Because you can never have too many baked goods, North Bondi's Shuk are doubling down on Middle Eastern deliciousness of bread, cake and pastry kind. Come March 13, they'll be throwing open the doors to their second Mitchell Street location, launching a standalone Shuk Bakery just up the road from their original cafe. Where their first eatery serves up a hearty array of Mediterranean options from coconut yoghurt mousse to fatoush to chicken in Baharat spices, their second digs will cater for everyone that loves a sweet and savoury snack straight from the oven (that is, everyone). Expect everything from freshly baked loaves to desserts galore. If their existing bakery selection is anything to go by, expect tarts, eclairs, brownies, danishes, banana bread, cookies, scrolls and bagels — and expect to feel hungry just thinking about it. Shuk Bakery will operate seven days a week from 7am until 4pm, so daytime noshing just got a whole lot tastier. It joins not only the initial Shuk, but Shuk and Salt Meats Cheese co-venture Popina in showering Sydney tastebuds with Israeli-influenced fare. Find Shuk Bakery at 40 Mitchell Street, North Bondi from March 13. For more information, check out their Facebook page and Instagram feed.
Harry's has had a few incarnations now. It has evolved from convenience store to coffee bar, swallowing the neighbouring laundromat and emerging as a fully fledged cafe involving the designer behind White Rabbit Gallery's dumpling and tea room. But it's not until sunset that Harry's latest mode comes into view — a full-blown restaurant by Chris Karvelas and chef Bryan O'Callaghan. Together, they've taken the fine-tuned cheffy sensibility of O'Callaghan's former workplace, The Tilbury in Woolloomooloo, and trickled it into the beachy, open surrounds of the eastern suburbs. If the new dinner get-up is anything to go by (we haven't tried the new brekkie menu yet), the combination is working, and though the liquor licence is pending, the BYO vibes right now are working, too. Each plate is like a small garden — unfussy but utterly beautiful, and perfectly balanced. A salad of heirloom tomatoes and goat's curd ($16) has none of the overly sharp bite of many chevres, and is finely seasoned and dressed. Grilled sourdough alongside the tuna carpaccio with mayo and capers ($18) has just the right touch of garlic. Four to a serve, plump and sweet and creamy, the seared scallops ($18) are among the best we've tried. They appear alongside an even creamier parsnip and turmeric puree and pomegranate dressing, with the parsnips reappearing as crunchy slivered chips. The house-made gnocchi ($22) is purely, insanely delightful, and a textural marvel — a melting comfort food shiny with porcini butter and blanched kale. The desserts ($12 each) are winners too — interesting spins on chocolate mousse with blueberries and cake crumbs and tiny lemon balm leaves, and a silky coconut panna cotta with delicate raspberries and strawberries bringing the last bites of summer — but really, it's all about the house-made pasta and super-fresh seafood. Everything is done with care, and easily shareable. Harry's is a reminder of how lovely and generous cooking can be; a feat of skill and inventiveness that can brighten a guest's day and night. Many of the dishes are nominally Paleo, low-sugar, vegetarian and low-carb (it's Bondi, after all), but they don't feel it. The emphasis is just on the best local produce. Karvelas and his team have forged relationships with suppliers of eggs, fruit and veg, dairy, meats and seafoods, and the menu will change depending on what's around and good. After all, beautiful produce needs little done to it, and the food coming out of this kitchen is a testament to that. Like Harry's, Sydney's dining scene has endured many a permutation. Here's hoping that local and organic food isn't one such trend; it really should be the affordable standard, and Karvelas is slowly aiming to get the whole operation using it within the first year or so. Karvelas is such a kind host and O'Callaghan such a creative and skilful chef, Harry's could become a real Bondi institution.
Modern Bondi is the epicentre of all the latest health-food trends, so the desire for fresh and minimal intervention produce is in high demand. This is why Nio and Tony's is legendary in the area — the neighbourhood store has provided the goods since 1976, growing from a humble fruit and veg stall into a famously family-run grocery on Campbell Parade. Right by the beach at North Bondi, you can affordably fill a picnic basket with its carefully selected produce and skip down to the water in mere minutes. Live your best life — the locals do every day.
One of the most promising young Australian standups out there, Becky Lucas first caught our eye as one of the finalists of RAW Comedy in 2013. Since then she's opened for Wil Anderson, written for Josh Thomas' Please Like Me, and performed at the legendary UCB theatre in LA. Her new show, Baby, marks her second time at the Sydney Comedy Festival, and covers everything from depression and abortion to falling down the rabbit hole on Menulog.
Kate Mulvany can't seem to keep away from history's big bads at the moment. Fresh from a turn as Shakespeare's dastardly prince-killer Richard III, The Rasputin Affair is her latest written work, a study of the mystical Russian royal advisor and his infamous brushes with death. With Europe in the throes of the First World War, a small group of Russian dissidents decide to do away with the hypnotic holy man, Grigori Rasputin. The king, Tsar Nicholas II, considers him indispensable and the conspirators believe the only means of breaking the spell is to eject Weirdy-Beardy into the underworld. Their chosen weapon? A plate of poisoned cupcakes. But Rasputin hasn't gotten this far by falling prey to suspicious-smelling baked goods. He also claims to be a messenger from God. If the attempt succeeds, will the poisoners have knocked off a legit prophet? Since coming to power, Vladimir Putin has been an almost constant source of weirdness. The Rasputin Affair proves that he is simply continuing in a rich tradition.
Throw on the best gown your local op shop has in stock, because Heaps Gay and Vivid Sydney are throwing a fancy schmancy party. Taking over Sydney Town Hall on the Saturday of Queen's Birthday long weekend, the second annual Heaps Gay Qweens Ball will be headlined than none other than Vanessa Amorosi. Be prepared to throw your hands in the air to 'Absolutely Everybody' like it's 2000 once again. Joining her will be electro Sydney singer Kota Banks, popduo Collarbones and DJs including Mimi, Mowgli May and Fur Coat. Expect art, burlesque, drag shows and more. Oh, and did we mention the whole thing is sponsored by Young Henrys and Archie Rose? Needless to say, there'll be libations aplenty, as the party kicks on well into the night.
Birds chirp, rainbows form and the sun shines a little brighter over Moore Park when the Sydney Dog Lovers Show comes around. And it's returning to the Royal Hall of Industries and Hordern Pavilion for a fifth year of pats, licks and parades on the weekend of August 4 and 5. Yes, the dedicated puppy cuddle zone is returning. The Sydney Dog Lovers Show will see thousands of dedicated pooch fans celebrating the noble four-legged monarch of human companionship. There'll be dozens of furry friends available for adoption from dozens rescue groups across NSW in the adoption zone, where you can learn up on what's actually involved with the process. Plus, DockDogs is back, featuring a competitive long jump and high jump for talented dogs who want to flop into a pool of water. Dogs, amiright? But hold up — you came here to cuddle pooches. We're getting there. Punters can make their way to the Pat-a-Pooch zone to cuddle up to a wide range of Australia's most loveable and popular breeds from puppy to adult dogs — we're talking uppity dachshunds to fluffball samoyeds. This has undeniably been the main attraction of previous year's events, and gives kitten cafes a run for their money. There's plenty more happening over the two days of furry friended fun. Not sure which type of pooch is perfect for you? Sign up for a Perfect Match session where you'll be paired with your ultimate dog breed. Already found your tail-waggin' soulmate? Get some expert tips on training, behaviour, first-aid and nutrition in seminars by some of Australia's big name vets. Tickets are $20 if you buy before May 31. Everything is free (including cuddles) once you have purchased your ticket, obviously excepting food and drink.
The annual reason to not entirely obliterate yourself on New Year's Eve, Field Day, has announced announced one of its most all-round thumbs-up inducing lineups yet, with one big name at the top: Cardi B. With a shiny new album brimming with singles, Cardi B is heading Sydney for her very first show to play live pickings from newbie Invasion of Privacy. She'll be joined on stage by fellow Americans Migos, the insanely popular Rüfüs Du Sol, Scotland's synth-pop Chvrches, Australia's beloved beats duo Flight Facilities and electro legend Bonobo, among one heck of a killer lineup. Local legends aren't scarce this year, either, with the likes of Amy Shark, Mallrat, Alice Ivy and more locked in for NYD sets. Returning to The Domain on New Year's Day, January 1, 2019, Field Day proves once again that some lineups are worth skipping the last NYE UDL for. FIELD DAY 2019 LINEUP AJ Tracey Alice Ivy Amy Shark Bishop Briggs Bonobo (DJ set) Cardi B Chvrches Duke Dumont Fisher Flight Facilities Habstrakt Hobo Johnson Kölsh Luude Mahalia Mallrat Migos Mija Peggy Guo Rüfüs Du Sol Sonny Fodera Superduperkyle Tchami X Malaa (No Redemption) Whethan Image: Field Day/AP Photography.
As with most DC universe superhero stories, Wonder Woman isn't aiming for lofty heights. Which is probably a good thing, because it hits right in the middle. We saw the superheroine appear briefly in Batman vs. Superman, where she was far and away the best part of the film. Now, in her origin movie, we get to see where she came from. Wonder Woman, Diana Prince, or Princess Diana of Themyscira (Gal Gadot), is raised on the secret island of Themyscira, home of the Amazons. When American soldier Steve Trevor (Chris Pine) washes up on their island, Diana defies her mother Hippolyta (Connie Nielsen) by freeing him, before setting out to help humanity escape from, what she infers must be, the wicked influence of Ares the God of War (the Amazons are supposedly tasked with protecting humanity from Ares, although they seem to mostly just chill on their island). Diana and Steve sail to London in a dinghy, and travel to the front of World War I to find the wellspring of evil and end the war. Rollicking adventures soon ensue. As a narrative, Wonder Woman leaves plenty to be desired; a standard hero's quest but without elegance or depth. Words like 'love' and 'innocent lives' and 'protect humanity' are thrown around until they lose all meaning – although apparently, German soldiers do not count as humanity since the film sees them slaughtered in droves. The horrific trench warfare of WW1 is once again co-opted as gritty texture in an otherwise textureless film. Director Patty Jenkins manages to tick all the boxes of the worn out genre: fast-paced fight scenes, goodies versus baddies, a smattering of humour and a dramatic final showdown. If you're into caped crusaders, Wonder Woman is still probably worth your time. It's also good to see a superhero film with a strong female cohort – Gadot in front of camera, Jenkins behind, an island full of Amazonian warriors, and Elena Anaya playing the wicked Doctor Poison. And yet it's still basically impossible to call Wonder Woman a feminist film. For all the buzz about female empowerment, the movie falls prey to the same tired, sexist tropes that define all male-dominated movie franchises. We're talking blatant objectification, lack of agency, and outdated stereotypes. Diana is superhuman, with a whip that compels truthfulness and magic wrist guards that deflect bullets. She speaks over a hundred languages and has literally been raised from birth on an island surrounded by fierce fighting women. And yet everywhere she goes, she's greeted with comments about how smokin' hot she is. Can you imagine anyone doing that to Batman? Steve Trevor helps her off a boat and steers her through the streets of London with a possessive hand on her arm. He bosses her around. The men in her ragtag gang see her destroy a church and flip over a tank, but they don't quite believe she knows what she's talking about when it comes to strategy. They simply refuse to let her infiltrate the gala seething with German high command. At the end of the day, the woman is saddled with the same old shit – just as a protagonist and not a one-dimensional narrative device. At the end of the day, if you're just looking for another superhero flick, Wonder Woman should suit you just fine. But if you were hoping to see something revolutionary in terms of the representation of women, prepare to be bitterly disappointed. https://www.youtube.com/watch?v=1Q8fG0TtVAY
While Sydney may be best-known for its sparkling beaches and rooftop bars, it is most magical in winter. And this year, it'll be even more spectacular thanks to the launch of Sydney Solstice. The new two-week event is taking over more than 200 bars, restaurants, art galleries and live music venues across multiple suburbs for a series of pop-ups, gigs and light shows that'll convince even the sleepiest of bears to skip hibernation. Running from Tuesday, June 8 till Sunday, June 20, Sydney Solstice's calendar is large — very large. So, to save you scrolling for hours, we've teamed up with NSW Government via Destination NSW to round up ten highlights, which you should add to your calendar ASAP. Dust off your winter woollies and prepare for a winter of debaucherous feasts, nightclubs inside aquariums and music-filled stargazing sessions.
It's that time of the year when all the big production companies tantalise us with their upcoming seasons and we start saving our pennies so we can catch them all. The Sydney Theatre Company has revealed a powerhouse lineup for their 2017 season — and let's just say you might want to invest in a piggy bank because your theatre budget is about to increase threefold. The program is incredibly diverse and we're so stoked to see a long list of women both on stage and behind the scenes. Of the fifteen shows played across four venues, some of the highlights include: Black is the New White. The latest from Indigenous actor and writer Nakkiah Lui. Directed by Paige Rattray, it will follow the story of the Gibson family siblings as they try to make their mark on the world and make their parents proud. However, it's all disrupted when one of them brings an unexpected boyfriend to dinner. Three Sisters. An adaptation of Anton Chekhov original by Andrew Upton. The play follows the story of the orphaned Prozorov sisters as they try to make it to Moscow and freedom. Muriel's Wedding: The Musical. Yes, you read right. Your favourite film of the '90s is back and on-stage. Kate Miller-Heidke and Kier Nuttall are on the tunes, adapting old ABBA classics as the story follows a new age Muriel (with a Twitter account and all) as she negotiates her way through having everything she's ever wanted. The Bleeding Tree. A co-production by STC and the Griffith Theatre Company, this play has already won a raft of awards and promises elements of suspense, comedy and a little bit of murder all thrown together while telling the tale of women fighting back against spousal abuse. For the full 2017 program and to buy tickets, head to sydneytheatre.com.au.
For some, The Jungle Book inspires fond memories of pouring over Rudyard Kipling's stories. For many others, the 1967 animated film springs to mind. But whichever one you think of first, they're both covered in the new live-action take on the tale. Directed by Jon Favreau (Iron Man), consider this latest version a best-of package fans of each might have hoped for. It's no easy feat, balancing the darker material seen on the page while still embracing the fun and amusement experienced in the cartoon. But Favreau and company certainly don't shy away from a challenge. Indeed, from the moment the introductory Disney logo gives way to a zoom back through intricately rendered wildlife, The Jungle Book's ambitions are clear. The first frames of the film look so authentic that audiences might just have to resist the urge to reach out and touch them. Of course, viewers aren't the only ones steeped in such a striking environment. On screen, man-cub Mowgli (Neel Sethi) has spent his entire childhood in the jungle. Found as a baby by wise panther Bagheera (voiced by Ben Kingsley), and raised by wolves Raksha (Lupita Nyong'o) and Akela (Giancarlo Esposito), he's happy and at home in the animal kingdom. But tiger Shere Khan (Idris Elba) has murder on his mind. To keep Mowgli safe, Bagheera endeavours to escort the boy to the nearest human settlement, a trek that intersects with seductive snake Kaa (Scarlett Johansson), laid-back bear Baloo (Bill Murray) and giant primate King Louie (Christopher Walken). As Mowgli's story deepens, so does The Jungle Book's aesthetic wizardry. The film's hordes of special effects experts haven't just made every swinging vine, stream of water and glimmering ray of sunshine look just like the real thing; they've made the talking animals seem believable as well. Using 3D to add depth within the frame further enhances the sense of photo-realism, as does the seamless blend of Sethi's performance with his motion-captured creature counterparts. In fact, believing that the entire feature was filmed on a sound stage in Los Angeles, and not on location, is practically impossible. Appearing the part isn't just crucial as far as the entire concept is concerned. It also helps the narrative, episodic as it may be, glide along. It also ensures that when a bear starts singing with the voice of Murray, or a snake's hissing sounds like Johansson, it feels fitting. Favreau understands the need to use everything at his disposal to immerse audiences in another world, be it a rousing score sprinkled with a few familiar tunes, or a fresh face who embodies a winning sense of adventure. Accordingly, when it comes to turning The Jungle Book into a live-action spectacular, his engaging attempt more than covers the bare necessities. And of course, it'll get that catchy track stuck in your head too.
The National Indigenous Art Fair returns to Gadigal, aka Sydney, for its sixth edition this July, bringing together renowned and emerging Indigenous artists from some of Australia's most remote communities. And just in time for the first weekend of the school holidays, the team has announced a cultural activity program for kids and families. Best of all, it's free with adults paying $3 entry. Presented from Saturday, July 5–Sunday, July 6, at the Overseas Passenger Terminal in The Rocks, the two-day Little Mobs program invites young visitors to get hands-on with art, nature, movement and culture. Guided by First Nations artists and Elders, this is your little one's chance to immerse themselves in ochre painting, gumnut jewellery-making, shellwork and more. Set to spark their imagination alight, these engaging drop-in workshops not only teach valuable creative skills, but also offer a deeper understanding of Country, culture and community. Meanwhile, the event also features inclusive dance workshops led by renowned Indigenous organisations, like Budja Budja Butterfly Dance Group and Brolga Dance Academy. "This is a wonderful opportunity for children to learn, connect and create alongside Indigenous artists from across Australia," says Peter Cooley, CEO of First Hand Solutions Aboriginal Corporation. "It's a program full of joy and meaning, perfect for families kicking off their school holidays." Images: Paul McMillan.
When it comes to Hawke's Brewing Co, the answer to the obvious question is yes. This brew does indeed pay tribute to former Australian Prime Minister Bob Hawke, who was known for his hefty love of beer (and for drinking it quickly). And, when the late politician agreed to become involved with the brewery, he decided to donate 100 percent of his royalties to environmental charity Landcare Australia. That's Hawke's Brewing Co's story, and it's a great one. As for the brews, expect easy-drinking craft beers. That's the case whether you're keen on a lightly bitter lager, a floral-scented pale ale or the hoppy concoction that is the Hawke's Underdog. And, if you head to the company's online store, you can also peruse its range of merchandise — t-shirts, jumpers, trucker caps, eskys and coolers included.
Come with us on now, on a journey through time and space, to the world of Behind The Boosh. You may not hear those words spoken aloud when you walk into the exhibition celebrating British comedy troupe The Mighty Boosh, but fans will think them. When you're peering at behind-the-scenes peeks into Julian Barratt and Noel Fielding's hilarious and surreal creation, as snapped by fellow group member Dave Brown, that's the very first thing that should come to mind. A part of all things Boosh since the troupe was first formed in the 90s, Brown played Bollo the Gorilla, Naan bread, Black Frost and Australian zookeeper Joey Moose. He's also taken care of tour posters, DVDs, set graphics and merchandise; compiled and designed The Mighty Book of Boosh; and had a hand in Boosh music and choreography. And, he's been snapping away with his camera — the results of which are gracing this photography showcase. There aren't enough elbow patches in the world for this exhibition, or shoes filled with Baileys. Whether or nor you can find either — or the black hair dye and strong hairspray needed to get Vince Noir-style locks, green Old Gregg-esque body paint or 60s-era suits that look like they've been taken straight from Howard Moon's wardrobe — heading to Sydney's M2 Gallery from Wednesday, August 2–Sunday, August 6 means getting a glimpse into the minds behind The Mighty Boosh's stage shows and radio series, and obviously the three-season TV gem also called The Mighty Boosh. Brown's two decades of images traverse a history that saw The Boosh become a live smash at the Edinburgh and Melbourne Comedy Festivals, then a 00s cult hit on the small screen. These days, Fielding might co-present The Great British Bake Off and do team captain duties on Never Mind the Buzzcocks, while Barratt has been playing a part in The Great, but they'll always been known for The Boosh. Brown is also in Australia with the exhibition, and doing an artist talk to chat through his work — and being part of a troupe, plus their various onstage and on-screen shows, where anything could happen — on Saturday, August 5. In Sydney as well, Brown will hit the decks at Redfern Surf Club's Surfapolooza festival, also on Saturday, August 5. Images: Dave Brown.
Located inside Harris Farm in Manly, The Butcher & The Chef specialises in grass-fed and ethical cuts of meat. With over 20 years of experience in the butchery industry, this place is for anyone who wants to make better choices regarding what they're putting on their plate. Head here to do your weekly meat shop — or to stock up the fridge and freezer. Beyond prime cuts, you can also grab handmade pies, bone broth and fancier meats like chicken leg fillets with chorizo and gorgonzola, and cold cuts like saucisson, pancetta and truffle salami. And, yep, you can order it all online, too.
UPDATE: Friday, August 6 2021 — In light of Greater Sydney's current COVID-19 situation, Vivid Sydney has been cancelled for 2021 and plans to return next winter instead. For more information, visit the event's website. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Now in its twelfth year, Vivid Sydney has undeniably become one of the biggest cultural events in the country and, from August 6–28, the blockbuster festival will once again transform the harbour city. Make the most of the last weeks of winter by exploring the epic program of luminous light, live tunes and thought-provoking talks. There's so much to do and see this year, that you're going to have to get organised so as to not miss out on any of the action. To help you create your shortlist, we've teamed up with Vivid Sydney to round up eight picks that'll make you think, dance and gaze in wonder — and get you falling in love with the harbour city all over again.
This July, the AGNSW dives deep into its massive collection to presents some of its favourite large-scale installations — some of which haven't been displayed for years. With installations made from light, sound, spices, fabric and air, Spacemakers and Roomshakers showcases some rarely seen works, with visitors set to have their senses accosted by the holistic creations on display. Highlights include Brazilian Ernesto Neto's Just like drops in time, nothing (2002), which uses fabrics infused with masses of aromatic spices to attack your senses. The installation is overwhelming — purposely — as it combines its floor-to-ceiling size with intense smells. Also on display is Australian Nick Savvas' Atomic: full of love, full of wonder (2005), which interlinks thousands of coloured balls to create a 'shimmering haze'. Reflecting on the fundamental role of atoms as building blocks, Savvas was inspired to create the work after living in dreary London and recalling what Australia's red earth looked like. Alongside video art, 'alien toy' collages and more, Spacemakers and Roomshakers invites AGNSW visitors to be drawn into these carefully constructed and distinctive sensory worlds. Images 1 & 2: Nike Savvas 'Atomic: full of love, full of wonder (2005). Image 3: Ernesto Neto 'Just like drops in time, nothin' (2002). All images courtesy of the AGNSW
Politics and religion are two topics that should never be broached with strangers. Unless, it seems, you are at the Sydney Opera House. Recently, the Opera House has hosted a number of big-hitter and controversial intellectuals, including the political activist Noam Chomsky and religious philosopher Daniel Dennett. Now here comes the militant atheist might of Richard Dawkins. Dawkins is one of today's most prominent scientists, atheists and religious sceptics. As one of the leaders of the atheist movement, he is known for his unrelenting criticism of non-scientific (read: religious) views of creation. Although be warned: Dawkins is not for the faint-hearted. When it comes to evolution and religion, few are bolder than this mild-mannered Englishman. Yet perhaps in the wake of Alain de Botton's 'Atheism 2.0' (also at the Sydney Opera House), Dawkins has softened his hard-lined approach, replacing religious mockery with appraisal of scientific beauty. In this talk he heralds the 'magic of scientific reality' as being more beautiful than anything conjured up by a magical deity. In conversation with theoretical physicist Lawrence Krauss, Dawkins promises a 'family friendly' approach to evolution and religion. Although you have been warned.
The benefits of yoga aren't exactly a secret. It can help you focus your mind, hone your body, and even practice your dance moves. Unfortunately, picking it up can be rather intimidating,, and your first few sessions will mostly just make you feel like a gangly, uncoordinated klutz. Fortunately, Bondi has one of the best yoga studios in Sydney, and they offer great deals for new students. At BodyMindLife Bondi you can get a 30-day beginner membership for just $48, giving you unlimited yoga access. As you grow more experienced you can try various different classes, participate in Pilates and check out regular community events and workshops featuring yogi guests from all around the world. Their yogi lounge even has complimentary herbal tea, so you can unwind after a sequence. Best of all, memberships are valid at any BodyMindLife studio, meaning you can drop by their locations in Surry Hills, Redfern and Potts Point too.
We're always looking for an excuse to indulge and an international celebration for everyone's favourite sweet seems as good a reason as any. This Saturday, July 7 is World Chocolate Day, and, as you would expect, Australia's oldest family-owned bean-to-bar chocolate maker, Haigh's Chocolates, is ready to celebrate the good stuff. Haigh's Chocolates certainly knows a thing or two about delicious artisan choc, seeing how it's been crafting chocolate from raw cocoa beans since 1915. The Adelaidean chocolate purveyors now offer more than 250 different specialist varieties produced at its SA-based factory. This Saturday, Haigh's will be offering free delivery on online purchases for purchases over $25. And, if you visit a Haigh's store, staff will be handing out free chocolate frogs. And to treat you, our lovely readers, even further, Haigh's has given us $200 for one of you to spend at any Haigh's Chocolates store or online. Enter below, and you could turn World Chocolate Day into World Chocolate Month with your winnings. Once you've entered, make sure you also save this Haigh's chocolate fondant recipe to try with your winning haul. INGREDIENTS: 150 grams Haigh's 70 percent dark chocolate pastilles, roughly chopped 150 grams unsalted butter, plus extra for greasing, cut into cubes 200 grams light brown sugar 4 large eggs 1 large egg yolk 1 teaspoon vanilla extract 1/2 cup (75 grams) plain flour, sifted Cocoa powder, to dust DIRECTIONS: Pre-heat oven to 200°C (180°C fan-forced). Grease the inside of six dariole moulds or ramekins. Place butter and chocolate together in a medium mixing bowl over a saucepan of barely simmering water, stirring occasionally until melted and smooth. Add sugar, stirring to combine and remove from heat. In a separate bowl, combine eggs, yolk and vanilla together, stirring until combined. Add to the chocolate mixture, stirring until well combined. Sift the flour over the chocolate mixture, stirring until well combined. Divide mixture between prepared dariole moulds, making sure each mould is no more than 2/3 full. Place dariole moulds in preheated oven and cook for 15 minutes or until tops are set and coming away from the moulds. Remove from oven and allow to stand for one minute. To serve, use a small spatula to very gently ease the fondant away from the edge of the mould. Carefully invert each mould onto small serving plates and dust with cocoa powder. Serve with a dollop of jersey cream and fresh raspberries. Note: filled dariole moulds can be chilled ahead and baked just before serving. [competition]675143[/competition]
This is karaoke attached to ten-pin bowling, and possibly a spot of laser skirmish if you're keen. Strike charges per room, as opposed to per person, so it works out well if you're in a big group. All the rooms are immaculately themed and clean - there's the polka dot room, the Victorian boudoir, the executive party room, and there's a pretty flash touch screen to order your songs, but sadly no soft-filter video clips to accompany your choices. Moreover, there's a prop box with wigs and over-sized glasses to enhance your performance, and a couple of tambourines and maracas to add a bit of pizzazz to your performance. They've also got an excellent menu of snacks and a decent bar serving cocktails for your tipsy lady-friends.
Recognised as one of the most exciting film industries in Asia, the Korean cinema scene has been knocking it out of the park for years now — without it, we wouldn't have Bong Joon-ho's Okja and Snowpiercer, or Park Chan-wook's Stoker and The Handmaiden, for example. And the fact that neither directors have made the bill at the 2017 Korean Film Festival in Australia shows just how much talent the country has to choose from. Basically, there's plenty of other filmmaking greats where they came from. This year's KOFFIA, the festival's eighth, features straight-from-Cannes flicks, cinematic masters delivering their newest hits and many a movie in between. Boasting 24 films on its national lineup, the festival will kick off its Sydney leg on August 17 with The World of Us, a thoughtful drama about bullying and friendship, before coming to a close on August 26 with crime-thriller The Queen of Crime. Other highlights include Hong Sang-soo's fourth film in less than a year, The Day After, plus martial arts-filled assassin flick The Villainess, which has earned comparisons to Kill Bill. Also on the program animated zombie onslaught Seoul Station, the companion piece to last year's kinetic live-action effort Train to Busan, The Net, the latest from divisive auteur Kim Ki-duk, and a serial killer stalking down an amateur singing haunt in Karaoke Crazies.
It's with a wink and a nod that Ladj Ly names his Cannes prize-winning, Oscar-nominated crime-thriller after one of the most famous French works there is: Les Misérables. And it's with the same irreverent spirit that the first-time feature director lets audiences literally hear the people sing in the movie's opening moments, even though this definitely isn't a musical. Set in 2018, the film's early crowds are belting out 'La Marseillaise'. France has just won the FIFA World Cup, Avenue des Champs-Élysées is alive with soccer fans waving flags and celebrating, and everyone is chanting the national anthem with beaming pride. Shot documentary-style, the city's residents couldn't be more joyous, including when the movie's moniker — literal translation: the miserables — is humorously splashed across the screen. But, despite the ecstatic scenes that kickstart Ly's feature, this is still a rousing cinematic song of angry Parisians. Nearing 160 years since Victor Hugo immortalised the Montfermeil commune, using the Paris district as a key setting in his well-known work, this Les Misérables heads there to tell a different story. Or, to be exact, to explore comparable themes in contemporary France — and to interrogate the reality of life in Les Bosquets housing estates in one of the capital's banlieues. The latter and their communities have featured in the likes of 1995's La Haine and 2014's Girlhood before, two hands-down French movie masterpieces, but the approach here is especially inspired. Drawing parallels with a globally known, much-adapted, long-popular classic to shine a spotlight on modern-day class and cultural clashes is smart and savvy and, in the hands of a filmmaker from the area who is already known for making documentaries about the area, results in a particularly compelling and confronting piece of cinema. Every neighbourhood bubbles with stories. So, focusing on Les Bosquets, Ly relays as many tales as he can. With propulsive and fittingly restless energy, his film flits between the locale's cops, kids and gangs — with struggles between all three groups reaching boiling point over the course of two summery and eventful days. The catalysts: familiar prejudices, long-held beefs, a stolen lion, a wrongful shooting and some controversial drone footage. Anti-crime brigade officers Chris (The Eddy's Alexis Manenti), Gwada (C'est tout pour moi's Djebril Zonga) and the newly transferred Stéphane (Dunkirk's Damien Bonnard) are never far from the trouble, sometimes causing it, sometimes trying to stop it. But two local adolescents also play pivotal parts, with young Issa (debutant Issa Perica) responsible for the jungle cat missing from a visiting circus troupe and shy teen Buzz (fellow newcomer Al-Hassan Ly) the owner of the highly sought-after drone. While Les Misérables takes place just two years ago, Ly, actor and scribe Manenti, and their co-screenwriter Giordano Gederlini (Mother's Instinct) use events from a decade earlier as their basis, with Montfermeil one of the sites of the 2005 French riots. Ly's documentary short 365 Days in Montfermeil chronicled the chaos and the police brutality from the inside, as shot at the time — but here, he dramatises it. It's no wonder, then, that Les Misérables proves unrelentingly terse and always on edge, as well vehemently unafraid to filter real-world unrest through every frame. It's just as unsurprising that it isn't always subtle, but given the complicated terrain that it traverses, it needn't be. As a portrait of social tensions drawn from real-life situations, this is a film of explosive emotional and visceral power even when it's clearly lacking in nuance. Les Misérables makes a range of statements, including pondering the powder-keg banlieue environment, as well as the similarities between the film's cops, children and thugs — all of whom, in their own ways, are trying to get by. Ly contemplates how one event can escalate, detonate and spark a chain of chaos, and, Hugo-style, how insurrectionary acts come about. There's a message in the simple act of calling upon the riots the filmmaker lived through for a movie set years later, too, and it's one of Les Misérables' most potent. The idea that Ly's fictionalised story doesn't just lift details from reality, but that its ins and outs have never stopped being relevant to or reflective of life in Les Bosquets, purposefully hits hard. Also having an impact, and by design: the jittery on-the-ground camerawork that conveys tension, terror and heartbreak in equal measures; and the sky-high, bird's-eye drone footage that reminds viewers visually about perspective and the bigger picture. Indeed, Ly and his cinematographer Julien Poupard (Divines) ensure audiences feel like they're traversing Montfermeil's streets, and that they've seen every corner of the area from every angle as well. The urgent electronic score by Pink Noise does a cracking job of setting the mood, as does the brisk pace set by editor Flora Volpeliere (The Hookup Plan). And, cast-wise, Les Misérables' experienced actors and fresh faces alike all impart a sense of authenticity. By the time all of the above has worked its magic, no one is singing 'La Marseillaise' exuberantly, of course, but viewers have witnessed a stunning film with revolution at its heart. https://www.youtube.com/watch?v=TIsEZ2tTavU&t=6s
Giving new meaning to the idea of speaking with one’s hands, The Colour of Saying by Paris- and Sydney-based artist Angelica Mesiti is an exploration of non-verbal expression. This multichannel video work is woven from music, movement and silence. It is the result of a workshop led by Mesiti in Sweden. Set within a white landscape, the work incorporates a diverse group of performers — dancers, musicians and a sign language choir. Praised for the cinematic quality of her practice, Mesiti has been tapping into different cultures and methods of communication for some time now. On display at Anna Schwartz Gallery, this alluring take on the spectrum of human interaction is likely to uphold her reputation.
A few years ago, Sydney was whistling a hesitant tune when it came to the beauty of craft beer, with Sydney Craft Beer Week consisting of only a handful of events. Now in its fourth year, SCBW has grown to be a massive affair, involving over 100 crafty, boozy events from October 18-26. Sydneysiders have begun jumping on the bandwagon of the microbrew. Just as the first sweltering days of the season descend on Sydney, brewers far and wide are becoming our heroes with their individual take on the much-loved frosty beverage. This year we recommend you have some beer in your pastries, try some brews spiked with Australian native flavours, get messy with whole crabs and Batch Brewing, and get stuffed with three pigs on spits and a whole lot of Stone & Wood. They're all in our top ten picks of the festival over here.
With his Edward Scissorhands hair and big staring eyes enlarged with his wife's eyeliner, Tim Minchin has made a name for himself as Australia's most ridiculously talented comedian and musician. In what seems like a surprising, but genius, move, he's taking to the road again, but this time he's bringing a 55-piece orchestra with him. Tim Minchin's most well-known songs include the 'Peace Anthem For Palestine,' which implores "if you don't eat pigs and we don't eat pigs why not not eat pigs together," 'Inflatable You,' about a man's love for his inflatable, anatomically correct lady friend, and 'If You Really Loved Me,' which outlines the reasons why real love is letting someone videotape you while you pee. The Sydney Symphony, on the other hand, is generally associated with more civilized fare, and seen by most of us at the free events they put on in the Domain during the summer. So surely, the combination of the two has to be a glorious thing. The show will combine new material that Minchin has specifically written with his orchestra in mind, as well as his more familiar songs. Tickets have been selling fast, and while the Opera House has added some extra dates it's probably a good idea to get in while you can for what will surely be an awesomely funny show. https://youtube.com/watch?v=ZGzhutyOMSk
Imagine for a moment if Peter Parker hadn't been such a nice kid. Imagine if that shy orphan teenager, ignored by girls and bullied by guys, suddenly found himself possessed of spider-like abilities but instead of deciding to help mankind he chose to exact revenge upon all who'd spurned him. Put another way, what if Peter Parker had found his uncle's shotgun instead of the ability to cast a web and then some dumb jock had thrown one too many milkshakes into his face? Chronicle, by first-time director Josh Trank, shows us how things might have turned out. It tells the story of three teenagers suddenly gifted telekinetic powers following their chance encounter with a mysterious subterranean glowing crystal (you know, a tale as old as time). The whole affair is conveniently captured on film thanks to the decision by Andrew (Dane DeHaan) to begin chronicling (wink) his entire life, thereby placing this film as the latest entry in the burgeoning 'found footage' genre (think Blair Witch Project, Paranormal Activity and Cloverfield). While at first Chronicle may seem like just another superhero origins story, it quickly becomes something much more thanks to the angry and troubled loner twist. Abused by his drunken father and ignored or bullied by his classmates, the newfound superpower ironically offers Andrew normalcy until — as his cousin ominously portends — hubris ultimately takes hold and vengeance begins to trump acceptance. From that moment on there's an eerie Akira-meets-Columbine feel to the whole thing; an unsettling yet familiar study of what can happen when angry, troubled youths find themselves in possession of something devastating and lethal. https://youtube.com/watch?v=L0moMB9qjMc
They said Dead Europe would be unfilmable. As a novel, Dead Europe, written by Christos Tsiolkas in 2005, is dense, sprawling, and frequently horrifying. Yet a film version has been made, however challenging that may have been. Dead Europe is the second feature film from Tony Krawitz, whose previous work includes Jewboy and the 2011 documentary The Tall Man, with a team of producers behind it whose resumes boast films such as Shame and Animal Kingdom. What is remarkable about it is that very few films deliver the same kind of visceral impact as Dead Europe, and even fewer deal with the generally abstract themes of memory, history, and commodity capitalism in a way that leaves you shaking when you leave the theatre. There have been few Australian films made like this one. The film addresses the sins of the past, and the way in which we continue to be haunted by apocryphal stories we frequently refuse to acknowledge. The story sees Isaac (Ewen Leslie), the son of Greek migrant parents, return to Greece to scatter his father's ashes. He gets wasted, he has sex, and he observes the underbelly of Europe, a place haunted by the atrocities of the 20th century to such an extent that Isaac's own family's past slowly begins to torment him in the spectral form of Josef, a young boy played by The Road's Kodi Smit-McPhee. The film is in part a psychological thriller — something akin to the heathen child of Rosemary's Baby and Lilya 4-Ever — with the audience never sure whether the presence haunting Isaac is real or simply a figment of his imagination. Yet it is also an unflinching view of Europe, and the ways in which people simply are not good to each other. The problems with the film emerge if you've read the book. An adaptation of a novel is a tricky thing, because there is always some expectation that the filmmakers will attempt to maintain the integrity of the book. Yet the cinematic adaptation of Dead Europe is so far removed from the novel — in the changes to the plot, the setting, and the ending of the film — that it seems almost misleading to give it the same title. It says something very different to Tsiolkas's novel, and in that respect it would be best to think of the works as companion pieces. But as a stand-alone film, Dead Europe is beautiful, visceral, and utterly remarkable. It is arguably one of the best Australian films we've seen in recent years. Read our interview with director Tony Krawitz here. https://youtube.com/watch?v=XrNnofw8CQw
Forbidden love — so much more appealing than ordinary, feasible love. Centuries ago a Frenchman called Jean Racine adapted a play by Euripides which British poet laureate Ted Hughes later spent the last few months of his life translating, perhaps as a sort of self-imposed penitentiary act for not protecting his partner in poetry, Sylvia Plath, from her own passionately wrought fantasies. Hughes' highly regarded free verse translation of Phedre has been adapted for the stage by the Bell Shakespeare Company. The plot is a psychologically compelling, proper Greek tragedy complete with pathos, jealousy and screaming frustration. The character Phedre is a cursed, cougar-esque queen afflicted with an all-consuming passion for her stepson Hippolytus — ignore the name, he's a handsome if diffident 'objet d'adoration'. Fatefully, Phedre's husband Theseus is missing, presumed dead. At the encouragement of her well-meaning nursemaid Oenone, Phedre decides to confess her dangerous and libidinous obsession to the boy in the hopes that he will respond with equal passion. Instead, Hippolytus backs away from the raving madwoman in her stilettos and tight pants in horror, as his pursuer stumbles across the stage, half-crippled by her unrequited lust. It's an unfortunate time for Theseus to return unexpectedly home — literally from Hell. Hell hath no fury like a woman forced to think on the spot of how she became so visibly distressed. Phedre accuses Hippolytus of rape and Theseus promptly invokes the power of Neptune to curse his son, who retreats quite understandably to the blonde and barefooted Aricia with a view to intertangling limbs and lives. Director Peter Evans highlights how our lives can become defined by destructive relationships — both with ourselves and with others — if we allow them to. From the scratchy heartbeat of the fitful soundscape to the frenzied intensity of an apparently powerful woman seeking control in a world where female control just isn't possible, it's easy to identify with her quest and subsequent failure to achieve fulfillment. Her powerlessness turns love into mania and passion into a destructive force. The male characters are victims, too; Theseus too readily believes his son is a rapist, perhaps because of his own philandering history. His realisation that he's got it fatally wrong comes much, much too late. Some stories transcend space and time and Phedre remains a remarkably compelling psychodrama in the context of contemporary life. Anna Cordingley's set is as damaged as the characters' hearts and Hughes' translation is lean, mean and lyrical. The most tragic thing about Phedre is that she realises how the contamination of her consciousness is self-induced: the foregone conclusion of forbidden love. This review is based on the Melbourne run of the production, which ran in May 2013. Photo by Rush.
Forgetting, fixating, flailing, fraying: that's The Father. Anthony's (Anthony Hopkins, Westworld) life is unravelling, with his daughter Anne (Olivia Colman, The Crown) springing the sudden news that she's about to move to Paris, and now insistent that he needs a new carer to replace the last home helper he's just scared off. He also can't find his watch, and time seems to jump suddenly. On some days, he has just trundled out of bed to greet the morning when Anne advises that dinner, not breakfast, is being served. When he brings up her French relocation again, she frostily and dismissively denies any knowledge. Sometimes another man (Mark Gatiss, Dracula) stalks around Anthony's London apartment, calling himself Anne's husband. Sometimes the flat isn't his own at all and, on occasion, both Anne (Olivia Williams, Victoria and Abdul) and her partner (Rufus Sewell, Judy) look completely different. Intermittently, Anthony either charms or spits cruel words at Laura (Imogen Poots, Black Christmas), the latest aide hired to oversee his days. She reminds him of another daughter, one he's sure he had — and preferred — but hasn't heard from for years. When he mentions his other offspring, however, everyone else goes silent. More than once, Anthony suspects that someone has pilfered his beloved timepiece, which just keeps disappearing. Largely, The Father remains housebound. For the bulk of its 97 minutes, it focuses on the cardigan-wearing Anthony as he roams around the space he calls home. But this is a chaotic film, despite its visual polish, and that mess, confusion and upheaval is entirely by design. All the shifting and changing — big and small details alike, and faces and places, too — speak to the reason Anne keeps telling Anthony they need another set of hands around the house. His memory isn't what it used to be. In fact, it's getting much worse than that. Anthony knows that there's something funny going on, which is how he describes it when his sense of what's happening twists and morphs without warning, and The Father's audience are being immersed in that truth. Anthony has dementia, with conveying precisely how that feels for him the main aim of this six-time Oscar-nominated stage-to-screen adaptation, which novelist and playwright turned first-time director Florian Zeller has helmed based on Le Père, his own play. In a looping, winding, structurally savvy screenplay by Zeller and Christopher Hampton (an Academy Award-winner for Dangerous Liaisons) that plays out like a puzzle, disorientation is the key tool. Sometimes the change in details is subtle, as one well-appointed, high-ceilinged abode with views of the street below gives way to another. At other times, the contrast is sharp and jarring, and Anthony reacts accordingly. The Father does an extraordinary job of placing its viewers in the octogenarian's head, making them endure the same jolts and jumps, and share the same disarray and loss. And make no mistake: to feel as though your grip on what's real and right in front of you is slipping is something to be mourned. Also superbly handled in the script, and in Hopkins' powerhouse performance, is the fact that Anthony is caught between two extremes. Not only to himself, but to Anne, Laura and that man that's sometimes present, he often seems enough like his old self that little appears wrong. That sensation can linger, but it can also pass in an instant — just as he can segue from fact to fantasy in the blink of an eye as he spins stories and reflects upon memories, and from merriment to menace in his mood as well. Bearing witness to Anthony's experience doesn't just inspire horror in an empathetic fashion. Feeling for anyone in such circumstances is an innate reaction, so it still does just that, but it also evokes a visceral response. Ageing is something that we all aspire to, given that the alternative is dying young — and the physical and mental deterioration that comes with the passing years is one of life's universal fears. The Father reflects this not only by putting its audience in Anthony's shoes, but also by observing how both of its two main characters handle this simultaneously evolving and devolving situation. While Anne bears the weight of her father's decline in a dissimilar way, obviously, her life has been equally affected. Balance is one of The Father's masterstrokes, getting its viewers thinking of their own futures as well as of those they love. No one can escape this subject matter, after all, and no one can evade the film's devastating and heartbreaking gaze, either. A titan of cinema for decades — with 2021 marking 30 years since he frightened his way into celluloid history as Hannibal Lecter — Hopkins is similarly unavoidable. He's an actor with physical presence, inescapable command, that booming voice and a way of demanding that every set of eyes peers his way, and his well-established talents and traits are all on offer in The Father. As Anthony's condition worsens, he also displays remarkable fragility and vulnerability. Aided by Ben Smithard's (Downton Abbey) incisive cinematography, he can tower over everyone in the room and then shrink into its corners. In one late shot — the movie's most haunting — he's infantilised by the scenario and the camerawork in tandem, and it's utterly shattering. In the film as a whole and in Hopkins' performance, sentiment has no place. Indeed, The Father and its star are ruthless in conveying Anthony's inner state and overall journey. The more recent Oscar-winner among cast (and a nominee this year again, alongside Hopkins), Colman is remarkable in a different manner. Her version of Anne is weary, plagued by sorrow and trying to soldier on all at once, and hers is the epitome of a layered portrayal. She weathers Hopkins' charisma, savagery and uncertainty, but she's unselfish in every scene. This is a generous film all-round, even in its darkest moments. As overwhelming as The Father can be as it wades through Anthony and Anne's lives, its unflinching and unsparing approach is anchored in kindness and compassion — because to truly see something as tough as this is to give it the attention and focus it deserves. https://www.youtube.com/watch?v=g0ox9ExOA1M&feature=youtu.be
It's an impressive set-up at Two Smoking Barrels with a grill rig used to smoke and season meats with native ironbark. It has everything from melt-in-your-mouth pit-smoked brisket to pork rolls, house sausages and short ribs on offer. There's a feed for every appetite, whether you need a quick, smashable burger or you want to settle in for a big ol' meat platter before you hit the road again. The sides are classic barbecue soul food: potato gems, slaw, cornbread, mac 'n' cheese and speciality burnt-end beans (the crispy, well-seasoned end bits of smoked meats). Warning: this is not food for the faint of heart, so wear your loosest pair of jeans.
Ever been on a bushwalk or beach stroll and and wondered if you can eat that shrub or flower? Maybe it was a pepperberry or some type of edible beach succulent — but who really knows. Well, now you can now go foraging for wild food more easily than ever, thanks to a new app developed by René Redzepi, chef and co-owner of Noma. He made the announcement yesterday at World's 50 Restaurants 15th anniversary talks event in Barcelona. The app, which is called VILD MAD (meaning 'wild food' in Danish), shows you what edibles are nearby according to landscape. There are also instructions (in both Danish and English) on how to eat and cook them, including a few recipes. Plus, you can record your foraging adventures and keep notes on what you find. Redzepi is perhaps the most famous champion of native foods, and, as well as cooking with them at his Copenhagen restaurant, he made the most of Australia's native ingredients when Noma popped up in Sydney in 2016. "Knowing your ABCs in nature, the flora and the fauna, the patterns in the landscape, and the rhythms in the seasons is as important, we believe, as learning math, learning to read, learning to write — especially today when people think cacao milk comes from brown cows," Redzepi said at the 50 Best Talk, as reported by Eater. The app is just one part of a bigger initiative led by the Danish chef. Along with lots of useful resources on his MAD website, Redzepi is also leading some serious foraging education opportunities, including workshops to be delivered all over Denmark by park rangers and a curriculum for Danish school kids. His aim? To get people to pick food from nature like they do from supermarket shelves. While a lot of the content is specific to Denmark, anyone can download VILD MAD for free at the App Store or Google Play and identify some ingredients. While we'd love an Australian and New Zealand app like this to be developed, in the meantime, you can get acquainted with Australian native foods and which restaurants use them over here. Via Eater.
UPDATE, January 8, 2021: Color Out of Space is available to stream via Shudder, Google Play, YouTube Movies and iTunes. He's the king of the unhinged, the master of on-screen mania and perhaps the only person that can make pouring vodka all over themselves while howling look perfectly natural. He is, of course, the one and only Nicolas Cage. While his resume boasts more ups and downs than a rollercoaster — an Oscar for Leaving Las Vegas on one side, his oh-so-many forgettable straight-to-video flicks on the other — he's also the ideal person to lead Lovecraftian horror adaptation Color Out of Space. Whenever Cage keeps things quiet and normal, he evokes the unnerving sensation that perhaps everything is too quiet and normal. When he's letting loose, there's really no telling what could happen next. A film about a glowing meteor that crashes on an alpaca farm and not only forever changes a family's existence, but their entire grasp on reality, Color Out of Space needs both Cage's unsettlingly calm and brain-bogglingly over-the-top sides. More than that, it thrives on them. Six months after his wife Theresa's (Joely Richardson) mastectomy, Nathan Gardner's (Cage) life is settling back into a routine. With their three kids — stoner Benny (Brendan Meyer), wannabe wicca Lavinia (Madeleine Arthur) and primary school-aged Jack (Julian Hillard) — the couple has taken over Nathan's late father's remote New England property, lapping up its tree-lined surroundings and the slower pace that comes with it. The oddest thing they have to deal with: Nathan's certainty that alpacas are the future. Well, that and the grin on his face when he's milking the woolly animals. Then, just as a hydrologist (Elliot Knight) arrives to survey the farm's water, a blazing rock plummets from the heavens — turning the sky an otherworldly shade of fuchsia, unleashing both radiation and shape-shifting aliens, and sparking quite the wave of strange events. 'Strange' is a relative term in any given situation; what's unusual to one person mightn't seem all that out of the ordinary to someone else. But by combining a HP Lovecraft short story, the beacon of weird that is Cage, and a director known for making vivid and distinctive movies, Color Out of Space is emphatically, undeniably strange — regardless of your individual threshold for the bizarre. That filmmaker is Richard Stanley, who gained attention with a couple of sci-fi and horror flicks in the early 90s. Since 1996, he's been best known for being fired from the big Marlon Brando-starring flop The Island of Doctor Moreau. Stanley hasn't actually directed a fictional feature since, sticking to a few documentaries until now — and based on the hallucinatory imagery splashed across Color Out of Space's pink and purple-hued frames, he has decades of strangeness stored up. When Cage begins yelling maniacally, the farm's water turns sinister, grotesque critters start scuttling around and mutated flesh begins to feature heavily, Color Out of Space unleashes all of its absurd and peculiar wonders. When Cheech & Chong's Tommy Chong plays one of the most sensible characters — a hermit squatting on the Gardners' land, and the first person to verbalise his suspicions about the luminous boulder and its effects — this head trip of a film demonstrates that it's definitely not on any standard wavelength. It actually takes 40 slow-burning minutes until Color Out of Space dazzles viewers with its batshit antics, just like its incandescent rock gradually overpowers everyone in its vicinity, but the feature's first act is anything but subdued. Festering with unease, as aided by Steve Annis' (I Am Mother) vibrant cinematography and Colin Stetson's (Hereditary) psychedelic score, this movie is just waiting to explode with mind-bending havoc. Considering that it's also a film about the mess that follows a disease like cancer, simmering with distress then breaking out in chaos always feels supremely fitting. Still, much like Cage at his most Cage-esque — running around the streets claiming he's undead in 80s curio Vampire's Kiss springs to mind, as does every second of 90s action blockbuster Face/Off — Colour Out of Space is a movie that sometimes approaches its limits. It means to push them. In fact, given its source material and Lovecraft's renowned fondness for all things monstrous, it has to. When an otherwise ordinary family is being driven mad by a colourful meteor in visually, emotionally and physically disturbing ways, a mood of relentlessness and ridiculousness is wholly appropriate. But, as glorious as the movie's gleefully bonkers sights, sounds and story developments all are, they can threaten to weigh the feature down. The Gardners are no longer experiencing time in a normal way, and audiences can be forgiven for feeling like they're going through the same process. Stanley turns Lovecraft's wild, weird tale into an off-kilter kaleidoscopic spectacle — and another suitably strange entry on Cage's lengthy resume, naturally — but occasionally lets it get a little too lost in its own delirium. https://www.youtube.com/watch?v=wLmvs9Wrem0
Hear ye, hear ye. News just in that Bondi is set to get its own classic British pub this October. The Beekeeper will open on Hall Street, in the heritage-listed Fellworth Flats, serving lunch and dinner seven days a week. The Beekeeper is an ode to owners Ben Campbell and Brendan Darcy's Northern English heritage. The boys behind the Northern Hospitality group are well-versed in operating welcoming and lively spaces, with their much-loved dive bar Chuck Trailer's recently expanding to a second location in Sydney's CBD. The owners want The Beekeeper to serve as a hive of community activity where people can come together over a Guinness and some classic grub. Head Chef Kevin Davis intends to bring a taste of his English roots to Bondi with scotch eggs, fish and chips, Ploughman's Lunches and traditional Sunday roasts served with all the trimmings. Ben and Brendan explain that the "name The Beekeeper is a tip of the hat to Manchester's famous worker bee — a symbol of hard work and community. We want the Beekeeper to be the heart of the local community — a place where people come together over a proper pint and a warm welcome." Images: Supplied. The Beekeeper will open its doors this October at 45 Hall Street, Bondi. Follow @thebeekeeperbondi on Instagram to stay up to date with the latest information.
UPDATE, December 21, 2021: Black Christmas is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. A fun, feisty remake with a female perspective and a refreshing sense of sisterhood, Black Christmas is a college-set slasher flick for the #MeToo era. The latter gets thrown around a helluva lot of late — with Unsane, Ocean's 8, Booksmart and last year's latest Halloween instalment among those recently earning the label — but with this updated version of a 1974 cult movie, writer/director Sophia Takal (Always Shine) firmly leans into the term. Indeed, Black Christmas circa 2019 lives and breathes its #MeToo mindset, particularly in its story and characters. Here, a masked predator stalks women as the festive season swings into gear, specifically targeting sorority sisters at a stately university. There's a mounting body count, but these gals aren't merely a parade of powerless, disposable victims. It all starts with a setup that's familiar by design: a silent night, an empty street and a woman walking home alone. Hawthorne College student Linday's (Lucy Currey) pace quickens when her phone starts jingling with creepy messages from someone using the 200-year-old school's founder as an avatar — and, when a man pops up right behind her shortly afterwards, she even threads her keys through her fingers. This all happens in Black Christmas' opening reel, so it's no spoiler to say that she's soon making snow angels in a rather gruesome way. But the winter break carnage is just beginning, ramping up after MKE sorority members Kris (Aleyse Shannon), Marty (Lily Donoghue), Jesse (Brittany O'Grady) and the very reluctant Riley (Imogen Poots) attend a Christmas party held by fraternity DKO — and sing a traditional ditty that's been rephrased to call out campus sexual assault. In too many by-the-numbers horror films gone by, the way in which women are killed and the perpetrators behind their deaths are given more attention than most of the ladies themselves, but not in this new take on Black Christmas. From the moment that Takal introduces MKE's sisters, they're lively, interesting and sport distinctive, sometimes clashing personalities — especially when debating the best way to address the college's historic male leanings, such as petitioning for the inclusion of women authors on literature Professor Gelsen's (Cary Elwes) reading list. Kris is fearless about fighting for equality and empowerment, and about making as much noise as possible while doing so; however Riley has seen firsthand what speaking up can bring. Earlier in her studies, she was attacked by a DKO frat boy, but her assertion that she was raped fell on deaf ears. Accordingly, before these MKE ladies even twig to the psychopathic ho-ho-horror in their midst, Takal and co-writer April Wolfe fill Black Christmas with different renderings and facets of modern womanhood that are all highly relevant to the broader conversation today. The constant battle against societally entrenched misogyny, the quest to be seen as more than an object for male gratification, the fact that victims are routinely disbelieved — these notions all find a place among the film's multi-faceted key characters. Also pondered strongly and thoughtfully is the pain and terror of falling prey to shattering violence, then attempting to pick up the pieces afterwards, a struggle that Poots conveys with weight and substance in a textured and engaging performance. This is a movie that's keenly empathetic towards those usually treated like fodder by the savage and entitled, and Poots' Riley is far more than just a final girl. In a film that throws a hatchet through the idea that women constantly compete and squabble amongst themselves, too, she has plenty of company. Still, this is unashamedly a slasher movie. And while it's based on an ahead-of-its-time example of the genre — just forget the dire first 2006 remake with Mary Elizabeth Winstead, Katie Cassidy and Lacey Chabert — Black Christmas has tropes to play with and conventions to toy with. The mood is knowing and winking, with the film not quite venturing into Scream territory, yet clearly deploying well-worn elements on purpose and with a smile. So, when cliched lines of dialogue are shouted by various women in states of duress (including old favourites like "there's someone inside the house!"), this slick flick knows what it's doing. It knows that audiences might roll their eyes briefly as well, but reshaping the slasher formula to make a statement requires a hearty bout of nodding to all the genre's usual components. Admittedly, taking a few cues from forgettable 2000 horror film The Skulls doesn't prove the best move, but it's one of the picture's few mis-steps. Well-executed bumps and jumps, including inventive slasher scenes and creative use of Christmas decorations; a smart reworking of a classic with an incredibly timely message; fleshed-out female characters with flaws, complexities and agency played by a great cast — thanks to all of these, Black Christmas overflows with entertaining festive horrors. https://www.youtube.com/watch?v=gF4yRYbo1WE
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=W_vJhUAOFpI THE NEW MUTANTS For the 13th film in the X-Men franchise, The New Mutants has come up with the perfect way to explain where this series currently sits. The movie traps five teenagers in an eerie, inescapable facility, tries to placate them by promising that they'll soon be able to venture to greener pastures if they just dutifully stomach what they're being subjected to for now, but taunts them with pain and terror while they wait. Logan aside, that sums up this saga's past five years rather astutely. Fans have sat through average and awful chapters in the hope that something better will come in the future, only to be met by more of the same (or worse). Yes, Deadpool and its sequel were hits, but squarely of the one-note, overdone, easily tiring variety. And the less remembered about the overblown and underwhelming X-Men: Apocalypse, the instantly forgettable Dark Phoenix and now the teen horror-meets-X-Men mashup that is The New Mutants, the better. Shot in 2017 but delayed several times since, The New Mutants takes a concept that's equal parts The Breakfast Club and One Flew Over the Cuckoo's Nest, adds in angsty adolescents just coming to terms with their hormones and superpowers, and serves up a thoroughly flat affair. When Native American 16-year-old Dani Moonstar (Another Life's Blu Hunt) survives a traumatic incident on her reservation that she can't remember afterwards, she awakens in a hospital run by Dr Cecilia Reyes (Kill Me Three Times' Alice Braga), which she's told is for kids just like her. Her fellow patients (Emma's Anya Taylor-Joy, Game of Thrones' Maisie Williams, Stranger Things' Charlie Heaton and Trinkets' Henry Zaga) are all aware of their extra abilities, though. Dani doesn't even know what she's capable of; however the fact that her arrival coincides with a series of unsettling incidents needling through the minds of her new pals gives everyone a few clues. Alas, all it gives the film is a flimsy excuse to trot out a heap of teen, horror and superhero tropes, with writer/director Josh Boone (The Fault in our Stars) and his co-scribe Knate Lee delivering a suitably moody but also oppressively generic film. Indeed, when Buffy the Vampire Slayer clips play in the background in a couple of scenes, they're instantly more entertaining than anything The New Mutants has to offer. Read our full review. https://www.youtube.com/watch?v=AI03TFsUZ68&feature=emb_logo WILD GRASS Gazing out of her window, banishing away the sounds of home via her walkman, teenager Yun Qiao (Ma Sichun, Somewhere Winter) dreams of a different life. A talented dancer with big plans to leave for a lucrative career in Japan, Li Mai (Zhong Chuxi, Adoring) shares the same hopes — as does trumpet player Wu Feng (Huang Jingyu, Operation Red Sea), who tries to get by doing odd jobs for local heavies. It's the 90s, and these three strangers are all eager to change their futures. Fate, however, has something else in store. Jumping between its three protagonists, Wild Grass weaves these tales together, never leaving any doubt that the trio's plights are all related. Accordingly, this Chinese drama asks audiences to spend their time joining the dots as climactic events — car accidents, brutal attacks and gangster showdowns, for instance — upend its characters' intersecting lives. The overall message, and hardly an unexpected one: that they'll each weather their significant woes, twists and turns, and ideally come out stronger on the other side. Thankfully, what Wild Grass lacks in narrative or thematic surprises, it makes up for in its sumptuous imagery. The debut feature from Chinese director Xu Zhanxiong (writer of 2017's Ash), this is an instantly visually mesmerising film — especially when it lurks in alleyways, clubs and other neon-lit spaces; watches Li Mai showcase her fancy footwork across a plethora of different venues in both joyous and troubling circumstances; and stares deeply at its characters' often-pensive expressions. While The Wild Goose Lake will take some time to unseat as the best-shot, most alluringly lit Chinese film to reach cinemas of late, Wild Grass and its sometimes inky, sometimes glowingly amber-tinted frames take a firm stab at the title. The movie's three lead performances also hit their marks, especially when the plot proves a little too content to cycle through a parade of obvious developments. https://www.youtube.com/watch?v=2tSd7JtLhh8&feature=emb_logo FATIMA When a ten-year-old Portuguese girl and her young cousins claim to see a vision of the Virgin Mary as the First World War rages, the faithful come running in Fatima. Based on the true tale of Lúcia dos Santos — also known as Sister Lúcia after becoming a nun later in life and, 15 years after her death in 2005, currently in the process of being canonised by the Catholic Church — the film's powers-that-be clearly hope their movie will incite the same reaction. Primarily dramatising events from over a century ago, Fatima may also step forward to 1989 and cast Harvey Keitel as a sceptical writer determined to query Lúcia's story, but there's no question where the feature's allegiances reside. Indeed, from the moment that the film begins with the girl's (Terminator: Dark Fate's Stephanie Gil) first encounter with the mother of Jesus (The Man Who Killed Don Quixote's Joana Ribeiro), it splashes its devotion across every frame. As a result, while it plays up the clash between believers and cynics across two time periods, Fatima always remains a tension-free affair. When Keitel's Professor Nichols chats with the great Sônia Braga (Aquarius) as Lúcia, it's immediately clear that he'll warm to her candid and open demeanour. And, in the details she's recounting, it's also always evident that her steadfast commitment to her faith as a girl will win out. In its 1917-set scenes, Lúcia's own devout mother (Hero on the Front's Lúcia Moniz) proves doubtful, and the town mayor (Santa Clarita Diet's Goran Visnjic) is downright contemptuous — but, in constantly counteracting their distrust with lyrical imagery of scenic fields, other rural landscapes and even glowing skies, writer/director Marco Pontecorvo (Partly Cloudy with Sunny Spells) couldn't paint a clearer picture in support of their protagonist. Visually, he's following in Terrence Malick's footsteps, but without the same texture, thoughtfulness or impact. Thank goodness, then, for strong performances by Gil, Moniz and Braga, which are the only elements of Fatima that stand out. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23, July 30, August 6, August 13, August 20 and August 27 — and our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet and Les Misérables.
Initiated by Sydney Institute students and presented by A Series of Fortunate Events, Bizarre Bazaar has a cult following of style-conscious Sydneysiders. The twilight fashion market reclaims a Sydney laneway (or, on colder occasions, an indoor space) on odd Thursday eves to showcase the quirky garments and new collections of numerous local designers. The next Bizarre Bazaar will be held in Angel Place as part of Art & About 2012. A vehicular influence will be on show with the addition of food from Eat Art Truck and a Guerilla Gigs-fuelled Little Napier performance also taking place on the back of a truck. Read our handpicked list of the 10 best things to see and do at Art & About here.
One on one interviews, a pop-up tattoo parlour, and a live music lineup curated by the team from Splendour in the Grass are among the highlights of this year's Spectrum Now Festival. The 16-day creative arts extravaganza, launched last year by the Sydney Morning Herald, will feature more than 100 free and ticketed events around the city in 2016. The festival, which will run from March 1 to 16, is split into four sections: art, stage, talks and music. Included in the arts section will be an ambitious live painting at the Art Gallery of New South Wales, where Western Sydney artist Tom Polo will spend two weeks creating a gigantic wall painting in view of the public. The stage category will likewise features several standout shows, including performances by the Sydney Dance Company and Bard on the Beach, a burlesque act at Crystal Bar, a performance of La Boheme transplanted to the 1930s, and a night of stand-up comedy with the stars of Workaholics. Two of the most successful events on last year's talks program will return in 2016. Pillow Talk features personal conversations with some of the country's leading creative couples, and will this year include the likes of David and Kristen Williamson, David and Lisa Campbell, and Max Cullen and Margarita Georgiadis. Cultural Crush, meanwhile, invites prominent journalists to interview their 'dream subject'. Those in the spotlight this year include investigative journalist Kate McClymont speaking with film director Bruce Beresford, and columnist Benjamin Law grilling Leigh Sales from the ABC. The previously announced music program features a number of prominent players, headlined by post-punk act The Jesus and Mary Chain. Other standouts include Birds of Tokyo, Calexico and a live edition of RocKwiz. Check out our top picks from the music program. This year's festival hub will be located at The Domain, and will feature fire breathers, burlesque dancers and free live music, as well as a sideshow alley where you can get inked by tattoo artist Leslie Rice or get a haircut from retro barber Tony Vacher. Hanging over the hub will be a giant balloon chain by US artist Robert Bose, who previously created similar works at Burning Man and Coachella.
Sydneysiders can start plotting their swim sessions for summer 2020, with the announcement that work will begin next month on the city's biggest aquatic centre to be built since the 2000 Olympic Games. The City of Sydney has confirmed locally-based CPB Contractors will head up the construction of its new $84 million Gunyama Park Aquatic and Recreation Centre in Green Square, with plans for the development to open in just over two years. The design by Sydney architect Andrew Burges was chosen as part of a council-run design competition back in 2014. The centre looks set to be one very schmick operation, with a heated 50-metre outdoor pool inspired by Sydney's iconic ocean pools, as well as a heated indoor leisure water area, a hydrotherapy pool and a 25-metre indoor pool. There'll be a co-generation scheme supplying heating and power, a multipurpose sporting field, a gym and outdoor training area, while celebrated Aboriginal artist Jonathan Jones is lending his talents to a new public artwork for the site. Just be prepared to share — with a huge 61,000 residents expected to call the surrounding 278-hectare Green Square area home by the year 2030, Gunyama Park and Aquatic Centre sure won't be the most secluded spot to swim in Sydney. The Gunyama Park Aquatic and Recreation Centre will open on Joynton Avenue, Zetland in early 2020. We'll keep you updated on its progress. Image Credit: City of Sydney and Andrew Burges Architects with Grimshaw and TCL.
If DC Studios could live life like it's a Cher song, would it turn back time to erase the DC Extended Universe, setting itself on an entirely different path instead? With new co-head honchos James Gunn and Peter Safran wrapping up the underwhelming franchise — after 2023's films, The Suicide Squad director and producer are replacing the DC Comics on-screen realm with a new movie saga just called the DC Universe — the answer is likely yes. Does DC Studios regret having to release The Flash, which gives the character played by Ezra Miller since 2016's Batman v Superman: Dawn of Justice his own feature, arrives after their past few years of controversies and legal troubles, and comes with a jumping-backwards focus? It must've been better for the bottom line to let the picture flicker before audiences, rather than ditching it after it was finished as happened with Batgirl; however, the response there about lamenting Barry Allen's latest big-screen stint might also be in the affirmative. As was the case with Shazam! Fury of the Gods, and could also be with the DCEU's upcoming Blue Beetle and Aquaman and the Lost Kingdom, a feeling of futility buzzes through The Flash. Plenty happens, featuring an array of caped crusaders and more than one version of Barry, and yet all that tights-wearing sound and fury might signify nothing in the scheme of all things DC. Movies have never needed sequels or franchises to gift their existence a spark. Increasingly, the opposite occurs. Instalment after instalment in ever-sprawling cinema universes are dragged down by being exactly that: a series instalment, rather than their own films. And The Flash does frequently try to be its own feature, but it's also firmly tied to being part of a pop-culture behemoth while eagerly worshipping superhero history. The blatant and overdone nostalgia, the already-announced returns and still-surprise cameos, and the now-overused multiverse setup that assists in linking its narrative together — it all rings empty when it proves so disposable, as the dying DCEU is. Living with your choices, and facing the fact that you can't always take back mistakes and fix traumas, does fittingly sit at the heart of The Flash's narrative, though. While the Barry (Miller, Fantastic Beasts: The Secrets of Dumbledore) that audiences have also seen in Suicide Squad, Justice League and Shazam! enters The Flash calling himself "the janitor of the Justice League", answering Alfred's (Jeremy Irons, House of Gucci) calls to clean up Batman's (Ben Affleck, Air) chaos offers a handy distraction from his family situation. Understandably, he's still grief-stricken over his mother's (Maribel Verdú, Raymond & Ray) murder. He's also struggling to prove that his incarcerated father (Ron Livingston, A Million Little Things) wasn't the killer. Cue messing with the space-time continuum, using his super speed to dash backwards to stop his mum from dying — and, as Bruce Wayne warns, cuing the butterfly effect. Back to the Future devotees know what follows when someone tinkers with the past. The Flash director Andy Muschietti (IT, IT: Chapter Two) and screenwriter Christina Hodson (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) count on viewers being familiar with the consequences, and with the Michael J Fox-starring 80s classic. Amid navigating various iterations of its protagonist and, as revealed in its trailers, getting Michael Keaton (Morbius) back in the cape and cowl as the Dark Knight three decades after the last Tim Burton-helmed Batman flick — plus finding time for Supergirl (Sasha Calle, The Young and the Restless) — this DCEU entry splashes around its broader pop-culture nods with gusto. Given that was Gunn's tactic in Marvel's Guardians of the Galaxy movies, right down to also mentioning Kevin Bacon and Footloose, perhaps Barry might have a DCU future after all? Whatever happens, The Flash's riffing on and namechecking other beloved films isn't its best trait. There are multiples of much in this movie, which includes multiple ways to slather on fan service. Virtually retracing Marty McFly's footsteps involves that extra Barry, the younger and more OTT of the two — the one aiding the OG Barry in seeing why people can find him a bit much, in fact. It also inspires the comeback of Superman's Kryptonian foe General Zod (Michael Shannon, George & Tammy), as the events of Batman v Superman: Dawn of Justice ripple through an alternate timeline. Yes, every superhero saga has become a multiverse saga, everywhere and all at once. The Marvel Cinematic Universe keeps leaning in, while the Spider-Verse films embrace the idea in every gorgeously animated frame. Reuniting with a past Batman was always going to play like a Spider-Man: No Way Home wannabe, but The Flash isn't helped by hitting cinemas so soon after Spider-Man: Across the Spider-Verse, aka the current gold standard in multiple everything, spandex-clad saviours in general and franchise fare. It was true when Tobey Maguire, Andrew Garfield and Tom Holland were all webslinging in the one film, and it's true now with Affleck and Keaton being oh-so-serious here: teaming up past and present takes on the same figure in the same feature can smack of refusing to cut ties with history. That's what nostalgia is all about, of course, and it clashes glaringly with what The Flash endeavours to teach its red-suited namesake. As Barry attempts to protect, nurture and heal his inner child — rather literally — the movie advocates for ultimately accepting life's hardships and moving on. Then it has more and more recognisable faces pop up, including some grave-robbing choices using woeful special effects. With its routine fan-baiting multiverse antics, the picture keeps finding additional ways to ring empty. A film that adores all that's gone before, but exists in the waning days of a dissipating saga. A feature with little future path and too much fondness for the past. A reminder that life goes on that epitomises that very fact within the movie business, yet can't live and breathe it within its frames even as its narrative sings that notion's praises. That's The Flash — and it's also a picture made better by Miller's convincing dual turns, especially when they're at their most vulnerable and melancholy, and particularly when they're on-screen twice in the same scene. It benefits from Keaton's subtlety in an appearance that's anything but within the story, and from Muschietti's eagerness to amuse through the flick's strongest action scenes, as seen in quite the baby shower. Pondering playing god and its repercussions, it also owes a debt to Mary Shelley's Frankenstein, as almost everything does. Feeling like disparate pieces that don't stitch together to make the best whole isn't what The Flash was aiming for, however, but it's what's been zapped into cinemas.
NAIDOC Week, the annual celebration of the achievements and culture of Aboriginal and Torres Strait Islander people, is set to return this month from July 8–14, and Klub Koori is always a highlight of the week. The mini-festival, which will take place on Saturday, July 14, is hosted by Sydney's only First Nations radio station Koori Radio and presented in collaboration with contemporary art space Carriageworks. The event promotes the talents of established and young Indigenous artists to a large and diverse audience while also advocating for a broader appreciation of Indigenous arts and culture. For $15, you can expect a great mix of hard-hitting beats and sultry tones across the night, with things kicking off at 8pm. Adelaide electro-soul act Electric Fields are top billed. The award-winning duo's clash of traditional Indigenous culture — including member Zaachariaha Fielding singing in his traditional language — with electronic music has made them a sought-after outfit across Australia and the world. They'll share the stage with the honeyed neo-soul vocals of Kaiit and upcoming artists including rapper Dwayne Broome, Chloe Grant-King and Kakyra Ocean. Organiser Koori Radio 97.3FM has been on-air since 1993, offering listeners a 'live and deadly' cultural mix of Australian and International Indigenous music interspersed with discussions on news, current affairs and community information. Klub Koori will take place at Carriageworks on Saturday, July 14 from 8pm onwards. To purchase tickets, visit the Carriageworks website. Koori Radio will also broadcast the performances on-air and online. Image: Matsu Photography.
Like two peas in a pod, there’s no uncoupling art from wine. Alongside their respective solo shows during Art Month, artists and educators Bill Sampson and Christopher Orchard will be participating in 'Getting It! A fool-proof guide to understanding contemporary art forever, and why the relationship between art and wine was made in heaven'. Todd Slater of Five Ways Cellars will share the secrets of this happy marriage while Orchard and Sampson will provide an insider’s account of contemporary art. Luckily for you, the exhibition opening at Paddington’s Wagner Gallery includes the opportunity to sample some award-winning wine from Leeuwin Estate. This event is one of our top ten picks of Art Month. Check out the other nine here. Image: Bill Sampson, A Sunny Day twixt Heaven and Hell (detail), 230 x 170cm.
Into every generation, a slayer is born — and into What We Do in the Shadows, too. The TV series based on Jemaine Clement and Taika Waititi's 2014 vampire sharehouse mockumentary of the same name has spent two seasons so far pondering the dynamics of its Staten Island household; however, it has also slowly started to explore an existential threat to its bloodsucking protagonists: a vampire killer in their midst. That's where the US television show's third season promises to pick up, all while still mining its concept for as many laughs as possible. So, Nandor (Kayvan Novak, Four Lions), Laszlo (Matt Berry, Toast of London) and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) once again navigate the usual undead housemate tussles, including with energy vampire Colin Robinson (Mark Proksch, The Office). And, they endeavour to live with the knowledge that Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within) has a very particular family history. Also part of this upcoming season: power struggles within the key group of vampires, after they've ascended to the head of the Vampiric Council. Another promising batch of episodes in a fantastically funny horror-comedy sitcom will hopefully be the result — based on the just-dropped full trailer for the third season and an earlier teaser trailer, at least. When the original film hit cinemas, viewers instantly yearned for more, which this American spinoff has been delivering in just as smart, silly and hilarious a fashion as its big-screen predecessor. Thankfully, spending time in this supernatural realm isn't going to end any time soon, either — with US network FX, which screens the show in America, announcing that What We Do in the Shadows has been renewed for a fourth season before its third even airs. What We Do in the Shadows is the second TV series in this specific on-screen universe, after the New Zealand-made Wellington Paranormal — which follows the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural. It proved a hit as well, and has already returned for both a second and third season. Back with the vamps, What We Do in the Shadows' new episodes are due to start streaming in Australia via Binge from Friday, September 3 — which is at the same time as the US. Check out the full season three trailer below: It's a game of...throne. Watch the official Season 3 trailer for #ShadowsFX, returning Thursday, Sept. 2nd on FX. Next Day #FXonHulu pic.twitter.com/cRRJLEXaLq — What We Do In The Shadows (@theshadowsfx) August 13, 2021 What We Do in the Shadows' third season starts streaming in Australia via Binge from Friday, September 3.
Edgar Wright must own a killer record collection. Weaving the perfect playlists into his films has ranked high among the British writer/director's trademarks ever since he made such a horror-comedy splash with Shaun of the Dead, and his own love of music is frequently mirrored by his protagonists, too. This is the filmmaker who set a zombie-killing scene to Queen's 'Don't Stop Me Now', and had characters wield vinyl as weapons. He made zoning out the world via iPod — and teeing up exactly the right track for the right moment — a key trait of Baby Driver's eponymous getaway driver. Earlier in 2021, Wright also turned his avid fandom for Sparks into his delightful first documentary The Sparks Brothers, because wearing his love for his favourite songs on his sleeves infiltrates everything he makes. So, the fact that his second film of this year is about a giddy devotee of 60s tunes really doesn't come as the slightest surprise. Last Night in Soho takes its name from an era-appropriate song that gets a spin in the film, naturally. It boasts a cleverly compiled soundtrack teeming with hits from the period, and has one of its central figures — called Sandie, like singer Sandie Shaw, who croons '(There's) Always Something There to Remind Me' on that very soundtrack — seek chanteuse stardom. As Wright is known to do, his latest movie also sports sequences that could double as music videos, and possesses a supple sense of rhythm that makes his picture virtually dance across the screen. It's a feature shaped by music, made better by music, and that recognises that music can make anyone feel like they can do anything. A partly swinging 60s-set thriller that adores the giallo films of the time with equal passion, it also flits between a cinematic banger on par with the glorious tracks it peppers throughout and the movie equivalent of a routine needle drop. Cilla Black, Petula Clark, Dusty Springfield: these are the kind of talents that Eloise (Thomasin McKenzie, The Power of the Dog) can't get enough of, even though she's a Gen Z aspiring fashion designer; they're also the type of stars that aforementioned blonde bombshell Sandie (Anya Taylor-Joy, The Queen's Gambit) wants to follow onto London's stages. Last Night in Soho starts with its wannabe fashionista, who's first seen donning her own 60s-inspired designs in her Cornwall bedroom that's plastered with posters and pictures from the period, and also dancing to 'Peter & Gordon's 1964 track 'A World Without Love'. Soon, Eloise is off to college in the big and, hopefully, working towards the fashion world. Then she meets Sandie, but only in her dreams. Actually, as she slumbers, she becomes Sandie — and navigates her chiffon-adorned quest for stardom, her breathy 'Downtown' covers and her thorny relationship with slippery bar manager Jack (Matt Smith, Official Secrets). Some of Last Night in Soho's most dazzling scenes play with these doppelgänger characters, and with the time-travelling dreamscape where they both exist, as if Wright is helming a musical. The choreography — both by McKenzie and Taylor-Joy, playing chalk-and-cheese roles, and by the film's lithe and glossy cinematography — is stunning. The effect is mesmerising, as well as whip-smart in tapping into the feature's ongoing musing on identity. This is also a horror movie and a mystery, however, so exploring what's behind these nocturnal visions is the primary focus. As a mousy girl bullied by her roommate (Synnøve Karlsen, Medici) to the point of leaping into the too-good-to-be-true Soho attic studio leased by the cranky but obliging Ms Collins (Diana Rigg, Game of Thrones), it's easy to see why Eloise flees into her dreams. But the who, what, why and how of it all — when and were clearly being answered already — isn't as simple as pure retro escapism. Eloise and Wright must share another trait, other than being musicophiles: nostalgia for a time neither was alive to see. In charting Eloise's journey from growing up with her gran (Rita Tushingham, The Pale Horse) to being haunted by evening reveries that begin to infect her days, Wright packs Last Night in Soho with Quentin Tarantino-level references to pop culture of the era. The detail, cast, songs, fashion and borrowings from Italian horror cinema's giallo genre — including vivid colours, plenty of blood and a love of yellow hues, because that's what giallo translates as — all nod backwards cannily. Visually, the film is a lavish wonder, in fact; Chung Chung-hoon, who regularly lenses Park Chan-wook's work (see: Oldboy, Lady Vengeance, Thirst, Stoker and The Handmaiden) luxuriates in sights, spaces, textures, mirrors angles, spins and swoops. Wright doesn't shy away from the 60s' sleaze, either, or from nightmarish men, objectified women and the lack of sexual agency for the latter. Scripting with 1917 Oscar nominee Krysty Wilson-Cairns, he confronts the seedier side of the period he otherwise places on a pedestal — but his first film about female protagonists is plodding rather than bold in trying to spin a feminist story. Last Night in Soho's lurid, adrenaline-fuelled shimmy with psychological thrills is still engaging, and gorgeous. Its eagerness to takes cues from Mulholland Drive is ambitious, although trying to emulate David Lynch rarely suits anyone. Still, there's more than a whiff of "is that it?" — and of cliche — to how it all culminates. Even with its sensational sense of style, that underwhelming feeling might've invaded more of Last Night in Soho if Wright hadn't cast his leads so well. The 60s icons he's enlisted, including Rigg in her last role, Tushingham and Terence Stamp (Murder Mystery), all play their parts in the plot, but this is McKenzie and Taylor-Joy's show. Again, the scenes that pose the pair as reflections of each other in 60s nightclubs are spectacular. The performances they provide to match share other echoes, too; one initially innocent and wide-eyed, the other confident and determined at first, they find common ground in their characters' vulnerabilities. Life is definitely making Eloise and Sandie lonely, but as the women behind them linger where the neon signs are pretty, things can be great — for viewers, at least. Their efforts won't make audiences forget Last Night in Soho's troubles, but the film is so much brighter with them in it.
Head to mainstay Waterloo pub The George this weekend and you'll find that things are a little different. Well, you might not notice at first. There are still locals sitting around the bar in high-vis vests knocking back pints of Resch's and VB. The courtyard is still filled with cacti. And there's still a well worn pool table. But, sitting next to VB longnecks ($15) in the fridge, you'll see bottles of skin-contact wines and pét-nats, and beers from local breweries Young Henrys and Grifter are also available on tap. The cacti in the courtyard have been joined by a glowing al pastor fountain, and a pond filled with eels, and the adjoining kitchen is turning out tacos and tostadas instead of American-style barbecue. And where the pool table once sat — it's been moved to the front bar — is a fully stocked wine shop courtesy of natural wine retailer Drnks. The new-look George successfully combines the old and the new — joining the rapid gentrification of the surrounding suburbs — and it's all thanks to its new owners, who aren't new to epic revamps. Co-owners James Wirth and Michael Delany previously bought and made over The Norfolk, The Flinders, The Carrington and The Oxford Tavern, before selling them all in 2016. Most recently, they overhauled the The Duke on Enmore Road. The George, on the other hand, had never been renovated. "I had my eye on [The George] for over a decade — I always liked the kind of ugly look of it, it's almost like a Commonwealth Bank from the outside" says Wirth. "It's a rare pub because it was built in the 60s, unlike the typical 1800s or 1920s era you see in Sydney." To keep some of the pub's history in-tact, the team focused on reupholstering and repurposing the pub's original features — including vintage wood panelling found in the basement, which now adorns the walls. For this venue, Wirth and Delany got chef Toby Wilson (Bad Hombres, Ghostboy Cantina) and Drnks founder Joel Amos on board as co-owners, too. Amos heads up the aforementioned bottle shop — which is stocked with everything from a salty white peach beer from NZ's Garage Project to coveted magnums of wine by Gabrio Bini — and the pub's fun and funky drinks list. For food, Wilson has created a new concept, Taco King. At the centre of the food offering is the al pastor — an actual al pastor, not a fountain — a Mexican specialty that's based on the Lebanese immigrant version of shawarma spit-grilled meat. The pork coming off the al pastor is served atop tortillas — painstakingly hand-pressed one by one — with onion and salsa. Other specialties include spicy kingfish ceviche tostada ($7.5), quesadillas with chorizo ($9) and thick churros ($8) served with dulce de leche. We're hoping to see eel tacos pop up on the menu sometime soon, too. To go with the food, is a cocktail list with a distinctly South American edge. There's the Mexican French Martini ($18) made with tequila, the Brazilian-style caipirinha ($16) and the michelada ($14), made with Mexican beer, clamato (clam and tomato) juice and lime. While not strictly South American, you'll find Reverse Cowboys ($7 each) on the menu, too — shots of Baileys and Agavero tequila served in mini glass cowboy boots. The new-look George is only throwing open its doors for the first time today, Friday, April 5, but we think it might just become your new favourite watering hole. Find The George at 760 Elizabeth Street, Waterloo. It's open from 11am–11pm Monday to Thursday, 11am–3am Friday–Saturday and 11am–10pm on Sunday. Images: Kimberley Low.
This time two years ago, across the weekends of April 28–30 and May 5–7, 2017, a new music festival was supposed to take place. Spearheaded by the now-incarcerated Billy McFarland, Fyre Festival was slated to take over a Bahamian island, treat attendees with luxury facilities, boast musicians such as Blink-182 and Major Lazer on the bill, and live up to its plethora of celebrity endorsements. Because model-filled viral marketing campaigns can prove to be just that — glossy marketing — we all know what came next. If you didn't read about Fyre Festival when it happened (or, to be more accurate, didn't), you probably discovered its shady tactics, wholesale lack of planning, emergency tent setup, paltry cheese sandwiches and all-round failure via Netflix's documentary Fyre: The Greatest Party That Never Happened, which dropped internationally on the streaming platform in January. Rival service Hulu also released their own take, Fyre Fraud, the very same week — but it hasn't been available to watch in Australia until now. Channel 7 has now aired Hulu's doco, and also made it available on its online service 7plus. Prepare to step back into a tale so astonishingly ridiculous that it can only be true, featuring everyone from Ja Rule to Bella Hadid to Emily Ratajkowski. If you're wondering about the difference between Fyre: The Greatest Party That Never Happened and Fyre Fraud, other than being made by competing streaming services (and by different filmmakers, obviously), that's understandable. They cover similar material, of course. Fyre was also co-produced by Jerry Media, who happen to be the social media agency responsible for promoting Fyre Festival, while Fyre Fraud paid conman McFarland to give a lengthy to-camera interview. Each film has its highlights and flaws; however if you just can't get enough of this trainwreck of an event, or want to keep pondering what it says about today's influencer and FOMO-saturated culture, you'll absolutely want to watch both. Check out the Fyre Fraud trailer below: https://www.youtube.com/watch?v=ljkaq_he-BU Fyre Fraud is now available to stream on 7plus.
Do you feel like each week flies past in an uncontrollable blur? Friday afternoon comes and you can't remember what you have achieved but you still somehow feel exhausted? If yes, then it's time for a change. Each day you can elevate your life by aiming for just one easy win — even small tweaks to your routine will help take your week up a notch. To help you out, we've teamed up with our mates at Coopers Dry to bring you a list of 'easy wins' — small things that will enrich your life without you needing to stage a full-scale overhaul. MONDAY: CLEAN OUT YOUR CLOSET Kick off the week with a closet cleanse and rid thyself of unnecessary clutter. If it no longer fits, you don't like it or it's in poor condition — donate or chuck it. Those jeans from when you were 19, yeah, they've got to go. Set aside a couple of hours — grab a beer, crank your favourite tunes, channel your inner Cersei Lannister and be merciless. Clearing out the unworn clothes from your wardrobe frees up physical and mental space that you didn't even know you needed. Take your haul to a charity shop to help out the community, reduce waste and give yourself some good karma. TUESDAY: SIP A SMOOTHIE IN THE SUN Forget eating lunch at your desk, at least for today. Instead, head to your local park, let the sun work its magic and get a nice dose of vitamin D. Catching some rays each day can help to clear up your skin and improve your mood — but do it safely, of course. Boost your nutrient intake and add a smoothie to the mix, you'll be smiling for the rest of the afternoon. WEDNESDAY: DISCUSS SOME LITERATURE WITH A FRIEND Tagging your mates in memes is fun, but why not discuss something a little deeper. The aim of the game is simple: both of you choose an article, read the respective pieces, then discuss over an after-work beer. It's like a two-member book club, minus the effort of getting through an entire novel. For inspiration, check out Alex Tizon's 'My Family's Slave' — which is about a Filipino-American family who kept a slave for 56 years — or Gay Talese's 'The Voyeur's Motel' — a creepy true story about a guy who buys a motel just so he can secretly watch his guests. Both are fascinating and somewhat divisive reads sure to generate conversation. THURSDAY: HIT UP A PUB TRIVIA NIGHT An easy win is bonding with your colleagues over a set activity with a built-in competitive element. The team that plays together stays together, and all that jazz. Just make sure you've got someone to cover each element — geography, film, music, history, current events and sport. Get the beer rounds flowing and test your collective smarts. On Thursdays in Sydney, head to the Botany View Hotel in Newtown for trivia with a cash prize. In Melbourne, make your way to The Penny Black for trivia in the beer garden, and in Brissie, you can catch beer garden trivia at The Wickham. [caption id="attachment_691868" align="alignnone" width="1920"] Lentil as Anything, Abbotsford.[/caption] FRIDAY: EAT FOR A GOOD CAUSE Cop a tasty feed and support charitable endeavours in the process — it's an easy win for altruism, and your taste buds. The not-for-profit vegan chain Lentil as Anything has four thriving stores in Melbourne and one in Sydney. The restaurants operate via a unique pay-as-you-feel model, with contributions going towards a number of education programs and social projects, as well as keeping the Lentils running. For those in Brisbane, sink your teeth into a slow-cooked beef shank or baked huevos rancheros at Hope Street Cafe. Hope Street employs people who have difficulty finding work and helps them to acquire new skills and gain hands-on experience. [caption id="attachment_659655" align="alignnone" width="1920"] Maroubra to Malabar, Sydney.[/caption] SATURDAY: GO FOR AN EARLY MORNING WALK Start the weekend in a wholesome manner with a brisk walk by the water's edge. No matter where the day takes you thereafter, you'll feel good. Honestly, it's just science — exercise releases endorphins, endorphins make you happy —the crisp ocean breeze and stunning views also help. Stroll along the river in Brisbane, check out the stunning headlands on the Maroubra to Malabar coastal track in Sydney or wander along the Yarra in Melbourne. While it's a little too early for beer, find your favourite spot along the track and return later for a few sundowners (provided alcohol is permitted, of course). [caption id="attachment_555015" align="alignnone" width="1280"] Fatto, Melbourne.[/caption] SUNDAY: ENJOY A LONG LUNCH WITH FRIENDS The Ancient Greek philosopher Epicurus spent his days pondering what made life worth living, eventually, he concluded that great food shared among even better friends resulted in a good life. We will happily cosign that. Enjoy an Epicurean moment of your own with a Mexican feast at SoCal Neutral Bay (Sydney), riverside modern Italian at Fatto Bar & Cantina (Melbourne) or head to the grassy courtyard of Lokal & Co for an indulgent Norwegian spread in West End (Brisbane). Daytime hangs are perfect for spring and summer when the weather is beautiful. Kick off your 'easy wins' by enjoying a Coopers Dry, or two, with your mates.
