to shot the series, who helped capture a plethora of never-before-filmed sites over more than 3500 filming days. It's also filmed in ultra high-definition at 4K resolution, so should your TV support it, you'll be in for quite the detailed glimpse at the natural world. Check out the full trailer below: Our Planet starts streaming on Netflix on April 5. Image: (c) Ben Macdonald/Silverback Films.
A small, rotating cast of volunteer musicians come together as The String Orchestra of Brooklyn (SOB) to produce site-specific musical experiments and collaborations with other New York area musicians. According to executive director and founder Eli Spindel, the strength of SOB lies in the orchestra's versatility. "We have the flexibility to take risks and follow our musical curiosity wherever it might lead," he said. Recently, SOB's "musical curiosity" led to a collaboration with ISSUE Project Room on the March 17 production of String Theories 2012. Held in St. Ann's Church in Brooklyn, String Theories featured the works of four commissioned composers: Anthony Coleman, Eric Wubbels, Spencer Yeh, and MV Carbon. The goal of the project was to create performances on a larger-than-realistic scale, playing on the physicality of the orchestra members and adopting new musical techniques. "It will definitely get a bit rowdy," Spindel said pre-performance. Upcoming events include the 2012 Parks Concert Series, where SOB, in collaboration with The Fort Greene Park Conservatory, has joined the outdoor concert lineup. https://youtube.com/watch?v=UU6VdE35Htg
What does a group of pink guards do when they hit an Australian beach? That isn't likely to be a storyline in Squid Game when it returns for its second season on Boxing Day 2024, but we have been given the answer in the lead up to the show's much-anticipated comeback anyway. In Melbourne on the morning of Tuesday, December 10, 2024, St Kilda Beach welcomed 200 visitors, all kicking back on the sand — on towels, reading, sitting under umbrellas, throwing balls, flying kites and more — in eye-catching Squid Game attire. As announced on Monday, December 9, Netflix sent a continent of pink guards to the seaside patch of the Victorian capital to remind everyone that the show's second season is on the way — and soon — in an eerie fashion. There wasn't a green tracksuit in sight, but there were plenty of jumpsuit- and mask-wearing folks enjoying a morning out. This isn't the first time that the streaming platform has brought the South Korean sensation Down Under. When season one proved a massive success, the creepy Red Light, Green Light doll from the show towered over Sydney Harbour. Up at Sydney's Luna Park, you'll have another chance to get some IRL Squid Game action — without any murder, of course — when an immersive experience hits the tourist attraction to get you playing Red Light, Green Light from Monday, December 16, 2024. Three years have passed since Squid Game became an award-winning Netflix sensation — for viewers and, in the show itself when new episodes drop, for Seong Gi-hun (Lee Jung-jae, The Acolyte) as well. Audiences and Player 456 are alike are in for a new round of life-or-death matches when the streaming smash finally returns, although only the series' protagonist will be fighting for survival again while on a quest to shut down this chaos forever in season two. No one watching should ever want Squid Game to end; however, the show itself will wrap up in 2025 with season three. First comes the long-awaited second season to end 2024, though, where Player 456 is back in the game with new fellow competitors for company. Netflix has been dropping multiple early looks at season two, including a teaser trailer to kick off November — and it finished off the month with a new glimpse at what's to come. As the show's protagonist dons his green threads once more for the new season, his new fellow competitors are wary of his motives. Also part of the recent teases: Lee Byung-hun (The Magnificent Seven) as Gi-hun's nemesis Front Man, plus Wi Ha-joon (Little Women) also back as detective Hwang Jun-ho. For season two, Gong Yoo (Train to Busan) also returns as the man in the suit who got Gi-hun into the game in the first place; however, a show about a deadly competition that has folks battling for ridiculous riches comes with a hefty bodycount. Accordingly, new faces were always going to be essential — which is where Yim Si-wan (Emergency Declaration), Kang Ha-neul (Insider), Park Sung-hoon (The Glory) and Yang Dong-geun (Yaksha: Ruthless Operations) all come in. Squid Game's pink guards took over St Kilda Beach in Melbourne on the morning of Tuesday, December 10, 2024. Head to Netflix's social media for more details. Squid Game season two streams via Netflix from Thursday, December 26, 2024. Season three will arrive in 2025 — we'll update you when an exact release date for it is announced.
How many ways can Melbourne go dotty for Yayoi Kusama? Everyone is about to find out. The National Gallery of Victoria's big summer 2024–25 exhibition is dedicated to the Japanese artist, complete with a five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, plus a world record-breaking number of infinity rooms and other immersive installations, many featuring spots. There'll be polka dots inside and out around the venue, including on the plane trees on St Kilda Road. On Wednesday, November 27, 2024 — in the lead up to the exhibition's run from Sunday, December 15, 2024–Monday, April 21, 2025 — the NGV has unveiled the beginnings of Kusama's latest artwork. A version of Ascension of Polka Dots on the Trees is being staged in Melbourne, with more than 60 trees outside the gallery having their trunks covered in pink-and-white polka-dotted material. The first row has been completed, which anyone in the vicinity can now check out — and by early in the week commencing Monday, December 2, 2024, all four lanes of St Kilda Road in front of the NGV will be brightly wrapped. With over 180 works set to feature, in what'll be the largest Kusama retrospective that Australia has ever seen — as well as one of the most-comprehensive retrospectives devoted to the artist to be staged globally, not to mention the closest that you'll get to experiencing her Tokyo museum without leaving the country — stepping foot inside the NGV will still be mandatory for art lovers. But Kusama is also livening up the road for everyone to enjoy all day and all night long. In the past, including when Ascension of Polka Dots on the Trees debuted at the Kirishima Open Air Museum in Japan in 2002, a red-and-white colour scheme has been used; however, Melbourne has scored its own bold-pink iteration. Ascension of Polka Dots on the Trees is obviously free to view, joining several other artworks that won't cost anyone a cent to see during the exhibition. The aforementioned Dancing Pumpkin is already on display. NGV International's glass waterwall is also going pink, but with black rather than white dots. Kusama's new version of Narcissus Garden, which dates back to 1966 and will feature 1400 30-centimetre-diameter silver balls this time around, is set sit in front of the waterwall and in parts of Federation Court. Plus, the yellow-and-black spheres of Dots Obsession will hang over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Overall, Yayoi Kusama will step through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they'll all appear. [caption id="attachment_950480" align="alignnone" width="1920"] Yayoi Kusama, 2022 © YAYOI KUSAMA[/caption] Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne from Sunday, December 15, 2024–Monday, April 21, 2025. Head to the NGV website for more details and tickets. Images: Yayoi Kusama's Ascension of Polka Dots on the Trees, 2002/2024, on display along St Kilda Road, Melbourne for the National Gallery of Victoria's Yayoi Kusama exhibition until 21 April 2025. © YAYOI KUSAMA. Photo: Tobias Titz.
Playing fictional movie star Vincent Chase in eight seasons of Entourage — and in the forgettable Entourage movie, too — Adrian Grenier got pretty comfortable playing someone who was constantly in front of the camera. That trait remains in his latest project, twisty new Netflix thriller series Clickbait. This time, Grenier steps into the shoes of a man who disappears suddenly, leaving his loved ones distraught. Then, when he pops up afterwards, it's in an online video that makes a shocking claim. In the clip, Nick Brewer (Grenier, Stage Mother) holds a card that says "I abuse women. At 5 million views, I die." His sister (Zoe Kazan, The Big Sick) and wife (Betty Gabriel, Get Out) are already distressed, but their nightmare only worsens once the video starts doing the rounds — unsurprisingly. Across eight episodes, the show then follows their efforts to find and save him, as well as the information they uncover along the way about the man they thought they knew. Swapping between different perspectives throughout its run, and stepping up the stakes in the process as well, Clickbait ponders the big, broad, important and constantly relevant intersection between our identities and our increasing use of social media. Just how our online and real-life selves can differ — and what types of behaviours we might indulge virtually that we wouldn't IRL — is only going to continue to garner the world's attention, which this Melbourne-shot series clearly attempts to tap into. Yes, if you spot any familiar sights while you're binging Clickbait from Wednesday, August 25 — or while you're watching the suitably tense just-dropped first trailer for the series — that's because it was filmed in the Victorian capital. It's a big month for high-profile shows that were made in Australia and are now hitting streaming, actually, with Amazon Prime Video dropping the Byron Bay-shot, Nicole Kidman-starring Nine Perfect Strangers as well. Check out the trailer below: Clickbait will be available to stream via Netflix from Wednesday, August 25. Top image: Ben King/Netflix.
Fancy scoring some new Aussie-made threads at the price of your choosing — and earning some much-needed funds for an eco charity in the process? Well, for the next few days, you can, thanks to a clever new initiative by local brand Assembly Label. The Sydney-based brand is best known for its minimalist aesthetic, but now it's also hoping to help minimise ocean pollution by adding a 'choose what you pay' option to its online store between June 20 and 23. It works like this. A range of Assembly's designs (both womens and mens) are currently available at up to 50 percent off. When you go to add something to your cart, you have the option of adding on a donation — you can pay what's on the pricetag, or add on $5, $10 or $15 more. Any extra amount is then donated to the Australian Marine Conservation Society (AMCS), with each customer donation matched equally by Assembly Label. So, if you fork out an extra $15 for those linen pants, $30 will go to the charity. View this post on Instagram Beachside essentials, our Crossover Pool Slide will be included in our Choose What You Pay promotion alongside a selection of men's and women's apparel and accessories. Online tomorrow from 9am and proudly supporting @marineconservation.au A post shared by Assembly Label (@assemblylabel) on Jun 19, 2019 at 12:21am PDT AMCS is an independent charity focused on the big issues affecting the sea, from improving the sustainability of Australia's fisheries, to protecting threatened species. The extra funds raised through the 'choose what you pay' program will go towards supporting its campaign against plastic pollution in the ocean. The sale is the latest in a number of moves Assembly Label is making to reduce its environmental impact and encourage others to jump on board. It's now using 100 percent biodegradable material for its packaging, has cut down on plastic waste wherever possible, and is working towards full transparency with all of its manufacturing processes. Assembly's also aiming to become a certified B Corporation, which'll require hitting the highest standards of ethical measurement across all aspects of its business. Needless to say, if you're in need of some new basic tees or a labelled sweater, now is the time to grab them. Assembly Label's Choose What You Pay sale will run from June 20–23 through its online store.
Paddington Markets is a Sydney institution. Rain or shine, it operated every Saturday since 1973 until the COVID-19 pandemic hit. Now, after a coronavirus-enforced break, it's making a comeback — so prepare to start your weekend with a spot of shopping. In the past, the event has drawn the best of Sydney's emerging designers and has been the launching pad for designers including Lisa Ho, Bracewell and Dinosaur Designs. Focusing on the new and the exciting has always been part of its aim — so you'll browse less vintage fare here than you will at other markets around Sydney. And, along with fashion and jewellery, you'll find plenty of art, flowers, plants, homewares, candles and other craft on the market menu. When it returns from 10am–4pm on Saturday, September 26, a new growers market will also be part of the weekly event — so you can nab some seasonal fruit and vegetables, as well as artisanal bread and cheese, sustainably sourced meats and seafood. If all that food makes you hungry, there's also an international food court offering a vast array of eats — from crepes and brekkie rolls to bowls of curry noodles and laksa to the classic sausage sanga and some fish and chips. And, for some eye candy, a new mural by artist Stephen Ormandy will brighten up the place. Paddington Markets returns from 10am–4pm on Saturday, September 26, and will then run weekly at the same time.
It seems like only yesterday that there was a giant yellow duck bobbing around in Sydney Harbour, but already Sydney's other major festival has announced its central act. Vivid Live 2013 will be headlined by German krautrock trailblazers Kraftwerk, who will perform their eight groundbreaking albums across four nights in 3D Kraftwerk – The Catalogue 1 2 3 4 5 6 7 8. The retrospective comes to Sydney following only three other performances in New York, Düsseldorf and London. Each concert night will be dedicated to a different studio album, with plenty of audiovisual treats hidden pulled from the band's back catalogue for the more serious of Kraftwerk connoisseurs. The trip starts in 1974 with Autobahn before moving through Radio-Activity (1975), Trans Europe Express (1977), The Man Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991) and Tour de France (2003). Kraftwerk are as much an art collective as they are sonic revolutionaries, and they've taken care to ensure their music comes across just as mindbogglingly avant-garde as when those first songs were released almost 40 years ago, light years ahead of time. The music will be performed with band member/man-machine standing in line behind their individual control desks — the set-up you’ll be familiar with even if you’ve never so much as watched one of their music videos — and artwork by long-time collaborator Emil Schult take things from concert to multimedia spectacle. With everyone in the Opera House’s Joan Sutherland Theatre wearing 3D glasses and trippy GeoCities-era CGI spilling out from a giant screen, it will be most excellently weird. Because of high demand for tickets, Sydney Opera House have put in place an online application process to ensure everyone has an equal chance. To apply for tickets got to sydneyoperahouse.com/kraftwerk any time between Monday 25 February and Friday 1 March. The full program for Vivid Sydney and Vivid LIVE will be announced in March. KRAFTWERK – THE CATALOGUE 1 2 3 4 5 6 7 8 Joan Sutherland Theatre, Sydney Opera House Friday, May 24, 7pm – Autobahn (1974) Friday, May 24, 9.30pm – Radio-Activity (1975) Saturday, May 25, 7pm – Trans Europe Express (1977) Saturday, May 25, 9.30pm – The Man Machine (1978) Sunday, May 26, 7pm – Computer World (1981) Sunday, May 26, 9.30pm – Techno Pop (1986) Monday, May 27, 7pm – The Mix (1991) Monday, May 27, 9.30pm – Tour De France (2003)
The annual festival of lights, art and music has revealed the first three installations in its 2021 program. The three installations include an immersive sound and light display in Cockle Bay, a 3D projection encompassing Circular Quay's Customs House and the projection of an artist's creative process in The Rocks. The announcement came 100 days before Vivid 2021 is set to begin, coinciding with the launch of two luminous clocks counting down to the festival's 'lights on' moment on Friday, August 6. You can visit the clocks which are ticking away at First Fleet Park in The Rocks and Wulugul Walk in Barangaroo. Following a breakout year of immersive walkthrough experiences, Sydneysiders will be able to head to Cockle Bay and wander across a floating walkway surrounded by 200 bubble-like spheres and towering structures scattered across the bay. The installation, titled Ephemeral, is the work of Sydney design studio Atelier Sisu and will be the first time Cockle Bay's waters have been incorporated into Vivid. [caption id="attachment_809931" align="alignnone" width="1920"] Ephemeral, Destination NSW[/caption] Hong Kong's Treacle Media are responsible for Circular Quay's VORAX, a three-dimensional projection that will tell the story of a mischievous thief's rise to greatness in front of Customs House. Down the road in The Rocks, local artist Brad Robson and Esem Projects will project Robson's spellbinding portraits, as well as his process of creating them for the installation Point of View. "Vivid Sydney is a bright star on Sydney's events calendar supporting the entire ecosystem of the state's visitor economy," NSW Minister for Jobs, Investment, Tourism and Western Sydney said. "It brings hundreds of thousands of visitors to the city and inspires locals to get out and enjoy Sydney and support our CBD businesses during winter which is typically a quieter period." Vivid will activate a little later than usual this year with the event tipped to run from Friday, August 6 until Saturday, August 28. It follows the cancellation of the 2020 event due to coronavirus. This year's full program is set to be announced in late May. Vivid Sydney 2021 will take place from August 6–28, 2021. We'll update you when the full program is released closer to the event date. For more information in the interim, visit the event's website. Top images: Destination NSW
With a young man immersed in underworld dealings and learning life lessons along the way, there's no mistaking Son of a Gun's fondness for standard crime caper cliches. The film begins with prison hierarchies, navigates a jailbreak and daring heist, and dallies with ruthless Russian mobsters. It also traverses romance and a complicated mentor-protegee relationship, just in case its adherence to formula wasn't apparent. And yet, in wholeheartedly embracing genre basics, complete with the accompanying twists, Julius Avery's debut focuses on execution and performance over plot and story to exceed the sum of its obvious parts. That's not to say that the movie's narrative isn't engaging; however, it is in its eye for action and its finessed portrayals that Son of a Gun best impresses. Nineteen-year-old JR (Brenton Thwaites) enters his six-month stay in a maximum-security facility with a warning to keep out of trouble, though the resident bullies have other plans. Veteran inmate Brendan (Ewan McGregor) becomes his saviour, but his help has consequences: JR must return the favour upon his release. Extricating Brendan and his right-hand man (Matt Nable) from prison is the first step. Next, assisting the convicted armed robber in doing what he does best. Writer/director Avery came to fame courtesy of his 2008 short Jerrycan, a Cannes Film Festival award winner. His first feature has been eagerly awaited since, and in its bright lensing of the Western Australian landscape, moody score from Snowtown and The Babadook's Jed Kurzel, and sustaining of tension, it proves worthy of such anticipation. Avery shows a knack for set pieces and a mastery of pace and tone that keeps Son of a Gun moving, patching over its lack of surprises and extended length. From the sombre drama of its jail-set opening to the cat-and-mouse chases that follow in helicopter hijackings, car chases, boat rides and stand-offs, the filmmaker crafts a competent, compelling thriller. Otherwise, casting is the film's biggest strength, from Thwaites' second role in succession as a naive pawn awakening into a position of influence after The Giver, to A Royal Affair's Alicia Vikander as his potential love interest. Of course, it is the star power of McGregor, complementing his usual cheeky grin with a menacing glint in his eye, that rightfully commands attention. Although appearing to play against type, his charming wrongdoer isn't that far removed from his morally dubious breakout role in Trainspotting, complete with his natural accent. Indeed, McGregor's fate mirrors that of the film, never straying far from the familiar, but doing so with energy and aplomb. Son of a Gun may be another gritty Australian crime offering, but it is also an enthusiastic, expressive and engrossing example of its genre. https://youtube.com/watch?v=eTOBcelRo9M
Ah, the munchies. When entire value packs of Chicken Crimpys spontaneously vanish, and McDonald's just doesn't seem sufficiently mass-produced. Well 50 bucks can buy you a whole new level of stoner stomach satisfaction this August, when the most excessive gustatory combos imaginable dare to show themselves at Queenie's. Queenie's Up in Smoke will be a one-off stoner extravaganza where the entire concept of "three-course meal" is laughed at and spat upon. We're talking fourth and fifth courses of grease and fat, crunchy and smooth, sweet and sour united in unholy matrimony — including, for example, the 420 Sandwich with lobster, Pringles, Baconnaise, tomato and lettuce on a panfried brioche bun. Uh-huh. You need more? How about Smoked, Baked & Fried, with turkey wings and maple syrup, jonkaroo and chilly fried peanuts? Or the Taco Bell Island Party, with pulled pork, pineapple, cheddar cheese nacho chips, Ras Lick sauce and a fried taco? Oh, you need these Pretzel S'mores, too? And the Beef Rib for 2 for 1? And the tablecloth? Here, take it, but don't eat my jacket. Okay, take that too. Stop eating me. I'm not amused. Up in Smoke takes place on August 15. $50 a head — bookings essential. To reserve a spot email bookings@queenies.com.au or call (02) 9212 3035.
It's been a busy 12 months or so for Qantas. The Australian airline launched 17-hour non-stop flights from Perth to London, started eyeing off even lengthier trips direct from the east coast to the UK and US, and introduced biofuel into its jaunts from Melbourne to Los Angeles. Now the carrier is kicking off the new year by earning a highly sought-after accolade, being named the safest airline to travel on in 2019. It's not the first time that Qantas has achieved the feat. In fact, the Aussie carrier has topped AirlineRatings.com's list for six years in a row. Entering its 99th year of operation, the airline emerged victorious from a pool of 405 carriers from around the world, with Virgin Australia and Air New Zealand also making the site's top 20. The other 17 airlines — which aren't ranked by number — span Alaska Airlines, All Nippon Airways, American Airlines, Austrian Airlines, British Airways, Cathay Pacific Airways, Emirates, EVA Air, Finnair, Hawaiian Airlines, KLM, Lufthansa, Qatar, Scandinavian Airline System, Singapore Airlines, Swiss, United Airlines and Virgin Atlantic. If you're a budget-conscious flyer, the website also outlined the ten safest low-cost airlines. Jetstar is one of them — and it's joined by Flybe, Frontier, HK Express, Jetblue, Cook, Volaris, Vueling, Westjet and Wizz. Factors that influence a carrier's placement on the two lists include crash and incident records, safety initiatives, fleet age, profitability, and audits by aviation governing bodies, industry bodies and governments. At the other end of the scale, five airlines received the lowest rankings: Ariana Afghan Airlines, Bluewing Airlines, Kam Air and Trigana Air Service. Via AirlineRatings.com.
Sydneysiders, the future isn't so bright that you need to wear shades — it's light, at least as far as public transportation is involved. No one can miss the construction work that has been transforming the CBD in the name of better ways of getting around in the coming future, but it's not the only part of town benefiting from extra infrastructure. In 2023, the city's west will also join the fold. Premier Gladys Berejiklian has revealed the new route anyone going west — or coming from that direction — will traverse, which features 16 stops between Westmead and Carlingford. The 12-kilometre stretch of track will glide through the centre of Parramatta in its travels, will cost a cool $1 billion, and should operate services every seven and a half minutes once it is up and running. Yes, heading out that way is about to become much quicker and easier. That's the good news. In not so great tidings for anyone needing to visit Sydney Olympic Park and unhappy about the current, far-from-convenient methods of doing so, it's a notable omission among the list of stops, after originally being part of an earlier plan announced in 2015. Now, it's due to be included in the yet-to-be-revealed second stage of the project instead, which doesn't yet have a timeline. Transport Minister Andrew Constance told The Sydney Morning Herald that it will happen, though. "We want to get the station locations right, and the design of the route right," he said. Here's hoping. Via The Sydney Morning Herald / ABC. Image: Parramatta Light Rail.
Since Australia started easing out of COVID-19 lockdown, the country's internal border restrictions have earned plenty of attention. With tactics to stop the spread of the coronavirus implemented at a state-by-state level, each Aussie state has navigated the situation in its own way when it comes to letting non-residents visit. In Tasmania, that has meant some strict quarantine requirements — which, for non-Tassie residents who weren't classified as essential travellers, entailed spending 14 days in government-designated accommodation. But, for most of the country, quarantine is no more. From Monday, October 26, travellers from Queensland, the ACT, SA, WA, the NT and New Zealand, which are deemed low-risk areas, are allowed to hop on a plane and head across the Strait. After you've filled out a Tas e-Travel form, of course. [caption id="attachment_784489" align="alignnone" width="1920"] The Flaming Lips, Mona, Hobart, Mona Foma 2016. Photo Credit: MONA/Rémi Chauvin. Image Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.[/caption] Some good new for Sydneysiders: this will be an option for you, too, come Friday, November 6. On this date, Tasmania is set open its borders and airports to NSW travellers, pending further public health advice. In other words, if there's an outbreak before then, it might reverse the decision — but if NSW continues its stretch of relatively low levels of community transmission (there have been just three new cases in the past four days) we'll be good to go. "What we want to see in a jurisdiction that we open up to is less than five cases of unknown transmission in the last 28 days," Premier Peter Gutwein said in a press conference. "New South Wales over the last 28 days has had six only in a population of nearly eight million people, so they are on top of this." If you're in Melbourne, sadly the changes won't apply to you just yet. Premier Gutwein noted that the state still hopes to open up to Victorians from December 1, but that they're pleased to "see them driving their numbers so low" and will "be responsive to the evolving situation there". Kiwis legally must complete at least 14 days of managed isolation or quarantine when returning to New Zealand. Travellers will also be tested for COVID-19 during the two-week stay. The New Zealand Government has raised its travel advice to "do not travel" — the highest level — regardless of destination. Keen to start planning an adventure south? Mona Foma has announced it'll return to Launceston and Hobart in January — and we've pulled together this list of exciting food and drink spots in the state's northeast. Visitors from low-risk areas (currently Queensland, the ACT, SA, WA, the NT and NZ) are allowed to visit Tasmania without quarantining. You must fill out a Tas e-Travel form a maximum of three days before you arrive. The state is set to open to NSW from Friday, November 6. To find out more about the status of COVID-19 in Tasmania and the state's corresponding restrictions, visit its online COVID-19 hub. Top image: Bay of Fires via Lia Kuilenburg for Tourism Tasmania.
They're taking the hobbits to Amazon — and, in just over a year, fans of Lord of the Rings will be able to see the end result. Mark Friday, September 2, 2022 in your diary, as that's when you'll be trekking back to Middle-earth via Amazon Prime Video's new LOTR show. It's called The Lord of the Rings, too, but it isn't just serving up a rehash. The series' existence shouldn't be new news, given that the streaming platform first announced it back in 2017, and then gave it the official go-ahead in mid-2018. Since then, the LOTR show has sat at the top of fans' most-anticipated list, obviously. Over the years, we've also heard that it wouldn't just remake Peter Jackson's movies, and learned a few concrete details regarding what it's about as well. Now, however, there's a specific date to look forward to — albeit a year later than when it was originally expected to drop, with sometime in 2021 initially floated. That was before the pandemic, though, and we all now know how much havoc COVID-19 has played on, well, everything, Amazon Prime Video announced the 2022 premiere date to mark the end of filming the show's initial batch of episodes. If you're wondering how it'll look — and how New Zealand's scenic landscape will be used this time around — the streaming service also dropped a first image from the series. Greenery abounds, naturally, as does a towering city surrounded by mountains, as well as a glowing sky. Also wondering what the series will cover if it's not retelling the events of JRR Tolkien's The Hobbit and The Lord of the Rings books? The show will spend time in Middle-earth's Second Age — and bring that era from the LOTR realm to the screen for the very first time. According to the official synopsis, it'll follow "the heroic legends of the fabled Second Age of Middle-earth's history," with the action set thousands of years before the novels and movies we've all read and watched. The series will also "take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." https://twitter.com/LOTRonPrime/status/1349519737655611392 If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. Naturally, you can expect Sauron to feature in the new show, and to give its main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. In terms of stars, LOTR will feature an unsurprisingly large cast — and some impressive talent behind the scenes. Among the actors traversing Middle-earth are Tom Budge (Judy & Punch), Morfydd Clark (Saint Maud), Ismael Cruz Córdova (The Undoing), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (The Underground Railroad) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Amazon's new Lord of the Rings series will premiere on Friday, September 2, 2022.
Staying on a private island seems like something reserved for Beyonce, Jay Z and Blue somewhere in the Caribbean (and most definitely with some kind of a yacht). Because where do mere mortals even access entire islands, anyway? And do you have to be a millionaire to access one? These are all questions people who haven't had the pleasure of erasing all unwanted human contact from their lives for a period of time ask. All we know is that, in the words of Liz Lemon, we want to go to there. Enter Satellite Island. Just off the coast of Tasmania, the small 30-hectare piece of land in the D'Entrecasteaux Channel is every bit the idyllic alpine Tasmanian dream getaway you could hope for. And when you visit, it's totally, 100% only inhabited by you. The island has been owned by the Alstergren family for a few generations, but when Will and Kate inherited it six years ago, they decided to open it to the public for the first time. Which is great news for everyone else, because it's crazy beautiful. Sea cliffs drop down into that clear, fresh Tassie water, blue gums cover the landscape and you can see across to Bruny Island. Just take a look at where you could be sleeping. The island is yours to explore, with walking tracks, kayaks and fishing rods available for use. You can walk around the island in an hour and a half, so do that. Plus, Bruny Island is only a five minute boat ride away, so duck over there for all your cheese, wine and oyster supplies and come back and eat them on the deck as the sun goes down. Oof. Satellite Island is accessible from the Satellite Island private jetty at Middleton, about a 40 minute drive from Hobart. The manager will meet you to take you to the island. For more information, visit their website. Image: Tess Newman-Morris via Instagram
Reading that daily horoscope might be enough of a foray into astrology for some, but what about a whole hotel dedicated to the celestial study? If the moon positions itself correctly, true buffs might be compelled to start planning that weekend away now — because Sydney is set to get the world's first ever astrology hotel. The Ultimo officially launches next month with a collection of newly refurbished rooms, which include single, studio, trio, family and pet-friendly courtyard rooms. But keen astrologers will have to wait a bit longer to get the low-down, as the hotel has given next-to-no hints as to what's involved with this, er, innovative hotel concept. That said, if it's anything like Switzerland's Park Hotel Weggis, which has offered a 'Park and Stars' package in the past, guests can probably expect individual astrological readings and consultations, and perhaps even a dinner created with their astrological sign in mind. Located at 37 Ultimo Road in Sydney's CBD, The Ultimo is set to open next month — and their full set of offerings will be unveiled on Wednesday, February 8. We'll update this story once we know the details.
Following four sell-out events across Sydney and Melbourne, which featured MasterChef Australia champ Adam Liaw, Adelaide's Africola chef Duncan Welgemoed, dumpling master from Lotus Dining Group Chris Yan and Melbourne's very own Paul Turner behind Chapel Street's Lover, Red Rock Deli is putting together its final secret supper. And, this time it's bringing one of Melbourne's most renowned chefs to host an exclusive dinner for some very lucky Melburnians. Giorgio Distefano, the chef behind Cremorne's celebrated Ms. Frankie, is hosting the next mouth-watering feast, which will is inspired by Red Rock Deli's new Chilli, Roast Garlic and Lemon Oil Deluxe Crisp flavour. All the details are very much under-wraps, including what he'll be cooking up. But, despite everything being very hush-hush, here's what we can reveal: Distefano will be cooking up a storm on Thursday, October 17 and his dinner will feature plenty of chilli, garlic and lemon. Plus, the theme for the event is 'Sensorial Savoury' — so expect a menu packed full of flavour. Even better? You'll be treated to matching wines throughout the feast, too. We can also tell you that this experience will involve more than just the dishes — after arriving at the collection point in Melbourne's CBD, you'll be whisked away to a mystery location where you can expect everything from the decor to the food to elevate your senses — although the menu will remain a secret until you arrive. There are two sessions of this lavish dinner, with room for just 20 guests at each. Tickets to Giorgio Distefano's secret supper cost $110 per person. Enter the ballot below to be given the chance to purchase tickets. The lucky winners will receive a secret link to buy tickets to the evening on Monday, October 7. Please note, the Secret Supper menu will not cater to ANY dietary requirements or allergies. There are strictly no changes to the menu. [competition]741921[/competition] Image: Parker Blain.
As it turns out, not even an electrical fire can keep Nomad down. Al and Rebecca Yazbek's acclaimed Surry Hills Mediterranean diner suffered extensive damage after a fire broke out in the restaurant's ceiling in early September, but the show's far from over. While the Foster Street restaurant site undergoes a hefty rebuild and some much-needed repair work, Nomad will keep chugging along, albeit in a slightly different format, when it pops up around the corner at 85 Commonwealth Street for a three-month residency. This new space was previously home to modern Thai institution Longrain and most recently the much-hyped Orana in Residence pop-up, so it's safe to say Nomad is joining some pretty good company. [caption id="attachment_738741" align="alignnone" width="1920"] Orana in Residence by Nikki To[/caption] Nomad Up The Road — as the pop-up is called — will take the form of a sophisticated 140 seater, decked out with much of the original restaurant's artwork and furniture. It'll have front-row seating along the open kitchen, as well as roomy, group-friendly tables, and a private dining area for 24. Chef Jacqui Challinor will continue to head things up in the kitchen, but without Nomad's famed woodfired oven you can expect a few changes to the food. On the menu, long-standing favourites like the kingfish ceviche, duck mortadella and that creamy cannellini bean hummus will join a slew of new inventions. And, who knows, maybe some of the new Commonwealth Street hits will win permanent menu residency once the original restaurant's back up and running again. Set to open its doors on Friday, November 1, Nomad Up The Road will be dishing up lunch and dinner from Monday to Saturday, as well as a new weekly edition of Saturday's ever-popular bottomless rosé sessions. Nomad's Foster Street space will open with a suite of upgrades early in 2020. Find Nomad Up The Road at 85 Commonwealth Street, Surry Hills, from November 1. The OG Foster Street restaurant is slated to reopen in early 2020.
What's better than one IMAX in Sydney? Two, obviously, which is a big-screen dream that's about to become a reality. A second IMAX experience is on its way to the Harbour City, setting up shop in an Event Cinemas location. The where and when haven't yet been revealed — but this is still literally massive news. Between 2016 and spring 2023, movie lovers in the New South Wales capital would've been content with just one IMAX, of course, after Sydney's IMAX at Darling Harbour closed down to get demolished and then rebuilt. The venue was originally meant to get its projectors running again in 2019, then in 2021; however, that didn't happen. Thankfully, giant flicks have been back on the agenda since October on one of the biggest cinema screens in the world, which measures 692 square metres. The news of a second Sydney IMAX comes via EVT and IMAX Corporation. The former is the hospitality company behind IMAX Sydney, Event Cinemas, Moonlight Cinema, the Skyline Drive-In and the State Theatre; the arrival of surround-screen viewing Down Under; a heap of bars and restaurants; QT Hotels, Rydges and other hotel chains; plus IMAX venues in Auckland and Queensgate in New Zealand, as well as IMAX Karlsruhe in Germany. The latter is self-explanatory. Together, the duo announced a deal for five new state-of-the-art IMAX setups, but only one in coming to Australia. To check out the other four, you'll need to head to Germany. "Expanding our collaboration with IMAX aligns to our strategy of providing customers with choice on how they want to watch a movie. The right combination of our proprietary cinema experiences such as gold class, boutique and V-Max alongside global premium formats like IMAX is proving to be successful," said EVT CEO Jane Hastings, announcing the news. "IMAX performs exceptionally well at our current locations in Sydney, New Zealand and Germany, and we are thrilled to bring state-of-the-art IMAX with Laser systems to more locations in Australia and Germany in the near future," Hastings continued. "On the heels of the wildly successful debut of IMAX Sydney, we are excited to expand our collaboration with EVT, a partner that transcends exhibition in creating premium experiences that span cinema, hospitality, leisure and more," added IMAX CEO Rich Gelfond. "Australia and Germany are two markets where consumer demand for IMAX vastly outstrips our footprint, and this deal is great for our fans in both countries and our continued network growth worldwide." That Sydney success that Gelfond mentioned? Within mere weeks of opening, the new IMAX Sydney has become IMAX's highest-grossing location outside of the United States and United Kingdom. Wherever the second Sydney IMAX experience pops up, it'll combine Laser by IMAX technology, which means 4K laser projection showing the flicks, plus EVT's range of seating. At Darling Harbour, choices to get comfortable include standard places to sit, as well as getting comfortable in a full recliner, cosying up with your plus one in a couples' recliner and going with a private box for up to four people on an elevated platform. Film fans outside of Sydney, you'll have a second spot to add to your must-visit list when you visit the Harbour City — especially if you're in a city like Brisbane, Adelaide or Perth that doesn't have its own IMAX. IMAX Sydney is now open at Darling Harbour, 1/35 Wheat Road, Sydney, from Wednesday, October 11. Details of the city's second IMAX experience, including where it'll be located and when it will open, are yet to be announced — we'll update you when more information is revealed. Images: IMAX Sydney.
Eleven years ago, the biggest small-screen fantasy series of the 21st century so far told us that winter is coming. It repeated it over and over again across its eight-season run, in fact. Now, in a different fantasy franchise's longest trailer yet, darkness is coming. And yes, The Lord of the Rings: The Rings of Power does look like it's taking a few cues from Game of Thrones. On the page, JRR Tolkien's saga obviously got there first — but in your streaming queues, it's following George RR Martin's equally beloved series. Actually, that's the case in two ways, given that Prime Video's new Lord of the Rings show will arrive a couple of weeks after Game of Thrones prequel House of the Dragon. There's plenty of room in everyone's lives for both — and now viewers as keen as a hobbit for second breakfast can enjoy their lengthiest look yet at Prime Video's small-screen jaunt through Middle-earth. That not only includes the faces that anchor the series, which covers elves, dwarves and harfoots, aka hobbit ancestors, but also the places. This time, New Zealand's natural splendours stand in for the Elven realms of Lindon and Eregion, the Dwarven realm Khazad-dûm, the Southlands, the Northernmost Wastes, the Sundering Seas and the island kingdom of Númenór. It's now been 21 years since the first of The Lord of the Rings movies had everyone rushing to cinemas, obsessing over hobbits and elves, and saying "precious" too many times. Come September, this time at home, get ready for much of the above to happen all over again. After five years of talking about it, Prime Video's new series The Lord of the Rings: The Rings of Power is mere months away from reaching eyeballs — and the new sneak peek has an epic feel about it. If you're not up to date on The Rings of Power, it features a young Galadriel (Morfydd Clark, Saint Maud) and a young Elrond (Robert Aramayo, The King's Man). As seen in the show's first and second trailers, as well as this new one, it's also set to include elves catching arrows, humans stuck on rafts on stormy seas, cave trolls, raging fires and orc battles. Amazon first announced the show back in 2017, gave it the official go-ahead in mid-2018 and set a premiere date of Friday, September 2, 2022 back in 2021. In-between, it confirmed that it wouldn't just remake Peter Jackson's movies. Rather, the series spends time in Middle-earth's Second Age, bringing that era from the LOTR realm to the screen for the very first time. According to show's official synopsis, The Rings of Power will follow "the heroic legends of the fabled Second Age of Middle-earth's history," with the action set thousands of years before the novels and movies we've all read and watched. The series will also "take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. Naturally, you can expect Sauron to feature in the new show, and to give its main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. In terms of stars, The Rings of Power features an unsurprisingly large cast — and some impressive talent behind the scenes. Among the other actors traversing Middle-earth are Ismael Cruz Córdova (The Undoing) as Arondir, Nazanin Boniadi (Bombshell) as Bronwyn, Owain Arthur (A Confession) as Prince Durin IV, Charlie Vickers (Palm Beach) as Halbrand and Sophia Nomvete (The Tempest) as Princess Disa. There's also Tom Budge (Judy & Punch), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (The Underground Railroad) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Check out the latest The Rings of Power trailer below: The Lord of the Rings: The Rings of Power will be available to stream via Prime Video from Friday, September 2, 2022. Images: Matt Grace / Ben Rothstein.
It has been 11 art-filled years since Brisbane's Gallery of Modern Art first opened its doors, and the creative riverside hub just keeps going from strength to strength. Fresh from hosting a huge Yayoi Kusama exhibition, GOMA is preparing to unveil its illuminating new permanent work: a brand new light installation by artist James Turrell. You might be familiar with the Arizona-based artist's work if you've been to Mona or the National Gallery of Australia (NGA). He's the one behind the sky-centred installations at both galleries — at Mona, the gazebo-like Armana lights up at sunrise and sunset each day, and at the NGA in Canberra, Within without acts as an outdoor viewing chamber to enhance your view of the sky. All up, Turrell has created 80 'skyspaces' like these around the world. Brisbane's Turrell piece isn't a standalone structure like these other two Australian works. Instead, the work will light up GOMA's eastern and southern white façades from within the building with a pattern developed by Turrell especially for the location. It's been described as "an ever-evolving pattern of intensifying and diffusing coloured light" by GOMA director Chris Saines, and when lit, it will make the gallery visible from across the river and around South Bank's cultural precinct. The plan is to light up the gallery from dusk until midnight each evening — and while the tunnel was originally set to be installed by late last year, it'll officially start glowing from 7pm on April 20, with Turrell in attendance. And while it's a new addition to GOMA, it's also a feature that ties into the gallery's history. As Saines explains, "during the development of GOMA, lead architects Kerry Clare, Lindsay Clare and James Jones envisaged an artist-illuminated 'white box' on the gallery's main pedestrian approaches. More than a decade on, Turrell's architectural light installation realises the potential of GOMA's white box façade, and completes a major aspect of the architects' original design intention." By Lauren Vadnjal and Sarah Ward.
This news isn't like rain on your wedding day. It doesn't resemble finding a black fly in your chardonnay. And it definitely isn't anything like hitting a traffic jam when you're already late, either. But, it will have you singing those lines — and it is news that you oughta know, too — because 15-time Tony Award-nominated musical Jagged Little Pill is heading to Australia. The Broadway show's trip Down Under was first announced back in April; however, a lot can happen in just a few months during a pandemic. Indeed, back in July, Jagged Little Pill the Musical postponed its planned September launch — but now it's locked in to make its local debut on Thursday, December 2. The acclaimed production is making its first trip beyond Broadway, in fact, when it hits the Theatre Royal Sydney. And, when the curtains are raised, it'll help mark another milestone, reopening the Theatre Royal five years after it closed its doors in 2016. Inspired by Alanis Morissette's 1995 album of the same name, Jagged Little Pill the Musical weaves a story around songs from that iconic record. So yes, it's a jukebox musical like Mamma Mia!, We Will Rock You and Rock of Ages. Famed tracks 'Ironic', 'You Oughta Know', 'Hand in My Pocket', 'Head Over Feet' and 'You Learn' all feature, in a production that boasts music by Morissette and her album co-writer and producer Glen Ballard, lyrics by Morissette, and a book by Juno Oscar-winner Diablo Cody. And, songs such as 'Thank U', 'So Pure', 'That I Would Be Good', 'So Unsexy' and 'Hands Clean' all pop up as well, even though they hail from the musician's subsequent albums. At present, tickets are on sale for shows until Sunday, December 19, all starring Natalie Bassingthwaighte. She'll play Mary Jane Healey, with Jagged Little Pill the Musical telling the Healey family's tale as they struggle with their seemingly idyllic suburban lives after a troubling event in their community. Expect to hear Morissette's tunes — including two new songs written just for the show — used in a story about social issues relevant to today, but also with an overall message of hope, healing and togetherness. Australians keen to see the musical can look forward to watching it in a venue with quite the history. The 1100-seat Theatre Royal is one of Australia's oldest theatres, dating back to the 1870s. But most folks will know it in its current form, after it reopened in the 1970s with a design by famed Australian architect Harry Seidler as a replacement for the old theatre that was demolished when the MLC Centre was built. Jagged Little Pill the Musical will play the Theatre Royal Sydney at 108 King Street, Sydney, from Thursday, December 2 — with exact season dates yet to be announced. For further details and to buy tickets, head to the musical's website. Top image: Jagged Little Pill the Musical Broadway opening night curtain call, Bruce Glikas.
We've been whining about much-needed change in the TV industry for awhile now. Audiences are downloading and streaming content more than ever. Legislators are waving their fingers and threatening us with angry letters. And local Australian content is suffering huge drops in viewers simply because they're not catalogued in Netflix. It's a weird time for TV, but some networks are doing better than others. In a landmark move, the ABC has just announced it's launching an iView-only series next month... but it's a little more niche than you might expect. Launching on September 20, Wastelander Panda, is a "post-apocalyptic Sci-Fi western" about a panda. The main character is a tough loner with an earnest Aussie accent and a heart of gold. This "bamboo eating Mad Max" battles corrupt tribespeople, lives off the land and, conveniently, it never seems to come up that he's an enormous anthropomorphic creature surviving well out of his natural habitat. Co-produced by Epic Films and Madman Productions, this project has been in the works for awhile now. In 2012, the prologue for the series racked up thousands of views on Vimeo and even found its way to Buzzfeed (as often happens with videos of talking animals). Now, the first series consists of six ten-minute episodes to be released in full on September 20. It's a strategy that the ABC have been flirting with for awhile now. Earlier this year, the entire first reason of Jonah From Tonga was released on iView during the weekend ahead of its first episode airing on TV. It was a huge success for the site as they saw traffic increase by 50 per cent while it was streaming. Elsewhere, the strategy has been championed by US giant Netflix. Original productions like House of Cards, Orange is the New Black and the most recent season of Arrested Development are released in the same desperately unhealthy, but wholly satisfying way. All in all, we're happy about the move. It shows Australian industry is finally willing to start catering to our viewing habits. And, although the panda's eyes are a little soulless and terrifying, we couldn't think of a better face for the digital revolution. Via Gizmodo.
When you've already announced Bad Feminist author Roxane Gay as one of your keynote speakers, what comes next? At the 2024 Festival of Dangerous Ideas, the conversation will flow from being a serial dissenter to the smartphone backlash, propaganda and censorship, giving kids the right to vote and taking on the one percent, then also cover tackling inequality, the myths surrounding women's health and humanity's need to find meaning through god-like figures. The full for the Sydney fest, which will take over Carriageworks for two days from Saturday, August 24–Sunday, August 25, is filled with exactly what an event dedicated to crucial and complex topics demands: a wide-ranging lineup of boundary-pushing talks where hopping from one session from the next means jumping between a vast array of subject matter. Under Festival Director Danielle Harvey, FODI has curated its 2024 roster around the theme of 'sanctuary'. Joining Gay among the 16 international guests presenting keynotes are US psychologist Jean Twenge, which is where diving into the impact of handheld devices comes in; journalist and writer Masha Gessen, who'll explore the ways that narratives about conflicts are controlled; and David Runciman to give the Christopher Hitchens Oration on the topic "votes for six-year-olds". Plus, Megan Phelps-Roper of Unfollow fame will team up with Andy Mills from The New York Times' The Daily and Rabbit Hole to dig into the impact of their podcast The Witch Trials of JK Rowling — and Jen Gunter has her sights set on the poor medical care women can be subjected to. Elsewhere, academic Saree Makdis will examine the west's response to the conflict in the Middle East, economists John N Friedman and Richard Holden will chat through ideas for increasing upward social mobility, The Next Frontier academic Todd Fernando will hone in on Indigenous excellence and The End of Race Politics' Coleman Hughes will be a guest on Josh Szeps' Uncomfortable Conversations. Attendees can also hear sustainability professor Jem Bendell step through how civilisation is already collapsing, philosopher David Benatar dive into the ethics of having children and comedian David Baddiel deliver the first John Caldon Provocation on how the need for god to give life substance disproves the deity's existence. The lineup goes on, whether you're keen for a session featuring Jordan van den Berg, aka renter advocate Purple Pingers, on why the one percent should be afraid — or chats about the new breed of world leaders, the price of democracy, public forgiveness, artificial and transplanted wombs, positive masculinity, peer pressure making us sick or individualism. If you can't attend or won't be in Sydney, some sessions will be livestreamed. For those heading along in person, perhaps you'd like to hear from Talk to Me's Danny Philippou about his favourite horror film and why we're all fascinated with fear, then crawl through a tape installation by Austrian and Croatian artists and designers Numen / For Use, then watch a jailbreak experiment by performance collective re:group, too? Yes, across what promises to be a busy weekend, they're all also on the program as well. Images: Jodie Barker, Ken Leanfore and Yaya Stempler.
Pastry fans of Sydney, it's time to get excited because the world-beating Lune Croissanterie is coming to Sydney with two pastry-filled stores. We already knew about one of them after the first-ever Sydney location was confirmed last year. But now, that initial Darlinghurst outpost will also be joined by a second Lune in Martin Place. Lune Sydney number two will open at 1 Elizabeth Street, Martin Place as part of the new Sydney Metro Martin Place tower that the Macquarie Group is currently developing. The bakery and cafe will join a host of yet-to-be-confirmed dining and retail offering in the precinct (which we're told will include premium restaurants, espresso bars and fashion retail). "This exciting deal marks a significant milestone for both Lune Croissanterie and the Martin Place metro development," says Michael Tuck of Colliers who secured the deal between Lune and the metro site. "This prime location, with its activated street frontages and high foot traffic, is the perfect setting for Lune Croissanterie's venue." The 100-square-metre CBD site will join the previously-announced 300-square-metre flagship store at 60 Oxford Street. This expansive first venue will boast al fresco seating, with Australian developer TOGA Group confirming the Darlinghurst space will spill out onto neighbouring backstreets, Foley and Burton Street. We haven't received an opening date for the Darlinghurst spot just yet, but we'll be sure to update you when it's locked in. As for Martin Place, both the metro tower and Lune are expected to open next year. It's been a big decade for the brand, after starting out as a tiny store in Melbourne's Elwood back in 2012. Since then, Lune has expanded into a converted warehouse space in Fitzroy (with perpetual lines out the front), opened a second store in the Melbourne CBD and then launched in Brisbane in 2021. And, amid all that, it was even dubbed "the finest you will find anywhere in the world" by The New York Times. Lune Croissanterie's second Sydney store will open at 1 Elizabeth Street, Martin Place in 2024. It'll join the flagship Sydney store which is expected to open at 60 Oxford Street, Darlinghurst in the Oxford & Foley development at some point this year. Images: Marcie Raw.
It's a great time to be a horror film fan. Get Out won an Oscar earlier this year, scary franchises — such as Insidious, The Purge and Unfriended — keep piling up the sequels and movies like Truth or Dare and Upgrade hit the big screen almost every month. And, of course, this October has seen iconic slasher franchise Halloween return with its 11th instalment — and it's a welcome return to form. That's because the film's producer, Jason Blum, is experienced in this kind of stuff — in fact, he's the person to thank for the current big-screen scary movie revival. Since he worked on 2007's surprise found-footage hit Paranormal Activity, Blum's name has been attached to many of the genre's big hits, including everything that we've just mentioned. The Joel Edgerton-directed thriller The Gift is also on his resume, and not-so obvious efforts like TV series The Jinx, Spike Lee's BlacKkKlansman and Whiplash (which, Blum jokes is the "Sundance version of a horror movie"). During a recent trip to Australia to promote Halloween's release, we chatted to the prolific producer about different types of horror, helping to bring the genre back to prominence and restoring the Halloween series to its former glory — and what he'd like to revive next as well. https://www.youtube.com/watch?v=cL_I2vNwkXQ BRINGING BACK HALLOWEEN 40 YEARS AFTER THE ORIGINAL "The first movie was one of the great horror movies of all time, and there've been nine sequels — some better than others, none too great. We make movies in a very specific way at Blumhouse, and I wanted to see if our system would work on this intellectual property that's been around for so long, and produced one spectacular movie and nine less spectacular movies. I wanted to see if we could make something great, so that was kind of a challenge that I was excited about. And in terms of now, I think because the first movie was so good, there's just been a desire from fans to try to see another Halloween that is as good as that one. I don't think ours is better than the first movie — I think no one's going to beat John [Carpenter, the writer and director of 1978's Halloween]. But I think ours is definitely second, and that's obviously very satisfying to me." AND BRINGING BACK JOHN CARPENTER AND JAMIE LEE CURTIS "I didn't want to do the movie unless John would agree to executive produce it. That was the only requirement for me — that I wasn't going to go forward unless John agreed to do the movie. I really don't believe that you can make successful sequels to movies without the person who made the success in the first place involved. And I went to John, and we had a meeting, and I got him to say yes — he initially said no, for quite a while, but I'm very convincing and persuasive so I twisted his arm and got him to agree. When he came on board, we hired David [Gordon Green, Halloween 2018's director and co-writer] and Danny [McBride, Halloween 2018's co-writer]. And they came up with the idea for what the movie is, which is this continuation of the story from 40 years ago. Then David met with Jamie Lee Curtis, and Jamie also was kind of reticent to join us. But I think it was the combination of John being back, and of her really responding to David's take on the movie, and that her godson in Jake Gyllenhaal — and Jake had just done Stronger, which David had directed, and Jake gave it very very high marks. It was all those things that got Jamie involved in the movie." FINDING THE RIGHT APPROACH TO MAKING THE 11TH FILM IN THE FRANCHISE "The storytelling is a continuation to the first movie, but there's a lot of nods in the movie to the other nine movies. I think the trick with making a sequel is making it feel original and entertaining to fans who've never seen a Halloween movie before, but also having it share enough DNA with the first movie so there's a reason to call it Halloween, and so that fans who've seen all other ten movies are also satisfied. The way that we approached that was to get John and Jamie involved — Jamie not just as an actress, but as an executive producer. So getting them involved as creative sources in the mix — and then add the new generation, which is David and Danny, who are very super talented guys in their own right but have never done a Halloween movie before. I really thought that by mixing those four creative forces together, you really get the best of both worlds. And I really think that they achieved it, so I'm very proud of that." https://www.youtube.com/watch?v=AHEl7Pji0f8 WHERE BLUM FINDS HIS SCARES "I like to define the work that Blumhouse Productions does through the lens of what scares us. Clearly, mostly that's horror movies, but that isn't all that scares us. There's nothing scarier, certainly to me, than the Klu Klux Klan, and that's what BlacKkKlansman is about. Sharp Objects is not horror, but it's a clearly super dark-themed subject matter about a psychotic, overbearing mother. And even Whiplash — to me, these movies squarely fit under the umbrella of what scares us. That's what I look for — first and foremost, things that are great, but I like them to fit under the moniker of what's scary to us, and what's scary to me." HIS PART IN RESTORING HORROR TO GREATER MAINSTREAM PROMINENCE "I think our approach to the way that we make these movies has resulted in horror being more in vogue. I think there are directors who would have never done horror movies, who are now looking at horror as a way to reach young people through movies in a movie theatre — and to get what they want to say out to younger audience. But I think the thing that did the most for it was kind of the Academy's recognition of Get Out. That changed people's idea of what horror can be currently. Horror goes in and out of fashion, and has since the beginning of cinema, but I think right now it's getting more and more in fashion — and if I think there's one biggest reason, I would say it is because of Get Out." "I think we kind of have a unique way that we approach filmmaking, and I think it pays off. I think that cynical people approach horror movies by reverse engineering — they think about what should the scares be, and then figure out the story after that. We do it the opposite way. I really impress upon the executives at the company and the filmmakers we work with to be storytellers first and scary movie makers second, and I think as a result of that the movies are much more scary." SO, DOES HE HAVE PLANS TO RESURRECT OTHER HORROR ICONS? "I'd love to resurrect Friday the 13th. I have a pretty specific idea about it, but I haven't tried yet. I'm waiting for Halloween to come out, but after Halloween comes out I'm going to talk to the rights holders of Friday the 13th and see if I can talk them into it." Halloween is in cinemas now. Read our full review here. Top image: Alex J. Berliner, ABImages.
There's a lot to love about Websters — the laidback Newtown local is the perfect place for a few sunset pints, and its whiskey list is enough to make a Scotsman weep into his Bruichladdich. But the thing that keeps us coming back to this iconic venue is the wings. Here, they're done in a classic American style: thickly coated in a mix of Frank's hot sauce, butter and a touch of honey, then served with blue cheese sauce and celery sticks. In other words, they're spicy, savoury and incredibly moreish. Stop in and line your stomach on the bar's rooftop before a big night out in Newtown.
The big friendly giant of the streaming world has found itself a golden ticket, with Netflix bringing the work of beloved author Roald Dahl to its platform. Viewers can expect to feel like Charlie Bucket walking into Willy Wonka's chocolate factory, with a whopping 16 of Dahl's classic books set to get the Netflix treatment. Teaming up with The Roald Dahl Story Company, the outfit is turning everything from Charlie and the Chocolate Factory and its sequel Charlie and the Great Glass Elevator to Matilda and The Twits into new animated television shows. Oompa Loompas, everlasting gobstoppers and everyone's favourite book-loving schoolgirl with telekinetic abilities will be joined by basically every Dahl novel you read and adored as a kid — including The BFG, Esio Trot, George's Marvellous Medicine, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Dirty Beasts and Rhyme Stew. His autobiographical efforts Boy – Tales of Childhood and Going Solo will also hit the service, with one detailing Dahl's youth and the other delving into his journeys to Africa as well as his service in World War II. For many, including the tales about the author himself, it'll be the first time that they've been adapted for the screen. Netflix plans to turn Dahl's stories into event series and specials — so limited-run shows across a number of episodes, plus one-offs. Announcing the news, the company said in a statement that it "intends to remain faithful to the quintessential spirit and tone of Dahl while also building out an imaginative story universe that expands far beyond the pages of the books themselves". In other words, expect the tales you know and love, as well as tales that expand upon those tales. Work will start on the first Dahl animated series in 2019, although just which one it'll be is yet to be revealed. Netflix also hasn't said when the shows will hit the platform, but expect them soon — it's usually pretty speedy when it comes to turning content around. And if you just can't wait, Wes Anderson's delightful stop-motion animation version of Dahl's Fantastic Mr Fox is currently streaming on the service.
If you're the type of person that loves getting into heated pop-culture debates with friends, then you'll definitely want to get on board with this Kickstarter project. Part card game, part ridiculous debate, the Metagame asks players to consider questions like 'Which feels like first love: Pride and Prejudice or Hungry Hungry Hippos?' and 'Which should be required in schools: Dungeons and Dragons or the Bible?' The game comes with two decks of cards: one set of discussion cards with questions like 'Which will save the world?' or 'Which best represents America?', and one set of culture cards, which feature various works of art and pop culture, like Helvetica, the Rubik's Cube and 'Single Ladies (Put a Ring On It)'. There isn't really a set way of playing, but the makers include a few game suggestions and encourage players to invent their own. Most of the suggested games involve players choosing culture cards that best answer the question and debating their choices. The Metagame was created by Local No. 12, a game design collective made up of Eric Zimmerman, Colleen Macklin and John Sharp. While the original Metagame focused on video games, the trio decided to release 'Metagame: The Culture Edition' following numerous requests for music and film versions. The game is still in prototype form, but it's already attracting praise from Filmmaker Magazine and Attract Mode, and the original Metagame was also an official selection of the 2013 IndieCade International Festival of Independent Games. The project has raised over $50,000 on Kickstarter — nearly double their original target of $25,000. Potential backers have the option of donating anything from $1 (which gets you early access to a print-and-play PDF version) to $500 or more (which gets you your own version of the Metagame, where you pick the rules).
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've had a close-contact run-in. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 20 that you can watch right now at home. THE NORTHMAN Satanic goats don't talk in The Northman. Heartthrobs don't masturbate while fondling mermaid figurines, either. Still, within ten minutes, pre-teen Viking prince Amleth (Oscar Novak, The Batman), his glory-seeking warrior father King Aurvandil War-Raven (Ethan Hawke, Moon Knight) and jester-meets-shaman Heimir (Willem Dafoe, Nightmare Alley) descend into a fire-lit cave to take hallucinogens, growl, grunt, bark like wolves and fart like it's a god-given superpower. If viewers didn't know who's behind this bold, brutal, brilliant, and blood- and guts-strewn Scandinavian opus before then, there's no doubt from this trippy scene onwards: after The Witch and The Lighthouse, writer/director Robert Eggers' touch, approach and style have become that distinctive just three remarkable features into his helming career. In Eggers' new untamed and laid-bare portrait of the past, something is rotten in the state of Iceland — as it was in Denmark via William Shakespeare, and in the Pride Lands of Africa in both versions of The Lion King. "I will avenge you, father. I will save you, mother. I will kill you, Fjölnir," says Amleth as a boy on a north Atlantic island in 895, when he witnesses the latter's (Claes Bang, Locked Down) treachery. He flees after hearing his uncle bay for his head, too, and seeing him carry off Queen Gudrún (Nicole Kidman, Being the Ricardos) as a spoil of his victory. Two decades later, Amleth (Alexander Skarsgård, Succession) is a hulking, wolfskin-clad Viking berserker, living life flinging whatever weaponry he can find while viciously pillaging through the lands of the Rus. But amid the bloodlust, gore and piling-up body count, the intense marauder is thrust back onto his vengeance-seeking path. A Slavic seeress (Björk, in her first film role since 2005) whispers stark truths about his current savagery and lapsed mission against Fjölnir, reigniting his yearning for that promised slaughter — and the single-minded behemoth learns that his uncle is now sheep-farming in Iceland, having lost the kingdom in another coup. The Northman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE GRAY MAN It's been four years since Ryan Gosling last graced screens, rocketing to the moon in First Man. No, Barbie set photos pored over on every internet-connected device don't count. Since he played Neil Armstrong, much has happened. There's the obvious off-screen, of course — but then there's Chris Evans farewelling Captain America, and also appearing in Knives Out with the scene-stealing Ana de Armas. After co-starring in Blade Runner 2049 with Gosling back in 2017, she leapt from that Evans-featuring whodunnit to palling around with 007 in No Time to Die. Also during that time, Bridgerton pushed Regé-Jean Page to fame, and Once Upon a Time in Hollywood earmarked Julia Butters as a young talent to watch. This isn't just a history lesson on The Gray Man's cast — well, some of them, given that Billy Bob Thornton (Goliath), Jessica Henwick (The Matrix Resurrections), Dhanush (Maaran), Wagner Moura (Shining Girls) and Alfre Woodard (The Lion King) also pop up, plus Australia's own Callan Mulvey (Firebite) — for the hell of it, though. Back in 2018, before all of the above played out, it's unlikely that this exact film with this exact cast would've eventuated. Making an action-thriller about attempting to snuff out hyper-competent assassins isn't new — both John Wick and Atomic Blonde have already been there and done that, and the Bourne and Bond movies — but the combination of this collection of current actors and that familiar setup isn't without its charms. Gosling plays Court Gentry, aka Sierra Six; "007 was taken," he jokes. Before he's given his codename and paid to do the CIA's dirty work, he's in prison for murder, then recruited by Donald Fitzroy (Thornton). Fast-forward 18 years and Six is a huge hit at two things: being a ghost, because he no longer officially exists; and covertly wreaking whatever havoc the government tells him to, including knocking off whichever nefarious figure they need gone. But one stint of the latter leaves him in possession of a USB drive that his arrogant new direct superior Carmichael (Page) will ruthlessly kill to destroy. Actually, to be precise, he'll pay Lloyd Hansen (Evans) of Hansen Government Services to do just that, and to do the dirty work that's too dirty for the criminals-turned-government hitmen in the Sierra program, with Six the number-one target. The Gray Man is available to stream via Netflix. Read our full review. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, and absolutely mandatory if you've ever seen a Céline Sciamma film. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director. Few filmmakers even come close, and most don't ever even try. That's been bewitchingly on display in her past features Water Lillies, Tomboy, Girlhood and Portrait of a Lady on Fire, any of which another helmer would kill to have on their resume. It's just as apparent in Petite Maman, her entrancing latest release, as well. Now 15 years into her directorial career, Sciamma's talent for truly seeing into hearts and minds is unshakeable, unparalleled and such a lovely wonder to watch — especially when it shines as sublimely and touchingly as it does here. In Sciamma's new delicate and exquisite masterpiece, the filmmaker follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. The girl's maternal grandmother (Margot Abascal, The Sower) has died, the house needs packing up, and the trip is loaded with feelings on all sides. Her mum wades between sorrow and attending to the task. With melancholy, she pushes back against her daughter's attempts to help, too. Nelly's laidback father (Stéphane Varupenne, Monsieur Chocolat) assists as well, but with a sense of distance; going through the lifelong belongings of someone else's mother, even your spouse's, isn't the same as sifting through your own mum's items for the last time. While her parents work, the curious Nelly roves around the surrounding woods — picture-perfect and oh-so-enticing as they are — and discovers Marion (fellow newcomer Gabrielle Sanz), a girl who could be her twin. Petite Maman is available to stream via Google Play, YouTube Movies and iTunes. Read our full review. THIS MUCH I KNOW TO BE TRUE How do you make a concert film when no concerts can be held to film? Australian director Andrew Dominik (Chopper, Killing Them Softly) and his now two-time subjects Nick Cave and Warren Ellis have the answer. How do you create a personal documentary that cuts to the heart of these Aussie music icons when, whether stated or implied in their vibe, both are hardly enamoured with having their lives recorded? Again, see: Dominik's new Cave and Ellis-focused This Much I Know to Be True. Performances in cavernous empty British spaces fill the movie's frames but, via stunning lighting, staging and lensing, they're as dazzling as any IRL gig. The interludes between tunes are brief, and also intimate and revealing. The result: a phenomenal doco that's a portrait of expression, a musing on an exceptional collaboration and a rumination upon existence, as well as a piece of haunting cinematic heaven whether you're an existing Cave and Ellis devotee, a newcomer or something in-between. Dominik, Cave and Ellis initially teamed up when the latter duo scored the former's The Assassination of Jesse James by the Coward Robert Ford. Later this year, when upcoming Marilyn Monroe biopic Blonde hits screens, the same arrangement will provide its soundtrack. But in the middle sits 2016 doco One More Time with Feeling and now This Much I Know to Be True, as entrancing a pair as the music documentary genre has gifted viewers. The first factual flick found Cave and Ellis recording the Nick Cave and the Bad Seeds album Skeleton Tree, as Cave also grappled with the death of one of his sons. Here, its follow-up is shaped by the first performances of Cave and Ellis' latest albums — the Bad Seeds 2019 release Ghosteen, and Cave and Ellis' 2021 record Carnage — plus the pandemic and the lingering effects of grief. This Much I Know to Be True is available to stream via Mubi. Read our full review. DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS Somewhere in the multiverse, Doctor Strange in the Multiverse of Madness is terrific. In a different realm, it's terrible. Here in our dimension, the 28th film in the Marvel Cinematic Universe teeters and twirls in the middle. The second movie to focus on surgeon-turned-sorcerer Dr Stephen Strange (Benedict Cumberbatch, The Power of the Dog), it's at its best when it embraces everything its director is known for. That said, it's also at its worst when it seems that harnessing Sam Raimi's trademarks — his visual style, bombast, comic tone and Evil Dead background, for instance — is merely another Marvel ploy. Multiverse of Madness is trippy, dark, sports a bleak sense of humour and is as close as the MCU has gotten to horror, all immensely appreciated traits in this sprawling, box office-courting, never-ending franchise. But it stands out for the wrong reasons, too, especially how brazenly it tries to appear as if it's twisting and fracturing the typical MCU template when it definitely isn't. Welcomely weirder than the average superhero flick (although not by too much), but also bluntly calculating: that's Multiverse of Madness, and that's a messy combination. It's apt given its eponymous caped crusader has always hailed from Marvel's looser, goofier and, yes, stranger side since his MCU debut in 2016's plainly titled Doctor Strange; however, it's hard to believe that such formulaic chaos was truly the plan for this follow-up. The last time that audiences saw Stephen Strange, he reluctantly tinkered with things he shouldn't to help Peter Parker in Spider-Man: No Way Home. Those actions had consequences, and recalling Raimi's time with Spidey came with the territory. Strange's reality-bending trickery has repercussions here as well, because Wanda Maximoff (Elizabeth Olsen, Sorry for Your Loss) isn't thrilled about her fellow super-powered pal's exploits. Yes, Multiverse of Madness assumes viewers have not only watched all 27 past MCU movies, but also its small-screen offshoots — or WandaVision at least, where the enchantress that's also Scarlet Witch broke rules herself and wasn't still deemed a hero. Doctor Strange in the Multiverse of Madness is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEN Since popping up over the last decade, the term 'elevated horror' has always been unnecessary. Used to describe The Babadook, It Follows, The Witch, Get Out, Hereditary, Us, Midsommar and more, it pointlessly claims that such unsettling flicks have risen above their genre. Each of these movies is excellent. They all boast weight and depth, trade in metaphors with smarts and savvy, and have style to go with their creeps and thrills. But thinking that's new in horror — that pairing unease with topical woes or societal fears is as well — is as misguided as dubbing Michael Myers a hero. With a name that makes its #MeToo-era point plain, Men has been badged 'elevated', too, yet it also does what horror has at its best and worst cases for decades. That the world can be a nightmare for women at the hands of men isn't a fresh observation, and it's long been a scary movie go-to. Still, Men stresses that fact in an inescapably blunt but also unforgettable manner. Hailing from Ex Machina, Annihilation and Devs' Alex Garland, Men's setting is an English manor, where Harper Marlowe (Jessie Buckley, The Lost Daughter) hopes for a solo stint of rest, relaxation and recuperation. Processing a tragedy, shattering memories of which haunt the movie as much as its protagonist, she's seeking an escape and a way to start anew. The initial hint that she won't find bliss comes swiftly and obviously, and with a sledgehammer's subtlety. Arriving at an idyllic-looking British countryside estate, Harper is greeted by an apple tree. She plucks one from the abundant branches, then takes a bite. Soon, she's told by her host Geoffrey (Rory Kinnear, Our Flag Means Death) that it's forbidden fruit. He also says he's joking — but in this garden, a woman will again shoulder a society's blame and burdens. Men is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NUDE TUESDAY Relationships are all about communication. So much about life is, too. And, so is storytelling. With absurdist comedy Nude Tuesday, expressing emotions, connections and narrative details all boils down to two things, though: gibberish and bodies. This extremely amusing New Zealand film from writer/director Armagan Ballantyne (The Strength of Water) and writer/star Jackie van Beek (The Breaker Upperers) does indeed strip its performers bare, as its name makes plain — but it saddles them with conveying almost everything about their characters via body language long before that. The reason: every piece of dialogue spoken in the movie is uttered in gibberish, with completely made-up and wholly improvised words that take a few cues from The Muppets' Swedish Chef in cadence. While they're subtitled in English by British comedian and writer Julia Davis (Camping), that text was penned after shooting, in one of the film's other gleefully silly twists. The result is patently ridiculous, and marvellously so — and hilariously, too. It's such a clever touch, making a movie about marital disharmony and the communication breakdown baked within that's so reliant upon reading tone and posture, as couples on the prowl for the tiniest of micro-aggressions hone in on. Van Beek and Australian The Tourist actor Damon Herriman play that pair, Laura and Bruno. Living on the fictional pacific island of Zǿbftąņ, they're as stuck in a rut as any married, middle-class duo can be, and they're gifted a getaway to ẄØnÐĘULÄ to help. But this mountainside commune, run by the charismatic and lustful sex guru Bjorg Rassmussen (Jemaine Clement, I Used to Go Here), wants them to bare all in multiple ways. The film doesn't live up to its moniker until its last third, but its perceptive and side-splittingly funny from the get-go. Nude Tuesday is available to stream via Stan. Read our full review. THE DROVER'S WIFE THE LEGEND OF MOLLY JOHNSON Leah Purcell's resume isn't short on highlights — think: Black Comedy, Wentworth and Redfern Now, plus Lantana, Somersault and Last Cab to Darwin (to name just a few projects) — but the Goa-Gunggari-Wakka Wakka Murri actor, director and writer clearly has a passion project. In 2016, she adapted Henry Lawson's short story The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she brings it to the big screen via The Drover's Wife The Legend of Molly Johnson. Only minutes into her searing feature filmmaking debut, why Purcell keeps needing to tell this 19th century-set tale is patently apparent. In her hands, it's a story of anger, power, prejudice and revenge, and also a portrait of a history that's treated both women and Indigenous Australians abhorrently. Aussie cinema hasn't shied away from the nation's problematic past in recent times (see also: Sweet Country, The Nightingale, The Furnace and High Ground); however, this is an unforgettably potent and piercing movie. In a fiery performance that bristles with steeliness, Purcell plays the eponymous and heavily pregnant Molly. In the process, she gives flesh, blood and a name to a character who wasn't ever afforded the latter in Lawson's version: a 19th-century Indigenous Australian woman left alone with her children on a remote property for lengthy stretches while her husband works. During his latest absence, new sergeant Nate Clintoff (Sam Reid, The Newsreader) and Aboriginal fugitive Yadaka (Rob Collins, Firebite) separately venture Molly's way. From there, this sometimes-stagey but always blistering western digs sharply into issues of race, gender and identity — and eagerly, shrewdly and ferociously draws cinematic blood. The Drover's Wife The Legend of Molly Johnson is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BOB'S BURGERS MOVIE Across its 12-season order to-date, the best episodes of Bob's Burgers have always resembled exactly what they should: a delicious serving of the meat-and-bread combination that shares the hit sitcom's name. There's a knack to a great burg — to a tastebud-thrilling, so-appetising-I-need-more-now example of this extremely accessible culinary art — and it's all about perfecting the absolute basics. No matter what else gets slotted in (and plenty of other ingredients can), every burger's staples should be the stars of the show. Indeed, a top-notch burg needn't be flashy. It definitely mustn't be overcomplicated, either. And, crucially, it should taste as comforting as wrapping your hands around its buns feels. On the small screen since 2011, Bob's Burgers has kept its version of that very recipe close to its animated, irreverent, gleefully offbeat heart. Unsurprisingly, the show's creators whip up the same kind of dish for The Bob's Burgers Movie, too. It's a winning formula, and creator Loren Bouchard knows not to mess with it while taking his beloved characters to the big screen. As always, the action centres on the film's namesake — the diner where patriarch Bob (H Jon Benjamin, Archer) sizzles up punningly named burgs to both make a living and live out his dream. And, as the show has covered frequently, financial woes mean that Bob and his wife Linda (John Roberts, Gravity Falls) have more to worry about than cooking, serving customers, and their kids Tina (Dan Mintz, Veep), Gene (Eugene Mirman, Flight of the Conchords) and Louise (Kristen Schaal, What We Do in the Shadows). Their solution: a burger, of course. But their bank manager isn't munching when they try to use food to grease their pleas for an extension on their loan. That mortgage also involves their restaurant equipment, leaving them out of business if they can't pay up. As their seven-day time limit to stump up the cash ticks by, Bob sweats over the grill and Linda oozes her usual optimism — only for a sinkhole to form literally at their door. The Bob's Burgers Movie is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HATCHING With a savvily sinister-meets-satirical blend, Hatching begins by unpacking a fallacy as fractured as Humpty Dumpty after the nursery-rhyme character's fall — and that still keeps being lapped up anyway. In suburban Finland, among homes so identical that the song 'Little Boxes' instantly pops into your head, 12-year-old gymnast Tinja (debutant Siiri Solalinna), her younger brother Matias (fellow first-timer Oiva Ollila), and their mother (Sophia Heikkilä, Dual) and father Jani Volanen, Dogs Don't Wear Pants) are living their best lives. More than that, as the soft lensing and music that helps open the movie establishes, they're also beaming that picture of pink, white and pastel-hued domestic perfection to the world. Tinja's unnamed mum is a vlogger, and these scenes are being captured for her cloyingly named blog Lovely Everyday Life. Naturally, showing that this family of four's daily existence is anything but enchanting is one of Bergholm's first aims. In Finnish writer/director Hanna Bergholm's bold and memorable body-horror, twisted fairy tale and dark coming-of-age thriller, the initial crack comes from outside, crashing through the window to ruin a posed shot alight with fake smiles and, of course, being filmed with a selfie stick. Soon, broken glass, vases and lamps are strewn throughout a lounge room so immaculately arranged that it looks straight out of a supermarket-shelf home-and-garden magazine — and the crowning glory, the chandelier, has descended from a luminous pièce de résistance to a shattered mess. A garden-variety crow is the culprit, which Tinja carefully captures. She hands it to her mother, thinking that they'll then release it outside. But her mum, placid but seething that anything could disrupt her manufactured picture of bliss, ignores that idea with a cruel snap and instructions to dispose of the animal in the organic waste. When Tinja disobeys that order, taking the egg into her care, nurturing it tenderly and placing it inside a teddy bear for safe keeping, she gains her own little universe to dote over. Then the egg keeps growing, and a human-sized chick emerges. Hatching is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE INNOCENTS Thanks to his Oscar-nominated work co-penning The Worst Person in the World's screenplay, Eskil Vogt has already helped give the world one devastatingly accurate slice-of-life portrait in the past year. That applauded film is so insightful and relatable about being in your twenties, and also about weathering quarter-life malaise, uncertainty and crisis, that it feels inescapably lifted from reality — and it's sublime. The Innocents, the Norwegian filmmaker's latest movie, couldn't be more different in tone and narrative; however, it too bears the fingerprints of achingly perceptive and deep-seated truth. Perhaps that should be mindprints, though. Making his second feature as a director after 2014's exceptional Blind, Vogt hones in on childhood, and on the way that kids behave with each other when adults are absent or oblivious — and on tykes and preteens who can wreak havoc solely using their mental faculties. Another riff on Firestarter, this thankfully isn't. The Innocents hasn't simply jumped on the Stranger Things bandwagon, either. Thanks to the latter, on-screen tales about young 'uns battling with the supernatural are one of Hollywood's current favourite trends — see also: the awful Ghostbusters: Afterlife — but all that this Nordic horror movie's group of kids are tussling with is themselves. Their fight starts when nine-year-old Ida (debutant Rakel Lenora Fløttum) and her 11-year-old sister Anna (fellow first-timer Alva Brynsmo Ramstad), who is on the autism spectrum, move to an apartment block in Romsås, Oslo with their mother (Blind's Ellen Dorrit Petersen) and father (Morten Svartveit, Ninjababy). It's summer, the days are long, and the two girls are largely left to their own devices outside in the complex's communal spaces. That's where Ida befriends Aisha (Mina Yasmin Bremseth Asheim) and Ben (Sam Ashraf), albeit not together, and starts to learn about their abilities. The Innocents to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ITHAKA To look at John Shipton is to see the obvious, even if you've never laid eyes upon him before. The family resemblance is immediately clear, and the traits that've likely been passed down from father to son — determination and persistence, blatantly — become apparent within minutes. Shipton needs to be resolute for the battle that documentary Ithaka captures. It's a fight that's been waged for a decade now, publicly, and not just in embassies and courtrooms but across news headlines worldwide. He's visibly Julian Assange's dad, and he's been helping spearhead the campaign for the WikiLeaks founder's release. Assange fell afoul of US authorities in 2010, when his non-profit whistleblower organisation published documents about the American military's war crimes leaked by army intelligence analyst Chelsea Manning. As Ithaka makes plain, The Guardian, The New York Times and Der Spiegel revealed the same information at the same time; however, only Assange now sits in London's Belmarsh prison. Plenty about the past 12 years since Manning's leaks were exposed to the world is filled with numbers. Plenty about the ten years this June since Assange first took refuge in the Embassy of Ecuador in London is as well. The Australian editor and publisher spent almost seven years in that diplomatic space, seeking political asylum from sexual misconduct allegations in Sweden that he contended would be used to extradite him to America. If the US succeeds in its efforts, and in its espionage charges against him, he faces up to 175 years in incarceration. The list of figures goes on, but filmmaker Ben Lawrence (Hearts and Bones) makes two pivotal choices. Firstly, he surveys Assange's current struggle not through the Aussie himself, but through both Shipton and Stella Moris, his South African-born lawyer and now wife. Secondly, although those aforementioned numbers are inescapable, the riveting and affecting Ithaka brings humanity to this well-publicised plight. Ithaka is available to stream via ABC iview. Read our full review. ABLAZE A documentary that's deeply personal for one of its directors, intensely powerful in surveying Australia's treatment of its First Peoples and crucial in celebrating perhaps the country's first-ever Aboriginal filmmaker, Ablaze makes for astonishing viewing. But while watching, two ideas jostle for attention. Both remain unspoken, yet each is unshakeable. Firstly, if the history of Australia had been different, Wiradjuri and Yorta Yorta man William 'Bill' Onus would be a household name. If that was the case, not only his work behind the camera, but his activism for Indigenous Aussies at a time when voting and even being included in the census wasn't permitted — plus his devotion to ensuring that white Australians were aware of the nation's colonial violence — would be as well-known as Captain Cook. That said, if history had been better still, Bill wouldn't have needed to fight so vehemently, or at all. Alas, neither of those possibilities came to a fruition. Ablaze can't change the past, but it can and does document it with a hope to influencing how the world sees and appreciates Bill's part in it. Indeed, shining the spotlight on its subject, everything his life stood for, and all that he battled for and against is firmly and proudly the feature's aim. First-time filmmaker Tiriki Onus looks back on his own grandfather, narrating his story as well — and, as aided by co-helmer Alec Morgan (Hunt Angels, Lousy Little Sixpence), the result is a movie brimming with feeling, meaning and importance. While Aussie cinema keeps reckoning with the nation's history regarding race relations, as it should and absolutely must, Ablaze is as potent and essential as everything from Sweet Country, The Nightingale and The Australian Dream to The Furnace, High Ground and The Drover's Wife The Legend of Molly Johnson. Ablaze is available to stream via ABC iview, iTunes and Prime Video. Read our full review. DOWNTON ABBEY: A NEW ERA The movies have come to Downton Abbey and Violet Crawley, the acid-tongued Dowager Countess of Grantham so delightfully played by Maggie Smith (The Lady in the Van) since 2010, is none too fussed about it. "Hard same," all but the most devoted fans of the upstairs-downstairs TV drama may find themselves thinking as she expresses that sentiment — at least where Downton Abbey: A New Era, an exercise in extending the series/raking in more box-office cash, is concerned. Violet, as only she can, declares she'd "rather eat pebbles" than watch a film crew at work within the extravagant walls of her family's home. The rest of us mightn't be quite so venomous, but that's not the same as being entertained. The storyline involving said film crew is actually one of the most engaging parts of A New Era; however, the fact that much of it is clearly ripped off from cinematic classic Singin' in the Rain speaks volumes, and gratingly. A New Era begins with a wedding, picking up where its predecessor left off as former chauffeur Tom Branson (Allen Leech, Bohemian Rhapsody) marries Lucy Smith (Tuppence Middleton, Mank) with everyone expected — the well-to-do Crawleys and their relatives, plus their maids, butlers, cooks, footmen and other servants — in attendance. But the film really starts with two revelations that disrupt the Downton status quo. Firstly, Violet receives word that she's inherited a villa in the south of France from an ex-paramour, who has recently passed away. His surviving wife (Nathalie Baye, Call My Agent!) is displeased with the arrangement, threatening lawsuits, but his son (Jonathan Zaccaï, The White Crow) invites the Crawleys to visit to hash out the details. Secondly, a movie production wants to use Downton for a shoot, which the pragmatic Lady Mary Talbot (Michelle Dockery, Anatomy of a Scandal) talks the family into because — paralleling the powers-that-be behind A New Era itself — the aristocratic brood would like the money. Downton Abbey: A New Era is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FIRESTARTER Would the latest big-screen adaptation of Stephen King's Firestarter have been better or worse if it had included The Prodigy's hit of the same name, aka the most obvious needle-drop that could've been chosen? Although we'll never know, it's hard to imagine a film with less personality than this page-to-screen remake. Using the 1996 dance-floor filler would've been a choice and a vibe — and a cliched one, whether gleefully or lazily — but it might've been preferable to the dull ashes of by-the-numbers genre filmmaking from director Keith Thomas (The Vigil) that's hit screens instead. Zac Efron looking so bored that blood drips from his eyes, dressing up King's 1980 story as a superhero tale (because of course) and having its pyrokinetic protagonist say "liar liar, pants on fire" when she's torching someone aren't a recipe for igniting movie magic, or for even occasionally just lighting a spark. As the first version of Firestarter in 1984 did, and King's book as well, Firestarter follows the McGee family, whose lives would blaze brighter if they didn't have abilities most folks don't. After volunteering for a clinical trial in college, Andy (Efron, Gold) and his wife Vicky (Sydney Lemmon, Fear the Walking Dead) have telepathic and telekinetic powers; being experimented on with mind-altering chemical compounds will do that. And, from birth, their now 11-year-old daughter Charlie (Ryan Kiera Armstrong, It: Chapter Two) has been able to start fires with her mind. Unsurprisingly, the McGees have spent years attempting to blend in, hiding their powers and fleeing the shady government department, The Shop, that's responsible for their situation — and now sports a keen interest in using Charlie as a weapon. Then she literally explodes at school, The Shop head honcho Captain Hollister (Gloria Reuben, City on a Hill) puts bounty hunter John Rainbird (Michael Greyeyes, Rutherford Falls) on their trail and the heat is on. (No, that track from Beverly Hills Cop, which reached cinemas the same year that the OG Firestarter did, doesn't feature here either.) Firestarter is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HOW TO PLEASE A WOMAN When Magic Mike stripped its way into cinemas a decade ago, it didn't just turn Channing Tatum's IRL background into a movie and give his chiselled torso oh-so-much attention; it understood that women like sex, boast libidos and have desires, too. Its sequel, Magic Mike XXL, doubled down on that idea, and winningly so — even if the saga dances with a notion so blatant that it definitely shouldn't feel revelatory to see it thrust front and centre in a big-budget Hollywood film. There's no trace of Tatum in How to Please a Woman, and it has nothing to do with the saucy franchise that has a third flick on the way, but this Aussie comedy nonetheless follows in Magic Mike's footsteps. Here, women also like sex, boast libidos and have desires, and that's something that the stuck-in-a-rut Gina (Sally Phillips, Off the Rails) turns into a lucrative business. When first-time feature writer/director Renée Webster begins her sunnily shot, eagerly crowd-pleasing leap to the big screen — following helming gigs on TV's The Heights and Aftertaste — Gina's relationship with sex is non-existent. She has long been wed to lawyer Adrian (Cameron Daddo, Home and Away), but he still thinks that having a tumble on their last holiday years ago is enough bedroom action to keep their marriage going. Gina's resigned to that fact, too, until her ocean swimming club pals book her a stripping surprise for her birthday. Tom (Alexander England, Little Monsters) shows up at her door, starts gyrating and undressing, and says he'll do whatever she wants. Although her friends are later horrified, Gina asks him to clean her house instead — and its their eagerness to truly take Tom up on his offer that inspires a plan to turn a removalist company she thinks she can save into a male escort service, covering scrubbing and shagging alike. How to Please a Woman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HELMUT NEWTON: THE BAD AND THE BEAUTIFUL One of the great treats in Helmut Newton: The Bad and the Beautiful stems from perhaps the film's simplest move: letting viewers peer at the often-provocative photographer's works in such a large format. Being able to do just that is the reason why the Exhibition On Screen series of movies exists, surveying showcases dedicated to artists such as Vincent van Gogh, David Hockney and Frida Kahlo over the years — and this documentary isn't part of that, but it understands the same idea. There's nothing like staring at an artist's work to understand what makes them tick. Writer/director Gero von Boehm (Henry Miller: Prophet of Desire) fills The Bad and the Beautiful with plenty more, from archival footage to recent interviews, but it'd all ring empty without seeing the imagery captured by Newton's lens firsthand. Every word that's said about the German photographer, or by him, is deepened by roving your eyes across the frequently contentious snaps that he sent Vogue, Harper's Bazaar, Playboy and other magazines' ways. Those photos aren't run-of-the-mill fashion pics. Largely, the highly stylised images are of naked women — naked famous women, if not then then now, such as Isabella Rossellini, Charlotte Rampling, Grace Jones and Claudia Schiffer — and they're as fetishistic as the artform gets. They're the kinds of snaps that saw Susan Sontag call Newton out for being a misogynist to his face, as seen in a French TV clip featured in the film. The Bad and the Beautiful is an affectionate doco, but it also dives headfirst into the trains of thought that his work has sparked for decades. Anna Wintour explains that when someone books Newton, "you're not going to get a pretty girl on a beach". Women who posed for him, including the aforementioned stars, plus Marianne Faithfull, Arja Toyryla, Nadja Auermann and Hanna Schygulla, all talk through their differing experiences as well — and the portrait painted is varied. Helmut Newton: The Bad and the Beautiful is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. LAST SEEN ALIVE Perhaps the most positive thing that can be said about Last Seen Alive is this: it's definitely a Gerard Butler-starring kidnapping thriller. That isn't meant as praise, though; rather, the film simply manages to be exactly what viewers would expect given its star and premise. There's clearly far less cash behind it than the also-terrible trio of Olympus Has Fallen, London Has Fallen and Angel Has Fallen — or Geostorm, Den of Thieves, Hunter Killer and Greenland among the Scottish actor's career lowlights over the past decade, either. There's visibly less effort, too, and more of a phoning-it-in vibe. The second collaboration between actor-turned-filmmaker Brian Goodman (What Doesn't Kill You) and producer/writer Marc Frydman after 2017's Black Butterfly, it plays like something that a streaming platform's algorithm might spit out in an AI-driven future where new movies are swiftly spliced together from pieces of past flicks. Yes, among Butler's output and with its abduction storyline, it's that derivative. Butler plays Will Spann, a real estate developer who already isn't having a great day when the film begins — but it's about to get worse. He's driving his unhappy wife Lisa (Jaimie Alexander, Loki) to her parents' home, where she's keen to decamp to find herself and take a break from their marriage, and Will is desperate to convince her to change her plans en route. His charm offensive isn't working when they stop at a petrol station mere minutes away from their destination, and he has zero charisma for anyone when Lisa unexpectedly disappears while he's filling the tank. Fuming that local police detective Paterson (Russell Hornsby, Lost in Space) hasn't just dropped everything immediately, and that he also has questions about their relationship, Will decides to chase down any lead he can himself. Meanwhile, Lisa's unsurprisingly wary parents (Queen Bees' Cindy Hogan and Master's Bruce Altman) direct their suspicions his way. Last Seen Alive is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INTERCEPTOR Four decades back, Interceptor would've happily sat on a crowded video-store shelf alongside a wealth of other mindless, machismo-fuelled action thrillers. It would've been the epitome of one of the genre's straight-to-VHS flicks, in fact. Don't just call it a throwback, though; instead of testosterone oozing from every actor within sight, except perhaps a token wife worrying at home, this nuclear attack movie from Australian author Matthew Reilly focuses on a woman making waves in a male-dominated world. That's firmly a 2022 move, reflecting today's gender politics. So too is the fact that said protagonist, US Army Captain JJ Collins (Elsa Pataky, Tidelands), has just been reassigned after putting in a sexual harassment complaint against one of her past superiors. Don't go thinking that Interceptor doesn't tick every other box its 80s counterparts did, however. It couldn't lean harder on all of the cliches that've ever been involved with world-in-peril, military-driven movies, and with action fare at its most inane in general. A global success for his airport novels, writer Reilly doesn't just turn screenwriter here — with assistance from Collateral, Tomorrow, When the War Began and Obi-Wan Kenobi's Stuart Beattie — but also jumps behind the lens for the first time. Alas, his directorial instincts prove as flat and by-the-numbers as Interceptor's wanly boilerplate plot, as well as its clunky-as-clunky dialogue. And, that storyline really couldn't be more formulaic. In her new post on a remote platform in the Pacific Ocean, Collins soon finds herself under attack by terrorists led by the grating Alexander Kessel (Luke Bracey, Danger Close: The Battle of Long Tan). Her sea-surrounded station is one of two sites, alongside Alaska's Fort Greely, that can intercept a nuclear warhead launch on the US. Naturally, Kessel and his men have already taken out the other one, and have also pilfered nukes from the Russians in their possession. Interceptor is available to stream via Netflix. Read our full review. FATHER STU The last time that Mark Wahlberg played a real-life boxer, The Fighter was the end result. The last time that Mel Gibson played the burger-chain owner's father, the world was forced to suffer through Daddy's Home 2. Combine this mismatched pair and you don't quite get Father Stu, the former Marky Mark's first step into faith-based films — but even watching the latter, the second instalment in his woeful comedy franchise with Will Ferrell, is preferable to this mawkish true tale. Drawn from the IRL Stuart Long's life, it's meant to be an inspirational affair, covering the familiar religious-favourite beats about sinners being redeemed, wayward souls seizing second chances and learning to accept physical suffering as a chance to get closer to the divine. First-time feature writer/director Rosalind Ross is earnest about those messages, and her film visibly looks more competent than most sermon-delivering recent cinema releases, but what preaching-to-the-choir sentiments they are. How ableist they are as well. When Wahlberg (Uncharted) first graces the screen as Long, he could've stepped in from plenty of his other movies. In his younger days, the titular future priest is a foul-mouthed amateur boxer from Montana, but he has big dreams — and when he hits Los Angeles with acting stars in his eyes, viewers can be forgiven for thinking of Boogie Nights. Porn isn't Long's calling, of course, although salacious propositions do come his way in the City of Angels, in one of the film's hardly subtle efforts to equate the secular and the sordid. It's actually lust that pushes the feature's protagonist on the path to the priesthood, however, after he spies volunteer Sunday school teacher Carmen (Teresa Ruiz, The Marksman) while he's working in a grocery store. To have a chance with her, he even gets baptised. Then, a drink-driving accident brings a vision of the Virgin Mary, sparking Long's determination to make Catholicism his calling. Next, a shock health diagnosis both tests and cements his faith. Father Stu is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and our best new TV shows, returning TV shows and straight-to-streaming movies from the first half of 2022. Or, check out the movies that were fast-tracked to digital in January, February, March, April, May and June.
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 February's haul of newbies (yes, we're assuming you've already watched News of the World and Malcolm & Marie). BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW https://www.youtube.com/watch?v=AZ9cCFrCBxI IT'S A SIN More than two decades after creating Queer as Folk, Russell T Davies gives the television landscape another excellent queer drama. The screenwriter and television producer has been busy over the intervening period thanks to everything from Doctor Who to Years and Years — and he also has 2015's Cucumber to his name, too — but It's a Sin is one of the very best things on his lengthy resume. Stepping back to the AIDS crisis of the 80s and early 90s, the five-part miniseries follows a group of friends chasing their dreams in London. Ritchie (Olly Alexander, Penny Dreadful) heads to the city to become an actor, and to avoid telling his stern parents that he's gay. Roscoe (Omari Douglas) flees his parents' home when they keep threatening to take him back to Nigeria. Colin (Callum Scott Howells) arrives for an apprenticeship at a high-end tailor shop, but soon finds himself seeking an escape from his lecherous boss. Given the era, there's no doubting where the story will head. It's a Sin is as joyous and vibrant as it is soulful and heartbreaking, though. Ritchie, Roscoe and Colin not only cross paths, but form a makeshift family in their modest flat, with the former's college friends Jill (Lydia West, Dracula) and Ash (Nathaniel Curtis) rounding out the quintet. Neil Patrick Harris and Stephen Fry also feature, but they're never It's a Sin's stars — because, in series that looks and sounds the period part at every moment, the show's five main players are simply phenomenal. It's a Sin is available to stream via Stan. https://www.youtube.com/watch?v=4lkCCo63nhM I CARE A LOT She may not end up with many shiny statuettes for her efforts, but Rosamund Pike's Golden Globe nomination for I Care a Lot is well-deserved. The Radioactive and Gone Girl star is stellar in a tricky part in a thorny film — because this dark comic-thriller isn't here to play nice. Pike plays Marla Grayson, a legal guardian to as many elderly Americans as she can convince the courts to send her way. She's more interested in the cash that comes with the job, however, rather than actually looking after her charges. Indeed, with her girlfriend and business partner Fran (Eiza González, Bloodshot), plus an unscrupulous doctor on her payroll, she specifically targets wealthy senior citizens with no family, gets them committed to her care, packs them off to retirement facilities and plunders their bank accounts. Then one such ploy catches the attention of gangster Roman Lunyov (Peter Dinklage, Game of Thrones), who dispatches his minions to nudge Marla in a different direction. She isn't willing to acquiesce, though, sparking both a game of cat and mouse and a showdown. Dinklage makes the most of his role, too, but I Care a Lot is always the icy Pike's movie. Well, hers and writer/director J Blakeson's (The Disappearance of Alice Creed), with the latter crafting a takedown of capitalism that's savagely blunt but also blisteringly entertaining. I Care a Lot is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=Sw_iVa6bZgs WHY ARE YOU LIKE THIS Named after a meme, and focusing on characters that can hardly be described likeable but are nonetheless instantly recognisable, Australian sitcom Why Are You Like This takes aim at 21st century life. Its three main figures are all twentysomethings endeavouring to navigate a never-ending onslaught of personal and professional problems, such as getting fired, battling with colleagues, money troubles, hiding boyfriends, losing moon cups and trying to spark a workplace revolution but ending up getting other people fired — so, yes, they're just like the rest of us. Penny (series co-creator Naomi Higgins, Utopia) wants to be an ally to everyone. Her bestie Mia (Olivia Junkeer, Neighbours) matches that determination with both self-assurance and a self-serving mindset; if she's sticking up for anyone, it's always herself. Rounding out the trio is Penny's housemate and aspiring drag queen Austin (Wil King), whose glittery outfits and super-sized personality can't always hide his internal crumbling. Across the show's six-episode first season, these three friends keep trying to stand out in their own ways. They also keep demonstrating both their best and worst traits. As satirical as it is candid and relatable, Why Are You Like This knows that everyone and everything is awful, and leans in. And, in terms of the series' style of comedy, the fact that Higgins created the show with lawyer and illustrator Humyara Mahbub and Aunty Donna's Mark Samual Bonanno says plenty. Why Are You Like This is available to stream via ABC iView. https://www.youtube.com/watch?v=CqXhMYjasHM ROCKS Not only thoughtful, empathetic and heartfelt, but also offering a very familiar genre a fresh perspective, coming-of-age drama Rocks explores the life of British Nigerian teenager Olushola Omotoso (engaging debutant Bukky Bakray). She's given the eponymous nickname by her friends, and she's forced to call upon a hardy type of fortitude when her mother (Layo-Christina Akinlude, I May Destroy You) leaves suddenly, entrusting the 15-year-old to care for her her younger brother Emmanuel (D'Angelou Osei Kissiedu). This situation isn't new for the siblings, so they soldier on. But, approaching the film with a tender but also forthright touch, director Sarah Gavron (Suffragette) and screenwriters Theresa Ikoko and Claire Wilson (Gangs of London) don't sugarcoat their story. As Rocks tries to rustle up enough money to by, endeavours to evade social workers chasing her and Emmanuel around town, attempts to maintain a routine for her brother and also deals with her own schoolyard struggles, the film repeatedly demonstrates that a feature can be both honest, unflinching, bittersweet and charming all at once. Indeed, it also illustrates that when a movie manages to be all of those things — as well as immersively shot, superbly performed and keenly showing a far more expansive snapshot of British life than often seen on-screen — it's something special. Rocks is available to stream via Netflix. https://www.youtube.com/watch?v=cbZU_76SPdI CLARICE When The Silence of the Lambs became one of the most talked-about movies of 1991 — and won the 'big five' Oscars: Best Picture, Best Director, Best Actor, Best Actress and Best Adapted Screenplay — it was always going to earn a follow-up. But, the three films that did just that all cared far more about psychiatrist and serial killer Hannibal Lecter than FBI Agent Clarice Starling, as did the Mads Mikkelsen-starring TV series Hannibal. Accordingly, television crime procedural Clarice feels as if it's righting a three-decade-old wrong. Set a year after the events of The Silence of the Lambs, it follows its eponymous figure (Australian actor Rebecca Breeds, Three Summers) as she returns to the field. She's still shaken by the case that made her famous, and she'd much rather stay behind the scenes than lead the charge, but she's brought to Washington DC to join a high-profile taskforce that hunts down serial killers and other predators. Clarice is made by US network television, not cable, so it happily sticks to an obvious formula; however, case-of-the week programs like this have remained a TV mainstay for a reason. Breeds capably steps into Jodie Foster's shoes, the series as a whole sinks into its unsurprisingly grim mood, and stories about women reclaiming their own space after trauma, as this is, aren't as common as they should be. Clarice is available to stream via Stan. https://www.youtube.com/watch?v=2B7m-ARHz0c FAKE FAMOUS No one could've known how timely Fake Famous would be, especially in Australia. Arriving in a month where much of the nation's social media usage has pivoted from Facebook to Instagram, it explores influencer culture on the latter platform, all thanks to an experiment by journalist-turned-filmmaking first-timer Nick Bilton. Interested not only in people famous for being famous, but in the way that Instagram in particular has heightened the phenomenon, the writer/director endeavours to create three influencers of his own. He holds auditions, selects candidates, gives them makeovers, sets them up with a crew to snap their photos and shoot their videos, and buys them bots to follow, like and comment on their posts. His aim: to take his three chosen Los Angeles residents from everyday Instagram users with dreams of online stardom to the type of social media celebrities who've turned their virtual existence into a full-time job (and have the statistics and the swag sent to their door to prove it). Mixed in with insights about social media and influencers in general, the result is a fascinating film — especially in seeing how Bilton's three central figures handle the process. That remains true of this slickly made, perkily toned documentary even if there's little that's overly new here for anyone with an ongoing interest in or knowledge of the subject. Fake Famous is available to stream via Binge. https://www.youtube.com/watch?v=u9XJ1AxrAcs THE VIRTUES Director and screenwriter Shane Meadows has a fantastic track record, spanning everything from Dead Man's Shoes to This Is England — as well as the multiple TV shows inspired by the latter. Fellow screenwriter Jack Thorne is no stranger to working with Meadows, also thanks to the This Is England franchise; however his individual resume includes Dirt Music, Radioactive, The Secret Garden, Enola Holmes, The Eddy and His Dark Materials over just the past couple of years. So, the pair's involvement in The Virtues immediately marks it as a miniseries to watch. So does its star Stephen Graham, yet another veteran of This Is England. Here, all three combine for a four-part drama that's bleak, raw, frank and devastating — and, once you've started watching, it's also impossible to tear your eyes away from until the credits roll on the final episode. After it finishes, it's downright impossible to forget, in fact, a claim that can't be made of most television shows. Graham plays Joseph, a labourer who's barely getting by. When his ex-partner and his young son move to Australia, he hits the bottle, has a big night, and wakes up certain that he has to head back to Ireland and confront his troubled past. So starts an emotional journey that's never easy — not for a single second — but is also never anything less than astounding. The Virtues is available to stream via Stan. RETURNING SHOWS TO CHECK OUT WEEK BY WEEK WELLINGTON PARANORMAL Three of the best comedic actors currently on TV all star in New Zealand-made sitcom Wellington Paranormal. Playing Officer O'Leary, Officer Minogue and Sergeant Maaka, Karen O'Leary, Mike Minogue and Maaka Pohatu spit out devastatingly hilarious deadpan line readings. They need to in this mockumentary series, which follows a squad of Wellington cops who investigate the supernatural — as the show's title so succinctly explains — but every episode of the series so far has demonstrated just how perfect these three actors are for their job. That includes the just-arriving third season of the program, which once again sees the team tackle cases of the paranormal variety (and, yes, of the often silly and always amusing kind as well). This batch of instalments starts with an invisible foe, then ponders what might be lurking in the woods, with laughs heartily ensuing. A spinoff from Taika Waititi and Jemaine Clement's excellent 2014 movie What We Do in the Shadows — well, one of the film's spinoffs, given that a very funny US TV series also called What We Do in the Shadows also exists — Wellington Paranormal aces its concept again and again. This time around, Clement directed half of the season's episodes, while Rhys Darby reprises a familiar role. Wellington Paranormal's third season starts streaming via SBS On Demand from Wednesday, February 24, with new episodes added each week. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=XhulR_kJf7Y PARKS AND RECREATION She's the government worker we all wish could be in charge of, well, absolutely everything — and she's the Indiana city of Pawnee's most devoted employee and biggest fan. We're talking, of course, about Leslie Knope, Amy Poehler's super passionate waffle-loving character in iconic sitcom Parks and Recreation. Willing to work hard in any situation and always ready to lean upon her friends and co-workers, Leslie knows how to handle almost anything. In one particular fifth-season episode of the Nick Offerman, Rashida Jones, Aziz Ansari, Chris Pratt, Aubrey Plaza, Adam Scott and Rob Lowe-costarring series, that also includes grappling with a pandemic. Created by The Office's Greg Daniels and Brooklyn Nine-Nine's Michael Schur, Parks and Recreation may have only come to the end of its seven-season run back in 2015, but the sitcom has been an instant classic from the get-go for one reason: focusing on relatable characters, the minutiae of their lives and the time working in local government, workplace-based comedy has never felt more kind-hearted, or — thanks to the show's penchant for letting its main players talk directly to the camera — so inclusive. And while Parks has done the rounds of streaming platforms, hopping from one to another over the years, its arrival on Netflix is as good a reason as any for a rewatch (not that anyone ever needs an excuse). All seven seasons of Parks and Recreation are available to stream via Netflix. https://www.youtube.com/watch?v=5zaQgbACc1E THE MUPPET SHOW Created by Jim Henson, first seen on TV in the 50s and boasting eight movies to their name, The Muppets are easily the most loveable felt and foam creations in pop culture history. They're also the driving force behind the best variety television series that's ever reached the small screen: The Muppet Show, which ran for five seasons between 1976–81. Forget all those other efforts hosted by humans over the years, because nothing is as absurd, surreal and delightful as this puppet-fuelled program. And, whether you grew up watching reruns over and over, have always wanted to check it out or somehow weren't aware that the series even existed, it's now available on Disney+ in full. Yes, it's time to play the music and light the lights — and to revisit this Muppets-starring favourite. You won't just be checking out the comic stylings of Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo and the Swedish Chef (and their songs and skits, too), of course. The Muppet Show is also famed for its guest appearances, so get set to spy everyone from Elton John and Mark Hamill to Martin, Liza Minnelli, Alice Cooper, Julie Andrews, Diana Ross and Gene Kelly. All five seasons of The Muppet Show are available to stream via Disney+.
After being in voluntary administration for ten weeks, one of Australia's largest contemporary multi-arts centres Carriageworks has finally, officially, been saved. The precinct has secured its independent future with a new long-term lease thanks to a multimillion-dollar lifeline from a group of philanthropists and five years of funding from the NSW Government — and is on the road to recovery. Carriageworks owed more than $2 million to over 140 creditors, but KPMG administrators pushed for creditors to agree to a deed of company arrangement over liquidating the establishment. Assuring the venue a 20-year lease, the deal reaffirms the creative hub as an essential part of Sydney's cultural fabric. In a statement, Carriageworks CEO Blair French expressed thanks to "everyone who has lent support over recent weeks", highlighting "the wonderful philanthropists who have made extremely generous financial pledges to secure our future." The deal is a relief for the entertaining companies that call Carriageworks home and the hundreds of other large-scale events, shows and exhibitions that have been held at the venue over the years. The centre's recovery will likely also see the return of the much-adored Carriageworks Farmers Market in August. https://www.instagram.com/p/CC7pL9qBRLO/ Carriageworks Chair Cass O'Connor confirmed that the space has secured the longest lease in its history, with a history of operating on a month-by-month agreement. O'Connor commended the team for negotiating a newly revised business model that was "better able to cope" with the challenges presented by COVID-19. It remains to be seen what the new business model will look like, or when the venue will reopen, but the announcement comes as a positive piece of news for the arts industry, which has struggled in the wake of the pandemic. The administrators will now hand back the company to its directors within the next week, with operations hoping to resume in coming months. In a nod to Carriageworks' history, French stated: "over 100 years ago this industrial place was born out of resilience and innovation. Through sheer grit, determination and collaboration, we are still here with a promising, independent future. We can't wait to welcome back the community". And for many Sydneysiders, we can't wait to go back Carriageworks is hoping to relaunch evens, including the Farmers Markets, over the coming months. We'll let you know when more information is announced. Top image: Jacquie Manning
Some subjects are just perfect for the medium of cinema. A world where dreams bleed into reality, where reality seems like a dream, where a window is cracked open to reveal an alternate existence pushing up against ours — the world of mental illness — is one of them. Jeff Nichols' Take Shelter is set in the American Midwest, in a small town where men sit in bars, women sit in sewing circles, pastures are mottled green and skies are threatening. Lowly sand miner Curtis LaForche (Michael Shannon — you know, the awesome, faintly bug-eyed shapeshifter you loved in Boardwalk Empire and Runaway) dreams of a massive storm with motor-oil rain, and he wakes up shaken. As the nightmares return night after night, they get more vivid, more violent and more reluctant to release him from their grasp — they cause him real injury, and their motifs creep into reality as hallucinations. He is gripped by fear on two conflicting fronts: he fears the apocalyptic storm he believes to be coming, from which he begins building an elaborate tornado shelter; and he fears he is mirroring his mother's decent into paranoid schizophrenia, which began when she, too, was in her thirties. Meanwhile, his observant and strong-willed wife, Samantha (Jessica Chastain), tries to keep him present in reality. If this sounds intense and slow burning, well, it is. It's also exquisitely, unostentatiously made, getting under your skin to make you feel jumpy, much like Curtis is. You're never really sure which eerie, pastoral scene is dream or reality until it's already gone way off-kilter. Take Shelter is out to make us rethink what we know about mental illness. It poses the question of whether Curtis is a patient or a prophet, and it opens the door to the latter prospect more than you might expect. It also builds to an unforgettable ending that may cause some controversy in the car on the way home. https://youtube.com/watch?v=1dzsmKv1GrA
