If you needed more evidence that teenagers are becoming even smarter at a younger age, look no further. A new trend has emerged in Midwest America, where teenagers are reportedly soaking candy in alcohol in order to get drunk. Long gone are the days when young hooligans would wait outside the bottle shop and desperately beg the first bloke with facial hair to buy them a case of Bacardi Breezers. Instead, candy is being soaked in spirits before being consumed in a seemingly harmless practice. These teenagers were even able to pick the cutest and most innocent candy as their method of intoxication: the gummy bear. Darcy Jensen from Prairie View Prevention Services works in South Dakota to stop underage drinking. She notes that whilst the problem has not yet become widespread, she has already sent out warnings to schools across the state about the dangerous new practice. "Maybe someone has offered the candy and they didn't even know. So telling the kids ahead of time this could be something to be aware of is important," she said. Darcy raises a valid point. Teenagers might think twice about accepting a drink from a stranger, but a gummy bear? Never. She notes that this new trend will provide parents with a good opportunity to talk to their children about the hazards of underage drinking, and describes the gummy bears as "a good conversation starter." Maybe confectionery giants should start selling candy in brown paper bags from now on. [via Keloland]
One device to brew them all? Blending slow cold drip coffee with cold/hot pourovers in one genius brewing device, two Queensland coffee companies are teaming up to crowdfund the Brewover. Green coffee supplier Bean Grean and roaster Manna Beans are trying to raise $65,000 toward this new controllable flow hot/cold brewer, which would prick the ears of many an Australian cafe needing to save on space (or straight-up coffee nerds in general). The Kickstarter campaign, which prices the Brewover at around $60 a pop, has currently raised $13,300 with 29 days to go. So how does it work? Coffee purists might turn their nose up, but the team truly know what's up when it comes to coffee brewing methods. The Brewover all hinges on what's called the flow control valve, allowing to switch between three different brewing methods: hot/cold pourovers and cold drip. Pourovers are easy stuff; just pop a Chemex filter in the glass cone and brew hot/cold as usual. Cold drip? Just use the same glass cone as a water reservoir and attach an Aeropress filter under the brew chamber. Pure, well-brewed genius. Via Daily Coffee News.
We've all known those couples who have so much in common they're perfectly suited in theory, and in practice an apocalyptic mess. That tenuous relationship has never been better recorded than by actor, playwright, wit, dandy, and logical Oscar Wilde successor Noel Coward in his 1930 play, Private Lives. Five years after his divorce, the terminally ironic, never dull Elyot (Toby Schmitz; Coward originally wrote the role for himself, which gives you a clue as to just how good the lines given to him are) is on honeymoon with his new wife, Sybil (Eloise Mignon), in a Normandy seaside resort. His similarly acid-tongued ex-wife, Amanda (Zahra Newman), is also on her honeymoon, to Victor (Toby Truslove), in — you guessed it, comedy fans — the exact same lodgings. As is not atypical of those stung by a challenging, equal romantic partnership, this time around, they've each chosen comfort. Sybil and Victor are idiots, and Amanda and Elyot will feel their mistake keenly when they're forced to meet again. Private Lives is fun and cannot be anything but, which makes it a good choice for set designer extraordinaire and Belvoir artistic head but first-time director Ralph Myers. It's forgivable that there's a whiff of unsureness about the opening scene, then, although oddly enough, it's not at all helped by the awkward, grandly minimal set, unclear on when it's a hallway or a terrace. After Amanda and Elyot retreat to her Parisian apartment, things get smoother — positively silky once an unexpected Phil Collins breakdown bonds both the actors and the audience. It's a shortcut to intimacy, but you really believe this and other moments that conjure a couple's private in-joke. Moreover, it's the first shot of modern, riotous energy in the production, and from here on in, the characters have a runaway chemistry that builds to a wickedly climactic reunion breakfast. Coward's barbs are still so sharp and rousing, and it's exciting to watch the two Tobys at the top of their — very different — comedic games. At the same time, it is getting a bit repetitive seeing Schmitz play the smartarse, Truslove the schmo, and Mignion the ingénue. Belvoir should be careful to keep challenging its fine recurring actors. In this case, Mignion is perhaps even miscast, seeming more lost and infantilised under a giant blonde wig than a daffy scene queen in her twenties could possibly be. There's one further oddity in Private Lives: It has a rather casual, even glamorising, approach to domestic violence, one that jars with the attempt to transplant it to an unspecific present. Other anachronisms may pass quietly by, but this comes as a jolt. Image by Heidrun Lohr.
A dystopian favourite reaching its end, one of the best TV shows of the past few years, the greatest small-screen effort in this very galaxy, more chestbursting horror, Glen Powell: they're all coming to your streaming queue in 2025. As the new year approaches, the networks and platforms responsible for your television viewing are dropping sneak peeks at what's in store. Following HBO's teaser trailer, now arrives Disney+'s version. Add season six of The Handmaid's Tale, season four of The Bear, season two of Andor, new Alien TV series Alien: Earth and the Powell-starring Chad Powers to your must-see list, as they're all on the way. So are Daredevil: Born Again and Ironheart, both from the Marvel Cinematic Universe. Andor isn't the only Star Wars series highlighted, thanks to the Jude Law (Peter Pan & Wendy)-led Skeleton Crew. Elsewhere, season two of Percy Jackson and the Olympians gets a look in as well — and there's more where it and all of the above shows came from. As is always the case with trailers that are about a channel or streaming service's entire upcoming slate rather than one specific show, nothing receives the indepth treatment in the just-dropped trailer — but The Handmaid's Tale still gets plenty of attention. Season six is the last season of the Elisabeth Moss (The Veil)-led series based on Margaret Atwood's book, but the author's The Testaments is next set to make the leap from the page to the screen. The Bear also features prominently. Disney+ and Hulu said "yes chef!" to the fourth season before season three even aired, and gives Jamie Lee Curtis (Borderlands) one of the key lines of the clip: "sometimes your work family is closer to you than your family family," she tells Ayo Edebiri's (Inside Out 2) Sydney. With Chad Powers, audiences get a glimpse at a series that enlists Powell as a quarterback who takes on a new persona — the titular character — to play for a struggling team. And in Alien: Earth, the sci-fi/horror saga started in 1979 by Ridley Scott's (Gladiator II) iconic film heads to our own pale blue dot, with Noah Hawley leading the charge behind the scenes after also doing the same on the Fargo TV series. Andor has debut new footage ahead of its return in April 2025, while release dates for everything else — release windows, even — are yet to be revealed. Also featured in the trailer: clips from season two of Goosebumps: The Vanishing, as well as the new Paradise and Good American Family. The first stars Sterling K Brown (American Fiction) and James Marsden (Unfrosted), while the second is led by Ellen Pompeo (Grey's Anatomy). Check out Disney+'s 2025 trailer below: The shows highlighted in Disney+ and Hulu's new trailer will arrive in 2025. We'll update you with more details when they're announced.
As we learn to live our lives of social distancing and self-isolation (for the near future, at least), it's easy to feel overcome with boredom. Even worse is our tendency to go looking for the latest news update, fuelling our fears in the midst of a global pandemic. But there are better ways of entertaining ourselves than being trapped in a today's news cycle. Right now, podcasts are your friends. Whether you listen to one in bed after waking up, on the balcony while you get a breath of fresh air, or in the kitchen while you cook that fun new recipe, podcasts can help you escape from today's hectic environment — without being glued to a screen all day. Whether you're a podcast veteran or a skeptic, this list has something for you. Being stuck at home can feel a little less restrictive when you can dive into brilliantly written fictional narratives, are consumed by true crime and mystery, or even learn a new language. Here are a five podcasts that will have you hooked in no time. DISGRACELAND True crime, excess and rock 'n' roll. Host Jake Brennan insists, when it comes to rock stars, we like them as bad as can be. This podcast tells stories of murder, drugs and sex, protagonised by your favourite music legends — and how they got away with it all. Disgraceland unveils the darkest side of old-school stardom, with a laidback, no nonsense narrative style. Dive into the Rolling Stones' wild lifestyles, Frank Sinatra's mobster adventures and Whitney Houston's hidden descent into drugs. If you manage to go through all 69 episodes, check out 27 Club. A new project by the same creators, this podcast takes a closer look at the unsettling truths behind rock 'n' roll, this time focusing on the members of the 27 club. The first season tells the story of iconic guitarist Jimi Hendrix, who died of an overdose at age 27. What? 69 30-minute episodes. THE WAY I HEARD IT Mike Rowe's soothing voice takes you on a guessing frenzy in every single episode, as he narrates a story about a famous historical figure, without telling you who he's talking about until the very end. He'll be talking about a prominent academic and you'll be picturing a rockstar. He'll tell you the story of a prize cow and you will be convinced he's talking about a femme fatale. With unexpected twists and so many random interesting facts, you can expect to chuckle when an episode's protagonist you've been so invested in is revealed to be someone totally unexpected. What? More than 150 20-minute episodes. ROOM 20 This LA Times investigative reporting podcast will keep you on the edge of your seat. Journalist Joanne Faryon tells the story of her search for a man's identity. A man only known as Sixty-Six Garage who has spent more than 15 years on life support in a San Diego nursing home. As a teenager, he suffered from severe brain damage after he was thrown out of a truck in a car accident. An undocumented Mexican immigrant in the United States, his identity remained unknown, and there were no paper trails to help track down his family — until Faryon launched her own investigation. What? Six 30-minute episodes. MOTHERHACKER A divorced PTA mom gets scammed out of her savings. She has no choice, but to join the team of scammers who took everything from her. Surprisingly, she's amazing at it. Told as an old-time radio drama, Motherhacker is a fictional podcast that explores the lengths someone might go to in order to stay afloat in a dire situation. Think Black Mirror meets suburban mom. Motherhacker's perfect mix of suspenseful and quirky will leave you wanting more every time you finish an episode. With only nine episodes lasting around ten minutes each, this podcast could easily become a one sit-down binge. Open a bottle of red, enjoy a few snacks and make a night of it. What? Nine ten-minute episodes. COFFEE BREAK LANGUAGES Are you a more practical listener? If so, why not take advantage of your free time to learn Italian, or fine tune that rusty Spanish you haven't worked on since uni? Coffee Break offers podcasts in seven languages, with content ranging from beginner level, where you can learn phrases and grammar, to more advanced, where you can expand your vocabulary. These podcasts use stories situated in your language's country of origin to teach you how to speak it, engaging you beyond a typical grammar-based language program. It's said that listening to native speakers hold conversations is one of the most effective methods of learning it. By doing so, you can also keep your brain busy through self-isolation and social-distancing times and gain a valuable new skill that will definitely come in handy in the future. What? Podcasts in English, French, German, Italian, Spanish, Mandarin and Swedish. Need more? Check out our favourite true crime podcasts.
What does a perfect Sydney summer afternoon look like to you? An icy bottle of sauv blanc at the Opera Bar? A picnic table abundant with the kale and quinoa spoils of Maloneys? Or maybe a wild sunset boat party on the harbour with three of the world's most amazing DJs pumping inimitable summer beats into the earholes of you, a special +1 and 700 fellow revellers? There are approximately 90 days each year when the nights are warmish and superfoods actually taste good, but only one evening where you can party on a boat with Rudimental, Flight Facilities and producer/tastemaker/international party icon Steve Aoki. Riding the floating festival wave scheduled to hit the northern hemisphere later this year, You+1 marks an exciting first for the local dance scene, mixing the buzz of big-name international acts with homegrown talent and a quintessentially Sydney harbour setting. The line-up is also pretty diverse sonically, with the three headliners all falling under one sweepingly broad genre. Aoki climbs aboard having just been named the highest grossing dance artist in North America, renowned for delivering a cornucopia of electro house hits via an insane live performance. Investing the festival with a dash of feelgood Hackney soul are youth workers-turned-electro quartet Rudimental, who have already made waves in their native UK with this addictive track, while our own Flight Facilities put a halcyon spin on the genre as they return to their home city. An extremely limited number of tickets will be up for grabs via Durex's Facebook page from 3 September, so mark that date in your iCal to get 'em while they're not only hot but free. Date: Sunday 14 October, 2012 Time: 5pm – 9pm (boarding from 4.45pm) Location: The Starship, Wharf 4, King Street Wharf, Darling Harbour (adjacent to Cargo Bar) Tickets: facebook.com/Durex.Australia https://youtube.com/watch?v=JI6fDb6IBmU
The are very few names in musical theatre that turn as many heads and prick up as many ears as the name Lin-Manuel Miranda. The talented songwriter and actor has lent lyrics to some of the world's most famous productions and musically-charged films, including Hamilton, Encanto, tick, tick…BOOM!, and In the Heights. The latter is one of his most beloved works, starting as a script written in his sophomore year at university. Now, 25 years after that first draft saw daylight (which has since won four Tony Awards® and earned a film adaptation in 2021), In the Heights is hitting Sydney Opera House from Saturday, July 20 to Sunday, August 25. If you've never had the pleasure, In the Heights follows Usnavi, a bodega owner in the Washington Heights district of New York City. It's a vibrant community of hard-working residents, all in desperate need of change. Then, a winning lottery ticket enters the fray, but who will be the one to claim it in a community where everyone deserves a chance? With a soundtrack charged with red-hot contemporary salsa and a story about the power of community, this will be an unmissable winter event to catch during its five week run at Sydney Opera House. 'In the Heights' is coming to the Sydney Opera House from Saturday, July 20 to Sunday, August 25. For more information or to book tickets, visit the website.
This article is sponsored by our partners, Rekorderlig. Foraging through the snow in search of electronic music just got significantly easier; Rekorderlig (ever keen to demonstrate that Aussies should be tackling winter with a tad more brio than a pack of grizzlies) has revealed the 'mystery location' for free upcoming music event Sounds in the Snow. On September 13, just as the flakes start to melt and smack bang in the middle of the Toyota One Hit Wonder Mountain Festival, Sounds in the Snow will take place by the Rekorderlig Hot Pools at the Thredbo Alpine Hotel. Sydney synth pop boys Panama will appear in Thredbo to deliver their so-called hopeful house music live. Fronted by Perth-born songwriter and classically-trained pianist Jarrah McCleary, the trio are currently touring Europe and the United States on the back of sophomore EP Always. Sounds in the Snow is just one of the many excuses that Rekorderlig's giving you to head to the snow this season. Afternoon sessions are happening at the Thredbo Alpine Hotel every Thursday, Friday and Saturday between 3pm and 6pm; fire pits are burning; the Rekorderlig Hot Pool is providing serious apres-ski relaxation; and their tasty cinnamon and vanilla-fused Winter Cider is at the top of the drinks menu. Sounds in the Snow is a free gig happening from 4-5pm on Saturday, September 13 by the Rekorderlig Hot Pools at the Thredbo Alpine Hotel. For the latest updates, join the Rekorderlig Facebook page. https://youtube.com/watch?v=UylPrMcurB8
It's impossible to be stressed when there's cute puppies around, which is as good a motto as any to live by. Are you the kind of person who gets tense rushing around airports, even if you've checked in early and you're heading off on your dream holiday — or you've just landed for a relaxing getaway? Here's something that'll help: for one day only at Sydney Airport, you can add spending time with tiny guide dogs to your trip. Guide Dogs NSW/ACT has dubbed its pop-up a puppy cafe, and sipping a cuppa while patting labrador puppies Aero, Pax, Kingsford, Syd and Amelia is on the agenda. You'll need to make a date with Café Veloce at airport's Domestic Terminal 2 on Thursday, January 18, however, and be around between 10–11.30am and 12.30–2pm. If anything is worth dropping your bags off well in advance of your flight or hanging around after disembarking, it's this. Tickets cost $15 for adults, and are only available at the door. Expect to have company — who wouldn't want to add some adorable Guide Dogs pups, which've been named the 'airport litter', to their airport visit? Attendees will also be surrounded by Therapy Dogs as well as the five Guide Dogs pups, and get a free coffee as part of the entry fee For Sydneysiders who aren't jetting anywhere anytime soon, you can still drop by, but you will need to go through airport security to get to the cafe. "For one day only, we are thrilled to open up our Guide Dog cafe in Sydney Airport where ticket holders can meet the gorgeous airport litter and learn about the wonderful work of Guide Dogs," said Guide Dogs NSW/ACT Puppy Development Advisor Sabrina Gabrielle "This day is all about highlighting the brilliant work that Guide Dogs does, raising awareness for our community and celebrating our wonderful Christmas appeal partnership with Sydney Airport." "It takes over two years and costs $50,000 to breed, raise and train each life-changing Guide Dog, including the pups we'll have at our cafe. Through this event we want to recognise the crucial role all of our dogs play in helping Australians living with low vision and blindness lead a life without limits." The Guide Dogs pop-up puppy cafe will be at Café Veloce in Sydney Airport's Domestic Terminal 2, Keith Smith Ave, Mascot, on Thursday, January 18 — with sessions from 10–11.30am and 12.30–2pm. You can buy tickets from $15 on the door. For more information about Guide Dogs Australia, head to the organisation's website.
Already an enormous success on Broadway, in London's West End and in Melbourne, Tony and Olivier award-winning musical Come From Away is touring its remarkable true tale around Australia's east coast. Based on real post-September 11 events, the acclaimed production will actually return to Melbourne in January 2021 for an encore season of kind-hearted charm, before heading to Brisbane in March and Sydney in June — visiting the Queensland and New South Wales capitals for the first time. If you aren't familiar with the musical's plot or the actual events that inspired it, it's quite the exceptional story. In the week after the September 11 attacks in 2001, 38 planes were unexpectedly ordered to land in the small Canadian town of Gander, in the province of Newfoundland. Part of Operation Yellow Ribbon — which diverted civilian air traffic to Canada en masse following the attacks — the move saw around 7000 air travellers grounded in the tiny spot, almost doubling its population. Usually, the town is home to just under 12,000 residents. To create Come From Away, writers and composers Irene Sankoff and David Hein spent hundreds of hours interviewing thousands of locals and passengers, using their experiences to drive the narrative — and, in many cases, using their real names in the show as well. The result is a musical not just about people coming from away (the term that Newfoundlanders use to refer to folks not born on the island), but coming together, all at a time when tensions were running high worldwide. Since being workshopped in 2012, having a run in Ontario in 2013, then officially premiering in San Diego in 2015, Come From Away has become a global smash hit. After opening on Broadway in 2017, it was still running before the theatre district closed due to COVID-19. The musical wowed crowds in the West End, too — and, when it first opened in Melbourne in July 2019, it became the Comedy Theatre's most successful musical in the venue's 91-year history. Along the way, the show has picked up a Tony Award for best direction of a musical, six other nominations, and four Olivier Awards out of nine nominations. Come From Away was actually initially due to head from Melbourne to Sydney in 2020, but that's one of the many things that didn't happen this year. COME FROM AWAY 2021 AUSTRALIAN TOUR Melbourne: January 19–March 21, Comedy Theatre Brisbane: March 26–April 18, QPAC Lyric Theatre Sydney: June 3–July 21, Capitol Theatre https://www.youtube.com/watch?v=-zmvy1p2FOE&feature=emb_title Come From Away will return to Melbourne's Comedy Theatre from January 19–March 21, then hit Brisbane's QPAC Lyric Theatre from March 26–April 18 and Sydney's Capitol Theatre from June 3–July 21. For further information — or to buy tickets — visit the musical's website. Images: Jeff Busby.
Since setting up in Rotterdam in 1997, Superuse Studios have been leading the way when it comes to sustainable architecture and design - both interior and exterior. Their portfolio includes a children's playground made out of old windmills, a contemporary art space that was once a shipping yard and a residence constructed entirely of recycled materials. Superuse are currently showcasing their latest designs at London's Architecture Foundation, where they'll be hanging about until July 31st. Some of their most recent developments have arisen from collaboration with students at the Royal Academy of Art at the Hague. Founder Jan Jogert has told The Guardian, the aim is to 'identify and connect available flows in the urban ecosystem.' One success story is that of GRO Holland, a project that involves recycling the 98.8% of produce wasted in the coffee-making process. Left-over grounds are gathered from cafes and blended with spores from oyster mushrooms, then cultivated in a dark, warm place. The resulting fungi are sold back to the cafes, while the waste produced goes to local tulip farmers. Superuse are also about to embark on the construction of a visitors' centre, which will again feature mushrooms and coffee grounds, this time as insulation. 'It is only through transparency that things will change,' Jongert says. 'The idea of connecting these disparate flows will become a big part of the economy. It will have to happen – we have no other choice.' [Via PSFK]
A decade has sashayed away since Bianca Del Rio won the sixth season of RuPaul's Drag Race. After emerging victorious over Australia's own runner-up Courtney Act, the drag queen and comedian has been conquering Down Under stages ever since. Among multiple tours over the past ten years, the fabulously quick-witted talent last brought her Hurricane Bianca whirlwind this way in 2022 — and she'll next break out her devilish snark and timing in 2025. "I'm coming out of my crypt and hitting the road again to remind everyone that I'm still DEAD INSIDE!" said Del Rio about her latest world tour, which has dates in Canada, the US, Britain, Ireland, Europe and Latin America across the rest of 2024. It began this year in San Diego, spending from February–May packing out theatres across North America. "If you enjoy irreverent humour, like sparkly costumes and are NOT easily offended … this is the show for you!" Del Rio continued. The global favourite keeps building upon her massive past decade or so, with the dimple-cheeked performer doing everything from tours upon tours to hitting the West End stage in the musical Everybody's Talking About Jamie and also popping up in the film version as well. Then there's 2016 comedy Hurricane Bianca and its 2018 sequel Hurricane Bianca: From Russia with Hate, plenty more appearances on various Drag Race seasons and specials, web specials, music videos and even an episode of Celebrity Family Feud. Accordingly, you know what to start watching in preparation for Del Rio's Dead Inside gigs in Australia and Aotearoa from January — although, as you'll know if you've seen her live before, there's nothing like seeing her in the flesh. [caption id="attachment_965670" align="alignnone" width="1917"] Ronn via Wikimedia Commons[/caption] Del Rio's 2025 visit will break out the cutting insults — plus her larger-than-life persona in general — in Brisbane first, beginning the tour with two nights at Fortitude Music Hall. After that, one-night stops are on the agenda at Melbourne's Comedy Theatre, Astor Theatre in Perth, Sydney's State Theatre and Llewellyn Theatre in Canberra. In NZ, Del Rio will hit the stage at Kiri Te Kanawa Theatre in Auckland, Wellington's Opera House and James Hay Theatre in Christchurch. Bianca Del Rio's Dead Inside Tour 2025 Dates: Tuesday, January 28–Wednesday, January 29 — Fortitude Music Hall, Brisbane Friday, January 31 — Comedy Theatre, Melbourne Wednesday, February 5 — Astor Theatre, Perth Saturday, February 8 — State Theatre, Sydney Tuesday, February 11 — Llewellyn Theatre, Canberra Thursday, February 13 — Kiri Te Kanawa Theatre, Auckland Saturday, February 15 — Opera House, Wellington Monday, February 17 — James Hay Theatre, Christchurch Bianca Del Rio's Dead Inside! tour heads around Australia and New Zealand in January and February 2025. For more information or to buy tickets from 9am on Friday, July 19, 2024, head to the tour website.
Sydney's glorious northern beaches are dotted with cafes and eateries, but a lot of them aren't the easiest to get to if you don't have your own set of wheels. Especially if you want to want to get a quick dip in pre- or post-feed. With this in mind, we've teamed up with premium car sharing service Popcar so you can up your brunch game this summer. As Popcar lets you enjoy the benefits of owning a car without all the hassle, it's a great way of exploring more of Sydney and its surrounds. And, so you can hit up some pristine beaches and get a quality cup of joe with ease, we're giving you the chance to use Popcar for free. Better yet, you'll win vouchers to five awesome northern beaches cafes, too. Take a walk along the sand at Shelly Beach and have brekkie at The Boathouse or brunch on the Manly beachfront at Bluewater Cafe after an early morning swim. Or, make a day of it and fuel up at Bella Vista Cafe before exploring North Head Sanctuary, then head back for oysters and rosé with a view at The Pantry Manly. And, when you want something more secluded, head further north and discover the Waterfront Store at Church Point. To get you to all these hot spots and back, we're giving away a Popcar membership, with no sign up or subscription fees, plus five days free use of a Popcar vehicle. Just hop in the car and zoom around to these various spots along Sydney's northern coastline. To enter, see details below. [competition]757361[/competition]
If you didn't already know, Erskineville's much-loved Imperial Hotel is home to Priscillas, a "drag and dine" restaurant where you'll find everything from plant-based food to late-night drag shows. And for October, Priscillas is bringing back its raunchy X-rated Rood Food festival for a second year. Every Wednesday and Thursday night in October, a combo of dirty dishes, cocktails and kinky drag will take over the pub's dining room. At its centre is three-act drag extravaganza performed by Sydney queens Etcetera Etcetera, Ruby Slippers and Riot. The show will be hosted by Sunday Best and, of course, comes with a side of phallic fare and crude cocktails. You can opt for either a two- or three-course set menu ($55 or $65) — this'll get you a glass of bubbly on arrival, but if you want the stuff to be free-flowing, you can tack on two hours of bubbles for $29. Expect to see The Big Banger (a plant-based sausage) on the menu alongside last year's fave, the 'perky' Panna Knockers. The coconut ceviche comes with headphones and an aural experiences that's supposed to trigger ASMR. If you can't make it on a school night, the experience will also be happening over lunch on Sunday, October 20 and Sunday, October 27.
UPDATE, August 14, 2023: Tickets are getting snapped up fast for Flight Facilities' tour, with new shows announced. This article has been updated to include the additional dates. Flight Facilities know how to get a party started. The Australian producer duo, aka Hugo and Jimmy, have spent more than a decade inspiring folks to make shapes to the pair's own tunes. Given that they began mixing other artists, it's hardly surprising that they're also playlist and mixtape maestros. See: their Decades Mix series, which has spoiled listeners with six hour-long, decade-spanning surveys. If it's a dancefloor filler from 1962 to 2022, the odds are that it has featured in one of Flight Facilities' odes, with separate mixes for 1962–72, 1972–82, 1982–92, 1992–2002, 2002–12 and 2012–22. And, if it's a track from the 1970s to now that's made the cut, it's also likely that it'll get a spin on Flight Facilities' just-announced latest DJ tour, which is all about its Decades mixes. Fuelled by crate digging, this trip around Australia will jump through hundreds of tracks across extended club sets throughout October. First up: Brisbane's Fortitude Music Hall, before Flight Facilities head southward from Byron Bay's Beach Hotel to Melbourne Pavilion. Also on the itinerary: going west over to Rechabite Hall in Perth and Freo.Social in Fremantle, a stint at Adelaide's Harvest Rock, and both Town Hall and Liberty Hall carpark in Sydney. Start guessing which tunes will get a whirl now. The 72–82 mix spans everything from Stevie Wonder's 'Superstition' to Queen and David Bowie's 'Under Pressure', while the 82–92 list includes New Order's 'Blue Monday', Madonna's 'Lucky Star', Prince's 'Cream' and Technotronic's 'Pump Up the Jam'. Among the 92–02 roster: Arrested Development's 'Mr Wendal', Beastie Boys' 'Body Movin'', 2Pac's 'How Do U Want It?' and The Avalanches' 'Frontier Psychiatrist'. And, from 02–12, the mix starts with Chemical Brothers' 'Star Guitar' and ends with Flight Facilities' own 'Clair De Lune'. The duo only dropped the 12–22 mix in July, so heading along to these gigs means hearing Flight Facilities' absolute latest blast from the past. FLIGHT FACILITIES — THE DECADES TOUR: Friday, October 6 — Fortitude Music Hall, Brisbane Saturday, October 7 — Beach Hotel, Byron Bay Thursday, October 12 — Sydney Town Hall, Sydney — NEW DATE Friday, October 19 — Melbourne Pavilion, Melbourne — NEW DATE Friday, October 20 — Melbourne Pavilion, Melbourne — SOLD OUT Saturday, October 21 — Rechabite Hall, Perth — SOLD OUT Sunday, October 22 — Freo.Social, Fremantle — NEW DATE Saturday, October 28 — Harvest Rock, Adelaide Sunday, October 29 — Liberty Hall Carpark, Sydney — SOLD OUT Flight Facilities will take The Decades Tour around Australia in October 2023. Head to the Secret Sounds website for further details, and tickets from 10am AEST on Friday, August 11.
If you're a fan of Australian music, you must have heard of BIGSOUND. Australia's answer to Austin's South by Southwest, Brisbane's annual music conference/festival is tailor made for true music fans and industry reps alike. Although the event doesn't boast huge international headline acts, BIGSOUND does something better. The three-day event helps to unearth and promote up-and-coming Australian and New Zealand acts, as well as informing the world of the current and future trends and ideas cooking within the music industry. Bigwigs from all over the world head to Brisbane's Fortitude Valley to check out what Australia has to offer, and it can be a huge boost for any band on the lineup to simply attend and connect with the right people to help them on the way to stardom. There's a significant amount of networking afoot for Aussie artists wanting to snag an overseas door-opener. Best of all, BIGSOUND attracts thousands of punters into Fortitude Valley over two nights to witness 140 bands play across 14 venues. They don’t call it BIGSOUND for nothing. There is a lot to see and do. If you're struggling to decide who to check out on Wednesday or Thursday night, we have handpicked a few artists that, in our humble opinion, are absolute must-sees. Bad//Dreems Adelaide rock foursome Bad//Dreems have been on a roll over the past two years after meeting at their local football club. The lads have earned high acclaim for their brand of straight shootin' rock and roll that embodies the dispassionate psyche of our youth under that hot Australian sun. These guys put on a great show — mark them on your timetable and make sure you're front row when they rock out. Wednesday night: JBL Live Stage, The Brightside (Outdoor) @ 9:40pm. Blank Realm Brisbane band Blank Realm are the dark horse of Australian music. After making moves in the underground, this psych rock band has been playing some big festivals overseas including Glastonbury, Spain's Benicassim and Valkhof Festival in the Netherlands. Their past two albums have also been widely critically acclaimed, so find out what's behind the hype and see this band. Wednesday night: New Globe Theatre @ 11:20pm. Client Liaison Melbourne duo Client Liaison produces pop music that oozes style. Although retro in aesthetic, Client Liaison are entirely new age. Don’t let the big hair and glittery synthesizers fool you – the debut EP from these dudes is a modern slice of cool. If you want to dance at BIGSOUND, stop by and check out Client Liaison. Thursday night: triple j Unearthed Stage, Oh Hello! @ 11:30pm. D.D Dumbo Castlemaine multi-instrumentalist, D.D Dumbo aka Oliver Hugh Perry specialises in minimalist compositions that incorporates traditional instruments with percussive loops and crooning vocals. D.D Dumbo’s 'Tropical Oceans' is one of the best songs of the year by one of the most unique artists operating today. One of Splendour's runaway goalkickers, make sure you have D.D at the top of your priorities. Wednesday night: Alhambra Lounge @ 11:20pm. Klo Klo is cousins Simon Lam and Chloe Kaul. The duo are one of the freshest on the BIGSOUND lineup, having only started making music together in 2013. Lush electronic arrangements mix with ethereal and dreamy vocals to make an alluring sound, one that will take Klo very far. Wednesday night: triple j Unearthed Stage, Oh Hello! @ 9:50pm. Oscar Key Sung As one part of Oscar + Martin, Oscar Slorach-Thorn grew accustomed to playing big stages. Under his solo guise, Oscar Key Sung, the producer has created some of the best tunes in the tightly-knit Australian electronic spectrum. OKS has toured internationally and has sold out more shows than he can count; his performance is sure to be BIGSOUND highlight. Wednesday night: inthemix Stage, Woolly Mammoth @ 11:30pm. Pikelet Evelyn Morris has been performing as Pikelet since 2007, sharing the stage with some of the best in the game over the years. If Sufjan Stevens, Goldfrapp and Devendra Banhart are names you're fond of, make sure you check out the musician they handpicked as their support act. Thursday night: The Underdog @ 8:50pm. Teeth & Tongue New Zealand-born, Melbourne-based musician Jess Cornelius is Teeth & Tongue. Her third album, GRIDS, is a great collection of emotive pop — drum machine and evocative guitar lines are her forte, songs about love, loss and life are her passion. Critically acclaimed and well travelled, Teeth & Tongue is a sure BIGSOUND thing. Wednesday night: Black Bear Lodge @ 9pm. Tkay Maidza If you've turned on the radio over the past 12 months, you've certainly heard Tkay Maidza. The 18-year-old's massive hit, 'Brontosaurus' got feet stomping nationwide. Fresh from huge appearances at Splendour in the Grass and Groovin'The Moo, the Zimbabwe-born, Australia-raised MC is on a rapid rise to international recognition. Be there for bragging rights before she takes over the world. Thursday night: JBL Live Stage, The Brightside (Outdoor) @ 9:40pm. Yeo Brisbane-raised, Melbourne-based Yeo is a worldly soul who creates evocative and emotive R&B electronica. This super talented musician writes, records and produces his own music, entirely in control of his own unique artistic vision. Anyone with such talent and drive is worth seeing, especially the sonically intriguing Yeo. Wednesday night: inthemix Stage, Woolly Mammoth @ 9pm. The go-to happening for Australian music fans and industry leaders alike, BIGSOUND is your ticket to big gigs, big rubbing shoulders ops and even bigger ideas. Check out the full BIGSOUND program of panels, events and gigs right here.
Planning a trip to the Red Centre for NAIDOC Week? The Ayers Rock Resort celebrates the occasion with '50 Years of NAIDOC' — a feast for the senses, where vibrant cuisine and captivating storytelling combine with art, culture and more. Running from Sunday, July 6–Sunday, July 13, Indigenous chef Mark Olive, aka 'The Black Olive', headlines the experience, taking over the resort's Arnguli Grill & Restaurant with a three-course set menu brimming with native bush foods and Indigenous wines. Olive will also host an intimate dinner on Wednesday, July 9, with guests invited to enjoy the exclusive menu sat alongside Olive, who'll recount stories and insights behind each dish and the ingredients' significance. Meanwhile, Olive will also present a complimentary Bushfood Masterclass, where culinary tradition, technique and storytelling blend across various sessions in the Gallery of Central Australia's outdoor amphitheatre. Beyond these gastronomic encounters, the Ayers Rock Resort has also produced a series of art experiences and cultural activities. Aṉangu artists Billy and Lulu Cooley will present their wood-carving talent in the Town Square Circle of Sand. Plus, the Sunrise Journeys encounter sees guests connect to Country at dawn, as three local Aṉangu artists bring the desert landscape to life each day using laser projection, music and the natural environment. On Wednesday, July 9, Uluru-Kata Tjuta National Park's Cultural Centre Inma Ground offers insight into traditional working tools and ceremonial song and dance, while the Town Square Lawns features the NAIDOC Markets, teeming with community, culture and cuisine on Sunday, July 6. For cinephiles, the Arkani Theatre will host the Indigenous Film Festival, screening free films throughout the week, including Charlie's Country and Bran Nue Day. Images: Carly Earl / Matt Lambley.
Eminent Australian rock photographer Tony Mott has had a pretty sweet time on the road with some of the world’s most respected musicians. If you fancy a glimpse into his impressive portfolio, the State Library of NSW will be showcasing a selection of his work in What a Life!. You will see awe-inspiring shots of Iggy Pop bounding off speakers as well as Mick Jagger caught mid-swagger. A photograph of Chrissy Amphlett, lead singer of the Divinyls, taken back in 1983, catapulted Mott into the music industry. He has since published over 30,000 photographs in 20 countries. As well as capturing the raw power of rock ‘n’ roll, Mott has documented the changing nature of live music in Australia, from the advent of digital photography to the loss of countless entertainment venues.
Australia's theatre scene hasn't had much to smile about in 2020; however, when 2021 rolls around, some venues around the country will kick back into gear with a little help from their friends. Well, with Friends! The Musical Parody to be specific — with the comedic, song-filled satire of everyone's favourite 90s sitcom touring the country next year. Initially, the show was due to hit local theatres in August and September this year. Then, when the pandemic struck, the musical rescheduled to November and December instead. But it seems that 2020 hasn't been anyone's year — or included anyone's favourite day, week or month, for that matter — so the production has now shifted its entire run to 2021. Scheduled to kick off on the Gold Coast before being there for audiences in Melbourne, Brisbane, Perth, Adelaide and Sydney, Friends! The Musical Parody will spend time with Ross, Rachel, Chandler, Monica, Joey and Phoebe, of course. Here, they're hanging out at their beloved Central Perk — and sitting on an orange couch, no doubt — when a runaway bride shakes up their day. Call it 'The One with the Loving, Laugh-Filled Lampoon', or 'The One That Both Makes Good-Natured Fun of and Celebrates an Iconic Sitcom'. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. That said, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 16 years after it finished airing, including via an upcoming reunion special that'll gather the TV series' main cast back together. View this post on Instagram A post shared by Friends! The Musical Parody (@friendsthemusicalau) FRIENDS! THE MUSICAL PARODY AUSTRALIAN TOUR: Gold Coast: Thursday, February 11–Saturday, February 13 at The Star Gold Coast Melbourne: Wednesday, June 16–Saturday, June 19 at the Comedy Theatre Brisbane: Thursday, Augustt 19–Saturday, August 21 at the Tivoli Theatre Parramatta: Thursday, September 2–Saturday, September 4 at Riverside Theatre Adelaide: Friday, September 24 at Her Majesty's Theatre Perth: Saturday, October 16 at Regal Theatre Friends! The Musical Parody tours the country from February–October 2021. For further details, and to buy tickets, visit the production's website.
Australia Day, or as it's more correctly pronounced, 'Straya Day, is a pinnacle date on the calender to celebrate our lives and the country we live in. Smack bang in the middle of summer, there is no better time to lounge yourself outdoors for a well-deserved day off. Grab a bucket hat, a pair of sunnies and slide into your favourite pair of thongs (not flip-flops!) before heading to one of these destinations. The Beach Is there anything more Australian than going to the beach on Australia Day? No there isn't, provided you've got an esky and plenty of longnecks at your disposal. Besides the obvious choices of Bondi and Coogee, the nooks and crannies around Bronte and Tamarama play host to several parties and drinking spots, with McKenzies Bay the most notorious. If you reside on the north side, kickstart your day with the big breakfast at Dee Why. If you do decide to grab a spot on the sands, make sure you have plenty of sunscreen, as there's nothing healthy about a tan. Furthermore, remember that swimming while intoxicated tends to be a bad idea, so look after yourself and your mates. I don't want to sound like a lecturing mother, but safety always comes first. Freda's Concrete Playground favourite Freda's will celebrate Australia Day by extending their regular happy hour to a whopping six hours, and cheap drink specials will be on offer from midday to 6 pm. In addition to house beers and wines for $5, you'll also find prawns and oysters at reasonable prices. Furthermore, they promise to host a handful of surprises on the day, so you never know what may eventuate. Seafood and schooners? Sounds like a win-win situation. The Rocks A hub of Sydney City that is full of rich history, the unmistakable cobblestone streets of the Rocks will transform into an open festival on Australia Day. Kicking off just before midday and ending at 8:30 pm, there is plenty of time to browse the market stalls, enjoy a beverage at the many pubs and cafes, or just relax before an unbeatable view of the Sydney Harbour Bridge. All this will be accompanied by live music on three stages from the likes of Blue King Brown, Archie Roach and the Cat Empire's Harry James Angus. The best part? This event is absolutely free, which means more coin to be spent purchasing schooners. For drinking purposes it'll be a good idea to head down to The Argyle, who will provide brews, a BBQ and face-painting. Leave with a sausage and a smudged flag on your forehead. The Deck Sitting just inside the overarching smile of Luna Park, The Deck provides spectacular views of the harbour that will "tug at your patriotic heartstrings." Importantly, this will give you unbeatable views of the annual Ferrython race, whereby marine vessels will travel from Circular Quay to Shark Island before a photo finish at the Sydney Harbour Bridge. Sit back and cheer on your favourite boat with $5 beers for the day. Later on in the night, you'll get 2 for 1 wines and cocktails if you're feeling a little classy. Australia Day Spectacular Fireworks fiends who are still reeling in excitement from the New Year's Eve display will be treated to a second helping at Cockle Bay. A fireworks display will be accompanied by an epic lights and music show. A boat parade and water police rescue will also take place, which will undoubtedly please the kids. This kicks off at 7 pm, which will be a perfect sunset end to the holiday. Havaiana Thong Challenge Get an early start to Australia Day at North Bondi for the famous Havaiana Thong Challenge. After registering your name and a fee of $25, grab yourself an giant inflatable thong and head out to the ocean. By doing so, you'll be partaking in a nationwide competition to see which Australian state can have the most floating thongs on the day. NSW will be defending their title in 2012, as over 2000 people floated their way to victory last year at Bondi. Furthermore, $10 of each registration will go to the local Nippers club. Big Day Out Besides getting to hang out with a bunch of people who like to wear Australian flags as capes, the Big Day Out also provides a consistent quality line-up for music fans, and 2012 is no exception. Local true blue favourites such as The Living End, Grinspoon and Regurgitator will appease the wife-beater wearing audience, and the international appearance from Soundgarden will also appeal to this demographic. Fresh from releasing his critically-acclaimed collaboration album with Jay-Z, Kanye West headlines Sydney's grand stage with his opulent live show. Heavy bass and electronic fans will be pleased with the addition of Bassnectar, Nero and Perth's own ShockOne.
As fans across the globe gear up for the Arctic Monkeys' sixth album to drop later this week, the acclaimed English rockers have pushed the excitement levels even further, announcing a series of international pop-ups and film screenings to coincide with the launch. And even Australia's getting a look-in, with the local edition of the store — named after the forthcoming album Tranquility Base Hotel & Casino — is popping up at Sydney's Golden Age Cinema and Bar, this Friday, May 11, and Saturday, May 12. According to the Arctic Monkeys' website, the TBHC pop-ups will offer a range of "unique and limited album and merchandise items", alongside screenings of the band's favourite 70s flicks. Titles include Le Cercle Rouge, Inherent Vice, The Last Waltz and Michelangelo Antonioni's L'Eclisse. The event's running at the Surry Hills theatre from 11am until 8.30pm each day, though as you can imagine, tickets to the screenings are already selling fast. Only a handful of other lucky cities will also host these Tranquility Base Hotel & Casino pop-ups: Berlin, Tokyo, Paris, New York and the band's own hometown of Sheffield. The Tranquility Base Hotel & Casino will pop up at Sydney's Golden Age Cinema and Bar, 80 Commonwealth Street, Surry Hills. Tickets to the Sydney screenings are on sale here.
Poirot goes horror in A Haunting in Venice. As unsettling as it was in its pointlessness and indulgence, Death on the Nile's moustache origin story doesn't quite count as doing the same. With Kenneth Branagh (Belfast) back directing, producing and starring as the hirsute Belgian sleuth for the third time — 2017's Murder on the Orient Express came first — Agatha Christie's famous detective now gets steeped in gothic touches and also scores the best outing yet under his guidance. The source material: the acclaimed mystery writer's 1969 novel Hallowe'en Party. Returning screenwriter Michael Green (Jungle Cruise) has given the book more than a few twists, the canal-lined Italian setting being one. Venice makes an atmospheric locale, especially on October 31, in the post-World War II era and amid a dark storm. But perhaps the most important move that A Haunting in Venice makes is Branagh reining in the showboating that became so grating in his first two Poirot movies. Even if you've never read Christie's work or seen Poirot on the screen before, three details have become as widely known as the figure's existence: he's a detective, he's eccentric and, to the benefit of solving cases upon cases, he's obsessive. Thankfully, three also seems to be the magic number in letting the investigator's quirks feel lived in during his current cinema run, rather than constantly overemphasising every idiosyncrasy. Both A Haunting in Venice and Branagh's performance are all the better for that choice. When not just puzzling but also spooking is on offer, such a shift is essential, allowing bumps, jumps and eeriness to set the mood and style over an overdone central portrayal. Branagh is helming a haunted-house story this time around, after all — and while ghost tales need people to torment, overblown identities shouldn't be the most disquieting thing about them. He's also made a picture about grief and trauma, two experiences that change personalities. In relocating to the sinking island city and withdrawing from the whodunnit game, his new status quo when the film begins, A Haunting in Venice's Poirot has already done his own toning down. It's 1947, a decade after the events seen in A Death on the Nile, and bodyguard Vitale Portfoglio (Riccardo Scamarcio, The Translators) helps keep life quiet by sending away everyone who seeks the sleuth's help. The exception: Ariadne Oliver (Tina Fey, Only Murders in the Building), a Christie surrogate who is not only also a celebrated author, but writes crime fiction based on Poirot (with Fey slipping into her shoes, she's a playful source of humour, too). When the scribe comes a-knocking, it's with an invite to a séance, where she's hoping that her pal will help her to discredit the medium, Joyce Reynolds (Michelle Yeoh, Everything Everywhere All At Once), who has the town talking. The supernatural isn't Poirot's thing, unsurprisingly. Usually, that applies to the stories that he's in and his perspective. But Ariadne herself is starting to be convinced that Joyce might be the real deal, as she explains while persuading her friend into assisting. In A Haunting in Venice, belief isn't much Poirot's thing either — although unnerving visions do begin lingering in his view. As much as Branagh, cinematographer Haris Zambarloukos (another veteran of the first two pictures), composer Hildur Guðnadóttir (an Oscar-winner for Joker) and editor Lucy Donaldson (The Midnight Club) have fun diving into horror, and they do, embracing the occult was never going to be on the cards for movie's main character. Instead, getting his mystery-solving mojo back is part of the predictable plot; more than in Branagh's past two Poirot flicks, A Haunting in Venice feels comfortable rather than inert in its formula. From that setup, the film unfurls over one night and in a sole spot: a grand yet crumbling palazzo. The building was previously an orphanage where many kids met their death and has seen other folks follow them since, with local legend chalking up the abode's misfortunes to "the children's vendetta". Ex-opera singer Rowena Drake (Kelly Reilly, Yellowstone) now owns the structure — and it's her daughter Alicia's (feature debutant Rowan Robinson) passing that's inspired her to enlist Reynolds' services. Count her among the suspects when a body shows up, alongside Leslie Ferrier (Jamie Dornan, The Tourist), Drake's family doctor; Leopold (Jude Hill, Branagh's Belfast breakout), his precocious son; Olga Seminoff (Camille Cottin, Call My Agent!), the mansion's housemaid; Desdemona and Nicholas Holland (The Crowded Room's Emma Laird and Everyone Else Burns' Ali Khan), brother-and-sister war refugees; and Maxime Gerard (Kyle Allen, West Side Story), Alicia's American former fiancé. The expected Poirot template still dictates A Haunting in Venice's basics; few deductive skills are needed to see why Hallowe'en Party's name and city were changed to fit the franchise's mould, for instance. So, murders occur, fingers are pointed, everyone has a motive and the movie's main man gives his brain a workout. Also, getting the pool of accused jostling — and the actors playing them, of course — remains as baked into the feature as in its predecessors. This rogues' gallery makes a finer job of it than the past talents in the same position with Branagh. They're more cohesive as a group, and even as well. Fey sparkles with acerbic wit, Yeoh is confidently serene, Cottin frays nervily, Laird is a picture of unease, and having Dornan and Hill play father and son again after Belfast is a nice touch. With Branagh bringing more nuance to his role than ever, his co-stars never feel like they're being thrust into the shadows by their director and lead. There's zero subtlety in the filmmaking, though, nor should there be in a gleeful gothic-horror spin on Poirot. Cue a wealth of visual flourishes that convey a murder-mystery with purposefully disorientating excess — and shine. Thanks to Venice, the horror genre's fans will already be thinking about 70s great Don't Look Now, which arrived in cinemas before that decade's Murder on the Orient Express and Death on the Nile. Spotting odes to Italian giallo master Dario Argento are easy to find, too. Close ups, tilted angles, wide-angle shots, leaping from high to low perspectives, tight focus, making the utmost of the Venetian architecture: they all add to the macabre-and-loving-it air. They also boost a much-needed point of difference in these whodunnit-heavy times. Branagh's flicks have been outshone comically by everything from Knives Out and its sequel to the small screen's Only Murders in the Building and The Afterparty, so getting creepy proves a successful way of fending off their spirits; fittingly, it's a canny trick and enough of a treat.
Do you have the physical endurance of Cadel Evans and the creative genius of Picasso? Michael J. Wallace has found a neat way of combining both of these talents, all while getting the daily dose of fresh air and outdoor exercise that we so dearly need. Wallace creates bicycle routes in his hometown of Baltimore, and then rides them with the accompinament of a GPS tracker. Amazingly, all of these bicycle routes are in fact pictures. So as he pedals along innocently down the streets of B'more, he is in fact drawing his very own geographical masterpiece. Collected in the website WallyGPX, he's drawn and rode some characters and scenarios that are impressive in their complexity. These include a man surfing, a semi-trailer, and even a depiction of the landing on the moon. Given that one wrong turn could effectively ruin his canvas, you've got to appreciate this man's ambition. Do you have the energy and skill to create your own artistic bicycle or running routes? Give it a go in your hometown, and see if your friends can guess what picture you've mapped out. In effect, this could become a game of Draw Something - but way harder and infinitely more awesome.
Perhaps this is the legacy of being brought up an only child, but half the time I'm walking down the street I'm involved in elaborate daydreams soundtracked by my iPod. This is why audio guides have always held a certain attraction for me, because they have the potential to give you the daydream pre-packaged. Now the French Institute Alliance Française's annual New York-based festival piece Crossing the Line has taken the idea to a completely different level, transforming your run of the mill walking tour into an intrepid adventure merging fact and fiction, with the help of conceptual sound collective, Soundwalk. Crossing the Line leads listeners on an hour and a half's merry journey down New York's Museum Mile. Five writers devised narratives for the new and improved audio guides, inspired by landmarks, objects or the neighbourhood around 5th Avenue, combining authentic and imaginary stories which all aim to answer the question "what do we rely on to determine the truth from fiction?" The tour begins at the Metropolitan Museum of Art, winds its way through the Neue Gallerie and the Guggenheim, and finishes up in Central Park. The narratives are combined with experimental sounds to frame the stories, making the distinction between fiction and reality even more blurry. Available in both French and English, the audio guides can be downloaded individually or as a set from the Soundwalk website. The festival runs through until October 16, but for those of us who have neither the time nor the cash to go for a casual meander through the streets of Manhattan, you can download the audio guides or listen online at the Soundwalk website for a vicarious walking tour aided by the magic of Google Maps. [Via Cool Hunting]
This article is part of our series on the diverse highlights of NZ's Canterbury region, from city to snow. To book your Canterbury trip, visit the 100% Pure New Zealand website. There's nothing quite like a road trip. Even if you're not completely sold on the idea of long hours wedged into the backseat of your friend's Corolla, the high points of a roadie — driving along the highway, windows down, the purpose-made road trip playlist blaring, obviously — definitely outweigh the low ones. Especially when you've got incredible scenery and lots of awe-worthy stops along the way. That's why New Zealand is made for road trips. Not only is it crazy beautiful with a landscape that changes at every turn (right or wrong), it's a country that you can cross in little more than three hours. It's tiny. Unlike Australia, driving around NZ isn't a ridiculous task — everything's compact, and it never takes more than a few hours to get somewhere great. In fact, you probably won't even need to pee on the side of the road once. There are a slew of routes you can take to get right down the North and South Islands, but for an easy drive and a chance to see the most in a short amount of time, take your road trip to Canterbury. The region that includes Christchurch and its surrounds — from Kaikoura all the way down to Timaru and across to the Southern Alps — it boasts a landscape that's so incredibly diverse, it's almost unbelievable. In any one day you can be driving across the plains, through snow-topped mountains and around glaciers — without even leaving the snug confines of the region. So what exactly should you mark on your map? Start in Christchurch and make your way down to the ski region, pull up under the stars at Lake Tekapo and put your hiking boots on at Mount Cook — it's all in our guide to the ultimate Canterbury road trip. Christchurch In Canterbury, Christchurch is your best base. It's New Zealand's second biggest city so you can get a direct flight with Air New Zealand from Sydney, Brisbane and Melbourne for a coupla hundred bucks. It's choice. From the airport, pick up your ride and head into the city — it's a simple enough drive and, bonus, road rules are basically the same for Australians. It just gets a bit tricky (read: impossible) once you hit the city centre, as a heap of roads are either one-way or closed and lanes are defined by a small army of witches hats. Christchurch is a city rebuilding, but that doesn't mean there's not a lot happening. The locals here are making it work, and it's incredible to see how they're reinventing the city as their own. You'd be best to take a full day here — two if you can — to eat, drink, see and learn. The CBD isn't that big, so you can easily walk from breakfast at Black Betty to the Re:START shipping container mall and the Christchurch Art Gallery. Make sure you take a walk to the Botanic Gardens (they're the third biggest city gardens in the world, behind New York and Munich) and head over to New Regent Street for dinner and then a drink in the Christchurch's cosiest whiskey bar, The Last Word. The surrounding suburbs have it going on too, so, seeing as you've got wheels, head out to The Tannery shopping precinct in Woolston and picturesque port town Lyttleton. Stay: The George, 50 Park Terrace, Christchurch Central, thegeorge.com Methven Whether you have a carload of ski bunnies or not, Methven is the perfect little ski town to stop off at once you leave Christchurch. Just an hour or so out of the city, Methven sits near the base of Mt Hutt, so it's teeming with ski pros and staff that work up on the mountain. They frequent the Blue Pub and the Brown Pub — they sit opposite each other on the main street, it's all very quaint — and The Last Post of an evening, all of which house fireplaces, hearty dishes and lots of booze. And you'll need all of these things if you do or don't decide to go skiing up at Mt Hutt. You are? A shuttle picks up skiers from most hotels each morning (no need to book) and will bring you back down in the afternoon. Just be warned: the drive up is unsealed and unnerving as hell if it's your first time. Not heading up the mountain? There are plenty of walks you can do around the area, and thanks to the cooperation of local farmers, some of them pass through some very pretty private land. Just don't forget your beanie. Stay: Ski Time Lodge, 39 Racecourse Road, Methven, skitime.co.nz Lake Tekapo When you've had enough of skiing (or sitting by the fire in the pub), it's onward to Lake Tekapo. If you haven't seen photos of Tekapo, refrain from doing so before your trip — it'll make your first sighting even better. The water in this lake is the bluest of blue, so much so that I'd be inclined to say it was magic if someone didn't tell me that it comes from the reflective rock flour that gets ground into the lake by the glacier that feeds it. Whatever the reason though, this place has snow-topped mountains bordering the lake and the adorable Church of the Good Shepherd sitting on it's shores, and it's stunning. In winter it's covered in a blanket of snow, and later in the year it's blooming with lupins — you really can't lose. Spend a day or two hiking up Mt John, stargazing, bathing in the hot pools or sipping wine by the fire. Have a look at our Tekapo itinerary for deets. Stay: Peppers Bluewater Resort, State Highway 8, Lake Tekapo, peppers.co.nz/bluewater or the YHA Lake Tekapo for some great indoor views of the lake, 3 Simpson Lane, Lake Tekapo, yha.co.nz Mount Cook In a country full of really big mountains, you know that the biggest one of the lot of going to be massive. So, yes, Mount Cook (also known as Aoraki) is really, really big. If you know what you're looking at you can even see it from Tekapo, but it's worth getting up close. Take State Highway 8 and stop along the banks of Lake Pukaki — it's even bigger than Tekapo and there's a salmon shop with some incredibly fresh smoked salmon that comes straight from the salmon farms that are dotted around Canterbury's canals. (Just make sure you get at least two servings because that stuff is seriously good.) From there you head around the blue oasis of Pukaki and up towards Mount Cook. The township is tiny, but there's plenty of accommodation as plenty of people come here to hike and do heli-skiing and other adventurous things. So unless you're an experienced hiker, you won't be climbing to the summit of this big boy, but there's a whole heap of walks you can do, whether you want to be walking for an hour or a whole day. It's best to drive up to the car park of Aoraki/Mount Cook National Reserve and take it from there; you'll get some sweet views from Kea Point and the Hooker River swing bridge without even having to venture too far. Christchurch Round off your road trip by heading back to Christchurch. It's the longest stretch at about four hours, but it will be a welcome excuse to stay stationary if there's been hiking involved. If you do have an extra day or two in the city and want to get a feel of the Canterbury Plains, take a drive out to Arthur's Pass — it's one of the most scenic you can do. Or else, book yourself in for jetboating (it's something of a national pastime here) on the Waimak Gorge or four wheel driving over Mt Torlesse Station through Alpine Safaris. Both give you some killer views that you wouldn't be able to get without their help.
The best of North American independent cinema is heading to Sydney, as part of the ninth annual Possible Worlds US and Canadian Film Festival. Presented by The Festivalists, aka the guys behind the kickass Sydney Film Festival Hub, this year's event features an even split of films between the two neighbouring nations, with plenty of prominent titles worth checking out. One major standout from the Canadian section is Our Man in Tehran, a doco that gives credit to the critical role of Canadian ambassador Ken Taylor during the 1979 Iranian Hostage Crisis (after he was largely overlooked in favour of American heroics in Ben Affleck's Academy Award winning Argo). Other highlights include the found footage school shooting dramedy The Dirties, plus a selection of films from French-speaking Quebec headlined by Xavier Dolan's skin-crawling psychological thriller Tom at the Farm. Exciting American films include the post-apocalyptic Western Young Ones featuring Michael Shannon and Kodi Smit-McPhee, as well as the world premiere of the tantalising titled documentary Air Sex: The Movie. And if you're unsure of what air sex is, fear not. Comedians Cameron James and Jared Jekyll will be on hand for a thorough demonstration before the screening. For the full Possible Worlds Program visit the festival website.
If you didn't know that Jordan Peele was involved with HBO series Lovecraft Country, it really wouldn't take you long to guess. As based on the novel of the same name, the horror-drama steps back to 50s-era America, to a time of segregation, and into the life of Atticus 'Tic' Freeman (Jonathan Majors). He has returned from the Korean War, is trying to track down his missing father (Michael K Williams), and soon finds himself surrounded by monsters of the fantastical and very real kind. Yes, as he did so impressively in Get Out and Us, Peele once again examines the historical and current treatment of Black Americans through an unflinching and unsettling genre lens. He's Lovecraft Country's executive producer, rather than taking on writing or directing duties, but this is another exceptional, thematically powerful and visually engaging addition to his resume.
Moosejaw, an online shop that sells outdoor recreational apparel, has created the X-Ray Catalog App, available at their website. Once the app is downloaded, the user holds their smartphone over photos of models sporting ski parkas and other fairly unsexy items, only to see the app 'strip' them through the use of augmented reality technology, revealing what they are wearing underneath their clothes. It's true that a lot more people (probably men) are suddenly going to be a lot more interested in this catalogue. If you wanted to look at soft porn in a public place or avoid embarrassment when your mum finds your stash under the bed - she'll just think you really love camping - this technology might just hold the answer. Or maybe it's about giving people the chance to feel as if they have superhero skills. Either way, if you see people reading the catalogue on the train with a little too much interest, you can either tsk them or give them a knowing wink, depending on whether you think this is creepy or brilliant.
How are you planning to spend gravy day in 2023? If you'll be listening to Paul Kelly sing about making gravy when it's the 21st of December, that's understandable. How are you planning to spend gravy day in 2024? Here's our suggestion: watching the movie How to Make Gravy, which is indeed adapted from Kelly's Christmas classic tune 'How to Make Gravy'. News that the flick was coming first dropped in 2022, with musician Meg Washington and writer/director Nick Waterman announcing that they'd locked in the rights to make the song into a film. Now, Australian streaming platform Binge has revealed that it's behind the movie, which will mark its first-ever original feature. Production has also started head of a planned 2024 release. Set to star: The Royal Hotel co-stars Daniel Henshall and Hugo Weaving, as well as Brenton Thwaites (Titans), Damon Herriman (now that he's no longer playing Charles Manson in both Mindhunter and Once Upon a Time in Hollywood) and Kate Mulvany (The Clearing) among the homegrown talents. Joining them is French actor Agathe Rousselle from Titane, who'll be making her first English-language film. Will Kelly feature? More cast members are still to be revealed, but cameos by Adam Briggs and Dallas Woods have been announced so far. Filming is currently underway on the Gold Coast. The exact story that the movie will tell hasn't been unveiled as yet; however, as anyone who knows the words to 'How to Make Gravy' by heart and is currently singing them right now while they're reading this is well aware, Kelly's tune tells a tale itself, starting with a prisoner called Joe who writes to his brother Dan. Presumably, Stella, Frank and Dolly will all also feature, and Rita, Roger, Mary and her new boyfriend. Junior Murvin will have to pop up on the soundtrack, of course. Also, the words "and give my love to Angus" better get uttered — or would it really be a How to Make Gravy movie? Although Binge hasn't advised exactly when in 2024 the film will release, either, you could probably put money on it hitting screens on or around December 21 to start a new gravy day tradition. (And, given the character of Joe also pops up in other Kelly songs such as 'To Her Door' and 'Love Never Runs On Time', cross your fingers that we're about to get a PKCU — Paul Kelly cinematic universe — too.) "It's a dream to be working with such an incredible cast and crew on our debut feature film. It's testament to Paul's songwriting that the world and characters within the song are so vivid, and we are proud to have the honour of bringing it to life," said Waterman and Washington. "It's a uniquely Australian story, made for film lovers and music fans alike. We can't wait to share our adaptation of 'How to Make Gravy' with the world." There's no trailer for the movie yet, of course, but here's the music video for the song. How to Make Gravy, the movie, doesn't yet have a release date — we'll update you when further details are announced. Via Variety.
Following its four-year residency along North Bondi's Mitchell Street, Shuk is now set to open it's second location in Elizabeth Bay — bringing with it a fresh taste of Israeli and Middle Eastern cuisine. The next instalment of the restaurant will open this spring within the Trebartha Apartments at Rosyln Gardens, a retirement community which has recently been redeveloped by Lendlease. Oddly enough, this is the third noteworthy opening within a retirement village we've covered this year — the other two being the opulent Botanica Vaucluse garden restaurant and spa, and Harbord Diggers, Freshwater's new dining and entertainment precinct. For the Shuk team, the location appeals to a mix of locals and out-of-suburb visitors, a point that works so well for the Bondi original. In the kitchen is head chef German Sanchez and he'll bring over existing Shuk favourites — like the baked egg shakshuka for brekkie and the eight-hour slow-cooked lamb and hummus platter for lunch — while adding in new dishes that put personal touches on time-honoured family recipes. The Elizabeth Bay outpost will serve freshly baked breads and pastries, too, with specialties like challah, bagels and sourdough all on offer. Dinner will take on a greater focus in the new space, with an expanded nighttime offering from Thursday through Sunday (whereas Bondi only offers dinner on weekends). We're hoping to see the truffled cauliflower steak with king mushroom ragu brought over from the existing dinner menu, along with the gluten free Middle Eastern tiramisu with chocolate cookie crumble and pistachios. No pressure. Shuk Elizabeth Bay is slated to open this spring 2018 at the Trebartha Apartments, 61/69 Roslyn Gardens, Elizabeth Bay. It'll be open seven days a week for breakfast and lunch and for dinner Thursday through Sunday. We'll let you know when an opening date is set. Images: Natalie Carroll
If Face to Face is anything to go by, 100 percent of psychiatrists have some serious issues of their own to resolve. In Ingmar Bergman's film, here adapted for the stage by constantly impressive young director Simon Stone, the protagonist, Jenny (Kerry Fox), is confronting a lifetime of dissociation. The only other shrink we meet (Humphrey Bower) has some intense schadenfreude, and he'll end up her doctor. Despite Jenny's life looking beyond normal, she's long papered over her sense of disconnection from her basically invisible husband, her child (Jessica Nash), the auntie (Wendy Hughes) and uncle (John Gaden) who raised her, the patients she treats (Anna Martin), and the lover she's contemplating taking (Mitchell Butel). Eventually, she'll have to confront these spectres in psychology's traditional playground: dreams. It's thrilling to see each new work Stone comes out with at this point, given his string of mature, vivacious, and influential productions from Thyestes to this year's Strange Interlude and Death of a Salesman. Face to Face was always destined to be a tough one. The film has a quality of cool reserve, keeping the characters' motivations enigmatic, but we're able to connect with Jenny through the camera's insistent close-ups. There's no such luxury in theatre, so heed is paid to theatricalising her psychological journey. Unfortunately, not enough is done, and, keeping to theme, Face to Face doesn't quite connect. The creatives make much in the program notes of having never seen the film but rather responding to the screenplay and Bergman's own perceived flaws in it. It's a deliberately myopic move that may have sabotaged some of their decisions. They achieve a beautiful effect with the staging (Nick Schlieper), creating a grandiose, fey first half that overlaps time and place to make the real world seem like a dream, and making the dreams that dominate the second half a harsh, constrictive reality that demands to be faced. At the same time, something is lost in the overly literal parade of dreams. Dreams don't usually yell and lecture; they stalk and forebode. That's assuming dreams do much meaningful at all. Face to Face is essentially outdated in that sense. The film was released in 1976, a time when it was thought that psychological issues could be traced back to underlying emotional trauma and that Freudian psychoanalysis, particularly of dreams, was the tool it took to fix it. Now our view of mental illness is permeated by more complex neurological and psychological factors. If this story has a timeless heart, it will take more dramaturgical digging to find it. Face to Face has moments of deep humour and humanity, but ultimately a build-up of little things, some slightly flat performances included, mean it doesn't quite come together. Watching it on this stage, you can't help but be reminded of last year's surprising Gross und Klein, similarly a story of alienation from a female perspective among sets that convey the spectacularly surreal. In that comparison, Face to Face is left grasping for poetry, complexity, and relatability.
When you're watching The Room, or reading behind-the-scenes memoir The Disaster Artist, or seeing the star-studded film the latter spawned as well, one big fact is always glaringly apparent. It's inescapable. It's as obvious as Tommy Wiseau's lanky hair and awkward demeanour. It's as plain as the spoons scattered throughout The Room. Yes, Greg Sestero went through one helluva experience. Of course, if it wasn't for The Room, Sestero mightn't have enjoyed his current fame. When you're in a movie that's so bad it's bad but also someone great to watch — but definitely not great itself by any standards — that's a particular kind of success. So, Sestero has made the most of it. He penned The Disaster Artist. He popped up in the flick based on it. He reteamed on-screen with Wiseau for the two-part Best F(r)iends. And he heads to screenings, doing Q&As to chat about all things The Room, too. It's been five years since Sestero last came to Australia to indulge the nation's The Room fixation, but for a week in February, he's back. His timing is perfect given that Wiseau's disasterpiece notches up 20 years in 2023. Spoons at the ready at the Hayden Orpheum on Sunday, February 12, clearly. Sestero is doing two things: getting talking about The Room as part of 20th-anniversary sessions, and also showing his new horror film Miracle Valley. This one is a horror movie on purpose, rather than accidentally like The Room, and also marks Sestero's feature directorial debut. For newcomers to The Room — with your pristine minds currently untainted by its wonders, and your vocabulary free from constantly saying "oh hi Mark" — it tells the tale of a banker, his adulterous fiancée, his conflicted best friend, a local teen caught up in a drug deal, a mother with cancer, a particularly tense party, a bunch of guys playing football in tuxedos and the worst apartment decorating scheme you've ever seen. Wondering how all of these things come together? Even the wildest combination you can come up has nothing on The Room. As for Miracle Valley, it's about an obsessive photographer and his girlfriend, who head off on a desert getaway but get threatened by sinister forces. No — disappointingly or welcomely, depending on how you feel about The Room — Wiseau is not among the credited cast.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Film distributors have been fast-tracking some of their recent releases from cinemas to streaming lately — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's eight you can watch right now at home. NOBODY As both a comedian and a dramatic actor, Bob Odenkirk has earned a lifetime's worth of well-deserved praise. Writing for Saturday Night Live and starring in Mr Show with Bob and David each sit on his resume, as does his pivotal part in Breaking Bad and lead role in the exceptional Better Call Saul. But in Nobody, Odenkirk highlights a facet of his work that's easy to overlook. Jumping into a new genre, he makes viewers realise a truth that cuts to the heart of his talents. Every actor wants to be the person that can't be replaced, and to turn in the type of performances that no one can emulate; however, only the very best, including Odenkirk, manage exactly that. A movie so forged from the John Wick mould that it's penned by the same screenwriter — and boasts the first film's co-director David Leitch (Atomic Blonde) as a producer, too — Nobody could've featured any existing action go-to. It could've been an easy knockoff of well-known hit, joining the swathe of direct-to-video and -streaming titles that use that very template. It could've given Bruce Willis his next role to sleepwalk through, added yet another Taken-style thriller to Liam Neeson's resume or proven one of Nicolas Cage's more straightforward vehicles of late. Thankfully, though, Nobody is all about the ever-watchable Odenkirk and his peerless and compelling ability to play slippery characters. When Nobody begins, Hutch Mansell's (Odenkirk) life has become such a routine that his weeks all unfurl in the same fashion. Plodding through a sexless marriage to real estate agent Becca (Connie Nielsen, Wonder Woman 1984), and barely paid any notice by his teenage son Blake (Gage Munroe, Guest of Honour) and younger daughter Abby (debutant Paisley Cadorath), he catches public transport to his manufacturing company job every weekday, always puts the bins out too late for the garbage truck on Tuesday mornings, and usually earns little more than polite smiles from his family while he's cooking them breakfast that they fail to eat. Then, the Mansells' suburban home is randomly burgled. Hutch confronts the thieves in the act, has a chance to swing a golf club their way, yet holds back. But when Abby notices that her beloved cat bracelet is missing in the aftermath, he decides to take action — a choice that leads him to an unrelated bus filled with obnoxious guys hassling a female passenger, and eventually sees unhinged Russian mobster Yulian Kuznetsov (Aleksey Serebryakov, Leviathan) threatening everything that Hutch holds dear. Nobody is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. WRATH OF MAN With revenge thriller Wrath of Man, filmmaker Guy Ritchie (The Gentlemen) and actor Jason Statham (The Meg) reunite. The pair both came to fame with Lock, Stock and Two Smoking Barrels, repeated the feat with Snatch, then unsuccessfully tried again with Revolver, but they've spend the past 16 years heading in their own directions. During that stretch, the former subjected the world to his terrible Sherlock Holmes films, fared better with left-field additions to his resume like The Man From UNCLE and Aladdin, but didn't quite know what to do with King Arthur: Legend of the Sword. The latter has become an action go-to over the same time — with both forgettable and memorable flicks resulting, including three Fast and Furious movies and a stint scowling at Dwayne Johnson in the franchise's odd-couple spinoff Hobbs & Shaw. Thankfully, now that they're collaborating again, they're not just interested in rehashing their shared past glories. From Wrath of Man's first moments, with its tense, droning score, its high-strung mood and its filming of an armoured van robbery from inside the vehicle, a relentlessly grim tone is established. When Statham shows up shortly afterwards, he's firmly in stoic mode, too. He does spout a few quippy lines, and Ritchie once again unfurls his narrative by jumping between different people, events and time periods, but Lock, Stock Again or Snatch Harder this isn't. Instead, Wrath of Man is a remake of 2004 French film Le Convoyeur. While walking in someone else's shoes turned out horrendously for Ritchie with the Madonna-starring Swept Away, that isn't the case with this efficient, effective and engaging crime-fuelled effort, which finds its niche — and it's a new one for its central duo, at least together. Statham plays Patrick Hill, the newest employee at the Los Angeles-based cash truck company Fortico Securities. On his first day, his colleague Bullet (Holt McCallany, Mindhunter) dubs him H — "like the bomb, or Jesus H," he says — and the nickname quickly sticks. H joins the outfit a few months after the aforementioned holdup, with the memory of the two coworkers and civilian killed in the incident still fresh in everyone's minds. So, when gunmen interrupt his first post-training run with Bullet and Boy Sweat Dave (Josh Hartnett, Penny Dreadful), they're unsurprisingly jumpy; however, H deals with the situation with lethal efficiency. Cue glowing praise from Fortico's owner (Rob Delaney, Tom & Jerry), concern from his by-the-book manager (Eddie Marsan, Vice) and intrigue about his past from the rest of the team (such as Angel Has Fallen's Rocci Williams and Calm with Horses' Niamh Algar). Wrath of Man is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. SPIRAL: FROM THE BOOK OF SAW With Spiral: From the Book of Saw, what came first: the decision to call its protagonist Ezekiel, or the casting of Samuel L Jackson as said character's father? Either way, the film's creative team must've felt mighty pleased with themselves; getting the Pulp Fiction actor to utter the name that's been synonymous with his bible-quoting, Quentin Tarantino-penned monologue for more than a quarter-century doesn't happen by accident. What now four-time franchise director Darren Lynn Bousman (Saw II, Saw III and Saw IV) and Jigsaw screenwriters Josh Stolberg and Pete Goldfinger mightn't have realised, though, is just how clumsily this choice comes across. The Saw series has made almost a billion dollars at the worldwide box office, but now it's resorting to winking and nodding to one of its latest stars' past movies. Perhaps Bousman and company didn't notice because almost everything about Spiral feels that forced, awkward, clunky and badly thought-out. Jackson and Chris Rock might gift the long-running franchise a couple of high-profile new faces; however, this ostensible reboot is exactly as derivative as you'd expect of the ninth instalment in a 17-year-old shock- and gore-driven saga. Focusing on a wisecracking, gung-ho, about-to-be-divorced police detective known for exposing his dirty colleagues, Spiral tries to coil the series in a different direction, at least superficially — and pretends to have meaty matters on its mind. Ezekiel 'Zeke' Banks (Rock, The Witches) has been crusading for honesty, integrity, fairness and honour in law enforcement for years. Starting back when his now-retired dad Marcus (Jackson, Death to 2020) was the precinct's chief, he's been vilified by his peers for his efforts. When a killer appears to be targeting rotten cops, too, Zeke is desperate to lead the case. Initially, he just wants to avenge the death of the first victim, one of the only co-workers he called a friend, but he's soon trying to track down a murderer that seems to be following in franchise villain Jigsaw's footsteps. A lone wolf-type not by choice but necessity, Banks also happens to be saddled with a rookie partner (Max Minghella, The Handmaid's Tale) as he attempts to stop the bodies from piling up. Spiral: From the Book of Saw is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE UNITED STATES VS BILLIE HOLIDAY More than 80 years after it was first sung and heard, Billie Holiday's 'Strange Fruit' still isn't easily forgotten. Drawn from a poem penned to protest lynchings, it's meant to shock and haunt. It's designed to galvanise and mobilise, too, as drawing attention to the extrajudicial killings of Black Americans should. Indeed, so vivid is the song in its language — "Black bodies swingin' in the southern breeze" describes the third line — US authorities demanded that Holiday stop performing it. She refused repeatedly, so there were repercussions. Concerned that the track would spark change, inspire Holiday's fans to fight for civil rights and justice, and perhaps motivate riots against against oppression and discrimination as well, the US Treasury Department's Federal Bureau of Narcotics went after the musician for her drug use. If it couldn't get her to cease crooning the controversial tune via other means, such as overt warnings and a prominent police presence at her shows, it'd do whatever it could to keep her from reaching the stage night after night. With Andra Day (Marshall) turning in an intense, impassioned, career-defining portrayal as its eponymous figure (and in her first lead film role, too), so tells The United States vs Billie Holiday, the latest Oscar-nominated biopic to step through its namesake's life. Back in 1972, Lady Sings the Blues loosely adapted Holiday's autobiography of the same name, enlisting Diana Ross to play the singer — but, in taking inspiration instead from Johann Hari's non-fiction book Chasing the Scream: The First and Last Days of the War on Drugs, this latest big-screen vision of the music icon's story adopts its own angle. Holiday's troubled childhood and youth has its part in this tale, which is scripted for the screen by Pulitzer Prize-winning playwright Suzan-Lori Parks. Her addiction, and the personal woes that she tried to blot out, clearly don't escape filmmaker Lee Daniels' (The Butler) attention, either. But The United States vs Billie Holiday also falls in alongside Seberg, MLK/FBI and Judas and the Black Messiah in interrogating bleak truths about mid-20th century America. In a film that manages to be both rousing and standard, that includes surveying the misplaced priorities of its government during multiple administrations, and the blatant determination shown by an array of agencies under various presidents to undermine, persecute and silence those considered a supposedly un-American threat to the status quo. The United States vs Billie Holiday is available to stream via Google Play, YouTube Movies and Amazon Video. Read our full review. THOSE WHO WISH ME DEAD A smokejumper stationed to a Montana watchtower, plagued by past traumas and forced to help a teenage boy evade hired killers, Those Who Wish Me Dead's Hannah Faber actually first debuted on the page. Watching Angelina Jolie bring the whisky-swilling, no-nonsense, one of the boys-type figure to the screen, it's easy to assume otherwise. The part doesn't quite feel as if it was written specifically for the smouldering movie star, though. Rather, it seems like the kind of role that might've been penned with Liam Neeson or Denzel Washington in mind — see: this year's The Marksman for the former, and 2004's Man on Fire for the latter — then flipped, gender-wise, to gift Jolie a new star vehicle. On the one hand, let's be thankful that that's not how this character came about. Kudos to author Michael Koryta, who also co-writes the screenplay here based on his 2016 novel, for conjuring up Hannah to begin with. But on the other hand, it's never a great sign when a female protagonist plays like a grab bag of stock-standard macho hero traits, just dressed up in a shapelier guise. It has been six years since Jolie has stepped into a mere mortal's shoes — since 2015's By the Sea, which she wrote and directed — and she leaves no doubt that Hannah is flesh and blood. There's still an iciness to the firefighter, and she still has the actor's cheekbones and pout, but Maleficent, she isn't. She's bruised, internally, by a fire that got away and left a body count. After hanging out with her colleagues, parachuting out of cars and brooding in her tower, she's soon physically in harm's way as well. As Those Who Wish Me Dead's plot gets her to this juncture, it also cuts back and forth between forensic accountant Owen Casserly (Jake Weber, Midway) and his son Connor (Finn Little, Angel of Mine), plus assassins Patrick and Jack (The Great's Nicholas Hoult and Game of Thrones' Aiden Gillen). Thanks to a treasure trove of incriminating evidence against important people that no one was ever supposed to find, these two duos are on a collision course. When they do cross paths — while Owen is trying to take Connor to stay with Ethan (Jon Bernthal, The Peanut Butter Falcon), his brother-in-law, a sheriff's deputy and one of Hannah's colleagues — it also nudges the boy into the smokejumper's orbit. Those Who Wish Me Dead is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. LOCKED DOWN Sparked by the pandemic, lockdown films aren't just an exercise in adapting to stay-at-home conditions — or a way to keep actors, directors and other industry professionals busy and working at a challenging time. The genre also provides a window into how the creatives behind its flicks view everyday life and ordinary people. Arising from a global event that's placed many of the planet's inhabitants in similar circumstances, these features tell us which stories filmmakers deem worth telling, which visions of normality they choose to focus on and who they think is living an average life. With Malcolm & Marie, a hotshot young director and an ex-addict were the only options offered. In Language Lessons, which premiered at this year's virtual Berlin Film Festival, a wealthy widower and a Spanish teacher were the movie's two choices. Now Locked Down directs its attention towards a CEO and a courier, the latter of which stresses that he's only in the gig because his criminal record has robbed him of other opportunities. Yes, these films and their characters speak volumes about how Hollywood perceives its paying customers. That's not the only thing that Locked Down says. Directed by Doug Liman (Chaos Walking) and scripted by Steven Knight (Locke), this romantic comedy-meets-heist flick is verbose to a farcical degree — awkwardly rather than purposefully. The repetitive and grating misfire is primarily comprised of monologues, Zoom calls and bickering between its central couple. Well-off Londoners Linda (Anne Hathaway, The Witches) and Paxton (Chiwetel Ejiofor, The Old Guard) are weeks into 2020's first lockdown, and their ten-year relationship has become a casualty. Whether chatting to each other or virtually with others, both commit a torrent of words to the subject. Linda has decided they're done, which Paxton has trouble accepting. She's also unhappy with her high-flying job, especially after she's forced to fire an entire team online, but gets scolded by her boss (Ben Stiller, Brad's Status) for not telling her now-sacked colleagues they're still like family. Tired of driving a van, Paxton is willing to do whatever his employer (Ben Kingsley, Life) needs to climb his way up the ladder. That said, he's still tied to the road, with the ex-rebel's decision to sell his beloved motorbike — a symbol of his wilder youth, and its fun, freedom and risks — hitting hard. Locked Down is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. GREAT WHITE When a giant shark chomps its way through the cinematic ocean, audiences are meant to side with its scared human prey. But some creature features give viewers multiple reasons to do the opposite — and to find their own way to liven up a dull and formulaic movie. Perhaps the film's non-fish characters are woefully one-note or unlikeable, or both. Maybe the script is so simplistic, even in a well-worn genre, that a shark munching random keys on a typewriter probably could've written something better. Or, it could be that every plot development, performance, visual, and score choice is so overwhelmingly predictable that tension is as rare as a vegan great white. Actually, there's no maybes about any of the last three statements when it comes to horror's latest shark-centric outing, which turns Queensland's waters into a buffet for a ravenous critter. Great White marks the feature debut of director Martin Wilson, and only the second movie script for screenwriter Michael Boughen (Dying Breed); however, that its producers have 2010 Aussie shark film The Reef and its now-in-production sequel The Reef: Stalked on their resumes — plus homegrown 2007 crocodile flick Black Water and its 2020 sequel Black Water: Abyss — will surprise absolutely no one. Great White's setup will be familiar to anyone who has even heard of a shark movie before, let alone watched one. The twist: despite reassurances by marine biologist-turned-seaplane pilot Charlie (Aaron Jakubenko, Tidelands) that the time just isn't right for teeth-gnashing ocean predators to fill their empty stomachs, climate change seems to have changed the titular species' habits. So, on a lucrative charter gig that'll help keep his business financially afloat, Charlie, his girlfriend Kaz (Katrina Bowden, 30 Rock), their cook Benny (Te Kohe Tuhaka, Love and Monsters), and their paying customers Joji (Tim Kano, Neighbours) and Michelle (Kimie Tsukakoshi, The Family Law) find themselves under threat. They've headed to a remote island of personal significance to Michelle, and Joji is clashing with Benny before they even spot the resident great white's last victim. To ramp up the stakes, Kaz is telling Charlie that she's pregnant, too. Quickly, the quintet become the creature's next targets, including while cast adrift in a life raft that could use Life of Pi's Richard Parker for company. Just as speedily, Great White's audience will wish that something — anything — that hasn't previously graced Jaws, The Shallows, 47 Metres Down or even The Meg's frames would happen in this thrill-free bob into been-there, done-that waters. Great White is available to stream via iTunes. THE UNHOLY The Exorcist was not an easy movie to make, as exceptional documentary Leap of Faith: William Friedkin on The Exorcist made clear. But over the past four decades, the horror masterpiece has proven a very easy film to emulate again and again — or, to try to ape in anything that pairs religion and scares, at least. Copying it is nowhere near the same as matching it, of course. That's especially the case when most one-note flicks that attempt the feat simply think that crosses, creepy females and stilted, unnatural body movements are all that it takes. The Unholy is the latest example, to uninspired, unengaging, unoriginal, unconvincing and thoroughly unsurprising results. Adapted from the 1983 James Herbert novel Shrine by seasoned screenwriter turned first-time feature director Evan Spiliotopoulos (Charlie's Angels, Beauty and the Beast, The Huntsman: Winter's War), the movie's premise has promise: what if a site of a supposed vision of the Virgin Mary and subsequent claimed miracles, such as Lourdes in France and Fatima in Portugal, was targeted by a sinister spirit instead? But, despite also boasting the always-charismatic Jeffrey Dean Morgan (The Walking Dead) as its lead, all that eventuates here is a dull, derivative and not even remotely unsettling shocker of a horror flick. The fact that The Evil Dead and Drag Me to Hell's Sam Raimi is one of its producers delivers The Unholy's biggest scare. Looking constantly perplexed but still proving one of the best things about the film, Morgan plays disgraced journalist Gerry Fenn. After losing his fame and acclaim when he was caught fabricating stories, he now makes $150 per assignment chasing the slightest of flimsy supernatural leads. His current line of work brings him to the small Massachusetts town inhabited by Father Hagan (William Sadler, Bill & Ted Face the Music) and his niece Alice (Cricket Brown, Dukeland), the latter of whom is deaf. Thanks to a barren tree, a creepy doll, an eerie chapter of history and a strange run-in with Gerry, however, she can soon suddenly hear and speak. She says that can see the Virgin Mary, too. Swiftly, word about her story catches the church, media and public's attention. Even if Spiliotopoulos had kept the novel's title, it'd remain obvious that all isn't what it seems — the film starts nearly two centuries ago with a woman being burned alive at the aforementioned tree, so nothing here is subtle. But instead of pairing an exploration of the dangers of having faith without question with demonic bumps and jumps, The Unholy embraces cliches with the same passion that satan stereotypically has for fire. The cheap-looking visuals, Cary Elwes' (Black Christmas) wavering accent and the bored look on co-star Katie Aselton's (Synchronic) face hardly help, either. The Unholy is available to stream via Google Play, YouTube Movies and Amazon Video. Looking for more at-home viewing options? Here's our list of movies fast-tracked from cinemas to streaming back in May — and you can also check out our monthly streaming recommendations across new straight-to-digital films and TV shows.
Shunning the usual sci-fi stereotypes of aliens and laser guns in favour of an emotional journey that is as powerful and thought provoking as it is really quite horrifying, William Eubank's debut feature Love is an opus on a celestial scale. Orbiting Earth in a one-man space station, astronaut Lee Miller (Gunner Wright) loses contact with Houston, quickly and painfully becoming all too aware of what it is to be truly alone. As time passes, life support systems begin to fade, and the loneliest man in the known universe has to battle to maintain his sanity. The film, led by a truly engaging score provided by Angels and Airwaves, asks the question, is a life without someone to share it with really a life at all? With interviews and sequences from across history popping up throughout the movie, it can be easy to lose track of what is actually going on, meaning that to really get the best out of this picture you have to be prepared to think. If you can handle that, then you're in for a ride that'll paint an immersive and highly evolved picture of resilience in the human condition, one that will leave you in thoughtful silence as you leave the theatre. Four years in the making, the project appeared from the ashes of another's failure — namely, Tom DeLonge's ill-fated idea of creating a music video for each track on one of Angels and Airwaves' albums, an idea that was abandoned because the videos just weren't interesting enough. Produced on a miniscule budget (the space station was actually built in the driveway of the director's parents), Love is an impressive feat. With little to no character interaction throughout, Miller's surroundings become a secondary character themselves, with every flashing light and shining white surface becoming an ever shifting, breathing wall in a claustrophobic prison. Love is a movie with a striking message that really needed to be delivered, but on the whole it fails to perform its purpose. Visually striking and painstakingly crafted, it is a credit to all involved, but really it's just like a Russian Doll — filled with many layers and surprises but ultimately empty. https://youtube.com/watch?v=YiYmAixzpMg
Fancy yourself a heist film? Well, take a load of this one. Think Ocean's Eleven, but without the tuxedos and flashy casinos. Logan Lucky takes you down to the American south, the home of NASCAR in North Carolina. Steven Soderbergh, of the Ocean's movies and Magic Mike, pairs Channing Tatum and Adam Driver as two brothers eager to break a 90-year family curse in the soon-to-be-released heist-comedy. The film follows Jimmy Logan (Channing Tatum) and Clyde Logan (Adam Driver) as they plot to steal from NASCAR's Charlotte Motor Speedway. With help from their friends, the so-called 'Redneck Robbers', the Logan brothers set out to pinch themselves $14million from the race. The film has already garnered positive reviews from critics, especially with a stellar cast also including Riley Keough, Seth MacFarlane, Hilary Swank, Katie Holmes and Daniel Craig, taking on a very different role to his iconic James Bond as an escaped inmate. Logan Lucky releases on August 17, and we have double passes to giveaway in Sydney, Melbourne and Brisbane. [embed]https://www.youtube.com/watch?v=_eqC27nxHJ4[/embed] [competition]630960[/competition]
No trip to Tokyo is complete without a visit to Shinjuku's Godzilla head, which towers down on the popular district from Hotel Gracery Shinjuku. If you're a fan of the King of the Monsters, you'll now need to add another stop to your next Japanese itinerary once international travel resumes: amusement park Nijigen no Mori, on Awaji Island in Hyogo prefecture. First announced in 2019 and open for business since October 10, 2020, the theme park has just become home to a life-sized version of the scaly creature — even if Godzilla's actual size has changed over the course of its 65-year history. The kaiju was 50 metres tall in the 1954 Japanese classic that started the long-running monster franchise, and measured nearly 120 metres in the most recent US film. In 2017's animated Netflix flick Godzilla: Planet of the Monsters, it even spanned a whopping 300 metres. At Nijigen no Mori, good ol' Zilly measures 120 metres, and that's in length. You'll find Godzilla on its stomach, mouth open and presumably roaring, with amusement park patrons able to zipline into it. Usually folks are trying to avoid the huge creature and his fire-breathing gob, but that's obviously not the case here. https://www.instagram.com/p/CGCs7IWHRNu/ Called Godzilla Intercept Operation National Godzilla Awajishima Research Centre, the attraction is part of a 5000-square-metre zone dedicated to the famed critter, asking attendees to take on the role of island scientists. In that guise, the ziplining occurs in the name of science, because the huge beast has become trapped in the earth. Shooting games are also part of the Godzilla zone, and so is Zilly-themed food. If you haven't tucked into hot dogs, curries, burgers and cream puffs shaped like Godzilla, Mothra and their fellow kaiju, well, you clearly can't really call yourself a true Godzilla fan. Nijigen no Mori also now boasts a Godzilla museum, which is the world's first permanent exhibition dedicated to the scaly creature. Here, you'll find dioramas, props from the films and over 80 monster figures, as well as prototypes, artwork and other movie materials. And yes, there's merchandise for sale, naturally. Also, if you're wondering which Zilly this giant one resembles — Godzilla's appearance has often changed from film to film, too — it's the version of the lizard-style gargantuan from 2016 Japanese movie Shin Godzilla. If Godzilla Intercept Operation National Godzilla Awajishima Research Centre is now on your post-pandemic must-visit list, entry costs ¥3800, which equates to just over AU$50. For more information about Godzilla Intercept Operation National Godzilla Awajishima Research Centre, which is now open, visit the Nijigen no Mori website. Via Nijigen no Mori. Images: Nijigen no Mori.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from December (yes, we're assuming you've already watched Sound of Metal, Mank and The Flight Attendant). BRAND NEW STUFF TO WATCH https://www.youtube.com/watch?v=ord7gP151vk MA RAINEY'S BLACK BOTTOM Chadwick Boseman, Oscar-winner. That combination of words is very likely to become a posthumous reality for the late, great actor, thanks to his last screen role. Boseman is just that phenomenal in Ma Rainey's Black Bottom. He has earned that term before in Get on Up, Black Panther and Da 5 Bloods, but his performance in this stage-to-screen production is such a powerhouse effort that it's like watching a cascading waterfall drown out almost everything around it. He plays trumpeter Levee Green, who is part of the eponymous Ma Rainey's (Viola Davis, Widows) band. On a 1920s day, the always-nattering, big-dreaming musician joins Ma — who isn't just a fictional character, and was known as the Mother of Blues — and the rest of his colleagues for a recording session. Temperatures and tempers rise in tandem in the Chicago studio, with Levee and Ma rarely seeing eye to eye on any topic. Davis is in thundering, hot-blooded form, while Colman Domingo (If Beale Street Could Talk) and Glynn Turman (Fargo) also leave a firm impression. It's impossible take your eyes off of the slinkily magnetic Boseman though, as would prove the case even if he was still alive to see the film's release. Adapting the play of the same name by August Wilson (Fences), director George C. Wolfe (The Immortal Life of Henrietta Lacks) lets Boseman farewell the screen with one helluva bang. Ma Rainey's Black Bottom is available to stream via Netflix. https://www.youtube.com/watch?v=O7X0O9lZ_jQ WOLFWALKERS From FernGully: the Last Rainforest to Moana — and including everything from Studio Ghibli's Pom Poko and Princess Mononoke to Pixar's Wall-E, too — many an animated movie has combined eye-catching frames with an important message about the environment. Irish film Wolfwalkers joins the pile and rockets to the top, thanks to one of the most visually and emotionally enchanting features of the year. Story-wise, it follows young wannabe hunter Robyn Goodfellowe (Honor Kneafsey, The Bookshop). In a tale set centuries ago, she moves to Ireland with her father Bill (Sean Bean, Snowpiercer) when he's hired to eradicate the last wolf pack lurking in the woods. The locals, as overseen by an English Lord Protector (Simon McBurney, The Loudest Voice), want to wipe out the wolves so that they can tear down the forest in the name of progress. But, after sneaking out to go exploring, Robyn befriends a girl called Mebh (feature first-timer Eva Whittaker) who just might be a member of a mythical tribe that's able to shapeshift into the creatures while they're dreaming. As well as a rousing eco-conscious narrative, Wolfwalkers delivers distinctive and delightful animation. Expect earthy, natural colours, with greens, browns, oranges and yellows dancing across the screen. Expect a line-heavy visual style, too, which is almost reminiscent of woodblock prints. And, expect another all-round beauty from co-director Tomm Moore, who also helmed the Oscar-nominated and equally beautiful duo The Secret of Kells and Song of the Sea. Wolfwalkers is available to stream via Apple TV+. https://www.youtube.com/watch?v=fAveuCPBYSw I'M YOUR WOMAN Normally, when a criminal's latest job takes a turn for the worst for whatever reason, the film that tells their tale follows their part in the aftermath. I'm Your Woman isn't that movie. It looks like that kind of feature. It resembles one with exacting precision. But that isn't the narrative that's on offer here, and refreshingly so. Directed and co-written by Julia Hart (Fast Colour) with such a supreme handling of style, story and genre, this is a 70s-esque crime affair, but it focuses on Jean (Rachel Brosnahan, The Marvelous Mrs Maisel), the wife of a thief who has gone missing after a big score goes south. The aggrieved gangsters chasing her husband are also unlikely to be kind to Jean and her baby, so she's whisked off into hiding in the middle of the night with zero notice. That's a drastic change that she's unprepared to cope with — but, with help from the her spouse's ex-acquaintance Cal (Arinzé Kene, How to Build a Girl), she also discovers that she's far more resilient than she thinks. Compelling from the moment it opens with Jean clad in a magenta robe, add I'm Your Woman to the pile of movies that serves up a big shift in a familiar genre (see also: Sylvie's Love below), and does so in a spectacular fashion. I'm Your Woman is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=vcqItifbNUA SMALL AXE British filmmaker Steve McQueen hasn't directed a bad movie — and, dropping five new features as part of the Small Axe anthology, that isn't changing now. The director of Hunger, Shame, 12 Years a Slave and Widows gifts viewers a quintet of films that are as exceptional as anything he's ever made, with every entry in this new series taking place in England, in the 60s, 70s and 80s, with London's West Indian community at its centre. The first, Mangrove, tells an infuriating true tale about a police campaign to target a Caribbean restaurant in Notting Hill. From there, Lovers Rock spends time at a house party as two attendees dance into each other's orbits, and Red, White and Blue follows a young forensic scientist who decides to join the force to change it from the inside. Next, Alex Wheatle explores the life of the award-winning writer of the same name, while Education unpacks unofficial moves to segregate children of colour in schools. There's no weak link here — only stunning, stirring, standout cinema that tells blistering tales about Black London residents doing everything it takes to resist their racist treatment. Every film is sumptuously shot, too, thanks to cinematographer Shabier Kirchner (Bull), and the cast spans everyone from Lost in Space's Shaun Parkes and Black Panther's Letitia Wright to Star Wars' John Boyega. All five Small Axe films are available to stream via Binge. https://www.youtube.com/watch?v=Gs--6c7Hn_A SOUL Released earlier in 2020, Onward definitely wasn't Pixar's best film — but Soul, its straight-to-streaming latest movie, instantly contends for the title. The beloved animation studio has always excelled when it takes big leaps. Especially now, 25 years into its filmmaking tenure, its features prove particularly enchanting when they're filled with surprises (viewers have become accustomed to seeing toys, fish, rats and robots have feelings, after all). On paper, Soul initially seems similar to Inside Out, but switching in souls for emotions. It swaps in voice work by Tina Fey for Amy Poehler, too, and both movies are helmed by director Peter Docter, so there's more than one reason for the comparison. But to the delight of viewers of all ages, Soul is a smart, tender and contemplative piece of stunning filmmaking all on its own terms. It's Pixar at its most existential, and with a strikingly percussive soundtrack by Trent Reznor and Atticus Ross to further help it stand out. At its centre sits aspiring jazz musician-turned-music teacher Joe (Jamie Foxx, Just Mercy). Just as he's about to get his big break, he falls down a manhole, his soul leaves his body, and he's desperate to get back to chase his dreams. But that's not how things work, and he's saddled with mentoring apathetic and cynical soul 22 (the always hilarious Fey) in his quest to reclaim his life. Soul is available to stream via Disney+ from Friday, December 25. https://www.youtube.com/watch?v=FmXPgbrI2tU FOUR WEDDINGS AND A FUNERAL Mindy Kaling knows a thing or two about romantic comedies. For six seasons between 2012–17, she made an entertaining and often also very amusing TV sitcom that paid tribute to them in a big way, with her on-screen character frequently navigating situations that referenced plenty of classic flicks. To do just that, Kaling has clearly watched a plethora of rom-coms in her time — and she's the perfect person to turn the Hugh Grant and Andie MacDowell-starring early 90s favourite Four Weddings and a Funeral into a new and updated show. First, a word of (very obvious) warning: the ten-episode miniseries that results won't dislodge the original movie as your favourite version of the type of tale. That said, it's pleasant, extremely watchable (and bingeable), and makes enough twists to the premise to carve its own niche. It's also nicely cast, featuring Game of Thrones' Nathalie Emmanuel, plus Rebecca Rittenhouse (The Mindy Project), Brandon Mychal Smith (You're the Worst) and John Reynolds (Search Party), as some of the folks involved in four ceremonies celebrating nuptials, and one farewell. Four Weddings and a Funeral is available to stream via Stan. https://www.youtube.com/watch?v=SbjakuJZgww SYLVIE'S LOVE The year is 1957 when Sylvie (Tessa Thompson, Westworld) and Robert (Nnamdi Asomugha, Hello, My Name Is Doris) meet in Harlem. She's working in her father's record store, he asks about the 'help wanted' sign in the window, and her dad (Lance Reddick, John Wick: Chapter 3 — Parabellum) gives him the job. The already-engaged Sylvie wants to be a TV producer, a dream everyone thinks is out of reach for a Black woman in the era, but she's determined. Robert is an impressive jazz musician; however, it isn't paying the bills and he isn't certain where his career is going to go. From there, writer/director Eugene Ashe (Homecoming) traverses their ups and downs, both professionally and personally. He does so in swoon-worthy fashion, in fact, leaping wholeheartedly into melodrama, eagerly ramping up the emotion at every moment, and adding a film to the genre that focuses on people of colour in a way that simply hasn't been done before. Love radiates from the screen, whether Sylvie and Robert are feeling it together or yearning with it while apart — and in the affection that Ashe clearly has for making a gorgeous-looking, deeply moving, quietly revolutionary movie that feels like a throwback to six-plus decades ago. Sylvie's Love is available to stream via Amazon Prime Video from Friday, December 25. https://www.youtube.com/watch?v=veUqfcyZ_Bo DEATH TO 2020 Across its five seasons to date, Black Mirror has dedicated 22 episodes to imagining dystopian futures. It makes for compelling, entertaining and often disturbing viewing; however, none of the sci-fi anthology series' predictions are particularly pretty. But, for all of its prognosticating, the Charlie Brooker-created show didn't foresee 2020's chaos. And now we've all endured this hectic year and are about to see it come to an end (finally, thankfully, and good riddance to it), the team behind Black Mirror has something to say about the whole mess. The end result: new comedy special called Death to 2020. Just before this garbage fire of a year fades away forever, the show will look back on the year via a documentary-style program that uses real-life archival footage from the past 12 months. It'll also deploy narration from fictitious characters played by the high-profile likes of Samuel L Jackson, Hugh Grant, Lisa Kudrow, Kumail Nanjiani, Tracey Ullman, Samson Kayo, Leslie Jones, Diane Morgan, Cristin Milioti and Joe Keery, all chatting to camera and — based on the trailer — inhabiting the types of folks that 2020 has been full of. Yes, it's the year's last must-watch show. Death to 2020 is available to stream via Netflix from 6pm AEST on Sunday, December 27. A WORLD OF CALM It's not every day that you get to sit on your couch, stare at scenic sights, lose yourself in an on-screen taste of a specific story and a distinctive patch of the world, and listen to Keanu Reeves' inimitable voice all at the same time. Actually, thanks to new documentary series A World of Calm, you could now really stream and re-stream the above daily if you want to. The series is based on the immensely popular (and self-explanatory) Calm app, so it's designed to be as soothing as possible. It's also made by HBO, in the US network's first venture into this kind of lifestyle content. Although delivered via individual episodes rather than as one big long marathon (compared to an extended train documentary or a tour of the Cadbury chocolate factory, for instance), it falls under the recent slow TV trend, too — because you'll be peacefully guided through a different topic in each chapter. Idris Elba, Oscar Isaac, Nicole Kidman, Zoë Kravitz, Kate Winslet, Lucy Liu, Cillian Murphy, Priyanka Chopra and two-time Oscar-winner Mahershala Ali also lend their voices to the show, chatting through everything from woodworking to noodles, plus coral, bird migration, space, snow, water and horses. New episodes of A World of Calm are available to stream via SBS On Demand every day from Friday, December 25–Sunday, January 4. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=HPypBiQz_OM ELEMENTARY They're called procedurals: TV shows that work their way through the investigation of different crimes, usually focusing on a new case in every episode. You're currently thinking of plenty (every take on Law & Order, for example), because they're that much of a television staple. And, they're often entertaining in an undemanding but easily addictive way. Viewers know a series' particular formula from episode one, but seeing how it plays out again and again with the same inquisitive characters is what keeps you watching. Accordingly, bringing Sherlock Holmes into this format was always going to be a great move — and, as set in modern-day Manhattan, and focusing on a just-out-of-rehab version of the ex-Scotland Yard, now-New York Police Department consultant, Elementary doesn't disappoint. The show's casting is a big part of its appeal, with Jonny Lee Miller getting sleuthing (as his co-star in Danny Boyle's stage version of Frankenstein, Benedict Cumberbatch, obviously did too in the British-made Sherlock) and the always-welcome Lucy Liu playing Dr Joan Watson. When Moriarty shows up — this is a Sherlock story, after all, so it's inevitable — the series also keeps serving up twists. All seven seasons of Elementary are available to stream via Amazon Prime Video.
Food. Wine. Art. If any of these words pique your interest, Sydney's four-day celebration is for you. Uniting people in the spirit of Bastille Day, the event is back for a sixth year with another killer lineup. This year's street fest will not only take over Circular Quay, but also expand to The Rocks as well — for the first time in the event's history. Attendees can expect everything from fire twirlers and magicians to opera singers and salsa dancers, from a lineup that includes live concerts, DJ sets, cabaret and street performances day and night. Plus, because all that wandering and watching is hunger and thirst-inducing, a delicious assortment of specialty food, beer and wine offerings will keep guests fed and watered. Tuck into fresh raclette, settle in for a few brews at the returning Electro Beer Garden, grab a glass of sparkling from the Champagne bar — and, as the sun sets, head to the open-air cinema to watch a flick. If previous years are anything to go by, Bastille Festival will be an epic showcase of food, wine and art. Are you ready to join the revolution?
If you're going to celebrate Christmas in July, as Sydney's returning festival of the same name is, then you can't forget one of the most-beloved ways to get into the festive spirit: seasonal movies. Is watching Home Alone one of your merriest traditions? Are you certain that Die Hard is a Christmas flick (because it is)?. Do Elf, The Nightmare Before Christmas or Last Christmas spark a jolly old time for you? Enjoying them under the wintry stars around a fire awaits in the Harbour City in 2025. Meet Sydney Firepit Cinema, where flames are crackling and projectors whirring across Friday, July 11–Sunday, July 20 at The Rocks, with Cadmans Cottage as a backdrop. Will Ferrell (You're Cordially Invited) venturing from the North Pole to New York kicks off the program, with the rest of the movies mentioned above screening. On the bill as well: The Nutcracker and the Four Realms, Elliot: The Littlest Reindeer, Saving Santa, Home Alone 2, The Santa Clause, The Holiday, The Grinch and Love Actually. A ticket to Sydney Firepit Cinema doesn't just include the movie, but also a reserved firepit for between two and six people, plus blankets to get cosy under. The basic watch-and-roast pass will also get you toasting marshmallows over the flames. From there, you can also add mulled wine and/or hot chocolate. The Christmas in July Festival, which runs from Friday, July 11–Sunday, July 20 itself, isn't the only event that's bringing a slice of Europe to Sydney this winter. Doing the same is the Bastille Festival at Circular Quay and The Rocks from Thursday, July 17–Saturday, July 20. Accordingly, while festive flicks are on Sydney Firepit Cinema's program for the first six of its ten-day run, it's then switching its lineup to movies from, set in or that nod to France. In past years, Bastille Festival has featured Le Mulled Wine Cinema; however, Sydney Firepit Cinema is doing the honours in 2025 instead — and doing its part to remind everyone that seeing a movie outdoors can be a winter activity, complete with snuggling up next to your nearest and dearest, soaking in the brisk night air and drinking hot booze. The Bastille Festival-related portion of but Sydney Firepit Cinema's bill gets underway with Mrs Harris Goes to Paris, then features perennial favourite Amelie, Pixar's Ratatouille, Baz Luhrmann's Moulin Rouge!, the behind-the-landmark tale of Eiffel and Carême's Benjamin Voisin getting poetic in the 1800s in Lost Illusions.
Vivid Sydney is really cranking it up this year. Last month they announced a truly epic program of lights, music, ideas and live events, which, in one heck of a slam dunk, included none other than Björk (BJÖRK!). As part of Carriageworks' contemporary program, she'll launch a huge virtual reality project dubbed BJÖRK DIGITAL — a collaboration with some of the world's best filmmakers and programmers. And to celebrate the opening, Björk herself will travel to Sydney to curate a one-off music event at Carriageworks, where she'll DJ with special guests. In a response that absolutely everybody expected, the opening night event sold out quick sticks. While that leaves the 12 people who actually got tickets pretty smug and happy, it leaves the rest of us sad and confused as to how we'll live a life where Björk doesn't make an appearance. Luckily, Carriageworks have today announced that they'll be adding a second BJÖRK DIGITAL party, to be held the night following the opening on Saturday, June 4. The event itself cost $110 a tickie, and will include access to the BJÖRK DIGITAL exhibition, DJ sets by special guests and a DJ set by Björk herself. As well as the two big parties, the exhibition will run from June 4-18. It will include a downright must-experience program of her extensive video, multimedia and virtual reality works. Tickets for the BJÖRK DIGITAL Party #2 go on sale this Friday, April 8 at 9am. To snap some up, visit the Carriageworks website. By Shannon Connellan and Lauren Vadnjal.
Whether you went for work, leisure or something in-between, if you're a Sydneysider who recently travelled to Brisbane, you were probably happy to venture further than your own city. But, with the Queensland capital currently experiencing its second three-day lockdown for 2021, the New South Wales Government now requires anyone who has been in the Greater Brisbane area since Saturday, March 20 to also abide by the same conditions. Yes, you should be feeling a bit of deja vu. Exactly the same thing happened when Brisbane went into its first three-day lockdown for 2021 back in January. NSW isn't closing its border to Queensland, or to the Greater Brisbane area — but it has put a new isolation requirement in place for anyone in NSW who has been to Greater Brisbane, which includes the Brisbane, Logan, Ipswich, Moreton and Redlands local government areas, since the above date. As announced in a NSW Health public health alert released late on Monday, March 29, if you fall into that category, you're required to isolate under the same conditions that'd be in place if you were still in Greater Brisbane. The rules are the same as during NSW's March 2020 lockdown, which means that you're only allowed to leave the house for four reasons. So, you can only head out for work or education if you can't do that at home, for essential shopping, for exercise in your local area, and for health care or to provide support for a vulnerable person. Greater Brisbane's lockdown came into effect at 5pm yesterday, Monday, March 29, and runs through until 5pm on Thursday, April 1. The one exception to NSW's new requirement: if you just transited through Brisbane Airport. If that's the only time you spent in Greater Brisbane since Saturday, March 20, you don't have to abide by the Brisbane lockdown. https://twitter.com/NSWHealth/status/1376416282526949383 With domestic border rules changing over the past few days — including a new flurry of tightened requirements yesterday, once Greater Brisbane's second lockdown was announced — NSW Health is also advising people in the state against non-essential travel to the Greater Brisbane area at present. NSW has also issued a separate health alert regarding venues in Byron Bay, with two of Brisbane's current COVID-19 cases visiting the area between Friday, March 26–Sunday, March 28. As always, Sydneysiders are also asked to continue to frequently check NSW Health's long list of locations and venues that have been visited by positive coronavirus cases — and, if you've been to anywhere listed on the specific dates and times, to get tested immediately and self-isolate. You can also have a look at the venue alerts over at this new interactive map. And, even if you haven't been to a highlighted venue but you have even the mildest of COVID-19 symptoms, you're asked to get tested as well. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Fall in love with movies Italian style, at the latest glamorous edition of the Lavazza Italian Film Festival. Hosted once again in Palace Cinemas around the country, this year's festival features more than 30 features and docos, plus a breathtaking restoration of one of Italy's all-time classics. The 2014 festival opens with Marina, a light biopic about singer, songwriter and world-famous accordion player Rocco Granata, produced by Luc and Jean-Pierre Dardenne. Other exciting titles include impressionistic Cannes Jury Prize winner The Wonders and Asia Argento's semi-autobiographical new film Incompresa. But the best of the fest will be saved until last. This year's closing night film is none other Marriage Italian Style, beautifully restored in time for its 50th anniversary. Sophia Loren is dazzling as the mistress of a wealthy Italian businessman determined to lock down a marriage proposal. A quintessential comedy about the battle of the sexes, it puts most modern-day rom-coms to shame. https://youtube.com/watch?v=IeD7rBVAQQo
Marvin Hamlisch's love letter to the theatre has, since its 1975 debut, become one of musical theatre cannon's most enduring and beloved productions. Its roll call of achievements alone is testament to this: A Chorus Line has picked up ten Tony Awards and a Pulitzer Prize (not to mention a Helpmann for Best Musical following its recent Australian revival) on its way to becoming one of the longest-running productions in Broadway history. As part of Sydney Festival 2022, this co-production between Darlinghurst Theatre Company and Riverside Theatres, Parramatta, will take its audience once again into the world of backstage to unveil the struggles of Broadway performers, exploring themes of exploitation, racism and sexism. The production also includes some of the all-time great musical theatre numbers, including 'I Hope I Get It', 'One' and 'What I Did For Love'. The short Sydney Festival run promises to be a vibrant and punchy one. It's backed by some of the biggest names working in Australian musical theatre today, including Helpmann-nominated choreographer Amy Campbell (In the Heights, Funny Girl) and musical supervisor Andrew Worboys (Rent, American Psycho). [caption id="attachment_838041" align="alignnone" width="1920"] Robert Catto[/caption] Images: Robert Catto
Getting really into craft beer and growing a beard has been the overwhelming trend of the past year and while beards are apparently on the out, our love of craft beer is only getting stronger. The designers at Swedish-Italian company Sempli know this and they’ve created a set of glasses that not only look like modern art but are engineered to give you the ultimate beer experience. The Monti range includes four pieces of glassware (yes, these babies are not just glasses, they’re glassware) that look like something you'd find on a gallery plinth but are designed for optimum drinking conditions. In the four-set, you'll get a glass for pilsners, IPAs, pints and 12-ounce bottles for a cool (excuse the pun) $100. The glasses are designed to maximise bubbliness and keep the liquid at the optimum drinking temperature for each different type of beer. It’s true what they say: once you go engineered glassware, you never go back to a beer helmet. Bartenders: prepare for yourself the ultimate snobbery of patrons bringing customised IPA glasses to the pub with them. It’s the craft beer snob’s equivalent of using a tin camping mug as your takeaway coffee cup, except slightly more functional. Monti glassware by Sempli will set you back $55 for a two-set or all four for $100 at Sempli.com. Via Fast Co.Design.
Tucked away among the George Street construction chaos and down De Mestre Place, with only a single 'B' hanging outside to hint at its location, Burrow Bar is hard to spot. So you could be forgiven for not having visited yet. But you're on your own if you don't pop in on December 4, because Burrow is holding a very special birthday party. In honour of its second birthday, the owners have invited along bartender friends from some of Sydney's favourite haunts to jump behind the long, narrow bar and show off their skills. This includes Jonathan Carr (Door Knock), Lachie Beange (Archie Rose), Alex Gilmour (Tio's), Jimmy Snelgrove (PS40), Phil Gandevia (Bentley) and Julius Yates (Earl's Juke Joint). Burrow Bar is the brainchild of four friends with a hefty dose of hospitality experience between them. At the moment, the bar's appearance sits firmly in the 'rustic charm' category: sandstone walls, exposed timber ceilings and an eclectic mix of furniture. A refurbishment is scheduled for soon after the event, spurring on the "next era of Burrow Bar". So if you're a fan of the original venue, this is the opportunity to bid it adieu.
Sydney's annual Gay and Lesbian Mardi Gras is more than just the parade. In fact, the festival features over two weeks of events — both official and not. One such place that's getting the party going early is The Winery. This year, the Surry Hills' garden oasis is hosting the perfect warm-up shindig with four fun-filled nights of good tunes, tasty food, great booze and, of course, drag queens. Go along between Tuesday, February 26 and Friday, March 1 with your dancing feet and vocal cords ready as the queens from Sydney Drag Royalty engage in an old-fashioned drag battle. Each night there'll be three heats where the queens perform to classic pop hits — we're talking tracks from Elton John, Tina Turner, Dolly Parton, Madonna and George Michael — to the whim of the crowd, who'll vote to decide who'll make it through to the grand final 'battle royale' on Friday, March 1. The nightly show will set you back $20, which includes an Absolut cocktail on arrival. Plus, $5 from that goes straight to the Black Dog Institute (a mental health research facility). While you're watching these fabulous renditions, you can snack on tasty treats including prawn skewers, chicken wings and wagyu beef sliders. A carb-free option comes in the form of a dress-your-own-lettuce-cup station with meats from the barbecue on offer — vegetarian options will be available, too. Food is not included in ticket price. And if you want to be close to the action, but not so close that you're actually stuck in the crowds of people, The Winery will be screening the Mardi Gras parade on Saturday, March 2 on the big screen for free. The Mardi Gras Laneway Tribute Nights will run nightly from 5pm, Tuesday, February 26 to Friday, March 1. To purchase tickets, visit The Winery's website.
On Wednesday, May 28, the restaurant where the burgers are truly better, Chur, is giving away its mighty creations for free. Except that, as we know by now, nothing in life is free, and what this burger will actually cost is a tiny bit of your dignity on social media. Teaming up with ZOOSH dressings, Chur Burger chef and owner Warren Turnbull is serving up a specially made burger, chips and salad, all tszujed up with ZOOSH, for one day only. To get one, you'll need to share your 'yummy face' (like Blue Steel, but for eating) via Instagram, Twitter or Facebook and hashtag it #ZOOSHfoods #NationalBurgerDay. Be at Chur Burger's Surry Hills store to claim your feed. If this sounds like a good deal to you, you'll want to get to Chur early; they start serving at 11am, and the burger/freebie fans are multitudinous. Payment by Instagram plug is having a bit of a moment, so enjoy it (or enjoy mocking it) while it lasts.
After the riots in London, people at the top are talking about life in the suburbs as though noticing them for the first time. Campbelltown Arts Centre was already putting together an exhibition on the theme of the outer city by the time angry feet hit the streets in Tottenham. The exhibition, 1.85 Million - Art Peripheries, looks at the same outer metropolises, but seems to ask instead What happens, when it seems quiet in the suburbs? The show is curated by Monster Childrener Joseph Allen Shea, who's also involved with another Gallery A.S. show attuned its surroundings, Motion / Pictures. Gary Trinh's Local Tourist tours everyday scenes: a hodge podge of trees with bald pates split for power lines, a storm drain canal, a red shopping trolley camouflaged against a red wall and an abandoned playground overgrown in greenery. Paul B Davis has hacked a series of 8-bit Nintendos. Projected from one, Mario stands in the centre of a black static field, lonely and unplayed. Across the darkened room, sky blue suburban rooftops scroll by, taxing the processor of the antique game box. Mohamed Bourouissa offers a series of photographs taken around Paris' banlieues, or outskirt ghettos. They show typical but staged scenes: a black man is held down in his home in his underwear by police, the police are fully clothed; two men glare at each other, in the background one of their friends snaps a photo with his phone. New Zealander Amanda Maxwell has painted wall-hugging pink vinyl squares that tell determined stories of lost and rejected loves plucked from her diary. 2011 Sydney Film Festival star, Miranda July offers two video works that radiate long days at home with the video recorder, Getting Stronger Every Day and Atlanta. The exhibition takes its name from the size of Western Sydney's growing population. And where riots and their denunciation bleed anger and confrontation, this 1.85 million know another side of suburbia — a world of no one watching, and long, long afternoons. Image by Gary Trinh.
Laura Marling soars with her latest work of staggering genius, a couple of Sydney's best-kept secrets wow with new material, and Perth producer Sid Pattni wants to get you pregnant. Don't be one of those people who stumbles exhausted into the weekend — these five tracks will put a spring in your step and a boogie in your groove. https://youtube.com/watch?v=KCnK3FMuMAs 1. 'When Brave Bird Saved' - Laura Marling Okay, I'm cheating slightly with the five songs thing, as this video is built around the first four songs of Marling's fourth album, Once I Was an Eagle (out May 27). With this album Marling confirms her incredible talent, her songs full of dense symbolism and metaphor while at the same time being utterly human and relateable. Marling could well be the finest songwriter of her generation, and there are plenty of people who agree with me. <a href="http://oscarkeysung.bandcamp.com/album/its-coming-sure-thing" mce_href="http://oscarkeysung.bandcamp.com/album/its-coming-sure-thing">It&amp;amp;amp;#39;s Coming//Sure Thing by Oscar Key Sung</a> 2. 'It's Coming' / 'Sure Thing' - Oscar Key Sung Oscar Key Sung is the new project from Oscar Slorach-Thorn, who's half of spare, sugary R&B duo Oscar + Martin. (He's Oscar.) Both tracks up so far are killer, but it's especially worth checking out 'Sure Thing', a cover of a track by R&B's best kept secret: Miguel. 3. 'Canker' / 'If It Works' - Cull Canker is what happens when Tame Impala and Jeff Buckley and some wolves all take acid together and everything goes horribly right; 'If It Works' is a looser, heavier, longer beast. This Sydney act have been around all of about three months but their strike rate's already kinda undeniable. 4. 'Mr. Alpha' - Sid Pattni featuring Whisky Winter This week's Shut Up and Take My Money award goes to this immaculate conception of a jam from Perth producer Sid Pattni. It feels warm and elemental, all glassy shimmers and lazy claps, as the vocals (by guesting duo Whisky Winter) fade between treated and natural tones, distant and intimate at once. If this is what Flume hath wrought, bring it the fuck on. https://youtube.com/watch?v=rNNygktmQB4 5. 'Contact' - Daft Punk No matter what you think of the new Daft Punk album, there's no doubt it was a departure from the French duo's usual crunching riffs and apocalyptic beats — except for 'Contact'. The last song on the album is an absolute monster, and uniquely Daft Punk, and this video (recorded at the Wee Waa Agricultural show by our friends at Castle Awesome) shows just what impact it has on an audience. It starts with a recording of astronauts from Apollo 17 talking about what the earth looks like from space; the anticipation builds as the Phantom of the Opera organs do, and by the time the beat finally drops the whole crowd is at fever pitch, leaping up and down in rapture.
