Over the last 19 years, Kylie Kwong's semi-eponymous Billy Kwong has not only fed a lot of Sydneysiders — it's been an integral part of the evolution of Sydney's dining scene. While diners have been chowing down on the restaurant's crispy saltbush cakes and steamed warrigal greens dumplings, other spots in the city — and the country — have too embraced locally grown foods, ethical practices and native Australian ingredients. So it's no small deal that the restaurant is closing. Kwong has today announced that, as she approaches her 50th birthday this year, she will close her Chinese-Australian restaurant forever. It's set to stop service in the coming months. https://www.instagram.com/p/Bs64b5tDDej/ It's not all bad news, though. The closure of Billy Kwong will make way for a brand new Sydney restaurant from the chef and restaurateur. Kwong has revealed that she will open a "completely new dining concept" in collaboration with Adelaide furniture designer Khai Liew that celebrates her "unwavering love of food, family and connection to the broader community at large". While details are still vague, this new restaurant will be more casual and smaller in size than Billy Kwong. Kwong first opened Billy Kwong on Crown Street with Bill Granger back in 2000. She soon bought him out and later, in 2014, partnered with restaurateur David King to move the restaurant into a bigger (and grander) space in Potts Point. It's since become a Macleay Street mainstay and many loyal locals will be sad to see the restaurant — as well as Kwong, who is regularly seen on the floor with her long-serving restaurant manager Kin Chen — go. A closing date has not been set as the team is waiting to secure a new tenant for the space first. We'll let you know when the restaurant's last service is announced, along with any info on Kwong's new venture. Find Billy Kwong at 28 Macleay Street, Potts Point. It will be service as usual for the time being, with dinner running every night of the week as well as lunch on Sundays.
Can't be stuffed hitting the kitchen on Christmas Day? Or maybe you're hunting a spot to enjoy some post-lunch cocktails with the crew? Luckily Sydney's got no shortage of cafes, restaurants and bars that are dishing up the goods, even on December 25. Here are a few spots that are open and ready to whet your whistle and fill your belly on Christmas Day, 2022. [caption id="attachment_700692" align="alignnone" width="1920"] Neptunes[/caption] EATS Anason, CBD: midday–10pm Bake Bar, Randwick: 6am–1pm Bathers' Pavilion, Balmoral: 8am–5.30pm — currently fully booked Black Bar and Grill, Pyrmont: midday–3pm and 5.30–10.30pm Botswana Butchery, CBD: midday–5pm Cucino Porto, Pyrmont: 5-9.30pm El Camino, Manly: midday–5pm El Jannah, Various Sydney Locations: 11am–11pm Fratelli Fresh, Manly, Entertainment Quarter and Darling Harbour: 11am–3pm — currently fully booked Flying Fish, Pyrmont: 5-10.15pm Harbourside Seafood Restaurant, The Rocks: 11.30am–5.30pm Il Pontile, Woolloomooloo: midday–6.30pm Infinity at Sydney Tower, Sydney: midday–11pm Neptunes, Brighton-Le-Sands: 7am-11pm Otto Sydney, Woolloomooloo: 11.30am–2pm Quay Restaurant, The Rocks: midday–1.30pm Sokyo, Pyrmont: midday–2.30pm and 5.30–9.45pm Tayim, The Rocks: midday–3pm [caption id="attachment_780053" align="alignnone" width="1920"] Esteban La Tessa[/caption] DRINKS Bar Tikram, Pyrmont: 4pm–late Continental Deli Bar Bistro, Newtown: midday–4pm Customs House Bar, Circular Quay: midday–8pm Munich Brauhaus, The Rocks: midday–4pm Willie the Boatman, St Peters: midday-6pm The Winery, Surry Hills: midday–3pm
Every trip to the movies serves up multiple delights, from the excuse to tuck into a choc top to whatever big-screen release has earned your attention at that very moment. But one aspect of cinema's magic has hit home particularly hard over the past year: the ability to switch off from the world, forget everything else for a couple of hours, ignore your phone and the news, and completely lose yourself in a film. In 2020, we all indulged in that escapism on our couches, as well as in cinemas. That said, it felt particularly special when projectors started whirring again post-lockdowns in picture palaces around the country. In 2021, here's hoping that the latter sensation will continue — because there are plenty of brand new movies vying for your attention this year. Whether you're eager to check out Australia's latest on-screen reckoning with the past, a drama about four friends testing the idea that humans actually need more alcohol in their blood or the revival of a beloved sci-fi franchise, 2021's upcoming film slate has you covered. There's no such thing as a bad year for movies, because there's always something new to see; however, getting particularly excited about the next crop of releases heading to the silver screen is completely understandable — including these ten highlights that we've either seen and can heartily recommend, or we're especially looking forward to. https://www.youtube.com/watch?v=WL-G4oCoDF0 HIGH GROUND A high-profile Australian cast and an acclaimed local director traipse through the country's colonial past in High Ground — and while that description applies to a growing number of Aussie films (Sweet Country, The Nightingale and The Furnace, just to name three recent examples), it'll never get old. Indeed, while Stephen Maxwell Johnson's (Yolngu Boy) frontier western feels like a natural addition to this growing genre, it also makes its own imprint. The setup: on what's supposed to be a routine expedition, almost an entire Indigenous tribe is wiped out by northern Australian police. Their leader, ex-World War I sniper Travis (Simon Baker, Breath), isn't responsible for the carnage, but it weighs heavily on him in the aftermath. In this gorgeously shot, deeply contemplative drama, that especially proves the case twelve years later — when Travis is enlisted by his superior (Jack Thompson) and his ex-partner (Callan Mulvey, Avengers: Endgame) to track down one of its revenge-seeking survivors, all while accompanied by the boy-turned-tracker (debutant Jacob Junior Nayinggul) who also lived through the slaughter. High Ground releases in Australian cinemas on January 28, 2021. https://www.youtube.com/watch?v=svq5OzzT7s4 THE NEST Over the past decade, Carrie Coon has amassed a resume that'd make many other actors envious, with Gone Girl, The Leftovers, Avengers: Infinity War, Avengers: Endgame and Widows all to her name. Her exceptional performance in The Nest should turn many of her peers green-eyed, too — as should the fact that she stars in this unsettling marital thriller about a couple's unhappiness when they uproot their 80s-era, New York-based lives for a new start in the UK. Coon plays Allison O'Hara, who'd prefer not to move halfway across the globe. But her British trader husband Rory (Jude Law, The Third Day) is adamant that it's the best choice for his career, for their bank balance, and for her teenage daughter Sam (Oona Roche, Morning Wars) and their younger son Ben (Charlie Shotwell, The Nightingale), too. Their tale is told with exacting precision and dripping unease by filmmaker Sean Durkin, making his the long-awaited second feature after 2011's Martha Marcy May Marlene, so it should come as little surprise that little is what it seems in this exquisitely shot, emotionally devastating movie. The Nest releases in Australian cinemas on February 4. https://www.youtube.com/watch?v=V5R46NgopPw&list=UUadhU_V17tZia6mvQSYn-tg ANOTHER ROUND Last time that Mads Mikkelsen (Arctic) teamed up with filmmaker Thomas Vinterberg (Kursk), 2012's The Hunt was the end result — and the difficult drama about a school teacher accused of acting inappropriately with one of his kindergarten students was one of the best movies of that year. In Another Round, the actor and writer/director have joined forces again. Screenwriter Tobias Lindholm (A Hijacking, A War) is back on co-scripting duties as well — and Mikkelsen yet again plays a school teacher, too. In this instance, however, a different subject comes to the fore: the idea that perhaps being constantly under the influence of alcohol is actually better for humans than remaining sober. Martin (Mikkelsen) and his fellow Copenhagen teacher pals Tommy (Thomas Bo Larsen, Veni Vidi Vici), Peter (Lars Ranthe, Warrior) and Nikolaj (Magnus Millang, The Commune) decide to put the theory to the test, chaos ensues, and so does an astute drama about four men weathering a midlife crisis in an extreme way. Also, you've never seen a movie ending quite like this one — and you're unlikely to ever again. Another Round releases in Australian cinemas on February 11. https://www.youtube.com/watch?v=NbE96sCJEjo MINARI Remember the name Lee Isaac Chung. Minari isn't the writer/director's first feature — with 2007's Munyurangabo, 2010's Lucky Life and 2012's Abigail Harm already on his resume — but it's the kind of intimate, heartfelt and resonant movie that no one will forget quickly, and that cements its filmmaker as a top cinematic talent to watch. Remember the name Alan S Kim, too. The child actor makes his film debut here, but he steals every scene he's in. Considering that he's acting opposite Steven Yeun (Burning), who turns in his latest excellent performance and will probably nab an Oscar nomination for his efforts, that's no minor feat. Remembering Minari in general is a given, actually. It's so detailed, vivid, honest and tender, and yet also so universal at the same time. Based on Chung's own upbringing, it follows the Yi family as they move to Arkansas to start their own farm, and it's a movie about chasing the American Dream — but don't go thinking that you've seen this tale before, or seen any similar story told with such feeling either. Minari releases in Australian cinemas on February 18. https://www.youtube.com/watch?v=Lk5YWIbwzRE EARWIG AND THE WITCH Since 2016's The Red Turtle, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. But that'll change in 2021, thanks to Earwig and The Witch — its first new movie in five years. Directed by Hayao Miyazaki's son Goro Miyazaki (who previously directed Tales from Earthsea and From Up On Poppy Hill), the film also marks the animation house's first feature completely made using CGI. It's also based on a novel written by British author Diana Wynne Jones, who penned the book that Howl's Moving Castle was adapted from, too. In terms of story, Earwig and the Witch focuses on a girl at an orphanage in the British countryside, whose world changes when she's chosen to live with a couple — including a witch. Earwig doesn't know that her own mother also had magical powers, so she's thrust into a strange new world, all while trying to do what she's always wanted: belong to a family. In its English-language version, the film will feature voice work by Richard E Grant (Can You Ever Forgive Me?) and Dan Stevens (Eurovision Song Contest: The Story of Fire Saga), plus newcomer Taylor Paige Henderson. Earwig and the Witch releases in Australian cinemas sometime early in 2021, with its exact release date yet to be announced. [caption id="attachment_796213" align="aligncenter" width="1920"] Director Chloe Zhao filming 'Nomadland'. Image: Searchlight Pictures. © 2020 20th Century Studios All Rights Reserved[/caption] ETERNALS Another year, another Marvel movie. That actually didn't prove true in 2020, thanks to the pandemic, but 2021 promises to pick up the slack. Indeed, the Marvel Cinematic Universe is set to drop no fewer than four films this year — Black Widow, Shang-Chi and the Legend of the Ten Rings, Eternals and the latest Spider-Man flick — however, Eternals might just be the pick of the bunch. The fact that it focuses on an immortal alien race is certainly interesting. The cast, spanning Angelina Jolie (Maleficent: Mistress of Evil), Kumail Nanjiani (Stuber), Salma Hayek (Like a Boss), Barry Keoghan (Calm with Horses), Gemma Chan (Captain Marvel), Brian Tyree Henry (Superintelligence) and Game of Thrones co-stars Richard Madden and Kit Harington, is too. But it's the involvement of filmmaker Chloe Zhao that's the most exciting part. She's working on a far bigger scale than seen in her past two movies, The Rider and Nomadland; however, there's a sense of empathy and a knack for observation to her features that'll hopefully make the much-needed jump to superhero territory. Eternals releases in Australian cinemas on October 28. THE MATRIX 4 It's enough to make you say "whoa!" — which Keanu Reeves will hopefully exclaim multiple times. Yes, The Matrix franchise is coming back, its mind-bending dystopian sci-fi story will get another chapter, and not only is Reeves returning, but so is co-star Carrie-Anne Moss (Jessica Jones) and filmmaker Lana Wachowski (Jupiter Ascending). That should whet everyone's appetite for The Matrix 4, which will likely get a better title before it releases. The original is a science fiction classic, after all. And while sequels The Matrix Reloaded and The Matrix Revolutions don't reach the same heights, they still definitely have their moments. Jada Pinkett Smith (Girls Trip) will also pop up again, and the rest of the cast spans everyone from Yahya Abdul-Mateen II (Watchmen) and Neil Patrick Harris (A Series of Unfortunate Events) to Jonathan Groff (Mindhunter) and Priyanka Chopra (Baywatch). She may be directing solo this time around, but Wachowski doesn't make movies that can be confused for anyone else's work — and six years after her last feature, she's finally making her big-screen return. The Matrix 4 is expected to release in Australia in December 2021. https://www.youtube.com/watch?v=VoJc2tH3WBw THE GREEN KNIGHT After filming two of his last four movies in Australia (Lion and Hotel Mumbai), and also stepping into a Dickens classic set in Victorian England (The Personal History of David Copperfield), Dev Patel is heading somewhere completely different. Jumping back to medieval times, he's delving into the fantasy genre, messing with Arthurian legend and swinging around a mighty sword, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, the film casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris, Mission: Impossible — Fallout), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the green-skinned titular figure in an eerie showdown. Patel is in great company, too, with The Green Knight also starring Alicia Vikander (Earthquake Bird), Joel Edgerton (Boy Erased) and Barry Keoghan (Calm with Horses). And, it's the latest film by impressive — and always eclectic — writer/director David Lowery, with his filmography spanning everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun. The Green Knight doesn't currently have an Australian release date. [caption id="attachment_654191" align="aligncenter" width="1920"] The Shape of Water[/caption] NIGHTMARE ALLEY What's better than one new Guillermo del Toro-directed movie this year? Two, of course — if everything goes as planned, that is. The filmmaker won the Oscar for Best Director for 2017's The Shape of Water, and his work has been absent from our screens since; however, 2021 is currently set to deliver his stop-motion animated version of Pinocchio, plus his new thriller Nightmare Alley. The latter is set in a carnival, where a man called Stanton Carlisle (Bradley Cooper, The Mule) has just started working. His new place of employment leads him to psychologist Lilith Ritter (Cate Blanchett, Where'd You Go, Bernadette), and that's just the start of the story. Based on the 1946 novel of the same name, this isn't the first film adaptation of Nightmare Alley — but no one makes movies quite like del Toro, as everything from Cronos and Pan's Labyrinth to Pacific Rim and Crimson Peak have proven. And to help, he has enlisted a stacked cast that also includes Rooney Mara (Mary Magdalene), Toni Collette (I'm Thinking of Ending Things), Willem Dafoe (The Lighthouse) and his regular collaborator Ron Perlman (Monster Hunter) Nightmare Alley doesn't currently have an Australian release date. [caption id="attachment_796214" align="aligncenter" width="1920"] Sundance Film Festival[/caption] PRISONERS OF THE GHOSTLAND Nicolas Cage has starred in some out-there movies in his time. Yes, that's obviously an understatement. Some of his films are so over the top, they're an unhinged delight, like Vampire's Kiss. Some seem as if they should fall into that category, but just end up being bland and clunky beyond Cage's involvement, as seen in 2020's Jiu Jitsu. But combine the inimitable actor with Japanese filmmaker Sion Sono, and something distinctive is bound to happen. Sono's movies, including Love Exposure, Why Don't You Play in Hell?, Tokyo Tribe and Tokyo Vampire Hotel, always fit that description anyway — and, like Cage at his manic best, have to be seen to be believed and truly appreciated. The director makes his first English-language feature with Prisoners of the Ghostland, and Cage plays a bank robber busted out of prison to find a warlord's missing granddaughter. The end result is premiering at this year's Sundance Film Festival, has been described as a western, samurai flick and dystopian thriller combined, and is certain to serve up one helluva ride. Prisoners of the Ghostland doesn't currently have an Australian release date.
Teen angst and disco balls, together at last! This rib-tickling and soul-lifting show about the complexities of teenage identity centres on Maya Wolfe, a 17-year-old with shaky self-esteem who is sent to a mysterious summer camp with a hidden agenda. There, she meets Bone, a rebel with a cause who wants to expose the camp's dark intentions. Maya must decide whether to conform or break free, all while wrestling with her growing feelings for Bone. Written by Vic Zerbst with music by Oliver John Cameron, expect moving moments of queer self-discovery, relatable adolescent awkwardness and a pumping soundtrack of disco bangers.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BODIES BODIES BODIES The internet couldn't have stacked Bodies Bodies Bodies better if it tried, not that that's how the slasher-whodunnit-comedy came about. Pete Davidson (The Suicide Squad) waves a machete around, and his big dick energy, while literally boasting about how he looks like he fucks. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova plays the cautious outsider among rich-kid college grads, who plan to ride out a big storm with drinks and drugs (and drama) in one of their parents' mansions. The Hunger Games and The Hate U Give alum Amandla Stenberg leads the show as the gang's black sheep, turning up unannounced to zero fanfare from her supposed besties, while the rest of the cast spans Shiva Baby's Rachel Sennott, Generation's Chase Sui Wonders and Industry's Myha'la Herrold, plus Pushing Daisies and The Hobbit favourite Lee Pace as a two-decades-older interloper. And the Agatha Christie-but-Gen Z screenplay? It's drawn from a spec script by Kristen Roupenian, the writer of 2017 viral New Yorker short story Cat Person. All of the above is a lot. Bodies Bodies Bodies is a lot — 100-percent on purpose. It's a puzzle about a party game, as savage a hangout film as they come, and a satire about Gen Z, for starters. It carves into toxic friendships, ignored class clashes, self-obsessed obliviousness, passive aggression and playing the victim. It skewers today's always-online world and the fact that everyone has a podcast — and lets psychological warfare and paranoia simmer, fester and explode. Want more? It serves up another reminder after The Resort, Palm Springs and co that kicking back isn't always cocktails and carefree days. It's an eat-the-rich affair alongside Squid Game and The White Lotus. Swirling that all together like its characters' self-medicating diets, this wildly entertaining horror flick is a phenomenal calling card for debut screenwriter Sarah DeLappe and Dutch filmmaker Halina Reijn (Instinct), too — and it's hilarious, ridiculous, brutal and satisfying. Forgetting how it ends is also utterly impossible. The palatial compound where Bodies Bodies Bodies unfurls belongs to David's (Davidson) family, but it's hurricane-party central when the film begins. That said, no one — not David, his actor girlfriend Emma (Wonders), the no-nonsense Jordan (Herrold) or needy podcaster Alice (Sennott), and definitely not Greg (Pace), the latter's swipe-right older boyfriend of barely weeks — expects Sophie (Stenberg) to show as they're swigging tequila poolside. She hasn't responded to the group chat, despite claiming otherwise when she arrives. She certainly hasn't told them, not even her childhood ride-or-die David, that she's bringing her new girlfriend Bee (Bakalova) along. And Sophie hasn't prepared Bee for their attitudes, all entitlement, years of taken-for-granted comfort and just as much mouldering baggage, as conveyed in bickering that's barely disguised as banter. When the weather turns bad as forecast, a game is soon afoot inside the sprawling abode. Sharing the movie's title, the fake murder-mystery lark is this crew's go-to — but, even with a hefty supply of glow sticks (handy in the inevitable power outage), it doesn't mix too well with booze, coke and Xanax. The essentials: pieces of paper, one crossed with a X; everyone picking a scrap, with whoever gets the marked sliver deemed the perpetrator; and switching off the lights while said killer offs their victim, which happens just by touching them. Then, it's time to guess who the culprit is. That's when the mood plummets quickly, because accusing your friends of being faux murderers by publicly checking off all their shady traits will do that. It gets worse, of course, when those bodies bodies bodies soon become literal and everyone's a suspect. Read our full review. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who'd be 75 as this doco hits screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Nothing about Bowie earns an easy description. Nothing about Bowie, other than his stardom, brilliance and impact, sat or even stood still for too long. Driven by themes and moods rather than a linear birth-to-death chronology, Moonage Daydream leaps forward with that same drive to ch-ch-change, the same yearning to keep playing and unpacking, and the same quest for artistry as well. Taking its aesthetic approach from its centre of attention means peppering in psychedelic pops, bursts of colour, neon hues, and mirrored and tiled images — because it really means making a movie that washes over all who behold its dance, magic, dance. That's the reaction that Bowie always sparked, enchanting and entrancing for more than half a century. In successfully aping that feat, Morgen's film is as immersive as an art installation. Exhibition David Bowie Is has already toured the world, including a 2015 stint Down Under in Melbourne; Moonage Daydream sits partway between that and a Bowie concert. This gift of sound and vision is as glorious as that gig-meets-art concept sounds — and yes, live footage beams and gleams throughout the documentary. Among the snippets of interviews, smattering of music videos, melange of clips from cinema touchstones that reverberate on Bowie's wavelength in one way or another, and scenes from his own acting career on-screen and onstage, how could it not? During his five years, fittingly, spent making Moonage Daydream, Morgen had access to the original concert masters, from which he spliced together his own mixes using alternative angles. Zooming back to the androgynous space-alien Ziggy Stardust and the Spiders from Mars tour is exhilarating, including when the feature's eponymous song explodes. Jumps to the 90s, to the Outside and Earthling tours, resonate with awe of a more grounded but no less vibrant kind. The Serious Moonlight segments, hailing from the 80s and all about pale suits and glistening blonde hair, see Bowie relaxing into entertainer mode — and, amid discussions about his wariness about making upbeat tunes, mastering that like everything else. Read our full review. TICKET TO PARADISE Here we go again indeed: with the George Clooney- and Julia Roberts-starring Ticket to Paradise, a heavy been-there-done-that air sweeps through, thick with the Queensland-standing-in-for-Bali breeze. The film's big-name stars have bounced off each other in Ocean's Eleven, Ocean's Twelve and Money Monster before now. Director Ol Parker has already sent multiple groups of famous faces to far-flung places — far-flung from the UK or the US, that is — as the writer of the Best Exotic Marigold flicks and helmer of Mamma Mia! Here We Go Again. Enough destination wedding rom-coms exist that one of the undersung better ones, with Keanu Reeves and Winona Ryder, is even called Destination Wedding. And, there's plenty of romantic comedies about trying to foil nuptials, too, with My Best Friend's Wedding and Runaway Bride on Roberts' resume since the 90s. Hurriedly throw all of the above into a suitcase — because your twentysomething daughter has suddenly announced she's marrying a seaweed farmer she just met in Indonesia, if you're Clooney and Roberts' long-divorced couple here — and that's firmly Ticket to Paradise. As The Lost City already was earlier in 2022, it too is a star-driven throwback, endeavouring to make the kind of easy, glossy, screwball banter-filled popcorn fare that doesn't reach screens with frequency lately. It isn't as entertaining as that flick, and it certainly isn't winking, nodding and having fun with its formula; sticking dispiritingly to the basics is all that's on Parker's itinerary with his first-timer co-scribe Daniel Pipski. But alongside picturesque vistas, Ticket to Paradise shares something crucial with The Lost City: it gets a whole lot of mileage out of its stars' charisma. A quarter-century back, David (Clooney, The Midnight Sky) and Georgia (Roberts, Gaslit) were the instantly besotted couple impulsively tying the knot (if Ticket to Paradise is successful enough to spawn more movies, a prequel about the pair's younger years will likely be on the list). Alas, when this film begins, they can't stand to be anywhere near each other — room, city or state — after splitting two decades back. With their only child Lily (Kaitlyn Dever, Dopesick) graduating from college, they're forced to play faux nice for a few hours, but squabble over the armrest, then get publicly competitive about who loves their daughter more. This wouldn't be a rom-com led by Clooney and Roberts if schoolyard teasing logic didn't apply, though: they fight because sparks still fly deep down. And they keep verbally sparring when Lily announces a month later that she's met Bali local Gede (Maxime Bouttier, Unknown) on a getaway before she's supposed to put her law degree to its intended use, and that she'll be hitched within days. If another template that Ticket to Paradise happily follows is to be believed, parents don't respond well to their kids plunging into matrimony, especially without notice. David and Georgia are no different, desperately wanting to stop Lily from repeating their own mistakes and willing to zip halfway around the world to do so — hence the feature's airfare moniker. They attempt to unite over sabotaging the wedding, but old habits die hard amid tussling with biting dolphins, stealing rings and putting up with Paul (Lucas Bravo, Emily in Paris), Georgia's younger, deeply infatuated boyfriend. Amid drunken beer pong matches and daggy dances to 90s tracks, plus getting stuck in the Balinese jungle overnight as well, older feelings die harder still, of course — and a ticket to surprises or fresh material, this clearly isn't. Read our full review. CLEAN "It's a shock to the system. It's a change to the everyday, regular routine. It's where the unhappy gene comes out — and it's a sign of the times today." That's the gloriously candid and empathetic Sandra Pankhurst on trauma, a topic she has literally made her business. Later in Clean, the documentary that tells her tale, she describes herself as a "busy nose and a voyeur"; however, that's not what saw her set up Melbourne's Specialised Trauma Cleaning. For three decades now, her company has assisted with "all the shitty jobs that no one really wants to do," as she characterises it: crime-scene cleanups, including after homicides, suicides and overdoses; deceased estates, such as bodies found some time after their passing; and homes in squalor, to name a few examples. As she explains in the film, Pankhurst is eager to provide such cleaning services because everyone deserves that help — and because we're all just a couple of unfortunate turns away from needing it. The 2008 movie Sunshine Cleaning starring Amy Adams (Dear Evan Hansen) and Emily Blunt (Jungle Cruise) fictionalised the trauma-cleaning realm; if that's your touchstone at the outset of Clean, prepare for far less gloss, for starters. Prepare for much more than a look at a fascinating but largely ignored industry, too, because filmmaker Lachlan Mcleod (Big in Japan) is as rightly interested in Pankhurst as he is in her line of work. Everything she says hangs in the air with meaning, even as it all bounces lightly from her lips ("life can be very fragile", "every dog has its day, and a mongrel has two" and "life dishes you out a good story and then life dishes you out a shit one" are some such utterances). Everything feels matter of fact and yet also immensely caring through her eyes, regardless of the situation that her Frankston-headquartered employees are attending to. Sometimes, STC does confront harrowing and grimy messes that could be ripped straight out of a crime drama, but ensuring that the families don't have to swab up themselves after a gory incident is a point of pride. Sometimes, it aids people with disability or illness by playing housekeeper when they can't, or sorts through a lifetime of possessions when someone has turned to hoarding. There's no judgement directed anyone's way, not by Pankhurst or the crew of committed cleaners who've formed a family-like bond under her watch. It takes a particular sort of person to do this gig, everyone notes, and the group is as sensitive and considerate as their boss because most have experienced their own hardships. They can also see what she sees: "everyone's got trauma; it's not the demographic, it's the circumstance". Pankhurst's company and tale isn't new to the public eye, thanks to Sarah Krasnostein's award-winning 2018 book The Trauma Cleaner: One Woman's Extraordinary Life in the Business of Death, Decay and Disaster — and both there and here, the role she has played and the fortitude she has displayed while sifting through her own personal traumas earns merited attention. Mcleod keeps his focus on STC for the film's first third, aided by Pankhurst's frank insights, but the many layers to the business, its workers and its clients are paralleled in her own multifaceted story. Clean takes her lead, though; never within its frames does Pankhurst offer up a simple assessment of herself, other than saying she'd liked to be remembered "as a kind human being — nothing more, nothing less". As a transgender woman who was adopted at birth, grew up in an abusive household, married and had a family, performed as a drag queen, undertook sex work, survived rape and drugs, transitioned, and became one of Australia's first female funeral directors, nothing about her can be deduced to a few mere words. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1 and September 8. You can also read our full reviews of a heap of recent movies, such as Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl and Flux Gourmet.
Australians looking to travel to New Zealand must consider the current COVID-19 advice. For information on quarantine-free travel between Australia and New Zealand, head over to the NZ Government's COVID-19 hub. You don't need to ski or snowboard to have a great time on New Zealand's powder-topped slopes. Alpine resorts across the country have a huge variety of other snow-based activities to choose from during the magical winter months. All you have to decide is whether you'd rather take a high-performance vehicle around a snow-covered race track, drive your own team of sled dogs, or ride a high-speed gondola through the clouds. FLOOR IT AROUND A SNOW-COVERED RACE TRACK Ice Driving is considered the ultimate winter driving challenge. The tyre-sliding experience invites anyone with a drivers licence and a wad of cash to jump in the hot seat and hoon around more than 40 hectares of snow-capped alps. It happens in the deep south from July to August every year with participants invited to take the wheel of a high-performance vehicle on a snow-covered race track. The experience is held at the iconic Southern Hemisphere Proving Grounds on Mount Pisa, which sits 1500 metres above sea level between Queenstown and Wanaka. The snow track is the winter test centre used to test cars around the world. It's suitable for groups of ten and up who are keen to learn what it takes to drift around a snow circle, weave around a slalom course and bury the accelerator on ice. TUBE DOWN A 150-METRE SLOPE IN TEKAPO Tekapo Springs is the nerve centre for alternative winter activities in the South Island's Mackenzie Basin. Open from June until mid-September, the snow tubing park is just one attraction on offer, taking thrill-seekers on a slippery ride down a 150-metre slope. And there's no uphill walking involved once you're ready for another run — simply hop aboard the magic carpet back to the top. Once you've completed your one-hour tubing session, there's plenty to keep you occupied at the resort. Hit the outdoor ice rink, unwind in the on-site sauna and steam room, or soak in stunning lake and mountain views from one of three hot pools. [caption id="attachment_757146" align="alignnone" width="1920"] Tourism New Zealand.[/caption] RIDE NEW ZEALAND'S NEWEST, LONGEST AND FASTEST GONDOLA Riding Mt Ruapehu's newly opened Sky Waka will take you on a journey into the clouds. Called New Zealand's largest and most technically advanced gondola, the high-speed Sky Waka travels 1.8 kilometres in just five minutes above the snow-capped terrain of Whakapapa. From the Top of the Bruce base station you'll traverse over icy waterfalls and ancient lava flows and catch a glimpse of Ruapehu and its neighbouring volcanoes, Ngauruhoe and Tongariro, through the floor to ceiling windows. Touch down will bring you to the award-winning Knoll Ridge Chalet where a selection of dining options await. DRIVE YOUR OWN TEAM OF SLED DOGS Cardrona's home of cross-country skiing is also where you can carve trails with a pack of friendly malamutes and huskies. UnderDog New Zealand has been practising the northern tradition of dogsledding in the Southern Alps since 2013, and allows visitors to drive their very own team of dogs or sit back and enjoy the ride. Exhilarating experiences start from $255 and range from one-hour high country journeys to after-dark runs and full-blown overnight stays. SNOWSHOE TO A SECLUDED BACKCOUNTRY HUT Snowshoeing is nearly as easy as putting one foot in front of the other. At Cardrona Valley's Snow Farm you can make a night of your winter adventure by trekking to a backcountry hut in the Pisa Ranges. Overnight snowshoe rental and the trail pass will set you back $29, while a spot in one of the secluded huts starts from $35. There are three to choose from: Meadow, Bob Lee and Daisy Lee. While each features a gas cooker and log burner, the former has room for 20 people. All you need to bring is food, drinks, a sleeping bag and your overnight things. For those who haven't been to a backcountry hut before, don't expect electricity and running water. WHIP AROUND THE MOUNTAIN ON A SNOWMOBILE Queenstown Snowmobiles offers the only heli-snowmobiling experience in New Zealand. The company has access to trails and backcountry riding, only by way of helicopter. The snowmobiles are easy to operate and no previous experience is required. Each wilderness tour is around two and a half hours and includes a 15-minute scenic helicopter flight each way. All of the tours come with an experienced guided and can cater for both individuals and small groups. In no time you'll be cruising across pristine snow at an altitude of up to 6000 feet above sea level. Just don't forget your camera. HAVE LUNCH ON TOP OF A GLACIER An outing with Mount Cook Ski Planes lets you toast the breathtaking beauty of Aoraki National Park with a glass of bubbly. The operator offers a range of experiences through the Southern Alps, including private ski plane flights over snow-capped peaks and chopper excursions to ice caves — which, depending on snow and ice conditions, can be explored with a guide. Once you've taken in all that mountain air, your pilot will land on one of the region's many glaciers for a private picnic on the snow. From there, you'll fly towards Mount Cook to give you a better view of the highest peak in New Zealand.
A toastie-themed takeaway joint has just opened on the lower north shore, and it's offering up ten Korean-style sangas — all made fresh to order by a team of Le Cordon Bleu-trained chefs. Toastiesmith Chatswood is Sydney's answer to Isaac Toast, a Korean chain with more than 700 stores that slices and serves this popular street eat. Like in Korea, each toastie is made using thick-cut brioche and comes topped with a fluffy omelette. If you're new to this style of toastie, start with the signature Eggsmith ($7.95) — it's stuffed with scrambled eggs and cheese and topped with sesame slaw, spicy tomato relish and chipotle sauce. [caption id="attachment_782079" align="alignnone" width="1920"] Kera Wong[/caption] Other fillings include shichimi-spiced chicken with smashed avo and pineapple; fried barramundi with tartare sauce and pickled cucumbers; a garlic mushroom number; and one stuffed with wagyu beef, truffle mayo and seaweed. Keeping it all cheap and cheerful, toastie prices range from a reasonable $7.95–$12.95 here. To accompany the eats, diners can grab a coffee ($3.95–4.50), smoothie ($5.95) or house-made soda ($5.95), with refreshing flavours including rose lychee and cucumber mint. For those that live south of the bridge, a second Toastiesmith outpost is slated to open in Darling Square's Maker Dozen on Wednesday, September 16. Images: Kera Wong
Vivid already has a seriously stacked food program for its 2025 edition. On the menu, you'll find Nigella Lawson-curated dinners, a 1950s-style American plant-based diner complete with roller rink, as well as international guest chefs, fiery street eats and pop-ups by local faves as part of Vivid Fire Kitchen. And now, the Sydney Opera House is unveiling one more foodie destination to add to your Vivid trail, in the form of the all-new Forecourt Food Village. Setting up on the Opera House's harbourside forecourt from Friday, May 23 to Saturday, June 14, this vibrant new openair hub will serve up street-style snacks from two of Sydney's most exciting chefs. As a nod to her heritage, Opera House Events Culinary Director Danielle Alvarez is dishing up Cuban-inspired eats at bold new pop-up La Cubanita — think: fried fish sandwiches, pulled pork, Caribbean-style sweet potato fries and even a playful menu just for kids. Alongside it, Opera House Events Executive Chef Jimmy Ryu is plating up sizzling Seoul food at K-town Bites. Expect crowd-pleasers like crispy Korean fried chicken, gochujang cauliflower and sweet potato noodles, all with plenty of spice and crunch. To wash it all down, The Bar featuring Archie Rose will be shaking up mojitos, buttered rum and raisin cocktails, plus local wine, beer, and hot and cold non-alc sips. The Forecourt Food Village is open nightly from 5–10pm, and, like a heap other of events on Vivid's public program, entry is free. Hungry festival-goers will also find plenty to explore inside the Opera House. Enmore dive bar The Midnight Special returns to the Opera House for the fifth year with The Aurora — an immersive, light-soaked pop-up bar tucked into the Concert Hall Northern Foyer. Open from Friday, May 23 to Sunday, June 1, the space will glow with dreamlike projections and feature themed cocktails, elemental decor and DJs spinning into the night, all inspired by the dreamy shapes and colours of the Aurora Australis and Aurora Borealis. Entry is also free, with access via the western steps or through the Concert Hall for ticket-holders. Looking for something a little more luxe? Chef Peter Gilmore's two-hatted Bennelong has two Vivid-exclusive experiences on offer: a $65 snack-and-cocktail combo at the Bennelong Bar, or a premium $285 three-course dinner with champagne and bar snacks in the Dress Circle, all backdropped by the restaurant's sweeping harbour views. Other returning favourites include House Canteen's nostalgic candy floss and hot chocolate cart (which will also offer boozy options), and Opera Bar's warm espresso martinis and exclusive ice creams by Redfern fave Ciccone & Sons — all available daily throughout the festival. For something even more immersive, Dance of Dreams (Friday, June 13–Saturday, June 14) will see Alvarez pair a live dance performance and music with a three-course dinner in the Yallamundi Rooms, while Indigenous culinary legend Mark Olive will present Saltbush and Starlight, a new communal dining experience that runs every Friday and Saturday throughout the festival. The special event blends native ingredients, NSW wines and bespoke light projections, beginning with a behind-the-scenes tour of the Opera House. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
There's sailing, and there's sailing. Most folks are familiar with a trip out over the water, the hum of a motor, the feel of the breeze and the billowing of a sail. It can be relaxing or a red-hot shot of adrenaline straight into the veins. The latter is sailing, not just the roll of the swell but the stinging sea spray, the groan of a sharp turn, and the deafening crack of a sail as it catches the wind. That's what Sail Grand Prix is all about. February 2023 will see Sydney Harbour host the next leg of the world's most exciting sailing championship with the KPMG Australia Sail Grand Prix Sydney. This event will bring together the best sailing athletes from nine countries to battle it out in F50 racing catamarans, twin-hull vessels that use cutting-edge engineering to move at speeds close to 100km/h. This is a global series and it's worth making the trip to see it in person while it's in town. Here are the best ways to get up close to the action: [caption id="attachment_882905" align="aligncenter" width="1920"] Bob Martin for SailGP[/caption] GENESIS ISLAND: LUXURY FRONT-ROW SEATS Are you looking for the full SailGP spectator experience with the ultimate view and would prefer to stay on dry land? Genesis Island tickets put you in the centre of the action. Literally, the tiny island (which is actually on Shark Island just off Point Piper) is directly adjacent to the start line and finish line, smack bang in the middle of the course. It's as close as you can get without getting in the water. It's also going to be a party with luxury additions to the action and spectacle of the racing. You can make the most of the day with a provided gourmet picnic hamper, open bars stocked with the good stuff, a DJ to keep the vibe optimised, live commentary and big-screen replays of the racing itself. These F50s are as long as a bus and, when you can win by inches, you need a big screen to break it down into tiny details. Mind you, if you're sitting that close you have a good chance you'll see it with your own eyes. A return ferry trip is included in the ticket so you'll get your own small slice of boat action. [caption id="attachment_882908" align="aligncenter" width="1920"] Chris Elfes for SailGP[/caption] SPECTATOR BOATS: UP CLOSE AND PERSONAL Genesis Island is close but, as we noted, it's as close as you can get on dry land. There's one closer option: the official spectator boats. The critical difference is that you're on a boat inside the public exclusion zone. You'd be close enough to hear the crews talking to each other as they roar past. The spectator boat tickets offer two levels to the experience: If you like a little bit of luxury to pair with the hefty serving of up-close action, then the on-water premium option is what you're after. This is the ultimate spectator experience, there are plenty of seats and outdoor viewing decks. And with the added benefit of canapés, a buffet and a sizeable selection of beer and wine included in your ticket, what's not to love? If you like the sound of getting up close but don't feel the need for the other bells and whistles, you can still get an on-water ticket with access to purchasable snacks and drinks from the bar. [caption id="attachment_882904" align="aligncenter" width="1920"] Phil Hillyard for SailGP[/caption] SAILGP VILLAGE: WHERE THE MAGIC HAPPENS The SailGP Village is a different kind of central. The racing happens on the water but everything else happens right here. Barangaroo is the hosting location for the KPMG Australia Sail Grand Prix Sydney and it's the central location that all fan experiences depart from. But it's also going to be a hub for other event activities. Wandering the village, you can seek out the beats of DJs, stay hydrated with a drink from the pop-up bar, get your hands on some SailGP merch and enjoy the special offers from local retailers. This is also the place for aspiring sailors and SailGP superfans – you can get a good look at the Australia Team F50, listen to Q&A sessions with the competing athletes and enjoy the F50 'fly by' parade. [caption id="attachment_882907" align="aligncenter" width="1920"] David Callow for SailGP[/caption] TEAM BASE TOURS: PEEK BEHIND THE CURTAIN If the magic of the racing isn't enough, the team base tour ticket offers an opportunity for you to peek behind the proverbial curtain. The racing is a concert, and the tour is more than just a backstage pass. You're practically in the dressing room. The 45-minute walk will take you into the pit lane garages where each team's boat crew and shore crew work on maintaining the beast that is the F50. Your guide, a champion sailor or Olympian, will take you on tour to show what it takes to maintain cutting-edge vessels. Here's some trivia to get you started: First developed in 2019, the F50 has become the one-design standard for all of SailGP and is exclusively built for that purpose. They're crewed by a team of five and are 15 metres long, eight metres wide, and 18-24 metres high. [caption id="attachment_882906" align="aligncenter" width="1920"] Brett Costello for SailGP[/caption] SUPER FAN PASS: CHASE THE RACING AROUND THE WORLD If you're a big fan of SailGP and looking for an excuse to travel, the answer is right in front of you. These are global events. Teams from Australia, Canada, Denmark, France, Great Britain, New Zealand, Spain, Switzerland and the United States compete in 11 events in ten countries throughout the season. There are four still to come in 2023 and the Super Fan Pass includes access to three of them. January 14-15 2023 is the first ever Singapore Sail Grand Prix and the year's first competition. The reigning Aussie champs are coming into it with a nine point lead, but team NZ could have what it takes to topple them. Following that is the KPMG Australia Sail Grand Prix Sydney from February 18-19, then the ITM New Zealand Sail Grand Prix a month later in Christchurch, and then the grand final will take place in San Francisco in May. A Super Fan Pass gives you VIP access and exclusive perks to Singapore, Australia and New Zealand (or just the latter two) SailGPs. The KPMG Australia Sail Grand Prix Sydney will run from Saturday, February 18, to Sunday, February 19 2023. For more information on the event, the teams and the season so far, or to get tickets, head to the SailGP website.
UPDATE: JUNE 26, 2020 — Since publication of the below, Coles has also reintroduced nationwide restrictions at all supermarkets, express stores and online. The new limits include one pack per customer of toilet paper and paper towel. Further limits are in place at Victorian supermarkets and those on the NSW border. Everyone remembers the great supermarket chaos of just a few months back, when stores looked like post-apocalyptic film sets, people were everywhere but shelves were bare. And, as a response to the huge onslaught of panic-buying when the COVID-19 pandemic first hit — with shoppers hoarding everything toilet paper and hand sanitiser to pasta and milk — we all remember the item limits put in place by Aussie chains. Two months after local supermarkets started to lift those caps (and after the great bog roll crisis of 2020 seemed like it was over), Woolworths is now reintroducing restrictions — on toilet paper and paper towel. It seems that whenever COVID-19 cases start to spike, Aussies just can't stop stocking up on absorbent paper. Indeed, announcing the news today, Friday, June 26, Woolies advised that the decision follows "a recent surge in demand across different parts of the country". Toilet paper and paper towel will now be limited to two packs per transaction, with the caps in place across the entire nation. On Wednesday, the supermarket chain reintroduced restrictions in Victoria on other everyday items such as flour, sugar, pasta, rice, mince, long-life milk and eggs, too, and Coles followed suit — however Woolies' bog roll and toilet paper rationing is now going country-wide. Explaining the national rollout, Woolworths Supermarkets Managing Director Claire Peters noted that Woolies has "regrettably started to see elevated demand for toilet roll move outside Victoria in the past 24 hours. While the demand is not at the same level as Victoria, we're taking preventative action now to get ahead of any excessive buying this weekend and help maintain social distancing in our stores." The key words: 'preventative action'. Woolies stresses that there's no current shortage, it has plenty of stock and it has just ordered 650,000 additional packs — increasing its usual order by more than 30 percent of its usual volumes. Given Australia's TP-buying frenzy back in March, though, you can understand why the supermarket is both stocking up and limiting customer purchases. No end date has been given, with the restrictions in place for the foreseeable future. "The sooner we see buying patterns return to normal levels, as was the case throughout May and most of June, the quicker we'll be able to wind back limits," said Peters. https://twitter.com/VicGovDHHS/status/1276037207174889472 Woolies' actions — and the renewed clamouring for the one item no Australian seems to be able to live without — comes in response to Victoria's recent spike in COVID-19 numbers over the past couple of weeks, with new cases on the rise in the state and community transmission levels increasing. As the Australian Health Protection Principal Committee (AHPPC) noted in a statement on Sunday, June 21, 83 percent of Australia's newly confirmed COVID-19 cases over the week prior were in Victoria. Of those 116 new Victorian cases in total, 87 "are largely associated with community transmission". The rising Victorian case numbers have already sparked action at the state government level. Victoria's State of Emergency has been extended for four more weeks, and Premier Daniel Andrews also announced the tightening of some gathering restrictions — reintroducing smaller caps on at-home groups, gatherings out of the house and the numbers of patrons allowed in venues. The state has also singled out ten Melbourne suburbs as hotspots, and is implementing a testing blitz over the next ten days. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. For more information about Woolworths' reinstated limits on toilet paper and paper towel, head to the supermarket's website.
Reviewer's tip: do not watch the trailer for this movie. Don't watch any of them; not the official preview, not the early release one and certainly not the teaser. Just put them all into Quicktime quarantine. Not since...well, not since anything has a film's trailer given away every single key moment like this one did. After seeing it just once, I went into this kidnap/serial killer movie knowing that it was about a kidnapping serial killer (apologies), as well as knowing every plot beat from start to finish, right down to who dies and even how. That said, somehow that scarcely had an impact. Remarkably, The Call managed to sustain a level of tension not endured since the climax of Argo. In fact, it had the tension dialled up so high, audience members were yelling at the screen. Not because it was rubbish (see: The Room) but because the need for some sort of release was essential. This was sympathetic yelling; the kind of "no No NO!" designed to dissuade a character from doing that thing, going into that dark room or saying that stupid thing when they shouldn't. To look around the cinema was to see clenched fists, stamping feet and strained faces peering through cracks between fingers. I may have punched the wall at one point. In its simplest terms, The Call follows Halle Berry as a 911 responder with yet another impossibly bad haircut. She works in 'the Hive', an enormous room to which every LA-based 911 call is directed. Haunted by a past mistake, Berry is reluctantly thrust back into the role when a young girl (Abigail Breslin) is snatched in broad daylight and dials 911 from the boot of the kidnapper's car. What follows is a fast-paced game of cat and mouse during which the advantage constantly swings back and forth between kidnapper and victim. It's refreshing to see both police and victim show initiative (when usually they frustrate in a movie like this), and the focus on the responder's role offers an fascinating insight into what's traditionally an incidental role. Which brings us to the ending. Specifically, the last 120 seconds or so. The Call is not a great movie, and it definitely leans a little too heavily on gore instead of relying on its cast's impressive performances. But it's not terrible either. Given much of its dialogue takes place between two people on a phone, it's impressive how well it draws you in, and yet — whatever credit its earned, however much goodwill it accrues — all of that is burned in the films' final moments. The ending is so ridiculous, so out of place and so utterly unnecessary that all of a sudden there were shouts again, only this time they were 100 percent The Room fodder. Someone may even have yelled, "Oh hi, stupid ending!" It's not enough to render The Call a must-miss, but it single-handedly knocks a semi-decent movie down to an average one.
About 40 minutes into the train ride from the city to Hornsby is the sleepy suburb of Turramurra, and across the platform, you'll spy the bright lights (and just as bright crowds) of Kipling's Garage Bar. If this isn't your stop, think again, you're looking at one of the best bars on the North Shore and the busiest spot between Gordon and Hornsby. The name speaks to the vision of the owners (who are locals of 20 years) but also the history of the site. The 'Kipling' is a tribute to well-known author Rudyard Kipling, who once said, "A man can never have too much red wine or too many books". The 'garage' refers to the fact that the site was once a mechanic garage, which also inspired the industrial-chic aesthetic of the interior. Now it's a classy wine and tapas bar, servicing stomachs instead of engines. There is no one theme to the menu, with interchanging lunch and dinner menus to suit all tastes and portion preferences. Lunch goers can enjoy hearty meals like classic fish and chips ($30) or a decadent mushroom spaghettini ($30). In contrast, dinner guests can enjoy a tapas-style menu of share plates featuring baked gnocchi ($15), salt-and-pepper calamari ($15) and three-cheese zucchini flowers ($16). The wine list is a local legend, but there are also plenty of beer choices, cocktails, mocktails and non-alcoholic picks to suit the dish in front of you. You'll find Kipling's Garage Bar at 2 Eastern Road, Turramurra, about a 60-second walk from the train station. It's open seven days a week, and walk-ins are available, but reservations are recommended – though unavailable for dinner on Fridays and Saturdays.
Lunar New Year is just around the corner. It's one of the biggest celebrations in the Asia-Pacific region and The Fullerton Hotel Sydney is helping to bring the festivities to the Harbour City with limited edition Lunar New Year menus and a celebratory lion dance. It's not an exaggeration to say that Lunar New Year is a food-centric holiday. You can get in on the spirit of the occasion by sampling the specials that'll be on the menu at The Place, The Fullerton Sydney's in-house restaurant, between Monday, January 27 and Sunday, February 8. There'll be festive favourites including XO pipis, Eight Treasure dim sum baskets and a prosperity salad called Lo Hei, a quintessential Lunar New Year dish in Singapore and Malaysia. The Lunar New Year also ushers in a new zodiac sign and what better way to celebrate than with a playful nod to tradition? The Fullerton Sydney's Lunar New Year Afternoon Tea offers a delightful array of pastries that blend classic flavours with innovative twists. Indulge in a yuzu gummy snake, a whimsical treat that pairs a distinctly Asian citrus with the nostalgic joy of a childhood favourite, and enjoy a collection of inventive pastries, including delicate verrines with refreshing rambutan and coconut, and light choux pastries infused with citrus, and crunchy peanut tarts. If you're wondering where the savoury morsels are, fret not — the Fullerton's afternoon tea includes dishes that pay homage to flavours originating from all over Asia, including chilli crab, Peking duck wraps, BBQ pork mini sandwiches and century duck egg custard. The special afternoon tea is available daily between 12–4pm, from January 27 until March 2 from $78 per person. No Lunar New Year celebration is complete without the percussive delights of a lion dance. The dance is a cultural ritual of Lunar New Year celebrations and believed to bring in good fortunes and joy to all for a prosperous and auspicious year. Promising to usher in the new lunar year with a roar, The Fullerton Sydney's lion dance is an unmissable, one-day-only celebration taking place on Friday, January 31 between 1–2.30pm. Make a reservation to experience the culinary delights of Lunar New Year and the Year of the Snake at The Fullerton Hotel Sydney.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DON'T WORRY DARLING Conformity rarely bodes well in cinema. Whenever everyone's dressing the same, little boxes litter the landscape or identical white-picket fences stretch as far as the eye can see, that perception of perfection tends to possess a dark underbelly. The Stepford Wives demonstrated that. Pleasantville, Blue Velvet and Vivarium all did as well. Yes, there's a touch of conformity in movies about the evils of and heralded by conformity; of course there is. That remains true when Florence Pugh (Black Widow) and Harry Styles (Eternals) navigate an ostensibly idyllic vision of retro suburbia in a desert-encased enclave — one that was always going to unravel when the movie they're in is called Don't Worry Darling. Don't go thinking that this handsome and intriguing film doesn't know all of this, though. Don't go thinking that it's worried about the similarities with other flicks, including after its secrets are spilled, either. It'd be revealing too much to mention a couple of other movies that Don't Worry Darling blatantly recalls, so here's a spoiler-free version: this is a fascinating female-focused take on a pair of highlights from two decades-plus back that are still loved, watched and discussed now. That's never all that Olivia Wilde's second feature as a filmmaker after 2019's Booksmart is, but it feels fitting that when it conforms in a new direction, it finds a way to make that space its own. That's actually what Pugh's Alice thinks she wants when Don't Worry Darling begins. The film's idealised 1950s-style setting comes with old-fashioned gender roles firmly in place, cocktails in hand as soon Styles' Jack walks in the door come quittin' time and elaborate multi-course dinners cooked up each night, with its protagonist going along with it all. But she's also far from keen on having a baby, the done thing in the company town that is Victory. It'd curtail the noisy sex that gets the neighbours talking, for starters. Immaculately clothed and coiffed women happily playing dutiful housewives in a cosy sitcom-esque dream of America generations ago: that's Wilde and screenwriter Katie Silberman's (also Booksmart) entry point; however, they waste zero time in showing how rebelling in her own child-free way isn't enough to quell Alice's nagging and growing doubts about utopia. There's much to get her querying, such as the earth-shaking sounds that rumble when Victory's men are at work, doing top-secret business on "progressive materials" out in the sandy expanse. There's the reflections in the mirror that briefly take on a life of their own, too — starting in a ballet class that's about retaining control, coveting symmetry and never upsetting the status quo far more than dancing. And, there's the pushed-aside Margaret (KiKi Layne, The Old Guard) after she disrupts a company barbecue. All the rules enforced to keep Victory's women in their places, and the cult-like wisdom that town and company founder Frank (Chris Pine, All the Old Knives) constantly spouts, are also inescapable. So is the force with which asking questions or daring to be different is publicly nixed, as Alice quickly discovers. And, it's impossible to avoid how the men band together when anything or anyone causes a bump, even their own other halves. Swiftly, Alice's days scrubbing and vacuuming her Palm Springs-inspired bungalow, then sipping cocktails poolside or while window shopping with fellow Victory spouses like Bunny (Wilde, Ghostbusters: Afterlife) and Peg (Kate Berlant, A League of Their Own), fall under a shadow — not literally in such sunnily postcard-perfect surroundings, but with shade still lingering over every part of her routine. Speaking up just gets dismissed, and Frank and his underlings (including a doctor played by Timothy Simmons, aka Veep's Jonah Ryan, who is instantly unnerving thanks to that stroke of casting) have too-precise answers to her concerns. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. There's no other word to describe what Mark and Rylett experience — and, especially as it delves into Mark's psychological state as he juggles his job with being a single father, The Stranger is a film about tolls. What echoes do investigating and seeking justice for an atrocious act leave? Here, the portrait is understandably bleak and anguished. What imprint do such incidences have upon society more broadly? That also falls into the movie's examination. Mark, along with a sizeable group of fellow officers, is trying to get a confession and make an arrest. Back east, Rylett is one of the police who won't and can't let the situation go. Doling out its narrative in a structurally ambitious way, The Stranger doesn't directly address the human need for resolution, or to restore a semblance of order and security after something so heinously shocking, but that's always baked into its frames anyway. Travelling across the country, Henry first meets a stranger on a bus, getting chatting to Paul (Steve Mouzakis, Clickbait) en route. It's the possibility of work that hooks the ex-con and drifter — perhaps more so knowing that his potential new gig will be highly illicit, and that evading the authorities is implicit. Soon he meets Mark, then seizes the opportunity to reinvent himself in a criminal organisation, not knowing that he's actually palling around with the cops. It's an immense sting, fictionalised but drawn from actuality, with The Stranger also playing as a procedural. The connecting the dots-style moves remain with Rylett, but Wright's decision to hone in on the police operation still means detailing how to catch a killer, astutely laying out the minutiae via action rather than chatting through the bulk of the ins and outs. Read our full review. AMSTERDAM There's only one Wes Anderson, but there's a litany of wannabes. Why can't David O Russell be among them? Take the first filmmaker's The Grand Budapest Hotel, mix in the second's American Hustle and that's as good a way as any to start describing Amsterdam, Russell's return to the big screen after a seven-year gap following 2015's Joy — and a starry period comedy, crime caper and history lesson all in one. Swap pastels for earthier hues, still with a love of detail, and there's the unmistakably Anderson-esque look of the film. Amsterdam is a murder-mystery, too, set largely in the 1930s against a backdrop of increasing fascism, and filled with more famous faces than most movies can dream of. The American Hustle of it all springs from the "a lot of this actually happened" plot, this time drawing upon a political conspiracy called the White House/Wall Street Putsch, and again unfurling a wild true tale. A Russell returnee sits at the centre, too: Christian Bale (Thor: Love and Thunder) in his third film for the writer/director. The former did help guide the latter to an Oscar for The Fighter, then a nomination for American Hustle — but while Bale is welcomely and entertainingly loose and freewheeling, and given ample opportunity to show his comic chops in his expressive face and physicality alone, Amsterdam is unlikely to complete the trifecta of Academy Awards recognition. The lively movie's cast is its strongest asset, though, including the convincing camaraderie between Bale, John David Washington (Malcolm & Marie) and Margot Robbie (The Suicide Squad). They play pals forged in friendship during World War I, then thanks to a stint in the titular Dutch city. A doctor, a lawyer and a nurse — at least at some point in the narrative — they revel in love and art during their uninhabited stay, then get caught in chaos 15 years later. Amsterdam begins in the later period, with Burt Berendsen (Bale) tending to veterans — helping those with war injuries and lingering pain, as he himself has — without a medical license. He once had a Park Avenue practice, but his military enlistment and his fall from the well-heeled set afterwards all stems from his snobbish wife Beatrice (Andrea Riseborough, The Electrical Life of Louis Wain) and her social-climbing (and prejudiced) parents. As he did in the war, however, Burt aids who he can where he can, including with fellow ex-soldier Harold Woodman (Washington). That's how he ends up lending a hand (well, a scalpel) to the well-to-do Liz Meekins (Taylor Swift, Cats) after the unexpected death of her father and their old Army general (Ed Begley Jr, Better Call Saul). The bereaved daughter suspects foul play and Burt and Harold find it, but with fingers pointing their way when there's suddenly another body. Two police detectives (The Old Guard's Matthias Schoenaerts and The Many Saints of Newark's Alessandro Nivola), both veterans themselves, come a-snooping — and Burt and Harold now have two tasks. Clearing their names and figuring out what's going on are intertwined, of course, and also just the start of a story that isn't short on developments and twists (plus early flashes back to 1918 to set up the core trio, their bond, their heady bliss and a pact that they'll keep looking out for each other). There's a shagginess to both the tale and the telling, because busy and rambling is the vibe, especially with so much stuffed into the plot. One of Amsterdam's worst traits is its overloaded and convoluted feel, seeing that there's the IRL past to explore, a message about history repeating itself to deliver along with it, and enough mayhem to fuel several romps to spill out around it. The pacing doesn't help, flitting between zipping and dragging — and usually busting out the wrong one for each scene. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1, September 8, September 15, September 22 and September 29. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three and The Humans.
"I never want a guest to walk away hungry — ample sauce is a must." This is the mantra of chef Hamish Ingham when it comes to his Redfern eatery Redbird. Ingham met his partner in crime Rebecca Lines while they were working at Billy Kwong. And now, the hospitality power couple behind the likes of Bar H, Banksii and Tequila Daisy has brought the skills they learnt back in the Crown Street kitchen to this Redfern Street venue. Redbird presents simple and fresh takes on classic modern Chinese dishes using local and native ingredients. Sydney rock oysters ($6–6.50) and steamed ginger Murray cod ($49) make an appearance on the menu, alongside sticky caramelised pork belly ($34.50), prawn toasts ($18) and Sichuan-braised eggplant ($18.50). "I also want them to experience that perfect meeting of salty, sweet and sour that has kept me coming back to this style of cooking for 22 years and counting," says Ingham. The signature dish on the menu is the eponymous red bird (market price). Which bird just happens to be the subject of this dish will change regularly, ranging from chicken to pigeon to duck. But what stays the same is the treatment, the poultry poached in an aromatic Cantonese red braise. Other highlights on the menu include chilli-spiced lotus root chips ($7.50), five spice tofu salad ($18.50), pork and scallop wontons ($18), and stir-fried beef fillet ($65). For dessert, you can opt for the lighter strawberry and Sichuan spice sorbet ($15), or double down on the indulgence by ordering the jasmine custard with verjuice caramel ($13.50), or perhaps some Sichuan caramel chocolate truffles ($8). There's also a hefty cocktail menu here at Redbird, featuring sips like the Redfern sour ($19) — a mix of Bacardi Blanca, Pernod, osmanthus syrup, mint and lime leaf — and a jasmine margarita ($23) made with Patron Reposado, yuzushu, jasmine syrup, and a smoke and salt bitter. The inviting dining room is defined by exposed brick, recycled timber and terrazzo tiles, while a 20-seat al fresco dining area out on Redfern Street provides a perfect people-watching vantage point.
Saltburn. Priscilla. Dune: Part Two. Anyone But You. Madame Web. Immaculate. The Hunger Games: The Ballad of Songbirds & Snakes. The Color Purple. Drive-Away Dolls. As that list illustrates, a trip to the movies Down Under over the past few months has generally meant seeing a cast member of Euphoria, such as Jacob Elordi, Zendaya, Sydney Sweeney, Hunter Schafer and Colman Domingo, on the big screen. Enjoy them there, because they won't be back in the HBO TV show that helped make them huge stars for a bit longer. Production on Euphoria's third season has been delayed, Deadline and Variety report. Scripts are still being worked on, but shooting has been pushed back — so much so that Euphoria's cast are free to keep adding to their resumes beyond the award-winning series for the time being. "HBO and Sam Levinson remain committed to making an exceptional third season," a HBO spokesperson told both American publications in a statement. "In the interim, we are allowing our in-demand cast to pursue other opportunities." There's no word yet regarding when the cameras might start rolling on season three, but it's hoped that it will still arrive on HBO sometime in 2025. That's when the US cable network was aiming for anyway, as it noted when it outlined everything that's on its lineup in 2024 and 2025. Obviously, though, there's a big difference between Euphoria's third season hitting in January, mirroring the timing of season two — or arriving in June, which is when its first season premiered. If it takes its cues from the two specials between season one and two, that'd mean dropping in December 2025. Euphoria's on-screen talents have been busy since season two aired. Schafer's new horror movie Cuckoo premiered at the 2024 Berlin International Film Festival, Elordi has been back in Australia making miniseries The Narrow Road to the Deep North and Zendaya swings a racquet around in Challengers in April. Also, Domingo was nominated for an Oscar for Rustin, while Storm Reid won an Emmy for The Last of Us. Maude Apatow has been doing voice work on Pantheon, and Dominic Fike was in Earth Mama — and played Laneway. Apparently the idea of doing a movie instead was floated, but giving Euphoria a third season remains the plan. Given the passage of time — come 2025, it will have been three years since season two, and almost four if season three doesn't arrive till the end of the year or later — it's also being reported that the show's main characters will no longer be in high school. There's obviously no trailer for Euphoria season three yet, but you can watch HBO's 2024–25 roundup trailer below: Euphoria season three doesn't have an exact release date yet — we'll update you when further details are announced. Via Deadline / Variety / The Hollywood Reporter. Images: Eddy Chen/HBO.
The mega outpost of The Party People in Drummoyne — which also has a store in San Souci — prides itself on being 'Australia's biggest party store'. So if you've had a look online but need to know if the costume you've got your eye on will fit, head here as it stocks the company's full range. Across more than 1700 square metres, The Party People Megastore stocks costumes across a bunch of different themes, plus accessories like body parts and cosmetics to help you with the moustache or out-there eye colour you need to perfect your look. If you're the party host, it's worth noting that the store stocks a hefty range of supplies from balloons, lights and table decorations to baking tools and confectionery. There are disco balls, bubble machines, confetti cannons and fog machines available for hire, too. Image: Trent van der Jagt.
This family run business has been through a few iterations in its 40 years of operation. It opened in 1979 as Dollar Books and eventually morphed into art supply store, Art on King, in 1993 — though you can still pick up books with your paint thanks to adjoining bookshop Modern Times. Here, all artists big and small (or professional and amateur) will find what they need to get the creative juices flowing. We're talking Nepalese handmade paper, charcoal pencils, tie-dye kits and luxe watercolour paintbrushes.
The idea behind The Lume was always a stunner, giving Australia its first permanent digital-only art gallery. When the Melbourne venue started welcoming in patrons in 2021, it lived up to its immersive, multi-sensory promise, initially with a spectacular Van Gogh exhibition that let visitors feel like they were walking right into the artist's work, and then with the French impressionism-focused Monet & Friends Alive. The latest showcase set to grace the site's agenda has those past shows beat, however, heroing First Nations art and music. On display from Friday, June 23, Connection features more than 110 Indigenous visual and musical artists in a dazzling fashion. At this Melbourne Convention and Exhibition Centre gallery, the art gracing its walls towers over patrons, with the space filled with large-scale digital pieces. And Connection is full thanks to more than 550 works — digitals and originals alike. Earning some love: art by Emily Kame Kngwarreye, Tommy Watson, Anna Pitjara, Lin Onus, Sarrita King, Kate Constantine, Wayne Qulliam, Clifford, Gabriella and Michelle Possum Nungurrayi, and many more, in a walk-through exhibition that presents its pieces through the themes of land, water and sky Country. Their work is scored a soundtrack by Yothu Yindi, Archie Roach, Emily Wurramara, Gurrumul, Alice Skye, Baker Boy and others, plus composers such as William Barton. Grande Experiences, the company behind The Lume and its touring exhibitions — Van Gogh Alive made its way around Australia, plus Monet in Paris from June — says that Connection boasts the largest representation of First Peoples art and culture ever assembled. It spans over 3000 square metres, and its remit is just as sizeable: highlighting pieces by past and present artists, and surveying the entire country and Torres Strait. Shining a spotlight on emerging talents while showing their work alongside their inspirations is another key mission. If it sounds familiar, that's because a smaller version premiered at the National Museum of Australia in 2022, with Grande Experiences joining forces with the Canberra gallery. Connection also benefits from an advisory panel featuring Constantine, Quilliam, King, Aboriginal art specialist Adam Knight, the National Museum's lead Indigenous curator and academic Margo Ngawa Neale, arts executive Rhoda Roberts AO, and designer and film producer Alison Page. Updated: Thursday, October 12.
Some of the world's best pastry chefs have joined forces with the Australian Red Cross to launch Desserts 4 Difference: a global bake sale raising money for Australia's bushfire relief. Fundraising events will pop-up around the globe on Saturday, February 8 — and Sydney's will be hosted at Gelato Messina's Rosebery HQ. Pastry chefs from across the city will come together to bake sweet and savoury desserts just for the day — including Yves Scherrer (from Clovelly's newly opened Madame & Yves) and Andy Bowdy (from Saga and Saga Lyte). Plus, Gelato Messina, Textbook Patisserie, Port Macquarie's Urban Grain Bakery and Stix catering will all involved, with more to be announced in the lead up, too. The event will run from 10am–3pm (or until sold out) and 100 percent of the proceeds will go toward the Australian Red Cross. [caption id="attachment_710059" align="alignnone" width="1920"] Textbook Patisserie[/caption] A whole heap of other Sydney businesses are hosting Desserts 4 Difference fundraisers, too, including Pepe Saya, all 12 Bourke Street Bakery stores and Filipino dessert truck Mix Mix Co — which will set up shop at The Rocks' Saturday market from 10am–9pm. The full list of events and participating pastry chefs can be found on the fundraiser website and Instagram. If you miss out on February 8, you can also donate directly via the Desserts 4 Difference website. Sydney's Desserts 4 Difference runs from 10am–3pm (or until sold out). Top image: Saga by Kimberley Low
Drink West is the fresh-to-the-scene brewery and brewpub backed by Sydney UFC legends Tai Tuivasa and Tyson Pedro plus Penrith Panthers' Nathan Cleary. The sell? "The first beer made out here, and the first beer made for us." The range of crisp west-born frothies include the flagship lager, which according to the owners "pairs perfectly with a fresh pair of TNs and tall stories about how your old man nearly played for Penrith". Luckily, it also pairs with the loaded hotdogs and burgers. If lager doesn't tickle your fancy, there's also a nitro stout, oat cream XPA, pale, pils and hibiscus lime gose — plus a zero-carb mid. From Wednesday to Sunday, you can swing by or book a table in the huge brewery space (complete with a staggering mural of the players and black and yellow team colours), catch some live music, cheer on the big game or just hang out on the lawns beneath the palms. Appears in: The Best Sydney Brewery Bars for 2023
Winyanboga Yurringa explores the life stories of six very different Indigenous Australian women, exploring what's known in Aboriginal culture as 'women's business'. Written by playwright and recipient of the 2015 NSW Aboriginal Art Fellowship Andrea James, the play depicts a revelatory camping trip as the six main characters interrogate their links with their homeland, heritage and with each other, as guided by their auntie, sister and cousin Neecy. Cue contemplations of identity, appearance, belonging, finding partners and tackling prejudice. It's a complex and compelling theatre work, directed by Anthea Williams and starring Roxanne McDonald, Tuuli Narkle, Angeline Penrith, Tasma Walton, Dalara Williams and Dubs Yunupingu. Having first appeared as a full length work at Carriageworks through Moogahlin Performing Arts in 2016, this groundbreaking play began its life as a short-play commissioned as a continuation of the landmark SBS series Women of the Sun — a production that earned acclaim for not just delving into female Indigenous experiences of the past, but for becoming the first television program ever to do so. It's a production that speaks to the fullness of life in Australia as an Indigenous woman, oscillates between the very real and the sublime, and champions voices that are often left unacknowledged. Running over three weeks in May, Winyanboga Yurringa is presented by Belvoir St Theatre in association with Indigenous theatre Moogahlin Performing Arts and supported by The Balnaves Foundation. Winyanboga Yuringa will run at Belvoir St Theatre's Upstairs Theatre from Thursday, May 4 to Friday, May 26. To purchase tickets, head to Belvoir's website.
Catching a blockbuster or indie flick beneath the stars is already pretty special. Yet part of the reason so many people love Moonlight Cinema is that you can bring your dog along for the ride. Good luck finding a conventional cinema with that perk — unless Yarraville's Sun Theatre and their doggy day sessions are within reach. Now the experience for your pooch is getting even better, as Moonlight Cinemas across the country (except Perth) are adding exclusive Lyka doggie bag meals to the menu for the first time. So, when it's time to hit up the kitchen and bar for your movie night snacks, pet parents can also grab some dog-friendly goodies to keep their pup occupied. While you get stuck into the popcorn and perhaps a wine or two, your dog could be munching on a tasty kangaroo meal. Served as part of a goodie bag for $17, it comes with a handy DOG by Dr Lisa Lick Mat and a Turkey Dental Jerky Treat, perfect for times when your dog grows a little restless. And with everything handed over inside a convenient Lyka cooler bag, it's easy to keep the doggy snacks chilled on a warm evening. Ready for a night out with the fam — pets and all? Moonlight Cinema's 30th season kicks off on Friday, November 21, in Sydney, with Adelaide, Brisbane and Melbourne soon to follow.
The laughs started with an opening monologue that had Jimmy Kimmel exclaim "Ryan, you're so hot. Let's go camping together and not tell our wives". The cheers began with Messi, the Palm Dog-winning pooch from Anatomy of a Fall, being spotted sitting in the audience. And the tears commenced not with Da'Vine Joy Randolph's Best Supporting Actress speech — where she said that she really didn't think that she was supposed to be doing this as a career, which did indeed inspire waterworks — but before that, with Lupita Nyong'o's introductory tribute to The Holdovers' actor. That's how the 96th Oscars kicked off — already five minutes over, as Kimmel noted, because Hollywood's night of nights doesn't quite believe in time — on Monday, March 11, Down Under. From there, the highlights kept coming. The Boy and the Heron winning Best Animated Feature was another big standout. So were Mstyslav Chernov wishing that he'd never had to make Best Documentary-winner 20 Days in Mariupol, which nabbed Ukraine's first Oscar; Godzilla Minus One taking out Best Visual Effects for a team who went up on the stage holding Godzilla figurines; American Fiction writer/director Cord Jefferson's plea for more support for films that don't cost $200 million when he won Best Adapted Screenplay; and Poor Things' stunning look and lead performance getting so much love. The awards' big winner: Oppenheimer as predicted, picking up seven awards. But it took until almost 90 minutes in for Christopher Nolan's J Robert Oppenheimer biopic to collect any gongs, ensuring that other movies earned recognition, too. When it was the film's time to shine, it resulted in a dedication to the peacemakers everywhere from Cillian Murphy and Robert Downey Jr thanking his terrible childhood. Yes, Barbie won best song, for 'What Was I Made For?'. Yes, Gosling's performance of 'I'm Just Ken' was a showstopper, complete with Greta Gerwig, Margot Robbie and America Ferrara singing along from the audience. And yes, everything from Wes Anderson nabbing his first-ever Oscar for The Wonderful Story of Henry Sugar to starting the In Memoriam tribute with footage from Navalny also happened. Kimmel calling out the fact that Gerwig wasn't nominated, Kate McKinnon thinking that the Jurassic Park movies are documentaries, The Fall Guy's Gosling and Emily Blunt bickering while paying tribute to stunt performers, John Cena appearing almost naked, and Twins and Junior co-stars (and past Batman villains) Danny DeVito and Arnold Schwarzenegger co-presenting: that all occurred as well. That's how the ceremony panned out — with much to celebrate, plenty of banter and, as always among the films that go home empty-handed, disappointments as well. Killers of the Flower Moon, Past Lives and Perfect Days are all still excellent pictures, for instance, and can always call themselves Oscar-nominees. (It's always worth remembering that a plethora of stellar films don't even get nominations, which doesn't make them any lesser flicks, either.) Now that the Academy Awards are all done and dusted for 2024, here's the full rundown: who won and what else was in the running, that is. You can also check out what we predicted would and should win, nine winners that you can and should watch right now in Australia and New Zealand, and our full lists of where most of this year's contenders are screening or streaming in both Australia and New Zealand. Oscar Winners and Nominees 2024: Best Motion Picture American Fiction Anatomy of a Fall Barbie The Holdovers Killers of the Flower Moon Maestro Oppenheimer — WINNER Past Lives Poor Things The Zone of Interest Best Director Justine Triet, Anatomy of a Fall Martin Scorsese, Killers of the Flower Moon Christopher Nolan, Oppenheimer — WINNER Yorgos Lanthimos, Poor Things Jonathan Glazer, The Zone of Interest Best Performance by an Actress in a Leading Role Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Carey Mulligan, Maestro Emma Stone, Poor Things — WINNER Best Performance by an Actor in a Leading Role Bradley Cooper, Maestro Colman Domingo, Rustin Paul Giamatti, The Holdovers Cillian Murphy, Oppenheimer — WINNER Jeffrey Wright, American Fiction Best Performance by an Actress in a Supporting Role Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Da'Vine Joy Randolph, The Holdovers — WINNER Best Performance by an Actor in a Supporting Role Sterling K Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer — WINNER Ryan Gosling, Barbie Mark Ruffalo, Poor Things Best Original Screenplay Anatomy of a Fall, Justine Triet and Arthur Harari — WINNER The Holdovers, David Hemingson Maestro, Bradley Cooper and Josh Singer May December, Samy Burch and Alex Mechanik Past Lives, Celine Song Best Adapted Screenplay American Fiction, Cord Jefferson — WINNER Barbie, Greta Gerwig and Noah Baumbach Oppenheimer, Christopher Nolan Poor Things, Tony McNamara The Zone of Interest, Jonathan Glazer Best International Feature Film Io Capitano, Italy Perfect Days, Japan Society of the Snow, Spain The Teachers' Lounge, Germany The Zone of Interest, United Kingdom — WINNER Best Animated Feature The Boy and the Heron — WINNER Elemental Nimona Robot Dreams Spider-Man: Across the Spider-Verse Best Documentary Feature Bobi Wine: The People's President The Eternal Memory Four Daughters To Kill a Tiger 20 Days in Mariupol — WINNER Best Original Score American Fiction, Laura Karpman Indiana Jones and the Dial of Destiny, John Williams Killers of the Flower Moon, Robbie Robertson Oppenheimer, Ludwig Göransson — WINNER Poor Things, Jerskin Fendrix Best Original Song 'The Fire Inside', Flamin' Hot, Diane Warren 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt 'It Never Went Away', American Symphony, Jon Batiste and Dan Wilson 'Wahzhazhe (A Song For My People)', Killers of the Flower Moon, Scott George 'What Was I Made For?', Barbie, Billie Eilish and Finneas O'Connell — WINNER Best Cinematography El Conde, Edward Lachman Killers of the Flower Moon, Rodrigo Prieto Maestro, Matthew Libatique Oppenheimer, Hoyte van Hoytema — WINNER Poor Things, Robbie Ryan Best Film Editing Anatomy of a Fall, Laurent Sénéchal The Holdovers, Kevin Tent Killers of the Flower Moon, Thelma Schoonmaker Oppenheimer, Jennifer Lame — WINNER Poor Things, Yorgos Mavropsaridis Best Production Design Barbie Killers of the Flower Moon Napoleon Oppenheimer Poor Things — WINNER Best Visual Effects The Creator Godzilla Minus One — WINNER Guardians of the Galaxy Vol. 3 Mission: Impossible — Dead Reckoning Part One Napoleon Best Costume Design Barbie, Jacqueline Durran Killers of the Flower Moon, Jacqueline West Napoleon, Janty Yates and Dave Crossman Oppenheimer, Ellen Mirojnick Poor Things, Holly Waddington — WINNER Best Makeup and Hairstyling Golda Maestro Oppenheimer Poor Things — WINNER Society of the Snow Best Sound The Creator Maestro Mission: Impossible — Dead Reckoning Part One Oppenheimer The Zone of Interest — WINNER Best Documentary Short Subject The ABCs of Book Banning The Barber of Little Rock Island in Between The Last Repair Shop — WINNER Nǎi Nai & Wài Pó Best Animated Short Film Letter to a Pig Ninety-Five Senses Our Uniform Pachyderme WAR IS OVER! Inspired by the Music of John & Yoko — WINNER Best Live-Action Short Film The After Invincible Knight of Fortune Red, White and Blue The Wonderful Story of Henry Sugar — WINNER The 2024 Oscars will be announced on Monday, March 11, Australian and New Zealand time. For further details, head to the awards' website.
Unlike Dorian Gray, surely Sarah Snook doesn't have a portrait in her attic that withers as she succeeds. The Australian Succession star might want to make some room on her mantle, though, or wherever she keeps her trophies. After winning a 2024 Laurence Olivier Award for Best Actress for the London version of Sydney Theatre Company's The Picture of Dorian Gray, she has now picked up a Tony nomination for the production's current Broadway season. Snook is in contention for Best Performance by an Actress in a Leading Role of a Play — and she's the only actor from The Picture of Dorian Gray to earn recognition because she's the show's sole cast member. Thanks to collecting five other nominations, for Best Direction of a Play (Kip Williams), Best Scenic Design of a Play (Marg Horwell and David Bergman), Best Costume Design of a Play (Marg Horwell again), Best Lighting Design of a Play (Nick Schlieper) and Best Sound Design of a Play (Clemence Williams), the production is now the most-nominated solo show in Tony history. "I couldn't be prouder of our incredible production and all of the individuals who have created it and bring it to life. Sarah Snook's nomination for her absolutely extraordinary performance is so very well-deserved, as are the nominations for our entire Australian creative team," said producer Michael Cassel. "The response to this production, be it in Australia, the West End and now Broadway is testament to the creativity, talent and sheer vision of all those involved and is wonderful recognition of Sydney Theatre Company and Kip Williams who took the bold risk of originating such a visionary and daring piece of theatre, right here in Sydney". Whether Snook will be adding to her Olivier Award, plus her Emmy, Golden Globes and Screen Actors Guild Awards for Succession, as well as her multiple AACTA Awards (including in 2025 for Memoir of a Snail), will be revealed on Monday, June 9, 2025, Australian time. Before The Picture of Dorian Gray gave Snook her Broadway debut playing all 26 of the play's parts, it was a smash in Australia with Eryn Jean Norvill (Love Me) in the lead. When it made the leap to the UK starring Snook, it became the talk of West End. It's also been picked up by Cate Blanchett's (Disclaimer) production company Dirty Films to get the film treatment. Not only does the show feature just one performer playing every single character but, to make that happen, it uses video to help. It's the work of writer/director Kip Williams, it's groundbreaking, and it's been understandably earning audiences raves and winning accolades. On the page, The Picture of Dorian Gray is also exceptional, as well as astute and unnerving, as it follows the selling of its namesake's soul in order to keep indulging every corporeal whim, urge and desire. There's a reason that it just keeps getting adapted for the screen and in theatres, after all. But there's never been a version like Sydney Theatre Company's, which the Tonys now clearly appreciate. Check out the trailer for the Broadway season of The Picture of Dorian Gray below: The 78th Tony Awards are taking place on Monday, June 9 Australian time — head to the accolades' website for more details. The Picture of Dorian Gray has been playing Broadway in New York since March 2025 — for more information and to join the waitlist for tickets, head to the play's website. Images: Marc Brenner.
When Bar Conte opened in 2021, the Surry Hills bar was pegged as the world's first spot solely dedicated to the humble negroni. Now, duo Raffaelle Lombardi and Victoria Hampshire have entered the venture's next chapter with the launch of a sister venue, Conte Sydney. While the new venue will also feature a massive selection of high-end negroni cocktails, it's complemented with a refined Italian dining menu spanning aperitivo bites to handmade pasta and sumptuous mains. For those seeking a feed, Head Chef and venue partner Steven De Vecchi has shaped an inviting à la carte menu that captures the spirit of fresh and upbeat Italian dining. Expect dishes like Gambero Rosso tartare with red prawn, pickled jalapeno, salmon roe and bottarga; lobster risotto with acquerello rice and a lobster bisque reduction; and duck breast with beetroot puree and crispy cabbage. Of course, the drinks list is as extensive as it is exciting, with Conte Sydney claiming to have the largest collection of Italian-made vermouth, amari, and gin ever assembled in a single venue. The beer, wine and spirit list is also sprawling, with Trappist and artisan brews joined by a plethora of imported tipples. These include the exclusive Vulcanica Vodka – made from rare ancient grains gathered from Mount Etna – and vino from the Amalfi's esteemed Cantine Marisa Cuomo winery. "I have dreamt of this concept for the past 10 years. The negroni is, of course, my drink of choice and has been since I was a young man growing up in Sorrento on the Amalfi Coast," says Lombardi. "Bar Conte's popularity has completely blown us away, so the time felt right for a larger, 'grown-up' offering that realises the dream of a chic and contemporary dining and drinks space that we know Sydneysiders will want to visit as much as we do." Food and drink this lavish demands an exceptional ambiance – and Conte Sydney doesn't disappoint. Guided by Hampshire, an interior designer, this 130-seat multi-level venue sees green marble and tiles contrast against deep brass highlights and rosso-painted walls. Featuring wallpapers from Milan-based designer Fornasetti, curtains picked from an Italian mill and custom-made seating using Italian leather, the venue's moody aesthetic was shaped without compromise. Throughout the venue, each space delivers a distinctive atmosphere. Immersed by the nine-metre ceilings and large-scale windows, guests are welcome to choose between the restaurant dining area, banquette booths, mezzanine cocktail seating or stools at the bar if keen for a chat with the bartender. With dappled light flooding through the windows and a custom-designed installation inspired by candles, expect an evocative mood that soothes and romances as you sip down a perfectly balanced negroni. [caption id="attachment_997863" align="alignnone" width="1024"] Credit: Steven Woodburn[/caption] Conte Sydney is open Monday–Wednesday from 11am–midnight and Thursday–Saturday from 11am–1am at 151 Clarence Street, Sydney. Head to the website for more information. Top image: Steven Woodburn.
"Why can't you enjoy life?": when that line arrives in Hard Truths, it's not only a haunting moment within the latest film from British writer/director Mike Leigh, but the same from any movie in the past few years. First, the perennially depressed, angry and disillusioned — and also agoraphobic, paranoid, confrontational and hypochondriac — Pansy (Marianne Jean-Baptiste, Surface) utters it, giving voice to the accusations that she felt were directed her way by her late mother. Pansy's sister Chantelle (Michele Austin, Boat Story) then repeats it back, but as her own question, asking someone so clearly always in pain why such hurt, unhappiness and fury is her default status. "It was the combination of a lot of improvisations and preparation. It just came out of the blue," Jean-Baptiste tells Concrete Playground about that piece of dialogue. "It was obviously months of rehearsing and developing the characters that led up to it." She continues: "it just summed up the frustration that Chantelle has with her sister Pansy, but also I think something releases for Pansy when she actually answers truthfully." Leigh sees it as "part of the investigation of the relationship", he advises. "The moment, like all the moments — and all the action and all the dialogue and everything else — came out of the whole exploratory process of making the film by finding out what the film is on the journey of making it." As all projects by the iconic filmmaker are — across an on-screen resume that started with 1971's Bleak Moments; saw Jean-Baptiste nominated for a Best Supporting Actress Oscar for Leigh's Secrets & Lies in 1996; and also covers Life Is Sweet, Naked, Career Girls, Vera Drake, Happy-Go-Lucky, Another Year, Mr Turner, Peterloo and more — the London-set Hard Truths was built from the ground up with his collaborators. His famed method of working involves casting first, constructing characters one on one with his actors sans script, tasking them with improvising the dialogue and, along the way, finding the storyline while only telling the members of his ensemble what they each need to know to play their parts. Here, the result is a two-time BAFTA nominee, including for Best Actress for its lead, who won the same category at the British Independent Film Awards. Alongside standing out as a portrait of the daily lives of a Black British family, a rarity in cinemas, Hard Truths is also a stunning study of a character who holds onto her agony, fears, rage and exasperation so tightly inside, and unleashes it so frequently at anyone and everyone in her vicinity. Pansy's contented salon-owner sister — a single mother with two daughters, one training to be a lawyer (Sophia Brown, Dead Shot) and the other in cosmetics (Ani Nelson, One Day) — isn't the only target of her distress. Hard Truths' protagnist's husband Curtley (David Webber, My Lady Jane) and adult son Moses (Tuwaine Barrett, Back to Black) are as visibly weary from attempting to cope as Pansy clearly is. Jean-Baptiste describes the character as "somebody who is in a lot of pain, but doesn't quite know where it's coming from. There's a lot of fear as well. It's 'attack before I'm attacked'. She's petrified of life and it manifests itself in a very aggressive way". If her performance hardly feels like one — not that she's Pansy IRL for a second — that's again a result of Leigh's process. "Michele Austin and I, obviously we've worked together before with Mike, but we would get into a room and Mike would talk to us about the girls. And so we had to build their parallel history," she explains, offering one example of how such fully realised characters came about. "Their parents, their grandparents, where they lived in London, what schools they went to, the bus route to their schools. How did they get there? Did they walk? Did they have to go past the park? And then we go and find that in London. So located it, so there's a visual memory of what that would have looked like, and that continues and continues until we get to a point — we do birthdays, parties, holidays, all that information. So imagine when you're in an improvisation a month and a half later, you've got all this stuff, all this wonderful history, all these experiences, that you can pull on at any given point within the improvs. So that's how that works." And yes, across a resume that also spans The Cell, City of Ember, the RoboCop remake, In Fabric, seven seasons of Without a Trace, Broadchurch, Blindspot, Homecoming and much more, Jean-Baptiste advises that she's benefited from Leigh's approach even when he's not her director. What appeals to Leigh, one of cinema's great excavators of life's complexities — struggles, joys and everything in-between — about investigating humanity through his work, and collaborating with his cast to create characters that feel like they could've walked off the street and into his movies? And what has driven him to do so for more than half a century? "It comes naturally to me. As a little kid, I was drawing caricatures of the grown-ups," he notes. "I don't make movies about movies. I love watching movies, but that's separate from the films that I make. I am not interested in received notions of plot and structure or anything else. For me, film — and indeed theatre, when I do stage plays, including in Australia — it's about a way to look at real life. People say to me 'where do your ideas come from?'. Well, I've only got to walk down the street and there are ten, 12, 20, 50, 100 films, because it's people, and that's really what it's about for me, basically." With Leigh and Jean-Baptiste reuniting for Hard Truths not only after Secrets & Lies and collaborating for the stage, but after Jean-Baptiste composed the score for Leigh's Career Girls, too, we also chatted with the pair about their working relationship, Leigh's starting point with each project, getting into and out of character, and the challenges and freedoms of his process, among other topics. What continues to inspire them and what they make of their respective careers: we spoke with the two about that as well. On Building Pansy as a Character Over Months and Months Marianne: "Mike asks you to come to the first session, where he works with you one on one, and to have a list of people from real life, real-life people that you know. And you start talking about all of these people and a list is formed, and the list gets smaller and smaller and smaller. So it's important to ground the characters in reality. And from that point, it's a stepping off point, because the character changes. For example, if you have three people, you've taken characteristics from those three people and you've merged them, what you would then do is start from scratch and build a new character — from their first memory to the age they're going to play when you actually see them in the film. In that process, you start to, with Mike always — he takes the position of god, he makes the decisions that none of us can make for ourselves — so with Mike, there's a collaboration whereby he asks lots of questions and you start filling in answers to who this person is. And then things that you wouldn't be able to decide, he makes those decisions. And in doing so, the disappointments, the heartbreaks and things like that, start to build in that person's life. So on a simplistic level, you could say that she is a combination of all of the bad experiences she's had — some real, some imaginary." Mike: "It's a difficult question to answer, really. Because obviously at one level, such people resonate for me — just as for everybody else, no doubt, including you — with experiences that you've had. What we do on my films, and this film is absolutely no exception, is I collaborate with each actor to give birth to a character. And drawing on various things, including some people that Marianne Jean-Baptiste actually knows, we evolved the basis of the character, which then grew." Marianne: "My experience in life. Observation. Being fascinated by human beings. That's the sort of thing that I generally draw on. And just knowing that — it's like being a kid again, almost — knowing that I'm absolutely free to imagine and create. One of my first jobs out of drama school, actually, was doing a Mike Leigh play — and it's exactly the same process, but it was early enough in my career to influence the way that I approached my work and almost approach life in that sort of people-watching way, and just being fascinated. So I think that just being in a safe environment where that was okay to make stuff up, and to pull stuff from my imagination is acceptable. I think you're just in-character in this process. We warm up into character and we snap out of it quite quickly. But as I said, it really is the culmination of months and months of working. We rehearsed for three and a half months — and that's a short rehearsal process for Mike. So if you can imagine, that's months of building layers and layers and layers. So there's every disappointment she's had. There's everything that she hoped for but didn't achieve. There's every slight or perceived slight that she's had. There's that idea that nobody listens to her, nobody values her, nobody likes her. So that's going on for three and a half bloody months. So by the time you get to those sort of scenes, it's like it's all there — it's all there already." On Reteaming Not Only After Secrets & Lies, But After Stage Collaborations and Jean-Baptiste Composing the Score for Leigh's Career Girls Mike: "We did work together 30 years, 31 years ago, in a stage play. And then of course, she was famously in Secrets & Lies, in which, incidentally, in both of those projects she paired with Michele Austin, who plays her sister in this film. It's a long time since Secrets and Lies, and I wanted to work with her — and she with me — for a long time. Often it's the case that you want to work with an actor and they're actually very busy doing other things. Finally we said 'well, let's go for it. Let's do it'. We were going to make the film sooner, but the pandemic put paid to that." Marianne: "I think he's very bold. He's a bold storyteller. He loves people and he loves actors. And I think, as an actor you have more agency working with him than you do with most other types of work. It's truly collaborative — and collaborative all round with production design, with hair and makeup. Everybody works together and everybody's on the same page about the way that they're going to approach the work. I think we've got a very similar sense of humour, so that really helps as well." On Leigh's Starting Point with His Actors on Each Film Mike: "I work individually, separately and privately with each actor. And part of the deal with these films is that the actors take part, agree to take part, and the deal is you'll never know anything about the rest of it, except what your character knows. So they're all working, as it were, in isolation from each other. And I sit down at some length, with quite a lot of sessions, with each actor, and we talk about real people and gradually we talk into existence the basis of the character. So that's the starting point. Then it's about putting them together and exploring relationships, and building up the world and doing any research that needs to be done — into activities or work or whatever it is. To arrive at something that is completely organic and three-dimensional, and is also thus the basis of a film, which then, during the shooting period, we construct as we go along scene by scene, sequence by sequence, location by location, arriving at the end." On Ensuring That Leigh's Cast Can Step Out of Their Characters, Especially Someone as Complicated as Pansy, When Each Scene and Day Ends Marianne: "It's hard to shake in that you still keep, it's still there in your head working. Mike's very, very strict about coming out of character. So there's a whole protocol on-set about warming up into character and warming down. But with Pansy, because of the intrusive thoughts that the character had, obviously you have to create that thought process for yourself in order to play it. So it took a while for me to shut her up." Mike: "As soon as we start to get the characters on the go, I'm very strict, right from the beginning. But actors should warm up and get into character, be absolutely in-character when they're in-character, but as soon as we stop — which is to say not at the end of the day, but each improvisation or whatever it is — to come out of character. So the actor is then able to be objective about what happened in the improvisation or about the character. I'm also very strict that the actor, when talking about the character, refers to the character as 'him' or 'her, not 'I' — which a lot of actors, as you know, do, they talk about 'I' and there's a crossing of wires. So that's really a discipline. And that's what you're talking about, to be sure the actor can be totally in it when in it, but totally comfortable and not screwed up when not in it." On the Challenges and Freedoms of Leigh's Approach Marianne: "It's exhilarating, terrifying and freeing — all those wonderful things. There's nothing else like it, being able to work in this way. There were times when you feel like crying, because you're like 'what on earth am I doing? What is this?'. And then you see it, you see the result and you go 'oh my god'. Because obviously, because everybody's working individually on their characters, you don't know what's happening. The first time I saw the film, I was able to see what happened in the beauty salon, and what Curtley did at work and where Moses went, and what the nieces were like. So it's like, for us, it's like discovering the film for the first time. It's wonderful is all I can say." Mike: "It's totally a combination of the two. It's certainly challenging. Here's the thing: if they say 'okay, here's five or six million pounds and you've got to deliver a film', that is quite a lot of responsibility on your shoulders, of course. It's challenging, but it's highly stimulating. And the freedom of there being no preconceptions or interference or prescriptions from the streamers or the producers or anybody — the backers or the whoever — it's very liberating. Frightening, yes, but then the creative process is dangerous in any context. But liberating. It's wonderful. If I were to ever — many times over the years, the opportunity has come to make a film with certain provisos. 'You have to have a Hollywood star in it.' 'We have to be able to monitor it.' 'You can't have final cut.' All that stuff. Well, I'll just walk away. It just doesn't happen, basically. Which then liberates the freedom to do what artists should do." On How Leigh Works with His Cast to Ensure That Whether or Not the Audience Has Lived a Character's Life, They Feel Recognisable Mike: "You can't underestimate the contribution of the actor. The actor's intelligence, sensitivity, perception, talent. I only work with character actors, which is to say people that don't just play themselves in a narcissistic way, but actually are up for and want to detect, depict and portray real people out on the street. And so my job is to facilitate and to contribute in terms of the narrative ideas — but in the end, what you're asking about relies primarily on her ability to to act, create, empathise, project, distill and investigate all those aspects of the character. There are actors who are, on the whole, good actors, but are not very intelligent. There are actors who are fine actors that have no sense of humour. There are actors who, as I've already said, are not character actors. Marianne Jean-Baptiste, like all the actors in this film, has all of those qualities, not least a sense of character and a sense of humour, and therefore has the ability to get inside different sorts of people and really, really bring it to life." On How Cognisant That Jean-Baptiste and Leigh Were About Hard Truths Standing Out as a Portrait of the Daily Lives of a Black British Family Marianne: "No, we were not aware of it while we were making it. We were aware that there's a predominantly all-black cast, but you obviously don't know what the story is. So you know it's going to be something to do with family and stuff, but yeah, it's a bonus that it's something that people can be proud of and say 'yeah, great, so refreshing'." Mike: "That was a deliberate decision. It wasn't, in no way, a difficult decision, because I just approached the characters and the world and the issues and the emotions and the relationships in this film just as I have every other film I've made, including the period films — which is to say these are people and we're looking at them as people in a real way. However, I was very definitely consciously aware that we were not going to deal in all those cliche tropes that films about Black people on the whole deal with, because that's not what it's about as far as I'm concerned. For me, I would say — and you're no doubt familiar with other films of mine — across all of my films, it's a collection of different aspects of society, but all looking at people as individual, real people. And this film is, if you like, the mere continuation of that ongoing investigation." On Reflecting the Reality of Life by Making a Film That's Both Deeply Moving and Has a Sense of Humour Mike: "It's not a balancing act at all. Life is comic and tragic. Whatever you do, whether you like it or not — how many times have you not laughed at a funeral? Life just comes out of the soil, ready-made comic and tragic. So for me, I don't sit around thinking 'oh, maybe there should be a comic moment' or 'maybe this should be a tragic moment'. That looks after itself, and it certainly looks after itself in this film. It's a barrel of laughs, hopefully, for a good section, a good chunk of the film. And then — and we've had quite a number of public screenings of the film, and you could absolutely chart precisely where the laughter dies away, and it's obvious why that is. It's not a question of balance. It's a question of the truth of what you're depicting and what you're investigating, what you're sharing with the audience and what the audience experiences." On What Inspires Jean-Baptiste and Leigh About a New Project Marianne: "At this point in my life, I'm looking for challenges. I'm looking for something that I can transform myself — something that's going to be fun. For me, that's it. Are they good people? Will it be fun? Will it be challenging in a good way, you know?" Mike: "To me, it's always exciting. It's partly, to be honest, because I don't know what we're going to do and therefore there are all sorts of possibilities. And my head is buzzing with all sorts of possibilities and ideas — 'maybe we'll get him', 'maybe we'll get her to the party'. Then, of course, it's the anticipation and the enjoyment of actually working with people, and making it and making the thing happen. And shooting and working with the actors, all that's just, to me, a joy. Here's the thing that's important: the way I make films is the same way but is parallel to people writing novels, painting pictures, making music, making sculpture, writing poetry, et cetera — which is to say that the artist embarks on a journey of investigation, and discovers what the piece is on the journey of making it. They interact with the material. How many novelists have you heard say 'well, I didn't know what was going to happen, and then somehow the character told me what needed to happen next'? That's really what I do. The privilege I feel I have that painters and novelists, et cetera, don't have, is that I'm not stuck in a room by myself. It's a collaborative, socially pleasurable activity." [caption id="attachment_782569" align="alignnone" width="1920"] In Fabric[/caption] On What Jean-Baptiste and Leigh Each Make of Their Careers So Far Marianne: "I think it's interesting. I think I've had quite an interesting career. I've forgotten some stuff that I've done — it's gotten to that stage where people go 'oh that film' and I go 'oh yeah'. Yes, I think it's been a bit of an interesting one, mine, that's taken me to a few different places. I've been able to be quite selective in the last say five or ten years, which is good." [caption id="attachment_722535" align="alignnone" width="1920"] Peterloo[/caption] Mike: "Well, on the whole, if I was to sum it all up, I think I've been very lucky, actually, really. There've been breaks at times, which made it possible to do the crazy thing I do, which is to say to backers or theatre managers: 'I have no idea what we're going to do. I will not discuss casting. And please don't interfere with it while we're doing it at any stage'. And one could be forgiven for imagining that on that basis, I might never have done anything. So I've been lucky in that sense, and I guess the honest answer to your question is that, really — that I've found it remarkable that I've kind of got away with it." Hard Truths opened in Australian cinemas on Thursday, March 6, 2025 and New Zealand cinemas on Thursday, March 13, 2025.
We should all be well aware of the vast benefits that recycling brings to us individually, to our communities, and, of course, to the environment, and many of us make an effort to contribute as much as we can to this vital movement. Yet, some more than others have taken this dedication to reusing and recycling to an entirely new level. Artists and architects around the world have, over recent years, come up with ingenious creations made completely from recycled paper and cardboard. Buildings constructed using recycled paper are not only incredibly environmentally friendly but also cheap, lightweight, and easy to assemble. The structures can also be particularly distinguishable and aesthetically pleasing thanks to the creative methods needed to make use of the renewable materials. Here are seven of the most eco-friendly and remarkable structures made entirely from recycled paper. Dratz&Dratz Architekten's Office After passing by a recycling station and being inspired by the unexpected durability and functionality of recycled paper, Ben and Daniel Dratz of Berlin constructed this unique 2045 square foot workspace made from 550 bales of compressed recycled paper. The duo funded the project through a $200,000 grant from Essen's Zollverein School of Management and Design to build this pioneering 'paper house' on the grounds of a former mining complex and a UNESCO World Heritage Site. The duo stacked and designed the building so that it could withstand several days of rain and then dry in the sun. Not only is this a wondrous architectural feat but it is also a mysterious construction with countless scraps of information and hidden secrets embedded deep within its walls. Shigeru Ban's Takatori Catholic Church One of the most famous paper structures from one of the world's most famous paper architects, the Takatori Catholic Church is not only an unfathomable achievement in architectural design, but it is also an incredibly important construction, which helped rebuild the spirit and unity of the Takatori community following the devastating Great Hanshin Earthquake in 1995. Paper tubes were used as the structural elements of the rescue base and church — hence its nickname, 'Paper Dome' — and in 2005 these were then transferred to Taiwan to help the victims from the 921 Earthquake before being reused as a place of worship. Mode:lina Architekci's TRIWA Pop-up Store Nine hundred cardboard tubes were required to pull off this distinctive store for the up-market Swedish watch brand TRIWA. Aside from wanting to gain an alternative edge over their competitors, the company wanted low-cost, renewable materials that could quickly and easily be erected and which would increase their global brand awareness. The store is located in Poznan Plaza Shopping Mall in Poznan, Poland and consists of cabinets made from chunky chipboard panels, placed upon stacks of cardboard tubes made from OSB wood panels. Zouk Architect's Paper Tube Office Zouk Architects decided to adopt some eco-friendly methods for the construction of their very own open-plan office. Rather than simply discarding the unwanted moving waste when relocating their office, they decided to take full advantage of the cheap and highly structural materials to create an avant-garde office with a modern and renewable twist. Sumer Erek's Newspaper House In 2007, artist Sumer Erek made a call-out to the people of London to collate the newspapers lying inside their homes and scattered on the streets and add them to his creation, made entirely of 120,000 rolled newspapers. The transformative art- and think-piece is aimed to alter the perceptions of how Londonites, and everyone the world over, view rubbish and the mess we all contribute to. In an attempt to address the growing issue of free papers littering the streets of England, Erek wanted to reinforce the idea of 'reduce, reuse, recycle' and make the public realise that everyone is part of the problem, as well as the solution. Erek's expressive project was revealed in March 2008 and has since toured around England and various parts of Europe. Masahiro Chatani's Origamic Architecture On a slightly smaller scale, Masahiro Chatani's origamic architecture demonstrates the ways reused paper can be (re)used to create amazingly detailed and accurate depictions of famous buildings from around the world. Chatani invented the art of cutting paper simply using a knife to produce complex and beautiful paper structures in 1981 and since then many other artists have taken up the trend and added their own flair to it. Shigeru Ban's Tea House This tea house made entirely from recycled paper is another awe-inspiring creation from the hands of Japanese architect Shigeru Ban, yet with a slightly more commercial edge. Ban wants to send out a message to the world, as many of these architects do, to stress the importance of reusing and recycling in order to save our planet from the heavy burdens we place upon it through the never-ending mounds of waste we continually create. Following true Japanese tradition, this 5-metre-long construction is complete with a table and four chairs as well as a waiting area with a bench — the perfect environmentally friendly location to sit back and enjoy a rejuvenating green tea.
Surry Hills' beloved drinking establishment and local institution The Cricketers Arms has welcomed a winning new update to the dining room. Head up the stairs from the boisterous revelry of the always-jammed front bar to find Chez Crix, a bistro with unpretentious but beautifully-executed French-leaning food and a predictably excellent drinks offering including a forward thinking wine list focused on natural and low-intervention drops and killer martinis. The evolution of Chez Crix has been a collaborative effort from long-time owner Dominic Juillet, Head Chef Antoine Vassallo and and General Manager and drinks list curator Jackson Duxbury (formerly of The Agrarian Kitchen and Franklin Hobart). And the result is a laid-back dining room with a frisky atmosphere where the service is warm and effortlessly efficient. Duxbury sums it up perfectly: "Our community, and the legacy of the Cricketers Arms, is certainly at the forefront. We talk a lot about the sense of ownership long-term patrons hold of the venue — it's the people's pub. For years, this place (certainly downstairs), has felt like an extension of people's living rooms. We hope Chez Crix feels like an extension of their dining room." While the feel of the room does indeed have a casual dinner party vibe, the food is several notches beyond what the average person can achieve on a Friday night in the home kitchen. Antoine Vassallo has pulled together a menu of approachable hits like a gorgeously juicy roast chicken with jus gras and steak frites with Bordelaise sauce, and the house-made chicken liver parfait (to be ordered with a chewy baguette) might just be the pick of the menu. The wine list is firmly focused on natural wines and the entries traverse the globe with selections from across Australia, Europe and beyond. If you're perpetually wine-curious or just plain indecisive, leave your choices in the hands of Duxbury and the floor staff who'll delight you with a compelling selection by the glass or bottle. Chez Crix is the restaurant the Cricketers Arms deserves and has been long overdue for. Booking is very much recommended as the venue has been full-to-overflowing ever since it opened.
Cheese and pasta go together like few food combinations. As great as they both are individually, a particularly enticing alchemy of flavours occurs when they join forces. But simply sprinkling grated mozzarella or ground parmesan over your spaghetti is yesterday's news. Eating pasta served out of a cheese wheel is what it's all about now. Salt Meats Cheese is hopping on everyone's current favourite Italian culinary bandwagon with its weekly night dedicated to the dish. Drop into the chain's Circular Quay, Dee Why or Drummoyne eateries on Wednesdays from 5pm, and you'll tuck into the cheesiest bowl of pasta you're ever likely to taste — for $25, plus $5 for toppings. Flavour-wise, there's a few available, because even a meal like cheese wheel pasta can use a few additions. Just classic cheese is still on the menu, as are two other varieties each week. In the past, everything from truffle and carbonara to pesto genovese, gorgonzola and smoked mozzarella have been dished up, so arrive hungry. Bookings are essential and can be made here.
No one ever needs an excuse to escape their daily routines with a stint of mini golf, ten-pin bowling or sleuthing through a challenge room, but on Tuesday, October 22, Funlab's venues are giving you a mighty great reason to anyway. That's when the company's Day of Fun rolls around for 2024, and lets you get putting, rolling and puzzle-solving for $8 a pop — all to help Headspace National Youth Mental Health Foundation. All day at 45-plus venues Australia-wide, including in Sydney, Funlab will donate all of its proceeds to the charity, which provides early-intervention mental health services to 12–25 year olds across Australia. So, you'll be aiding your own headspace — tap, tap, tapping your way around an indoor mini golf course will do that, for instance — and also showing some love to a great cause. Funlab's Sydney sites include multiple Holey Moley and Strike Bowling joints, Hijinx Hotel in Alexandria, Archie Brothers Cirque Electriq in the same suburb and Penrith, La Di Darts in Darlinghurst and B. Lucky and Sons at Entertainment Quarter — and the $8 deal covers bowling, darts, laser tag, an hour of games, one set of challenge rooms and nine holes of golf (all at $8 per activity). Booking in advance is recommended, but Archie Brothers and B. Lucky are doing walk-ins only. Obviously, if you'd like to add a few drinks — these venues serve plenty — that'll cost you extra. [caption id="attachment_681171" align="alignnone" width="1920"] Trent van der Jagt[/caption] Top image: Markus Ravik.
For 117 years, drinkers of the inner west have been gathering at the Salisbury Hotel for a brew and a chin-wag. This week, the pub reaches the end of a major, year-long renovation. Next time you visit, expect an extended, repositioned kitchen; wooden beams and cobblestone; and a quirky outdoor beer garden, with a Chinese elm tree and a 1926 bright red brewery truck. The menu's had an overhaul, too, under Singaporean-Malay chef Ridz Ma'rop (ex-Henson Park Hotel, The Trinity). The motivation for the revamp was publican Trish Larkin's desire to increase the pub's appeal to everyone, families included. "The Salisbury is a meeting place for all, young and old," she says. "We wanted to create a pub environment where you'd be happy to take your mum, grandad or children — somewhere that has a consistently solid offering and where all are welcome." To that end, the new menu is all about high-quality pub classics. The Brew Truck Angus burger comes with egg, beetroot, pineapple, bacon, cheese, tomato, lettuce and chips, while the Salisbury steak sandwich features roasted tomato, onion relish, lettuce, aioli and chips. There's also a beef and Guinness pie with colcannon, and maple-miso salmon with Asian slaw and ginger-shallot dressing. Drop by on Thursdays for Curry House, when 20 bucks buys you a curry and sides, plus a Young Henrys' longneck. Then, on Sundays, it's time for The Feast—a $100 cornucopia of meats, fish and sides that feeds four. Behind the bar, in addition to Young Henrys, you'll find beers by 4 Pines and Stone and Wood, as well as a bunch of Australian wines. If you're travelling in a group, nip through to The Hall, where there's a 12-seater table beneath a high ceiling. Otherwise, continue through to the beer garden to find banquettes, or head back inside to drink and make merry among the pub's exposed brickwork, recycled timber, wooden beams and cobblestone. On Wednesdays, get involved in Drag Bingo and, on Sundays, kick back to live music. Find The Salisbury at 118 Percival Road, Stanmore. Opening hours are Monday-Saturday, 10am-midnight, and Sunday, 10am-10pm. Visit the hotel's website for further details
The tradition of the 'last meal' is a complex one. In early Europe, the gesture functioned as an act of appeasement — a small token to ward off the spirit of the accused haunting its executioners. In modern times, the act is somewhat less superstitious. A little sweetener to the incalculable moral dilemma of corporal punishment. This is what NZ-born, Brooklyn-based photographer Henry Hargreaves sought to explore in No Seconds, his series of eerie re-creations of those final bites taken by America's most wanted. At a glance, the 12 visually rich photographs seem harmless enough. The shots of chicken and peas resemble something your mother might make you on a trip back home, and the steak and eggs are reminiscent of a meal picked up at a country diner. Of course, most plates are full of comfort food; the same kind of thing you could pick up one particularly hungover morning, or devour with a hint of shame at night. This empathy is exactly what's so worrisome about the series. With the camera positioned above each meal, Hargreaves invariably puts you in the seat of the killer. He forces you to reminisce about home-cooked meals or how much you love fresh strawberries mere moments before your eye wanders to the label reading "John Wayne Gacy ... Rape, 33 counts of murder". In an interview for the exhibition catalogue, Hargreaves said he wanted "the viewer to think of [the prisoner] as a person for a moment instead of them being anonymous". "It's a subject that people can relate to and are curious about," he said. "We all eat and we all die." Of course, the circumstances do differ. The series is further complicated by the fact the tradition may be on the way out in some places. In 2011, Texas — a state well-known for its continued support of the death penalty — put an end to last meals claiming it a waste of taxpayer funds. A premise made complicated by inmates such as Victor Feguer. Hung in 1963 for kidnap and murder, Feguer asked for just a single olive with its pit. Apparently, he thought it might grow into an olive tree from inside his body and hoped it would make use of him as a symbol of peace. Regardless of your politics, the photographs are definitely food for thought. See the series in full at Hargreaves' website. Via Buzzfeed.
There aren't many events where the first female Australian astronaut, TikTok's marketing head, Australian screen personalities, a singer and actor who stars on Heartbreak High, a human rights lawyer and barrister, a cricketer, an Olympian, the director of Mortal Kombat, the first Australian artist to sign with Def Jam, a game about turning fruit into your own menu and a short film about a housewife trying to get a free pizza are on the same lineup. Actually, there's only one: SXSW Sydney 2024. After announcing in late 2023 that the event would return for a second year — because the inaugural SXSW Sydney was such a hit — and then getting everyone voting for its Session Selects conference events earlier in 2024, the only version of the tech, innovation, screen, music, games and culture festival outside of Austin, Texas has started unveiling its program for the year. Get ready for a busy seven days between Monday, October 14–Sunday, October 20. SXSW announces its bill in multiple drops, so this really is just the beginning for 2024. Each of the conference, music fest, screen fest and games fest have revealed details — kicking off with a heap of featured speakers. Astronaut Katherine Bennell-Pegg, TikTok executive Sofia Hernandez, Courtney Act, Nakkiah Lui, filmmaker Simon McQuoid, legal figure Jennifer Robinson, futurist Ryan Patel and the return of Non-Obvious trend curator Rohit Bhargava all grace the lineup so far. They're joined by Australia's eSafety Commissioner Julie Inman Grant, IBM's AI Platform Vice President of Product Armand Ruiz, Psychology of Your 20s host Jemma Sbeg and Esther Nguyen of POPS Worldwide, to name just a few more standouts. Plus, among the Session Selects panels, Hamish Blake will get chatting about social-media citizenship, David Warner and Tillie Kearns will talk athlete IP, and Australian Fashion Council CEO Jaana Quaintance-James and The Iconic CEO Jere Calmes will cover digital fashion. Other discussions will dig into designing with Country, taking film technology beyond the screen, the digital news transformation and the importance of nature. Stepping from Hartley High to SXSW Sydney Music Festival, Ayesha Madon is one of that strand's highlights. SAHXL, Nick Ward, BALTHVS, Total Tommy, brothers J-MILLA & Yung Milla, Joel Sunny, Ena Mori, Smol fish, HighSchool, Maina Doe, 404: you'll be able to see them as well. Film fans can look forward to short flicks such as the aforementioned Make Me a Pizza, plus Fish Tank, Meat Puppet and Vivie. And gamers can expect FRUITBUS, Blood Reaver, Curiosmos, Demon Spore, DICEOMANCER and Hyper Light Breaker, as well as Mystiques, No Case Should Remain Unsolved, Rose and Locket and Window Garden — some local; others from the UK, US, Belgium, China, Norway, South Korea and the Philippines; many with glorious names — at the Games Festival Showcase. "After the success of the inaugural SXSW Sydney in 2023, we are once again inspired by the overwhelming response from the creator communities to participate in the 2024 program. This is the first of many announcements as we roll out the extensive and diverse range of visionaries & creative thinkers from around the globe that make up the SXSW Sydney 2024 conference lineup," said SXSW Sydney Chair and TEG Group CEO Geoff Jones, announcing the initial 2024 program details. "SXSW Sydney is about discovery and an opportunity to be surrounded by the best and brightest minds from tech and innovation, games, music, screen and culture. This year's SXSW promises to be as inspiring as ever." 2023's inaugural SXSW Sydney welcomed everyone from Black Mirror's Charlie Brooker and Chance The Rapper to Future Today Institute founder and CEO Amy Webb and Nicole Kidman to its stages. In the process, it notched up 287,014 attendances from 97,462 unique attendees. Those figures came from 34,975 total tickets, with folks from 41 countries heading along to 1178 sessions. The full lineup spanned a 700-plus strong bill of talent, covering over 300 sessions, and featuring more than 300 gigs across 25 venues. From talks and concerts to films, TV shows and games, there was no shortage of things to see. Get ready for another round this October. SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details. Images: Jami Joy, Ian Laidlaw, Jess Gleeson, Katje Ford and Paul McMillan.
Head to Yuin Country, heartland of the Djiringanj people, for two nights and days of traditional ceremonies, journeys to significant sites and First Nations dining experiences. Run by Aboriginal owned and operated group, Ngaran Ngaran Culture Awareness, this enlightening south coast retreat offers flexible experiences, led by First Nations guides, through Narooma, Mystery Bay, Tilba and Bermagui. The order of events will depend on the weather and group preference, but you can expect to take part in cooking workshops, walks on Country, traditional wellness sessions and sound healing workshops, as well as fireside yarning circles to reflect on the knowledge gained during these activities. Depending on availability and tour group numbers (from two to eight people), your nights will be spent in private bell tents, cabins or beach house accommodation. Images: Destination NSW
Sometimes a needle drop just works, even when it simply states the obvious. One of those instances: playing a remix of Nas' 'Got Ur Self a Gun' throughout the latest trailer for John Wick: Chapter 4. The song famously samples Alabama 3's 'Woke Up This Morning', the tune forever famous as the opening theme to iconic HBO series The Sopranos, and fits John Wick as much as the original fit Tony Soprano. Just over a month out from the latest John Wick flick hitting cinemas, the third sneak peek at what's to come has been unveiled. Unsurprisingly, plenty of action-packed confrontations are in the works, as brought to the screen with plenty of frenetic stunt choreography. Just as expectedly, Keanu Reeves is still using every weapon at his disposal in his fourth stint as cinema's favourite dog-loving assassin. If you're thinking that Wick's luck might run out at some point, the new film understands. But this stunt-filled saga still has one last way to give its namesake his non-violent life back. As past trailers have explained, he can agree to a duel against the Marquis (Bill Skarsgård, Barbarian) — but of course only one can survive. With that premise, expect the ante to be upped on the saga's latest onslaught of fights, as the latest trailer goes all-in on. Anywhere that Wick can shoot, fight and dispense with everyone trying to take him down, he will and does. This flick involves hopping around the globe, in fact, including Paris, New York and Berlin — and also getting into sword fights in Japan, riding horses through a sandy desert, using cars as weapons and boasting one mighty handy canine. Accordingly, as all John Wick movies have so far — the first in 2014, John Wick: Chapter 2 in 2017 and John Wick: Chapter 3 — Parabellum all included — this one follows the hitman that other hitmen fear as he takes on his ever-growing list of adversaries. Whatever gets thrown his way hasn't stopped Wick yet, after he got dragged back into the assassin life when a past batch of enemies messed with his pet pooch. Reeves' former stunt double-turned-filmmaker Chad Stahelski directs again, as he has on all three prior movies. On-screen, Reeves is also joined by a roster of familiar and new John Wick faces, with fellow franchise mainstays Ian McShane (American Gods) and Lance Reddick (Godzilla vs Kong) returning, and Reeves' The Matrix co-star Laurence Fishburne — after appearing in the past two movies — as well. And, Donnie Yen (Mulan), Hiroyuki Sanada (Mortal Kombat), Shamier Anderson (Son of the South), Rina Sawayama (Turn Up Charlie) and Scott Adkins (Triple Threat) are all also set to feature. In similarly excellent news, a fifth John Wick movie is already in the works, because more ass-kicking Keanu is always a great thing. And, so are two spinoffs: The Continental and Ballerina. The first is a streaming series, clearly set around the hotel that features so prominently in the films as a safe haven for hitmen. As for the second, it's a movie that ties in with John Wick: Chapter 3 — Parabellum, and will star Ana de Armas (Blonde) — and also feature Reeves and McShane. Check out the latest trailer for John Wick: Chapter 4 below: John Wick: Chapter 4 releases Down Under on March 23.
If ice cream is a gift from the gods, then free ice cream is pure divinity. And that would make the Ben & Jerry's team martyrs, because this Sunday, July 16 they're giving out tubs of their ice cream, gratis. Think of it as a donation to your enjoyment on Earth. If you want to get in on this higher experience, Ben & Jerry's will be stationed at holy sites in Melbourne, Sydney and Brisbane. This is where they'll be: Sydney: Queen's Victoria Building forecourt (next to the statue) from 11am – 1pm, then Manly Wharf from 3–6pm. Melbourne: The entry to Luna Park, St Kilda from 12–4pm. Brisbane: 168 Grey Street, South Brisbane from 1–3pm. All up, they've got 20,000 tubs to give away, including cult favourites like salted caramel, the caramel core Karamel Sutra and Chubby Hubby, which has fudge-covered pretzels and peanut butter swirls. The giveaway will celebrate International Ice Cream Day and the brand's new partnership with food delivery service Foodora. It's a great week for cheapskates, as Lord of the Fries is also giving out no-charge chips on Thursday in Sydney and Melbourne, and Brisbane's new Lucky Egg West End is doing free fried chicken burgers on Saturday and Sunday. The Ben & Jerry's Big Tub Giveaway will take place on Sunday, July 16 in Sydney, Melbourne and Brisbane. For more info, visit their Facebook page.
If you consider yourself to be quite the foodie, then no doubt you've already made your way through most of the top restaurants around your favourite cities. So what now? One way to curb the food boredom blues is by escaping the humdrum urban life and heading to regional areas to feast on the best they have to offer. Travel and eating are delightfully intertwined (in our books, anyway) — and you don't even have to travel long distances to discover exciting new eats. One place to add to the bucket list is the picturesque NSW pocket of Orange, located just a four-hour drive from Sydney. The old mining town has transformed into a major foodie destination. Wine is the obvious go-to, with vineyards surrounding the region as far as the eye can see. On top of fine wine, there are cooking schools, a thriving festival calendar, abundant orchards and private fine dining events in luxe farmhouse stays. Plus, its neighbouring historic townships and friendly hospitality make it feel a world away from the hustle and bustle of city living. To help get you planning your next food-fuelled trip, we've teamed up with the folks at Orange360 to round up the very best of the region — from the must-visit restaurants to the lesser-known gems whatever time of year you visit. DINE AT THE VINES Orange is renowned for its cool-climate wines. And if there's one thing that oenophiles love it's food perfectly paired to their delicious drops. If you're heading to the rolling hills of Orange over the warmer months, one way to soak up the sunshine and clean, crisp country air is by having a picnic. Instead of rolling out the blanket in any old spot, though, head to a local winery and feast among the vines. If you're looking to go all out on an al fresco feast, head straight to Heifer Station. The stunning 130-acre winery, located on the slopes of Mount Canobolas, offers private picnics beneath willow trees all summer long but fireside wine tasting for those heading out in winter. Not content with having excellent wines and platters, they also have an animal farm out the back where you can visit alpacas, goats and ponies. Or, you can sit back and feast on local produce and freshly baked goods, while sipping minimal-intervention vino at family-run estate Swinging Bridge for the perfect encapsulation of Orange wines. To those venturing out during the cooler months, fret not, with a winter wine and food festival on the roster and year-round fantastic wineries and eateries available for being wined and dined, there's always something to enjoy at Orange. Check out the Orange Winter Fire Festival and enjoy a delicious meal under the stars while being warmed by a cosy fire and enjoying a glass of rich red wine. CHANNEL YOUR INNER SOMMELIER As you'll be in one of the country's top emerging wine regions, you'll want to sample as much of the nectar of the gods as possible. You'll have your work cut out for you though; Orange is home to more than 60 wineries and over 40 cellar doors. One must-visit vino stop is the award-winning Colmar Estate, run by Bill and Jane Shrapnel, where you'll sip everything from riesling to sparkling rosé from its cellar door overlooking its stunning vineyard. Then, make tracks to Nashdale Lane Wines to up your wine knowledge even more. Nashdale also has luxe glamping tents you can stay in, should you imbibe a little too much. You can then head to Slow Wine Co's cellar door in the historic town of Millthorpe, just 15 minutes from Orange. As the name suggests, Slow Wine Co's ethos is 'wines crafted by time', with each drop taking two years from budburst to bottling, and using only natural processes. After a guided tasting, you can enjoy a lunch cheese platter supplied by Millthorpe Providore or if you plan on being there later in the week, Slow Wine Co also opens as a Tapas Wine Bar from 5.30pm on Fridays and Saturdays. DISCOVER REGIONAL FINE DINING Food-wise, Orange pretty much has it all. There are bakeries, buzzing cafes, restaurants, izakayas, gelaterias and pubs — and you'll want to fit in at least one fine-dining experience while you're there. Orange's finer establishments are still relatively laidback. Here, it's all about celebrating the very best local produce. In Millthorpe, you cannot leave without visiting Tonic. Established in 2003 by owners Tony and Nicole Worland, the award-winning restaurant brings both locals and foodie pilgrims alike. Tony Worland boasts quite the resume, having worked beside the likes of Matt Moran, Michael Manners and Gordon Ramsay, so expect ambitious food, showcasing local producers, of course. If you can fit one more fancy feast in, Sister's Rock, situated at Borrodell Estate, is a must. The warm timber fit-out is welcoming and without pretension and the restaurant overlooks the vineyard, making it the perfect spot for a leisurely lunch. COOK WITH SOME OF THE REGION'S TOP CHEFS Eating food is one thing, but taking the time to cook your own next-level feast brings another kind of joy — no matter whether you're a bit of a novice or a wizard in the kitchen. So, on top of all the dining, you'll be doing, book yourself and your date or mates into a cooking workshop with one of the Orange region's leading culinary masters. Go-to cooking school Barrel & Larder at Ross Hill Wines runs a number of classes throughout the year, each with a different focus, from canapé courses to curry masterclasses and American-style barbecue sessions — all taught by a different local chef. You can also arrange your own private class with up to 12 people. After you whip up some nosh, you'll sit down and feast on your own dishes while drinking plenty of tasty wine. Or, if you'd rather kick back and relax, you can book your own private fine dining experience at Cadogan Country House. [caption id="attachment_786417" align="alignnone" width="1920"] Destination NSW[/caption] HIT UP A FOOD FESTIVAL If you're serious about food, make sure you visit Orange in autumn. It's when the region throws its annual ten-day food party, F.O.O.D. (Food of Orange District) Week, which shows off the best fare from 'The Food Basket' of New South Wales, including top-quality local produce, chefs and restaurants, as well as cool-climate wines. Keep an eye on the website for the next program, which will be filled to the brim with big signature events and smaller more intimate events hosted at local restaurants and cellar doors. STOCK UP ON SUPPLIES BEFORE YOU HIT THE ROAD Before you hit the bitumen to make your way back to the big smoke, you'll want to stock up on all the gourmet goodies and fine wines you can stuff into your boot. For artisanal cheese, bread, hams, relishes, oils, jams and chocolates, head to Red Chilli Deli or, swing by The Agrestic Grocer for, well, anything that takes your fancy. The hub serves as a grocer specialising in local produce, as well as a cafe, bar, workshop space and live music venue. There's also the monthly Orange Farmers Market (on the second Saturday of each month), where you can support all the local growers, farmers and makers directly. For booze, stop in at Orange's top-notch bottle shop Lane Cellars. Here, you'll find a bunch of locally produced wines, craft beers and ciders, as well as drops from some of Australia's top winemakers and breweries. At wine bar and bottle shop Ferment, you'll find wines and spirits from small-time producers that don't have cellar doors themselves. And Orange Cellars stocks local vino, brews and spirits for you to take home and add to your bar cart. Want to gather your own produce and enjoy the fruits of your labour? Grab a basket and pick your own figs, berries and apples from the region's abundant orchards. Family-owned farm Hillside Harvest, located just ten kilometres out of town, grows everything from various apple varieties to cherries, berries, peaches, plums and nectarines. At Huntley Berry Farm you can pick 11 different berries over summer and autumn, while at Norland Fig Orchard you can pick delicious figs (naturally), plus purchase jams, pastes and chutney and even have a picnic lunch. Whether you're planning a springtime escape or a wintry weekend away, the Orange region has fine wine, good food and spectacular surroundings that make for a great city break — at any time of year. Start planning your trip here.
Tasmania might get a little dark and stormy throughout winter, but the occasional blustery conditions mean that there's an even greater focus on spending quality time with your favourite people. That good-natured spirit is particularly apparent in the state's selection of breweries — places that'll keep you and your loved ones warm and cosy, and immediately charm your souls. From waterfront industrial-chic breweries to farms that roll over the hillsides, Tasmania's brewhouses make the most of their wealth of ingredients by creating elegant drinks that travellers will want to keep sipping. So we've tracked down five perfect spots that will not only have you revelling in the winter climes but also enjoying some fantastic beers along the way. Embrace the wild weather and start planning your midwinter Tassie escape. [caption id="attachment_718803" align="alignnone" width="1920"] Chris Crerar.[/caption] SAINT JOHN CRAFT BEER Craft beer bars might seem a dime a dozen these days, but Saint John Craft Beer would enhance any city's beer drinking scene. And when it comes to finding a toasty spot to escape Launceston's wintery streets and enjoy a lively evening with friends, there's no better spot than here. The cooler months are the perfect time to pay Saint John a visit, with a number of stouts usually featuring among the bar's tap list — offering beer-lovers a chance to sample some devilishly dark brews from local, mainland and international producers. Plus, you'll find great burgers and snacks to match, all thanks to a permanent food van serving in the spacious rear outdoor section. [caption id="attachment_718802" align="alignnone" width="1920"] Hobart Brewing Co.[/caption] HOBART BREWING CO Inspired by Hobart's lengthy history of brewing, the Hobart Brewing Co set out to create a venue that welcomes beer obsessives with open arms while pouring a selection of spectacular drinks made on-site. And it's safe to say that it has achieved this goal, with the brewery ranking among Hobart's premier bars — and drawing visitors in from the cold in the droves. Set across the harbour from Salamanca Place, this industrial waterfront warehouse is an ace place to delve into a great selection of drinks, including a few nifty partnerships with other local brewers. Also on offer? Regular food trucks and live music, plus a fire pit to warm yourself by as you settle in for a few quality brews. [caption id="attachment_718485" align="aligncenter" width="1920"] Two Metre Tall.[/caption] TWO METRE TALL Take a 45-minute drive from Hobart and you'll arrive at the sprawling fields of the Two Metre Tall brewery. Tucked away in the Derwent Valley, this 580-hectare property produces some of the finest farmhouse ales and ciders anywhere in Tasmania, using a production process that combines mixed and wild fermentation — which gives its brews some truly spectacular flavours. Spread out across plenty of lawn, the brewery encourages you to bring your friends, your blankets (for both sitting and rugging up) and a well-stocked picnic basket. Park yourself by one of the many onsite barbecues (there are even woodfired options) and start cooking — it's an excellent way to keep warm and toasty, too. All you've gotta do next is grab a hand-pumped tipple to perfect your luncheon. [caption id="attachment_718801" align="alignnone" width="1920"] Bruny Island Cheese and Beer Co.[/caption] BRUNY ISLAND CHEESE AND BEER CO The Bruny Island Cheese Co has been around for years, specialising in artisan and small-batch cheeses. But when owner Nick Haddow met brewer Evan Hunter, they decided to combine their renowned talents. We're certainly glad that they did because the Bruny Island Cheese and Beer Co now provides visitors with quite the range of culinary pleasures — of the edible and drinkable kind. Made with Tasmanian-grown hops and grains from neighbouring farms on the island, the beers on offer here set a very high standard. Plus, each brew is created with a sustainable mindset. All wastage is recycled and put back into the farm, whether that be wastewater being treated then used as irrigation water or beer and cheese byproducts becoming feed for the pigs at a nearby farm. For a drop that'll warm you from the inside out, opt for the hearty whey stout, made with lactose from organic cow's milk whey leftover from cheesemaking. It's a sweet, textured beverage and pairs very well with a wedge of Saint: a ooey, gooey surface-ripened soft cheese. [caption id="attachment_717038" align="alignnone" width="1920"] Shambles Brewery.[/caption] SHAMBLES BREWERY Since opening in 2016, Shambles Brewery has become one of the best spots to get a beer on the North Hobart strip. This large-scale chic warehouse space has been transformed into a beer drinker's utopia, featuring everything you could want — from a huge open beer hall to a roaring fire pit to concrete table tennis tables that even withstand the chilliest of winter days. Serving Tasmanian wine, cider and spirits, the Shambles Brewery's line-up of beer packs quite the punch with an offering that includes experimental pale ales, American IPA and even a robust porter that has hints of chocolate and coffee. And as for the food, it's perfectly suited for winter; think 12-hour lamb ribs, six types of burger, brisket tacos and crispy fried chicken. Top image: Saint John Craft Beer by Chris Crerar.
Before you install that hot tub in your backyard, allow HotTug to welcome you to the future. A wood stove in the front of the boat heats the 2000 litres of water to a toasty temperature. You can rent the HutTug in two different versions, one with integrated electric motor of 2.4 KW and another with outboard engine. The office is located in The Netherlands, but don't panic: international rentals and sales (starting at around 9,000 Euros) are possible. HotTug is available in the standard black but is available in blue and red, too. All you have to do is find some friends, pick a colour and before you know it you'll be hanging out in water submerged in more water.
Simple Pleasures Camping Co. is taking over the grounds of Oberon's Mayfield Garden for its next luxurious eco-friendly camping retreat. Glamping in the Garden will pop up from March 23 through April 30 in one of the world's largest privately owned cool climate gardens. Located three hours west of Sydney's CBD, the gardens are seriously impressive and include an 80-metre waterfall, a walled kitchen garden, an Islamic-style pond and a six-acre water garden — plus a bluestone chapel, aviary and rose garden. Bookings include three-day passes to all 160-acres, with exclusive nighttime access for glamping guests. There's plenty to do apart from moseying around, including romantic canoe rides, interactive garden games, tours and workshops, with the garden's Autumn Festival also on during April. The intimate campsite will include only 15 two-person tents, situated next to the picturesque obelisk pond. The bell-shaped tents are fitted with Hugo Sleep queen mattresses, IN BED linens, goosefeather pillows, bedside tables, solar lighting and vintage rugs from around the world. The experience also comes complete with towels, an outdoor table and chairs to sit at, lanterns and torches, along with on-site bathrooms and showers, which are exclusive to the glamping area. Bookings also include a 'paddock and garden-to-plate' barbecue menu for two, with 80 percent of the produce sourced on-site and 20 percent handpicked from local suppliers. The cook-it-yourself menu includes steaks, marinated chicken, a fresh vegetable platter and vegan salad, with all cookware provided and communal barbecues and alfresco dining area available on the campground. If you really want to be greeted to your personal oasis in style, you can add on a drink and food package, which includes bubbles, cheese and charcuterie on arrival. Bookings for Glamping in the Garden are now open. Each tent costs $290 per night and includes dinner for two, with the option of drinks ($45) and charcuterie ($26) on arrival and family packages are also available. If you're looking for more glamping options, check out our ten favourite glamping spots near Sydney.
When was the last time that you picked up a pen, sat down in front of a piece of paper and wrote someone a letter? When was the last time you picked up a pen and wrote something other than a reminder note, shopping list or a scribbled signature, for that matter? Handwriting is no longer a daily part of many people's lives, and nor is corresponding with others via mail — but both are in the spotlight at Dead Letter Club. Founded in Melbourne and now making its way around the country, Dead Letter Club is reviving the art of simply writing letters, although it's doing so with a twist. It's also a creative writing night, where people grab some stationery, choose a pen name and start scrawling missives. The letters are then sent via secret post — that is, swapped with other attendees, with everyone paired up with a mystery pen pal — creating a back-and-forth of handwritten correspondence throughout the evening. On the club's website, creator Melanie Knight describes it as "a chance to turn the tides on consumerism. Rather than consume more, we can make something". Dead Letter Club also presents itself an antidote to today's texting, twittering, emoji-sending, like-clicking forms of communication, instead requiring someone to spend time and energy to carefully compose a long-form piece of correspondence to someone else. The club comes to Sydney on Wednesday, October 17 thanks to a session at Daisy's Milkbar, with fellow nights following in Wollongong and Canberra as part of an east coast tour.
Looking for somewhere to take a splash Down Under but feeling spoiled for choice thanks to Australia's thousands of beaches? Here's one way to pick where to head: Manly Beach in Sydney has just been anointed the seventh best beach in the world for 2024, and also the best beach in the South Pacific for this year as well. Tripadvisor bestowed the honours, as part of its annual lineup of top coastal spots. The New South Wales choice is the only Aussie destination to make the global top ten and top 25. Australia has form with the travel website's picks. Back in 2017, Whitehaven Beach ranked 17th. Jump to 2021 and the same Queensland spot came in first, with Turquoise Bay in Exmouth, Western Australia in sixth. Then, in 2022, the WA beach ranked third in the world. The state was also home to Australia's best-placed piece of shoreline in 2023, when Cable Beach came in third. [caption id="attachment_891589" align="alignnone" width="1920"] Manly Beach[/caption] Manly Beach was recognised as the world's seventh-best beach for 2024 and Australia's top beach for 2024 partly for being a good spot for walking and shopping in the vicinity. Tripadvisor also recommends that heading along between March–May and September–November is better for temperatures and sparser crowds. In 2024, Manly Beach sits behind Portugal's Praia da Falésia in Olhos de Agua, which was named the number-one beach for the year — plus Spiaggia dei Conigli in Lampedusa, Italy in second; La Concha Beach, San Sebastian, Donostia, Spain in third; Ka'anapali Beach in Lahaina, Hawaii, US in fourth; and Grace Bay Beach in Grace Bay, Turks and Caicos in fifth. In sixth: Anse Lazio on Praslin Island in the Seychelles. From the full top 25, beaches in Aruba, Cuba, Mexico, Iceland, Brazil, Costa Rica, Greece and Tanzania are among the other places to earn a spot on the list. [caption id="attachment_891588" align="alignnone" width="1920"] Cable Beach[/caption] Among South Pacific beaches, Manly Beach emerged victorious over Cable Beach, as well as five other Aussie locations and one from New Zealand. Queensland was home to four of the Australian picks, thanks to Four Mile Beach in Port Douglas, Surfers Paradise Beach, Mooloolaba Beach and Whitehaven Beach. The other: Emily Bay on Norfolk Island. Aotearoa's recognition came via Mt Maunganui Main Beach. The two beaches deemed the best in the South Pacific that aren't from Down Under? Matira Beach on Society Island in Bora Bora, French Polynesia, which placed third and Piscine Naturelle, Ile Des Pins, New Caledonia, which came in eighth. Across both the worldwide and South Pacific rankings, winners were chosen as part of Tripadvisor's Traveller's Choice awards, which is based on millions of reviews and ratings left on the online platform from October 2022–September 2023. [caption id="attachment_891592" align="alignnone" width="1920"] Whitehaven Beach[/caption] Top 25 Beaches in the World for 2024: Praia da Falésia, Olhos de Agua, Portugal Spiaggia dei Conigli, Lampedusa, Italy La Concha Beach, San Sebastian, Donostia, Spain Ka'anapali Beach, Lahaina, Hawaii, US Grace Bay Beach, Grace Bay, Turks and Caicos Anse Lazio, Praslin Island, Seychelles Manly Beach, Sydney, New South Wales, Australia Eagle Beach, Palm-Eagle Beach, Aruba Siesta Beach, Siesta Key, Florida, US Varadero Beach, Varadero, Cuba Playa Pilar, Cayo Guillermo, Jardines del Rey Archipelago Balandra Beach, La Paz, Mexico Reynisfjara Beach, Vik, Iceland Poipu Beach Park, Poipu, Koloa, Kauai, Hawai Seven Mile Beach, Seven Mile Beach, Cayman Islands Playa de Las Canteras, Gran Canaria, Spain Ipanema Beach, Rio de Janeiro, Brazil Playa Manuel Antonio, Manuel Antonio, Costa Rica Falassarna Beach, Crete, Greece Nungwi Beach, Zanzibar Island, Tanzania Kelingking Beach, Nusa Penida, Indonesia Nissi Beach, Ayia Napa, Cyprus Myrtos Beach, Kefalonia, Greece Playa Norte, Isla Mujeres, Mexico Muro Alto Beach, Porto de Galinhas, Brazil Top Ten Beaches in the South Pacific for 2024: Manly Beach, Sydney, New South Wales, Australia Cable Beach, Broome, Western Australia, Australia Matira Beach, Society Island, Bora Bora, French Polynesia Four Mile Beach, Port Douglas, Queensland, Australia Surfers Paradise Beach, Surfers Paradise, Queensland, Australia Mooloolaba Beach, Mooloolaba, Queensland, Australia Whitehaven Beach, Whitsunday Island, Queensland, Australia Piscine Naturelle, Ile Des Pins, New Caledonia Emily Bay, Norfolk Island, Australia Mt Maunganui Main Beach, Mount Maunganui, New Zealand [caption id="attachment_891590" align="alignnone" width="1920"] Matira Beach[/caption] [caption id="attachment_891591" align="alignnone" width="1920"] Mooloolaba Beach[/caption] To check out the full list of top beaches for 2024, head to Tripadvisor. Images: Getty Images / Tripadvisor. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Part pub, part wine bar and part romantic diner, The Waratah is a jack-of-all-trades venue that's taken over a classic two-storey hotel in Darlinghurst. Led by hospitality heavyweights Evan Stroeve (ex-Re, Bulletin Place and Swillhouse), Alex Prichard (Bondi Icebergs) and business partner Cynthia Litster, the impressive spot is located on the corner of Liverpool and Victoria Streets, just a few doors down from Shadow Bakery. The Waratah offers a couple of different zones that you can occupy. Downstairs, you'll find the walk-in-only public bar — an easy-going spot with approachable eats. Upstairs things are a little more serious, with a moody dining room equipped with a semi-al fresco area and breezy outdoor tables on the balcony. There's earthy tones, warm lighting and touches of local flora throughout the venue, setting a tone apt of the playful menu. The Waratah menu folds in a strong dose of Australian nostalgia with all of the sensibilities of modern Sydney favourites. The ideal way to kick things off is with a double serve of scallops — crispy brown potato scallops topped with raw scallops and served with tartare sauce. If you're in the mood for more of a snack-for-one, the lobster roll is here to help. Otherwise the menu lends itself to sharing. Must-orders include the butterflied king prawns, the brick chicken swimming in a honey gravy and the barbecued eggplant topped with oyster mushrooms and Davidson plum. For dessert, choose between the nostalgic and the indulgent. Those who want something a little fun can go a fairybread ice cream sandwich, while real dessert lovers should look no further than the Daintree vanilla flan accompanied by amaro and a poor man's orange caramel. Pair this with the house blend of vermouth and you're in heaven. The wine menu has something to satisfy any palette, but if you're after something a little stronger, turn your attention to the cocktail list titled 'Drinking Australia'. Highlights include a cocoa and cherry negroni that uses gin, local cherries and wine made with Daintree cacao; the Mango and Cream, which combines rum, spiced mango, caramelised cream, coconut and lime; and the signature Waratah Spritz. There's much to love about The Waratah. Images: Jason Loucas
Heartbreak High obsessives, your time is now: the 90s favourite has been revived by Netflix, bringing a new generation of Hartley High dramas into your streaming queue. Let's be honest — if you loved the show since way back when, it's always been your time; however, now you can experience the ups and downs of the Aussie series' next batch of high schoolers. A fan since the OG run, and always wished you lived in the show when you were at school? Just discovered the homegrown classic via the new version? Either way, if you're in Sydney on Saturday, September 17–Sunday September 18, you can nab some free threads to look the part. Netflix loves launching its big titles with pop-ups, and this one's no different — joining its The Gray Man barber, Stranger Things rift and Squid Game doll over the past 12 months. One thing that this boasts that those others didn't? That free clothing, with 1000 pieces up for grabs all up. Head along and you too can look like you've just stepped out of class — at a school that doesn't have a uniform, aka most teenagers' dream. Netflix has badged the pop-up a 'uniform shop' to fit the theme, though, but the range includes local designers and keenly sought-after thrifted items. Sydneysiders and folks who happen to be in town for the weekend just need to make a trip to 520 King Street in Newtown, where the thrift shop will be handing out pieces by HoMie, Clothing The Gaps, Jody Just, Off White and more. It's a first come, first served affair, and there'll be 500 pieces on offer each day. So, as always with give aways, getting in early during the shop's 10am–6pm operating hours is recommended. Given that the new version of Heartbreak High decks out its characters in everything from bursts of colour to grunge 90s attire, expect a variety of styles on offer. And, expect free temporary tattoos, too, as well as a photographer capturing high school portraits. If you haven't started your new Heartbreak High binge yet — which revives the 1994–99 show, which itself was a spinoff from the Claudia Karvan- and Alex Dimitriades-starring 1993 movie The Heartbreak Kid, which adapted the 1987 play of the same name — it starts with an unexpected fight between best friends Amerie (Ayesha Madon, The Moth Effect) and Harper (Asher Yasbincek, How to Please a Woman), plus a sex map charting who's hooked up with hook among Hartley High's year 11 students. Yes, that map is part of the Newton pop-up's artwork. Find the Heartbreak High Uniform Shop at 520 King Street, Newtown, Sydney from 10am–6pm on Saturday, September 17–Sunday September 18. Heartbreak High is available to stream via Netflix — read our full review.
